Another questions is, Can I go through my clips hit I and o and Append to end and then drag all those clips to a "favorites" bin or folder and then build my timeline off just those selects from a Bin or favorites folder? I am use to that way in FCPX and cannot find a similar workflow as I find working off 2 times lines too cluttered. Thanks I appreciate it!!

Been a while and trying to get back on track with editing in DR, And sometimes by accident I get in and out points on My timeline and cannot figure out how to get rid of them. Not even sure how it happens actually but totally frustrating. I am sure it is an easy fix but how do I get rid of those in and out points on my timeline. The long grey bar with the 2 dot's on each end... Cannot figure it out. Does the Alt I and O also get rid of it? Thanks

Great vid- you explain things very well. Much appreciated!

Thanks but how do i set the amount of times it repeats the loop please? Tia 🙏🏼

3 years later and this is still helpful and relevant

OH EFFIN' HELL!!!! Thank you so much, man. Also a big thank you to Davinci for giving us this option. I wonder why it is not a default mode. Is there any benefit of not using rendered cache images? I really wonder why would people want to spend so much time for the software to render what's already been rendered.

Hello. In the meantime we sit in Davici Resolve 19, but that make no major differences regarding your tutorial. What I see is that in the non color management mode you put one CST Node in front of your other nodes. As what I see by most colorists, they put the CST on the end of the node tree and adjust everything before in the timeline colorspace and/or in which it is set. This is my standard procedure, as well. Further, many users set the timeline colorspace to Davinci WG/Intermediate and output color space in Rec709, Gamma 2.4 in this particular case. Than place 2 nodes, I called it tandem nodes (other speak over sandwich nodes) with one in the beginning and one on the end and work in between in a much wider gamut colorspace; Davinci WG/Intermediate. In this way you have a 'manually color managed' node based workflow. So you can work with different input colorspaces/gamma's and choose these in the first node. My experioce is, that when I just work in one color space, f.i. Canon Cinema Gamut / Canon Log2, I can use one CST on the end. Resolve sees underneath the Canon Cinema Gamut / Canon Log2 or I'm wrong, but I see no difference than with the tandem nodes. So many ways lead to Rome. Thanks for your tutorial, you explain it very well.

i have this problem but administrtor isnt ticked

The problem with this plug-in. To me a plug in must serve something. It either gives you something you cannot get without it like say a bespoke look, or it just does the donkey work, in other words it acheives something we could do with more time or skill. This plug in does neither. I can grade it myself and with less steps. This plug in seems to just be more clicks. It doesn't make anything more attainable for say a beginner, it doesn't make it quicker for a professional, You still need a professional eye and a level of professional skill. So in my opinion just learn to grade and save your £110.

Which cameras have 2.00:1 aspect ratio?

Ok, I'm a noob and after seeing that intricate node scheme, I'm gonna uninstall the program

Bro thank you so much! Wow

Thanks Bro!

Problem is that resolve doesn't work for me without running it as administrator (Windows permissions problems, it just crashes when it's ran normally, same with all other programs on my computer)

Can ia sk how do i go about having two aspect ratios 16:9 for most of the film then the last ten minutes 4:3? is this possible all in one timeline?

not working for me :(

Very informative. Thank you.

Reduces the time from an hour to 11 minutes. Awesome!

Awesome explanation! Just one question.. Which one to use in KZbin 4K video? I shoot with Canon R6 MK2, DJI mini 3 Pro and Galaxy S23 Ultra. Lenovo P1 G5 for editing.

like the way you demo

1:25 I went to this video for this moment because I didn't know how to close the second window (it's not necessary for me). thanks

If nothing else, one could crank Color Boost boost temporarily to better see and center the neautral blob in the middle of the vectorscope. I actually like the look of CB, as the result reminds me of various old photo styles . Perhaps a CB node can somehow be routed so that it leaves behind the chroma noise but retains the color, not sure.

IF THIS IS MISSING FOR YOU - Look for the "INSPECTOR" Tab with the brush and wrench on the right beside "Metadata" Click on it and it does the same thing!

Hands down the best short explanation how the stabilization should be used.

Thanks bro, solved the issue for me

im sorry, but that makes the "LOOP" button sompletely useless

DaVinci makes this way too convoluted . There is Export Project, Export Timeline, Export Project Archive, like just make one f*cking thing

can it go with 64gb ram?

18.5 here and I can't have dual and inspector, which is very anoying. Ho w can I fix it? Also I have a decent hardware

My reference display is 4k TV. It says on my specs the colour display is bt2020, so in my colour management in davinci should my settings be as follows, colour science : yrgb, timeline colour space: davinci wide gammut/ intermediate and output colour space rec2020 gamma 2.4. if this is correct how would the image look when graded viewed from another display.

that you so much, i looked for how to turn that second window of for hours

Mine is not running in administrator mode, but drag and drop just freezes it. Not sure what the issue is there, but it just does not want to load the file in no matter where its coming from. Its a plain mkv H265 file from OBS studio, runs fine in a videoplayer. Its 4k 60fps and about 30gb.

Learnt this not long ago is awesome

LOve you brother , my renders are like lightning fast now

Oh no! I just had my hopes up for so long that you woudn't give the same poor advice as anybody else who suggest you install a font GLOBALLY in Windows simply because you need it in DaVinci. That is horrible advice, and will make your installation slower and load times of all applications slower too as well as overall performance of the PC. If you don't plan on using a font on all your other programs (Word, Excel, other editors, photo editors, etc.) then NEVER EVER install a font GLOBALLY! Just make the font-path variable in DaVinci Resolve point the the folder(s) where you have stored all your .ttf and/or .otf font-files. It is as simple as that, as DaVinci Resolve is created to work on uninstalled fonts, simply by adding the folder where you store all your downloaded fonts to the FontPath value in DaVinci Resolve. If in doubt, how it's done, I've made a short video on how it SHOULD be done, here: kzbin.info/www/bejne/n6LCemSne5p9msk (Don't fret it because the Windows Installation is not English (it's Danish). The DaVinci Resolve is still the English Version, and the few times a generic file-menu opens up, you will definitely know what button means Save, Install, OK, Cancel or whatever ...)

Thank you, you video helped me get rid of unwanted dual window, hope Davinci resolve developers make these things more user friendly and dont over engineer user interface.

thank you!

I was having this problem with the app "SolveigMM Video Splitter" and your tutorial solved for me, thanks a lot!

thanks brother

I wanted .font to ttf

Blanco deserves more,pure talent

Thank you! From 9 hrs to 5 minutes 😅

@Film Resolved Hi there thanks for this video, so scratch disk is basically cache file, right?

Amazing. Thanks for your hard work

solved my issue, thanks bud!

You said you leave a link for a video in the description for KZbin preset. Where is the link ?

Incredible. Thank you! I've been trying all day to get a basic 4K graded 1min clip to render and its taking way too long. Made me even getting anxious about doing a future 8K 25min project. This helps a lot.

I am on version 18.6, here in 2024, and TAKING IT OFF ADMIN fixed the disallowing drag/drop of files! What an ODD bug!! Thanks!

This helps so much!

But that presents a paradox: Getting the light closer will create fast falloff but also increases the light size relative to the subject and thus creates softer shadows and smoother transition from light to dark.