All language subtitles for 4-DaVinci-Resolve-17-Color-DeliveringContent

Hi, my name is Daria.

And in this video, I'll be showing you

how to set up a project render
in DaVinci Resolves Deliver Page.

I've already got a project open.

This has been assembled

individual resolves edit page
and then color graded in the color page.

So I am now ready to jump into the deliver
page by going to the very bottom

of the interface and clicking
on the little rocketship that says Deliver

to now Access my deliver page.

The interface features just a few panels.

On the left hand side,
we have our render settings.

This is where you're going to be

spending the majority of the time
setting up your parameters.

At the top we have our viewer,
which is showing you exactly

what you're going to be rendering.

And to the right of that,
we have our render queue,

which is going to contain a list
of all the jobs that we're going to render

underneath a viewer.

We have two forms of the timeline.

We have a thumbnail timeline similar
to the one that we saw on the color page,

which represents every clip
as its own still thumbnail image.

And then under
that is the edit page timeline,

which shows you the exact relationship
between the clips, their durations,

the various video and audio tracks
At the very top of the page.

We have the interface toolbar,

which allows us to further customize
the layout of the deliver page.

So for example,
the render settings by default takes up

the entire height of the page,
but I can use the collapse button

to the left of it to shrink the render

settings and prioritize the bottom
half of the screen to our timeline.

But I will click this arrow
to expand render settings

so that I can see
the full list of controls.

An important thing to keep in mind
before we jump into the details

of the deliver page is that it takes
only three steps to set up a render job.

Number one is going into the render
settings and setting up

your parameters
as needed for your particular project.

Number two is going into the timeline

panel, where you will determine
the duration of your render.

So by default
the render is set to entire timeline

and then number three is clicking add

to render queue
at the bottom of the render settings.

This will place your job into the render
queue panel in the top right corner.

So just those three steps

render settings, timeline, duration
and add to render queue.

Once all of your render jobs are ready,
you can select render

all at the bottom of the render queue
and they will all be output

to the location that you select will begin
with the Render Settings panel.

At the very top
you could see a list of presets

that comply with a series
of various industry standards.

On the far left,
we have our custom preset.

This offers us the widest set of options
in terms of parameters,

so it's entirely up to us to decide
what video container we want to export in,

what encoding language,
we want to use our data rates, etc.

To the right of that

we have a series of user
generated content video sites, presets.

These presets were developed
using the specifications

offered on these websites

and in some cases directly
in collaboration with those websites

to produce
the optimal settings for your videos.

As you continue down the preset list,

you can see that
we have a series of master presets.

We also have IMF video deliverables
for high end streaming services.

A little dropdown arrow next to
some of the presets allow you to specify

with more precision where your delivering
to or what resolution you're delivering.

So in this case you can see that

Disney Plus and Netflix streaming
services are supported.

Then as you continue down this list,
we also support roundtrip workflows

in case you are working with collaborators
who are not using DaVinci Resolve.

These type of roundtrip presets
tend to generate two types of files.

One will be a set of trimmed media
of all your edits on the timeline,

and the other will be an XML file
that they can use to reconstruct the edits

on their end.

So this is a pretty popular workflow
if you're acting as just the colorist

on the project as opposed to an all around
editor collaborator,

I'm going to navigate
all the back to the left

and we will indeed
set up a job based on a preset.

So I'll have YouTube set to to ADP, but
I would like to modify it a little bit.

So I'd like to raise the data rate so that
the quality of the video is increased.

If I want to have further control
over my parameters,

instead of just relying on the presets,
I can click on the word custom

next to YouTube
and that will expand my controls

back to the custom selection,
but it will still carry across

all of the preset settings
from the previous YouTube selection.

So when I click on the video
tab at the top,

I can see that
it's already set to the QuickTime format,

which is what YouTube recommends
in the appropriate age to six for Codec.

But here I can
navigate to my quality controls which

refer to my data rate, and I could decide
to increase this to 12,000.

So I'll click on the numeric field
type in 12000.

And that's pretty much
all I wanted to do for this job.

The data rate will have
the greatest impact

on the visual quality of your video
and also on the resulting file size.

Oftentimes when you are submitting a video

for a festival, so there's usually
like an online submission form.

It will also give you a limit
on your video size.

And if you do a bit of math,
you can sort of reverse engineer

and calculate
exactly what your data limitation is.

And that way
you can increase the quality of your video

while still meeting the demands
of that video upload site.

Or likewise, if you find that you're going
just a little bit over the limit,

you know that if you reduce that value

those kilobytes, then you can actually
shrink the size of your video file.

So that's quite helpful.

I will next address the name of my video.

So you can see right now it's untitled,
but I can navigate to the file tab

in the middle of this panel and see that

rather than using a custom name
which I can go ahead and type

directly into the file name field,
I can also select timeline name

and it's pretty good standard practice

to give your timelines names
that are appropriate to either the project

name or the deliverables standard,
and also include version numbers.

So if you have a good naming convention,
then it makes sense to use the timeline.

Name a lot of the time.

So I'll have that selected and I'll also
make sure that the location makes sense.

So I'm going to click Browse and on my
desktop I'm going to create a new folder.

I'll call this exports,

click open to select it.

And now this is where this file will be
generated.

Step two will be to review
the duration of my render

and as I mentioned at the beginning,
by default, it's set to entire timeline,

which I'm very happy with.

So then I can jump to step three,
which is to add it to the render queue.

And my first job has now appeared

to remind myself
of what this job was intended for.

I can click at the very top of the job
in the header and rename it from job

one to, let's say,
HD high definition YouTube

and I click off so I can

either start to render this right away
or I can continue to create new jobs

with different render settings
and add them onto this list.

Another common use for the render page
is to generate rushes

or dailies for editors.

So dailies are just compressed
versions of your original camera takes.

With dailies, you will usually assume
that there's a master timeline.

The audio has all been linked
to the video takes,

and there's also maybe a preliminary
grade, or perhaps let's look up

tables applied to the clips
in order for the editor

to see what the final colors
are more or less going to look like.

I should note that DaVinci Resolve
has its own internal proxy generator.

So if you're going to be editing
at the end

to resolve, there's not really a reason

to generate these types
of external dailies.

But in case you're collaborating
with someone, or

perhaps you have producers or a director
who wants to watch these takes at home,

then it makes sense to generate
these lighter files.

For this, I am going to use a custom
preset so I already have custom selected.

I'm going to return to the video tab
on the left hand side here

and I will indicate that
I want all the video clips rendered

not as a single video clip,
but as a set of individual clips.

So when I click individual,
that means that every single take on

the timeline is going to be exported
as its own video.

I'm going to keep the format as QuickTime
that's perfectly appropriate

for transcoding media or proxies,
but I will change the codec

from age to 64,
which is a tempo compression.

It tends to be quite heavy
to playback in editing programs

and instead I'll set it to an intermediary
format like, for example, Apple progress

and maybe lower my quality
from 42 HQ to something like 42 LTE.

Something else that I might want to do

when generating dailies
is apply a data burn into the video.

So this is various information that is

burned into the video
or rendered in the actual pixel data

that people can use as reference

and also as a form of protection
for the original video text.

So to access your data, Brennan controls,
you need to go

to the very top of the program
into the workspace menu and choose data.

Burn it.

You'll end up with this floating window
interface.

On the left hand side,
you have a series of parameters

that you can enable to place
onto the video, and on the right hand side

is your controls for those parameters
so you can change their appearance.

I'm going to pick up this window
by the header so I can see my viewer.

And a lot of these parameters
are quite common

to include in the burn ins, but this all
kind of depends on who they're going to.

So what I send to a director for review
might be different

from what I would send to a client
who's reviewing a final video.

In terms of dailies, I probably want to
include the source TimeCode,

which is going to show me the timecode
of the original video clips.

And that means that if we're assembling
something like an online cut,

we know exactly which clips we have to
refer to and at what point in time.

And then of course for that
we will also need the source clip name.

So when I select that parameter,
the next label appears in the viewer,

and now I can see exactly what the names
of all the clips were,

or something else
I might want to do is to include

a semi-transparent overlay
to protect this footage from being shared.

So we have a set of custom text parameters
as well as a set of logo parameters.

So if you did have a production logo,
you can superimpose that as a watermark.

You don't include that in your renders.

I'm going to use custom text
and simply notify people

not to distribute this material.

However, right now it's

kind of shrunk at the bottom of the video,
so it could potentially be cropped out.

What I would like to do
is make it a little bit bolder,

a little bit
more dominating in this frame.

So I will go into the options of the data
burn and panel

and I
will engaging the render text styles.

And what that means is that

the text styles for these parameters
will no longer be identical.

Instead, I can modify them
as I wish on an individual basis.

So I'm
going to click that to disconnect them.

And now I can resize my custom text,

reposition it

and even change the font if I want to.

We also have

opacity controls for the background
and for the text itself,

so I'll probably want to make it
semi opacity

type in 0.4.

And now as I scrub through the clips,
you could see that we have text

disrupting these clips from being shared.

When I'm ready to hide this interface,
I can click the X

in the top left corner
and continue with my render setup.

One final thing I'd like to do
is once again jump into the file

tab to check exactly
what my naming convention is going to be.

A good idea
when you're generating dailies or proxies

that you use,

The original source thinks that means that
when you eventually replace them

with your camera, it takes that
they will match up and instantly replace.

You won't have to manually hunt them down.

So I'll click source name.

However, if you're aware
that there are multiple cuts

from the same source,
take being used in the timeline,

then you might also want to indicate
use unique file names.

That way the files won't overwrite
each other as they're being generated.

If there is a file
with the same exact name,

it will then adopt either a prefix,
which is a number sequence

at the start of the file name

or a suffix which will append itself
to the end of the file name.

And now I'm ready to click add to render Q
at the very bottom of the panel.

And once again, I'm going to

change the name of the job
so I can keep track of what it was doing.

In this case,
I will label Job two as dailies.

I'll probably want to use
the setting again in future,

so I'm going to save it as its own preset.

I'll navigate to the top right
corner of the Render Settings

palette and I will choose
Save as new preset.

This is in the progress standard,
so it makes sense to call these

my programs dailies.

Then I'll click okay
and I'll see that my dailies preset now

appears to the left of the custom preset
and I can access this again and again.

Something else to keep in mind in terms
of selecting your export range

is that if I did want to focus on
just a selection of clips,

I could use my in and out shortcuts.

I press I to indicate a start point,
select a clip and press.

Oh, and you can see

the duration is marked in the timeline
at the very bottom of the page.

And if you'd like to reset your in and out
range,

you can either use the shortcut option
ex on a mac or alt x on a PC,

or you could go to the dropdown menu
at the very top of the timeline

and switch from in that range
to entire timeline to reset it.

If you have multiple timelines
in your project

that you would like to add
to the render queue,

you don't have to jump back into the edit
or the color page to switch between them.

You can stay in, deliver
and use the dropdown

at the very top of the viewer
to switch between timelines.

So in this case I'm going to select
an alternative cut of my trailer

and you'll see that will appear.

And the data burn has stayed in place.

So if I wanted to remove that,
I could go back into my video tab,

enter my advanced settings
at the very bottom of this list

here I can see that
there is a section for the data burning,

which by default will be set
to save this project, which means that

if I can see it in the viewer
then it will be included in my render. But

I can also choose to bypass it by clicking
on this dropdown and choosing none.

I prefer to keep it on same as project

and instead I'd rather
just go to my workspace menu at the top.

Select data, burn in and then click
the reset arrow in the top right corner.

To get rid of all these overlays.

I'm going to collapse my panel

and I would like to add the render
for this timeline to our under Q as well.

So once again,
I'll select a YouTube preset.

This one I will leave untouched.

I will click on Add to Render.

Q And now we have our third job.

I'll call this my teaser trailer,

by the way.

You don't have to only concentrate
on the timelines in your current project.

You can actually have render jobs
from various projects

all lined up in the same render cue
that you can then set off.

At the same time.

If I go into the options
menu of the render cue panel, I will find

that there is an option at the top
to show all projects.

When I select that this list becomes
populated with a few other render jobs

I created from a couple of other projects
I had opened previously.

So that means that without having
to constantly start and stop my renders

and open and close projects, I could just
send everything to the render queue.

And then when I'm ready to kick this off,
I can open up, show all projects,

scroll across the list
and then hold, shift and click to select

all of my jobs
and then select Render all when I'm ready.

And the benefit of doing it
this way is that you're not waiting for

every single render to complete
in order to kick off the next one.

That way
you could lose hours of time because,

you know,
it could be several minutes or hours

between you returning to the project
to kick off the next render with batches.

As soon as one timeline is completed, it
will immediately move on to the next job

so that you can keep it running overnight

and then wake up the next morning and
everything is already completed for you.

By the way,
if you add a job and you decide that

you want to change some of the settings,
that's pretty easy to do.

In the top right corner of every job,
you will find a few icons.

The X should be self-explanatory.

You can use this to get rid of a job
that you no longer want.

But then the pencil next to
that is an edit tool.

So let's say after we completed our
HD YouTube job

and we added it to the queue, we realized
that we want to change the resolution.

I'm going to click on the pencil icon

and this job is now loaded in the render
settings.

I know that because we now have these
three new buttons at the very bottom

of the Render Settings
panel, cancel update job and add new job

so I can now go through my video,
audio and file tab to determine,

you know, what I actually want
the resolution to be a little bit lower.

I want my collaborators to review
this for me before I uploaded, so

I'll set it to 720p HD ready

and maybe restrict my quality
to 8000 instead of 12.

I can now click on

update job at the bottom

of my render settings and the job is now
updated in the render queue

so I don't have to recreate it
or be added to the list.

And once I'm all done,
I can select all of these jobs

and click render all

in a couple of tips.

I can give you four
Setting up your render projects

in case you're not feeling too confident
about your render settings

is to look at the destination
where your project is going,

and usually you will find information
there about what is expected from you.

So for example,
if you're uploading it to a website,

there tends to be a page
of recommended settings for uploads.

If you're sending your video to a festival
or to a theater,

you can usually communicate
with the organizers or perhaps

find a submission guidelines page,
which will also tell you

what they expect from you
in terms of formats and data rates.

And then finally,
if you are sending your video to something

like a broadcaster or a streaming service,

these can differ quite dramatically
from one region to the next.

So again, it's the best idea
to talk to them directly and find out

exactly what they're expecting from you
in terms of video and audio deliverables

and of course, you can also come
to the Blackmagic design forums

to get answers from our developers,
from digital image

technicians
and professional users of our software.

Please make sure you check out
the remainder of the videos in this series

to find out how to use them
and to resolve for your projects.