- Hey everyone, welcome back to another video.
Today we gonna be breaking down Export Settings
from DaVinci Resolve.
And there are four different types of Export Settings
that we're gonna look at.
The first one is a Low Res Export
that will send to Frame AO or Vimeo.com for review.
And this is a small video that we'll be sending to clients
to get feedback on before we deliver the final.
The second export will be an H.264 Master
which will be the final master that we upload
to YouTube or Vimeo to essentially sit online
for the world to see.
The third type of render is an Apple ProRes 4444
uncompressed render,
and essentially this is the master render
that'll sit on our hard drive
in case we ever need to refer back to it
or ever need to re-encode it
for a different type of online deliverable.
A lot of the work that we do, isn't just for online.
Sometimes we need to send it off to cinema
or send it off for a particular TV station.
And every one of those different delivery pathways
have different specifications.
So, it's important to have a ProRes Master,
to be able to put into Adobe Media Encoder
to re-encode any type of different deliverable
that we need in the future.
And the fourth type of export that we'll be using today
is an uncompressed ProRes Master without any color grade
or any visual effects done to the footage.
And so this is essentially a way to future proof the archive
in case we ever want to remaster it or regrade it.
So, let's jump into DaVinci Resolve
and have a look at this project as an example
of these four renders.
Obviously, when you are rendering
you want to head to the deliver page.
And then on the left hand side here
you have all of your settings come up.
The first type of render that we want to do
is a H.264 compressed, relatively small render
for online review.
And so I'm simply just going to render to my scratch disk
and we'll just call this Online Review,
01.
Now I should mention,
that I always render to an external SSD drive
that is also used as a scratch disk.
This technique will speed up your renders
if you are using slower hard drives
but the principle behind it
is you're just splitting the read and write
away from one drive and separating it across two.
So, if your raw footage sitting on one drive,
we want to read off this drive and render to another drive
so, that this drive is not having to do the work
of reading the footage and writing the new render
to the same drive.
So, it's just removing any bottlenecks.
It may speed up your render slightly.
When it comes to this Low Res Online Review render
we can use QuickTime or MP4.
But we essentially just want an H.264 render
in the resolution that we want to deliver.
In this case, it's a Cinema 2.39 crop
at 2048 by 858 pixels.
The frame rate is 25.
This will be determined by obviously your timeline.
And then for the quality I'm just gonna restrict it
to 10,000 kilobytes a second.
This is quite low and it's quite a bit of compression
but it just keeps a file size right down.
Encoding profile in the mode here can just be auto.
And then key frames is automatic, that's totally fine.
What is important to change is the color space tag
and I'm just gonna make sure that this is in Rec. 709
and the gamma tag is Rec. 709-A.
The Rec 709-A gamma tag is something
that DaVinci's brought out recently
to give more compatibility to the Apple QuickTime preview.
You'll see on the internet
there are a lot of people complaining about a gamma shift
when you export your colors out of DaVinci Resolve
and play it in QuickTime on an Apple Mac computer.
You'll notice that the colors are very different.
So, that gamma tag is essentially a Gamma 2.4 tag
with more compatibility for QuickTime.
Data burning is fine for this,
and we just wanna pay attention down here.
And this is really important,
depending on how you've set your project up
and worked through your edit.
So, if you are using optimized media
or you've created proxies
and you've used a lot of render cache
when it comes to creating your timeline.
For example you might put effects or some special transition
that you need to render cache while you're editing.
It's important when you do these first renders
for online review
that you make sure these boxes are checked.
And what this is essentially doing
is using those pre-renders, using the proxies
and using the optimized media to form your render.
So, the computer is not having to re-render
or re-encode all of those different effects.
This will make your renders for review
way faster than they would be if you had these unchecked
Continuing down will leave, Enable Flat Pass off.
And this will become apparent
when we do our fourth type of render and subtitle settings.
You can choose whether you have subtitles or not.
Often when we are doing a first render,
we're not worrying about subtitles
because we only create subtitles
once the final edit has been locked.
And so we will leave that for now.
Click Add To Render Queue
and then the render will be put into the render queue.
And once we finish all four of these
we'll be able to render all of them.
So, the second type of render
is presuming we have finished our entire project.
It's looking great, and the final color grade has been done.
And we want to create a Master render
with an H.264 compression for online delivery.
So, this is when you're delivering it
to Vimeo or YouTube for online delivery.
And this will most likely be embedded
in a website of some description.
Now, the settings are very similar to the first render.
I'm just gonna change this name to H.264 Master.
And this will be our second render.
Scratch disc is fine for this.
And QuickTime, H.264 is totally fine.
Now, when it comes to resolution
often we edit in a lower resolution format
just so that we can have smooth playback on the timeline.
Now with the resolution
for this final H.264 Master,
we really want to be maximizing the full extent
of all the raw footage or camera original footage
that is in our timeline.
Often we'll be down scaling the timeline for editing
because we're not too concerned about image quality,
when we're editing,
we just want smooth playback in the timeline.
And say we might be editing a 1080P timeline,
but in reality the program was shot for a 4K delivery.
Whatever specs that you want to deliver in,
you may have to go back
into the timeline and look at the timeline,
right click and choose Timeline, Timeline Settings.
And within the timeline resolution here
you can go ahead and upscale it to 4k,
if that is how you want to be delivering your final.
And hopefully if the aspect ratio
of your timeline stays the same
then all the clips will just be upscaled accordingly.
So, back in the Deliver tab
now you'll notice the resolution has been updated
and we are creating a QuickTime, H.264 Master
which is full resolution.
Under Quality,
because of that extra resolution, we are now in 4k.
I like to export everything with 80,000 kilobytes a second
when it comes to 4k.
A lot of people might say, this is overkill.
You could probably get away
with about 50 to 60,000 kilobytes a second.
I just preferred the masters
to have a little bit more capacity
in case there are some really complicated scenes
that require that extra kilobyte a second.
Scrolling down, all of the encoding profile
we'll just leave exactly the same.
All of this is fine.
Color space and Gamma Tag is exactly the same.
We do need to pay attention to these boxes here,
which we checked previously.
I am going to uncheck Optimize Media,
uncheck Proxy Media and uncheck Render Cached Images.
The reason being is when we are rendering our final
we want to be rendering from all of the raw footage
and the camera originals.
If we have these checked
it's actually going to be using the mezzanine codec,
which is the optimized media,
or the proxy media
which has both helped the timeline speed when we've edited.
But it's not helpful when we're trying to source
the best quality render.
If you want to you can uncheck
Bypass Re-encode when possible.
What this is gonna do is force the computer
to render everything from scratch again.
Enable Flat Pass is always off.
And now is the chance,
if you have subtitles within your program
to export the subtitles as a separate file
SRT without formatting or SRT,
and you can also choose at this point
to burn the subtitles into your video.
If the subtitles have been designed in a certain way.
I'm gonna choose Export Subtitle and uncheck that.
'Cause there's no subtitles on here.
and hit Add to Render Queue.
So, those are the first two types of renders.
The most common two types of renders
that you'll use all the time.
A lower resolution render for client review
and then a full resolution H.264 Master
for online delivery.
Now, let's say it's been delivered,
the client's really happy
and the project has been completely signed off.
Now, the next two types of renders
are more for internal use and for archiving purposes.
And this ensures that this project will be safe
for the future.
So, what we're gonna do is hit up
and I'll just call this ProRes Master.
And this ProRes Master will be a QuickTime codec
because we are using a Mac computer.
If you are on a Windows machine
you'll be using some form of DNxHD codec.
And we will be choosing Apple ProRes for the codec.
Now, depending on the camera originals
you may not need to use Apple ProRes 4444.
But if the camera original was shot on RAW
or some kind of codec that has at least 12-bit color
then you're gonna want to use Apple ProRes 4444.
Because essentially you want this codec
or this wrapper to be big enough
to hold all of the detail that was in the camera originals.
We're gonna be rendering this at the resolution
of the timeline.
And you'll notice with the Apple ProRes renders
there are no additional bit rate compression settings.
And that's because it's all determined by the type
of Apple codec that you use.
Now, every other setting underneath the codec
is relatively the same as our H.264 Master.
But what you can also choose
is the Force Sizing to Highest Quality
and Force Debayer to Highest Quality.
Enable Flat Pass is off.
And again, the subtitles can be there if you want them.
I would never burn in the subtitles
when it comes to an archive render though.
So, now we have a really high res
QuickTime Apple ProRes render.
We'll add that to the render queue.
One thing that you will notice
is that this render here
will be significantly larger than the H.264 Master render.
Okay, so now finally,
what we want to do is create a Flat Archive render.
And this is really helpful in situations
when we want to bring in all of the original timeline
and perhaps tweak the colors or remaster it.
And so what we need to do for this fourth final render
is head back to the Edit page.
We're gonna duplicate the timeline
and we're just gonna call this Flat Master.
Gonna bring up the timeline here.
Just make sure that we are actually viewing that timeline.
So, what I'm gonna do here
is remove all of the titles and visual effects
and any type of additional content to my raw footage.
I'm just gonna delete these logos at the end.
And then what I'm also going to do
is delete all of the sound design
and all of the music on this track.
So, I'm just gonna delete that.
So now what we have is a voiceover with the footage.
The final step is to go over to the color page,
select All My Clips
and I'm just going to reset everything back to scratch.
So, if we look through here,
we've got all of these clips
and there's absolutely no color grading or anything on them.
Now, on the deliver tab
what we have is a string out
of all of our shots from this commercial
without any effects or color grading applied to it.
Just with the final voiceover.
So, we're gonna rename this ProRes Master Flat
and use the exact same settings
as we did before for the Final ProRes Master.
But we are going to make sure that
Enable Flat Pass is always on for this setting.
Once we add that to the render queue
that completes our four renders.
And the reason I like to render it
without any color grading or effects
is because if at any point in the future,
I need to pull this timeline in.
Perhaps I need to pull this timeline in
to a new project for the client
and maybe their tastes have changed.
Maybe it's been rebranded in a slightly different way.
And if I need to remaster this
or use certain shots out of this timeline,
it's gonna be difficult for me to do that,
if the color grade and effects are baked
into the Master ProRes.
So, I a flat render
just in case I need to use these clips in the future.
In a future video,
I will talk about completely
archiving the entire DaVinci Resolve project.
But I definitely do like to build in
this extra layer of redundancy
when it comes to just exporting
that final ProRes Flat Master.
You'll notice I've also kept the voiceover.
And that's just handy to have in the file
in case we want to remaster it and put new music
or create kind of different sound design elements
underneath the voiceover,
then it's just there in the file if we need it.
Those are the four different types of renders
I use for every project.
Just to recap really quick.
We have one render that is lower Res H.264
for online review.
It's important for these files not to be super big.
Because we want the turnaround to be quite quick,
when we are uploading to our review platform
to get the client feedback as quick as possible.
For this render we can take advantage
of all of the optimized media or render cached images,
and also the proxy creation
if we want to just maximize the speed
of those review renders.
The second type of render is an H.264 Master
for online delivery.
Now, this is the final file format
that almost every online video is rendered with.
But we just wanna make sure that we are maximizing
the resolution of the raw footage.
So, that means taking it from a 1080P timeline to 4k,
if the raw footage is shot in 4k or higher.
And then we just wanna make sure that the bit rate
is high enough to really hold all of that information.
Now, the final two renders,
the Apple ProRes Master renders
will just take place once the project is completely finished
and we are looking to archive the project
and put it away on a hard drive, never to see it again.
And we essentially just want to create
the highest resolution render possible of the project.
That's why an uncompressed Apple ProRes codec
is a great option or DNxHD if you are on a Windows machine.
But if the client ever requests it
or wants us to re-encode that master
for a different type of delivery,
for example it might be going to cinema
or be put onto some TV network
and we need to create different renders.
Instead of opening up the entire project again
from the DiVinci Resolve archive file
we can simply just pull in the Apple ProRes render
into Adobe Media Encoder
and spit out any additional formats we need
from the ProRes Master.
And the final render that we talked about today
is essentially just an uncompressed raw,
no effects applied render
to ensure that we have all of the shots used
in our final program rendered with an uncompressed codec
with no effects.
If we ever need to use it or remaster it in the future.
All right, there, you have it.
I hope that information was helpful
and brought you some clarity
around the different types of renders
you might need to use
when it comes to commercial filmmaking.
As always, please comment below,
if you do have further questions.
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Thanks for tuning in, and we'll see you the next video.
(light melancholic music)