All guides

Render in Place turns one heavy clip on the Edit page timeline into a new media file with its effects baked in. Here are the settings, the codec to choose, what the final export uses, how Decompose to Original brings the clip back and what to check when it fails.

Video Collage builds a split screen in the free version of DaVinci Resolve: one effect per clip, a layout copied with Paste Attributes and a tile picked for each clip. For two clips side by side, Crop and Position in the Inspector are enough.

DaVinci Resolve 21.1 reads WebM only when the video is VP8. Copy VP9 or AV1 video into an MP4 with ffmpeg and convert the Opus audio, and it imports. For WebM delivery, render a master and convert it, transparent overlays included.

Select the clips and press Option-Command-L (Clip > Link Clips) so they move as one while Linked Selection is on. Plus when a compound clip, an adjustment clip or a Color page group is the better kind of group, and how to ungroup without losing each clip's audio link.

Drag the Echo Fairlight FX from Effects Library > Audio FX onto the clip, then set Delay Time, Feedback and Dry/Wet in the Inspector. Plus reverb, echo on one word, and the fix for tails that cut off at the clip end.

Turn off Linked Selection, select only the audio with a selection box, Command-click or Y, then press Delete (Backspace on Windows). The picture stays put. Plus ranges, whole tracks, and keeping audio out of the timeline in the first place.

OFX plugins go in /Library/OFX/Plugins on a Mac and C:\Program Files\Common Files\OFX\Plugins on Windows. How to install one, find it in Resolve, and fix a plugin that's missing, stale or crashing.

Select the nodes, press Ctrl+G (Cmd+G), then open, collapse, rename, save or ungroup the group. Plus underlays, macros and the Color page's compound nodes.

If the DCTL effect is missing, check for Resolve Studio. If your file is absent from DCTL List, check the active LUT folder and file type, then restart Resolve. Blank controls may be normal if that DCTL defines none.

Choose PQ or HLG for the actual destination, keep the timeline grading space stable, verify the rendered HDR file, and review a separate SDR output.

Match Sony S-Gamut3.Cine or S-Gamut3 to S-Log3, normalize once with RCM or CST, then balance exposure and color before adding a look.

Build a film-inspired grade with Film Look Creator in Resolve Studio. Set the color pipeline, control the three blends, add texture deliberately and know what a LUT can carry.