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The view of a centrally and rigidly positioned Playhead is known from other video editing programs. In DaVinci Resolve it was so far only available in the Cut tab, but now it also appears in the Edit tab. The option can be activated from the Timeline View Options menu on the left side of the toolbar.

Of course, these are not all the new features, there are definitely more of them, but some of them are reserved only for the Studio version (another reason to consider purchasing)! Also remember that at the time of publishing this entry, DR19 is in beta version, so various types of operational instabilities may occur. For this reason, working with specific client projects is already risky. The first update will probably appear in two or three weeks, and then the next ones. And the constant advice in every situation of this type; please make a copy of your database before upgrading as once it has been converted to support version 19 there is no way to go back to 18.6.

All the new products presented are another addition to the amazing range of tools already available in DaVinci Resolve, so I encourage you to also check out other entries in the “Quick Tips” series. And of course, if anyone would like to expand their knowledge during individual classes, you are welcome, more information here.

After removing the product from the protective case, the first impressions are very positive; both the drive and the knob seem to be well-made, solid and elegant. The drive, perhaps slightly smaller than the previous one, above all, no longer has an LED display, but has a physical button, a small lamp indicating the function and a knob allowing the gear to be rotated (0.8 m). And what is very important, instead of the problematic Micro USB port, it has two USB-C ports.

However, much bigger differences concern the knob. Although the new model has similar physical dimensions, it has black elements instead of wood, does not have a small white rim to mark markers and, above all, has a large touch screen from which you can control various functions of the device. The replaceable battery, which is now built-in, has also been abandoned. Additionally, there is a USB-C port on the knob, two, or actually three, physical buttons, and the back mount uses the popular NATO rail solution.

Additionally, the case includes a 15 mm shaft with a cage mount, a short USB-C – USB-C cable and an adjustable strap with teeth for attaching to photographic lenses.

The problems I experienced when using the first version of Nano were primarily related to its power supply. Well, the Micro USB port was probably not the luckiest solution, for some reason the voltage that was eventually achieved was often only 5V, and I tried different cables and power banks. Only the purchased (and not cheap) Tilty cable and connection to the V-Lock battery allowed for higher values ​​and, therefore, higher engine torque. However, I saw on the forum that some users still complained about working with lenses whose rims rotate with greater than usual resistance. Meanwhile, the new drive, according to the manufacturer, offers as much as five times more torque. It’s hard to check it objectively, but now you can even adjust the level of this “power” in the menu available on the knob, and I can say that even at the lowest level the engine works perfectly with Irix Cine lenses. Using the included USB-C – USB-C cable, higher voltage can be easily obtained from power banks or V-Lock batteries. The drive is even equipped with two USB-C ports, one of which can transmit voltage to a possible next drive.

Other users of the first Nano also indicated that after prolonged use, the brightness of the display decreased, making it impossible to read it and thus to set the appropriate communication channel. In Nano II, there is no display and the communication channel is selected via the dial menu. There is a light on the engine that indicates various functions, including: four operating modes: purple – focus, blue – zoom, green – aperture and yellow – other, a function probably intended to support the variable filters of the Tilta Mirage matte box.

Another problem, honestly I don’t know if it resulted from the operation of the drive or the knob, was the fact that both elements could not be located right next to each other, because then the set simply stopped working. This was frustrating, especially when shooting manually, when the knob mounted on the camera could necessarily be close to the engine. This problem no longer occurs in the new Nano II.

Finally, it is worth mentioning that there is a knob on the engine that allows you to move the gear, which makes it easier to adjust during installation, and a button that activates the pairing function with the knob, changes the operating mode or is ready to update the software.

It’s hard to say that the focus wheel of the previous Nucles Nano caused any specific problems, but most users will probably agree that the choice of a rather unusual battery for power supply and its charging were not among the advantages of the device. You can also complain about the rather narrow white rim for marking markers, or the unusual mounting that requires a special adapter… What does the Nucleus Nano II focus wheel offer? It turns out that in this case it is not even entirely precise, because it can control even two selected functions, e.g. focus and aperture (of course, with two motors)! Here are its most important features:

• built-in battery that allows operation for 20 hours (according to the manufacturer, in my opinion it’s more like 9-10 hours), with the possibility of quick charging via the USB-C port,
  bright touch screen with access to many device functions (more on this later),
• function button, which, among others, starts lens calibration or adds a marker,
• function button to start and stop recording,
• a button that turns on/off the physical knob adjustment limits,
• movable button allowing you to control the second drive,
• mounting to the NATO rail on the back of the knob.

The new Nucleus Nano allows you to forget about unusual batteries and their charger, fully charging the internal battery allows you to use Nucleus practically throughout the entire shooting day. Additionally, the touch screen indicates the charge level, and thanks to the PD Fast Charging function, it can be instantly refilled during a break.

The touch menu provides a whole host of functions that were not available before, including the previously mentioned engine torque adjustment. It’s hard to mention all of them here, I haven’t tested all of them, not all of them seem to work anymore and this will probably change with the next software updates, but it is definitely worth emphasizing the following:

• possibility of marking with “electronic” markers; when crossing a given marker and changing the position of the knob, a vibration is felt (also with adjustable strength), which makes sharpening much easier for operators working alone,
• possibility of marking the range with hard limits, which in the case of some lenses allows for more smooth changes, e.g. focus,
• ability to change the direction of the knob,
• possibility of, among others: start/stop recording and change aperture, ISO and shutter for selected camera/camcorder models,
• ability to remember calibration parameters for specific lenses,
• ability to change display rotation, brightness and dimming time.

Another advantage of the new Nucleus Nano is its compatibility; According to the manufacturer, the set works with Nucleus Nano N (I tested and confirm), Nucleus Nano M, as well as with DJI RS2 and RS3, and with selected models of cameras and camcorders (list updated on the Tilta website). Additionally, another compatible product will soon be available – a special handle that allows you to attach the knob and control up to 4 drives in total.

Starting from the end, i.e. from the price; At the moment, the purchase of Nucleus Nano II, the availability of which in stores is increasing, costs PLN 1,600, which is very comparable to the previous version. Taking this into account, and the fact that the new version not only solved the problems of the previous one, but also offered much more, it seems to me that this product is definitely worth recommending! Who? I think it’s mainly for those who just want to enter the world of film lenses and sharpen them manually. But even if you already have the first version, the functionality of Nano 2 and the possibility of using the previous drive as a second one is very tempting.

One of the basic features of a well-recorded material is its proper exposure. Of course, you can argue what the word “right” means, because it is often a creative decision. However, in most cases, it means the right value for human skin, while avoiding areas that are too dark (underexposed) and too bright (overexposed). And this is where the grayscale pattern and functions available in the camera or preview monitor, such as Waveform, Zebra or False Colors, come in handy. Also important, the reference levels of proper exposure for individual fields (white, medium gray, black) differ depending on the gamma used. For example:

• for gamma 2.4 (Rec 709), 90% white should be at about 90 IRE, middle gray at about 40 IRE, and black at least above 0 IRE,
• whereas, for Slog3 (S-Gamut3.Cine), the suggested value of white is approx. 61%, middle gray approx. 41%, and black also slightly above 0 IRE (more here). Additionally, if we want to use the ETTR method, we also need to increase the middle gray value accordingly (more about exposure and ETTR here).

And one more note about using the pattern; we place it in a place where it is affected by the same lighting that falls on the actors (or objects in the center of attention), preferably near the face.

Proper exposure is also extremely important from the point of view of post-production, because it gives much more creative possibilities to raise the “shadows” or lower the “brightness” (of course, depending on the tonal range of the camera), instead of, for example, pasting a new sky in place of an overexposed and visually uninteresting sky . In addition, the appropriate exposure value of middle gray, which is very close to the value appropriate for skin tones, allows you to avoid possible problems when using color grading of the “teal & orange” type, or LUTs based on this idea, because they change the colors above and below this value, leaving skin tones neutral.

Just as an underexposed or overexposed image is irretrievable at the postproduction stage, so a possibly bad white balance can be corrected. However, in order not to waste time on it, it is worth taking care of its proper setting already on the set. A good practice, even in a controlled situation where we know the color temperature value, is to use the appropriate camera function that reads the specific value measured on the pattern, and not just enter this value manually. This is also important in the case of multi-camera implementation, because even between the same sensors at the same temperature value there are deviations. On the other hand, in the case of the so-called “run and gun”, when the conditions are not fully controlled and dynamically change, you can measure these values ​​in the right places upfront (e.g. indoors with mixed lighting and outdoors with natural), save in the camera’s memory, and then quickly change depending from need. Then you can especially appreciate the pocket size of the Passport version, thanks to which the pattern can always be at hand. It is also always worth registering even a few seconds of an image with a pattern for possible use during post-production.

Someone will say that theoretically you can set the white balance on a white sheet, but it’s not that easy. A white piece of paper may seem white to us because that’s how the human brain works, telling us that it must be white. In fact, it often contains slight discoloration, so the reading is no longer accurate. The production of a truly neutral white balance card is a demanding technological process, but it guarantees certain effects. However, thanks to it, we can guarantee ourselves the basis for perfect color reproduction when it is especially important, or at least a good neutral starting point when we want to achieve a more imaginary look.

There are basically three types of fields in this tab:

• 6 fields with gray balance and 6 fields for highlights and shadows (including a high-gloss black field), which in post-production will help to adjust the contrast curve between different cameras even more precisely,
• 6 skin tone fields that will allow you to check the match with one of the typical skin tones,
• and probably the most important – 6 chromatic fields designed for video production (they differ from those used in photography). By registering an image with a pattern, we can ensure not only an even more accurate color reproduction (the white balance is responsible only or even for the color temperature and tint, while here we have control over each of the six colors, i.e. their shade and saturation), but also a perfect match images from different cameras. In video post-production programs, such as DaVinci Resolve, there are ready-made tools for automatic adjustment using a recording with a pattern, but even better and more accurate results are achieved by manual adjustment using a mask isolating the fields area, Vectorscope graph and correction of curves affecting the hue ( Hue Vs Hue) and saturation (Hue Vs Sat) of a given color.

The focus pattern, as the name says, makes the manual focusing process much easier, especially when combined with the Peaking function on the display or preview monitor.

As previously mentioned, due to the differences in reference colors for photography and film, until recently, the standards were only available in separate versions. Fortunately, recently you can get the Passport Duo version, which, at the expense of losing the focus pattern, proposes a color pattern for photography, becoming a combination of both. For more details, please refer to the Calibrite website, you can buy one for instance here at wzorniki.eu online shop.

Recently, another gadget has appeared – a standard holder that allows convenient use of stands to support the standard, thanks to which you can avoid the risk of touching the standard fields with your fingers during sample registration. The holder is currently included for free with the purchase of selected patterns. Moving smoothly to the summary; ColorChecker Passport Video, although it looks a bit like a gadget, is an extremely valuable element used during shooting and post-production. Although it does not cost the proverbial few zlotys and is not eternal, due to its workmanship, it will ensure not only the accuracy of reading and color reproduction, or proper exposure, but also properly used it can be used for many years until the pigment used does not degrade. It is worth following the Calibrite website, because promotions appear many times a year, thanks to which you can save a lot.

Power Bins and Power Grades are one of these DaVinci Resolve options, which make both editors and colorist life easier on a daily basis. What is their purpose an how to use them?

First Power Bins, which is an option to create a special bin in Media Pool, shared across all projects within one database. Although as default it is hidden, it can be simply enabled via menu: View -> Show Power Bins. Then in Media Pool a Power Bins section with Master bin will appear. Of course you can create your own folder structure within and rename bins according to personal preferences. It is a great option for all these elements, that are often reused in the following projects, like intro and outro clips, titles or Adjustment Clips, which in Power Bins are ready to use in a very simple and quick way.

Power Bins section is always available there, where Media Pool is, whereas Power Grades is reserved only for Color Tab. So, after clicking Gallery icon on the left upper corner, two more icons appear below. The left one opens additional menu including, among other things, PowerGrade1 album. And again the most important – this album is shared across all project within this database. Right clicking you can add another albums, change their names or draging and dropping move stills between albums. Power Grades obviously is a great option to quick apply the grading from another clips, but not only. Colorist ofter use so called Fixed Node Tree, applying their own standard node structure to a clip, but making no corrections at the same time. Another example is applying nodes, or node groups prepared for some certain purpose, like Color Space Transform in case of manual color management.

According to the research, humans have much bigger tollerance for worse image, than sound, hence you should care about it in particular. This is of course very broad subject, but this time I will take up only one problem, which is removing any kind of clicks from the soundtrack. Anyone editing footage, especially interviews, sooner or later will experience one with appearing in the background, very short, but distractive and unwanted sounds. How to fix this?

In DaVinci Resolve on the Edit page the smallest unit is one frame, but this is still relatively long time distance and making changes referring even one frame will be noticeable. Fortunately on the Fairlight page you can zoom in the soundtrack up to the samples level, and there are many of them within one frame! In addition it turns out, that manipulating them is very easy. Just click and hold left mouse key and then move left/right changing their position, which reflects loudness level. Of course if the track is stereo, you have to repeat it on the second channel. The characteristic of the cracks is usually the same – high loudness within very short period of time, therefore this method works here perfectly.

This subject is referring not exclusively to DaVinci Resolve, but Blackmagic Design has recently released new models – DeckLink Mini Monitor HD and DeckLink Mini Recorder HD, so maybe it is worth to explain what are they capable of, and for who it would be a good idea to purchase one.

So, in a shortcut Decklink is a series of PCI Express cards offering either displaying, or grabbing tv signal. The available models differ from each other in number and sort of connections, their function and signal specification, including resolution. Their possibilities shall be interested mostly for Color tab users. We all know, that both Windows and macOS are not perfect in dealing with color management of the displayed picture, whereas colorists prefer to work with a “clean” picture. And here’s where Decklink card, like DeckLink Mini Monitor 4K comes in handy; it can deliver clean signal from DaVinci Resolve directly to the monitor, surpassing operational system. There is a dedicated software, where you can make some settings, another ones are also available in DaVinci Resolve: Project Settings -> Master Settings -> Video Monitoring.

In addition it is worth to mention, that with a limited budget by using free DisplayCAL software, above mentioned card, calibration tool and at least a basic knowledge, you can calibrate your monitor by yourself for possibly most accurate work with color in DaVinci Resolve, although services of external companies specialized in this process will give even more accurate results.

To add a simple title or caption to a video clip in the Edit window, you can of course use Text from the Effects tab, but Text + gives you much more fun. So, after dropping it on the Timeline, right-click -> Open in Fusion Page and go to Fusion. Here’s a few useful options that are available there:

• On the right side in the Inspector window and the Tools tab we have, of course, a text input field and various other options, including the ability to change the font, color, size, position, add a border or a shadow, but they all affect the text as a whole. However, by right-clicking in the mentioned input field a new window appears with various functions, among them Character Level Styling. Well, thanks to it, in the new Modifiers tab (next to Tools), you can separately change the character of individual letters or parts of text, of course, after selecting them in the preview window.
• Other interesting option, in some way similar to the previous one, is Follower, which allows you to differentiate the text animation used, e.g. change the position or fade out, in such a way, that again not the whole text is animated at once, but individual letters one after another, in an orderly or random manner, and with an appropriate delay, according to the settings from the Modifiers -> Timing tab.
• Another useful function, especially for various types of more complex inscriptions, is the possibility of using tabs; just press Tab in the text input field before a given section, and then conveniently control the position and alignment of a given tab, either from the preview window or from the Tab Spacing tab.
• And finally, the above-mentioned window with functions can be called not only in the text input field, but also near other values in the Inspector window, and Expression will appear at the bottom (it can also be called by entering the “=” sign in the value field). It may seem to be an inconspicuous option, but it gives enormous possibilities. Well, after “=” you can specify the appropriate function (e.g. time is the number of the composition frame) or by clicking on the little plus sign below and dragging with the mouse to connect to another field for entering values (e.g. when we connect the X axis with the Y, changing the values on the X axis, automatically they are also changed on the Y axis). Expressions is a topic with great potential for a separate discussion, it is worth reading about it in the DaVinci Resolve manual.

To calibrate the monitor yourself, we need a calibrator with software and a bit of knowledge about it. As usual, there are several solutions to the first issue, from those for a few hundred zlotys to… let’s say very expensive. From personal experience, however, I can recommend equipment of a Calibrite brand (formerly X-Rite). For over three years I have been using the X-Rite I1 Display Pro model (currently Calibrite Color Checker Display Pro), which is available for around a thousand zlotys. Among similar models there is also a cheaper one – Calibrite Color Checker Display, but it works only with Calibrite software, and the more expensive Calibrite Color Checker Display Plus, for displays over 1000 nits. In my opinion, it is worth choosing at least the Pro model, because if you invest in a better monitor or use other programs, such as DisplayCAL, unlike the lower model, you will still be able to use it. The aforementioned calibrator is therefore used for hardware (e.g. using BenQ’s Palette Master Element software) and system calibration, as well as for measuring e.g. the uniformity of the matrix backlight or the ambient luminance.

Another element is the software, which in case of Calibrite is available free of charge from the manufacturer’s website (for the Pro model it is ccProfiler). And the last element is a bit of knowledge, that I will try to provide below.

After installing the software and connecting the calibrator to the computer, we start the calibration process (although this actually should be named monitor profiling, because after completion, unlike hardware calibration, you will get only the icc profile, however both hardware and system calibration are still referred to calibration, so I will stick to this nomenclature). As I mentioned, I will calibrate the display of my Dell Vostro laptop and the BenQ PD2500Q monitor, because the process looks identical with two exceptions. So, after launching ccProfiler on the initial screen, first we select the Advanced option on the right, and then Display -> Profilling on the top left.

I have no experience with macOS computers, but in Windows it is worth to know, that there is a Color Management tab where, after selecting a given device and selecting the “Use my settings for this device” option, you can manage profiles, e.g. by adding and/or removing them from the list of profiles associated with this device or by changing the default profile (removing a profile from the list does not remove it from the computer, you have to do it manually, also described in the previous entry). Finally, the currently used profiles can be quickly changed by right-clicking on the desktop and selecting “Display settings” and then “Color profile”.

Believe it or not, on the day of the planned publication of this post, a Calibrite anniversary promotion was launched (without going into details, X-Rite has been acquired by Calibrite and has been selling products under its own brand for a year). I mentioned, that the recommended Calibrite Colorchecker Display Pro model costs about a thousand zlotys as standard, but from today you can buy it for only… 839 zlotys! The promotion also applies to other models, is available from selected distributors (e.g. here *) and lasts until 19th July 2022.

(* This is a link to a friendly store that I recommend and at the same time it is not an affiliate link.)

Calibration is not a one-time process, displays change their properties and it is worth, let’s say once every six months, and certainly once a year to run it. For me, having a calibrator is a convenience, because I can reach for it at any time, saving, as in case of few monitors and various needs, the purchase paid off very quickly, but most importantly, the certainty, that I give the client the work which is not dependent on the randomness of my display settings.

The process described above is definitely a big step forward for people who have not calibrated / profiled their monitors before, but you must be aware, that it is also not free from imperfections. However, looking towards more professional color work, the only option is hardware calibrated monitors, because this type of calibration can provide much more accurate results. Finally, for people who do not feel confident in this topic, I strongly recommend using the services of companies that deal with calibration professionally, which is a standard for creators working for the needs of e.g. television or large advertisers.

The real heart of the entire system is the image and sound mixer. Since Blackmagic Design launched new products from the Atem Mini series in 2019, the market has gained a completely new segment, previously reserved exclusively for high-budget productions. Whereas, when in 2021 the world saw the Atem Mini Extreme models, including Supersource functions and two USB and HDMI outputs, the possibilities have become so great, that with the appropriate quality of other equipment, experience of the crew and proper preparation for the transmission, their quality can be comparable to TV!

I mentioned above, that the transmission can be carried out with the use of up to eight cameras, everything of course depends on the budget and real needs. At Kaktus.studio we work with two own Sony a7sIII and Sony A7IV cameras, which guarantee the same picture and allow to obtain beautiful and natural colors with the S-Cinetone profile. If more equipment is necessary, we use a rental company. In addition, we have Manfrotto video tripods, thanks to which the movement of the camera is smooth and pleasing to the eye.

It is said that the viewer’s tolerance level is much higher with the image than with the sound, and therefore we try to care for it to the highest degree. So, we have at our disposal, first of all, Sennheiser wireless systems with lavalier microphones, which are standard on many TV and radio stations. The next ones are Sennheiser and Rode directional microphones, as well as a Zoom H6 sound recorder. In addition, which I did not mention, the Atem Mini Extreme itself allows you to use functions such as the Equalizer with low and high pass filter, Expander or Limiter. All this means that the sound accompanying the image will be clear and pleasant to the ear, whereas the program hosts  unrestricted by the space when moving around on the set.

Another important element is the lighting on the set. We have at our disposal two Fomei lamps with a power of 210W each, together with softboxes with a diameter of 120 cm, and a smaller Aputure Amaran lamp with a power of 60W, also with a softbox. These lamps provide very uniform lighting in terms of color reproduction and have a variable color temperature, which allows them to adapt to the existing conditions on the set. In addition, if necessary, we use the lamps of a friendly manufacturer – Glare One.

To ensure the event’s success later, together with the client, we prepare a detailed scenario of all the activities on the air. We also make an appointment in advance to check the possibilities of setting cameras and lighting the scene, or test the quality of the Internet connection.

The offer of Kaktus.studio also includes the possibility of ordering the appropriate graphic design, including video clips for the start and end of the broadcast, matching the colors and logotype used by the client.

Depending on the type and size of the event, we check in on the spot either the day before or on the day of the broadcast, but at least a few hours earlier, to calmly prepare for the implementation. The process of disassembling equipment, cables, etc. (and especially later assembling) is by far our least favorite part of the whole process. Then we go on the air, and the experience and prepared action plan allow us to work without unpleasant surprises. And when the broadcast ends, the satisfied faces of the participants say one thing: we got it!

Finally, after the end of the broadcast, clients often share the record on social media, which can be previously corrected in the studio, as well as possibly supplemented with additional elements, such as subtitles for the deaf viewers or translations.

Each client, each event is practically a different configuration and different needs. It is therefore worth knowing that during the transmission you can also use additional possibilities, such as:

• inviting guests participating remotely (e.g. via Zoom applications),
• keying, so-called greenscreen,
• conducting parallel transmissions, e.g. in Polish and English (assuming a signal is received from the interpreter’s booth),
• and others determined individually.

If you are thinking of online broadcast of your event, please contact me for more information!

Nevertheless, I feel that I owe a lot to photography, especially as a cameraman. “Photographic” thinking, allowing you to compose frames in this and no other way, is a great asset. Numerous workshops, especially by Piotr Werner, also taught me to think about light, about colors and to consciously use these values. The so-called DP (Director of Photography), is the second person on the set right after the director, and the Oscars for photography are among the most prestigious. The role of photography in the film is evidenced by recent titles such as “Dune”, “The Tragedy of Macbeth” or “West Side Story”, and the names of such people as Roger Deakins or Janusz Kamiński should be familiar to all fans of the cinematography.

I have already mentioned Piotr, who was my photo mentor from the beginning, and now a friend and person with whom I share joint projects. Piotr is a winner of many prestigious awards and, above all, the author of fascinating photos, so I encourage you to visit his website www.piotrwerner.pl and, of course, use his services.

And below a dozen of my photos.

New project, preparation, shooting, editing, and finally a satisfied customer! And what then? You stick with a bunch of unnecessary files, or maybe not? How to manage them effectively in DaVinci Resolve? I deffinitely recommend to archive the project together with media files, but in order to save a disc space only these, which were really used. There are at least two methods, to do that easy and efficiently:

• Method 1. In File tab we open Media Management. This tool has much more options, but here we aim to copy the files, so in Entire Project we choose Copy, and then tick Used media (or even Used media and trim… to copy only these parts of clips, that were used, plus handles). In addition choosing Relink to new files we set a new location of our source files, and then again from File tab we export the whole project (drp).

• Method 2. In Media Pool we create a Smart Bin filtering files by Usage attribute (is 0), adding however a few exclusions for types like Fusion, Timeline, Still, etc. And then the received list of files (which are not used) can be removed. In the next step in Project Manager we create Project Archive (dra), which includes both project and source files. And it’s done!

One of the methods, that let you work in the Color Tab much faster, is the ability to grade more clips at the same time. How can you then get it?

• Change of mode from Clip to Timeline. The standard mode in the Color Tab is Clip, which means, that all of the changes you make in Nodes refer only this particular clip. Whereas, if you change it in the upper right corner to Timeline, you influence all the clips sitting on the timeline.

• Creating group and work in modes Pre-Clip or Post-Clip. Another option is selecting appropriate clips (at least two) and creating a group. Then, for these clips you get another modes to choose from, besides Clip & Timeline, also Pre-Clip & Post-Clip. As the names suggest, you will influence all the clips from the group before and after changes made in Clip mode. You can create many groups, but one clip can belong only to one group.

It is worth to mention here about the order on the so called pipeline, which looks following: Pre-Clip -> Clip -> Post-Clip -> Timeline. Most often Pre-Clip is used for color space transform or gamut mapping, Clip for normalizing, matching or local corrections, Post-Clip for creative grade, finally on Timeline you can introduce such ‘final’ effects like for instance grain, but this doesn’t have to be a rule.

• Work in Remote Version. Other option is work in Remote Version which, unlike Local Version, gives option to influence all the timeline clips, that belong to one ‘source’ clip in the Media Pool. Let’s suppose you have a long interview mixed with b-roll clips. Normally you would have to grade all the interview clips separately, while using Remote Version grading one you make changes on all the remaining ones automatically.

These are not all the possibilities, but if you apply them, you already can win a lot of time during work in post.

Keyboard shortcuts can speed up work in many programs and DaVinci Resolve is no exception. Here’s 10 chosen shortcuts, which are really worth to know:

• Shift + Z – quick Timeline rescalling to full screen width (and back).
• Alt + scroll – scrolling with pushed Alt button scales the Timeline.
• Shift + scroll – scrolling with pushed Shift button increases/decreases the hight of the video tracks (if cursor is above the video tracks) or audio tracks (if cursor is above the audio tracks).
• I and O – they mean selecting In point (beginning) and Out point (end) of the selected range of the clip or Timeline.
• Alt + x – whereas with this one you can remove the previous selection range.
• Alt + selection – with the pushed Alt button, if the clip has also audio track – you can select only video, or only audio (you can of course also turn off Linked Selection option).
• D – selected clip with pushing D becomes disabled (not visible) and/or muted.
• Shift + selection – with Shift button pushed you can move selected clip up/down without the risk, that it will accidentally be moved left/right even of a single frame.
• Alt + selection – this time with Alt button pushed, but moving the selected clip left/right/up/down, the clip will be duplicated. With this method you can also duplicate even transitions.
• Alt + V – to copy clips you can also use a standard shortcut Ctrl+C/Ctrl+V, but sometimes even more useful might be copying only clip atributes, like Zoom, Position, etc. – then instead of Ctrl+V use Alt+V, and the window will open to let you decide which atributes shall be copied.

And one more at last: Ctrl + Alt + K, which opens the window, so you can explore all the existing shortcuts (there are much more then the above ones) and create your own. Keyboard shortcuts find also a very useful application in consoles like Loupedeck or Elgato, where even a whole macro can be mapped to one button with a nice icon!