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Resolve 12 Will Change Everything


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4k is for the payed version only. Export as UHD instead and I bet it works. 

The 16x9 version of 4k is UHD anyway, full 4k has different aspect ratios -17x9, 1:2,35 (or 21x9). Same with HD. 1920 is just the 16x9-2k.


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Then it could be a Beta Bug. I for example have audio issues that others haven't got.Could you export UHD/4K in R11?

Aah, checked again on my PC (thought this to be an issue with the Intel HD Graphics on my Lenovo, 1.75 GB of RAM for video isn't too much, after all), but I've just realized I had 1080p as project settings. :p I'm one of those lazy users who'd expect to get a message whether I want to change the project settings to fit to the clip.

Anyhow, I do have to admit, with the way the new Premiere Pro works with the integrated Lumetri panel, I don't see me using Resolve atm. It just got so simple and seamless with PP and except for a hangup every now and then, the performance is really good.

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Aah, checked again on my PC (thought this to be an issue with the Intel HD Graphics on my Lenovo, 1.75 GB of RAM for video isn't too much, after all), but I've just realized I had 1080p as project settings. :p I'm one of those lazy users who'd expect to get a message whether I want to change the project settings to fit to the clip.

Anyhow, I do have to admit, with the way the new Premiere Pro works with the integrated Lumetri panel, I don't see me using Resolve atm. It just got so simple and seamless with PP and except for a hangup every now and then, the performance is really good.


I'm the other way around. After Resolve 12 I haven't touched PP. Will cancel my CC subscription next month :)

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Is it worth trying 12 beta or is it not stable? 

Stable? It didn't crash so far. But occasionally I have to quit because a warning appears Your GPU memory is full - which is ridiculous, since I have the officially supported GTX680 with 2GB, and it never caused problems in 11, could easily make 5-6 nodes (enough), for HD though.

Also does resolve 11 lite export in 4k DCI?

Again, as said above, only UHD (16x9). And though you can export a DCP with the (built in) easyDCP plugin, it's a demo only that will render a watermark. The license is a thousand somewhat dollars. This is the same with the full Resolve version!

If you want a free DCP Tool, try openDCP. And don't export 4k for cinema. Christopher Nolan does, but hardly anybody else.

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  • 2 weeks later...

I still don't know how they would make money by making it free. Do they put out the business around them and then charge money?  I don't quite see why, but hey, sign me up!

its not abut making money its about you trying free program and saying i wish i have all other options of the paid program and BAM that where they get you. Its all abut getting people om your team keep them there 

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This. How do you render for a clean playback?

It's called the Render Cache, go to page 140 of the manual:

Another option for achieving real time performance when the GPU Status indicator is in the red due either to timeline effects, Color page grading, or processor-intensive media in the timeline, is to use the Smart cache or User cache modes of the Render Cache. The Resolve Smart Cache automatically renders and caches processor-intensive grades, or clips that you manually flag for caching when right-clicking any clip in the Color page or Edit page timeline and enabling the Render Cache Clip Output option. When Smart cache is enabled, frames of each automatically or manually flagged clip are cached as they play, or automatically cached whenever you pause work. Once you’ve cached part of the timeline, using either mode, these clips play back in real time until they’re modified, which triggers the need to re-cache.

The advantage of the Smart and User Caches is that you only cache media within a timeline, so you only cache media that you actually need to finish a program with. However, the Smart and User caches aren’t useful for speeding up work done with source media in the Media Pool; that’s what optimized media is for (as described in the previous section).

To use clip caching, do one of the following:

>Choose Playback > Render Cache > Smart to set Resolve to automatically cache computationally intensive effects.

> Choose Playback > Render Cache > User to set Resolve to only cache clips that you manually flag by right-clicking a clip in the timeline and turning on its Render Cache Clip Output checkbox.

> Press Option-R to cycle among Off, Smart, and User.
> Press CACHE MODE on the T-bar panel of the DaVinci control surface to toggle among the

available options. 

But usually, you won't need to render in the Edit page, since pretty all funky things happen in the Color page (those few old-fashioned effects can't be a big deal). 

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  • 2 weeks later...

If you can read German, I've written this bootcamp tutorial which teaches you the basics of Resolve in the shortest amount of time:

http://data.pleintekst.nl/resolve_schnellanleitung.html (web) 
http://data.pleintekst.nl/resolve_schnellanleitung.epub (ePub/e-book) 
http://data.pleintekst.nl/resolve_schnellanleitung.pdf (PDF) 
http://data.pleintekst.nl/resolve_schnellanleitung.txt (text/markdown)


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Here's a quick translation:


Quick Tutorial: Using Resolve 11 without prior knowledge


Version 2, last updated July 6th 2015

This tutorial primarily addresses users of Blackmagic cameras who want to edit raw video. But it is also applicable to other cameras that record CinemaDNG (like the Digital Bolex D16) or whose footage can be converted to CinemaDNG (Canon EOS cameras with Magic Lantern raw video recording).

If you want to color correct ProRes footage recorded with Blackmagic cameras in “Film” log color space, you can make use of this tutorial as well. In this case, all operations that are specific to Raw processing can be skipped, and exposure and color correction will only involve Lift/Gamma/Gain/Offset adjustment (as explained in the section “Final Color Correction”).

Everything described in this tutorial can be done in the paid and in the Lite version of Resolve 11.

Application launch

  • Launch Resolve, login with the same password as in your operating system, click “Untitled Project” on the upper left. A new project opens..

Import footage

  • On the upper left, click on the tree view of folder and double-click into the folder with your footage. Cinema DNG folders are now displayed as video files (with a film strip icon). Select the clip you wish to import with the mouse, right-click and select “Add into the Media Pool” in the pop-up menu.

  • If necessary, repeat the above to import footage from other folders or drives. 

  • In the lower half of the screen, below the "Master" title bar, you'll now find a listing of all imported clips. You can play them back in the top-right video viewer window.

Create a timeline

  • On the very bottom of the screen where the "Media" icon is displayed in bright orange, click on the “Edit” icon that is located next to it. Now you've switched into Resolve's video editing mode.

  • On the top left, right-click into the “Timelines” list and select “Create new timeline”. A dialogue pop us. If you unclick the option “Empty Timeline”, all imported clips will automatically be put, one after another, into your new time line.

  • Editing works quite similarly to Adobe Premiere and Final Cut Pro 7. More on that in the "Editing" section. With the slider on the bottom right of the screen, you can stretch or squeeze the timeline view. 

Set the color space for raw footage

  • Raw footage has been imported in standard Rec709 (HD video) color space. For color grading, however, it is more practical to have the material interpreted as film log (i.e. Blackmagic's "BMD Film" color space), grade it and apply a LUT (Look-up Table) for transforming film log into Rec709 only at the very end of the processing chain.

  • To switch color space to film log: Open the menu item “-> File -> Project Settings”. In the following dialogue, click the tab “Camera Raw”. In the top-right menu of this tab, switch settings from “Arri Alexa” to “CinemaDNG”. Then switch “Decode Using” to “Project”. For “White Balance”, choose the value that applies to most of your footage in order to simplify grading. Switch “Color Space” to “BMD Film”. It's recommended to also activate “Highlight Recovery” and “Apply Soft Clip” (as an insurance policy against blown-out highlights). Depending on your taste, you might also want to reduce "Sharpness", in the options displayed on the right, from its default value 10 to 0 (to deactivate artificial sharpening of the footage). When everything has been set according to your preferences, click the “Apply” button on the lower right, then close the dialogue window.

Activate scopes!

  • On the bottom of the screen, switch from “Edit” to “Color”. We're now in Resolve's color grading mode. Right-click on the video image and activate the option “Show Scopes” in the pop-up menu. Now Waveform, RGB Parade, Vectorscope and RGB Histogram will be displayed. (It really helps to have a second display for the scopes. Even an old 15" TFT from a thrift shop will do the job.)

Display log footage in correct colors

  • In the field "Nodes" on the top right of the screen, switch the setting from “Clip” to “Timeline”. In the (upper left) menu bar of the program, click “-> Nodes -> Add Serial Node”. Now a miniature view of the active clip appears in the “Nodes” field, surrounded by a green border. Right-click it for a pop-up menu; in this menu, choose “3D Lut” and then the submenu entry “LUT -> Blackmagic Cinema Camera Film to Rec709 v2”. Now, all clips of your project will be translated from log to normal Rec709 HD video color space, at the very end of all color corrections. (A “Timeline” color correction node in Resolve is conceptually equivalent to an “Adjustment Layer” in Premiere and After Effects. What we have done is the same as editing log footage in Premiere and adding an Adjustment Layer with a “Lumetri” effect to apply a LUT transformation to the whole timeline.)

White balance and quick color correction of all raw video clips

  • In the “Nodes” field, switch back from “Timeline” to “Clip”. (Don't forget this!) Now, all clips can be color corrected individually.

  • In the clip navigation strip on the middle of the screen, click the first clip. (For raw footage:) Below, you'll see a bright orange icon consisting of a circle with a dot in the middle. Click on the camera symbol left to it. Change the setting “Decode Using:” to “Clip”. Now, the settings menus below can be used. If you need to correct the white balance of the clip, click on “Custom” in the “White Balance” tab to correct, in the right-side settings menu, color temperature and Green/Magenta compensation. Keep your eye on the waveform monitor while doing that. All grey areas of the video image should be represented in the waveform monitor as white curves without color fringes. With the “Exposure” setting, you can correct the exposure of your clip; watch the waveform monitor while doing this.

  • If you're happy with your setting, select all other clips with similar white balance and exposure. Click on the symbol with the ticked film frame that is located right below “Clip Decoder Settings”. Now, your settings will be applied to all selected clips.

  • Repeat the last two steps for each group of clips that has similar color and exposure characteristics. 

  • The chores are done. Save the project.


Now it's time for the actual video edit. We have two options for this:

  1. Editing the project in an external program like Premiere or Final Cut Pro and doing the final color correction in Resolve again. This requires a roundtrip: Resolve -> Schnittprogramm -> Resolve;

  2. Editing and final color correction in Resolve. This will obsolete the roundtrip.


  • On the bottom of the screen, where the bright orange “Color” icon can be seen, click on “Deliver”. We have switched to Resolve's rendering module. Above the video clip bar, click the clipboard icon - located left next to the loupe - to select all clips. On the top left of the screen, in “Easy setup”, select the option “Export to Final Cut Pro”. Scroll down and click the “Browse” button to select a folder where the clips should be rendered to. Under Windows, it's recommended to switch the codec from “Uncompressed RGB 10-bit” to a more space-saving and editing-friendly codec, for example “DNxHD 1080p 220/185/175 10bit”. Below on the right side of the screen, click “Add Job to Render Queue”, then on the bottom right schließlich “Start Render”.

  • Launch your editing program, import the clips rendered by Resolve and edit them. Those clips only received rough color correction and may still contain exposure errors (like blown-out highlights), but they should be fine as preview proxies for your editing. In your editing program, do not apply any color corrections or effect filters (including noise filters, camera stabilization filters etc.). Do also avoid transition effects. When you are done, save your project and export it as Final Cut Pro-XML (in Final Cut, Premiere or other editors that support this format) or as AAF (in Avid or other editors that do not support Final Cut Pro-XML).

  • Switch to Resolve, reopen your original project in case you had quit the application. In the program menu, click “-> File -> Import AAF, XML…”, then click the XML (or AAF) file written by your editing program. Important (!!!): In the dialogue that now pops up, deactivate the option “Automatically import source clips into media pool”. (The importance of this cannot be stressed enough - only if this option has been deactivated, Resolve will use the original camera files instead of the editing proxies for color grading!) Switch to “Edit” mode. On the upper left, in the “Timelines” view, you will now see two timelines, the one you originally created in Resolve and the one you just imported via the XML (or AAF) file. Click the imported timeline.

Alternatively: edit in Resolve

  • On the bottom of the screen, switch to “Edit” mode. The basic operations are the same as with other popular NLEs, particularly Final Cut Pro 7 (not Final Cut Pro X) and Premiere. The most important functions can be looked up via the (top left) menu bar under “Edit”.

  • Important yet easy to overlook: Resolve's Clip Inspector. You activate by clicking the bright grey icon located right below the timeline video display window, showing a pair of pliers crossed with a paintbrush. This will show you all the options that Premiere and Final Cut display in their “Motion” tabs (i.e. transparency, geometry, enlargement, rotation, crop and retiming methods for slowed-down clips).

Final color correction

  • Switch to Resolve's “Color” mode and apply fine-grained color corrections to each individual clip in the timeline. Left below the clip navigation bar (in the middle of the screen), click the icon showing a circle with a dot in the middle so that the Lift, Gamma, Gain, Offset control wheels become visible. With your eyes on the scopes, correct "Lift" with the slider below the color wheel so that, in the waveform monitor, the curves will start at the bottom. Adjust Gain so that the curves are neither cut off, nor ending too low. (In overexposed footage, curves will be clipped/cut off beyond repair. Make sure that the clipping point aligns with the top of the scopes.) Adjust overall brightness of the image with the Gamma slider. Correct color tints that affect the whole footage with the Offset color wheel. If tints only occur in the mid-tones while shadows are black and highlights white, correct them with the Gamma color wheel.

  • Apply your correction to the next-following clip: Click the next-following clips and press the “=” key. To save your correction of a clip as a template: right-click on the video image and click “Grab Still” in the pop-up menu. A miniature still frame will be displayed in the bar on the left. Select another clip to which you want to apply the same corrections, right-click the still frame and select “Add Correction”.

  • Double-click the miniature still frame to display it as the other half of the currently selected video clip. This way, you can compare colors while adjusting the currently selected clip to match. The threshold between the both frames can be dragged with the mouse.

  • Corrections always apply to nodes. These can be seen on the upper left, in the “Nodes” field. It's recommended to create a new node for each step of the color correction (“->Nodes -> Add Serial Node”). The a double-click on its icon, a node can be deactivated or reactivated. This helps you making "before/after" comparisons in your color grading. 

  • To globally correct colors or apply effects to all clips (for example: artificial film grain via the FilmConvert plugin), switch the node view from “Clip” to “Timeline”, as explained before in the section “Display log footage in correct colors”. All timeline corrections will be applied after individual clip corrections.


  • On the bottom of the screen, click on the truck icon for “Deliver”.

  • Above the video clip bar, click the clipboard symbol left to the loupe to select all clips. On the upper left, in “Easy Setup”, select the Option “Video Sharing Export”. For mastering quality, switch the codec to ProRes (only available on Mac OS X), DNxHD, DNxHR, Cineform or an uncompressed video format. Scroll further below and click the “Browse” button to select the folder where the rendered video should be saved. Then click, on the lower right, “Add Job to Render Queue”, then on the very bottom right “Start Render”.

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  • 2 weeks later...

Forgive me for the ignorance of not reading the thread entirely, but is there any short summary why one should use resolve instead of final cut pro x.

Because it's free, and because it's more powerful for color grading (while being less powerful but maybe good enough as an editor).

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