ADVANCED DIGITAL COMPOSTING© 2019 Aptech Limited All rights reserved. No part of this book may be reproduced or copied in any form or by any means — graphic, electronic or mechanical, including photocopying, recording, taping, or storing in information retrieval system or sent or transferred without the prior written permission of copyright owner Aptech Limited. All trademarks acknowledged. APTECH LIMITED Head Office: ‘Aptech House, A65, MIDC, Marol, Andher! (East), Mumbai - 400 093, India, wwww.aptech-worldwide.com E-mail: ov-support@onlinevarsity.com Edition 1 — June 2019 © > ARENA Unleash your porential wowrarene-mulimedacomPreface This book Advanced Digital Composting, is organized to help you learn essential terms, defini DaVinci Resolve to edit, compose, grade, mix, and master deliverables from start to finish. This book also covers complete set of editing, advanced color correction, Fairlight audio post production tools, Fusion visual effects, as well as specific features of DaVinci Resolve for professional editors, colorists, audio engineers, and VFX artists. It demonstrates that the application is built on completely modern technology with advanced audio, color, and image processing that goes far beyond what any other system can do. This book also explains that with its customizable interface and keyboard shortcuts, DaVinci Resolve is easy to learn, especially if you are switching from another editor and has all the tools you need to create breathtaking, high end work! ‘The ARENA Design team has designed this course keeping in mind that motivation coupled with relevant training and methodology can bring out the best. The team will be glad to receive your feedback, suggestions, and recommendations for improvement of the book. Please feel free to send your feedback to the ARENA Design team at the Head Office, Mumbai. ARENA Design Team Onlinevarsity GET SKILLED TO BECOME A PROFESSIONALTable of Contents Session 01: Introduction to Davi The Project Manager Resolve User interface Project Settings Customizing Preferences Summary Exercise Session 02: Editing in DaVinci Resolve ‘Media Pool Bins, Power Bins, and Smart Bins Timelines and Grading Viewer Playback and Navigation Effects Library Summary Exercise Session 03: Working with Color Grading Color Correction Basics Color Page Controls Color Managed Workfow Color Correction Techniques ‘Summary Exercise ‘Session 04: Composting in Fusion Work Area Fusion Interface Controls Working with Nodes Working with Text ‘Animation Using Motion Path ‘Summary ExerciseSession 5: Working with Audio and Fairlight Fairight Controls and Panels ‘Audio Editing Audio Mixing Recording Audio Effects Automated Dialog Replacement Summary Exercise Session 6: Advance Editing Techniques 3D Composition Rotoscoping Planar Tracking 3D Camera Tracking Particle Systems Summary ExerciseDownload from Google Play StoreSession 1 Introduction to DaVinci Resolve Learning Outcomes In this session, you will learn to: v List the system requirements for running DaVinci Resolve y Recognize the Project Manager window > Describe the user interface of DaVinci Resolve 16 ¥ Identify the main functional pages > Recognize the different project settings and preferences Editing a video involves refining the captured story, by setting its flow logically and emphasizing the integrated scene's emotion and spirit through the flair of cutting and merging. In this process, an artist is required to choose or discard thousands of clips to retain only the perfect shots for ensuring a unified edit to take the story ahead. One of the software solutions that facilitate such a seamless and comprehensive edit is DaVinci Resolve by Blackmagic Design. DaVinci Resolve 16 is a professional-grade and easy-to-learn Non-Linear Editing (NLE) program. It encompasses editing, color rectfication, graphics compositing, motion graphics, finishing, audio recording, and audio mixing facilites. It also integrates exclusive tools for handling tasks related to the integrated workflows, such as metadata configuration and media replication. For obtaining the desired workflow, the program allows several artists such as colorists and editors to collaborate simultaneously. ‘Antsts can also easily use other facilities by importing and exporting projects for handling media across different applications such as Adobe's Premiere Pro, Avid Media Composer, Autodesk's Flame Premium, and Apple's Final Cut Pro X. Following are the minimum system requirements of DaVinci Resolve 18 on Windows and Mac platforms ‘© Windows 10 Creators Update or Mac 10.12.6 Sierra ‘+ 16 GB memory; 32 GB minimum for working with Fusion ‘+ NVIDIA/AMDYintel GPU driver as supported by the processor ‘+ Desktop Video 10.4.1 or later by Blackmagic Design ‘+ CUDA Driver version 8.0.63 on Mac ‘+ RED Rocket Driver 2.1.23.0 and Firmware 1.1.18.0 or later + RED Rocket-X Driver 2.1.34.0 with Firmware 1.4.22.18 or later To start a video editing project, open DaVinci Resolve by clicking its icon, as shown in Figure 1.1, in the Start menu, Os Figure 1.1: DaVinci Resolve icon1.1 The Project Manager Upon opening the program, the Program Manager is the first window that is displayed. The Project Manager is a consolidated interface that allows handling projects of a logged-in user. It is the central area of the program where artists can import and export projects, edit them, and render them. The window also allows organizing databases that allow managing different media using the Database sidebar. By default, a blank project with the name as Untitled project is created, as shown in Figure 12 Figure 1.2: Project Manager with Default Project To create a new project, click the New Project button on the bottom right of the Project Manager ‘window. To open a project, just double-click it 1.1.1 Project Manager View Options The view options are present at the top-right corner in the form of four buttons, as shown in Figure 1.3, They allow specifying how projects can be viewed in the Project Manager window. a view Coe Figure 1.3: View Options in Project Manager Following are the five view options: ‘+ Zoom Slider: This slider allows changing the size of thumbnails. It is accessible only in the ‘Thumbnail view. +» Project Sort Order pop-up: This pop-up allows selecting the order in which the projects should be arranged in the thumbnail view. Even this option is accessible only in the thumbnail view.‘+ Information: This option hides or unhides extra project information that is viewable beneath the thumbnail of each project. This information includes the last modified date and frame size Even this option is accessible only in the thumbnail view. ‘+ Thumbnail view: This option shows the thumbnail view of a project, which an artist can hover to observe the project's various visual representations. «+ List view: This option shows a list of project components. 1.1.2 Searching for Projects At the top-right corner of Project Manager is the magnifying glass icon. Clicking it reveals the different search options, as shown in Figure 1.4, for finding one or more projects. The search process takes place as per the metadata set in the Filter By drop-down field Figure 1.4: Search Options Using this drop-down field, an artist can specify the name or project format. This informs the software to search by format or name. Subsequently, the search process takes place instantly and dynamically as per the specified filter. 1.2 User Interface DaVinci Resolve 16 is split into six primary functional pages namely, Edit, Cut, Color, Fusion, Fairlight, and Media. These pages are accessible through the buttons present at the bottom of the User interface, as shown in Figure 1.5. They are always visible and are arranged in the order of workflow. Using these buttons, artists can swiftly switch between different pages for rendering a project in a coordinated manner. Figure 1.5: Buttons for Accessing Different Interface Pages Figure 1.6 shows the empty user interface of the Media page.Figure 1.6: User Interface Right-clicking anywhere on the area shown in Figure 1.5 displays a context menu with two options namely, Show Icons and Labels and Show Icons Only. Selecting the latter option displays the bar of buttons without consuming much space 1.2.1 Media Page ‘The Media page is the chief interface for importing clips, arranging clips, and handling media, In DaVinci Resolve, a project's source media is set separate from the imported and handled data of that project. This Is why an artist can easily handle and update clips in the opened project that the timelines use, troubleshoot any issue that trigger, rearrange clips, and switch between online and offline media, The Media page also encompasses maximum core utiles useful for onset workflows and digital workflows. They specifically help in consuming, arranging, and syncing the steps of the digital workflows. There are six areas that make up the Media page, as shown in Figure 1.7. These are Media Storage browser, Viewer, Media Pool, Metadata editor, Audio panel, and Dual Monitor layout. Using them, artists can effortiessly search, select, and work with the intended project media. Most utilities as well as commands are available in the contextual menus that are displayed upon right clicking clips in File Browser, Library, or Media PoolFigure 1.7: Media Page Viewer When an artist selects a clip anywhere on the Media page, the Viewer displays its contents. A jog bar is also displayed at the bottom, which allows dragging the playhead using the pointer directly, as shown in Figure 1.8. Figure 1.8: Media Page Viewer Located between the mode and transport controls, a jog control allows moving through a lengthy clip more gradually. The jog bar's width indicates the clip’s duration. The playhead’s current position is displayed in the Timecode field present at the top-right corner. Some useful transport controls exist beneath the jog bar, which allow going to the first frame, playing the clip or stopping it, and going to the last frame,1.2.2 Edit Page Featuring NLE tities, the Edit page contains almost all tools required for innovative eciting and finishing, Itis split into three main sections, as shown in Figure 1.9. These are different browsers on the left, the viewers on the top, and the timeline at the bottom. These sections coordinate together for importing, editing, and trimming the timelines using different tools, as shown in Figure 1.10. Figure 1.9: Edit PageFigure 1.10: Edit Page’s Different Tools and Methods At the top of this interface is a toolbar with buttons, which allow hiding and unhiding different sections of the Edit page's user interface. From left to right, these buttons are as follows + Media Pool/Effects Library/Edit Index Height Button: Allows specifying the area that the Media Pool, Edit Index, andfor Effects Library can use to consume the Tull display vertically (height). Itis possible to display any two of them at once to take up more area for browsing by shrinking a timeline. If set at half height, these utilities are confined to the top only to display only one of them at a time. In this configuration, the timeline consumes the full display width '* Media Pool: Hides or unhides the list of all project media and timelines that are ready for editing. At times, a project in DaVinci Resolve has more than one edited timeline, ¢ Effects Library: Hides or unhides the repository of all audio filters, generators, transitions, and (OpenF x transitions. ‘= Edit Index: Hides or unhides the list of edit events present in the timeline's enabled tracks. Metadata: Hides or unhides the Metadata editor. + Inspector: Hides or unhides the Inspector that allows transforming and compositing effects of the desired clips. ‘Source and Timeline Viewers By default, the Edit page delivers a typical source/record style editing experience. The Source Viewer allows viewing clips from Media Pool so that they can be chosen for editing. On the other hand, the Timeline Viewer allows going through the project, revealing the frame at the playheac's current position inthe timeline, as shown in Figure 7.11Figure 1.11: Timeline Viewer To select a viewer, an artist only needs to click the viewer name highlighted in orange. In the Source Viewer, the color of the original source media is retained. However, the Timeline Viewer reveals the color changes made in the Color page. imeline A timeline in DaVinci Resolve refers to the workspace where an artist can edit projects together right from scratch, or import timelines or sequences from other tools. It shows only one timeline at a time, as shown in Figure 1.12, which an artist has double clicked in the Timelines browser. timeline is split into different tracks, which can be of audio and/or video, Each of these tracks contains fa sequence of header controls. Located on the left, these controls allow selecting the name and target tracks for editing, and switching tracks ON and OFF, as shown in Figure 1.13. Anists can customize the timeline appearance using Timeline View Options on the toolbar. Figure 1.12: Timeline Figure 1.13: Edited TimelineFor imported programs, a timeline visually represents the edited program. This is useful for validating ‘whether the project was precisely imported or not It is important to check the media of all clips in a program and complete all editorial tasks for grading a project. This should be ensured while validating whether the project is imported precisely or not. Grading involves overlaying composites and altering their modes or transitions. Following are the cifferent parts of a timetine: « Timeline Ruler: Displays the program's timecode and the playhead denoting the current frame of the dlip under focus. A clip that meets the playhead is the one with which the artist will be working on the Color page. Dragging inside this ruler area moves the playhead. Adding markers to the timeline also adds them to the ruler. « Playhead: Shows the current frame and synchronizes automatically with the playhead of the jog bar in the Timeline Viewer, on the Deliver page, and with those in the Color page's thumbnail and mini timelines. The Edit Index event resembling the clip meeting the playhead is also automatically emphasized. «+ Timecode Field: Displays the present timecode value representing the playhead's position. ‘* Video Tracks: Are usually more than one. At each track's left side, a header area exists with useful controls. « Track Header: Provides five controls for selecting, enabling or disabling, and locking or unlocking tracks, as shown in Figure 1.14. Each track header also shows the number of clips present on that track. An artist can resize a track in the timeline by dragging its top divider in its corresponding track header. PEE) rey To eae Figure 1.14: Controls for Each Track in Track Header « Vertical and Horizontal Scroll Bars: Allow dragging for navigating around the opened program if the project extends beyond the current timeline width or the video tracks do not fit within the current timeline height Toolbar The toolbar consists of 11 options running across the timeline’s top area. They allow selecting and using different editing tools, as shown in Figure 1.15.C2 Figure 1.15: Timeline’s Toolbar Following are the toolbar options from left to right: ‘* Selection Mode: Allows performing basic editing tasks such as resizing and moving clips in the timeline. Itis the default work mode, Alternatively, an artist can perform specific selections and use the comma and period keyboard shortcuts for dragging the selection left or right. tis also possible to perform specific selections and use the Timecode field to set relative or absolute movements, «Trim Edit Mode: Allows sliding, rolling, and rippling the edits using the Trim tool and dragging various parts of clips. ‘+ Dynamic Edit Mode: Allows using the functionality of Selection and Trim Edit modes using the JK\ keyboard shortcuts, which go back and forth across the timeline. ‘+ Razor Edit Mode: Allows introducing cuts to clips at the currently positioned playhead. + Insert Edit: Allows adding a clip in between other clips, + Overwrite Edit: Allows ovenariting the marked area of the timeline with new clips. «* Replace Edit: Allows replacing an existing clip or a bunch of clips in the timeline with the new ones. ‘+ Snapping: Activates or deactivates clip snapping, f activated, the in and out points of that clip, the playhead, and the markers snap to one another. «Link Audio/Video: Activates or deactivates the selection of the corresponding audio of a video clip. If activated, clicking a video clip selects ts corresponding audio clip automatically i they are linked, ‘+ Flag Clip/Flag Colors: Highlights all clips and identifies clips that belong to the same media item in the Media Pool. A clip has several flags. Clicking this drop-down field allows adding a flag automatically to the selected clip inthe timeline. It also allows selecting colored flags and removing all of them from the selected clip in the timeline. * Add Marker/Marker Colors: Adds a marker of the currently exhibited color to the clip at the playhead's position. A marker helps in recognizing the specific frames of a clip. It also allows selecting colored markers and removing all of them from the selected clip in the timeline. + Customize Timeline: Is a set of three controls for customizing the appearance of the clips, as shown in Figure 1.16. It also allows specifying whether to show audio waveforms or display flags and markers, Artists can even adjust the height of different tracks. Figure 1.16: Customize Timeline icon ‘+ Zoom slider: Is a slider that allows zooming into or out of a clip with the help of the mouse's scroll wheelFloating Timecode Window A floating timecode window is accessible from the Workspace menu on any page of the DaVinci Resolve interface, as shown in Figure 1.17. the window displays the timecode of the focused timeline or a viewer. Resizing this window allows viewing the timecode bigger or smaller. 01:00:01 Figure 1.17: Timecode Window Audio Mixer Accessible from the Workspace menu on the menu bar, the Audio Mixer contains a collection of visual controls for setting up track levels, panning stereo audio, and muting tracks while editing, as shown in Figure 1.18. It reveals a series of channel strips, each of which correspands to its track in the timeline. Each strip shows the number of audio meters equal to the number of channels within that track. By default, the Main 1 channel strip exists to the right, which allows adjusting the general level of the mix. Figure 1.18: Audio Mixer with Five Strips Corresponding to Five Tracks 1.2.3 The Cut Page The Cut page is simply an alternate Edit page with new tools to accelerate the workflow, It allores importing, trimming, and editing clips. It also allows adding transitions, mixing audio, and matching colors. For broadcasting or for publishing on YouTube, this page has all tools to get the job done faster than ever when the deadline is tight. 1.2.4 Fusion Page The Fusion page is split into four main regions, which aid in accelerating the tasks related to node- based compositing. The Media Pool and Effects Library are on the left, the Inspector is at the right, {and the middle area is split into the viewer(s) on the top and the work area at the bottom. Refer to Figure1.19, Allfour panels coordinate to allow adding effects, developing 3-dimensional (3D) and multitayered composites, creating motion graphics, generating title sequences, and painting for rectifying issues Figure 1.19: Fusion Page Atop the page is a toolbar with icons that allow hiding or unhiding the different regions. Icons with labels indicate which regions can be shown or hidden. Right clicking anywhere in the toolbar reveals the option of showing this bar with or without labels. Following are the icons on the toolbar from left to right: ‘+ Media Pool/Effects Library Height Icon: Allows setting the area that these two utilities shall take up. ifthe full display height is consumed, artists get more browsing area at the cost of narrowed viewer and Node editor areas. ‘* Media Pool: Hides and unhides the Media Pool from where artists can drag extra clips into the Node editor for including them in the 3D composition. «Effects Library: Hides or unhides all node tools. In the Effects Library, artists can click nodes for appending them to the node selected in the Node editor or dragging and dropping them to any area of the node tree. * Clips: Hides and unhides the thumbnail timeline that is useful for developing and handling different composition versions and navigating a program. ‘+ Nodes: Hides and unhides the Node editor that allows creating and managing compositions. * Spline: Hides and unhides the Spline editor that allows modifying the curves interpolating the keyframe animation for tuning their timing. * Keyframes: Hides and unhides the Keyframe ecitor that displays each clip and effects node as a composition’s layer and allows modifying the timing of keyframes added to different composition offects. ‘* Metadata: Hides and unhides the Metadata editor «Inspector: Hides and unhides the Inspector displaying all modifiable parameters and controls of the nodes selected in the Node editor. + Inspector Height Icon: Allows adjusting the height of Inspector to half or full. The former gives more space to other editors on the Fusion page.1.2.5 Color Page The Color page allows grading the desired program for dramatically affecting the overall feel and mood of the story. For this, it offers a variety of controls for handling color and light, contrast, image effects, noise reduction, clip geometry, stylist adjustments, and secondary color corrections. All these grading controls are categorized into seven key regions that coordinate for building a grade. Refer to Figure 1.20 Figure 1.20: Color Page Atop the page is a toolbar with icons that allow hiding or unhiding different regions. Following are the icons, from left to right: * Gallery: Hides and unhides the gallery. + Timeline: Hides and unhides the mini timeline. * Clips: Hides and unhides the thumbnail timeline. + Nodes: Hides and unhides the Node editor. + OpenFX: Hides and unhides the OpenFX panel. + Lightbox: Hides and unhides the Lightbox. 1.2.6 Fairlight Page The Fairlight page integrates the audio post-production tools that provide sound and video editors all that Is required to collaborate and create shows flawessly. In the single monitor mode, this page optimizes the appearance of the project's auio tracks. Refer to Figure 1.21 There are also custom monitoring controls, the aucio timeline in the middle, and an enlarged mixer to the right of the timeline, These utilities help in effortlessly assessing and adjusting the program levels for ending up with @ melodious and balanced miFigure 1.21: Fairlight Page Atop the Fairlight page is a toolbar with icons for hiding and unhiding different regions. Following are the icons from left to right: ‘+ Media Pool: Hides and unhides the Media Pool that allows modifying audio clips in the audio timeline. « Effects Library: Displays the library's Audio FX panel that allows applying different audio effects to clips ++ Index: Hides and unhides the Index and its associated panels namely, Markers and Tracks. The latter panel allows hiding and unhiding the timeline’s tracks, while the former panel allows viewing each marker and its data for easily going through the markers at once. Mixer: Hides and unhides the Mixer that allows adjusting different track levels and effects for developing a balanced mix Monitoring: Hides and unhides the viewer atop the Fairlight page along with the monitoring audio meters. Inspector: Hides and unhides the Inspector that allows editing various aspects of a clip. Metadata: Hides and unhides the clip Metadata inspector. 1.2.7 Deliver Page The Deliver page is useful for rendering the developed media. Itis used to output to tape or to a digital platform. The page is split into five functional regions, which allow configuring a separate part of a render. I allows queuing a set of jobs each with distinct settings or rendering different sections seen in its exclusive timeline, Refer to Figure 1.22. This is why an artist can render several deliverables or several timeline areasFigure 1.22: Deliver Page Atop the page is a toolbar with icons, which are as follows (from left to right on the toolbar): ‘+ Delivery Height Icon: Allows setting the display height for the Render Settings panel. Setting it to full height gives more room for browsing the different settings for rendering while narrowing the timeline on the Deliver page. « Render Settings: Shows all render settings in a panel, ‘« Tape: Enables the Tape Output mode. ‘+ Clips: Hides or unhides the thumbnail timeline that is over the Deliver page's dedicated timeline. «Render Queue: Shows all jobs to be rendered along with the formerly rendered jobs for later reference or re-rendering. Artists need to manually delete the formerly rendered jobs from the queue. ‘+ Render Queue Height Icon: Allows displaying the Render Queue panel to its full or half height. The Deliver Page Timeline The timeline on the Deliver page replicates the timeline on the Color page. Refer to Figure 1.23. Itis Useful for specifying the range of clips to render or to tape, and selecting the versions for each clip that the artist needs to output. A toolbar atop the timeline allows selecting the range of timeline to be rendered and zooming the timeline in and out. The timatine has a thumbnail timeline atop that the artists can hide or how using the Clips icon an the toolbar and an ordinary timeline beneath. The thumbnail timeline allows selecting clips for rendering, while the ordinary timeline has controls for activating and deactivating tracks.Figure 1.23: Timeline on Deliver Page 1. The view option in the Project Manager provides additional information about the current project. a. Info b._ Information ©. Project Sort 4. Thumbnail 2. The age allows developing multi-layered composites. a, Edit b. Media cc. Faiflight Fusion 1.3 Project Settings The Project Settings window displays all settings related to the project once it is developed. These settings include properties such as optimization, scaling, color, timeline format, and cache files location, To open this window, on any page, just click the gear icon located at the bottom-right corner, as shown in Figure 1.24. scan Figure 1.24: Gear Icon The window is displayed in the middle of the page with a sidebar on the left showing different clickable panels, as shown in Figure 1.25. Each panel has its own settings that are displayed on the right of the sidebar. To display settings of a panel, in the sidebar, just click its name. Each set of panel settings is related to a group of controls dedicated to a specific DaVinci Resolve functionality. For example, settings in the Master Settings panel allow specifying the main project attributes such as the timeline resolution, bit depth, and frame rate, Refer to Figure 1.25.eee Figure 1.25: Project Settings Window 1.3.1 Presets Panel The Presets panel allows saving personalized groups of project settings for future reference. Presets are capable of storing the state of almost all options and parameters in each panel in the sidebar. They also allow easy switching among various setups for working with types of projects. Three default items are present in the Presets list, which are as follows: ‘+ Current Project: Shows settings of the current project. Loading a preset selects the current project to indicate that the preset is applied to it. ‘+ System Config: Has the default settings of the project, which are applied to any new project. also contains the defaults that were installed. While iis not possible to edit these settings, the Save As button can help in replicating them to form the base of a new preset. ‘+ Guest default Config: Is a setting that is carried forward from the former DaVinci Resolve versions supporting multiple users. Its the default, non-editable configuration applicable to any new project that a logged in user creates. The config’s actual name typically becomes the current user name. 1.4 Customizing Preferences The Preferences window has all the settings specific to the workstation on which the software is installed for customizing how the software functions. It is split into System and User preferences accessible via buttons atop. These settings allow specifying the system hardware settings to use and the preferable user interface settings, as shown in Figure 1.26. To open the Preferences window, on the menu bar, select DaVinci Resolve > Preferences.ces Figure 1.26: Preferences Window The System and User panes have their own set of panels displayed in the left sidebar. Each panel features @ group of related settings affecting a specific functionality of the sofware. To change a preference setting, just click a panel name on the sidebar, change the desired settings in the right, and click Save. Changing a few system preferences may show a prompt of relaunching the DaVinci Resolve software. This is less likely to happen if a user preference is changed. ILis possible to reset all preferences to their default values. To do so, on the top-right corner of the window, click the Option menu appearing as an icon of three horizontal dots and select Reset System Preferences. 0 know more about C\ nce document. mizing Preferences, refer to the Additional Ré For detailed step-by-step procedure, refer demo ‘Launch DaVinci Resolve, create project and customize project settings’ from eResources 4 Me>> My Varsity>> ‘Advanced omposting’>> Show Me Howz Onlinevarsi Becsmn a LIKE THE PROFESSIONALS1.5 Summary In this session, Introduction to DaVinci Resolve, you learned that vyyvv v v vv ¥ DaVinci Resolve is a professional and comprehensive NLE tool that encompasses editing, compositing, motion graphics, color correction, audio recording and mixing, and finishing ultities. The Project Manager is a default interface visible once DaVinci Resolve is opened and helps in ‘managing projects of the currently logged in user. ‘The user interface of DaVinci Resolve is composed of six primary functional pages namely, Cut, Media, Edit, Fusion, Color, and Fairlight. ‘The Media page acts as the main interface for importing clips, and organizing and managing them, ‘The Edit page has all the editorial tools required for innovative eciting through finishing. The Fusion page is dedicated to accelerate all tasks related to node-based compositing The Color page has all controls that allow building a grade for the program under focus. The Fairlight page helps in applying diferent effects post production for making memorable shows. ‘The Deliver page has all controls required to render or tape the created media. ‘The Project Settings window displays all settings related to the project. ‘The Preferences window has System and User preferences for specifying the system hardware seltings to use and the preferable user interface settings.1.6 Exercise 1), Which of the following applications are compatible with DaVinci Resolve? @)_ Avid Media Composer b) Apple Final Cut Pra ©) Adobe Premiere Pro @) Allof these 2) Which of the following is not a main page in DaVinci Resolve? a) Inspector, Effects, and Audio b) Edit, Cut, and Render ©) Inspector, Deliver, Edit, and Cut ®) Allofthese 3) Which of the following is a primary function found on the Media page? a) Clip import b) Media management ©) Clip organization d) Allof these 4) Which of the following is not a part of the Edit page? a) Browser b) Mixer ©) Viewer 4d) Timeline 5) Which of the following controls are available on the Color page? a) Noise reduction b) Clip geometry ©) Image effects ) Allofthese 6) Which of the following are applicable to presets? a) They are non-editable. b) They are ay only to certain projects. ©) Its possible to override the system config settings. d)_ None of these.7) System and a) b) °) d) Default Workstation Software User are the two types of preferences in the Preferences window. Onlinevarsity GET SKILLED TO BECOME A PROFESSIONALAnswers to Exercise 1. Allof these All of these All of these Mixer Allof these None of these 7. User Answers to Quick Test Quick Test 1.1 1. Information 2. Fusion Quick Test 1.2 1. True 2. DaVinci Resolve Onlinevarsity 5BLOGS oo LE TOPICSSession 2 Editing in DaVinci Resolve Learning Outcomes In this session, you will learn to: > Identify various options in Media Pool > Describe the uses of Bins, Power Bins, and Smart Bins > Define Timelines and Grading > List Viewer Playback and Navigation features > Describe Effects Library The Edit page in DaVinci Resolve is used to edit projects. Figure 2.1 shows the panels in the Edit page. To open an Edit page, go to Workspace and then, click Active Panel Selection submenu. Figure 2.1: Edit Page 2.1 Media Pool Media Pool of the Edit page is a pool of imported items to be edited such as videos, audios, image media, and timelines. Media Pool is also mirrored and made available in Fairlight, Media, Color, and Fusion pages. This improves the accessibility of graphics, audios, timeline, and video clips from any page. Bin list is present to the left of the Media Pool. It displays the bins that allow organizing media and timelines in a hierarchy. Media Pool has a bin called ‘Master’ by default. However, any number of bins can be added to organize timelines and clips, To add an additional bin, right-click the blank area and click Add Bin, To rename the new bin, double-click it and type a new name, or right-click a bin and click Rename Bin. Bin list can be expanded and hidden using the button at the top-left comer of the toolbar in the Edit page.Figure 2.2 shows the Media Pool Figure 2.2: Media Pool in Thumbnail Mode The contents of the selected folder are displayed to the right in the browser area. There is no limit on the number of timelines that can be created or imported in to a project. In Media page, Media Pool is, displayed either in Icon view or List view. In List view, the contents can be sorted using one of the subsets for the total Metadata present in the Metadata Editor of the Media page. Editors can sort the content by: Description Name Reel Name Comments Different timecode streams Keyword Angle Shot Scene Start KeyKode Take CircledResolution Flags Usage Frames Per Second 2.1.1 Importing Media to Media Pool of the Edit Page Media page offers organizational flexibility and characteristics to add clips to the Media pool. Following steps can be used to import clips in to the Media Pool of the Media page from the Editor Fairight page: 1. Open the Edit page. 2. Right-click in the Media Pool and select Import Media. or 1. Open the Impon dialog box. 2, Select the clips and click Open. This will add clips to Media pool of the project. 2.1.2 Searching Content in Media Pool Media Pool has a Search field at the top of the page. It enables searching clips based on complete name or partial name or metadata of Media Pool. Following steps should be performed to search a clip using a name: 1, Select the bin or bins. 2. Click the search icon button at the top-tight corner of the Media Pool 3. Choose the column to search using the Filter by pop-up menu or select All Fields to search all columns. 4. Type a complete string or a partial string in the Search field. Click the Cancel button to return to the onginal clips view. 2.1.3 Browsing Clips in Media Pool For an editing task, one or more clips can be selected in the Media Pool either by opening a clip in the Source Viewer or selecting a group of clips for drag and drop editing To find the clips for editing, content in the Media Pool can be accessed in two ways. They are: © Thumbnail hover scrub: In the thumbnail view mode of Media Pool, drag the pointer over a thumbnail to scrub the contents, Figure 2.3 shows thumbnail hover scrubbing 03_25_01_CU-Shot Bad Fr.. Figure 2.3: Thumbnail Hover Scrubbing ‘+ Filmstrip in Media Pool List view: Select a clip to be displayed in the Filmstrip. Hover the pointer across the Filmstrip to play it and double-click a clip. Refer to Figure 2.4. This opens the clips in to the Source Viewer.seer Figure 2.4: Using the Filmstrip When the Media Pool is in List View 2.1.4 Selecting Clips to Edit from the Media Poo! The clip can be selected for editing by making a selection while preparing to perform an edit using a mouse in the following ways: «For selecting a single clip: In the Media Pool, click the clip. ‘+ For selecting continuous range of clips: Drag a selection box on the required clip or click the first clip in a required series and press the Shift key and click the last clip in the series. All lips between the first clip and last clip are selected. Figure 2.5 shows the selection of continuous clips Figure 2.5: Selecting a Continuous Range of Clips ‘+ For selecting non-continuous range of clips: Hold the Ctrl key and click the required clips or hold the Ctrl key and drag over the unselected clips (to add to the selection) or aver the selected clips (to remove from the selection).Figure 2.6 shows non-continuous selection of clips. Gens Pens Figure 2.6: Selecting Non-continuous Range of Clips 2.1.5 Duplicating Clips in the Media Poot To create duplicate clips in the Media Pool, press Alt key. Duplicate clips will have individual links to their source media in the disk. To learn more about editing in DaVinci Resolve, refer Additional Reference document. 1. Inthe Media page, Media Pool is displayed in a. leon, List b. Icon, Source c._List, Timeline d. Single, Timeline view or view. 2. Media Pool has a__ bin by default. a. Power b. Super c. First d. Master2.2 Bins, Power Bins, and Smart Bins Media Pool has three types of bins. They are: *Populated manuall +Organized hierarchically. *To create @ new bin, right-click in the bin list and click Add Bin, Drag and drop the items to add them to the bin. —————Lk— a tiC~—™F Hidden by default *Populated manually. ‘Shared among the projects in the current database. «Title generators, graphics movies and stills, sound effects library files, music flies, and other media are accessible to all projects, *To create a new Power Bin, right-click the Power Bin area, and click Add Bin. +Procedurally populated + Enables mut-citeia search in the entire project and saves the search setting criteria. + Organizes the contents of projects quickly. +Filter the contents of Media Poo! dynamically using custom rules of metadata +To create a new Smart Bin, right-clickin the Smart Bin area and click Add Smart Enter the name ofthe bin an the rules tofitercipsin the calog box. Click Create mar Figure 2.7 shows the three types of bins in Media Pool. Figure 2.7: Types of BinsTo display or hide Power Bin and Smart Bin, go to View > Show Power Bins and View > Show Smart Bins respectively. 2.2.1 Opening Bins in Separate Windows To open a bin in a new window, right-click the bin and select Open As New Window. The new bin ‘window has a Media Pool, Bin List, Power Bin list, Smart Bin ist, and display controls. There is no limit on the number of additional Bin windows that can be opened Tips ‘+ For a workstation with two displays, bin windows can be dragged to the second display even when DaVinci Resolve is in single screen mode. + Hide the Bin list to accommodate more clips and to avoid switching between bins accidentally. Figure 2.8 shows the bins opened in separate windows, Figure 2.8: Media Pool Bins Opened as New Windows 2.2.2 Filtering Bins Using Color Tags For a project having many bins, color tags can be applied for easy identification. There are eight colors, To tag a bin, right-click a bin and choose from the Color Tag submenu. For example, red tag color can be used for the bins frequently opened. Figure 2,9 shows the color tags of the bins, Figure 2.9: Using Color Tags to Identify BinsTo filter the bins using a color, use the Color Tag filter pop-up menu at the right of the Bin List button. Figure 2.10 shows filtering bins using color tags foe Figure 2.10: Using Color Tags Filter to Isolate the Red Bins 2.3 Timelines and Grading Projects in DaVinci Resolve contain edited and organized timelines in the Media Pool and are shown in the Timeline Editor (referred as Timeline). Timelines contain clips that have source media in the Media Pool and edit events that are in the Edit Index. Edit Index is to the right of Timeline, 2.3.1 Timelines, Grades, and Versions Grades ‘* Grades are linked to the timecode of source clip inthe timeline. ‘+ [Fthe timeline is altered, the clip's grade also alters, This makes navigation easy during editing land grading ‘© Local versions ensure that each timeline of a project has an independent set of grades by default. This also applies to duplicate timelines, ‘* Each clip in a timeline has an independent grade ‘+ To.use Remote versions if the clips are switched among the timelines, the grades of the clips are shared by all its instances in all tmelines and also with all other clips using Remote versions, ‘+ IT new imported timeline rearranges the order of the clips and switches them to Remote versions, then the grades follow the clips automatically. The clips in new timeline inherit the grades of the clips in other timelines. ‘* Timeline can be switched between Local grades and Remote grades, Grades can be copied from timelines using the ColorTrace feature.Master Timeline ‘A Master Timeline has a single timeline with all the clips currently available in the Media Pool, Following are the features of Master Timeline: Master Timeline can be created only before any media is added to the Media Pool of a new project. Master Timeline consists of a long sequence of each clip in the Media Pool arranged in ascending order of the timecode. Master Timeline clips appear at thelr full duration. Duration of the clips in an imported timeline does not change the duration of the clips in Master Timeline. Clips added to the Media Pool are automatically added to the Master Timeline. Master Timeline helps in organizing media that is not ecited. Master Timeline helps in identifying a range of similar clips based on the timecode range. ‘Steps to create a Master Timeline are: 1 2. 3 Create anew project ‘Open General Options panel of the Project Settings. Select the Automatically match master timeline with media pool check box. To use Remote versions for the clips with default grade, clear the Store grade with local version by default check box. Click Save, Project Settings window closes. Open the Edit page, and select File>New Timeline. New Timeline Properties window is displayed. Clear the Empty Timeline checkbox and click Create New Timeline. Master Timeline appears in addition to the new timeline in the Timeline list Col award Master Timeline can be created only before any mecia is added to the Media Pool of a new Project. a. True b. False Grades can be copied from timelines using the feature. Colorlag b. Timeline ©. ColorTrace d. TimeTrace 2.4 Viewer Playback and Navigation Edit page displays traditional source or record style editing experience by default. There are two types of viewers. They are Source Viewer: Enables viewing individual clips in the Media Pool and prepares the clips for editing, Timeline Viewer: Helps in navigating through the program and shows the frame of the corresponding playhead position in the Timeline.Figure 2.11 displays the frame of the selected timeline, Figure 2.11: Source and Timeline Viewers Single Viewer Mode Contextually displays the Source Clip selected or the current frame in the Timeline, To hide the Source Viewer and change to Single Viewer made in the Edit page, goto Workspace > Single Viewer Mode. Figure 2.12 shows the hidden Source Viewer in the Edit page. Figure 2.12: Single Viewer Mode In Single Viewer mode, the selected content in the Media Pool or Timeline decides the controls displayed in the Viewer.2.4.1 Viewer Controls Timeline viewers and Source viewers have the same controls on the screen, Table 2.1 lists the viewer controls. Zoom pop-up © Fitfits the visible frame to the size available to the viewer. menu + Percentage zoom fits the visible frame to the selected size. ‘+ Scroll the mouse, trackpad, or tablet to zoom in and zoom out, Duration field _| Located at the top-left side of the Source Viewer, Duration field displays the total duration of the clip or the duration between In and Out points. In the Timeline tab, Duration field shows the duration of the selected timeline, GPU Status Each viewer has a Graphics Processing Units (GPU) status indicator and a Display Frame-Per-Second (FPS) meter in the tlle bar, GPU Status Display indicates the performance of the workstation when playback is initiated and the processing power used by the clip. GPUs handle image processing and effects. Clip Name Clip Name appears at the center of the Source Viewer tile bar. ‘+ Source Viewer displays a pop-up at the top and beside the name of the current clip. This pop-up enables opening a menu having a list of ten recently opened ciips in the Source Viewer in first in- first out order. ‘+ Timeline Viewer displays the timeline name and a pop-up menu that allows switching to timelines in the current project. The clipftimeline name is highlighted in orange if the Source or Timeline Viewer has focus. Bypass Color —_| Bypass Color Grades and Fusion button/pop-up in the Color page is also Grades and present in the Edt page. Go to View > Bypass Color and Fusion pop-up or Fusion Effects | toggle button/pop-up menu in the Timeline Viewer. Tum OFF color grades and Fusion effects to improve playback performance while editing and evaluating the original source media, Source/Timeline | Placed on the top-right side of the Source Viewer, Source/Timeline Timecode/Frame! | Timecode/Frame/keykode Display displays timecode of the playhead position keykode Display | frame in the Source Viewer jog bar. To switch between source timecode, source frame, and keykode, right-click, and select from the contextual menu. In Timeline Viewer, Source/Timeline Timecode/Frame/keykade Display displays record timecode of the playhead position frame in the Timeline. To switch between source and record timecode, source and record frames, and keykode, right-click, and solect from the contextual men. Source Viewer | Source Viewer Option menu contains the following options: Option ments Gang Viewers: When enabled, the Source and Timeline Viewer playheads ‘move in unison. It helps in matching the timing of part of a clip in the Source Viewer with an event in the Timeline. Live Media Preview: It is enabled by default and displays skimmed frame in the Viewer for the thumbnails skimming in the Media Pool. Playhead in the ‘thumbnail is locked with the playhead in the Viewer's jog bar. ‘Show All Video Frames: When OFF, DaVinci Resolve prioritizes audio playback and drops video frames when the available processing power is less.‘When ON, audio quality is compromised and frames of video play siowly to maintain playback, ‘Show Zoomed Audio Waveform: When enabled, displays an audio waveform overlay at the bottom of the Source Viewer with a 700m section of the audio surrounding the current position of the playhead, ‘Show Full Clip Audio Waveform: When enabled, displays an audio waveform at the bottom of the Source Viewer. ‘Show Marker Overlays: Enabled by default. Markers intercepting the playhead during playback pause, appear superimposed in the Viewer. Markers submenu: Chronological list of markers applied to the clip in the Source Viewer. They are listed by Name and Note. Select a marker to jump the playhead to the selected marker in the Source Viewer. Timeline Viewer Option menu ‘Timeline Viewer Option menu contains the following options: Gang Viewers: When enabled, the Source and Timeline Viewer playheads ‘move in unison. It helps while matching the timing of a clip in the Source Viewer with an event in the Timeline. ‘Show All Video Frames: When OFF, audio playback is prioritized and video frames are dropped when available processing power is less. When ON, audio quality is dropped and the frames of video play slowly to maintain playback. ‘Show Marker Overlays: Enabled by default. Markers intercepting playhead are superimposed in the Viewer when playback is paused Markers submenu: Chronological list of markers applied to a Timeline by Name and Note. Select a marker and jump the playhead to marker in the Timeline. ‘Source Viewer Mode pop-up (Source Viewer only) Enables setting of Source Viewer to display diferent views of the clips. The following options are available in Source Viewer Mode pop-up: Offiine Reference Movie button: If an offline reference, movie is assigned to the current timeline. Click the Offline Mode button to view the offline movie and to compare it with the timeline. In Offline mode, Source and Timeline playback are synced. Offset field replaces the duration the field enabling re-sync of the offline reference movie, if required. Video button: Displays the video of the clip opened currently in the Source Viewer. ‘Audio button: Displays the audio waveforms of all channels of the clips opened. in the Source Viewer. The upper part of audio-only view displays the waveform of the entire duration of the clip and the remaining part displays the zoomed audio waveform. Zoom level can be controlled using zoom pop-up at the upper- left comer of the Source Viewer. Multicam: Displays the mutti-angle Multicam Viewer of a clip in the Timeline. Allows switching between different angles of the video and audio during mutticam editing. Transform Mode pop-up (Timeline Viewer Only) Acts as a toggle switch and a pop-up menu. To transform the clip in the viewer, click the bution control on the left. It enables or disables onscreen controls, Pop- Lup control at the right enables switching between the modes of transforms. Following are the two modes of transforms: Transform: Exposes Pan(X) and Titt (¥), Scale X and Y, and Rotation controls. Crop: xposes crop from the top, bottom, left, and right controls.Jog contro! Allows navigating through a clip or Timeline. Click and move the control to navigate. Transport Includes Jump to First Frame, from left to right, Stop, Play Reverse, Jump to controls Last Frame, and Play Forward Loop Playback —_| Enables or disables looped playback. To control looping, go to Playback Loop/Unloop command, When enabled, each playback command loops or returns to the beginning of the clip or timeline on reaching the end of the command's range. In and Out points in the Source or Timeline Viewers do not trigger looping. The Play Around: ‘command starts at the beginning of pre-roll, plays through the post-roll, and loops back to the beginning of the pre-roll. Playback continues unless itis stopped ‘= Matches the current frame of the clip in the Source Viewer. * Opens the Media Pool clip corresponding to the clip at the current position of the playhead of the Record Viewer in to the Source Viewer. * Sets the In and Out points and the playhead position to match the alip in the Timeline. Match Frame InfOut buttons —_| Positions the In and Out points to define the range of the clip or Timeline during editing Jog bar ‘+ Repositions the Source playhead in the Source Viewer scrubbing through the clip. ‘+ Repositions the playnead throughout the entire program in the Timeline tab. Table 2.1: Viewer Controls Onlinevarsity2.4.2 Opening Clips in Source Viewer for Editing Clips that are decided to be used in the program are opened in Source Viewer for reviewing them. Table 2.2 lists the methods available to open the clips to be edited in Source Viewer. ‘Skimming the Media Pool thumbnail and viewing the clips in the ‘Source Viewer using Live Media Preview Click the Source Viewer option menu, select Live Media Preview and tum ON Live Media Preview (if OFF). 2. Open Media Pool in Thumbnail mode. Move the pointer over a clip. The clip's thumbnail starts skimming. The clip scrubbing in the Source Viewer is displayed. ‘+ While skimming thumbnails, the playhead in the thumbnail is locked with the playhead in the Viewer's jog bar. While skimming, markers and set In and Out points can be added. ‘+ Leave the pointer over a clip and use the JKL J-Back, K=Stop and L=Forward) keyboard shoricuts to play through the clip, Markers and set In and Out points can be added. 3. Skimming takes time. Pointer can be moved from clip to the Source Viewer without opening any other clip. ‘Turning OFF Live Media Preview enables using traditional and controlled methods of opening clips in the Source Viewer. Using the mouse Double-click a clip or Filmstrip in the Media Pool Using the keyboard 1. Press Ctr1-1 to select the Bin list, and press the Up and Down arrows to choose a folder. Press the Right Arrow key to open folders and view any nested folders within. Press the Left Arrow key to close folders and hide their nested contents. 2. Press Ctr1-2 to select the Media Pool browser, and use the Arrow keys to change the selection of the clip 3. Once the clip is highlighted, press Enter to open itin to the Source Viewer. Table 2.2: Opening Clips in Source Viewer To open a timeline in to the Source Viewer, drag and drop the timeline in the Source Viewer. 2.4.3 Viewer Transport Controls The Edit page has two Viewers. They are: ‘+ Left Viewer: Set this viewer to display the source video or source audio so that source clip appears in the edit «Timeline Viewer: This viewer displays the frame at the playhead position in the Timeline. With Source and Timeline Viewers, a variety of edits can be set up. The Viewers have identical transport controls, Figure 2.13 shows the transport controls. Figure 2.13: Transport Controls of the Source ViewerJog bar is present under the transport controls. It allows moving the playhead with the pointer. The length of the Source Viewer’s jog bar and the Timeline Viewers jog bar depict the full duration of the lip and the current timeline respectively. The position of playhead is displayed in the timecode field at the top-tight corner of the viewer. Jog control at the left of other transport controls enables a slow jog through lengthy dips or lengthy timeline. Click and drag to navigate through a clip or the Timeline, Transport controls over the jog bar in Source Viewer allow Jump to the First Frame, Play Reverse, Stop, Play Forward, and Jump to the Last Frame. Transport controls in Timeline Viewer enables moving to Previous Edit, Play Reverse, Stop, Play Forward, and Next Edit. Loop control governs the looping behavior during playback. 2.4.4 Gang Viewers (Playhead Ganging) The movement of playhead in the Source and Timeline Viewers is independent. However, the Option menu at the top-right corer of Viewer turns Gang Viewers ON and the Source and Timeline Viewer playheads are locked to move in unison. Gang Viewers aid in marking the In and Out points in a clip in the Source Viewer in order to match the duration of a clip or event in the Timeline. 2.4.5 Adding Markers Markers bring attention to the frame in a clip. Markers can be colored individually and customized with a name and note text, While entering text in a marker, it displays a small dot indicating information in it. ‘When snapping is enabled, markers snap to In and Out points, edit points, playhead, and other markers, and simplify ‘measure’ edits and trims in the Timeline. Adding Markers to the Clips Markers are placed in the jog bar of source clips in the Source Viewer (or Media Page Viewer) and on clips selected within a timeline, Figure 2.14 shows the markers placed on the source clip and in the Timeline. CeCe ne rete red Figure 2.14: Markers Placed on the Source Clip and in the TimelineTo mark a source clip In the Source Viewer or Media Page Viewer: Move the playhead to the frame and press the M key. or Open the marker dialog to enter a name or note during playback and press CtrkM keys. Playback pauses until the text is entered and marker dialog Is closed, or Move the playhead to the frame, right-click in the jog bar and choose a marker color from the ‘Add Marker submenu of the contextual menu. Marker content can be edited. To open a marker's edit dialog and change its properties perform the following steps 1 Press Ctr-M keys to add a marker during playback and open its edit dialog box. or Double-click a marker. or Move the playhead to the frame having the marker using Shi press the M key, or Up Arrow/Down Arrow and Select a marker in the Source Viewer or Timeline and press Shift-M keys. 2. Modify the properties in the dialog box Figure 2.15 shows markers dialog box Figure 2.15: Properties in Marker Dialog 2.4.6 Setting in and Out Points In and Out points can be placed to set the range of a clip to be edited in the Timeline. If In and Out points are not set, then the complete clip is edited in to the Timeline. In and Out points are saved in the Media Pool and can be used to edit the clip later.‘The steps to set In and Out points while skimming a thumbnail in Media Pool's Thumbnail view are: 1. Set the Media Pool to Thumbnail view. 2. Move the pointer aver a clip and wait to skim through the clip. 3. While skimming, press | and Oto set In and Out points. Clip's thumbnail shows a range indicator at the bottom. The steps to set In and Out points using Media Poo''s List view Filmstip are: 1, Set the Media Poo! to List view. 2. Select a clip to expose it inthe Filmstrip at the top of the Media Pool 3._Drag the pointer through the Filmstrip to watch it play. 4. Press land 0 to set In and Out points. The Filmstrip dims the heads and tails to enhance visibility of the range marked. In and Out points can be changed by moving them. Figure 2.16 shows setting In and Out Points. See te RES Prony a pene RE E 17:2449109 17:24:58:13 Figure 2.16: Marking In and Out Points in the Filmstrip The steps to set In and Out points in the Source Viewer are: 1. Skim a Media Pool thumbnail with Live Media Preview enabled in the Source Viewer’s option menu, or open a clip in to the Source Viewer. Use JKL, the Spacebar, the transport controls, or move the jog bar playhead, Mark In and Out points: Use the In and Out buttons on the right of the transport controls, or press the I or O keys. or Mark split In and Out points fora split edit: Right-click the Jog Bar and choose Mark Split-> Video In or Audio In or Video Out or Audio Out. Figure 2.17 shows simple In and Out points.Figure 2.17: Marking In and Out Points in the Source Viewer ‘Simple In and Out points enable joining the audio and video of two different clips at a single edit point in a Timeline, Spit In and Out points enable creating split edits at a point where the video is offset from the audio, 2.4.7 Clearing In and Out Points Table 2.3 lists the steps to clear In and Out points. Clear Simple In or Out points Move the pointer aver a marked thumbnall in the Media Pool or over the Media Poo! film strip or open a clip in the Source Viewer. Press Alt-! keys to clear the In point and Alt-0 keys to clear the Out point. Clear Split In or Split Out points Press Shift-AIt-X keys to clear the Video In and Video Out points. Press Ctrl-Alt-X keys to clear the Audio In and Audio Out points. Clear In and Out points atonce Move the pointer over a marked thumbnail in the Media Pool or over the Media Pool film strip or over the Source Viewer selected. Press AILX keys Table 2.3: Clearing In and Out Points To move the playhead to the current In point, press Shift-l keys. To change the playhead position to the current Out point press Shift-0 keys. 2.4.7 Creating Subclips ‘Subclips organize the media present in the Media Pool and break the long clips to short. For example, in rolling takes, multiple takes are recorded in a single clip, These Lakes can be converted in to subclips.The steps to create a subclip in the Edit page are: 1. Open a clip into the Source Viewer either in the Media page or Edit page by + Double-clicking a clip in the Media Pool. or ‘+ Single-clicking a clip in the Media Library of the Media page. 2. Set the In and Out points in the Source Viewer to define the range of the subclip. 3. Choose Mark > Create Subciip. or Press Alt-B Or Right-click the jog bar and select Make Suibdlip in the contextual menu. or Drag a clip to the Media Poo! from the Source Viewer ‘A new subclip that is automatically selected is displayed in the Media Pool 4, Edit the metadata in the Metadata Editor. ‘Subelips can be created in the Media page even while other organizational tasks are being performed Quick Test 2.3 Jog controls are used to. ‘a. navigate through a clip or Timeline b, enable or disable loop playback ©. place In and Out points d. expose crop features is not an option of Source Viewer Mode pop-up (Source Viewer only). . Audio button . Video button Multicam |. Transform Gang Viewers allow: a. locking markers of clips, in the Source Viewer . locking In and Out points of a clip in the Source Viewer c. locking playheads of the Source and Timeline Viewer together 2.5 Effects Library The effects such as filters, titles, transitions, and generators are located in the Effects Library. Effects Library has two parts. They are: ‘+ Bin list to the left: This displays the hierarchical list of available Transitions, Generators, Title Effects, and Filters and sorts them by category. Open or close the bin list with the button at the top-left. The menu to the right ofthis button sorts the bin list as per categories.‘+ Browsing area to the right: This displays the contents of bins selected. Figure 2.18 shows the browsing area of the Effects Library. Figure 2.18: Browsing Area of Effects Library 2.5.1 Toolbox Toolbox in the Effects Library contains all videos, audio transitions, generators, and titles of DaVinci Resolve. Table 2.4 lists the items options in the Toolbox along with their description, leo Displays all builtin transitions available in DaVinci Resolve. To add a video Transitions | transition to edit, drag the required video transition to the edit point in the Timeline that has overlapping clip handles. The video transition can be dragged such that it ends on, centers on, or starts at the edit point ‘Audio Displays audio transitions used to create crossfades. Transitions Titles can be edited in to the Timeline. After editing a Title in to the Timeline, the {ille text can be edited and positioned directly in the Timeline Viewer. Title controls, are available in Inspector for customization Generators | Generators can be edited in to the Timeline. To access Generator controls, select a generator and open the inspector. A standard duration can be set for the generators in the Editing panel of User Preferences OpenFx Displays all ResolveF X and third-party OpenX (OFX) installed in the workstation. DaVinci Resolve supports third-party OpenF fiers, transitions, and generators in the Edit page. The effects installed on the workstation are displayed in OpenF X and are organized by type and group based on metadata of each effect. Following options are available in OpenFX ‘+ Filters: Contain ResolveFX filters of DaVinci Resolve and third-party OFX plug-ins installed in the workstation. To apply an effect to a dlp, drag the filterinto video clip. To edit and customize the filters, open the OpenF X panel of the Inspector. ‘+ Transitions: Contain third-party OFX transitions installed in the workstation To customize the settings of a transition, go to the OpenFX panel next to the Transition panel in the Inspector. © Generators: Contains third-party OFX generators installed in the workstation. Generators can be edited in to the Timeline, To customize generator settings, go to OpenF X panel next to the Transition panel in the Inspector. ‘AudioFX DaVinci Resolve supports FairlightFX built-in audio plug-ins in all platforms. DaVinci Resolve also supports third-party Virtual Stucio Technology (VST) audio plug-ins on macOS and Windows, and Audio Unit (AU) audio plug-ins on macOS. ‘The installed effects in the workstation are displayed in AudioFX. Audio plug-ins add effects to audio clips or to the complete track audio, They add features like echo or revert and address mastering issues using noise reduction, compression, ‘or Equalizer (EQ) Table 2.4: Toolbox Menu For detailed step-by-step procedure, refer demo ‘Common editing and manipulation techniques in DaVinei Resolve' from eResources 4 Me>> My Varsity>> ‘Advanced Digital Composting’>» Show Me How2.6 Summary In this session, Editing in DaVinci Resolve, you learned that: > > vvyvy vv v Onlinevarsity Edit Page is used to edit projects in DaVinci Resolve. ‘Media Pool in the Edit page contains videos, still images, and audio imported in to the project for editing. Three types of bins exist in the Media Pool. In DaVinci Resolve, projects can contain more than one edited timeline in the Media Pool. They are all organized and displayed in the Timeline Editor. ‘Master Timeline is a single timeline that always contains all clips currently available in the Media Pool ‘Source Viewer displays individual clips from the Media Pool. The Edit page has two viewers ~ Source Viewer and Timeline Viewer. ‘Markers can be colored individually and can be assigned a customized name and note text. All effects such as filters, transitions, tiles, and generators, are available in the Effects Library. DaVinci Resolve supports third-party OpenFX filters, transitions, and generators in the Edit page. DaVinci Resolve supports FairlightFX on all platforms, Fairlight X has built-in audio plug-ins of DaVinci Resolve. ‘Subclips help in organizing media in the Media Pool. They break long clips to shorter clips. Simple In and Out points enable joining audio and video of two different clips at a single edit point in the Timeline. ‘Once the range of media is marked, the Filmstrip dims the heads and tails to enhance visibility. DO aaa tds) eS) a a = is 3 a bE a a a = z= -E a = a =2.7 Exercise 1) 2 3) 4) 5) 6) 7) Which of the following bins does not exist in DaVinci Resolve? a) Smart Bin b) Master Bin ©) Power bin ®) Allofthese How many colors tags do the bins in DaVinci Resolve have? a) 12 b 9 08 | 6 Which of the following statemients are tue? a) Each clip in a timeline has independent grade b) Each timeline in a project has dependent sets of grades using local versions ©) Grades are linked with the timecode of the source clip d) Allofthese Which is the most feasible instance to create a Master Timeline (all clips are selected and available in the Media Pool)? a) Before a new projectis created b)_ Alter a new project is created ©) Before any media is added to the Media pool ) After a new project is created and media is added to the Media pool €) Anytime while working in the project When Gang Viewers are enabled, they: a) Move the Source and Timeline Viewer playheads in unison b) Display an audio waveform overlay at the bottom of the Source Viewer and a zoomed in section of the audio ©) Display the markers applied to the clip in the Source Viewer 0) Allofthese Which of the following is not true about the markers? a) Markers cannot be named b) Markers can be colored individually ©) Allthe Markers need not have the same color 0) Markers have a note text The Effects library contains: a) Transitions b) Filters ©) Thies 0) AlloftheseAnswers to Exercise Master Bin 8 a) and c) Before any media is added to the Media Pool Move the Source and Timeline Viewer playheads in unison Markers cannot be named All of these Answers to Quick Test Quick Test 2.1 1. Icon, List 2. Master Quick Test 2.2 1. True 2. ColorTrace Quick Test 2.3 1. navigate through a clip or Timeline 2. Transform 3. locking playheads of the Source and Timeline Viewer together GROUPS OnlinevarsitySession 3 Working with Color Grading Learning Outcomes In this session, you will learn to: > Define color correction > Identify various contro! the Color Page v Describe Color managed workflows > List Color correction techniques Color grading or color correction provides improved film and video images. Davinci Resolve consists of advanced tools for color correction. The Toolset of DaVinci Resolve is designed such that it efficiently alters images in less time, This enhances the raw footage into a cinematic art. The main purpose of color correction is to make each clip appear better. Exposing and lighting the image with an artistic view and adjusting the contrast and color of the image to deliver the end result closer to the director's vision Is the cinematographer’s work. Overcoming the inconsistencies with the white balance and exposure, which were unavoidable, can be done in this process. Contrast or warmth can also be added. In the process of post-production, color correction is an important phase. Digital cinema camera captures RGR image data or raw colorspace image data along with log exposure. Shooting multiple images ensures that during color correction there is plenty of image data available for manipulation. if the image data is acquired in this way, through color correction it should be modified to a viewable image, as shown in Figure 3.1 ‘Normalized and color corrected footage Figure 3.1: Color Correction Raw footage 3.1 Color Correction Basics The primary toolset of Davinci Resolve is capable of adjusting the contrast, hue, and saturation in different ways. The Color balance wheels under the Color wheels palette are used for following tasks: ‘+ Adjusting three color channels simultaneously, ‘+ Altering the scene's Color temperature within the range of tonal detail, as shown in Figure 3.2,