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1 Click on the preset from the Project Settings Presets list you want to export.
2 Choose Export Preset from the drop-down menu.
3 Enter a name for the preset and where you want to save it in the file browser, and press Save.
The DaVinci Resolve Project Settings Preset file will export to that destination with a “.preset” extension.
1 Click on the option menu in the Project Settings window.
2 Select Import Preset.
3 Navigate the file browser to the DaVinci Resolve Project Settings Preset file you wish to import. The file will have a “.preset” extension. Press Open.
1 Click on the preset from the Project Settings Presets list you want to delete.
2 Choose Delete Preset from the drop-down menu.
3 Press Delete in the dialog box.
The Project Settings will be deleted immediately. There is no undo for this function.
Master Settings
This panel is project specific and lets you set up and adjust the most essential properties of the timelines in your project, including the timeline format, video monitoring method, and conform options. In many workflows, you’ll want to adjust these settings before getting started with your project.
By default, all timelines use these project-wide settings. However, beginning with DaVinci Resolve 16, you can optionally create timelines with individual Format, Monitoring, and Output Sizing settings.
However, if you change a timeline to use “Basic Settings,” then that timeline will mirror the project- wide options that are selected in the Project Settings.
Timeline Format
This group of settings affects the geometry and image processing of the current project.
— Timeline resolution: A drop-down menu that lets you choose a frame resolution preset to use for image processing while grading. DaVinci Resolve is resolution independent, so you can change the resolution at any time and all windows, tracks, sizing changes, and keyframe data will be automatically recalculated to fit the new size. For example, you can work on a 4K project while monitoring at HD resolutions if your room is only set up with an HD monitor, and then render the finished project at 4K resolution for final delivery. Alternately, you can downsize an HD project
to an SD resolution to create another set of deliverables. For more information on Resolve’s resolution independence, see Chapter 150, “Sizing and Image Stabilization.” ”
— Frame size (Labeled “For X x Y processing”): Lets you set resolutions not found in the “Timeline resolution” drop-down menu.
— Use vertical resolution: This checkbox swaps the horizontal and vertical pixels of the Timeline resolution. This lets you format your timeline vertically for display on smart phones, tablets, or televisions that are in an upright configuration for digital signage.
— Pixel aspect ratio: Used to select PAR settings for image formats that don’t use the default square pixel format. You can apply a 16:9 anamorphic PAR, a 4:3 PAR for SD projects, or a Cinemascope ratio.
— Timeline frame rate: Determines the primary frame rate used by the project. A variety of standard and high frame rate (HFR) settings are available. If you’re importing an AAF or XML file, this setting is automatically set via an option in the Project Import dialog. Ideally, you should choose a frame rate before importing media into the Media Pool. However, the first time you import media into an empty Media Pool, you’re prompted if the incoming media frame rate doesn’t match the Timeline frame rate set here, and you have the option of automatically updating this setting to match that of the media you’re importing. Once one or more files have been added to the Media Pool, this setting cannot be changed.
— Use drop frame timecode: Enables or disables drop frame timecode for the current project. Off by default.
— Enable interlace processing: Interlaced media is supported throughout DaVinci Resolve. The “Enable interlace processing” checkbox forces DaVinci Resolve to process all operations internally using separated fields, in order to properly maintain the field integrity of interlaced clips in your program. In addition, each clip in the Media Pool has a Field Dominance drop-down menu in the Video panel of the Clip Attributes window that lets you specify whether clips are upper- or lower- field dominant; an Auto setting makes this choice by default.
There is also a corresponding checkbox in the Render Settings panel of the Deliver page, named “Field rendering,” that lets you enable and disable field rendering when you’re rendering file-based output.
There are two instances where you want to leave this setting turned off:
— If you’re working with progressive-frame media, it is not necessary to turn this checkbox on. Doing so will unnecessarily increase processing time.
— If you’re using interlaced clips in a progressive-frame project and you’re intending to deinterlace those clips using the Enable Deinterlacing checkbox in the Clip Attributes window, then you must keep “Enable video field processing” off. Otherwise, the Enable Deinterlacing checkbox will be disabled for all clips. For more information about deinterlacing clips,
see Chapter 22, “Modifying Clips and Clip Attributes.”
If you’re working on a project with interlaced media that you intend to keep interlaced, then whether or not it’s necessary to turn field processing on depends on what types of corrections you’re applying to your clips. If you’re mastering your program to an interlaced format, and you’re applying any adjustments that would cause pixels from one field to move or bleed into adjacent fields, then field processing should be enabled; effects requiring field processing include filtering operations such as blur, sharpen, and OpenFX operations, as well as sizing transforms that include pan, tilt, zoom, rotate, pitch, and yaw.
On the other hand, regardless of whether you’re outputting interlaced or progressive-frame media, if you’re not filtering or resizing your clips, and you’re only applying adjustments to color and contrast, it’s not necessary to turn on field processing for interlaced material, and in fact, leaving it off may somewhat shorten your project’s rendering time.