Abby Bader

It depends. Many colorists balance with offsets and use the skin tones as a guideline for when the balance is good. But in theory, any secondary applies on top of a balanced shot because it usually means going in working with details or parts of the image and that's better done when the whole image sits where it should. Not to complicate things: Balance all your shots in your sequence with offsets. Try to get your skin tones where you want them while balancing. When the balance is good on all shots, then go in and work with details.

Normally, secondary corrections happen after the initial balance. An important reason for this is that the results of the corrections will match better between shots if the underlying shots are balanced. Setting up a first pass that works for your film before diving into complex and time-consuming secondary tasks, is also critical if you run out of time. That said, it's quite common to pull secondary keys etc from the source or layers/nodes prior to the balance.

Hi Jed. We would need some more information to be able to help you with your problem, but I recommend to watch the media offline lesson in the conform series as it covers most of the media offline issues you can come across.

Great, will try to make time for this Ian!

You mean this course

https://www.blackmagicdesign.com/products/davinciresolve/Download for public beta is also livehttps://www.blackmagicdesign.com/support/family/davinci-resolve-and-fusionAbout DaVinci Resolve 16 Studio SoftwareImportant Information regarding Database ManagementDaVinci Resolve 16 requires a database upgrade from DaVinci Resolve 15.3.1 and previous versions. We strongly recommend that you backup your existing database (both DiskDB and PostgreSQL) before performing an upgrade.What's new in DaVinci Resolve 16Features marked with * are in progress.Features marked with ^ have additional descriptions belowKey new features Addition of all-new Cut page Support for the DaVinci Resolve Editor Keyboard Multiple performance improvements with significantly faster Fusion processing Collaboration workflow improvements - DaVinci Resolve Studio Speed Warp motion estimation powered by the DaVinci Neural Engine in DaVinci Resolve Studio Timeline level resolution, frame rate, scaling and monitoring settings within the same project Upload directly to YouTube and Vimeo Quick Export for quickly performing renders from all pages Adjustment Clips to apply filters, effects and grades on top of a range of timeline clips Frame.io integration supporting media imports, direct uploads, marker and comment syncing - DaVinci Resolve Studio Significantly improved GPU accelerated real-time scopes Initial immersive 3D audio support including Dolby Atmos, Auro-3D, MPEG-H, and SMPTE ST 2098 - DaVinci Resolve Studio Free foley sound effects library available from the Blackmagic Design support website for use in DaVinci Resolve Cut Dual timelines with the ability to quickly navigate or edit anywhere on the timeline Ability to use Source Tape mode to preview multiple media pool clips as a sequence of shots Dedicated trim tool in the viewer to allow for frame-accurate trimming Fast review mode with adaptive preview speeds to quickly review footage Intelligent editing behavior based on playhead proximity to edit points Dedicated edit and transition buttons Compact viewer controls for context-specific actions including transform, audio, text and effects Ability to access and edit all DaVinci Resolve transitions, effects and Fusion title templates Multiple media pool sort and display modes - including new filmstrip mode and new list mode with thumbnails Easy access to Quick Export options to export and share videos Performance User selection to preserve video essence for faster rendering of clips without content changes^ Improved playback performance with title templates in the effects library^ Improved Fusion playback performance Improved caching performance for clips with Fusion comps Improved 3D engine performance for clips with Fusion effects Improved performance when playing back Fusion clips with cached effects Improved performance with support for GPU-accelerated scopes Improved performance for the Super Scale algorithm powered by the DaVinci Neural Engine in DaVinci Resolve Studio Improved playback performance on Linux systems with a single NVIDIA GPU Collaboration Per-system render cache for collaboration projects - DaVinci Resolve Studio^ Ability to create and modify markers in the Color page for collaboration projects - DaVinci Resolve Studio Ability to modify clip metadata and flags from the Color page for collaboration projects - DaVinci Resolve Studio Ability to display and change clip color from the Color page for collaboration projects - DaVinci Resolve Studio Ability to load collaboration projects in read only mode - DaVinci Resolve Studio Support for Dolby Vision and HDR10+ in collaboration projects - DaVinci Resolve Studio Frame.io integration supporting media imports, direct uploads, marker and comment syncing - DaVinci Resolve Studio^ Ability to override the output and monitoring settings per collaboration system - DaVinci Resolve Studio^ Ability to see the machine and IP address of the user who is currently using a non-collaboration project Options to show or hide flags and markers of specific colors Ability to delete markers and flags by color Edit Speed Warp motion estimation powered by the DaVinci Neural Engine - DaVinci Resolve Studio^ Timeline level resolution, frame rate, scaling and monitoring settings within the same project^ Adjustment Clips to apply filters, effects and grades on top of a range of timeline clips^ Ability to analyze video clips for detecting and classifying people powered by the DaVinci Neural Engine - DaVinci Resolve Studio^ Custom safe areas for titles and actions^ Ability to assign any media pool clip or timeline as an offline reference clip^ Video orientation angle in the Clip Attributes dialog Ease in and out position keyframes in the curves editor Ability to view and edit keyframes for OpenFX plugins in timeline curves Stabilize video clips from the Inspector Support for pasting color correction properties from the Paste Attributes dialog Improved audio behavior when scrubbing in the Edit and Media page viewers Temporarily enable/disable snapping for titles on the viewer using the Alt/Opt key All available viewer area is automatically used for 2-up and 4-up displays Blade operations on a selected clip results in the preceding section being selected Ability to toggle viewer overlays on/off and assign shortcuts for specific modes in the Edit and Color page viewers^ Support for a larger selection of words in the keyword dictionary from workspace menu Ability to group and manage smart bins using folders User preference to automatically create smart bin categories from media pool clips based on keywords, shot, scene and people metadata Ability to duplicate existing smart bins Ability to toggle between searching all media pool bins and current bin Support for Go to In/Go to Out functions for three point edits even when preview marks are not visible Support for switching the video monitoring output when toggling between source and timeline viewer in gang mode Automatic updating of the Usage in Media Pool list view Project setting to limit reel name matching to a specific number of characters when conforming or color tracing timelines^ Project setting to ignore a specific number of characters from the beginning of the reel name when conforming or color tracing timelines^ Newly pasted clips are now automatically selected Ability to render broadcast wave files with support for metadata when exporting timelines to Pro Tools Improved handling of video codec defaults and audio file names when exporting timelines to Pro Tools Ability to switch buses for monitoring from the Edit page Options to toggle views for rectified, full waveform and waveform borders in timeline options^ Improved alpha channel handling for compound clips with more than two layers^ Fusion Fusion Studio 16 release concurrent with DaVinci Resolve 16 Improved playback performance with title templates in the effects library Improved Fusion playback performance Improved 3D engine performance for clips with Fusion effects Support for MultiSampling in the 3D Renderer Ability to flexibly scale animation with changing clip lengths Improved performance when playing back cached Fusion clips Improved responsiveness of Fusion viewer interactions when using a Wacom tablet Ability to view and edit Fusion composition names from the clip thumbnail context menu Improved memory management on large Fusion compositions with a high layer count Improved GPU memory utilization for Fusion compositions with temporal processing Improved performance for Change Depth with new Error Diffusion option Improved performance and accuracy for Camera Tracker, with support for lens distortion Improved performance with Fusion Dissolve with GPU acceleration support Improved performance with Fusion TimeSpeed and TimeStretch with GPU acceleration support Improved performance for Planar Tracker Improved performance for B-Spline rendering with GPU acceleration support Improved performance for Vector Motion Blur and motion blur in other tools with GPU acceleration support Improved performance for Fusion Splitter and Combiner with GPU acceleration support Improved performance for Fusion BitmapMask with GPU acceleration support Improved performance for Fusion CornerPin and PerspectivePin with GPU acceleration support Improved performance with Fusion Mask rendering with GPU acceleration support Improved performance with Fusion Color operations with GPU acceleration support Color All new scopes engine GPU accelerated with real-time performance Option to apply a low pass filter for cleaner views CIE scope for viewing gamut distribution Option to set quality of the scopes Additional YRGB and YCbCr modes in Parade Option to see extents in Parade and Waveform Option to colorize Parade and Waveform Additional luminance and chroma modes in Waveform Ability to set ranges and view shadows, midtones and highlights independently in the Vectorscope Ability to view individual or combined extents for shadows, midtones and highlights in the Vectorscope Additional YRGB mode in the Histogram Option to see input or output histograms in the background of custom curves Option to see input or output histograms in the background of HSL curves Support for new auto-color and color match processing powered by the DaVinci Neural Engine^ Ability to gang the zoom on the Color page viewer and the video output^ Ability to view individual red, green and blue channels in the viewer^ Ability to view and adjust keyframes for ResolveFX and OpenFX^ Ability to adjust the thumbnail size for timeline and lightbox to view a larger range of clips Ability to copy and paste attributes between nodes Ability to step forward and backward by 1 second Ability to mark in-out ranges, mark current clip or clear ranges in the timeline for looped playback and to perform quick exports of specific sections New smart filter for clips with edit sizing New smart filter for clips with specific ResolveFX or OpenFX applied Ability to view and set stereoscopic floating windows in pixels^ Additional strength controls for advanced video stabilization Tracks can be enabled/disabled from the application menu and using shortcuts Option to monitor stereoscopic content using line by line with the first line being even List view mode for gallery stills and PowerGrades Ability to update and navigate the current timeline wipe using the Timelines section in the gallery Ability to optionally enable scrubbing when performing live preview in the gallery^ Support for a new Selected Still Images split screen mode Accessing clip attributes from the thumbnail context menu Revealing media in Media Pool from the thumbnail context menu Revealing applied LUT in LUT browser from the node context menu Support for Canon C700 IDTs in ACES workflows Support for tooltips with track names in the Color page timeline Support for AstroDesign ALog OETF in Resolve Color Management workflows Support for 203 nit gamma mapping in Color Management settings when performing SDR to HDR color space conversions Ability to pan and tilt an image beyond the project resolution in input, node and output sizing Modifying Canon and Panasonic Camera Raw controls from the DaVinci Resolve Mini and Advanced Panels Switching tabs automatically when adjusting primary parameters from DaVinci Resolve panels ResolveFX ResolveFX Stylize powered by the DaVinci Neural Engine in DaVinci Resolve Studio ResolveFX Object Removal in DaVinci Resolve Studio^ ResolveFX Analog Damage in DaVinci Resolve Studio ResolveFX Pencil Sketch in DaVinci Resolve Studio ResolveFX Chromatic Aberration in DaVinci Resolve Studio ResolveFX Chromatic Adaptation ResolveFX Vignette ResolveFX Invert Color ResolveFX Drop Shadow Support for the ResolveFX Blanking Fill, Lens Blur and Tilt Shift Blur in the Fusion page Support for the ResolveFX Patch Replacer in the Edit page Support for integrated beauty enhancements in ResolveFX Face Refinement Improved ResolveFX Beauty with a new Auto mode, better edge behavior, individual controls and larger parameter ranges Improved ResolveFX Scanline Improved behavior for handling glow sources in multiple ResolveFX plugins^ Improved behavior for ResolveFX plugins with support for processing the alpha channel in the Edit timeline Improved ResolveFX Blanking Fill with better defaults, support for more granular cropping and easier controls Improved ResolveFX Warper with support for keyframing Improved ResolveFX Dead Pixel with support for keyframing Improved ResolveFX Colorspace Transform with support for SMPTE-C and Gamma 2.5 Fairlight Initial support for Dolby Atmos audio in DaVinci Resolve Studio^ Initial support for Auro-3D audio in DaVinci Resolve Studio^ Initial support for MPEG-H audio in DaVinci Resolve Studio* Initial support for SMPTE ST 2098 3D audio from DaVinci Resolve Studio Support for B-Chain monitoring in the Fairlight page in DaVinci Resolve Studio Support for labeling and protecting specific speakers from unwanted signal patching from the B-Chain port setup Support for a larger variety of track formats including support for 3D audio formats FairlightFX Frequency Analyzer FairlightFX Limiter FairlightFX Phase Meter FairlightFX Dialog Processor* FairlightFX Foley Sampler Elastic Wave adaptive audio timing Ability to save and recall multiple track automation mixes Ability to copy, paste, edit and erase user selected portions of track automation data from the Fairlight menu Improved viewing and control of 3D pans in the Fairlight pan tool Support for Fairlight Audio Accelerator via Thunderbolt expander for macOS Support for importing AAF timelines with support for decoding embedded audio content Viewing and editing automation parameters for buses in the timeline view New loudness monitoring standards - including ATSC, 1770 and R128 standards Improved clip normalization with an option to set loudness standards Ability to view integrated loudness curves for the Main bus in the timeline^ Ability to reset playback volume by Alt/Opt-clicking the volume slider Media path mapping for the Sound Library Ability to save and recall full console library presets Codecs and Delivery Quick Export for quickly performing renders from various pages^ Rendering all timeline audio tracks individually in single clip mode^ Decoding iOS Voice Memo, including lossless formats Improved support for decoding and linking IMF supplemental packages in DaVinci Resolve Studio Support for 20th Century Fox IMF preset in DaVinci Resolve Studio Option for DCP quantization levels when rendering using the Kakadu JPEG2000 codecs User alert when the render resolution is larger than the timeline resolution Ability to use Super Scale in timeline output scaling in order to perform upscaling on renders and deliveries Support for encoding to Panasonic SHV 8K in DaVinci Resolve Studio Support for trimming MXF clips with temporal codecs in media management Ability to minimize or disable viewer updates during rendering AMD hardware accelerated decoding of H.264 and H.265 on Windows in DaVinci Resolve Studio AMD hardware accelerated encoding of H.264 and H.265 on Windows in DaVinci Resolve Studio Improved support for NVIDIA H.264 and H.265 rendering parameters on the Delivery page on Windows and Linux in DaVinci Resolve Studio Improved support for Intel Quick Sync H.264 and H.265 parameters on the Delivery page on Windows in DaVinci Resolve Studio Option to select the hardware acceleration method for decoding H.264 and H.265 on Windows and Linux - DaVinci Resolve Studio Improved performance when decoding H.264 and H.265 clips on macOS Improved performance when encoding H.264 and H.265 clips on macOS Option to select hardware or software encoding for H.264 in macOS Ability to set the Entropy mode when encoding H.264 on macOS Improved display of options for H.265 profiles with implicit bit depth selection in the Deliver page on macOS Improved HDR metadata encoding when rendering to H.265 Improved performance when encoding to AVI formats Support for D-Gamut and D-Log for DJI RAW clips Support for GPU accelerated decoding of Canon RAW clips using the Canon SDK Support for decoding Canon C700 Full Frame clips Support decoding Canon RAW clips in half res and quarter res mode Support for decoding and encoding Avid DNxUncompressed formats Support for decoding ARRI HDE clips Ability to control QuantScale and MaxFrameSizeInPercent parameters when encoding to Grass Valley formats Improved IMF composition settings options with the ability to rename native assets Improved naming support for native DCP and IMF renders Removed folder extensions from IMF/DCP renders General Support for the DaVinci Resolve Editor Keyboard Exporting videos directly to YouTube^ Exporting videos directly to Vimeo^ Per OS login preferences and settings with support for local UI layouts, database management, system and user preferences^ Ability to check for software updates from the DaVinci Resolve menu Playback speed indicators in Resolve viewers Ability to enable or disable individual pages in DaVinci Resolve^ Ability to hide the page navigation bar from the Workspace menu Ability to enable or disable focused panel indicators in DaVinci Resolve Ability to list and navigate to open Media Pool windows from the Workspace menu Support for automatically checking for software updates when connected to the internet Support for Russian user interface Improved Live Save behavior on the Fusion and Color pages Ability to add and edit project notes from the Project Manager and app menu^ Support for using timeline name and project name as burn in and render tags Support for editing descriptions and comments columns for timelines in the Media Page Ability to view the GPU Processing mode when set to Auto Support for using DaVinci Resolve Studio dongles to enable Fusion Studio General stability and performance improvements Developer Ability for OpenFX plugins to access any frame from the current clip Scripting support for python 3.7 Discoverable scripting APIs in python and python 3 Combo boxes in Davinci CTL plugins Ability to encrypt and specify expiry dates for DaVinci CTLs Ability to query current timecode and current clip using the scripting API Improved scripting support for importing, exporting and restoring projects and archives Improved scripting support for listing, loading, renaming and deleting Fusion compositions and Color versions Pre-installation Notes DaVinci Resolve 16 introduces support for operating system user-level configurations and preferences. When starting DaVinci Resolve 16 for the first time, your system level global configuration files, layouts, logs and other preferences will be copied into your user folder. The existing system level files will be left untouched and will continue to work with older versions. Any changes made to your system or user level preferences in DaVinci Resolve 16 will not be reflected in older versions. DaVinci Resolve 16.0 requires a database upgrade from DaVinci Resolve 15.3.1 and previous versions. We strongly recommend that you backup your existing database (both DiskDB and PostgreSQL) before performing an upgrade. DaVinci Resolve 16.0 requires a graphics card with at least 2GB of VRAM which supports Metal, OpenCL 1.2 or CUDA 10. This applies to both the compute and display graphics cards. Please also install the latest graphics drivers on Windows and Linux recommended by your graphics card vendor. Feature DescriptionsUser selection to preserve video essence for faster rendering of clips without content changesThe option to "Bypass re-encode when possible" can be toggled in the Advanced Settings in the Deliver page. When enabled, DaVinci Resolve determines if the source file codec matches the selected delivery codec and if the clip has no modifications and then bypasses re-encoding the video content.Improved playback performance with title templates in the effects libraryThe Fusion based title temples available on the Effects Library play significantly faster on the timeline with many effects playing in real-time without caching. These effects benefit from a high performance GUI GPU. This enhancements is currently only available on single GPU systems are will be available in multi-GPU systems in a future beta update.Per-system render cache for collaboration projectsCollaboration projects now have support for render caching clips. The render cache data is stored per system and each collaboration user can generate and manage their cache files.Frame.io integration supporting media imports, direct uploads, marker and comment syncingDaVinci Resolve Studio now supports native integration with Frame.io. Login using the Sign In button under the Frame.io section of Internet Accounts under Preferences and follow the on-screen prompts. Once the sign-in is complete, the Media Storage will have a Frame.io entry where the projects and clips within the account can be accessed. Frame.io clips added to the Media Pool are automatically downloaded in the background for use in the project. Timelines or sections of the timeline can be rendered and uploaded using the Frame.io Deliver page preset. Timelines uploaded to Frame.io automatically sync markers and comments which are visible to all the users who have access to the clip and project.Ability to override the output and monitoring settings per collaboration systemThe "Use Local Overrides" option can be enabled in the Video Monitoring section of Project Settings in a collaboration project. When enabled, the user can customize monitoring settings for their system.Speed Warp motion estimation powered by the DaVinci Neural EngineThe "Speed Warp" option for optical flow motion estimation can be selected from the Edit page Inspector under Retime and Scaling for clips with speed changes. The Speed Warp takes effect for retimed clips with optical flow processing enabled.Timeline level resolution, frame rate, scaling and monitoring settings within the same projectResolution, frame rate, scaling and monitoring settings can now be set independently for each timeline. By default, new timelines pick up these options from the Project Settings. Users can choose to override these defaults with custom values by using the "Use Custom Settings" button in the New Timeline creation dialog. The timeline settings can also be accessed and modified using the Media Pool timeline context menu.Adjustment Clips to apply filters, effects and grades on top of a range of timeline clipsAdjustment clips act as generator clips that get their input from the clips and tracks below them. Adjustment Clips can be added to the timeline from the Effects section in the Effects Library, adjusted to the appropriate length and modified and graded independently.Ability to analyze video clips for detecting and classifying people powered by the DaVinci Neural EngineMultiple video clips can now be processed for face recognition from the clip context menu in the media pool. Detected people can be named and individual faces can be untagged or reclassified from the People dialog accessible from the Workspace menu. Automatic smart bin creation can be enabled for people from the Preferences dialog and the People field can be used like other metadata in smart bin and filter creation.Custom safe areas for titles and actionsSafe areas for titles and actions can now be customized from the Editing section of User Preferences by enabling "Use custom safe area overlays"Ability to assign any media pool clip or timeline as an offline reference clipAny Media Pool clip or timeline can now be assigned as an offline reference clip for a timeline. This can be done by switching the source viewer to offline mode and dragging the desired Media Pool clip on to the viewer. Please note that the source timecode of the selected offline reference clip will need to match the timecode of the timeline.Ability to toggle viewer overlays on/off and assign shortcuts for specific modes in the Edit and Color page viewersViewer overlays for the Edit and Color page viewers can now be toggled from the View menu, under the Viewer Overlay submenu. Additionally, custom shortcuts can be assigned for each individual mode to switch modes quickly.Project setting to limit reel name matching logic when conforming or color tracing timelinesTwo options have been added in Project Settings under Conform Options in General Options to limit reel name matching when conforming or color tracing. The first limits the matching logic to a user defined number of leading characters in the reel name. The second ignores a user defined number of leading characters in the reel name.Options to toggle views for rectified, full waveform and waveform borders in timeline optionsThe timeline options dialog in the Edit timeline now provides toggles for rectified waveforms, full clip height waveforms as well as waveform borders similar to the Fairlight page timelineImproved alpha channel handling for compound clips with more than two layersPreviously, alpha channels were preserved for single layer compound clips. Now, even compound clips with multiple layers correctly preserve alpha channels and composites when placed on a timeline.Support for new auto-color and color match processing powered by the DaVinci Neural EngineThe "Apply Auto Primary Grade" and "Apply Auto Shot Match" actions are now powered by a new algorithm powered by the DaVinci Resolve Neural Engine. The legacy methods can still be accessed by enabling "Legacy Auto Color" and "Legacy Shot Match" from the Color tab of User Preferences.Ability to gang the zoom on the Color page viewer and the video outputThe "Gang viewer zoom with video output" option can be found in the three-dot option menu of the Color page viewer. Enabling this option will pan, tilt and zoom the reference monitor output in conjunction with the viewer in the Color page. You can reset the reference monitor output by applying zoom to fit in the viewer.Ability to view individual red, green and blue channels in the viewerThe menu options to enable individual viewer channels on the Color page viewer can be found in the View menu under "Viewer Channels".Ability to view and adjust keyframes for ResolveFX and OpenFXResolveFX and OpenFX plugins that are applied in the Color page node graph can now be seen in the keyframes section of the Color page and can be managed from there.Ability to view and set stereoscopic floating windows in pixels3D Stereoscopic floating windows can now be viewed and modified in pixels using the option in the 3D panel three-dot option menu.Ability to optionally enable scrubbing when performing live preview in the galleryWhen Live Preview is enabled in the Gallery three-dot option menu, additional hover scrub preview options are now available to disable scrubbing, enable hover previews only on the thumbnails or both on the thumbnail and viewer.ResolveFX Object Removal in DaVinci Resolve StudioThe ResolveFX Object Removal plugin can be used in the Color page to quickly remove unwanted objects from the clip. In order to use this plugin, an alpha mask of the object needs to be fed in and "Use OFX Alpha" needs to be enabled on the node with the plugin.Improved behavior for handling glow sources in multiple ResolveFX pluginsThe generated glow in the Aperture Diffraction, Glow, Lens Reflections and Light Rays plugins can now be filtered to emanate from specific parts of the image. This can be enabled by turning on the Use OFX Alpha option in the appropriate ResolveFX node and either drawing power windows or providing an alpha channel input into the node.Initial support for immersive 3D audio formatsIndividual immersive 3D audio formats can be turned on from Project Settings under Fairlight to make them available as bus and track formats. In addition, the target Dolby Atmos RMU settings can be specified in Preferences, under the Video and Audio I/O tab.Ability to view integrated loudness curves for the Main bus in the timelineWhen automation is enabled, the Fairlight track index shows additional entries for main buses. Clicking the eye icons allows mix parameters for each bus to be viewed and manipulated from the timeline.Quick Export for quickly performing renders from various pagesQuick Export can be accessed from the File menu in order to quickly render a timeline directly from the Edit and Color pages without having to create a render job in the Deliver page.Rendering all timeline audio tracks individually in single clip modeThe audio tab in the Deliver page settings has a new output track option for single clip render jobs called "Timeline Tracks". This option allows render all audio tracks in the timeline as is to the file being rendered.Exporting videos directly to YouTubeThe "Internet Accounts" tab in System Preferences allows you to specify your YouTube login. Once the login is complete, the Deliver page will have an option to "Upload directly to YouTube" under the YouTube preset.Exporting videos directly to VimeoThe "Internet Accounts" tab in System Preferences allows you to specify your Vimeo login. Once the login is complete, the Deliver page will have an option to "Upload directly to Vimeo" under the Vimeo preset.Per OS login preferences and settings with support for local UI layouts, database management, system and user preferencesSystem and User preferences are now stored at an operating system user level. When starting DaVinci Resolve 16 for the first time, the system level global configuration files, layouts, logs and other preferences will be copied into the local user folder. The existing system level files will be left untouched and will continue to work with older versions. Any changes made to DaVinci Resolve preferences will not be reflected in older versions. The DaVinci Resolve activation information, LUTs and existing Disk Databases will continue to be stored at the system level.Ability to enable or disable individual pages in DaVinci ResolveThe "Show Page" submenu under the Workspace menu allows you to show or hide individual pages in DaVinci ResolveAbility to add and edit project notes from the Project Manager and app menuThe "Project Notes" dialog, invoked from the Project Manager context menu, can be used to view or modify notes related to the project. Project notes can also be viewed in the Notes column in the Project Manager list viewMinimum system requirements for macOS macOS 10.13.6 High Sierra 16 GB of system memory is recommended and 32 GB is recommended minimum when using Fusion Blackmagic Design Desktop Video version 10.4.1 or later CUDA Driver version 418.105 NVIDIA Driver version - As required by your GPU RED Rocket-X Driver 2.1.34.0 and Firmware 1.4.22.18 or later RED Rocket Driver 2.1.23.0 and Firmware 1.1.18.0 or later Minimum system requirements for Windows Windows 10 Update 16 GB of system memory is recommended and 32 GB is recommended minimum when using Fusion Blackmagic Design Desktop Video version 10.4.1 or later NVIDIA/AMD/Intel GPU Driver version – As required by your GPU RED Rocket-X Driver 2.1.34.0 and Firmware 1.4.22.18 or later RED Rocket Driver 2.1.23.0 and Firmware 1.1.18.0 or later Minimum system requirements for Linux CentOS 7.3 32 GB of system memory is recommended minimum Blackmagic Design Desktop Video version 10.4.1 or later NVIDIA/AMD Driver version – As required by your GPU RED Rocket-X Driver 2.1.34.0 and Firmware 1.4.22.18 or later RED Rocket Driver 2.1.23.0 and Firmware 1.1.18.0 or later Upgrading your PostgreSQL database server on MacUntil DaVinci Resolve 12.5.2, the Mac installer used to ship with PostgreSQL version 8.4.2. Starting from macOS Sierra 10.12, PostgreSQL version 8.4 is no longer supported. If you intend to upgrade to the latest OS, you will need to upgrade your PostgreSQL database server to version 9.5.4 prior to upgrading macOS. Once your PostgreSQL installation has been upgraded and your data has been ported, you can then proceed with your macOS upgrade.We have provided apps to simplify upgrading your PostgreSQL version on your Mac.The apps along with instructions can be found in the:/Library/Application Support/Blackmagic Design/DaVinci Resolve/Upgrade PostgreSQLfolder. Starting from DaVinci Resolve 12.5.3, new installations will include PostgreSQL version 9.5.4.Installing DaVinci Resolve Software on MacDouble-click the Resolve Installer icon, follow the onscreen instructions.Installing DaVinci Resolve Software on WindowsDouble-click the Resolve Installer icon, follow the onscreen instructions.Installing DaVinci Resolve Software on LinuxOpen a Terminal shell, login as root and run the command:# DaVinci_Resolve_Studio_<version>_Linux.shFor the legacy DVD environment, double click the Resolve installer icon and follow the onscreen instructions.Removing DaVinci Resolve Software from MacTo remove DaVinci Resolve from your system, double-click the Uninstall Resolve icon.Removing DaVinci Resolve Software from WindowsTo remove DaVinci Resolve from your system, go to the Programs and Features control panel, select DaVinci Resolve, click on Uninstall and follow the onscreen prompts.

Very exciting Avid redesign and new features! https://www.hollywoodreporter.com/behind-screen/avid-unwraps-all-new-media-composer-editing-system-hollywood-1199968

Flame for an affordable price would shake things up. I bet BlackMagic will focus on full Fusion integration.

C4D is known to be easy to learn compared to Maya, 3D Studio Max and definitely Houdini. As in color grading it's more about the artist than the tool, but my impression is that it's used quite heavily in the motion graphics part of the industry and as you say - in conjunction with After Effects.

I guess it's several ways to split the channels but something like a splitter combiner node or channel boolean should do the trick.

Good review!

I have opened several images in Photoshop and they are all lined up as separate documents. Then, when I try to save this PSD-file I only get the option to save the individual documents and not a PSD-file with all the documents inside? I might be incredible stupid but this makes no sense to me. Please enlighten me.

Great work Kevin, a detailed conform course in really needed.

I think that one of the reasons companies like Film Convert is doing good is that they care about accuracy. They sell a look or stock emulation and they do everything they can to make it look the way it's intended to look no matter what camera they use. This is done by matching their looks with the different camera profiles. By stating on your site that you have custom powergrades for most cameras, I think you insinuate that you match profiles. Not saying you are trying to trick your customers, I just read it that way (and was wrong) and was curious how you did it.

I understand, but how do you match the different camera profiles to ensure your presets will give the same result with different cameras?