Color Correction Workflow Part 2: Rendering Out Those Hero Shots

Color Correction Workflow Part 2: Rendering Filtered Timelines in DaVinci Resolve

March 3, 2015

Rendering filtered timelines in DaVinci Resolve is a two-step process... Learn how to get it done.


Series

How to Explore Visual Ideas Using DaVinci Resolve

In Part 1 of this Workflow series, I explained the Hero Shots workflow—specifically as I execute it in DaVinci Resolve 10 & 11. After pulling our Hero Shots, color correcting them and creating several different Looks, I need to render them out. Remember, my client is an ocean away and I can’t just sit him next to me and hit Play. Why?

Hero Shots are a filtered timeline and Resolve doesn’t like rendering filtered timelines

More precisely, DaVinci Resolve doesn’t like rendering filtered timelines as single movies. It wants to render them as individual clips! And since all I want to send my client is a single .h264 to load up on his iPad… how to do I work around this problem in an otherwise terrific workflow?

In this Insight, learn a 2-step process that solves this problem

Yeah – it’s a bit annoying. Yes – it adds an extra bit of time to my day. But the benefits of the Hero Shots workflow so vastly outweigh this drawback—well, here I am showing it to you!

Enjoy!

– pat

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Comments

4 thoughts on “Color Correction Workflow Part 2: Rendering Filtered Timelines in DaVinci Resolve”

    1. Ah – not a codec. That’s my version name. I usually select a few shots to grade several different ways before deciding on an overall approach. On this job I experimented grading RGB, LAB (maybe one or two other approaches) and named the versions accordingly.

      1. Oh, that makes a LOT more sense. Seems I forgot the codec is on the other side of the clip on the bottom. Great insight, looking forward to pt 3. What are you thought on how MANY versions to provide clients in this phase, or do you judge that per client?

        1. Per job, per client. It’s part, how inspired am I by the footage before me (and how malleable is the footage)? Part, how specific are the client instructions (and how close I’m able to achieve their desired goals). It’s also part, is this a new client? New clients I tend to push a bit harder so I can find their boundaries and understand their ‘personal color gamut’ as part of the getting-to-know-you process.

          When it’s a ‘remote’ collaboration, I need more (bold) versions to keep us from going 12 rounds over 12 weeks. In-room, I’ll listen to their sighs, Ooohhhs, and ahhhhs for immediate feedback and will probably offer fewer explicit versions.

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