DaVinci Resolve Delivery Settings: Exporting Reliable Files for Web and Review

Delivery goals: review file vs master file

In DaVinci Resolve, “Deliver” settings should be chosen based on the job the file must do. Most workflows need two exports:

• Review file: small, fast to upload, plays everywhere (clients, phones, browsers).
• Master file: higher quality, used for archiving, future re-exports, or handing off to another editor.

A dependable approach is to lock a few presets and follow decision rules so you export consistent files every time.

Choosing format and codec (H.264 vs H.265)

Container: MP4 vs MOV

• MP4: safest for web review and general playback across devices.
• MOV: common for higher-quality masters (especially ProRes on macOS) and post workflows.

Codec decision rules

Practical guidance: If you’re unsure, export review as H.264 MP4. Use H.265 only when you know the recipient’s device/platform supports it and you need smaller files.

Where to set it in Resolve

1. Go to the Deliver page.
2. In Render Settings (left panel), choose a preset as a starting point (e.g., “Custom Export”).
3. Set Format (MP4/MOV) and Codec (H.264/H.265/ProRes/DNxHR).

Resolution and frame rate consistency (avoid accidental mismatches)

Decision rules

• Match the timeline unless you have a clear reason not to. If your timeline is 1920×1080 at 23.976 fps, export the same for predictable motion and sync.
• Downscale for review if upload speed matters: export 1080p even if the timeline is 4K (common for client review).
• Avoid frame rate conversion at export (e.g., 24 → 30) unless required by a platform spec. Conversions can cause judder and audio drift in edge cases.

Step-by-step: confirm export resolution and frame rate

1. On the Deliver page, find Video settings.
2. Set Resolution to Match Timeline (or choose a specific size like 1920×1080 for review).
3. Set Frame rate to Match Timeline.
4. If you must deliver multiple sizes, create separate presets (e.g., “Review_1080p” and “Master_4K”).

Audio settings (AAC, sample rate, and reliability)

Recommended audio for web review

• Codec: AAC
• Sample rate: 48 kHz (standard for video)
• Bitrate: 320 kbps stereo (or 192 kbps if file size is critical)

Decision rule: Use 48 kHz unless you have a specific deliverable requiring 44.1 kHz. Keeping audio at 48 kHz reduces surprises when combining with other video deliverables.

Step-by-step: set audio export

1. In Deliver → Audio, enable Export Audio.
2. Set Codec to AAC for MP4 review files.
3. Set Sample Rate to 48000.
4. Choose Bitrate (start with 320 kbps for review).

Bit rate guidance (quality vs file size)

Bit rate controls how much data is used to represent your video. Too low can create blocky gradients, banding, and muddy detail; too high wastes space and may not improve visible quality for web review.

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Simple bit rate starting points (H.264)

H.265 note

H.265 can often look similar at ~30–50% lower bitrate than H.264, but compatibility is the tradeoff.

Step-by-step: set bitrate in Resolve

1. In Deliver → Video, locate Quality.
2. Choose Restrict to and enter a target bitrate (e.g., 12000 Kb/s for 1080p review).
3. If you see options for Encoding Profile (Baseline/Main/High), choose High for best quality/efficiency (typical for modern playback).

File naming and folder structure (so exports stay traceable)

Reliable delivery is also administrative: you want to know exactly which file is the latest, what it’s for, and how it was made.

Recommended folder structure

ProjectName/ Deliverables/ Review/ Master/ Stills_QC/

Recommended naming pattern

Use a consistent pattern that includes project, deliverable type, resolution, and version:

ProjectName_Review_1080p_H264_v03.mp4 ProjectName_Master_4K_ProRes422HQ_v03.mov

• Versioning: increment v01, v02, v03 instead of “final_final”.
• Date (optional): add 2026-01-21 if multiple stakeholders need chronological sorting.

Step-by-step: set location and filename

1. In Deliver → Render Settings, set Location to your project’s Deliverables folder.
2. Enter the filename using your naming pattern.
3. Save the settings as a preset (three-dot menu or preset area) so you don’t rebuild it every time.

Render speed vs quality (and when to use each)

Key tradeoffs

• Hardware encoding (GPU/Quick Sync): faster, great for review exports; sometimes slightly less efficient compression than software encoding at the same bitrate.
• Software encoding: slower, can yield better quality per bitrate in some cases; useful when you’re pushing low bitrates or seeing artifacts.
• Higher-quality masters (ProRes/DNxHR): larger files, faster to decode/edit later, more robust for future exports.

Decision rules

• For review: prioritize speed and compatibility (H.264 MP4, hardware encoding if available).
• For master: prioritize quality and future-proofing (ProRes/DNxHR; avoid overly compressed long-GOP if you plan to re-edit).

Common reliability toggles to check

• Render at maximum depth (if available): can help with gradients in some pipelines; may slow export.
• Force sizing to highest quality / Force debayer to highest quality (if available): use when scaling or RAW debayer quality matters; slower but safer for masters.

Quality control (QC) checklist after export

QC is what makes delivery “reliable.” Do a quick, repeatable watch-down and verification pass before sending.

Watch-down checks (fast but effective)

• Start-to-finish playback: watch at least once without multitasking.
• Spot-check key moments: transitions, titles, speed changes, and any heavy effects.
• Check the first 10 seconds and last 10 seconds: common places for missing audio, wrong handles, or abrupt cuts.

Verify sync

• Listen for lip sync on close-ups.
• Check any obvious sync anchors (claps, door slams, on-screen impacts).
• If you exported with a different frame rate than the timeline, re-check sync carefully (better: avoid the mismatch).

Spot crushed blacks and clipped highlights

Compression and color transforms can make shadows look “blocked up” (crushed) or highlights look harsh (clipped). During QC:

• Look at dark areas: do you still see texture/detail, or is it a flat black blob?
• Look at bright areas (windows, skies): do they retain detail or turn into flat white?
• If you see issues, try increasing bitrate, using H.265, or exporting a master codec for review of the grade.

Spot clipped audio

• Listen for distortion on loud words, music hits, or applause.
• If distortion appears only in the export, confirm the export audio settings (AAC bitrate) and ensure you’re not overdriving the final output.

Practice: export a review file and a higher-quality master

Practice A: Export a review file (H.264 MP4)

1. Go to Deliver.
2. Set Format: MP4.
3. Set Codec: H.264.
4. Set Resolution: 1920×1080 (or Match Timeline if your timeline is already 1080p).
5. Set Frame rate: Match Timeline.
6. Quality: Restrict to 12000 Kb/s (adjust to 8000–16000 depending on content).
7. Audio: AAC, 48 kHz, 320 kbps.
8. Choose Location: Deliverables/Review.
9. Name it: ProjectName_Review_1080p_H264_v01.mp4.
10. Click Add to Render Queue, then Render All.

Practice B: Export a higher-quality master (ProRes or DNxHR)

1. Stay on Deliver.
2. Set Format: MOV.
3. Set Codec: ProRes 422 (or ProRes 422 HQ for higher data rate) on macOS; on Windows/Linux, choose DNxHR HQ (or HQX for 10-bit if your pipeline supports it).
4. Set Resolution: Match Timeline (often 4K if you edited in 4K).
5. Set Frame rate: Match Timeline.
6. Audio: keep 48 kHz; choose PCM if available for the master, otherwise high-bitrate AAC.
7. Choose Location: Deliverables/Master.
8. Name it: ProjectName_Master_4K_ProRes422_v01.mov.
9. Add to Render Queue and Render All.

Practice C: Confirm playback on a different device

1. Copy the review MP4 to a phone or tablet (or upload to a private link) and play it in the default player.
2. Play the same file on a different computer (different OS if possible) to confirm compatibility.
3. During playback, verify: (a) audio is present and in sync, (b) no unexpected banding/blocking in gradients, (c) blacks aren’t crushed compared to what you expect, (d) loud moments aren’t distorted.
4. If the review file fails on a device, re-export as H.264 MP4 (if you used H.265), and keep resolution/frame rate matched to the timeline.