I’ve been getting more coloring work lately so I’ve had my eye on getting a mini-panel, but the price has been just a bit too steep for me. Anyway, the other day I found someone on FB Marketplace selling their barely used one for $1350 (US) and I jumped at the chance. The only catch is it was missing a knob.

Anyway, after examination I determined the knob was just missing (the panel wasn’t broken) and I bought the panel for only $1200. Then I reached out to BMD to see if I could buy a knob from them. Turns out they found one lying around and sent it to me for no charge.

Like the title says, I feel like I hit the lotto and wanted to say what an awesome company BMD is! Thank you BMD!!

So I have been recording many videos on my camcorder, but when I put them in Davinci Resolve no audio is being imported. Because of this I always use Shutter Encoder to convert the videos into an H.265 mov file, but that is lossy and takes up more space. Does someone have a reason why this happens and maybe a (better) way to fix this?

https://www.tiktok.com/t/ZTfdbGaUU/

Especially the beginning intro. Is this a panning to zoom out transition with a magic mask on the tree/person. The magic mask I assume is zoomed out/decreased in size to fit the screen. Then just an opacity transition for the background?

I use da vinci resolve to edit my footage (4k), but I find it loses quite a bit of quality when i save my footage after editing. I have played around with my save settings, not sure if there is a still problem on that front, but i was wondering if anyone can recommend any other free programs for colour grading videos?

I have attached a picture of my export setting incase I have something set incorrectly that could be causing it. Its not a huge amount of quality being lost, but a noticable amount to me. I also notice my shadows get crunchy and almost block like upon export but it doesn't look like that in the program.

Using DaVinci Resolve version 19

Mac OS version 27.0

Thank you in advanced!!

Hi! Originally earlier this year (reuploaded since) I made a tutorial on how to modify the way dissolves work in DaVinci Resolve so they interact with the colour timeline, and are also linear so they look more like a photographic effect. But I made this under the assumption that it's common practice to apply the conversion into Rec. 709 and such on the timeline level, and then apply and titles and such on top of that. Since then I realised that timeline level operations are usually stayed away from, instead being done per clip or per group, so I made a follow-up video on how you can still achieve the same effect using adjustment clips, and do no grading work at all on the timeline level

Here's the first video for those interested: https://www.youtube.com/watch?v=9zDrN4Z9NxI

I have bought an action camera for offroad motorcycle rides.
After each ride I move the video files from camera SD card to my PC to later work with them in DaVinci Resolve.
But it quickly filled my PC storage.
I researched this a bit and did buy an external 2Tb storage, but it also is filling up.
Where do you store the raw footage? Also, where do you store the processed videos?
I would appreciate any recommendations

For example, I press L once to play forward at 1x, press L again to play forward at 2x, then press L again to play forward at 4x.

How do I go back to playing forward at 2x?

I'm trying to blur an object in my video that moves in and out of the frame, but I'm having trouble keeping the tracking locked onto it.

Whenever the object leaves the frame and comes back, the tracking seems to get lost, and I have to adjust it manually.

Is there a way to make the tracker automatically pick up the object again when it re-enters the frame? Or is the best approach to split the clip into sections and track each part separately?

I'm using DaVinci Resolve Studio. Any tips or recommended workflows would be greatly appreciated!

Hi there,

Does anyone have definitive answers on Davinci's Proxy Generation?

Namely,

1.Blackmagic Proxy Generator is somewhat slow, and CPU dependent. What is the best way to maximize its speed.
2. The generator can create 1080P proxies, but the Proxy media format cannot inside DaVinci Resolve, which uses the FULL power of the GPU.
3. Are these proxies also embedded with timecode?
4. How about MetaData?
5. How do people make proxies, and then extract them? Proxy Generator, Inside the program, or Export Settings with Individual files?

MAC PRO 2019, Radeon PRO 32gb
M2 MAX MacBook

RESOLVE 20.1

Mix of all types of footage.

This is the Splatoon Raiders credits, the credits roll into a spiral. I'm a beginner to fusion but I'd like to do this effect. I assume you would need the image to be very long and then use 3D (which I haven't really used yet). I can't find a specific tutorial online for this specific kind of spiral, so if anyone could help that would be great! I'm on studio 21 and use Windows.

Hey everyone! I’m trying to use DaVinci Resolve on my ROG Xbox Ally, but I’m having issues getting it to work properly.

My device:

- Device: ROG Xbox Ally

- OS: Windows

- Software: DaVinci Resolve

-Version 21 Free

- Free storage: Around 170 GB

My issues are that Davinci keeps sending me to a settings page for drivers and stuff.

I’m looking for help getting DaVinci Resolve working properly on this device.

Has anyone successfully used DaVinci Resolve on the ROG Xbox Ally? If so, what settings, drivers, or workarounds did you use?

If you’ve experienced similar issues, I’d appreciate any advice. Thanks!

Hi, in this digital age - people would come across your videos, download it, and use it to their liking. Sometimes, they would also get money out of it by re-uploading. I'm trying to lessen the chance of people re-uploading my videos.

Is there a way to randomly move a text+ across the whole video? Maybe via Fusion page? This is the first time I've touched the Fusion page, all help is very much appreciated!

If I made a tutorial and I want to post it here, is it possible? Or is it too much self-promotion?

Where can i go to get a log and where can i go to get help i need to create two videos by monday

So I encounter this fairly often, maybe I'm editing wrong to begin with, but when I have a couple of video tracks, I often want to delete a gap, but only to the play head. In the picture, I want the tracks on the right (and everything else to the right) to be at the play head, but I can't find any way to move it like that. I have to drag the rest of the timeline back manually, Is there a shortcut or command I'm missing?

I've been using the same template for years, but in the last month or so I'm having a problem where using the YouTube render default results in the audio being slightly misaligned.

I'm recording video with an iPhone and using a separate field recorder with stereo boom mic for audio. All the audio tracks are aligned and if I render using the H.264 master the rendered audio is sync'ed correctly. It only when using the YouTube preset and just started about a month ago.

Anyone else seeing this and possibly know of a workaround (besides shifting the audio in DaVinci - I tried that and couldn't get it in the right spot)?

Running DaVinci Resolve 21.1.1 build 10

Hi!

I've decided to try and use DaVinci as my editing software.

After some googling I've found out you can add a free sound library called the "fairlight sound library". I've added it and all that comes up is in the image below. I've typed the 3x *** and nothing comes up. When I try to click on add Library I get an Error Adding Path "Error Message: Error connecting to sounds library Fairlight Sound Library"

I'm struggling to find a fix online and I've been looking.

Version: DaVinci Resolve 21

OS: Windows 11

First, a common question: Fotufilm is independent of spektrafilm and developed as a separate effort. I recently compared the two against a real roll of Kodak Gold 200.
Fotufilm runs a full spectral film simulation. It models the whole chain, from scene light through the negative to the print. Halation, grain and interlayer effects spread across neighbouring pixels and grain changes every frame, so no single static 3D LUT can reproduce the result.

How the pipeline works:

Spectral exposure: the film's response is computed across 81 wavelengths (380–780 nm) and stored in precomputed tables. Every frame then runs through the film's characteristic curves, development, interlayer effects, halation and grain.

Colour handling: RGB can't uniquely define a spectrum, so each colour is matched to its most likely reflectance spectrum, using a statistical model fitted to open libraries of measured real-world reflectances (USGS Spectral Library, the ACES rawtoaces training spectra, and datasets of natural objects, flowers and foliage). This is an estimate, not a recovery: colours the camera recorded identically (metamers) stay identical. The print renders to linear P3 before converting to your chosen output space.

Development: per-layer characteristic curves, push/pull, bleach bypass, and interlayer (DIR) effects where the stock's data supports them. All 46 film profiles are digitised from manufacturer datasheets. The interlayer effects of Gold 200, Portra 400, UltraMax 400, Ektar 100 and CineStill 800T are fitted to ColorChecker charts shot on real film. CineStill 400D and Vision3 250D are calibrated on a ColorChecker exposure series.

Print and scan stage: Kodak Vision 2383/2393 and Fujifilm ETERNA-CP 3513DI across all three colour records, timed to the published Status A LAD aims (1.09/1.06/1.03 for 2383/2393) through a non-negative tungsten additive head. For a negative-to-positive conversion without a print, Digital Reference inverts the negative through a shared spectral receiver, and its Auto Levels mode re-times each frame the way a lab scanner does.

Spatial effects: halation models light reflecting back through the film base. Grain varies with the stock's granularity and density. Both are sized in physical film dimensions and scale with the film gauge and frame coverage.

Platforms: GPU-accelerated with Metal on macOS, CUDA or Vulkan on Linux, and WebGPU in the browser.

It's available as:
Plugins: DaVinci Resolve (OFX) and Final Cut Pro / Motion (FxPlug)
Standalone apps: macOS, and Linux as a beta AppImage. I'd love to offer a Windows build, but I don't have a Windows machine to test it on yet.

Browser editor: fotufilm.com/demo,

Source code: https://github.com/DhaliwalX/fotufilm-engine

How it's funded: the engine, the Mac and Linux apps, the Resolve and Final Cut plugins, and all 46 film profiles are free and open source. I also maintain a paid, closed-source iOS app that runs the same simulation engine. Its sales help cover development costs (including AI coding tools such as Claude, which I use to build it) and the film, cameras and lab processing I need to test against real film. This is a passion project.

Edit: Added information for the RGB to spectrum upsampling technique.

I used to be able to use davinci resolve without any issues but after updating amd adrenalin from 26.8.1 to 26.9.2 (i did not use davinci resolve when using amd adrenalin 26.9.2) and having crashes in a few games, i decided to roll back to amd version 26.8.1 by using amd cleanup utility and DDU. After doing that, i was prompted with a windows update so i did and now whenever i try to open davinci resolve, it says "davinci resolve 21.1.1 could not initialize opengl".

I have tried setting davinci resolve as high performance in the windows graphics settings as it was recommended but it did not work. I have also reinstalled davinci resolve and it still did not work. My GPU is an Rx 9070XT if that matters.

Busco editar en 4K 10 Bits 4:2:2 en Davinci Resolve Studio (Versión de pago). Reproduzco como máximo 3 pistas de vídeo simultáneas. Uso árboles de nodos complejos solo para la pestaña de Color. A veces uso Noise Reduction. No uso efectos de Fusion.

Estoy pensando en comprar la siguiente configuración: Ryzen 7 9700x + RTX 5060 8GB + 32GB.

Mis esxpectativas son: navegar a traves de la la interfaz completa de Davinci y reproducir el vídeo FLUIDAMENTE de forma CONSTANTE en una timeline en 4K. Esto teniendo en cuenta que elimino la caché de Davinci cada vez que comienzo un nuevo proyecto.

¿Son mis expectativas demasiado elevadas? ¿Si la fluidez de la timeline en 4K fuera dificil de conseguir creéis que podría, al menos, hacerlo en una timeline en FHD? ¿Y con proxies en el códec ProRes?

Si aun así estuviera pidiendo mucho. ¿La configuración que quiero comprar necesitaría ser mejorada? ¿En la GPU, CPU o en ambas? Tengo claro que no quiero mejorar a 64GB de RAM (se me va de presupuesto).

¿Si comprara una RTX 5060 16GB podría conseguir lo que busco? ¿Tendría que mejorar la CPU más?

Chicos, tengo muchas dudas respecto al posible upgrade de 8GB a 16GB en la GPU y tampoco estoy muy seguro de si la CPU que quiero comprar (Ryzen 7 9700x) es tan buena como creo. Todo lo que busco es fluidez al reproducir la timeline y un poco de boost de velocidad en los renderizados en 4K. No busco una locura de velocidad al renderizar, priorizo la fluidez, como repito.

Ojalá sepan ayudarme en esta gran inversion jajajaj 😤🤙😘 y gracias por leer este textaco <3

I'm working on a 1080 × 1920 vertical video, around 430 frames long. The camera pans from left to right while following a group of ducks, with some slight zooming in and out. The camera's position and framing change significantly between the first and last frames. I want to remove several unwanted objects from the ground using Fusion.

My initial approach was to track the ground with a Planar Tracker, then use a Paint node with Clone to paint over the objects on a transparent Background, followed by a Planar Transform to make the cleanup follow the camera movement. However, when I paint later in the timeline, the transformed image bounds shift outside the frame, and I can no longer paint over the areas I need. Both the footage and Background are 1080 × 1920, so I'm wondering if the fixed canvas dimensions are contributing to the problem.

I also tried inserting a Transform node before the Planar Transform to reposition the paint canvas. This helped with the bounds, but the Clone tool then started sampling unexpected parts of the image. I experimented with stabilizing the footage for painting and then reversing the stabilization, but the large change in framing across the shot resulted in substantial transparent areas and made the workflow difficult to manage.

What's the best way to approach object removal in Fusion for this type of shot? Should I use a tracked clean plate, a stabilized paint workflow, multiple smaller planar-tracked patches, or something else? I'd especially appreciate advice on handling paint canvas bounds and Clone source coordinates when the camera moves so far across the scene.

Thanks!

HELP! I've been trying desperately to handle a 360 vid from Insta360, already exported from the Insta360 Studio.

I have tried to go back to both Resolve 18 and 20, to install the renowned Reactor-Installer.lua by simply draggin' and droppin it into the Fusion panel BUT
- In ver 18 of Resolve, it has major bugs meaning that resolve do not recognise it...
- In ver 20 the pop-up message saying that i want to use a pro version and to buy the studio version pops up...

In the latest version 21 i can't find anything at all that explains how to manage (edit aka reframing) 360 vids.
By searching for a while online, i have seen that GoPro ReFrame should be found by default into the fusion panel under Effects > Tools > OpenFX but there is not. Neither in ver 20 nor 21.

So my question now is:
How do i edit 360vids in Resolve [free ver] possibily ver 21 ????????????

Thank u!!! :)

Hi editors!
I'm editing a multicam project and no matter what I try I can't seem to get smooth playback...

1. I'm using proxies! h.264 8 bit 420 1080p through the generator
2. 12 angles from the Sony fx3 synced up
3. Davinci on ver 21.1, windows 11
4. RTX 4090, intel ultra 9 285k, 96GB DDR5 ram at 6000 mhz, files on a samsung 990.
5. all drivers are updated

I'm getting around 15 fps playback. I'm kinda sick of it.
any suggestions?