[Ripple Training] DaVinci Resolve 9 Core Training [2012, ENG]

Mac
Mac OS X version 10.5 or higher
2 GHz Intel Core Duo processor or better
1 GB or more of RAM
16 MB of VRAM
iTunes 9 or later
QuickTime 7.6.6 or later
1024 x 768 screen size or better

PC
32 Bit Editions of Windows XP Service Pack 2, Vista or Windows 7
2 GHz Intel Core Duo processor or better
1 GB or more of RAM (2 GB recommended)
DirectX 9.0 compatible video card with 32MB of VRAM
QuickTime compatible audio card
iTunes 9 or later
QuickTime 7.6.6 or later
1024 x 768 screen size or better

Table of Contents

Creating Users & Project Management

Introduction - Alexis Van Hurkman
The User Login Screen
Managing Projects - Method 1
Managing Projects - Method 2
Opening the Database Manager
Creating a Database
Choosing Database Type
Setting up a Disk Database
Database Changes in Resolve 9
Introducing the Option Pop-up Menu
Switching from Disk Managed to Database Managed Projects
Creating New Users
Understanding Project Hierarchy

Opening, Importing & Modifying Projects

The Project Manager Window
Creating a New Project
Opening the Group Project Browser
Importing a Project from Another Database
Exploring the Project Manager Window
Using Contextual Menus
Opening a Project
Accessing the Settings Window
The Master Project Settings
The Timeline Format Panel
Monitoring Frame Rate vs. Project Frame Rate
The Handle Mixed Frame Rate Option
The Image Scaling Panel
Mismatched Resolution Options
Resizing & Scaling Options
The Editing Panel
The General Option Panel
The Camera Raw Panel
The Auto Save Panel
The Presets Panel
Saving and Loading a Project Settings Preset

Setting Up Project Preferences

Opening the Preferences Window
The Media Storage Panel
Viewing Mounted Volumes
The Video Capture Hardware Panel
The Control Panels Panel
The System Overview Panel
Saving Your Preferences

Exploring the Media Page

Exporting the Resolve UI
Resolve's Page Workflow
Touring the Media Page
Finding Media in the Library
Adding Clips to the Media Pool
Exploring the Media Pool
The Master Bin
Adding Bins to the Media Pool
Adding Clips to a Selected Bin
Adding a Folder to the Media Pool
Accessing the Media Info Window
Examining a Clip in the Metadata Editor
Customizing Metadata Sets
Adding Flags to Clips in the Media Pool
Editing Multiple Clips in the Metadata Editor
Monitoring Audio
Viewing Metadata Columns in List View
Viewing Clip Attributes
Other Options Within the Media Pool

Exploring the Conform Page

Working in the Timeline
Exploring the Timelines Panel
Viewing EDL Data for a Selected Track
Resizing Panels
The Source & Timeline Viewers
Toggling Offline View

Exploring the Color, Gallery & Deliver Pages

The Color Page
The Color Page Regions
The Mini Timeline
The Thumbnail Timeline
The Toolbar
The Color Wheel & Curves Palettes
The Keyframes Editor
The Gallery Page
The Looks Browser
The Deliver Page
The Render Queue
DaVinci Page Workflow

Preparing a Project for Media Import

Choosing Project Settings
Choosing a Timeline Resolution
Setting the Timecode
Enabling Video Field Processing
When to use Presets

Importing Media

Navigating the Library Browser
Adding Clips to the Media Pool
Perusing Clips in the Media Pool
Adding Metadata to Multiple Clips
The Master Timeline's Relationship to the Media Pool
Dealing with Dual System Media
Syncing Dailies for Multiple Clips
Syncing without Matching Timecode

Digital Dailies Workflow

Performing a One-Light Grade
Resetting the Grade
Applying Look Up Tables
Applying Preset LUTs
Applying LUTs to Individual Clips
Delivering Your Dailies
Choosing a Media Output Type
Rendering Individual Source Clips
Choosing Source File Names
Preserving Metadata on Export

Project Media Management

Media Management
Working with Mixed Frame Rate Media
Setting the Image Scaling
Color Space Monitoring Options
Overriding Color Space Settings
Overriding Pixel Aspect Ratios

Importing XML Files

Importing AAF, EDL & XML Files
Importing XML Files from Editing Applications
The Load XML Window
The Errors Log Window
Removing Empty Tracks
Manually Relinking Files
Where Resolve Expects to Find Media Files
Locating & Relinking Offline Media

Importing Edit Decision Lists (EDLs)

More EDL Options
Tracking Down Offline Files in an EDL
Using and EDL to Notch a Flattened Master Media File
The Pre-Conformed EDL Command
How Transitions are Handled
The Downside of Notching
Splitting & Adding into the Media Pool

More EDL Goodness

How EDL Files Differ from XML & AFF Files
Setting up a Project for EDL Import
Importing Media for Linking to the EDL
Importing the EDL File
The Load EDL Window
Limitations of EDLs
Importing Multiple EDLs

Additional Conform Tools

Importing an Offline Reference Movie
Identifying Offline Clips in the Media Pool
Linking Offline Video
Comparing the Offline Reference Clip with the Timeline
Creating a Split Screen Between the Ref Clip & the Timeline
Alternate Comparing Modes
Disabling the Comparison
Synchronizing a Timeline with an Audio Mix Track
The Audio Synchronization Window

Automated Scene Detection

Accessing the Scene Cut Detection Command
Analyzing a Clip
Scrubbing the Graph
Using the Cut List
Analyzing the Results in the 3-Up Display
Shots That Might Confuse Resolve
Understanding the Threshold of Confidence
Changing the Confidence Threshold
Using the Prune Button
Additional Scene Detect Options
Viewing Shot Breakdowns in the Conform Page

Working with Multiple Timelines

Advantages of Multiple Timelines
Importing Projects that Reference the Media Pool
Choosing a Timeline
Automatically Linked Clips
How Linked Clips Function

Preparing the Timeline for Editing

Customizing the Conform Page
Expanding the Timeline
Advantage of Turning Audio Playback Off
Exploring the Toolbar
Assigning Tracks for Edit Operations
Locking & Unlocking Tracks
Enabling & Disabling Tracks
Moving Tracks

Replacing Clips in the Timeline

How to Quickly Resolve a Faulty Conform
Automatic Conforming via the Media Pool
How Reel & Timecode Data Fix Faulty Conforms
Addressing Overlapping Timecode Issues
Resolving Clip Conflicts
Manually Swapping Out Media
Using the Force Conform Command
Performing a Replace Edit

Basic Editing in the Timeline - Part One

Performing a Superimpose Edit
Enabling Snapping
Benefits of Superimposing Clips
Performing a Lift Edit
Performing an Insert Edit
The Edit History Window
Performing Drag & Drop Edits
Drag & Drop Insert Edits
Drag & Drop Overwrite Edits
Additional Edit Commands
Creating Slug Clips
Splitting & Joining Clips

Basic Editing in the Timeline - Part Two

Blading Clips
Using the Trimming Tools
Exploring the Edit Tools
Performing a Slip Edit
Performing a Roll Edit
Performing a Slide Edit
Using the Ripple Edit Mode Tool
The Danger of Performing Ripple Edits

Working with Effects

Adding a Composite Mode
Adding a Screen Composite Mode
Working with Transitions
Choosing a Transition Effect
Replacing a Transition
Resizing Transitions
Viewing Transition Properties
Deleting Transitions
Additional Ways of Adding Transitions
Drag & Drop Transitions
Option-Dragging to Create Transitions
Changing Clip Speed

Customizing & Navigating the Color Page

Exploring the Viewer
Looping a Selected Clip
The Unmix Control
Changing Clip Thumbnails
The Palette Tool Menu
Viewing Timecode
Enhanced Viewer Mode
Cinema View Mode
The Gallery
Gallery Memories
The Nodes Editor
Navigating the Node View
Using a Control Surface

The Color Page Timeline & Lightbox

Clip Thumbnail Badges
Tracking Badges
Tooltips in the Node Editor
Introduction to Versions
Navigating the Mini-Timeline
The Workflow Advantages of the Mini-Timeline
Navigating from Shot to Shot
Modes of Playback
Introducing the Lightbox Display
Summoning Commands from Contextual Menus

Exploring the Video Scopes

The Importance of External Scopes for QC
Toggling Reference Levels
How the Scopes Display Image Data
The Relationship Between Scopes Data & Output Quality
Resetting the UI Layout

Adjusting Contrast - Part One

The Primaries Palette
How Resolve Processes Color
The Lift, Gamma, Gain Controls
Resetting Controls
Resetting Controls
Lifting Master Gain
Performing Luma Only Contrast Adjustments
Adjusting Contrast with a Control Surface
Adjusting Gamma to Affect Midtones

Adjusting Contrast - Part Two

Adjusting Contrast in the Color Wheels Palette
Making Y-Only Adjustments
Using the UnMix Control
Adjusting Contrast in Log Mode
Adjusting the Pivot Parameter
Using Curves to Affect Contrast
Adjusting Contrast with Ganged Curves
Adjusting Only the Luma Curve
Understanding Luma Mix
Benefits of Luma Mix
When to Avoid Luma Mix
Resetting the Controls

Primary Color Adjustments - Part One

The Auto Color Control
Color Balancing using the Color Wheels
How the Gain Wheel Affects the Image
How the Gamma Wheel Affects the Image
How the Lift Wheel Affects the Image
Neutralizing a Color Cast with the Gain Control
Using the Luminance Curve for Balancing
Enabling & Disabling Nodes
Color Balance Wheel Behavior
Color Balancing using a Control Surface

Primary Color Adjustments - Part Two

Working in the Primaries Palette
Using the Primaries Sliders
Resetting a Grade
Adding Nodes to Sum Color Balancing Adjustments
The Advantage of Multi-Node Grading
Resetting Selected Node Grades
The Undo Stack per Shot
The Original Memory Command
The Danger of Using Original Memory

Primary Color Adjustments - Part Three

Master Gain Adjustments in the Primaries Palette
Adjusting Saturation & Hue
Using the Offset Control
Printer Point Options
Sliding a Color Channel Up or Down
Using the Offset Color Balance Control

Primary Color Adjustments - Part Four

Using the Log Controls
Understanding How Log Controls Affect the Image
Using the Low Range & High Range Controls
Adjusting the Highlights in Log Mode
Adjusting the Midtones in Log Mode
Using Log Controls for Contrast Adjustments

Real-World Primary Grade Workflow

Using all the Tools to Perform a Primary Grade
Adjusting Contrast with Log Controls
Using the Gain Wheel to Neutralize Highlights
Adding a Node & Changing Gamma
Adjusting the Luma Channel
Using Curves to Preserve Detail
Stylizing the Shot
Summary of Primary Grade Workflow

The RGB Mixer Palette

What the RGB Mixer Does
The Math Behind the RGB Mixer
Correcting Using the RGB Mixer
Boosting a Color Channel
Preserving Luminance
Exploring the RGB Mixer Controls
Swapping Color Channels
Fixing Blown-Out Highlights
Using the Qualifier
Using the RGB Mixer for Creative Effects
Subtracting Color Channels
Creating Monochrome Mixes

Working with Camera RAW

Overview of Camera RAW Workflows
Accessing the RAW Settings
Choosing a Camera RAW Type
Setting the Decode Quality
Force Debayer Res to Highest Quality
Choosing the Decode Method
Overriding the Camera Metadata
Choosing a Color Science
Color Space & Gamma Curve Options
Choosing a RAW Setting from the Media Pool
Changing RAW Settings on a Clip-by-Clip basis
Accessing the Camera RAW Palette in the Color Page
Changing ISO and FLUT
Save with Version Checkbox
Changing Decoder Settings for Multiple Clips
The Processing Priority for RAW Media

Grading with Curves - Part One

Accessing the Curves Modes
How Curves are Similar to RGB Lift, Gamma & Gain Controls
Using Curves to Correct a Color Channel
Adding a Control Point w/o Moving the Curve
Deleting a Control Point
Altering the Red Curve to Affect Skin Tone
Sampling the Color to Create Control Points
Show Picker RGB Value
Opening the Larger Curves View
Making Precise Luminance Adjustments
The Danger of Overdoing a Curves Adjustment
How to Have Fun Abusing Curves
Inverting the Color Channels with the YS Effects Sliders
Using the Curve Intensity Sliders

Grading with Curves - Part Two

Applying Curves Data from One Channel to Another
Using the Soft Clip Mode
Using the Clip Controls
Processing Order of Operations
Understanding Data Propagation

Grading with Curves - Part Three

Using Hue Curves
Hue vs. Hue Control
Sampling Hue
Using Hue vs. Hue to Affect Skin Tones
Using the Bezier Control
Hue vs. Sat Control
The Hue Preset Buttons
Fine Tuning Hue with Numeric Parameters
Hue vs. Lum Control
The Lum vs. Sat Control
Curves Control using a Control Surface

Secondary Color Adjustments Part One

Introduction to Qualification
The Qualifier Palette
3 Modes of Qualification
Alexis' First Rule of Secondary Color Grading
Sampling Color for Qualifiers
Revealing the Sample with the Highlight Button
Revealing the Sample with the High Contrast Highlight Mode
Changing the Highlight Mode in Project Settings
Using the Color Range & Softness Color Pickers
Selective Desaturation

Secondary Color Adjustments Part Two

Using Secondaries to Isolate a Sky
Why Creating a Second Node is Essential for Secondaries Work
Sampling Everything but the Sky
Reading the HSL Graph
Adjusting Center to Refine the Key
Adjusting the Sat Controls
Using a Control Surface for HSL Adjustments
Using the Blur and Shrink Controls
Using the Invert Button to Affect the Sky
Testing the Key
Adding an Outside Node
How Outside Nodes Work

Secondary Color Adjustments Part Three

Starting with a Good Primary Grade
Working with Parallel Nodes
How Parallel Nodes Function
How the Processing Pipeline Affects Keys
Adding a Serial Node to a Parallel Node

Secondary Color Adjustments Part Four

Creating "High Style" Look
Selectively Adjust the Highlights and Shadows
Using the Luma Qualifier
Legalizing Portions of the Signal
Making Subtle Adjustments to the Highlights
Adding a Vector Preset
What Vector Presets are Used For

Using Power Windows

Applying a Power Window
Using the On Screen Controls
Turning off Window Outline
Power Window Uses
Using a Linear Window
Using Transform & Softness Controls
Using Power Window Controls with a Control Surface
Using a Polygonal Power Window
Adding Points to the Polygon
Combining Windows to Isolate Areas in the Frame
Using the Mask Button
Using the Power Curve
How the Custom Curve Differs from Other Windows

Combining Window with Qualifications

Inverting a Window
Fixing Problems with an HSL Qualifier
Solving Problems with the Invert Button
The Differences Between Using Qualifiers & Windows
Tracking a Shape
Using the Track Command
The Tracker Palette

Using the Tracker Palette

The Analyze Options of the Tracker
Reverse, Stop & Forward Tracking Buttons
Enabling Interactive Mode
Deleting Tracking Points for More Accurate Tracks
Manually Choosing Tracking Points
Dealing with Occlusions
Using the Mark Button
Image Stabilization
Applying Smoothness
Viewer Zoom

Making Convolution Adjustments

Accessing the Blur Palette
Applying Blur to the Background
The Linking Control
Using the Ratio Sliders
Sharpening the Image
Applying Selective Sharpening
Using the Scaling Sliders
Using the Mist Controls
Ways to Use Mist

Skin Softening & Noise Reduction

Using the Noise Reduction Controls
Performing a Limited Noise Reduction
Choosing a Noise Reduction Radius
Applying Noise Reduction Blend

Input & Output Sizing Part One

Input Sizing vs. Output Sizing
Flipping the Image
Manipulating the Image with Sliders
Sizing Controls on a Control Surface
Doing a "Push-In"
Using the Zoom Slider
Saving a Preset
Applying a Preset to a Clip
Removing a Preset
PTZR Quirks when Copying Grades

Input & Output Sizing Part Two

What the Output Sizing Parameters Affect
Changing the Viewer Background
Changing the Image Blanking
Choosing an Automatic Blanking Option
Understanding Processing Order When Resizing
Creating Presets for Output Sizing
Other Sizing Option in the Settings Window
Force Sizing to Highest Quality
Choosing a Pixel Aspect Ratio

Using the Burn-In Palette

Applying a Data Burn In Preset
Burning Source Timecode
Adding a Custom Logo & Text
How the Burn Ins are Output
Saving a Burn In Preset

Using the Still Store Part One

What is Saved in the Still Store Gallery
Revealing the Node Graph of a Graded Still
Opening the Albums List
Saving a Still
Deleting a Still
Exploring the Menu Options for Stills
How to Use a Still
Inverting the Split View
Toggling the Split Screen View
Adjusting the Wipe
Changing the Wipe Style
Reference Mode Options

Using the Still Store Part Two

Creating Albums
The Power Grade Gallery
Saving a Gallery Still for Every Clip
Organizing & Sorting the Gallery
Additional Gallery Commands
Choosing a Display LUT
The Trace Timeline Command
Importing & Exporting Stills
Exporting LUTS with Stills
More Still Options
Labeling Stills for Reference
Viewing Stills Properties
Using Memory Slots
The Project & Database Browser
Exploring Charlie's Looks
Viewing Project Databases

Working with Nodes

Zooming the Node Editor
What the Thumbnails Tell You
Changing the Label of a Node
Re-arranging Nodes
Using Corrector Nodes
Editing Nodes
How Nodes are Numbered
Monitoring Node Output
Disabling & Resetting Nodes
Revisiting the Original Memory Command
Using Preview Memory
Using Serial Node Structures
Appending a Node
The Switching Clips Options

Working with Complex Node Structures Part One

How the Parallel Node Works
Morph Into Layer Mixer Node
The Source and Output Node Bars
Creating Connections in the Node Tree
Why Disconnected Nodes will Disable a Grade
Connecting a Node by Dragging
Using a Layer Node
Removing a Connection Between Nodes
The Key Palette
Understanding Output Gain
Using Composite Modes with the Layer Mixer
Soloing a Node Using the Highlight Control

Working with Complex Node Structures Part Two

Routing Key Data from Node to Node
Creating a False Skin Tone Effect
Creating the "Pleasantville" Effect
Combining a Series of Keys
How Our Eyes Work When Judging Color

Working with Complex Node Structures Part Three

Subtracting One Key from Another
Using the Key Mixer
The Input Link Parameters
Using Mattes as Key Sources
Adding the Matte from the Media Pool
Assigning the Matte to the Node
Using the RGB Output

Grade Management Part One

Revisiting Linked Shots
Introduction to Versions
Understanding Remote Versions
Understanding Local Versions
Overriding Automatic Grade Linking
Adding a Version
Selecting a Version by Right-Clicking
Resolve's Affinity for Version 1 Clips
Copy Remote Grades to Local vs. Use Local Grades
Returning the Timeline to Using Remote Grades

Grade Management Part Two

Copying Nodes
Copying Grades Using Stills
Method 2 of Copy Grades from Stills
Applying Grades Saved with Stills
Saving a PowerGrade
Appending a Node Graph
Dragging Nodes from the Node Graph onto the Node Tree
Sorting the Timeline
Changing the Timeline Thumbnail Mode
Changing the C-Mode Setting
Timeline Filtering
Flagging Clips
Filtering in the Lightbox
Displaying all Clips with Tracking Applied

Grade Management Part Three

Using Memories
The Memories Submenu
Applying a Memory Grade to a Selected Clip
The Advantage of Using Memories
The Copy Grade: Preserve Commands
The Dangers of Not Being Regimented
Shot Grouping
The Benefits of Grouping
Using Groups Effectively
Change Ripple Options

Grade Management Part Four

Using the Lightbox to Create Groups
The Rules that Govern Groups
Deleting a Group
Two More Caveats of Using Groups
When Groups Shine as a Grade Management Tool
The Difference Between Clip Grades & Track Grades
Different Ways to Use the Track Grade
Track Grade Processing Order
Using a Track Grade to Add a Layer of Style
Deleting a Track Grade

Keyframing Part One

Dynamic Keyframes
Preparing a Clip for Animation
What Parameters are Keyframed
Using Another Serial Node for Keyframing
Identifying Dynamic Keyframes
Navigating to Keyframes
The Sizing Settings
The Keyframes Options Menu
Keyframe Ease Settings
Changing the Dynamics Profile
Copying & Pasting Keyframes
Deleting Keyframes

Keyframing Part Two

The Keyframe Timeline Mode
Exploring the Keyframe Editor
Practical Uses of Keyframes
The Automatic Keyframing Button
Other Keyframe Controls
Changing Keyframe Timing

Keyframing Part Three

Practical Use of Static Keyframes
Setting up the Workspace
Positioning the Playhead Before Adjusting the Grade
Benefits of Static Keyframes
Making PTZR Changes
Going Back & Forth Between Static & Dynamic Keyframes
Alexis' Secret Weapon

Delivering the Project Part One

Exploring the Deliver Page UI
The Render Queue
Rendering from the Mini-Timeline
Rendering a Range of Clips
Rendering a Single Clip
Editing to Tape
Using Rendering Presets
Changing the Output Codec
Rolling Your Own Output Settings
Choosing a Render Format
Choosing a Resolution
Setting the Data Level
Field Rendering
Changing the Compression Quality
Rendering Audio
Rendering Timeline as: Individual or Single Clips
Single Clip Rendering Cautions
Choosing a Render Destination
Limiting How Quickly Resolve Renders
Creating Additional Outputs

Delivering the Project Part Two

Choosing a Source File Name
Rendering Clips Unique File Names
Use Commercial Workflow Settings
Force Sizing to the Highest Quality
Enabling Flat Pass
Adding a Job
Queuing Alternate Renders
Clearing a Render Queue
Exporting an XML or AAF File