Rendering individual shots is a technique that will enable you to focus on making quality individual shots. In this online tutorial, you will learn more about the process of rendering individual shots and how to apply this to your video project. You will also see how this leads you to producing smooth, professional videos in DaVinci Resolve 11.
We are nearing the conclusion of our training for DaVinci Resolve 11. For those of you who have access to the exercise files and are following along, you've got two choices. You can open up the DaVinci Resolve project chapter 15 rendering, or you can open up the project chapter 15 rendering sapphire. The deal is, if you've got the sapphire open effects plugin from genarts.com, if you've got that installed on your system, go ahead and open up chapter 15 rendering sapphire.
This will have the work that I did with the lens flares included as we complete the training. If you don't have sapphire installed and try to open up this rendering sapphire project, Resolve is going to throw off a whole bunch of errors at you. I don't want you to have to go through that, so essentially, chapter 15 rendering is a duplicate of sapphire with the sapphire plugins deleted. Otherwise, these two DaVinci Resolve projects are identical, so pick the one that works best for you to finish off this training.
I myself will be working in chapter 15 rendering sapphire, so I'll double click it to open it up. Let's jump into the color page, and the first thing we have to do is filter our timeline down to our hero shots, which we flagged way back in the beginning of this training with blue flags. These are our hero shots, and again, as a reminder, these hero shots are designed to help us get a discussion with our client about how they want this final product to look, but before we render, I first want to enable the data burn-in.
We haven't talked about this feature yet. I use it all the time, especially when dealing with remote clients, clients who aren't in the room with me, because I want us to be able to have a very precise conversation about the images in front of us. Let's come down here, and to this little fire icon. Click on that to access our data burn-in, and then I'm going to come down and enable record time code. The other thing I'm going to do to enable is my source clip name, so I'll go ahead and burn in source clip name.
The other thing I'm going to do is set up my justifications so that they're justified left, and then I'm going to position each of these separately, and I'm also going to reduce the opacity of the backing a little bit so they can see a little bit through the black backing. Makes it a little less annoying, but I'm not going to worry about trying to get this completely off the image or bring it down as far as I can, because frankly, I want to make it a little bit difficult for them to, you know, kind of crop this out and walk away with the music video.
It's not that I don't trust the client, you just, you never know, so why make it any easier for them, and so I think this is going to achieve all of my goals. I give them a lot of precision to talk about specific shots. Let me come down and get shot three, and you can see how these clips names all change. My record time code changes. One thing to notice is the record time code. One hour straight up. Then it jumps 14 seconds in. Then it jumps to 19 seconds. Then it jumps to 31 seconds. This is clearly not a 15 second shot here on shot three.
It's showing me the record time code of the unfiltered timeline. Now, we can go into the deliver page and set up our render. Now, way earlier in this training, we took a look at these basic settings. Now, what we're going to do is, take a look at some of the more advanced settings that we'll want to do. First thing is, we want to render this out as a self contained movie, so if I come down to the easy set up, and I set up video share and export, it sets a lot of things up for me, except I want single clip, and it's not letting me set single clip.
Let me turn to none and go to single clip, and it's not letting me go single clip. Why is this? Because DaVinci Resolve refuses to render out a filtered timeline, like we have with these blue flags, as a single clip. Instead, they have to be rendered out as individual shots, and then, if I just want to hand this to my client off as one long QuickTime movie, I'll need to import them and re-render out as a single clip, and that's what we're going to do, because it actually allows me to show you two different workflows here in Resolve, so we are going to follow the individual source clips workflow, and in this workflow, I'm going to want to pull down one of these round trip, or export, pulldowns.
Why? Because it ensures that as I create these clips, things like real numbers and real names get properly placed within the file structure appropriate to where I'm sending it. Remember, if you're in Premier, you're going to follow these Final Cut Pro options. If you're in Avid, you're going to want to follow the Avid option. In this case, I don't really want to go round trip because it doesn't really matter. I'm not going to be sharing it XML. I'm just going to do this export to Final Cut Pro option. It set things up as QuickTime pro res 422HQ.
Now, I'm not going to deliver to my client a pro res 422HQ deliverable, but I am going to be re-rendering this as a single clip, and since I am going to be re-rendering, I don't want to throw away all that highly detailed information we have in here. I'll create my H264 in the next step of this process, so for now, I am going to render it out as pro res 422HQ. If you're on a PC, this option isn't available to you, so go ahead, and under video formats, switch that to MXF, and under codec, select one of the DNX HD codecs.
Probably for this purpose, 8-bit is fine. One thing that confuses a lot of people is this video data level. Leave it on auto. That's my general advice. Unless you know for a specific reason why you want to override what DaVinci Resolve wants to do, in terms of choosing whether you write out your images to the video spec or the data spec, if you don't know, then just keep it on auto, and it will be right 95% of the time. In the 5% of the time it's wrong, then you can try rendering it out one way or the other, and see if it fixes your problem.
Data burn-in, if I want to create a version that has no data burn-in, I can leave this turned on in the color page, and just select none, and then on render, it will not render out this data burn-in, but I want it the same as project. In file here, we've got some restrictions because we are using one of the pull down presets. I can't change the source file name. DaVinci Resolve is going to use the source file name, and what I can do is tell it to render unique file names. That way, if one long shot, like this shot right here, shot number three, if shot number three and shot number 11 are from the exact same take, I don't want it overwriting each other because it's writing them out to the exact same name.
I want each shot name to be unique, so I am going to enable render unique file names, and add the unique file name as a prefix. Now, I'm going to select where I render to and let's render to our exercise folders. I'll select it. Exercise files. I'll click ok at the top level, and I'm going to create a subfolder, and I'm going to call this renders, and then I'm going to add a forward slash, and create a subfolder under that called approvals, and then one more subfolder called hero shots version one.
Scroll down. I will set my render to maximum. When might I want to change this? Well, if I'm working on a send a shared storage space between multiple users, I will probably want to throttle this down. Otherwise, it's going to eat up all the bandwidth, and no one will be able to get real time playback when I'm rendering, so then I will dial this back to maybe 25 frames per second, but otherwise, I'm going to keep this at maximum, and finally, add handles. In this particular workflow, I don't want to add handles. Handles are extra frames before and after each edit.
When you're rendering out single shots, you have the option to add handles so that after you color correct, you bring it into the nonlinear editor, and then they have the option of tweaking their edits, if I give them a second before and after each edit point, they can tweak their edit points up to one second in either direction, if every single one of these shots has an extra second of handles added to it, but in this case, we're not going to do that. With all the major options set, I'm going to go ahead and add job to render queue, and now, you can see all the details I've got here.
I can go ahead and shrink down the render window, so I can see everything here. I can see the name of the job. I can see the timeline I've pulled up. I can see precisely where I'm rendering to, and when I'm ready, I can click start render, but I'm not done, because this is one of three different looks that we want to render out, and deliver to our client, and the thing to understand about Resolve is, groups don't get saved in the render queue. If I set up the three different outputs, they're all going to share whatever is the most recent group I've attached this to, so I've got to render them all out one at a time.
What I can do is set them up all at once, and then go ahead and render out each job individually. Let's go ahead and do that. I'm going to come up here back into our render settings. I'm going to come up to the file subfolder, and now, for this job one, and it's active. If I click outside of it, notice how it's dimmed down. If I highlight it, now I can make changes to it, so I'm going to come into the files. Subfolder, backslash, and call this duo tone. Now, I'm going to deselect it, update this to poppy, add that job to the render queue.
They're both deselected, so I can safely change this. Contrasting, add this job to the render queue, and now watch the file subfolder as I highlight each of these. The first one is duo tone. The second one is poppy. The third one is contrasting. Now, if I have all of these deselected as I just did, and hit start render, it's going to render all three of these one right after the other. I don't want that to happen. I want them to render out one at a time, so I'll highlight job one, which is going with the duo tone look, and make sure the duo tone look is applied to this sequence.
When that job is done rendering, I'll highlight this job, and then I'll go ahead and change the group to poppy, which matches what the file subfolder is for job number two, and then, when I'm done with this render, I'll come down to job number three, do the exact same thing, flip it to contrasting, and then render this one out, and then I'll be ready to go ahead, pull these back in, put this timeline as a self contained timeline that we can then deliver to our client, which is precisely what we're going to do after I go ahead and render these out.
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