Conforming in DaVinci Resolve

Conforming in DaVinci Resolve

 

This is the ultimate course for editors and conform artists who want to learn everything about conforming inside of DaVinci Resolve! 

With 22 lessons and almost 5 hours of in-depth DaVinci Resolve training, Kevin McAuliffe will take you through every step and technical detail of the process from conforming media to mastering the final picture.

About the instructor

Kevin is an award winning editor and visual effects creator based in Toronto with over 15 years of teaching and training experience. Over the past years Kevin has delivered world-class work for clients such as Warner Bros, Walt Disney Company, 20th Century Fox, Universal and Elevation Pictures.

Who is this course designed for?

  • Editors
  • Conform Artists
  • Colorists

Lessons overview (subject to change)

  • Lesson 01: Getting started with the conform process
  • Lesson 02: Sending a Media Composer timeline to DaVinci Resolve
  • Lesson 03: Sending a Premiere Pro timeline to DaVinci Resolve
  • Lesson 04: Sending a Final Cut X timeline to DaVinci Resolve Resolve
  • Lesson 05: Creating Dailies in DaVinci Resolve
  • Lesson 06: Linking proxies to high resolution material
  • Lesson 07: Working with different timeline aspect ratios
  • Lesson 08: Working with anamorphic footage
  • Lesson 09: Importing flattened video and pre-conformed timelines
  • Lesson 10: Working with offline reference clips
  • Lesson 11: Technical LUTs basics
  • Lesson 12: Working with optimized media
  • Lesson 13: Dealing with offline media and conform issues
  • Lesson 14: Understanding matte workflows
  • Lesson 15: Working with alpha channels
  • Lesson 16: Sending a DaVinci Resolve timeline back to Avid
  • Lesson 17: Sending a DaVinci Resolve timeline back to Premiere
  • Lesson 18: Sending a DaVinci Resolve timeline back to Final Cut X
  • Lesson 19: Outputting the timeline for delivery
  • Lesson 20: Understanding codecs
  • Lesson 21: Review and approval
  • Lesson 22: Moving and archiving projects

Software required

A free version of DaVinci Resolve or DaVinci Resolve Studio. Avid. Premiere and Final Cut X are used in some of the lessons.
 

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13 hours ago, Nicolas Hanson said:

Just export a regular EDL? Or am I missing something?

OK I got you. Would it work with an xml as well. Or only EDL. 

Edited by Adéyẹmi
Hhhh

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In lesson 9 Where you talked about importing a preconformed EDL incase u only have only an exported copy to work with. You talked about importing - select - "preconformed EDL"  Does this work with xml as well. Because I also noticed an edl/xml option right above preconformed xml. 

 

2. Since u have both a preconformed EDL and EDL option separately, what is the difference between these two. 

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5 hours ago, Adéyẹmi said:

OK I got you. Would it work with an xml as well. Or only EDL. 

Only EDL.

For your other question, the idea with the pre-conformed workflow is to split a single clip into pieces, just as Kevin demonstrates in the video.

Edited by Amada Daro

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On 9/23/2019 at 6:12 PM, Amada Daro said:

Only EDL.

in lesson 9 he actually says ''a situation where the client has an EDL or XML of their timeline'' (09:05), and ''..and resolve is gonna add the edit information from the EDL or XML from that clip'' (09:30), so it's easy to get the impression that an XML can also be used in this workflow. especially since 'import AAF/EDL/XML' is right next to 'pre-conformed EDL' in the list.

Edited by nicolas horne

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my client recorded in red RAW 4K and edited in resolve using proxies. should she reconnect ('relink'?) to the RAW files and then media manage>entire project>copy only used media, then upload to me for grading in resolve? or is there a smoother way?
the cource doesn't go far into collaboration scenarios

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for an upcoming project, either the editor (premiere) or me will be receiving film scans of about half of the media. i have no control of neither timecode or clip names. i gave the producer the advice to let the editor swap out those files (and i would give her some tips on keeping the better quality). but what would be the proper or best way to deal with this if i had to do it in resolve? (i'm a colorist, not primarily a media juggler..)

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On 12/20/2019 at 5:56 PM, nicolas horne said:

for an upcoming project, either the editor (premiere) or me will be receiving film scans of about half of the media. i have no control of neither timecode or clip names. i gave the producer the advice to let the editor swap out those files (and i would give her some tips on keeping the better quality). but what would be the proper or best way to deal with this if i had to do it in resolve? (i'm a colorist, not primarily a media juggler..)

Hi Nicolas. You would be better off asking these questions in the DaVinci Resolve forum. 

Some tasks can't be automated and you need some information such as reel names, timecodes etc to have the system switch the correct clips for you. In a professional workflow the conform artist would be involved early in the process and generate the necessary metadata prior to the editing so that the clips can be switched without any issues.

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On 2/9/2019 at 1:01 PM, Frits Jan Smit said:

Overlaying a clip to match instead off a reference clip... what I foud out years a ago is to make the reference footge 50% transparant and invert it... you directly see the match which is completely grey... what is not matching will be embossed.

Better still, use Difference instead of Overlay.

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Just watched the Avid video, and having read a comment about Premiere, it's really important to talk about getting audio from these programs into Resolve instead of just video only, and any problems you will face. Don't know about Resolve 15, but in 16 any stereo audio from Avid will be dual mono in Resolve and you will have to manually replace it. Things like that should be mentioned.

 

Edit: scratch that, this is about conforming video for grading/finishing, not transferring edits to do more editing in Resolve. Ignore me.

Edited by Tom Early

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