You can then add your offline media clip to the end of the sequence to play for clients or grab reference stills as needed. To get around this, create another folder in your Media Pool and call it something like “Reference.” You can keep yourself organized by keeping all of the references there, with your media at the root Master folder. You can add the reference clip as a piece of media as well, but you can’t have a reference file and a media file that points to the same media in the same folder. Since the file is a reference clip, it also doesn’t function like normal media that can be added to the Media Pool.

The clip doesn’t have to have all the effects and filters taken off to be useful, and they can contain reference audio as well. Offline clips are usually a single Quicktime file of the EDL, XML or AAF you’ll be grading. For those working in a commercial environment, however, it’s customary to use a high-end finishing system to design effects, handle versioning and titling, and otherwise assist in outputting the final online picture.

Think of the terms “offline” and “rough cut” as synonymous. Over the last few years, NLEs have become sophisticated enough to function as online tools for many workflows, so the term has become a bit of a misnomer for some. In this context, the term “offline” describes a reference movie file from an offline nonlinear editorial (NLE) system like Premiere or Final Cut Pro. What are Offline Clips?įirst, a bit of terminology. Now that I’ve sufficiently scared you, let’s take a look at how to work with offline clips and how they can be used throughout the session. It’s the easiest and fastest way to lose credibility, and the client will question everything else in the session from that point on. You don’t want them calling out a shot you’re grading as wrong. Your worst-case scenario is a client who knows the timeline better than you do. Using offline clips from the editorial department is extremely crucial for a session. These are the parts of the job that your clients aren’t concerned about, because they’re only interested in making the image look its best. However, managing technical details before your clients arrive is just as important. Learn how in this DaVinci Resolve Tutorial.ĭeveloping an ability to match shots quickly is of tantamount importance when first learning to grade. Using offline clips is important when establishing yourself as a serious colorist.

Davinci resolve user guide