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By default, every clip has one node in the Node Editor that contains the first corrections you make. However, you also have the option of creating multiple nodes, where each node contains one or more corrections that affect the image.
The Node Editor showing a reasonably full-featured grade
The specific arrangement of nodes you create lets you exert precise control over the order of operations performed by your grade, which provides many advantages. This section covers different ways of creating, editing, and arranging node trees to harness the full power of DaVinci Resolve.
Thumbnail-Optional Nodes
The Node Editor option menu provides a Show Thumbnails option that lets you disable or enable the thumbnails attached to each Corrector node.
Disabling thumbnails in the Node Editor option menu makes nodes shorter
How Many Nodes Do I Need to Use?
In this chapter and the ones that follow, you’ll learn many different techniques for combining adjustments and nodes in different ways to achieve highly specific effects. Consequently, new DaVinci Resolve users often wonder, how far do I go? There is no right answer, but suffice it to say that some of the world’s leading colorists achieve stunning results in as few as three or four nodes, while others routinely build carefully organized hierarchies of ten to twenty nodes, or more. The number of nodes you use is often dependent on the quality of media you’ve been given to work with, as well-lit footage usually requires less work than material shot run-and-gun with available light, that typically needs many more adjustments to achieve an acceptable result. Furthermore, the number of nodes you may use can also depend on what kind of program you’re working on, with commercial spots affording the colorist enough time in the schedule to build truly massive grades that adjust every little detail, and narrative features and television shows requiring you to work faster and do more within fewer adjustments in order to stay on track. The real answer? Each grade requires as many nodes as are necessary. No more, no less.
How Many Nodes Do I Need to Use?
In this chapter and the ones that follow, you’ll learn many different techniques for combining adjustments and nodes in different ways to achieve highly specific effects. Consequently, new DaVinci Resolve users often wonder, how far do I go? There is no right answer, but suffice it to say that some of the world’s leading colorists achieve stunning results in as few as three or four nodes, while others routinely build carefully organized hierarchies of ten to twenty nodes, or more. The number of nodes you use is often dependent on the quality of media you’ve been given to work with, as well-lit footage usually requires less work than material shot run-and-gun with available light, that typically needs many more adjustments to achieve an acceptable result. Furthermore, the number of nodes you may use can also depend on what kind of program you’re working on, with commercial spots affording the colorist enough time in the schedule to build truly massive grades that adjust every little detail, and narrative features and television shows requiring you to work faster and do more within fewer adjustments in order to stay on track. The real answer? Each grade requires as many nodes as are necessary. No more, no less.
How Many Nodes Do I Need to Use?
In this chapter and the ones that follow, you’ll learn many different techniques for combining adjustments and nodes in different ways to achieve highly specific effects. Consequently, new DaVinci Resolve users often wonder, how far do I go? There is no right answer, but suffice it to say that some of the world’s leading colorists achieve stunning results in as few as three or four nodes, while others routinely build carefully organized hierarchies of ten to twenty nodes, or more. The number of nodes you use is often dependent on the quality of media you’ve been given to work with, as well-lit footage usually requires less work than material shot run-and-gun with available light, that typically needs many more adjustments to achieve an acceptable result. Furthermore, the number of nodes you may use can also depend on what kind of program you’re working on, with commercial spots affording the colorist enough time in the schedule to build truly massive grades that adjust every little detail, and narrative features and television shows requiring you to work faster and do more within fewer adjustments in order to stay on track. The real answer? Each grade requires as many nodes as are necessary. No more, no less.