# DaVinci Resolve Export Source Timecode vs Timeline

> **Quick answer:** For a DaVinci Resolve export, Single Clip follows the timeline or record timecode. Individual Clips normally retain each source clip's original timecode, which is best for roundtrips. If you enable Render Timeline Effects, Resolve renders the clips in timeline context and uses timeline timecode instead.

*Published by [TryUncle](https://tryuncle.com) — the on-screen assistant that teaches DaVinci Resolve on your own screen.*
*Updated 2026-08-17 · DaVinci Resolve 21 (August 2026) · Canonical: https://tryuncle.com/learn/davinci-resolve/davinci-resolve-export-source-timecode-vs-timeline*

If a post house asks for source timecode and you send timeline timecode, the files may look perfect and still fail the handoff. I’ve seen this confusion grow from one harmless-looking Deliver checkbox.

As of August 2026, DaVinci Resolve 21 is the current major version line, while Blackmagic’s support material still identifies the 20.3 manual as a reference for the core workflow. The source-versus-timeline rule below applies to the standard Deliver choices in that workflow, but you should confirm any special preset in your own Resolve 21 build. [Blackmagic Design lists DaVinci Resolve 21 as the current product line](https://www.blackmagicdesign.com/products/davinciresolve/whatsnew), and its [Support Center lists the Resolve 20.3 reference manual](https://www.blackmagicdesign.com/ca/support).

## What is the short answer for DaVinci Resolve export source timecode vs timeline?

DaVinci Resolve uses source timecode when you export Individual Clips without Render Timeline Effects. DaVinci Resolve uses the timeline or record-timecode context for a Single Clip export, and Render Timeline Effects can move Individual Clips into that timeline-timecode behavior.

The wording matters. Source timecode belongs to the camera or source file. Timeline timecode belongs to the edited sequence. The first answers, “Where did this frame come from?” The second answers, “Where does this frame sit in the finished edit?”

If you remember one line, remember this:

**DaVinci Resolve Individual Clips preserve source timecode only when timeline-effect rendering is disabled.**

That is why the right answer depends less on the codec and more on what the receiving application needs to do with the files.

For a camera-original roundtrip, choose source timecode. For a finished master, choose timeline timecode. For a review file, burn both onto the picture if the people reviewing it may refer to different systems.

## Why do source timecode and timeline timecode mean different things?

Source timecode is the time address carried by an individual media file. Timeline timecode is the time address assigned to the clip’s position in the edit. DaVinci Resolve exposes both because an editor needs both kinds of identity during a cut.

Blackmagic’s Resolve training material demonstrates the practical use of this distinction in an interview exercise. The editor can display Source Timecode in the timeline viewer, copy it, then use the same address in the source viewer to find a matching frame from another camera. [The DaVinci Resolve 20 Editors Guide documents that source-timecode workflow](https://documents.blackmagicdesign.com/UserManuals/DaVinci-Resolve-20-Editors-Guide.pdf?_v=1757574010000).

Think of an edit as two rulers laid over the same image.

| Ruler | What it identifies | Example use | Best handoff reference |
| --- | --- | --- | --- |
| Source timecode | The frame’s address inside its camera or source file | Find the same take in original media | Camera roundtrip, proxy relink, dailies |
| Timeline timecode | The frame’s position inside the edited sequence | Discuss the locked cut with a sound or picture department | Master export, review, broadcast QC |
| Record timecode | The timeline’s running address, including its configured start | Describe where a cut lands in the program | Edit decision list, review notes, final program |
| Source frame number | The frame count relative to the source clip | Check an offset without relying on the source start address | Technical investigation |

The labels can vary by page and viewer. Resolve forum guidance describes Record as the time on the current timeline and Source as the time within the current clip. Editor Tom Jobbins, posting as TheBloke, put it plainly: “Record is the time on the current timeline. Source is the time within the current clip.” [Read the original explanation on the Blackmagic Design Forum](https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=119411).

That sentence is useful because it separates display from export. Changing a viewer display does not, by itself, rewrite a source file or change the export’s timecode policy. A Deliver setting decides what the rendered file carries. A burn-in decides what a person can read on the image. Metadata and visible burn-in are related, but they are not the same deliverable.

## Does a Single Clip export use source timecode or timeline timecode?

A Single Clip export creates one file for the selected timeline range, so its natural time reference is the timeline or record-timecode ruler. It does not create one standalone file per source clip, which means there is no single source timecode that can describe the whole output.

Imagine a three-minute edit built from twelve camera files. A Single Clip render turns the twelve-piece arrangement into one continuous program. The first frame of the rendered file needs a program address, and later frames need addresses that move through the program in sequence. That is timeline territory.

The source clips can begin at very different addresses. One camera card might start at `01:12:04:08`, another at `02:03:19:14`, and a screen recording might begin at `00:00:00:00`. Those are useful addresses for finding the frames in the original media. They cannot all become the one starting address of one finished program file.

### When should you use Single Clip?

Choose Single Clip when the recipient needs a finished sequence rather than media that reconnects to its camera files. Common examples include a client review master, a picture-lock reference, a social export, a screening file, and a file sent to a department that should discuss the edit as one continuous work.

That does not mean every Single Clip output must begin at `01:00:00:00`. The timeline start setting controls the record-timecode context, and editors often use a one-hour start for professional program work. A Blackmagic Design forum explanation notes that a one-hour starting address is a common convention because it leaves room before the program for bars, tones, and countdown material. [See the timecode-start discussion on the Blackmagic Design Forum](https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=173637).

If your client asks, “What happens at 00:14:32:10 in the final program?” timeline timecode is the helpful answer. If your assistant editor asks, “Which camera file contains that frame?” source timecode is the helpful answer.

### What does Single Clip not preserve automatically?

Single Clip does not preserve a separate source timecode address for every source file as the file’s primary running clock. The source identity can still travel through other metadata, clip names, reel names, edit lists, markers, or a reference movie with a source-timecode burn-in. But you should not treat a single flattened file as a replacement for a source-preserving batch.

This is the first major decision in the comparison. If your receiving system needs to relink each rendered file to an original camera clip, do not make a Single Clip render and hope the source addresses will be recoverable later. Use Individual Clips and test the roundtrip.

## How do I export individual clips with source timecode in DaVinci Resolve?

To export individual clips with source timecode, open the Deliver page, choose Individual Clips, leave Render Timeline Effects disabled, and verify one output before exporting the full batch. This is the setting combination designed for the source-preserving side of the comparison.

Use this checklist in DaVinci Resolve 21:

1. Open the timeline you want to process.
2. Go to the Deliver page.
3. Choose the required format and codec for the receiving application.
4. Set Render to Individual Clips.
5. Open the Video settings and look for Render Timeline Effects.
6. Leave Render Timeline Effects disabled when the priority is source timecode.
7. Set the render range and filename pattern deliberately.
8. Add a temporary source-timecode and record-timecode burn-in if the handoff needs human-readable verification.
9. Render one representative clip.
10. Check that clip in a metadata viewer or the receiving application before starting the full batch.

The most important step is number 9. A setting can be correct in principle and still fail a handoff because the preset, container, frame rate, audio choice, or target application has a separate limitation. A one-clip check costs less than discovering the problem after a long batch render.

Blackmagic Design forum guidance on retaining timecodes is direct: exporting Individual Clips with Render Timeline Effects disabled provides the original timecode. [The forum thread records that behavior](https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=214325).

### What does Individual Clips mean here?

Individual Clips means Resolve creates a separate output for each clip represented in the selected timeline range. That makes it suitable for workflows where each output must be traced back to a source item. The clip boundaries, audio behavior, transitions, retimes, and effects still need careful review because the setting is about file segmentation, not a promise that every timeline operation will translate cleanly into a source-shaped file.

If the receiving application will reconnect by filename and source timecode, preserve both. Do not rename files casually after rendering. Do not reset the source clip’s timecode to zero just because the output looks easier to read. A source address such as `03:18:42:11` may be exactly what the assistant editor needs.

### Does the free version change the timecode rule?

The source-versus-timeline distinction is a Deliver workflow decision, not a statement that the timecode concept belongs only to DaVinci Resolve Studio. Blackmagic lists DaVinci Resolve 21 and DaVinci Resolve Studio 21 as separate products, with the Studio edition adding higher-end features. [Blackmagic’s product page shows the Free and Studio 21 editions](https://www.blackmagicdesign.com/products/davinciresolve/whatsnew).

Do not use the edition as your shortcut for deciding timecode. Use the actual Render mode, the Render Timeline Effects state, the chosen preset, and a verified test file.

## Why did my DaVinci Resolve export change from source timecode to timeline timecode?

The usual cause is that Render Timeline Effects was enabled for an Individual Clips export. Resolve then has to process timeline-level effects and audio in the context of the edit, and the resulting files can carry the timeline’s record timecode instead of each source clip’s original timecode.

This is the checkbox that catches people. The label sounds like a picture-treatment choice. It is also a handoff choice.

A Blackmagic Design forum answer describes the caveat clearly: when Render Timeline Effects is used, the original clip timecode is lost and replaced with timeline timecode. [The forum discussion is here](https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=138958).

The behavior makes sense once you separate the two goals:

| Goal | Needed processing context | Timecode risk | Safer choice |
| --- | --- | --- | --- |
| Reconnect a rendered clip to the camera original | Source-shaped output | Timeline effects can move the output into record-timecode space | Individual Clips, Render Timeline Effects off |
| Bake an adjustment clip into every output | Timeline-aware processing | Source address may no longer be retained | Render Timeline Effects on, then plan a new conform method |
| Send one finished program | Timeline-aware processing | Source addresses are not the main reference | Single Clip with a deliberate timeline start |
| Give a client both useful references | Human-readable review | One clock may not answer every question | Single Clip plus source and record burn-ins |

### Why does rendering timeline effects have this side effect?

Timeline effects sit above or around source clips. An adjustment clip, timeline node, timeline title, or timeline-level treatment is defined by its position in the edit. If Resolve renders that treatment into separate files, the output is no longer only a direct representation of the source clip’s media range.

That is an explanation of the workflow, not a claim that every effect behaves identically. The safe rule is operational: when a roundtrip depends on original source timecode, keep Render Timeline Effects off and solve the effect requirement another way, or get confirmation from the receiving facility before proceeding.

If the receiving facility needs both baked effects and original addresses, ask whether it prefers a reference movie, a source-preserving render plus an effects guide, an XML or AAF, or another conform package. There is no universal checkbox that gives every downstream system the same result.

### What if I need synced production audio?

Individual Clips can expose an audio trade-off. A Blackmagic Design forum response explains that Individual Clips is intended for roundtrip workflows and normally uses the original audio tracks in the clip. If you need synced audio, timeline audio, or bus processing, check the audio requirements before turning on Render Timeline Effects. [The forum thread covers the Individual Clips audio limitation](https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=138958).

The practical decision is simple. If the receiving editor needs camera media with its original audio relationship, source timecode is usually the stronger priority. If the receiving editor needs a processed audio result, you may need a separate audio deliverable or a timeline-based master.

Uncle can point at the exact Deliver control in your own project while you check this branch.

## Should I choose source timecode or timeline timecode for a professional handoff?

Choose source timecode when the next person must find or reconnect the original camera frames. Choose timeline timecode when the next person must discuss a locked edit as one continuous program. If the handoff needs both, make both visible in a reference output and document which clock controls the files.

Here is the decision matrix I use before accepting a request.

| Handoff | Primary question from the recipient | Recommended render | Primary timecode | Secondary safeguard |
| --- | --- | --- | --- | --- |
| Offline edit to online conform | Which original frame is this? | Individual Clips | Source | Preserve filenames and provide edit metadata |
| Colorist receives camera-based plates | Which source take should I relink? | Individual Clips | Source | Do not enable Render Timeline Effects without approval |
| Editorial review for a director | Where is this moment in the cut? | Single Clip | Timeline or record | Burn in source timecode if comments may refer to camera media |
| Picture lock to sound | Where does this event land in the program? | Single Clip or agreed interchange package | Timeline or record | Include frame rate and timeline start in the handoff note |
| Proxy creation for later relink | Which original clip does this proxy replace? | Individual Clips | Source | Test relink before generating the batch |
| Dailies for a script supervisor | Which camera roll contains the action? | Individual Clips or a reference movie | Source | Burn in source and record timecode if the crew uses both |
| Social cut delivered as a final file | What should a viewer watch? | Single Clip | Timeline if needed for notes | Keep the export simple and provide a separate review reference |
| VFX plate with timeline effects | Which version of the edit and effect is represented? | Agreed plate workflow | Confirm explicitly | Document whether source timecode survived |

The table is a starting point, not a substitute for the recipient’s specification. A colorist may request source timecode for a clip-based conform. A sound editor may request a timeline-based reference with guide audio. A client may only care that the review notes can point to a frame. The same project can need several exports, each with a different clock.

### When is source timecode the clear winner?

Source timecode wins when the output is a bridge back to camera media. That includes proxies, selects, dailies, color plates, editorial turnover media, and some VFX workflows. In all of those cases, the receiving person benefits from an address that already exists in the source file.

Source timecode also helps multi-camera work. When cameras were jam-synced or locked to a common time reference, the timecode can help you find corresponding moments across rolls. Blackmagic’s Resolve training material uses timecode to move between interview angles, which is why Source Timecode remains a useful editorial reference even when the final program is timeline-based. [See the multi-camera timecode example in the Resolve 20 Editors Guide](https://documents.blackmagicdesign.com/UserManuals/DaVinci-Resolve-20-Editors-Guide.pdf?_v=1757574010000).

But source timecode does not magically guarantee a valid conform. The facility may also need reel names, filenames, frame rate, handles, an interchange file, and a clear record of retimes or speed changes. Source timecode is one part of identity.

### When is timeline timecode the clear winner?

Timeline timecode wins when the output is the edit itself. That includes a locked master, a client review, a QC reference, a broadcast file, and a meeting where everyone needs the same running address.

Timeline timecode is also easier for notes on a single continuous file. “At 00:27:14:06, the title is too close to the safe area” is actionable because every reviewer is describing the same program position. “At 04:18:22:00 in the source” is less useful to a viewer unless the viewer is also holding the camera file.

The timeline start matters. If you choose a start of `01:00:00:00`, a note at the first frame will use that address rather than `00:00:00:00`. If the receiving department expects a different start, set it before export and write it in the handoff note. A forum explanation from Blackmagic Design describes the one-hour start as a common professional convention, but convention is not the same as a requirement. [Read the source discussion](https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=173637).

**Timeline timecode is the shared address for a finished edit, while source timecode is the recovery address for original media.**

## How do I burn in both source and timeline timecode for review?

Use Data Burn-In when people need to read the timecode directly on the exported picture. Enable Record Timecode for the timeline address and Source Timecode for the source-clip address, then render a review file and keep the burn-in out of the clean master.

This is a review technique, not a way to change the file’s underlying timecode. A timecode burn-in is visible text generated into the output image. It is useful for human notes, but it does not replace a metadata check or a conform test.

The practical path is:

1. Open the timeline and select the relevant range.
2. Open Workspace and choose Data Burn-In.
3. Choose the project-level settings when you want the same burn-in across the review file.
4. Enable Record Timecode.
5. Enable Source Timecode.
6. Add clip name or reel information if the receiving person needs a third identity clue.
7. Create a review render with a clear filename that says it contains burn-ins.
8. Create a separate clean render with the burn-in disabled.

The Blackmagic Design Forum describes the same two useful labels: Record Timecode shows the overall project time, while Source Timecode shows the individual clip timecode when available. [See the forum explanation of Data Burn-In](https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=201373).

### Why burn in both clocks?

Because the two clocks answer different questions. A director can note the timeline address while an assistant editor can locate the source address. A colorist can see whether a returned plate still lines up with the camera media. A producer can discuss the final edit without opening the original clips.

It also gives you a visual sanity check. If the source address jumps when the edit cuts to another camera, that may be exactly what you expect. The record address should continue through the cut. If both counters jump in ways you did not expect, stop and investigate before delivering.

### What should not go into the clean master?

Do not leave temporary burn-ins in the client master, color master, broadcast master, or final social file unless the recipient asked for them. Make two named presets or two clearly named jobs. A reference file with burn-in can sit beside a clean file with the same range and export settings.

The clean file should still have a documented timecode policy. “No burn-in” does not mean “no timecode.” It only means the timecode is not visible to the viewer.

## Why does the timecode in my viewer disagree with the timecode in my export?

The viewer display, Data Burn-In, and rendered-file metadata can each represent a different layer of the workflow. A viewer can show Source Timecode while the export remains a timeline-level Single Clip, and a burn-in can show both clocks without changing which timecode the file uses for conforming.

Start by asking three separate questions:

1. What does the viewer counter show right now?
2. What text has Data Burn-In been instructed to place on the image?
3. What timecode does the rendered file report to the receiving application?

Do not answer question three by looking only at question two.

Blackmagic forum guidance distinguishes viewer modes such as Record, Source, Record Frame, and Source Frame. A frame-number display can be especially helpful when the source start address is unusual, but it is still a display choice. [The Resolve forum explanation separates Record and Source counters](https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=119411).

### A worked example with different source starts

Suppose your timeline begins at `01:00:00:00` and contains two clips:

| Clip | Source start | Timeline position | What source display can show | What record display can show |
| --- | --- | --- | --- | --- |
| A-roll interview | `03:18:42:11` | `01:00:10:00` | `03:18:52:11` at the shown frame | `01:00:10:00` |
| B-roll camera file | `00:42:05:03` | `01:02:14:12` | An address derived from that source range | `01:02:14:12` |

The numbers are an illustration of the two address systems, not a report from a particular project. The source counter follows the media. The record counter follows the edit. A cut changes the source counter because the next clip came from somewhere else. A cut does not normally reset the record counter because the program continues.

### What if the top video layer has a graphic?

A stacked timeline can make Source Timecode look surprising. The displayed source may correspond to the clip on top or the clip currently selected by Resolve’s viewer logic, while the record counter still follows the timeline. If you have a persistent overlay, adjustment clip, compound clip, or nested timeline, inspect the actual media clip before trusting a source display.

The Blackmagic Design Forum has a specific discussion of source timecode and topmost video layers in the record viewer. [Read the source-timecode overlay discussion](https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=132834).

For a review export, burn in clip name or reel information alongside both counters. For a roundtrip export, select an actual source clip and verify that the rendered file reconnects as expected.

## What happens with retimes, speed changes, and transitions?

Retime operations make source timecode harder to interpret because the output duration and source-frame progression no longer move at the same rate. Timeline timecode remains a stable address for the position in the edit, while source timecode becomes a reference to the underlying media that may advance, repeat, or skip.

This is why a timecode choice cannot be separated from the effect and conform plan. A clip slowed to 50 percent may spend twice as much timeline time over a given source range. A freeze frame may hold one source frame while record timecode continues. A reverse move can make the source address run backward while the program address moves forward.

The example below is conceptual:

| Edit operation | Timeline clock | Source clock | Handoff concern |
| --- | --- | --- | --- |
| Normal-speed cut | Advances normally | Advances normally | Source and record can be cross-checked directly |
| 50 percent slow motion | Advances through a longer edit duration | Advances through the original range more slowly | Confirm whether the recipient wants source conform or baked motion |
| Freeze frame | Advances while the image is held | May remain on one source frame | Burn in record timecode for program notes |
| Reverse playback | Advances forward in the program | Moves through source frames in reverse order | Document the retime in the handoff |
| Transition between two clips | Advances through the edit | May reference both source clips | Test handles and timeline-effect behavior |

This table tells you what to ask, not what every codec or application will report. When a facility has a strict conform specification, follow that specification. If it does not, send a short test with one normal cut, one retime, one transition, and one effect that matters to the project.

### Do transitions force timeline timecode?

Do not assume that a transition alone gives you a safe source-preserving render. The outcome depends on the selected render mode, the handles available, the preset, and whether timeline effects are being rendered. A transition is a timeline relationship, so it deserves a test when the output must reconnect to source media.

If your priority is a clean review, render a Single Clip. If your priority is source reconnection, ask the receiving editor how it wants transitions represented and avoid enabling a setting that changes the timecode policy without documenting it.

### Do speed changes make source timecode useless?

No. Source timecode can still identify the original media range, but it may not be enough to describe how the edit plays. Pair it with timeline timecode, frame rate, retime notes, and the interchange file when the project includes substantial speed work.

**Retime-heavy edits need a documented conform plan, not a guess about which timecode counter looks right.**

## How do I verify the exported file before a handoff?

Verify one source-shaped output and one timeline-shaped output separately. Compare the render mode, the Render Timeline Effects state, the visible burn-in, the file metadata, and the receiving application’s behavior.

Here is a compact verification procedure:

1. Write down the project name, timeline name, Resolve version, timeline frame rate, and timeline start timecode.
2. Pick one clip with a distinctive source start timecode.
3. Pick a second clip from a different source roll if the project has multiple cameras.
4. Render one Single Clip sample and one Individual Clips sample.
5. Render a second Individual Clips sample with Render Timeline Effects enabled only if the handoff requires it.
6. Add temporary source and record burn-ins to a review copy.
7. Inspect the first and last frames of each output.
8. Read the timecode metadata in the target application or a trusted metadata utility.
9. Attempt a relink or conform with a disposable copy of the project.
10. Record the result in the handoff note before the full render.

The point of using three samples is to isolate the setting that changed the result. If you compare only two files, you may not know whether the difference came from Single Clip versus Individual Clips, from Render Timeline Effects, or from the target application’s interpretation.

### What should I write in the handoff note?

Write the answer in plain language. A useful note can say:

> Resolve version: 21. Timeline frame rate: 23.976 fps. Timeline start: 01:00:00:00. Review master uses record timecode. Individual media exports use source timecode. Render Timeline Effects was disabled for the source-preserving batch. Source and record burn-ins are present only in the review copy.

Replace the example frame rate and start time with the actual project values. The important thing is that the receiving person should not have to infer the policy from a filename.

### Should I check the first frame or a cut in the middle?

Check both. The first frame tells you whether the output starts where you expect. A cut in the middle tells you whether the source address changes while the record address continues. A second camera roll gives you a stronger test than two clips from the same file.

If a clip begins at a nonzero source address, use that. A file that starts at zero can hide a source-timecode problem because source and record may look deceptively similar at the first frame.

### What if the metadata viewer and Resolve disagree?

Treat the disagreement as a handoff issue. First confirm that you inspected the same frame rate and the same timecode field. Then check whether the application is showing a container timecode track, a stream-level value, a display counter, or an overlay. Ask the receiving facility which field its conform process uses.

Do not rewrite the source clips to force agreement before you understand the disagreement. Changing embedded timecode can damage the very identity the roundtrip depends on.

## Which DaVinci Resolve setting should I choose in common scenarios?

The safest setting follows the job, not the habit. Use this fast reference when the request is vague.

| Someone says | They probably need | Choose first | Ask before rendering |
| --- | --- | --- | --- |
| “Send me the finished video” | One continuous program | Single Clip | What timeline start and review burn-in are expected? |
| “Send the graded clips back to editorial” | Source-shaped files | Individual Clips | Should any timeline effects be baked? |
| “Make proxies that reconnect later” | Source identity retained | Individual Clips, timeline effects off | Which proxy codec and relink method? |
| “Give the client a file with timecode” | Human-readable notes | Single Clip with record burn-in | Do they also need source burn-in? |
| “Export the camera clips with the look” | Source clips plus processing | Test Individual Clips first | Does the receiving tool accept baked effects with source timecode? |
| “The sound team needs a reference” | One stable program clock | Single Clip | Should guide audio and mix be included? |
| “The colorist needs plates” | Reconnectable media | Individual Clips | What handles, reel names, and frame rate are required? |
| “I’m not sure” | An agreed deliverable specification | Pause and ask | Which application receives the files? |

The last row is not a joke. “I’m not sure” is the correct reason to stop and ask. A wrong timecode policy can survive visual review because the pixels are fine. The failure appears later, when someone tries to reconnect, conform, or compare frames.

## Is the best way to learn DaVinci Resolve fast a course, a forum, or help inside the app?

For a timecode handoff, the best way to learn DaVinci Resolve fast is to combine official documentation with a small test project that exposes the exact setting. Courses teach the vocabulary, forums reveal edge cases, and live help can reduce the time spent hunting for a control.

Blackmagic’s official training remains the authority for the application’s intended workflow. The Resolve 20 Editors Guide is a practical example of that training approach, with a project-based lesson that uses source timecode to move between camera clips. [Use the official Resolve Editors Guide as the baseline](https://documents.blackmagicdesign.com/UserManuals/DaVinci-Resolve-20-Editors-Guide.pdf?_v=1757574010000).

YouTube tutorials can show the click path quickly, but they may use a different Resolve version, operating system, keyboard layout, or delivery preset. Community forums are valuable when the problem is specific, such as Individual Clips losing source timecode after a timeline-effect setting is enabled. Official manuals are slower to scan, but they are the better reference when a handoff must be repeatable.

We built and run a 100,000+ member professional video-editing community, and we have seven-plus years of professional, commercial video editing behind our advice. One recurring question in that community is not “where is the export button?” It is “which address will the next person trust?” That is the useful question here.

TryUncle is the on-screen assistant for DaVinci Resolve on macOS, and [TryUncle can point at the exact Deliver control](https://tryuncle.com/?utm_source=learn&utm_medium=blog&utm_campaign=davinci-resolve-export-source-timecode-vs-timeline) while you work. The app is paid and macOS-only, so it belongs beside official training and a test workflow, not in place of either.

### How do the common learning options differ for this problem?

| Learning option | Strongest use | Weakness for this timecode question | Best pairing |
| --- | --- | --- | --- |
| Blackmagic official training | Establish the intended Resolve workflow | May not cover every facility’s handoff preset | A small project built from your own media |
| A focused YouTube tutorial | See the controls quickly | Version and preset differences can be hidden | The current reference manual |
| Casey Faris-style practical instruction | Build editing confidence with demonstrations | A broad lesson may not cover a narrow conform edge case | A written export checklist |
| A community forum | Find real-world edge cases and workarounds | Advice can depend on version, platform, or assumptions | A one-clip verification render |
| Udemy or Coursera course | Follow a structured learning path | The lesson may use older labels or different delivery goals | Current Resolve documentation |
| TryUncle | Get pointed to a control while working in Resolve on macOS | It cannot replace the recipient’s specification or a handoff test | Official training and a verified sample |

That is the honest comparison. An app that answers a question while you work can help you find Render Timeline Effects. It cannot decide whether a post house wants source timecode without the post house’s specification.

If you searched for an AI tool to learn DaVinci Resolve or an app that helps you while using DaVinci Resolve, keep the categories separate. [Sottocut says it scores footage, proposes cuts, and verifies timeline changes inside an open Resolve project](https://www.sottocut.com/). [CutAgent describes an agent that plans and executes editing workflows in DaVinci Resolve](https://www.cutagent.ai/). [Eddie AI focuses on rough cuts and roundtrips to Resolve](https://heyeddie.ai/). [PremiereCopilot is a text-to-edit tool built for Adobe Premiere Pro](https://www.premierecopilot.com/en/copilot). Those are automation or edit-execution tools. Uncle’s job is to watch the Resolve screen and point at the control while you learn the workflow, as [TryUncle’s FAQ explains](https://tryuncle.com/faq).

## What are the most common source-timecode mistakes?

The most common mistakes come from treating a visible timecode counter as proof of the exported file’s timecode policy. Resolve gives you several counters, several render modes, and several places where timecode can be displayed.

### Mistake 1: Choosing Single Clip for a roundtrip

A Single Clip output is a continuous program. If the recipient expects one file per source-shaped clip, the output is already the wrong shape before timecode enters the discussion.

Use [DaVinci Resolve Single Clip vs Individual Clips](https://tryuncle.com/learn/davinci-resolve/davinci-resolve-single-clip-vs-individual-clips) when the open question is file segmentation. Use this page when the open question is which clock those outputs carry.

### Mistake 2: Turning on Render Timeline Effects without documenting it

Render Timeline Effects may solve a picture or audio requirement, but it can also change the source-timecode behavior of the Individual Clips render. If the receiving editor needs to reconnect to original media, ask before using it.

### Mistake 3: Checking only a burn-in

A burn-in proves what a person can read in the picture. It does not, by itself, prove which metadata field a conform tool will use. Keep the burn-in review file and the clean file separate.

### Mistake 4: Assuming the timeline starts at zero

Professional timelines often start at an offset. The actual start can affect record-timecode notes and the appearance of a Single Clip export. Write the start value down before sending the file.

### Mistake 5: Ignoring frame rate

Timecode is tied to frame counting. If the receiving application interprets the file at a different frame rate or drop-frame setting, an address can stop matching even when the picture looks correct. Write the timeline frame rate in the handoff note and use the recipient’s required format.

### Mistake 6: Treating retimes like ordinary cuts

A retimed clip can make source and record time move at different rates. If the facility expects a source conform, include retime information or ask for the preferred interchange format.

### Mistake 7: Delivering a review file as if it were a clean master

A review file with burn-ins is useful. It is not automatically the file for broadcast, color, or client publication. Name it as a reference and render the clean version separately.

### Mistake 8: Skipping the receiving application test

Resolve can write a file that another application interprets differently. A one-clip test in the actual receiving tool is stronger evidence than a confident assumption based on the Deliver page.

## How does this compare with a timeline conform and an export settings guide?

Timecode is one part of a larger handoff. A conform workflow also depends on file identity, frame rate, handles, reel names, transitions, retimes, color decisions, and the interchange format.

If your question is what conform means in the first place, read [What Does Conform Mean in Video Editing?](https://tryuncle.com/learn/davinci-resolve/what-does-conform-mean-in-video-editing). If your question is whether a YouTube file has the right delivery settings, use [DaVinci Resolve Export Settings for YouTube](https://tryuncle.com/learn/davinci-resolve/davinci-resolve-export-settings-youtube). Those pages cover neighboring decisions. They do not replace the source-versus-timeline choice made here.

The useful mental model is a chain:

`source media identity -> edit placement -> render shape -> timecode policy -> receiving application`

A failure at any link can look like a timecode failure. If a filename changed, the clip may not relink even when source timecode is correct. If the frame rate changed, a valid address may be interpreted on a different clock. If a transition was baked into an individual clip, the output may no longer match the source-shaped assumption. If the timeline start changed, record notes may no longer match the reference.

### What should a full handoff package contain?

The package depends on the recipient, but a professional handoff commonly has named media, an export or interchange file, a reference movie, a clear timeline name, a frame-rate note, a start-timecode note, and a list of unusual operations. Do not invent a package from a generic checklist when the receiving facility has its own specification.

For a source-preserving batch, say that the files were rendered as Individual Clips and whether Render Timeline Effects was enabled. For a timeline master, say that the file is a Single Clip and give the record-timecode start. For a review reference, say which burn-ins are present.

### What if the recipient requests “original timecode” without saying source or record?

Ask one clarifying question: “Do you need the timecode from each camera file, or the timecode running through the edited timeline?” The phrase original timecode usually points toward source timecode, but a facility may use its own terms.

Then ask what the recipient will do with the files. Relink, conform, proxy replacement, review, and master delivery can each imply a different answer. The purpose decides the clock.

## Should I use source timecode or timeline timecode in a client review?

Use timeline timecode as the primary review clock because a client is usually commenting on the finished edit. Add source timecode as a secondary burn-in when the production team also needs to identify camera material.

For a client review, I prefer a clean-looking Single Clip file with a record-timecode burn-in only when the client has asked for it. If the client is not technical, a clear filename and a simple review player may be more useful than two counters competing for attention. Keep the dual-counter version for the people who need it.

The decision changes if the client is also the production team. A documentary producer, script supervisor, or director may need to compare the edit against production notes that use source addresses. In that case, render a reference with both Record Timecode and Source Timecode, and state that it is a reference copy.

### Should a review file use Individual Clips?

Usually no, unless the reviewers specifically need to inspect separate source-shaped files. A review of the edit is easier with one continuous file because the reviewer can discuss one running timeline.

Individual Clips makes sense when the review is about clip-level grades, plates, or camera selects. It is not the default answer just because the timeline contains many clips.

## How should I choose for color, sound, VFX, and editorial?

Choose the clock that matches the department’s operation. Color and editorial often need source identity for media reconnection. Sound and client review often need a stable record address for the finished edit. VFX may need both, plus handles and an explicit version of the cut.

### Color handoff

Ask whether the colorist is receiving a timeline interchange, source-shaped media, or a flattened reference. If the colorist needs to reconnect to camera files, Individual Clips with source timecode is the starting point. If the colorist is grading a locked master, record timecode may be the shared program address.

Include the color pipeline information the facility requests. Source timecode alone does not communicate color space, LUT decisions, handles, or timeline effects.

### Sound handoff

Sound editorial usually discusses events in the program timeline, while production sound may be identified by its original timecode. A picture reference with record timecode and guide audio can help the sound department, while a separate source package can preserve camera and production identity.

Do not assume Individual Clips will carry the final bus mix or every timeline audio treatment. The Blackmagic forum discussion on Individual Clips warns that this mode is built around the original clip audio in roundtrip workflows. [Review the audio caveat before choosing the render](https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=138958).

### VFX handoff

VFX teams may ask for source timecode, record timecode, handles, and a reference movie all at once. Ask which address is the shot identifier in their tracking system. A shot can be named by a production code while the frames are carried by source timecode and reviewed against record timecode.

If an effect exists only on the timeline, do not enable Render Timeline Effects on an Individual Clips batch without checking the consequences for reconform. A baked plate may be visually right but technically harder to reconnect.

### Editorial handoff

Editorial usually wants the package to come back into the project without losing clip identity. Preserve filenames, source timecode, frame rate, and the interchange information requested by the next editor. If the handoff is only a locked reference, use a Single Clip and record timecode.

**A department handoff succeeds when the receiving team knows which clock identifies a frame and which clock locates it in the cut.**

## What changed between Resolve 20 and Resolve 21 for this decision?

The current major line is DaVinci Resolve 21, announced by Blackmagic Design in April 2026, while the core source-versus-record workflow remains documented in the Resolve 20 materials available from Blackmagic’s support resources. The relevant decision is still the Deliver render mode and the timeline-effect setting, not the headline features of the new major version.

Blackmagic’s Resolve 21 product material highlights features such as the Photo page, updated AI tools, Fusion graphics, Fairlight folder tracks, and immersive-workflow improvements. Those additions do not change the basic reason to separate source timecode from timeline timecode in a handoff. [See Blackmagic’s Resolve 21 feature overview](https://www.blackmagicdesign.com/products/davinciresolve/whatsnew).

For a version-sensitive job, record the exact build in the handoff note. If your facility says it has validated a particular Resolve 20.3 or Resolve 21 build, use that build for the test. Do not assume that a preset saved in one major version has the same defaults in another.

The support page is also a useful freshness signal. Blackmagic’s official material lists the Resolve 21 line and identifies the Resolve 20.3 manual, which is why this article names both rather than pretending an older manual is a Resolve 21-specific reference. [Check the current Blackmagic Support Center before a high-stakes turnover](https://www.blackmagicdesign.com/ca/support).

### Does this article claim a Resolve 21 regression?

No. There is no claim here that Resolve 21 changed the source-timecode rule. The article gives the current major version context and points to the documented workflow. If your build behaves differently, capture the preset, render settings, source media properties, and a one-clip result before reporting the issue.

This distinction matters. A version number is evidence about the environment. It is not evidence that a behavior changed.

## What is the final verdict on source timecode versus timeline timecode?

For DaVinci Resolve export source timecode vs timeline, use this verdict:

| If your output is... | Choose... | Why |
| --- | --- | --- |
| One finished program | Single Clip | The edit needs one continuous record-timecode address |
| Separate files for reconnection | Individual Clips | Each file can retain its source identity |
| Individual clips with timeline effects baked in | Test first, then document the trade-off | Render Timeline Effects can replace source timecode with timeline timecode |
| A review for mixed technical audiences | A Single Clip reference with both burn-ins | Reviewers can use record timecode while production can find source media |
| A proxy or conform batch | Individual Clips with Render Timeline Effects off as the starting point | Source timecode is the relink anchor |

The best setting is not a universal preference. It is a contract with the next person in the chain.

If that person needs the camera frame, deliver source timecode. If that person needs the edit position, deliver timeline timecode. If the project needs both, make the two clocks visible in a reference file and verify the clean output separately.

Do that one-clip test before the batch render. It is the small step that turns a plausible export into a dependable handoff.



## FAQ

### Does DaVinci Resolve export source timecode or timeline timecode?

A Single Clip export uses the timeline or record-timecode context. An Individual Clips export normally preserves the source timecode of each clip, but Render Timeline Effects changes the rendered clips to timeline timecode.

### How do I export individual clips with source timecode in DaVinci Resolve?

On the Deliver page, choose Individual Clips and leave Render Timeline Effects disabled. Confirm the result with a timecode burn-in or a metadata check before sending the files for a roundtrip.

### Why did my DaVinci Resolve export change from source timecode to timeline timecode?

The most common reason is that Render Timeline Effects was enabled for an Individual Clips render. That option processes the clips in timeline context, so the output can carry the timeline's record timecode instead of the original source timecode.

### Should I choose source timecode or timeline timecode for a handoff?

Choose source timecode for camera-clip roundtrips, proxies, and dailies that must reconnect to original media. Choose timeline timecode for a finished program, review master, or handoff where every department should reference one continuous edit.

## Sources

- [DaVinci Resolve What's New, Blackmagic Design](https://www.blackmagicdesign.com/products/davinciresolve/whatsnew)
- [Blackmagic Design Support Center](https://www.blackmagicdesign.com/ca/support)
- [DaVinci Resolve 20 Editors Guide, Blackmagic Design](https://documents.blackmagicdesign.com/UserManuals/DaVinci-Resolve-20-Editors-Guide.pdf?_v=1757574010000)
- [Retaining Timecodes on Individual clip export, Blackmagic Design Forum](https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=214325)
- [No Bus Audio on Individual clips, Blackmagic Design Forum](https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=138958)
- [Micro-freezing during playback, Blackmagic Design Forum](https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=201373)
- [Edit and Fusion page counters differ, Blackmagic Design Forum](https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=119411)
- [Timeline Time Display starts at 1 hour in, Blackmagic Design Forum](https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=173637)
- [How to Add Timecode in DaVinci Resolve, Hollyland](https://store.hollyland.com/blogs/creator-hub/add-timecode-in-davinci-resolve)
- [TryUncle FAQ](https://tryuncle.com/faq)
- [TryUncle vs Clicky vs YouTube Tutorials for DaVinci Resolve](https://tryuncle.com/learn/davinci-resolve/tryuncle-vs-clicky-vs-youtube-tutorials-for-learning-davinci-resolve)
- [Sottocut, AI Assistant Editor for DaVinci Resolve](https://www.sottocut.com/)
- [PremiereCopilot, Text-to-Edit AI for Premiere Pro](https://www.premierecopilot.com/en/copilot)
- [Eddie AI, Assistant Video Editor for Pros](https://heyeddie.ai/)
- [CutAgent, Natural-Language Video Editing for DaVinci Resolve](https://www.cutagent.ai/)