Do you use DaVinci Resolve only for color correction? Are you wondering what the workflow is for rendering out your color graded shots so that another nonlinear editor can use them in the original project? In this video, instructor Patrick Inhofer walks you through how to render to nonlinear editors from DaVinci Resolve 14.
- As we get to the end of this series I thought I would address one last thing, again this is one of those things that for the more experienced among you who might be coming from other systems and learning DaVinci Resolve and coming from Avid, Premier, or Final Cut and that's how do I render out to go back into one of those systems. As you probably know what we want to do is do a render and an XML. I want to show you how you do that specifically for other non-linear editors.
We're continuing on the project 0AC spot Fair Light chapter six. I've jumped into the deliver page and you'll notice we've got several presets up here for each of the major non-linear editors including two presets for Final Cut, the Legacy Final Cut Seven and Final Cut Pro 10. Just as a quick note DaVinci Resolve actually has pretty deep integration with Final Cut Pro 10. Of all the editing platforms this is probably the one where you're going to have the most success with this kind of workflow or at least the easiest round tripping going between them.
Of course you could also select Premier Pro and you can go out to Avid and Pro Tools as well if you're editing and not mixing here in Fair Light. So let's select, probably one of the most common ones, which is the Premier XML. One of the first things it does when you're doing this workflow notice what gets locked out, this render choice single clip or individual clip. Let me jump over to custom, so it frees up. What does single clip mean? When I'm rendering out in single clip it means this entire timeline will render out as one long movie.
All right this is what you might want to do say if you're delivering to YouTube or Vimeo or someone just wants you to deliver this as a single movie that's what single clip means. When we switch over to individual clips what we're doing is rendering out every single shot as it's own individual piece, which will then need to be reconstructed in another piece of software. What piece of software might that be? Well if it's one of the big three non-linear editors you select it using one of these presets.
So once again let's jump back into Premier Pro, it locks us out, because in a Premier Pro, Final Cut, or Avid workflow we're only doing individual clips, that's the whole point of this. Now let's expand out our render settings and see if there's anything else we want to configure when we're delivering to another non-linear editor. Well you're going to configure your codec and your resolution, and yeah DaVinci Resolve unrender is actually resolution independent. This project is setup at 1080p, but we can deliver renders at 720p if we want.
Of course I probably wouldn't do that on a job like this. In fact what I often am requested to do is render at the source resolution. So if they gave me 2k or 4k files even here in the free version of Resolve I can play those just fine in a 1080 window, but on render they may want me to render back at that source resolution. If I click that it's going to render at that original resolution of the source clip. Now remember on the free version you can only render up to UHD frame sizes.
If your source resolution is larger than that, say 4k or 8k you will not be able to render that out on the free version only on the studio version. So let's set this for 1080 and then the other item you're probably going to want to select is your handles. Remember handles means not only am I going to render out the frames that are showing here when I add handles I'm adding extra frames on either side of the edit, so if I add 24 frames of handles in a 24 frame per second timeline that means I'm adding one second of extra renders on either side of the edit allowing the editor after they get my files to slip the shot a little bit.
If they decide for editorial reasons they want to slip the shot, come in a frame or two later, or maybe push back and edit a frame or two later this gives them the flexibility to do that. You'll then go through and select your audio and files settings however you want to do it and then to render queue and render normally. When you render out not only will DaVinci Resolve render out your individual clips putting them into the folder you specify, but kind of in a random name order, right. It does not constitute it into a timeline, so it also renders out an XML into that same folder that you'll then import into Avid, Premier, or Final Cut and when you import that XML in those apps it will rebuild your timeline.
Now one other thing I want to show you in here is how you bring in an XML if you're importing an XML. I'll show you the workflow, I don't actually have an XML for you to import, but I'll show you the workflow, which is in the edit page, you go to file, import AAF EDL XML FCP XML. Then you would navigate to wherever you have that XML select open and then DaVinci Resolve will guide you through a series of dialogue boxes for how you want to import that XML and where the source footage exists.
By the same token sometimes in this workflow after you render out sometimes for some reason Resolve doesn't export out that XML. So what you want to do is number one look for it immediately after you render, if it's not there you can come back down here into the UI and with that timeline active and usually on the edit page you come to file, export AAF XML and you have a bunch of different XML formats to choose from. If you're going to Premier you're going to choose XML.
If you're coming from Avid you really want to in the deliver page choose the Avid AAF. This is really more important for Avid than anything else, because Avid has some metadata that has to be specifically placed in very specific places when you render out. If you don't choose Avid AAF that metadata never gets placed there and it greatly complicates when you go back and import your AAF into Avid.
So the best thing to do on Avid is select that preset and it should render that AAF on export, it should create that AAF on export for you to import into Avid. For those of you who are brand new to this stuff it just sounds like a bunch of gobbley gook, that's okay. If you want to understand what all of this means I go way deep into this on other trainings that I have that are not these kind of quick starts that really dig into importing and prepping for these XML round trips, so if you're interested in this be sure to check those out.
- Setting up a project and key preferences
- Organizing your media
- Editing to the timeline
- Color correcting to fix problems and add effects
- Copying color corrections across clips
- Making targeted fixes
- Mixing audio
- Using audio busses
- Rendering to nonlinear editors