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When working with stereo media in DaVinci Resolve, one of the first tasks you must perform is that of syncing each stereo pair of clips to act as a single clip. This is easily accomplished so long as you’re careful about how you organize your media in the Media Pool.
Each set of right- and left-eye media should always be organized into separate left-eye bins and right- eye bins, to facilitate later syncing of these clips using the Stereo 3D Sync command in the Media Pool contextual menu. For more information about setting up media for stereo workflows, see the “Stereoscopic Workflows” section of Chapter 15, “Stereoscopic Workflows.”
Camera Raw Decoding
Camera raw media formats are so named because they capture raw color space data directly from the sensor of whatever digital cinema camera did the recording. Raw image data is not human readable, and must be debayered or demosaiced to convert the original raw data into image data that can be handed off to DaVinci Resolve’s image processing pipeline.
There are four ways you can control how camera raw media is debayered into a useful, “normalized” image for adjustment or output:
— The Camera Raw panel of the Project Settings contain groups of parameters that correspond to every camera raw media format that’s supported by DaVinci Resolve. Using these parameters in the Camera Raw panel, you can override the original camera metadata that was written at
the time of recording, and make simultaneous adjustments to all camera raw media throughout your project.
— The Image Panel in the Inspector also contains the controls for every raw media format that’s supported by DaVinci Resolve. Allowing you to select all, some, or individual clips for raw debayering.
— The Camera Raw palette in the Color page lets you individually adjust Camera Raw parameters for individual clips in the Timeline.
— When you use Resolve Color Management (RCM) in a project that uses Camera Raw formats, color science data from each camera manufacturer is used to debayer or demosaic each camera raw file to specific color primaries with linear gamma, so that all image data from the source is preserved and made available to DaVinci Resolve’s color managed image processing pipeline. As a result,
the Camera Raw project settings and Camera Raw palette of the Color page are disabled, because RCM is controlling the debayering of all camera raw clips, and all image data from the raw file is available for conversion to the Timeline Color Space you choose to work with as you grade.
For more information about each of the Camera Raw formats that can be adjusted in DaVinci Resolve,