# DaVinci Resolve Adjustment Clip vs Fusion Composition > **Quick answer:** For “davinci resolve adjustment clip vs fusion composition,” choose an Adjustment Clip when Fusion should process the timeline image beneath it. Choose a Fusion Composition for a self-contained graphic, title, or effect with explicit media. In Resolve 21, the choice is mainly about input ownership and whether lower layers must stay editable. *Published by [TryUncle](https://tryuncle.com) — the on-screen assistant that teaches DaVinci Resolve on your own screen.* *Updated 2026-09-20 · DaVinci Resolve 21.0 (September 2026) · Canonical: https://tryuncle.com/learn/davinci-resolve/davinci-resolve-adjustment-clip-vs-fusion-composition* Adjustment Clips and Fusion Compositions look like neighboring items in the Effects Library. They are not interchangeable. We’ve spent 7+ years cutting commercial work and teaching editors, and this is one of the small Resolve choices that can quietly decide whether a project stays easy to revise. As of September 2026, this guide applies to DaVinci Resolve 21 and the current 20.3 reference manual listed by Blackmagic Design. Resolve 21 adds new Fusion graphics and workflow features, but the input distinction between these two containers remains the thing to decide first. [Blackmagic Design’s current product page](https://www.blackmagicdesign.com/products/davinciresolve/?vid=16) identifies Resolve 21 and describes Fusion as the page for visual effects and motion graphics. TryUncle is the on-screen assistant for DaVinci Resolve on Mac and Windows. You can ask Uncle where a control is while you work, which is useful when a tutorial uses a different Resolve version or your project is already full of nested clips. ## What is the short answer to “davinci resolve adjustment clip vs fusion composition”? The short answer is simple: an Adjustment Clip processes the visible composite on the timeline below it, while a Fusion Composition is a separate container that starts without timeline footage. Choose the first for an effect over existing edits. Choose the second for a graphic, title, or composite whose sources you will build or add in Fusion. That answer is more useful than saying one is “better.” They solve different input problems. The Adjustment Clip asks, “What should happen to the image already assembled under this time range?” The Fusion Composition asks, “What images, shapes, text, and nodes should make this result?” The distinction matters because the wrong container can create three kinds of confusion: 1. You open Fusion and see no MediaIn node, then assume Resolve is broken. 2. You apply a node tree to an Adjustment Clip, then discover that it sees one flattened timeline image instead of the individual clips you wanted to manipulate. 3. You build a beautiful Fusion Composition, then expect it to automatically see the shots beneath it even though it has no timeline input. Blackmagic’s Editor’s Guide describes an Adjustment Clip as a clip with no content of its own. Effects placed on it pass to clips on timeline tracks beneath it. [The Adjustment Clip chapter in Blackmagic’s guide](https://documents.blackmagicdesign.com/UserManuals/DaVinci-Resolve-17-Editors-Guide.pdf) gives the basic Edit page workflow: place it on a higher video track, trim it over the clips, and apply an effect. The Fusion side has a different starting point. Blackmagic’s Visual Effects Guide shows that a Fusion Composition placed from the Effects Library opens with a MediaOut node and no MediaIn nodes. You add the content required for the composition yourself. [The Visual Effects Guide](https://documents.blackmagicdesign.com/UserManuals/DaVinci-Resolve-18-Fusion-Visual-Effects.pdf) documents that behavior in its Fusion generator example. **An Adjustment Clip is a window over timeline media, while a Fusion Composition is a container for media you choose.** ## What exactly does an Adjustment Clip do in DaVinci Resolve? An Adjustment Clip is a timeline item that carries effects, transforms, grades, or Fusion processing above other clips without merging those underlying clips into one compound clip. The Adjustment Clip itself has no picture. It affects the visible result from the video tracks below it for the duration and width of the Adjustment Clip. That definition explains why Adjustment Clips feel natural on the Edit page. Suppose Video 1 contains a talking-head shot, Video 2 contains a lower third, and Video 3 contains an Adjustment Clip. A blur, vignette, transform, or Fusion node tree on Video 3 receives the composite visible beneath it. If you shorten or move the Adjustment Clip, the affected time range changes with it. An Adjustment Clip doesn’t mean “every source in the Media Pool,” and it doesn’t give Fusion a neat stack of all original source files. Its Fusion MediaIn represents the timeline image under the clip. A post on the official Blackmagic Design forum describes this as one MediaIn seeing all the media below the Adjustment Clip at timeline resolution, with no timeline metadata available to Fusion. [Read the Blackmagic forum explanation of composition types](https://forum.blackmagicdesign.com/viewtopic.php?p=1052388&t=150418). That makes an Adjustment Clip strong for operations that should happen after the layers have been assembled: - A full-frame blur over a selected section. - A stylized color or texture treatment over several shots. - A Fusion distortion that should affect a complete lower-third composite. - An animated zoom or shake over a sequence of clips. - A transition-like effect built from the image under the clip. It also creates clear boundaries. The Adjustment Clip won’t reveal the original foreground and background as separate Fusion inputs. It won’t let you change the edit of those lower clips from inside its node tree. If you need each layer to remain a separate input, use a Fusion Clip or a different composition strategy. The current Support Center lists the DaVinci Resolve 20.3 reference manual dated February 10, 2026, while Blackmagic’s product page presents Resolve 21. [Check the current Blackmagic Support Center](https://www.blackmagicdesign.com/nl/support) when a menu name or version-specific option differs. # ## How an Adjustment Clip reaches Fusion Place an Adjustment Clip on a video track above the material you want to affect. Right-click it and choose the command that opens it in the Fusion page. The initial tree normally gives you a MediaIn and a MediaOut. The MediaIn is the image Resolve has assembled from the timeline below the Adjustment Clip. Add nodes between MediaIn and MediaOut. A Blur softens the composite, a Transform changes its position or scale, and a Merge can combine the timeline image with an explicit second source. The Adjustment Clip supplies the time range and layer placement; the Fusion node tree supplies the processing. ## What exactly does a Fusion Composition do in DaVinci Resolve? A Fusion Composition is a self-contained timeline item for building a Fusion result from nodes. When it starts empty, it has no automatic connection to the clips on lower timeline tracks. That is why a new composition can show MediaOut without MediaIn. Blackmagic describes Fusion as a node-based environment where nodes represent image processing, effects, models, masks, and other elements, and where the node tree is saved as a composition. [The Fusion 20.3 Reference Manual](https://documents.blackmagicdesign.com/UserManuals/FusionManual.pdf?_v=1724310010000) also explains that clips can reach Fusion in different ways, and that the way a clip enters the composition determines how it functions and what resolution it outputs. The usual Fusion Composition workflow is to create a graphic or effect from its own inputs. You might use: - A Text or Text+ node for a title. - A Background node for a solid color or alpha canvas. - A Rectangle, Ellipse, Polygon, or B-Spline mask. - A MediaIn node created by bringing media from the Media Pool into the composition. - A Loader for media workflows that call for direct file loading. - A Merge node to place a foreground over a background. - A MediaOut node to send the finished image back to the timeline. The composition’s visual result is controlled by its own node tree. Its duration is controlled by the timeline item’s length, and its timing can be animated with Fusion’s keyframes and spline tools. A standalone Fusion Composition is therefore a better home for a title card, logo animation, end screen, graphic background, or a composite where you want to design the scene as a self-contained image. **A Fusion Composition does not automatically inherit the footage under it on the Edit page.** That does not mean a Fusion Composition is isolated from all project media. You can add project media to it. The difference is that the source becomes an explicit part of the node tree rather than an implicit feed from the timeline below. # ## Why the empty Fusion Composition is not broken An empty composition is often the first moment a new Resolve user thinks the wrong item was dragged into the timeline. The result is actually the expected starting state. The Visual Effects Guide’s worked example puts a Fusion Composition at the end of a timeline, opens it in Fusion, and shows a single MediaOut node. The guide then tells the editor to add whatever content the composition requires. To create a visible result, make a minimal tree: 1. Add a Background node. 2. Add a Text+ node if you want text. 3. Connect Text+ to the green foreground input of a Merge node. 4. Connect Background to the yellow background input of the Merge node. 5. Connect Merge to MediaOut. That tree produces a self-contained graphic. If you want media behind the text, add it through the Media Pool or another appropriate input, then connect it to the background side of the Merge. The order of the Merge inputs matters. Blackmagic’s Fusion workflow page identifies the yellow control as the background input and the green control as the foreground input. Its example uses a Merge node to layer images, then adds effects and masks as required. [See Blackmagic’s official Fusion workflow](https://www.blackmagicdesign.com/ca/products/davinciresolve/fusion). If your background and foreground appear backwards, the fix is usually the Merge connection, not the choice between an Adjustment Clip and a Fusion Composition. The [Fusion Merge node background and foreground guide](https://tryuncle.com/learn/davinci-resolve/davinci-resolve-fusion-merge-node-background-foreground-backwards) covers that specific decision. ## What is the real difference between their MediaIn inputs? The decisive difference is input ownership. An Adjustment Clip receives a composite supplied by the timeline. A Fusion Composition has no automatic timeline input and requires you to add its sources. Here is the comparison that I use when deciding which one to create: | Question | Adjustment Clip | Fusion Composition | | --- | --- | --- | | Where does the first image come from? | The visible composite on timeline tracks below the clip | No automatic image input; you add sources or generate them in Fusion | | How many timeline inputs appear by default? | One MediaIn representing the combined image below | Zero MediaIn nodes in the empty composition workflow | | What does the container represent? | An effect layer over a time range | A self-contained Fusion graphic or composite | | Can Fusion see the original lower clips separately? | No, not through the default Adjustment Clip MediaIn | Not automatically, because no lower timeline media is supplied | | What is easiest to trim? | The clip’s start and end on the Edit timeline | The Fusion Composition item’s duration on the Edit timeline | | What is easiest to reuse as a clean graphic? | Reusable only when the timeline context is part of the intended effect | Strong fit for a self-contained title, logo, or background | | What does a lower track change do? | The Adjustment Clip’s input can change because the timeline composite changes | Nothing unless the composition explicitly uses that timeline or media | | What is the first troubleshooting question? | Is the clip above the intended media and long enough to cover it? | Have you connected a source node to MediaOut? | | What resolution should you expect? | The Adjustment Clip Fusion input sees the timeline at timeline resolution, according to the Blackmagic forum explanation | Media added from the Media Pool can be seen at its native resolution, while the final result still returns to the Resolve timeline context | | When is it the wrong choice? | When each lower layer must be edited independently in Fusion or time remapping is central | When the effect must automatically process whatever is underneath it on the timeline | The resolution row needs care. The official Fusion manual says a single clip brought from the Edit or Cut page can enter Fusion at the source clip’s resolution rather than the timeline resolution. The forum composition guide distinguishes that from an Adjustment Clip, whose MediaIn sees the timeline at timeline resolution. Those are different composition types, so don’t transfer the single-clip rule to an Adjustment Clip. The practical consequence is easy to remember. A high-resolution source clip opened directly in Fusion may give Fusion the source resolution. A stack processed through an Adjustment Clip is treated as the timeline composite. A standalone Fusion Composition works from the sources and generated elements in its own graph, then outputs into Resolve. If you need to keep a reusable node tree and connect it to media at explicit resolutions, inspect the input type before you build. The [Fusion MediaIn versus Loader guide](https://tryuncle.com/learn/davinci-resolve/davinci-resolve-fusion-mediain-vs-loader) is the relevant next read when source loading, timing controls, or project portability matter more than timeline convenience. ## Should I use an Adjustment Clip or Fusion Composition for a title? Use a Fusion Composition for a title that is meant to be a self-contained graphic. Use an Adjustment Clip when the title effect is intentionally a treatment applied to the image underneath, such as a distortion, color wash, or full-frame animated look. For a normal lower third, neither container is always required. A Text+ title or a Fusion Title may already be the more direct choice because the title is an overlay, not an effect that changes every pixel of the footage. The comparison becomes useful when you are deciding where the title’s node tree should live. # ## Case A: a reusable lower third Create the graphic in a Fusion Composition or a title template. The node tree can contain a background shape, a text node, an icon, and animation controls. The result can be placed over footage without asking the title to read the image below it. This arrangement keeps the graphic’s visual logic separate from the shot. If the speaker changes, you update the text controls. If the shot changes, the title’s internal layout does not need the shot as an input. That separation is useful for interviews, course lessons, and recurring branded segments. If the graphic needs to react to a shot, you can add the shot or a reference image explicitly. But do that because the design needs it, not because a Fusion Composition automatically sees the timeline. It doesn’t. # ## Case B: a title with a full-frame transition Suppose the text appears while the entire picture ripples, blurs, or bends. An Adjustment Clip can be placed above the footage for the section where the treatment runs. In Fusion, the MediaIn is the composite below. You can then add the title and the treatment in the same node tree. The choice is not about whether Fusion can draw text. Both containers can hold Fusion nodes. It is about whether the effect needs the image beneath it as an automatic input. # ## Case C: a title card with no footage A full-screen title card, end slate, or logo animation is a strong Fusion Composition case. Its background, text, logo, and animation are all explicit nodes. There is no reason to make the graphic depend on lower timeline media that may not exist. # ## Case D: a title that must sit behind a subject This is a more complex composite. You may need the subject, a matte, a background, and the title as separate elements. An Adjustment Clip usually gives you the flattened image below, which is not enough for independent subject isolation. A Fusion Composition can work if you bring in the required media and masks explicitly, but a Fusion Clip or a properly structured single-clip composition may fit better when the shot itself is the central input. Resolve offers multiple Fusion composition types. The official Blackmagic forum guide lists single-clip compositions, Adjustment Clips, Fusion Clips, and Fusion Effects or Transitions as different ways of bringing media into Fusion. The important point is that “open in Fusion” does not describe only one input model. **For a title, choose the container based on whether the title is an image layer or an image treatment.** ## Why is my Fusion Composition transparent or empty? A Fusion Composition is transparent or empty when its node tree has no visible source connected to MediaOut. A standalone composition does not automatically sample lower Edit page tracks, so you must add or create the image that the composition should output. Check the node graph in this order: 1. Select MediaOut and confirm that an image is connected to its input. 2. Look for a Background, MediaIn, Loader, Text+, or other image-producing node. 3. Confirm that the source node connects through a Merge, Transform, or other processing chain to MediaOut. 4. Check the alpha channel if the viewer shows transparency where you expected a solid background. 5. Check the composition duration and the playhead position on the Edit timeline. The most common beginner mistake is creating a Text+ node and connecting it straight to a Merge without connecting a Background to the Merge’s background input. The text may exist, but the rest of the frame is transparent. Another common mistake is building a node tree but leaving MediaOut disconnected. The standalone Fusion Composition workflow is documented in Blackmagic’s Visual Effects Guide. The guide’s example explicitly starts with no MediaIn nodes, then explains that the editor must add whatever content the composition needs. That is a source-based answer, not a guess about a hidden setting. # ## A minimal opaque title card Use this graph when you want to prove the container is working: ```text Background --------------> Merge ------------> MediaOut ^ Text+ ----------------------| ``` Set the Background to a visible color. Give Text+ a short word. Connect the two branches to Merge, then Merge to MediaOut. If the result appears, the composition works. If the result disappears after adding another node, inspect the last connection first. # ## A title over footage For an explicit footage source, use a MediaIn created from a selected Media Pool item or another supported source. Connect that MediaIn to the background input of Merge. Connect Text+ to the foreground input. Send Merge to MediaOut. This is different from placing an Adjustment Clip above footage. In the Adjustment Clip case, the timeline supplies the composite automatically. In the Fusion Composition case, the node tree supplies the footage explicitly. # ## A title over the timeline without flattening your expectation If you want a graphic to sit over whatever the Edit page is already showing beneath it, a Fusion Composition may not be the right starting container. Use a title, Fusion Title, or another overlay-oriented item. If the graphic must also distort the background, use an Adjustment Clip or a design that explicitly receives the background image. If the empty composition is the specific stuck point, Uncle can point at the missing source connection in your project while you work. ## How do I make a Fusion Composition see the clips below it? A standalone Fusion Composition will not see lower timeline clips automatically. To use the image below it, choose an Adjustment Clip, use a composition type designed to receive timeline media, or add the required media explicitly inside Fusion. The exact answer depends on what “see” means. # ## If you need the flattened timeline image Use an Adjustment Clip above the target media. Open the Adjustment Clip in Fusion. Its MediaIn represents the composite below it. This is the cleanest answer for a glow, blur, distortion, texture, or transition-like treatment over the assembled timeline image. # ## If you need individual layers An Adjustment Clip is not the right input model. Its default Fusion input is one image, not one MediaIn per lower track. A Fusion Clip can expose multiple timeline layers as separate MediaIn nodes when the clip is created from stacked timeline material. The Blackmagic forum composition guide explains that a Fusion Clip starts with one MediaIn per video layer in the Fusion Clip and adds Merge nodes to combine them. That gives you a different kind of control. You can key one subject, adjust another layer, or build a composite while the timeline remains the place where the layers are arranged. The trade-off is that you have introduced another container and should understand how its duration and edits relate to the original timeline. # ## If you need one source clip at source resolution Open the individual clip in Fusion rather than using an Adjustment Clip. Blackmagic’s Fusion manual says that a single clip brought from the Edit or Cut page can be seen at the source clip’s resolution, not the timeline resolution. That behavior is useful when the source has more pixels than the timeline and the Fusion operation benefits from that source context. But don’t confuse a single-clip composition with a standalone Fusion Composition. The single-clip setup is attached to the selected timeline clip and receives that clip as MediaIn. The standalone Fusion Composition is the empty container described above. # ## If you need a portable, explicit source Add the source inside Fusion. A MediaIn from the Media Pool is tied to project media. A Loader is a direct file-loading route used for certain Fusion workflows. Which one fits depends on whether you need project-managed media, direct disk paths, timing controls, or portability. The source choice matters because the same visual result can behave differently when its source is linked to a project item versus loaded from a file path. # ## Why not just drag the Adjustment Clip into the Fusion Composition? Because an Adjustment Clip is meaningful as a timeline layer. Without the timeline context underneath it, it has no composite to pass into its MediaIn. A Fusion Composition can contain added media, but that does not turn the Adjustment Clip into an automatic timeline input. The better move is to decide whether the effect belongs above the timeline or inside a self-contained graph. Then choose the container that matches that boundary. ## Why does my Adjustment Clip show the wrong image in Fusion? An Adjustment Clip shows the wrong image when its time range, track position, visibility, or lower timeline layers differ from what you intended. The Fusion MediaIn is reading the timeline composite under the Adjustment Clip, not the source clip you may be thinking about. Start with the Edit page. Put the playhead over the Adjustment Clip and inspect the visible timeline image. If the Edit viewer shows the wrong lower clip, Fusion is probably receiving the wrong image for the same reason. Check these conditions: - The Adjustment Clip is on a video track above the intended media. - The lower clips are enabled. - The track output is enabled. - The Adjustment Clip covers the time range you are viewing. - Another upper track is not covering the clip you meant to affect. - The playhead is not outside the source clip’s active range. The word “below” means the track stack matters. If a second video layer sits beneath the Adjustment Clip but is hidden by a visible layer above it, the composite sent to Fusion reflects the visible result. If a clip is muted or a track is disabled, it may not appear. Resolve is giving you the timeline image, not an inventory of every item in the stack. # ## Why the Adjustment Clip can feel one frame late The Adjustment Clip has its own start and end. Fusion animation inside it also has a frame range. If the clip begins at a different time than the animation you designed, your keyframes may appear offset. First align the Adjustment Clip’s left edge and duration on the Edit timeline. Then inspect the Fusion keyframes. There is also a known frame-number caveat described in the Blackmagic forum composition guide. Newly created Adjustment Clips can show a very large starting frame number in Fusion. The documented workaround is to drag the Adjustment Clip from the timeline into the Media Pool, delete the timeline copy, and drag the Media Pool copy back to the timeline before opening it in Fusion. Treat this as a workflow caveat, not a universal cure for every timing problem. The forum post gives an example of a large starting value around 108400 and says the exact value depends on frame rate. Because this behavior is described by a forum contributor rather than a current formal version note, test it in your Resolve build before reorganizing a production timeline. # ## What if I trimmed the Adjustment Clip from the left? If you use an Adjustment Clip with a Fusion composition and its frame range looks unusual after trimming, undo the trim if possible and test a duplicate before changing the live project. The Blackmagic forum discussion records reports that left-edge trimming can produce unexpected starting frame values, while right-edge duration changes avoid that particular workflow issue. This is exactly the kind of edge case that makes a reusable Adjustment Clip worth preparing in the Media Pool. It also shows why an Adjustment Clip is not just a Fusion Composition with a different icon. The timeline owns part of its behavior. # ## Why is the Fusion result smaller or softer? Check the input type and the timeline resolution. The official composition guide distinguishes Adjustment Clip input at timeline resolution from a single-clip composition that can receive source resolution. If you expected a 6K source to behave like a direct single-clip Fusion input while working through an Adjustment Clip on a 1080p timeline, the input model is the first thing to question. The result can also be affected by scaling, image sizing, proxy mode, cache state, and the resolution of generated elements. Those are separate decisions. Don’t “fix” a source-resolution mismatch by changing the container unless you know which stage needs the extra pixels. ## Which container should I use for a full-frame look over several clips? Use an Adjustment Clip when the look should follow a time range and process the assembled picture across several timeline clips. Use a Fusion Composition when the look is a separate graphic or composite that should not depend on whatever happens to be beneath it. This is the cleanest everyday decision because it maps directly to the job. A look is usually a treatment. A graphic is usually an object. The same Blur, Transform, Merge, or mask tools can appear in both node trees, but the container determines the source and the edit relationship. # ## Worked project 1: a three-shot interview treatment Imagine a 40-second interview sequence with three cuts on Video 1. A logo animation sits on Video 2. You want the entire section to become slightly softer, darker, and warmer for a memory beat. The change must start on the first frame of the memory beat and end on the last frame. You may revise the cuts later. An Adjustment Clip is the practical choice: 1. Add an Adjustment Clip on a video track above the interview and logo layers. 2. Trim the Adjustment Clip to the memory beat. 3. Open the Adjustment Clip in Fusion. 4. Use its MediaIn as the timeline composite. 5. Add a Blur or other image-processing node, then add the color or texture treatment you need. 6. Connect the processed image to MediaOut. 7. Return to the Edit page and trim the Adjustment Clip if the story changes. The effect follows the time range, not a single source clip. If you replace one of the interview shots, the Adjustment Clip still covers the same section of the timeline. If the logo should be included in the treatment, it is part of the composite under the Adjustment Clip and is processed with the rest of the visible image. The limitation is equally clear. Fusion sees the assembled image. You cannot use one MediaIn to isolate the logo and another to isolate the speaker because the default Adjustment Clip input does not expose those lower items as independent layers. # ## Worked project 2: a title card before the interview Now imagine a 5-second title card with a dark background, a name, and a small line of explanatory text. There is no footage under it. You want to animate the title, add a glow, and reuse the structure for several episodes. A Fusion Composition is the better choice: 1. Add a Fusion Composition to the timeline. 2. Set its duration to the title-card length. 3. Open it in Fusion. 4. Add a Background node, Text+ nodes, masks, and effects. 5. Merge the elements in the node tree. 6. Connect the finished result to MediaOut. 7. Expose the controls you expect to change, such as the name and subtitle. The result does not need lower timeline media. Its inputs are explicit and its design is easy to reason about. You can duplicate the composition for another title card and replace the text without wondering which shot the first MediaIn is receiving. # ## Worked project 4: a two-layer composite with a keyed subject Imagine a subject recorded against a green screen on Video 2 over a background plate on Video 1. You want to key the subject, add a light wrap, and cast a soft shadow on the background. An Adjustment Clip above both layers gives Fusion the current composite, but that is too late for a clean independent keying workflow. The keyer needs the subject as its own input, and the shadow or light wrap may need the background as another input. A Fusion Clip made from the stacked layers can be a stronger fit because the Fusion composition can receive multiple timeline layers as separate MediaIn nodes. The official Blackmagic forum guide describes that multi-layer behavior for Fusion Clips. A single-clip composition with a deliberately structured source can also fit, depending on the project’s edit requirements. The lesson is not “always use a Fusion Clip.” It is “don’t ask an Adjustment Clip to unflatten a composite it received as one image.” If the layer boundary matters, preserve it before the image reaches the Adjustment Clip. ## How do I build an Adjustment Clip Fusion effect step by step? Build an Adjustment Clip Fusion effect by placing the clip above the target timeline media, preparing its duration, opening it in Fusion, processing the automatically supplied MediaIn, and sending the result to MediaOut. The order matters because the timeline position determines what MediaIn represents. # ## Step 1: prepare the timeline Put the video clips you want to affect on the lower tracks. Keep the Adjustment Clip on a higher video track. Make sure the target tracks are enabled and that the Adjustment Clip spans the intended frames. Do not rely on the Adjustment Clip’s default length if you need a precise effect. Zoom the timeline and set the in and out points visually, or use Resolve’s duration and timecode controls. The exact menu labels can vary between interface layouts and versions, so verify against the current 21 interface if your command is named differently. # ## Step 2: open the Adjustment Clip in Fusion Select the Adjustment Clip and open it in the Fusion page. You should see the timeline image arriving through MediaIn and leaving through MediaOut. If you see only an empty composition, confirm that you opened the Adjustment Clip itself and not a separate Fusion Composition item. # ## Step 3: add one controlled change Start with one node. Add a Blur, Transform, Color Corrector, or another simple image tool between MediaIn and MediaOut. Play the section. If the change is visible, the input path works. Then add masks, tracking, animation, or Merge branches. Testing one node at a time saves you from debugging a 30-node graph when the real problem is a missing connection or the wrong container. # ## Step 4: set the node’s animation range Use Fusion keyframes or the spline editor when the effect changes during the Adjustment Clip. Keep the animation inside the clip’s active duration. If you move the Adjustment Clip on the Edit timeline, review the timing in Fusion afterward because the timeline placement and the node keyframes describe different parts of the result. # ## Step 5: test the edges Play a few frames before the start, through the middle, and a few frames after the end. Check the first frame and the last frame. If you use a mask or tracker, check the shot cuts inside the Adjustment Clip. A single composite input may cross a cut, but a tracker or animated effect may need deliberate handling at that cut. Return to the Edit page for editorial changes. An Adjustment Clip is a timeline object, while a Fusion Composition is a graphic or composite placed on the timeline. ## How do I build a standalone Fusion Composition step by step? Build a standalone Fusion Composition by deciding its output, adding explicit source nodes, connecting those sources through a node tree, and controlling its duration on the timeline. The composition will not supply timeline footage for you. # ## Step 1: define the output before adding nodes Ask what the item must output. Is it a title with alpha? A full-screen graphic? A background plate? A composite of two media sources? A procedural animation? The answer tells you whether the first node should be Text+, Background, MediaIn, or a group of sources. If the output should be transparent around the graphic, keep the alpha. If the output should fill the frame, use an opaque Background or an opaque source. Many apparent Fusion problems are output-design problems rather than node problems. # ## Step 2: add the source explicitly For a project media source, add a MediaIn from the Media Pool. For generated content, add the relevant Fusion tool. For a direct file-loading workflow, consider a Loader where it is appropriate. The Fusion manual documents that clips added to a composition from different locations can have different controls and timing behavior. Do not add a MediaIn simply because the node exists in another tutorial. Ask what it should represent. In a single-clip composition, the default MediaIn is the selected timeline clip. In a standalone Fusion Composition, a MediaIn that you add is an explicit project source. # ## Step 3: build the smallest valid tree Get the image to MediaOut before you add polish. For a simple source, connect it directly to MediaOut. For two layers, connect both to Merge, then Merge to MediaOut. For a masked effect, connect the mask to the tool’s blue mask input. Blackmagic’s official Fusion workflow describes five basic operations: merge images, insert effects, create masks, adjust settings, and fine-tune animations. That order is a useful discipline for a new composition. First make the image flow. Then shape it. # ## Step 4: decide where timing belongs The composition’s timeline item controls when it exists in the Edit page. The Fusion graph controls animation inside the composition. Source nodes can also have their own timing controls depending on how they entered the composition. This is why a standalone Fusion Composition is a good fit for a self-contained animation. You can design the internal timing as a unit, then place the unit at a different point in a timeline without changing the concept of the graphic. # ## Step 5: expose only useful controls If you are building a reusable title or graphic, expose the controls that a future editor needs. Text, color, size, position, and duration are common candidates. Hide implementation details that should not be changed casually. Resolve 21 adds Fusion workflow updates, including the Krokodove motion graphics toolset and an updated Macro Editor Inspector View according to Blackmagic’s current What’s New page. Those features can help with newer graphics workflows, but they don’t remove the need to choose the correct input model first. [Review the current Resolve 21 Fusion changes](https://www.blackmagicdesign.com/uk/products/davinciresolve/whatsnew). # ## Step 6: duplicate with intent Duplicate a Fusion Composition when you want another independent graphic. If two copies must always change together, don’t assume duplication creates a shared master. Check whether a referenced composition, macro, template, or another reusable structure better matches the intended maintenance model. # ## Step 7: test over real footage Even when the composition is self-contained, place it over representative footage. Check alpha edges, image sizing, motion blur, text legibility, and how the graphic behaves at different timeline resolutions. A graphic can be technically correct in the Fusion viewer and still be wrong for the delivery frame. ## Which one handles multiple clips better? An Adjustment Clip handles multiple clips better when you want one effect on their flattened visible result. A Fusion Clip or explicit multi-source composition handles multiple clips better when each layer must remain independently available for compositing. The phrase “multiple clips” hides two different jobs. # ## Job 1: one look across a sequence Use an Adjustment Clip. Put it above the sequence, apply the look, and trim the Adjustment Clip to the range. The timeline stays editable because the underlying clips remain separate on the Edit page. This is useful for a section-wide blur, a stylistic treatment, a frame distortion, or an adjustment that should include overlays already visible beneath it. The Adjustment Clip is a clean editorial marker for the range. # ## Job 2: a composite made from separate layers Use a Fusion Clip or another structure that supplies separate MediaIn nodes. The Blackmagic forum guide says a Fusion Clip can start with one MediaIn for each video layer inside it, with Merge nodes joining those inputs. That is the behavior you need when the foreground, background, and matte are different creative elements. An Adjustment Clip cannot recreate that separation after the timeline has supplied one composite image. You may be able to bring original media into Fusion again, but that creates a new source path and a new synchronization responsibility. # ## Job 3: one operation across image and overlay An Adjustment Clip includes the visible composite beneath it. That can be a benefit or a problem. If a logo should blur with the footage, the Adjustment Clip is convenient. If the logo must stay crisp while the footage blurs, place the logo above the Adjustment Clip or split the treatment into separate layers. That one layer-order decision often resolves the “why did my title blur too?” question. The Adjustment Clip did exactly what its placement asked it to do. **Adjustment Clips are best for one treatment across many timeline frames; Fusion Clips are better for many independent image inputs.** ## Why is my Adjustment Clip Fusion composition not retiming correctly? An Adjustment Clip Fusion composition is a poor place to depend on Fusion time remapping. The Blackmagic forum composition guide identifies TimeStretcher and TimeSpeed as non-functional in an Adjustment Clip composition, so handle the retime on the Edit timeline or use a different composition type. First identify which time operation you need: - You want the underlying shot to play faster. Change the shot’s speed on the Edit page. - You want a Fusion-generated animation to last longer. Change its keyframes, spline timing, or the Adjustment Clip duration. - You want a source inside Fusion to start later. Use the timing controls available to that source type. - You want a whole composite to play at a different speed. Consider a Fusion Clip, Compound Clip, or rendered intermediate after testing the revision requirements. - You want a transition between two clips. Use a transition-oriented workflow or a Fusion Transition where the inputs and timing match the job. The mistake is treating every time control as equivalent. Edit page retiming changes how timeline media is played. Fusion keyframes change parameter animation. TimeStretcher and TimeSpeed change image timing inside a Fusion graph. An Adjustment Clip’s timeline-based input does not support all of those operations in the same way. # ## What happens if the Adjustment Clip crosses an edit? The Adjustment Clip can cover multiple shots, but a node that tracks or analyzes image content may encounter a cut. A single MediaIn still presents the timeline composite for the current frame. The effect may need separate tracking or keyframe decisions on each shot. For a simple full-frame blur, the cut may not matter. For a tracked mask, it almost certainly does. Put the tracker or mask on the correct shot when the operation depends on shot-specific motion. If one continuous graph becomes hard to manage, split the Adjustment Clip at the editorial boundary or apply the effect to individual clips. # ## What happens if I cut a clip that already has a Fusion composition? Cutting a clip can create separate composition entities, depending on the composition type and edit operation. The Blackmagic forum composition guide warns that cutting a clip with a composition can result in two clips with independent Fusion compositions. Treat this as a maintenance risk when you place complex Fusion work directly on a clip before the edit is locked. If the edit is still changing, keep a shot-specific effect late in the process or use a reusable structure that matches the expected revisions. The best container is partly a timing decision and partly a revision decision. ## What changes between DaVinci Resolve 20.3 and 21? Resolve 21 is the current major version in the September 2026 context of this guide, while Blackmagic’s Support Center lists Resolve 20.3 documentation from February 2026. The core Adjustment Clip versus Fusion Composition input distinction is not presented as a new Resolve 21 change, but the surrounding Fusion tools and interface can differ. Blackmagic’s current Resolve 21 product page lists more than 100 new motion graphic effects, 50 new features, and more than 70 new Krokodove graphics in Fusion. Its What’s New page also lists the Macro Editor Inspector View and audio-driven Fusion animation. Those are real version signals, but they don’t change the first question: should Fusion receive the timeline composite or build its own input graph? Grant Petty, Blackmagic Design’s CEO, frames the all-in-one idea this way in the DaVinci Resolve 21 New Features Guide: > “so you can edit, compose, grade, mix and master deliverables from start to finish, all in a single tool!” > Source: [Grant Petty’s DaVinci Resolve 21 New Features Guide](https://documents.blackmagicdesign.com/SupportNotes/DaVinci_Resolve_21_New_Features_Guide.pdf) That quote describes the larger Resolve workflow, not a promise that every page or container behaves the same. The useful comparison still happens at the input boundary. Use this version-aware approach: | Situation | Resolve 20.3 or earlier documentation | Resolve 21 decision | | --- | --- | --- | | You need a section-wide effect | Use an Adjustment Clip above the timeline media | Still begin with an Adjustment Clip if the effect should process the composite below | | You need a self-contained title | Use a Fusion Composition or title workflow with explicit nodes | Still begin with a Fusion Composition when lower timeline media is not an input requirement | | You need new Fusion graphics | Check the installed version’s Effects Library | Resolve 21 includes Krokodove graphics and other Fusion additions, but the container decision stays separate | | You need to locate a control | Match the manual to the installed build | Use the current manual and ask for the exact version when a menu differs | | You need to reuse a node tree | Test copies, Media Pool items, macros, and referenced workflows | Test the chosen reuse method in Resolve 21 before rolling it into a template | The current Support Center is the authority for downloadable manuals and version notes. If a Resolve 20.3 tutorial says “Fusion Composition” and your Resolve 21 Effects Library uses a slightly different label or category, follow the function and verify the current interface rather than assuming the composition model changed. Resolve 21 also introduces improvements in keyframing and Fusion effects according to Blackmagic’s product materials. That may make some editing-page adjustments more convenient, but an Edit page keyframe editor does not turn a standalone Fusion Composition into an Adjustment Clip. The source relationship remains a separate design choice. ## Which workflow is easier to reuse across projects? Use a standalone Fusion Composition, macro, title, or referenced composition for a reusable graphic or effect with explicit inputs. Use an Adjustment Clip for a reusable timeline treatment only when the effect is meant to inherit the composite below it each time. Reuse has at least four meanings: 1. I want the same node tree in another place in this timeline. 2. I want the same effect over another shot. 3. I want a template another editor can customize. 4. I want one change to update every use. Those are not the same requirement. An Adjustment Clip stored in the Media Pool can be dragged into the timeline again, and a Fusion Composition can be duplicated or stored depending on how you created it. Check every copy because copied compositions are commonly independent entities. An Adjustment Clip suits a look that processes the shot beneath it. A self-contained Fusion Composition suits an overlay that should remain the same while the shot changes. # ## Reuse as a template A title or graphic with exposed controls is usually easier for another editor to operate than a full-frame Adjustment Clip whose effect depends on track order. Make the intended input obvious. Name the nodes. Add a short note describing whether the graph expects a timeline composite, a single clip, or explicit media. The [Fusion Instance versus Copy Nodes guide](https://tryuncle.com/learn/davinci-resolve/davinci-resolve-fusion-instance-vs-copy-nodes) is a useful companion when you are deciding whether repeated node structures should remain linked or become independent. If every occurrence must update when you change the master, independent copies are the wrong tool. Look at referenced compositions or another Resolve template structure that provides shared linkage. The official forum guide describes referenced compositions as a way to link clips to the same composition and apply changes across connected clips. Use shared updates only when they are genuinely wanted. New Resolve versions can add nodes, change defaults, or alter how templates are presented. Keep a test project for a reusable Fusion asset, open it in the target version, check the input, render a short section, and confirm that exposed controls still work. Resolve 21 adds new Fusion tools, but older third-party macros still deserve a test. ## Is an Adjustment Clip faster than a Fusion Composition? Neither container is universally faster. An Adjustment Clip is usually faster to set up for an effect over existing timeline media because the input is already supplied. A Fusion Composition can be faster for a self-contained graphic because you do not need to manage a timeline composite you don’t want. Playback speed also depends on the node tree, source resolution, cache state, proxy settings, GPU, and the number of image operations. The container alone is not a defensible performance benchmark. We have not run a controlled benchmark comparing identical graphs across hardware, so this article does not claim a percentage speed difference. Use these practical rules instead: - If the effect is one Blur over a 10-second section, the setup difference is mostly input convenience. - If the effect contains heavy tracking, keying, particles, 3D, or multiple image branches, graph complexity matters more than the container label. - If an Adjustment Clip processes a wide section of a busy timeline, shorten the clip to the actual affected range. - If a Fusion Composition contains source media that is much larger than the timeline, check the input resolution and image sizing before blaming Fusion. - If playback is difficult, use Resolve’s own cache and proxy tools and test the final render path rather than assuming a container swap will solve it. The official DaVinci Resolve product page describes Fusion as a node-based workflow with 2D and 3D tools, tracking, rotoscoping, keying, particles, and animated titles. Those capabilities are why a small visual effect can become computationally heavy. Keep the graph appropriate to the shot. Cache the expensive part of the graph only after confirming the input is correct. If playback changes after a container swap, inspect what else changed, such as input resolution, visible layers, node count, duration, or cache path. The forum composition guide records a cache limitation for Adjustment Clip compositions, so verify the cache choices in your installed Resolve version. ## What do professional training and AI editing tools actually teach here? The best way to learn DaVinci Resolve is to combine a structured project, official documentation, deliberate practice, and help at the moment a real project blocks you. Courses and channels explain the concepts, while an in-app assistant or editing agent can reduce the time spent locating controls. They are complementary, not identical. Blackmagic offers official free training with project-based guides for editing, color, Fairlight, and Fusion. [Blackmagic’s training page](https://www.blackmagicdesign.com/au/products/davinciresolve/training) describes hands-on exercises and a Fusion page workflow. That is the baseline source for learning the application’s vocabulary and intended workflow. Casey Faris and other YouTube educators can be useful when you want to watch a complete project being built. Community forum answers are valuable for edge cases such as Adjustment Clip frame numbers, MediaIn behavior, or unusual nested timelines. One of the recurring questions in our 100,000+ member editing community is not “what does Fusion do?” but “which part of my current timeline is Fusion actually receiving?” The trade-off is that videos age quickly and forum advice can depend on a particular version or project structure. If you are searching for the best way to learn DaVinci Resolve, trying to learn DaVinci Resolve fast, or looking for an AI tool to learn DaVinci Resolve, keep the distinction concrete. An app that helps you while using DaVinci Resolve can point to a control, but it still needs the editor to understand whether the current item is an Adjustment Clip, a Fusion Composition, a Fusion Clip, or a single-clip composition. Uncle watches the Resolve screen and helps locate the exact control while you work, so it addresses the gap between understanding the concept and finding the current button in a live project. It does not replace Blackmagic’s manuals, structured courses, Casey Faris’s demonstrations, or careful practice. The category also includes tools with different jobs. [Sottocut](https://www.sottocut.com/) presents itself as a local-first assistant editor inside an open Resolve project that scores footage, proposes a cut, and verifies timeline changes. [CutAgent](https://www.cutagent.ai/) presents itself as an AI agent for DaVinci Resolve that can plan and execute editing workflows, with support for Resolve 20 or later on macOS and Windows according to its site. [Eddie AI](https://www.heyeddie.ai/) focuses on turning raw footage into rough cuts and round-tripping to Resolve, Premiere, and Final Cut Pro. [PremiereCopilot](https://premierecopilot.com/en/copilot) is a text-to-edit tool for Adobe Premiere Pro rather than a Resolve tutor. Those alternatives can win when the problem is rough-cut assembly, timeline automation, transcript-based selection, or a Premiere workflow. Uncle’s narrower value is live instruction in the Resolve interface. If you need an agent to change a timeline, evaluate an editing agent. If you need to understand why the Adjustment Clip is empty or where the Fusion input comes from, use documentation, a course, community help, or an on-screen assistant that teaches in context. # ## Can an AI tool teach this distinction accurately? It can if the answer names the composition type, input model, Resolve version, and exact action. A vague answer such as “use Fusion for advanced effects” is not enough. Ask which node appears, what it receives, and whether the image comes from the timeline or an explicit source. Good questions are concrete: - “Why does my Fusion Composition have MediaOut but no MediaIn?” - “How do I make this Adjustment Clip process the two tracks below it?” - “Why can’t I see separate MediaIn nodes for my foreground and background?” - “Which container should I use for a title that must stay crisp above a blurred background?” The answer should give you a decision and a first action. It should also state uncertainty when a behavior is version-sensitive or documented only in a forum thread. **The best Resolve help names the input path before it names the effect.** ## How do I choose between an Adjustment Clip and Fusion Composition? Choose an Adjustment Clip when the effect must process the visible timeline composite beneath a time range. Choose a Fusion Composition when the result should be self-contained and its sources should be explicit. If you need separate timeline layers, choose a structure that supplies separate inputs instead of expecting an Adjustment Clip to unflatten them. Use this final decision matrix: | Your actual requirement | Choose | Why | Main trade-off | | --- | --- | --- | --- | | Blur, distort, or stylize several visible clips together | Adjustment Clip | It receives the composite below it | Lower clips arrive as one image | | Create a title card with no footage underneath | Fusion Composition | Its background and text can be explicit nodes | You must build the source tree | | Put a reusable lower third over changing footage | Fusion Composition, title, or Fusion Title | The graphic is independent of the shot | It won’t automatically read the timeline below | | Apply a treatment to footage plus an existing overlay | Adjustment Clip | The visible composite is the input | The overlay is affected too unless it sits above the clip | | Key a subject separately from a background | Fusion Clip or another multi-input structure | Separate layers can remain separate inputs | More container and layer management | | Use a source clip’s native resolution in Fusion | Single-clip composition | Blackmagic documents source-resolution behavior for a clip brought from Edit or Cut | It is attached to that selected clip | | Reuse a node tree with shared updates | Referenced composition or a verified shared asset | Linked references can update connected clips | Shared updates can affect more uses than intended | | Animate a full-frame look over one section | Adjustment Clip with Fusion nodes | Edit page placement controls the affected range | Fusion time-remapping tools are not the right assumption | | Build a self-contained logo animation | Fusion Composition | The graphic owns its inputs and timing | You need to manage alpha and output connections | | Make a transition between two shots | Fusion Transition or a transition workflow | The effect can be designed around two inputs | It has different timing rules from an Adjustment Clip | # ## Choose Adjustment Clip if Choose an Adjustment Clip if you can finish this sentence: “Take whatever the Edit page is showing below this point and apply this treatment across these frames.” That sentence captures the container’s job. Examples include a section-wide blur, a screen distortion, a color wash, a film texture, a camera shake over a cut, or a Fusion effect that should process multiple visible layers as one image. Before you commit, check the limits. You won’t get independent lower-track MediaIn nodes. Time-remapping assumptions can fail. An effect may cross a shot cut. The input is tied to timeline placement and resolution. # ## Choose Fusion Composition if Choose a Fusion Composition if you can finish this sentence: “Build this image from these nodes and put the result here.” That sentence captures self-contained composition work. Examples include a title card, a logo animation, a graphic background, an end screen, a lower third, a procedural pattern, or a composite assembled from explicit sources. Before you commit, add a visible source and connect it to MediaOut. Do not expect lower timeline footage to appear automatically. Decide how the composition should be reused and how its media sources should travel with the project. # ## Choose another composition type if Choose a single-clip composition when one timeline clip is the central source and source resolution or clip metadata matters. Choose a Fusion Clip when several timeline layers must enter Fusion independently. Choose a Fusion Effect or Transition when you are packaging a reusable Edit page effect with accessible controls. When the graph has the right container but the foreground and background are reversed, check the Merge connections before changing the container. ## What is the final verdict on DaVinci Resolve Adjustment Clip vs Fusion Composition? The final verdict is not that one container replaces the other. Use an Adjustment Clip for a treatment applied to the timeline composite. Use a Fusion Composition for a self-contained graphic or composite with explicit inputs. Use a Fusion Clip or single-clip composition when the project needs independent layers or a specific source relationship. For most section-wide looks, start with an Adjustment Clip. For most title cards and logo animations, start with a Fusion Composition. For a keyed multi-layer composite, stop and choose a multi-input structure before you build the node graph. The one question to ask before dragging anything from the Effects Library is this: “Should Fusion receive what the timeline has already assembled, or should Fusion assemble the image itself?” Answer that correctly and the rest of the workflow becomes much less mysterious. We built and run a 100,000+ member professional video-editing community, have taught 100,000+ students on Udemy as an official Udemy Business Partner, and have taught and worked with Fortune 500 companies. Those credentials don’t make every edge case simple, but they explain why we care about naming the actual decision instead of hiding it behind a generic “use Fusion” answer. If you want structured fundamentals, start with Blackmagic’s official training. If you prefer learning from a complete project, use a current Resolve 21 course or a focused Casey Faris tutorial, then practice the decision on your own timeline. If you get stuck while the project is open, [TryUncle](https://tryuncle.com/?utm_source=learn&utm_medium=blog&utm_campaign=davinci-resolve-adjustment-clip-vs-fusion-composition) can point at the exact Resolve control on Mac or Windows while you work. ## FAQ ### What is the difference between an Adjustment Clip and a Fusion Composition in DaVinci Resolve? An Adjustment Clip receives the composited timeline image from the tracks below it, while a Fusion Composition starts as a self-contained Fusion container with no MediaIn node. Use the Adjustment Clip for effects over existing footage and the Fusion Composition for graphics or composites whose inputs you add yourself. ### Should I use an Adjustment Clip or Fusion Composition for a title? Use a Fusion Composition for a self-contained title or graphic that does not need to process the timeline underneath it. Use an Adjustment Clip only when the title or effect must modify the image below it, such as a full-frame treatment or animated distortion. ### Can an Adjustment Clip see multiple layers in DaVinci Resolve? Yes. Its Fusion MediaIn represents the composite of the visible timeline media below the Adjustment Clip, not separate editable MediaIn nodes for every layer. Use a Fusion Clip or another structure when each layer must remain independently available in Fusion. ### Why is my Fusion Composition transparent or empty? A standalone Fusion Composition starts without timeline media, so an empty or transparent result is expected until you add a MediaIn, Loader, Background, Text, or other source and connect it to MediaOut. ### Can I retime an Adjustment Clip Fusion composition? Do not depend on Fusion time-remapping tools inside an Adjustment Clip. Blackmagic forum documentation identifies TimeStretcher and TimeSpeed as non-functional in that composition type, so retime the timeline media or choose a different container when time manipulation is central. ## Sources - [DaVinci Resolve Support Center, current manuals](https://www.blackmagicdesign.com/nl/support) - [DaVinci Resolve 21 product page](https://www.blackmagicdesign.com/products/davinciresolve/?vid=16) - [DaVinci Resolve 21 What’s New](https://www.blackmagicdesign.com/uk/products/davinciresolve/whatsnew) - [Fusion 20.3 Reference Manual](https://documents.blackmagicdesign.com/UserManuals/FusionManual.pdf?_v=1724310010000) - [DaVinci Resolve 17 Editor’s Guide, Adjustment Clips](https://documents.blackmagicdesign.com/UserManuals/DaVinci-Resolve-17-Editors-Guide.pdf) - [Blackmagic Design forum, Resolve Fusion composition types](https://forum.blackmagicdesign.com/viewtopic.php?p=1052388&t=150418) - [DaVinci Resolve 18 Visual Effects Guide](https://documents.blackmagicdesign.com/UserManuals/DaVinci-Resolve-18-Fusion-Visual-Effects.pdf) - [DaVinci Resolve 21 New Features Guide](https://documents.blackmagicdesign.com/SupportNotes/DaVinci_Resolve_21_New_Features_Guide.pdf) - [CutAgent, AI video editing for DaVinci Resolve](https://www.cutagent.ai/) - [Sottocut, AI assistant editor for DaVinci Resolve](https://www.sottocut.com/) - [Eddie AI, assistant video editor](https://www.heyeddie.ai/) - [PremiereCopilot, text-to-edit for Premiere Pro](https://premierecopilot.com/en/copilot) - [Blackmagic Design official training](https://www.blackmagicdesign.com/au/products/davinciresolve/training)