I personally believe that working with dissolves is easier with the Nucoda Film Master. With the Resolve, it has some limitations that make it a little trickier. If you put your dissolve in the track within the Color tab, you must use the exact same nodes in the dissolving clips. The dissolve here basically just interpolates your nodes, moving your values from your first setting to the next. So, if for example, you have a node with a qualifier that changes values from the first clip to the second clip, then you might see a sort of “morphing” within the dissolve (which I should probably start calling, “dynamic”, in this context, rather than “dissolve”). Since it is a dynamic, the clip is still whole and applying a saved grade would erase that dynamic. As opposed to how the Film Master does it, splitting the clips in two and placing an actual dissolve over the cut. Since the two parts are separated, it’s easy to just apply a saved grade to either without affecting the other clip or the dissolve.
I’ve noticed a lot of engine searches for “dissolve in Da Vinci Resolve” or something similar. I tried doing the search myself and I didn’t find much. But, if I’m not mistaken, the Resolve manual has instructions on this. But anyway, as a quick reference, here’s how to do it. Depending on your situation, you can create a dissolve effect either in CONFORM or COLOR.
DISSOLVE in CONFORM
This technique would require a little more prep time but I think may make grading a little easier than dissolving in the Color tab. This is especially useful when you have completely different grades for the dissolving media.
- Insert your clips into the timeline. Start with a right-click on your timeline and select “Enable editing”. Locate your clip/s from your media pool in the upper left box. Right-click: Insert or Append.
- Trim the clips. Make sure the first clip ends at the end of the dissolve, and the second clip starts at the beginning of the dissolve.
- Move your clips so that they overlap. Make sure that you are in “normal” editing mode. The overlap of the two clips should cover where you want the dissolve to be.
- Start Grading.
DYNAMIC in COLOR
This one is a little simpler to do at first, but may complicate things if you decide to make a big change. This would be useful when you intentionally want your nodes to change at various points in time. Simply put, this would be like setting keyframes for you nodes. You can opt to put a dynamic on all your nodes or just to specific nodes.
- Do your initial grading. It’s a good idea to do a grade before putting in the dynamic, which includes all the nodes that you plan on using for the two parts. And, put in a little extra empty nodes, in case you want to add something later.
- Mark your start point. Go to the moment in your timeline where you want to start your dynamic. Press the “Start Dynamic” button on the panel. Or, right-click on the timeline (if you want to put a keyframe on all your nodes) or on a specific node, and select, “Add Dissolve Mark”
- Mark your end point. Go to the moment in your timeline where you want to end your dynamic. Press the “Mark” button on the panel. Or, right-click on the timeline or on the same node, and select, “Add Mark”.
- Adjust your grade.
You can adjust the timing of your marks. First, highlight your marks by holding down the shift button and click-drag the mouse over the marks. They will be highlighted in yellow. Move the mark at the very top, where the timecodes are, if you want to move all the marks. You may choose to adjust just the marks of certain layers, if needed.
If you do end up using dynamics instead of the dissolve in conform, and you add a new node after making the dynamic, that node will not have the dynamic. Don’t worry, you just have to repeat the steps.
*TIP: If, for example, you just want that adjustment for one side of the dynamic, then, on the other side, instead of resetting your values, go to “Key Mode” and just set the “Post Gain” to “0.0”
Hope this helps, somehow… 🙂