Ti insegno ad usare DaVinci Resolve. [Tutorial COMPLETO per Principianti]

Summary

Giovanni De Chiara presents a beginner-oriented walkthrough of DaVinci Resolve, covering project setup, editing, color, audio, and export. His central advice is to organize projects carefully, set key technical choices before editing, and use Resolve’s integrated pages for different parts of the workflow.

1. Project Manager and Organization

• Resolve opens in the Project Manager, where projects are stored in libraries.
• Projects can be kept locally, shared through Resolve’s paid Cloud option, or accessed over a local network. Giovanni generally prefers exporting and sending a project file rather than using Cloud collaboration.
• Back up libraries regularly. He recommends keeping a backup on the computer or another drive.
• He prefers organizing each project with five bins:
  • Clips
  • Images
  • Audio
  • Timeline
  • Other
• Import media by dragging it into the Media Pool or browsing through Media Storage.

2. Set Up the Project Before Editing

Giovanni stresses that the timeline frame rate must be chosen before creating a timeline, because he says it cannot be changed afterward. If Resolve asks whether to match the project frame rate to imported footage, choose Yes when that is the intended frame rate.

In Project Settings, he recommends checking:

• Timeline resolution: Choose the resolution required for the project; he usually uses 4K. A vertical-resolution option is available for portrait video.
• Timeline frame rate: Match it to the intended footage and project settings.
• Proxies: Use half-resolution proxies for smoother editing. He suggests ProRes 422 Proxy on Mac and DNxHR LB on Windows.
• File locations: Choose where proxies and optimized media will be saved, especially when working from an external drive.
• Image Scaling: Use Scale Full Frame with Crop so footage with a different aspect ratio fills the timeline automatically.
• Color Management: His suggested setup is DaVinci Wide Gamut Intermediate as the timeline color space and Rec.709 as the output color space. A wider timeline space preserves color information for grading, while Rec.709 is suited to common displays.
• Audio sample rate: Match the recording; he gives 48 kHz as an example.
• Camera RAW: Adjust this only for RAW footage, such as footage from Blackmagic or RED cameras. He suggests full-resolution, premium-quality decoding for his RED footage, while noting that this can be demanding on a computer.

3. Resolve’s Pages and Basic Editing

Resolve is organized into fixed pages rather than freely movable panels. Giovanni introduces the main workflow:

• Media: View and import footage and inspect media information.
• Cut: He skips this page in his typical workflow, though it may help with interviews or multicamera projects.
• Edit: The main page for arranging clips and making edits.
• Fusion: Compositing and visual effects, based on nodes rather than layers.
• Color: Color correction and grading.
• Fairlight: Audio mixing and processing.
• Deliver: Export and rendering.

On the Edit page, create a timeline by dragging a clip into it or by creating one from a selected clip. Giovanni recommends naming and storing the main timeline in the Timeline bin.

Useful editing controls and shortcuts include:

• B: Blade tool for cutting clips.
• A: Selection tool.
• T: Trim tool for adjusting the content within a clip while keeping its position in the timeline.
• N: Toggle snapping, which makes clips align to nearby edits or markers.
• Command-Shift-L: Link or unlink a clip’s audio and video.
• M: Add a marker to a clip or the timeline.
• Command + / Command −: Zoom the timeline in or out.

Basic editing involves cutting, selecting, and deleting clips, though other tools are available for more specific tasks.

4. Inspector, Effects, and Compositing

The Inspector provides controls for selected clips, including:

• Zoom, position, rotation, and anchor point
• Keyframes for animating values over time
• Image flipping and cropping
• Dynamic Zoom for automatic zoom movement
• Composite modes for blending or layering footage
• Stabilization, camera lock, and lens correction

The Effects panel includes built-in OpenFX effects, such as blur and grain. An Adjustment Clip can be placed above multiple clips to apply an effect to everything beneath it.

Giovanni describes Fusion as Resolve’s compositing environment, comparable in broad purpose to After Effects but using nodes instead of layers. He mentions camera tracking as an example of a Fusion task, while noting that detailed compositing is beyond the scope of this beginner tutorial.

5. Color Grading

On the Color page:

• The Gallery stores stills or reference frames; stills can also be exported as images.
• A LUT can be used to convert footage to a standard look or color space.
• Basic grading controls include Gain, Gamma, and Saturation.
• Shift-D toggles the color grade on and off for a before-and-after comparison.
• Additional nodes can be created for separate grading adjustments.

Giovanni says color grading is a larger subject and points viewers toward a separate, more detailed tutorial.

6. Audio

The Fairlight page is Resolve’s audio workspace. Giovanni uses it to mix and refine audio, mentioning:

• Equalization to reduce or adjust problem frequencies
• Dynamics tools, including compression and limiting
• Presets as a starting point for audio processing

He notes that detailed audio equalization is a separate, involved process.

7. Exporting

In the Deliver page:

• Choose the output filename and destination.
• Select a preset or configure video and audio settings manually.
• Choose a format such as MP4 or QuickTime, then set the codec, resolution, and other options.
• In the workflow he describes, the timeline’s frame rate determines the export frame rate.
• For H.264, he offers a general bitrate guideline of roughly twice the frame rate, while acknowledging that settings vary by preference and project.
• He recommends the High encoding profile. Multipass encoding can improve quality but takes longer.
• Add the job to the render queue and select Render All.
• After rendering, locate the file from the queue.

8. Additional Workflow Tools

• Export Project: Saves the project and its edits for transfer to another computer.
• Media Management: Copies a project’s used media into a single destination folder, helping gather files that are otherwise scattered across drives.
• Timeline Output Blanking: Adds cinematic black bars in a chosen aspect ratio.
• Create Subtitles from Audio: Can transcribe spoken audio into subtitles.
• Playback resolution: Lowering timeline playback resolution can make editing smoother on less powerful computers without changing the final export.
• Clip color labels: Right-click a clip to assign a color.
• Command-D: Change a clip’s duration.
• Command-R: Adjust playback speed; retiming controls can create speed ramps and curves.
• Copy and paste attributes: Copy a clip’s settings, then paste selected attributes—such as color correction, zoom, or position—onto another clip.
• Proxy media vs. optimized media: Proxy media is a separate, readable video file that can also be used in other programs. Optimized media is generated for Resolve to use internally and, in Giovanni’s explanation, can be faster for Resolve to read.

Speakers and Sources Featured

• Giovanni De Chiara: Presenter and narrator.
• DaVinci Resolve: The software demonstrated throughout the tutorial.
• Other software referenced but not featured as speakers: Adobe Premiere Pro, After Effects, Photoshop, Adobe Media Encoder, and Audition.