Resolve is very demanding in terms of hardware, and laptops are not ideal for this kind of software. You can do small tasks with Resolve (particularly with simple file formats like DNxHD LB), but I wouldn’t try to push it unless you have a much more powerful CPU and a beefier GPU.

If you do the key on the Color page, you should see it just fine in the Color page. What kind of source material are you using, and what specific hardware and OS are you using?

Much good advice above. The cold reality is that while Resolve may “appear” to be inexpensive (either using the free or the $299 version), the fact is if you expect really fast performance with large files, you need to throw a lot of hardware at it. I’m guessing we have somewhere north of $60,000′ worth of hardware to get what we need out of…

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Treat it as a key and use an Alpha to replace the black background with a new background. Read the 16.2 manual on “Introduction to Compositing Using the Alpha Output” starting on p. 2886, only instead of keying on a green background, you’re keying from black. Be aware that you may have to use garbage mattes to avoid losing details from the watch…

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My best advice would be to keep it simple: just do it all in Resolve. You’d be going through far fewer steps and less trouble learning the basics of editing and color and mixing, and just doing it there.

To me, camera audio is often problematic, and you’d be better off using an external sound recorder and recording in multitrack.

We use multiple timelines for features that are broken down into Reels. For example, a 2-hour film might have Reel 1-2-3-4-5-6, each about 20 minutes long. One reason to do that is because if any changes are done to the edit, it’s better to futz with a single 20-minute timeline than one massive 120-minute timeline with thousands of cuts.

We also…

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Read these:

“Grading for Mixed Delivery: Cinema, Home, and Every Screen in Between” by Cullen Kelly

Grading for Mixed Delivery: Cinema, Home, and Every Screen in Between

“How to Deal with Levels: Full vs. Video” by Dan Swierenga

https://www.thepostprocess.com/2019/09/24/how-to-deal-with-levels-full-vs-video

and

“A Deeper Look at Consistent Color with QuickTime Tags…

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[Mike Thomas] “3. Select all the clips on the timeline and create a “compound clip”. Name the clip the name of the scene including the word “compound”. After creating the compound clip “decompose” the clip, which just means to un-compound it.”
Did you consider my suggestion to use Metadata instead? This is exactly what Metadata is for, and it… Read more

[Mike Thomas] “Brand new to Resolve and shooting a feature film soon. I need to understand how to organize the movie by “scenes”. I’m switching from Sony Vegas where is was so simple. In Vegas each scene is saved as its own project, then each project is imported into a Master project. You work on each scene individually and the changes are… Read more

[Jim Lightfoot] “I did some timelapse shots of rising fog on a DSLR and it looks OK when I run the video in QuickTime but there is substantial moire when I preview it in DR 12 and then on TV.”
Wait: you’re using Resolve 12? That is a very, very old version of the program, back from 2015. Sounds to me like you’re describing typical 8-bit problems… Read more

[David Roth Weiss] “If you agree to pay the license fee to Apple I’m certain Blackmagic will agree.”
As far as I know, Apple only charges for encoding ProRes Raw, not for playing it back.

I would bet there are high-level talks between Apple and Blackmagic on the issue of different formats, and it’s interesting that Avid, Adobe, and several o… Read more

I just checked out dual-screen display for 16.2.3, and it appears that the Cut page is only one page. I don’t know if this is going to change in future releases or not.

If you haven’t already, go through the intro and Advanced Editing courses (which are free) over on Blackmagic’s Training page:

https://www.blackmagicdesign.com/products/davinciresolve/training

Ripple Training and Mixing Light both have many paid tutorials that go into more detail about how to edit in Resolve, but I don’t know anybody who’s… Read more

There is a “Broadcast Safe” OFX plug-in available from BorisFX that claims to do it.

What I do is just use the Gamut Mapping towards the end of the node tree, set input/output to Rec709, and carefully tweak the levels as required. I find this often works better than a curve, particularly with hot chroma shots. I don’t use it throughout the… Read more

[Libby Hancock] “what do you mean add a pixel of cropping?
“
Go to the edit page. Select the clip being superimposed. Go to the Crop tab in the Inspector and just barely touch one of the cropping functions, and the key should pop right in. It’s a mysterious “Resolve Thing” for which I have no explanation, but it will work. Generally.

Are you using a Fusion clip (like the guy in the video) or not?

If not, try adding a pixel of cropping to the upper track and see if that does the trick.

[matt schween] “I’m now sending a .DRP over to our editor to do the final mix and output but he’s noticing that there’s a colour difference between my final grade and his timeline. When he brings my 422 ProRes full resolution export into his system there’s a dramatic difference in colour between his timeline and the 422 file on a timeline.”
Read… Read more

What kind of timecode is in the clip? What specific codec does the clip use?
Also, check the EDL by reading it in a text editor, and see what the timecode numbers are and clip names are. This may give you a clue on the malfunction.

Yes, I agree with Michael’s suggestions above.
Some general tips for Face Refinement:
1) as Michael points out, you often get better results if you use PTZR to zoom into the face and THEN run the F.R. analysis mode. Once it’s tracked, go back to normal framing and the mask should still fit.
2) if there’s conflicts in the background, consider using… Read more

[Juan Juig] “Would you say that the bitrate of DNxHD 185x is high enough for an archive master file? I’m thinking of also creating DNxHR 444 from now on.”
No, I think DNxHR 444 is a much better choice.

[Juan Juig] “Since I work on Windows machines most of the times, DNxHD and DNxHR are definitely better options for me, but I read some articles about CBR vs. VBR and many claim that VBR is always better, since it distributes bitrate among frames unevenly. Now, am I right to assume, that this mostly applies to smaller files, like h264 files with… Read more