Welcome

- Hello, and welcome to Resolve Guru. In this series, we're going to explore the very confusing topic of moving timelines between your editing software and Da Vinci Resolve for the purpose of color-correcting your footage and then sending the color-corrected timeline back to your editing software, a process frequently called round-tripping. You'll learn the reasons why professionals use Resolve for their color-correction tasks and the two major ways you can move your timelines into and out of Resolve.

The concepts in this series can be applied equally well to Final Cut 10, Final Cut 7, Premiere Pro, or Avid Media Composer, and you won't need any of them to follow along with me. You'll learn why round-tripping can be so difficult and why so many people put up with the pain, and yes, it can be painful, but it doesn't have to be. Not always. If you follow my advice in this series and share it with the editor sending those timelines to your colorist, you'll find the process goes much more smoothly.

You'll learn how to use Resolve to properly transcode your footage before editing begins. So when you send those timelines back into Resolve, the camera-original footage re-links seamlessly. Once we've imported your carefully prepared timelines, I'll show you how to easily find and fix all sorts of problems that can occur all with the objective of ensuring the timeline you're about to color-correct matches the final approved edit shot by shot and frame for frame.

I'll also share the two major workflows to send your final color-corrected footage back into your editing software and why you might choose one of those methods over the other. Thanks for joining me as we dig into a potentially hazardous workflow and learn how to take the pain out of round-tripping your timelines.