The DaVinci Resolve 11 interface features many menus, toolbars, timelines and other options for video editing. Learning where your tools are located helps you effectively use this program when working with video files. The interface overview of DaVinci Resolve 11 covers each interface panel, where major features are located and how to switch between different windows and menus.
- In this chapter, I'm going to show you how to get started with Da Vinci Resolve. For those of you who have never seen Da Vinci Resolve before or are a little confused by it's interface, we're going to start off with a big, honking overview. So let's get started. We're going to jump into this Learning Resolve 11. And now we're going to come into chapter three overview. And I'm going to open it up. I can double click or I can right click and select open. Here we are, we are now inside Da Vinci Resolve. Woohoo! And what we're going to do now is do a really fast overview of each of the sections inside Da Vinci Resolve so you have a general understanding of how Resolve is organized and our flow through Da Vinci Resolve from the beginning of a job to the very end of a job when we do our renders.
Now very quickly it looks like there's nothing in this job but if you come down here into this media pool you can see if you click on these sub-folders, these are folders I created. You can organize your footage into folders and if you click on let's say this Pro Res LT folder, and you're not seeing any media show up, it's showing that it's offline, be sure if you have access to the exercise files that you watch the early movie on using the exercise files to learn how as you open up each project here in Da Vinci Resolve, you link back to the original footage that we ship with this training.
Alright, so we are now in, If you take a look down here, the media page. We have four different main pages here in Da Vinci Resolve. And we're going to flow through them from left to right in that general order. For the most part, when we first start a job, we want to add our media. The media that Da Vinci Resolve can actually do anything with is in the lower half of this interface. If it's in the media pool, it can be put into a timeline. And if it can be put into a timeline, it can be color corrected. In the upper half of the section here is our browser.
On the left hand side is any drives that we have accessible to us that Da Vinci Resolve can see are drives where we can pull up our media, browse them, take a look at them, and then we can add them into the media pool for the purpose of eventually putting them into a timeline and then color correcting them. And that's how the media page is organized. Which we will look at in very great depth, very shortly in another movie. Also I want to point out these two icons down here. They're persistent. Doesn't matter what page we're in, these two icons are always here.
The first icon, the home icon we took a look just earlier in this chapter. That's our project manager. We can always get back to it whenever we want to switch up projects. Let's close that down. And then this gear, as you guessed, has to do with settings. If I hover over it long enough it says project settings. These are project specific settings. As we switch between projects, whatever settings have been saved to that project are what get recalled. We'll be looking at these in great detail very shortly. So now let's click on the edit page. And now here we go.
I've got a section in here for timeline, so I've got a timeline in here. And just like on the project, this is a skimmable little thing. I can switch this into list view right? So I've got all of this in here. I can access my media pool. By accessing my media pool, which is exactly the same as the media pool in the media tab, I can now take this footage and edit it into a timeline with a timeline that's created here in this little timelines palette. If I come into the media pool and double click on a clip, it gets pulled up on the source side and what we've got set up on the edit page is source and record viewing.
So on the source side I'm always seeing what's coming off of disc, un-color corrected. On the record side I'm going to see what's the end result of my operations down here in the timeline. If I have effects applied. If I have color corrections applied, that's what's going to be shown to me on the record side. Of course I've got a timeline down here. You can see it's a multi-track timeline. So Da Vinci Resolve does support multi-track timelines. Here in Resolve 11, it added support for editing audio as well. And you can even have multi-track audio.
I've imported 16, 24 tracks of audio previously in Da Vinci Resolve, and it plays back great. So this is a full fledged editor which we will have an entire chapter dedicated to editing a project here in Da Vinci Resolve. Moving from left to right, now we're going to take a look at the color page. And this; this is my favorite part of Da Vinci Resolve. This is where I make my living, is here in the color page as a colorist. This is where I do all my color correction. The viewer is front and center here in Da Vinci Resolve.
They put it into the center of the interface for this version of Resolve. As it should be, it should be front and center. I've got a mini timeline that allows me to quickly scroll through the timeline. And then I've got a thumbnail timeline that shows me what each shot looks like as it's been color graded. And this little rainbow tells me that an effect has been applied to a shot. Down below in the lower third part of the interface are our actual color correction tools. Depending on the size of your interface-- If you're on a laptop, these two sets of icons will get collapsed into one long row, but if you have a larger interface, they will be split into two sections.
And generally speaking, this section down here is for our primary corrections. This section down here is for our secondary corrections. And in later parts of this training, I will explain the differences in detail between primary and secondary corrections. And then of course we have key frame controls. We can do tracking. There is all sorts of stuff that we can do that's accessible to us here in Da Vinci Resolve. And of course I'd be remiss if I didn't mention our node tree. This little square guy is our node.
When you put multiple nodes together it becomes a tree, a node tree. And this is where we build our color corrections. Every node has full access to every tool down here. You start stringing nodes together, and all of a sudden you can do some pretty amazing and very powerful things including reordering your nodes if you decide to do so. Finally, once we've color graded our entire project, we move and flow down to the deliver page. The deliver page is literally where we do our final renders.
Up here on the upper left hand corner is where we set our render parameters. In the right hand corner, once we set up those parameters, we put them into the job cue. I can render out different sections of this timeline with different render parameters. Line those up as individual jobs in the job cue. And when I'm ready to go, I hit start render, and the entire cue starts rendering out. I want to wrap up with something really, really important here in Da Vinci Resolve. And that is the right click. In an earlier movie I talked about the importance of the middle click.
Well the right click is just as important because just about anywhere you go in this interface, you can right click. I get one set of commands here by right clicking on the thumbnail. I get another set of commands by right clicking in the viewer. If I come into the color tab, it really gets extreme so here's one set of commands on the thumbnail, another set of commands in the viewer. Right click on the node, I get another set of commands on the node. If I right click in the grey area here in the node tree, it's another set of commands. I right click in the gallery, another set of commands. So right click everywhere in Da Vinci Resolve and that's it.
That's our general overview of how Resolve organizes itself, and how jobs flow through Resolve.
In these tutorials, indie-feature-film and broadcast colorist Patrick Inhofer guides viewers through color grading with DaVinci Resolve and Resolve Lite 11. With emphasis placed on real-world techniques and workflows, the course will help editors and aspiring colorists edit in the timeline, perform primary and secondary color corrections, match shots from multiple cameras, create mood-rich looks, and render out movies to share with clients. Interspersed throughout the course are "lingo" movies, which will help you learn the language of colorists, and "in action" chapters, where Patrick applies the lessons learned to a real-world music video for the band Minimus the Poet.
- Building a Revolve system
- Comparing Resolve and Resolve Lite
- Tweaking preferences for better performance
- Getting clips, timelines, and projects into Resolve
- Editing footage in Resolve
- Evaluating images like a colorist
- Working with serial nodes
- Making contrast and color adjustments
- Making targeted secondary corrections with keys and shapes
- Creating looks with third-party plugins
- Matching shots
- Rendering, delivering, and archiving footage