- If you're a Premium Member of the Lynda.com online training library, then you have access to the exercise files used throughout this title. After you download the exercise file and uncompress it, you'll be presented with a folder titled Exercise Files. This one right here. You can place it in a location of your choosing, but for this training title, I've gone ahead and placed it on my User Desktop. Inside this folder, you'll find several other folders organizing the various assets I've provided to you.
First, the Data Base Folder. As you know, DaVinci Resolve saves all it's individual projects inside Databases, so you'll need to import the database I've provided to you: Resolve12_Advanced.resolve.diskdb which will contain all the projects we'll be working through organized by chapter. Go ahead and import this database right now. If you don't know how, then you should watch the movies in our Resolve 12 Essentials Training that will teach you everything you need to know about DaVinci Resolve Databases.
It's really simple, but it is a prerequisite for taking this advanced training. I've also provided a second database: Resolve12_Advanced END.resolve.diskdb. This database is the end state of each and every project or at least as close as I can get it to you. If you want to see precisely what I've done in any movie after importing the main database, you can go ahead, import this one and then switch into the End Database whenever you want to slow down and deconstruct my work.
You can then switch back to the other database when you want to continue following along. Just be aware in some chapters I might have you modifying my timelines in one movie and then using that modified timeline in a later movie. If you do the training out of order which is perfectly fine with me, you may need to rewind to an earlier movie to properly follow along. You also have a Resolve 10 database which we'll be using briefly for demonstration purposes.
In the Media Folder is the ProResLT Folder. It contains the source footage for a cold open for a documentary which we'll be using throughout this training and color correcting in the In Action Chapters. The RED Folder is for whenever we need footage from a raw camera codec In the Test Images Folder, you'll find the grey scale test image I'm using throughout this training. The XML's Folder contains two XML's which are the timelines for our cold open.
In case you didn't take the Resolve Essentials Training, I'm going to repeat that the footage used in this training is almost entirely Apple's ProRes Codec which is not a big deal for playback since Resolve does install the appropriate ProRes Codecs if they're not already on your machine. But, Windows users have a complication and yeah, it's kind of a big deal. Pro Res is read only on DaVinci Resolve in Windows. Meaning, unlike Mac users, Windows users cannot render to ProRes.
They can play these files just fine, it's only rendering that's the complication. So, for my Windows using friends, when you see me select QuickTime and ProRes on the deliver page you select MXF and one of the Avid DNxHD Codecs. If they're not on your machine you can download them for free from Avid's website. One final point. If you're taking this training, you should already know that Resolve uses Absolute File Paths when pointing to the media on your hard drives since your hard drive and your user is different from mine, as you open each of the projects in Resolve, you'll need to relink your footage.
Again, knowing how to relink is a prerequisite to taking this training. If you don't know how, then it's covered very precisely in the Exercise Files movie for the DaVinci Resolve 12 Essentials title. Plus, there's an overview on this feature in the What's New chapter in Resolve Essentials. Plus, we dig deeper to re-linking at the end of Chapter 2 here in this Resolve 12 Advanced training. What if you don't have access to these exercise files? Then, I strongly encourage you to follow along with your own assets.
Don't just sit back and watch these videos. Okay, now that we have the Exercise Files sorted out, let's begin your journey to becoming DaVinci Resolve savvy.
Indie feature film and broadcast colorist Patrick Inhofer puts these more sophisticated features to practical use—color-grading shots from a documentary. Along the way, he covers the Resolve Studio databases, media management, advanced primary and secondary color-correction techniques, and even Resolve performance optimization. Follow along with the three "In Action" chapters to learn how to create a base grade, match shots, and build cinematic looks. Plus, get a glimpse into the advanced features available only in DaVinci Resolve Studio, such as motion effects and noise reduction, to help you decide if you need to upgrade to the paid version of DaVinci Resolve.
It doesn't matter what kinds of projects you shoot or edit. This training will help you develop your color correction "muscles" and deliver better results more reliably every time.
- Understanding Resolve's database structure and options
- Managing and relinking media
- Using the advanced primary and secondary tools
- Working with the sizing menu
- Advanced tracking
- Comparing shots in split-screen
- Reducing noise
- Increasing playback performance in DaVinci Resolve
- Rendering, delivering, and archiving footage
- Applying Resolve's tools to real-world projects
- Learning a repeatable workflow for the entire color grading process
Skill Level Advanced
Premiere Pro: Documentary Editingwith Jason Osder3h 48m Intermediate
DaVinci Resolve 12 Essential Trainingwith Patrick Inhofer15h 43m Beginner
1. Advanced Database Concepts
2. Additional Media and Edit Page Concepts
3. Advanced Color Page Concepts: Primary Corrections
4. Advanced Color Page Concepts: Secondary Corrections
5. Studio-Only Tools and Workflows
6. Increasing Playback Performance
7. Color Management and ACES
8. Rendering, Delivering, and Archiving
9. In Action: Cold Open—the Base Grade
10. In Action: Cold Open—Shot Matching
11. In Action: Building a Look
Cold open: Closing thoughts1m 32s
12. What's New in Resolve 12.5
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