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To round a video in DaVinci Resolve, open the clip in Fusion, select MediaIn1, and add a Rectangle mask. Confirm Rectangle1 feeds MediaIn1’s blue mask input, then increase Corner Radius in the Inspector.

For rotoscoping in DaVinci Resolve Fusion, split the subject into simple overlapping Polygon, B-Spline, or MultiPoly shapes. Draw a clean key pose, animate the end and middle poses, then keep dividing only the sections where interpolation fails.

Update DaVinci Resolve without sacrificing active work. Export DRP files, back up the Project Library, protect media and plug-ins, retain the old installer, test an imported copy, and keep a verified rollback path.

Compare Voice Isolation and Dialogue Leveler in DaVinci Resolve 21: controls, Free vs Studio limits, processing order, artifacts, and cleaner dialogue.

Resolve stores projects inside a Project Library, not beside your footage. In Project Manager, open Project Libraries and use the details icon or Reveal in Finder to confirm the active local path. Export a DRP for one project, a DRA when media must travel, and a library backup for all projects.

Right-click and Change Clip Speed handles fixed changes; Retime Controls (Cmd or Ctrl+R) add speed points, ramps and freeze frames; the Retime Curve shapes them. Choppy slow motion is usually the Retime Process setting, not the footage, and audio follows its own pitch and mute rules.

Copy the graded clip with Cmd or Ctrl+C, select the destinations, paste. Middle-click does it in one action; both replace the target grade. To add a saved look without wiping existing nodes, right-click a Gallery still and choose Append Node Graph. Groups and shared nodes scale it to whole scenes.

Alt-drag is the fastest duplicate: hold Alt or Option, drag the clip, release the mouse before the key. Copy and paste follows the auto-select track controls, Paste Insert ripples instead of overwriting, and a Media Pool duplicate is the only truly independent copy.

Lock the camera on a tripod, film two takes, and composite them: the free split-screen crop, a tracked power window, or Studio's Magic Mask. Manual exposure and white balance between takes matter more than the masking, and crossing paths just means an animated mask edge.

Auto Color analyzes the frame under the playhead and writes a balance correction into the selected node. It works on clean, evenly lit footage and fails on mixed light, heavy casts and log clips. Use it on its own node, check the scopes after, and reach for Shot Match when matching between clips.

Five scopes live on the Color page and you rarely need all five open: waveform for exposure and clipping, RGB parade for color casts, vectorscope for hue, saturation and skin tone, histogram for distribution, CIE for gamut. Scopes measure the signal at the end of the node tree, not your monitor.

Match the noise to the tool: Noise Reduction FX with a learned noise print for steady hiss and hum, Studio's Voice Isolation for wind, traffic and changing backgrounds, a gate for noise between words, and EQ or the De-Hummer for hiss and mains hum. The wrong tool is why cleanup sounds robotic.