![]() We’ve not yet worked out how to set the input color space for multiple clips simultaneously, so we have to go through and do them one by one. You can even use ACES Workflow if you wanted to.Įven on the desktop version of Resolve, you can’t set the input color space in the cut page, but you can do it in the color page. One of the things that we’re most impressed to see on the iPad is full color management. Playback was still fine, with was no stuttering or issues. To test this thing out, we set the resolution to UHD. Obviously, there are things that you can’t do on the iPad version yet like plug in an UltraStudio, but again, who knows? Maybe the dev team will add features like this in the future. Just the same as the desktop version, timeline settings are configured in project settings. ![]() That’s no mean feat and the interface is surprisingly intuitive on a touch interface. You might get sick of hearing us say that it’s the same as the desktop version – we’ve only been using Resolve on iPad for about two weeks now, but we’re still blown away by the fact that it looks and functions exactly like the desktop version of Resolve. You do not need this in order to be able to edit comfortably on the iPad. We just want to emphasize though the Speed Editor is an optional extra. Of course, once clips are in your timeline, you edit them the exact same way you would on a desktop version of Resolve, either using the pen, your finger, or alternatively, of course, you can trim them down with the Speed Editor. If you have a Speed Editor, yep, you can use that too. Importing Media into DaVinci Resolve for iPad Peripherals We can drag clips into the timeline or we can load them in the source viewer and create in and out points, and then bring them down into the timeline. The media used for this review is 6K ProRes 422 at 24 frames per second. It just links to the media wherever it’s stored. Resolve handles media exactly the same way as it does on the desktop version of Resolve. We’ll select all of the clips in this folder using the select all button and import them. The media that we’re using, we’ve got about 300 gigabytes of it, is located on the iPad. That includes attached SSDs, cloud services like Dropbox and iCloud, or even network drives. Resolve can access any media that you can see in files. ![]() There’s no media page yet in DaVinci Resolve for iPad, but we’re sure it’s coming.Ĭurrently, to import media, we’ll use the media pool in the cut page. Also, notice the Project Manager! Accessing Media Resolve for iPad currently includes the Cut & Color page. You’ll see it’s even possible to create additional local libraries, but we’re just going to work in the existing one and create a new project. We’ve got the same three tabs for connecting to local network or cloud databases. This will start to give you a sense of how fully featured the iPad app is. The only part of the desktop interface that is missing is the Menu Bar, usually visible at the top.Ĭurrently, Resolve on iPad only has the cut and color page. If you’re already used to using Resolve, then there’s next to no learning curve. You can use your finger or a pencil to navigate, it’s very intuitive. The first thing that you will notice is that it looks exactly like the desktop version of Resolve. Tested on 12.9-inch iPad Pro M2 by FEP trainer Leon Barnard Interfaceīy default, Resolve launches into the last project that you opened. Is this the full version of Resolve or is it limited? Is it good enough to do professional work with? How well does it run and what accessories do you need? If you’re interested in the answers of those questions, then please read on or watch the video below. See the full PDF Course Outline here.The beta of DaVinci Resolve is now on the iPad, and we’ve been using it for a few weeks. The main focus is for users transitioning from Apple Color, but this is absolutely suitable for any new user coming to DaVinci Resolve from other color grading tools. Not Just For Apple Color Users – Great for All Newcomers to Resolve Outputting is handled both directly with Resolve or through an XML/AAF workflow, which maintains total flexibility between the edit and the grade. In addition to the core color tools, you will see how to create complex secondary corrections in the most straightforward and time efficient way. Naturally, the majority of the course is spent in the grading area, where you explore the power and flexibility of Resolve’s nodal interface. You start with system configuration and the best ways to import projects from your NLE. The focus is on practical tips to get you working quickly and in the right way. “I designed the course I wish I had when I started”īen Brownlee, author of Creative Color Grading for Apple Color, presents these tutorials.
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