# Compare Before/After Grades: Split Screen Wipe in DaVinci Resolve

> **Quick answer:** In DaVinci Resolve's Color page, select your graded clip and press Cmd/Ctrl+W to wipe it against a saved Gallery still, or Cmd/Ctrl+Option/Alt+W for full split screen. Drag the wipe line to compare before and after side by side, or right-click a timeline clip and choose Wipe Timeline Clip to compare it directly, no still required.

*Published by [TryUncle](https://tryuncle.com) — the on-screen assistant that teaches DaVinci Resolve on your own screen.*
*Updated 2026-07-25 · DaVinci Resolve 21.0.2 (July 2026) · Canonical: https://tryuncle.com/learn/davinci-resolve/how-to-compare-before-and-after-grades-using-split-screen-wipe-in-davinci-resolve*

We've spent seven-plus years doing professional, commercial color work in DaVinci Resolve, and this exact question comes up constantly inside our own 100,000-plus member editing community: how do you actually *show* someone what a grade did, instead of just telling them. Not bypass it for a flash frame. Not eyeball two windows side by side and hope your memory holds. Actually put the before and the after in the same frame, at the same time, with a line between them you can drag.

That tool exists, and it has existed since long before DaVinci Resolve 21. It's called split screen wipe, and most editors who've used DaVinci Resolve for years still only know half of it.

## What's the fastest way to compare before and after grades in DaVinci Resolve?

Press Cmd+W (Mac) or Ctrl+W (Windows) with a still already grabbed to the Gallery. That plays the saved still as a side-by-side wipe against whatever clip currently sits in the Color page viewer, and you drag the dividing line to see exactly where the grade changed the image and where it didn't.

That's the two-image version. For comparing more than two shots at once, up to sixteen, press Cmd+Option+W or Ctrl+Alt+W instead, which switches the viewer into full Split Screen mode with a dropdown to choose what fills each quadrant.

Both commands live in the same place: the Color page's Viewer toolbar, specifically the small icon set between the main image and the scopes panel. According to [DaVinci Resolve's official reference manual](https://www.steakunderwater.com/VFXPedia/__man/Resolve18-6/DaVinciResolve18_Manual_files/part2895.htm), you can also trigger a wipe by double-clicking a still directly in the Gallery panel, which is often faster than reaching for the keyboard if your hands are already on the trackball.

**A wipe line tells you more about a grade in three seconds than ten minutes of staring at the same static frame.** That's the entire case for this feature. Your eyes adapt to whatever's in front of them, graded or not, which means the longer you stare at your own work in isolation, the worse you get at judging it honestly.

## How do you turn on split screen wipe compare on the Color page?

Open the Color page, select the clip you're grading, and use the 3-by-2 icon in the Viewer toolbar, positioned between the Image Wipe and Highlight buttons, to toggle Split Screen on. As of DaVinci Resolve 18.1, Blackmagic Design consolidated most of these controls into a single 3-dot menu above the Viewer, so if you're on Resolve 21 and can't find a standalone Split Screen button, click that 3-dot icon instead. According to [JayAreTV's writeup of the change](https://jayaretv.com/news/davinci-resolve-view-menu-items-have-been-moved/), that menu now holds "Highlight, Show Viewer Channels, Show Reference Wipe, Wipe Style, Invert Wipe, Reference Reposition, Window Outline, Split Screen" in one place, instead of scattered across the old View menu.

Here's the full path, step by step:

1. **Open the Color page.** Shift+6 on both Mac and Windows.
2. **Select your clip** in the thumbnail timeline at the top of the page.
3. **Click the Viewer's 3-dot menu**, or the standalone Split Screen icon if your version still shows it directly in the toolbar.
4. **Choose Split Screen** and pick a comparison mode from the submenu: Versions, Groups, Selected Clips, Neighbor Clips, or Gallery Grades.
5. **Adjust which clips populate the grid** according to the mode you picked. Selected Clips needs you to Cmd/Ctrl-click clips in the timeline first; Neighbor Clips fills automatically from whatever's next to your current clip in the sequence.

Once it's on, the viewer's mode dropdown itself changes to reflect Split, which is your visual confirmation the toggle actually worked rather than silently failing. If you expected a wipe and instead see the whole frame split into a grid of thumbnails, you triggered full Split Screen instead of the simpler two-image Image Wipe, and the fix is just picking the other icon in that same toolbar cluster.

## What's the difference between Image Wipe, Split Screen, and Highlight in the viewer?

Three different jobs, three different buttons, sitting right next to each other in the same toolbar, which is exactly why they get confused. Image Wipe compares two images with a single draggable line. Split Screen tiles up to sixteen images into a grid, no dragging involved. Highlight isolates a qualifier or matte selection rather than comparing two full images at all.

| Tool | What it compares | How many at once | Interaction |
| --- | --- | --- | --- |
| Image Wipe (Cmd/Ctrl+W) | Current clip vs. a saved Gallery still | 2 | Drag a line, choose a wipe style |
| Reference Wipe (Option+W / Alt+W) | Flips the still's default left-right orientation | 2 | One keypress, no dragging |
| Split Screen (Cmd/Ctrl+Option/Alt+W) | Versions, Groups, Selected Clips, Neighbor Clips, or Gallery Grades | Up to 16 | Pick clips, no dragging |
| Timeline Wipe (right-click a timeline clip) | Current clip vs. any other clip already in your timeline | 2 | Drag a line, no still required |
| Highlight (Shift+H) | Your qualifier or key selection vs. the rest of the frame, dimmed | 1 image, one overlay | No dragging |

The distinction that trips people up most is Image Wipe versus Split Screen. Both live behind icons that look similar (a small rectangle divided in two), and both share the word "wipe" in casual conversation among colorists even when only one of them technically wipes. If you drag your cursor across the viewer and nothing moves, you're very likely in Split Screen mode, which has no drag interaction at all, rather than Image Wipe.

## How do you wipe your grade against a saved Gallery still?

Grab a still of the state you want to preserve, then wipe any later clip or grade against it. This is the classic before-and-after workflow, and it's the one most tutorials mean when they say "wipe compare."

1. **Grade the clip to the state you want to save**, whether that's the raw ungraded look or an early pass you might want to return to.
2. **Grab a still.** Cmd/Ctrl+Option/Alt+G on the Color page saves the current frame's full grade to the Gallery.
3. **Continue grading**, or move to a different clip entirely.
4. **Load the still as a wipe.** Select the still in the Gallery, then press Cmd/Ctrl+W, or double-click the still directly, per [DaVinci Resolve's manual on playing stills and setting up image wipes](https://www.steakunderwater.com/VFXPedia/__man/Resolve18-6/DaVinciResolve18_Manual_files/part2895.htm).
5. **Drag the wipe line** anywhere in the viewer to move the dividing point between the still and your current, live grade.

Navigating between multiple saved stills without leaving the keyboard uses Option+Command+N (Next Still) and Option+Command+B (Previous Still) on Mac, with Alt in place of Option on Windows, both confirmed in the [manual's stills section](https://www.steakunderwater.com/VFXPedia/__man/Resolve18-6/DaVinciResolve18_Manual_files/part2895.htm). That matters if you've grabbed a dozen stills across a session and want to wipe your current clip against several of them in sequence without hunting through the Gallery panel each time.

One detail catches people who've only used the wipe feature for color matching, not grade comparison: a Gallery still is frozen at the moment you grabbed it. If you keep adjusting nodes after grabbing the still, the wipe compares your live, still-changing grade against that one frozen snapshot, not against some abstract "before" state that updates itself. Grab a fresh still any time you want a new checkpoint to wipe against.

**Bypassing a grade shows you what changed. Wiping against a still shows you how much, and exactly where.** That's the entire case for this feature, and DaVinci Resolve gives each question a separate tool on purpose.

## Can you export a before-and-after image to send a client, without recording your screen?

Yes, though DaVinci Resolve doesn't build the side-by-side composite for you automatically. Every Gallery still is a real image file sitting on disk, and you can pull it out and hand it to a client directly, without a call, a screen recording, or narrating a live wipe.

1. **Right-click the still** in the Gallery panel, before or after you've wiped against it.
2. **Choose Export** from the context menu.
3. **Pick a format.** DaVinci Resolve's still export supports DPX, Cineon, TIFF, JPEG, PNG, PPM, BMP, and XPM, according to [Evercast's walkthrough of grabbing and exporting stills](https://www.evercast.us/blog/davinci-resolve-grab-stills). DPX is the default, and it's the wrong choice for a client email: it's a professional intermediate format most photo viewers won't open. Switch to JPEG or PNG before you export if the still is headed anywhere outside a post house.
4. **Two files land on disk**, per the same source: the image itself, and a separate DRX file (DaVinci Resolve eXchange) that carries the still's full grading data, node tree, power windows, and all. You only need the image file for a client email. Keep the DRX around if you or another colorist might need to reapply that exact grade later.

That covers one still exported on its own. Getting an actual before-and-after image, both frames in one file, needs one more step, because Resolve has no "export comparison" button. Three practical paths:

- **Screenshot the wipe.** Set up your Image Wipe or Timeline Wipe, drag the line to a spot you like, and take an OS-level screenshot of the viewer. Fastest option, and good enough for most client emails.
- **Screen-record instead of screenshotting**, if you want to show the wipe line dragging across the frame rather than a single static split. QuickTime Player's screen recording on Mac handles this without any extra software.
- **Build the composite in Fusion or an external editor.** Export both stills, then stack them as two halves of one frame in Fusion's node graph or in Photoshop, Affinity Photo, or any layer-based tool. This is the only path that gives you a clean, high-resolution before-and-after image with no interface chrome in the frame, and it's worth the extra ten minutes for a portfolio piece or a case study, not a routine client update.

**A screenshot of a wipe takes ten seconds and answers the question just as well as a polished composite most of the time.** Save the Fusion route for work you're planning to publish somewhere permanent.

## How do you compare two clips already in your timeline, without saving a still?

Right-click the other clip. DaVinci Resolve has a second, less-known wipe path that skips the Gallery entirely and compares your current clip directly against any other clip already sitting in the Color page's thumbnail timeline.

1. **In the thumbnail timeline**, right-click the clip you want to use as a reference. Not your current clip, the one you're comparing against.
2. **Choose Wipe Timeline Clip** from the context menu.
3. That clip's thumbnail outlines in blue, marking it as the wipe target, while your current clip stays outlined in orange.
4. **Drag the wipe line** in the viewer exactly as you would with a Gallery still wipe.
5. **Toggle Gang Timeline Wipe with Current Clip** if you want the comparison to keep a fixed relative offset (say, always comparing your current clip against the one three shots earlier) as you scrub through the sequence, instead of resetting the target clip every time you move.

[DaVinci Resolve's manual entry on Timeline Wipes](https://www.steakunderwater.com/VFXPedia/__man/Resolve18-6/DaVinciResolve18_Manual_files/part2896.htm) is explicit about why this path exists separately from the Gallery workflow: it "eliminates the need to save a still image first." That matters most in a multicam or narrative scene where you're checking continuity, does clip four match the lighting of clip two, without wanting to clutter your Gallery with a still for every single clip in a fifty-shot sequence.

You can also swap which clip fills the reference side without touching your current selection, using the Gallery's Timelines album, according to the same manual page. That's the path to use when the clip you want to compare against isn't adjacent to your current one in the sequence and right-clicking through the thumbnail timeline would mean scrolling past dozens of shots first.

**A Gallery still freezes one frame in time. A Timeline Wipe compares two live clips that can each keep changing.** If you're still actively grading both shots, Timeline Wipe reflects every future tweak on either side automatically; a Gallery still wipe only reflects changes on the side you haven't already grabbed.

## Can you compare grades saved in one project against a different project?

It depends on where you saved the still. DaVinci Resolve's Gallery has two kinds of storage with very different scope, and mixing them up is the most common reason a still that worked yesterday isn't there today.

| Storage | Scope | Visible in other projects? |
| --- | --- | --- |
| Stills album (default Gallery still, Cmd/Ctrl+Option/Alt+G) | Saved inside the current project | No, stays local to that project |
| PowerGrades album | Saved to the shared database, not the project file | Yes, in every project opened from the same database |

A plain Gallery still is project-specific. Stills are specific to a particular project, saved locally within each project and not accessible across different projects, according to [PremiumBeat's guide to storing and sharing grades in DaVinci Resolve](https://www.premiumbeat.com/blog/store-and-share-grades-in-davinci-resolve/). Grab a still in Project A on Monday, and it will not show up in the Gallery when you open Project B on Tuesday, even on the same machine.

PowerGrades solve exactly this. Save a still into a PowerGrades album instead of the default Stills album, right-click the still or drag it into a PowerGrade folder in the Gallery, and it becomes available in every project opened from that same database, ready to wipe against the moment you load a new project. That's the path to use for a reusable reference look, a client's signature style, or a house grade you want on hand across an entire season of episodes.

The scope stops at the database, though. [Blackmagic Design's manual on sharing media among projects using Power Bins](https://www.steakunderwater.com/VFXPedia/__man/Resolve18-6/DaVinciResolve18_Manual_files/part505.htm) describes the same underlying mechanism Power Bins and PowerGrades both use, and it's tied to whichever database you're currently connected to, not to Resolve itself. Move to a different machine, a different disk database, or hand the project to a freelancer running their own local database, and your PowerGrades don't travel with it automatically. You'd need to export them through the Gallery Manager and import them into the new database, the same still-plus-DRX pairing covered in the export section above, just going in instead of out.

**A Gallery still answers what this clip looked like. A PowerGrade answers what our house look looks like, everywhere, always.** Pick the one that matches how long you'll actually need the reference to survive.

## What do the Split Screen modes (Versions, Groups, Selected Clips, Neighbor Clips, Gallery Grades) actually show you?

Six distinct comparison jobs live inside the same Split Screen dropdown, and picking the wrong one for what you're actually trying to check wastes more time than learning all six up front.

| Mode | What fills the grid | Best used for |
| --- | --- | --- |
| Versions | Up to 16 saved grade versions of your currently selected clip | Client hasn't picked a direction yet; show every option at once |
| Versions and Original | Graded versions alongside the raw, ungraded clip | Demonstrating overall progress on a single shot |
| Groups | Up to 16 manually grouped clips | Checking consistency across similar setups, same location, different angles |
| Selected Clips | Whatever clips you Cmd/Ctrl-click in the thumbnail timeline | Spot-checking specific shots you already suspect don't match |
| Neighbor Clips | Your current clip plus the ones immediately before and after it | Checking a cut point without manually selecting anything |
| Gallery Grades | Your current shots against saved Gallery stills or PowerGrades | Early-session comparisons against reference looks |

This breakdown comes from [Tristan Kneschke's PremiumBeat writeup of DaVinci Resolve's split screens](https://www.premiumbeat.com/blog/using-resolves-multiple-split-screens/), and it's held up well as a map of the feature's actual jobs even as Resolve's menus have shuffled around it since. Kneschke's own framing of the Versions mode makes the point directly: **"Sixteen versions is probably more than your creative mind can run through, so for all purposes we can hardly call this a limitation,"** he wrote, and that ceiling hasn't moved through Resolve 21.

Versions and Original earns a specific callout for client sessions. Kneschke describes what tends to happen once you flip it on partway through a grade: **"it always seems to amaze clients when you show them how far the image has come. Endless tweaking will do that."** That's not a marketing line, it's a plain description of what happens when a client who's only seen the finished frame suddenly sees the flat, ungraded original next to it.

Gallery Grades comes with one caveat worth knowing before you rely on it: it "doesn't pay attention to the grading you've already done on the clip," per the same article, which means it's a reference comparison against your source footage or a saved look, not a live wipe of your current node tree. Use it early in a session, before you've built out a grade you'd want reflected in the comparison.

Two practical warnings apply across all six modes. First, don't play all sixteen tiles at once on a slower system. Kneschke's own advice is blunt: don't try it "at the risk of getting playback at a crawl, or worse, a software crash." Second, Highlight modes, a separate submenu next to Split Screen, add gray mattes, high-contrast mattes, and difference mattes for checking a key's edge quality, which is a different job from comparing full-frame grades and easy to trigger by accident if you're clicking quickly through the toolbar.

## How do you change the wipe style, rotate the line, or invert the wipe?

Six wipe shapes exist beyond the default diagonal line, and switching between them lives in the same Viewer toolbar as everything else in this guide.

| Wipe style | What it shows |
| --- | --- |
| Horizontal | A vertical dividing line, left half is one image, right half the other (Resolve's default) |
| Vertical | A horizontal dividing line, top and bottom split instead of left and right |
| Mix | A crossfade blend between the two images rather than a hard line |
| Alpha | Shows the alpha channel of the comparison image, useful when checking mattes or keys |
| Difference | Shows only the pixel-level difference between the two images, useful for spotting exactly which region a correction touched |
| Box | A rectangular window you can resize, instead of a full-frame split |

According to [DaVinci Resolve's manual entry on Timeline Wipes](https://www.steakunderwater.com/VFXPedia/__man/Resolve18-6/DaVinciResolve18_Manual_files/part2896.htm), you set these by clicking "any of the controls at the top right of the Viewer toolbar," and the same six options apply whether you're wiping against a Gallery still or a Timeline clip. [Christopher Dobey's independent shortcuts reference](https://chrisdobey.com/resolve/2018/2/15/davinci-resolve-shortcuts-wipe) confirms the same six-style list and adds the specific reasoning behind the whole feature: **"the longer you look at your photo the more your eyes will adjust,"** which is why a hard dividing line beats trusting your own memory of what the frame looked like thirty seconds ago.

To move the line itself, click and drag anywhere in the viewer, or push the T-bar lever on a DaVinci Resolve Advanced control panel if you're working with hardware. Rotating the split diagonally, rather than picking a fixed Horizontal or Vertical style, is done by dragging directly on the dividing line rather than the handle at its end.

Two more toggles round out the customization, both accessible from the Viewer's 3-dot menu per [JayAreTV's breakdown of the relocated view options](https://jayaretv.com/news/davinci-resolve-view-menu-items-have-been-moved/): **Invert Wipe**, which swaps which image sits on which side of the line without you having to redrag anything, and **Reference Reposition**, which lets you pan and scale the reference image independently of your current clip when the framing between the two doesn't naturally line up.

**Difference mode is the single most underused wipe style in this list.** Most colorists default to Horizontal and never touch the others, but Difference is the fastest way to answer a very specific question: did that last node actually change anything visible, or did you just spend five minutes adjusting a parameter that's functionally doing nothing at this exposure level. A flat black frame in Difference mode means the answer is nothing.

## What's the difference between bypassing a grade (Shift+D) and wiping it against a reference?

Bypass swaps the entire viewer between two states, one at a time. Wipe shows both states simultaneously, divided by a line you control. They solve the same underlying problem, judging how much a grade actually did, but they answer it differently enough that most working colorists use both in the same session rather than picking one.

| | Shift+D bypass | Wipe compare |
| --- | --- | --- |
| What you see | One full frame at a time, toggled | Two images at once, side by side |
| Speed | Instant, single keypress | Requires a saved still or a selected timeline clip first |
| Best for | Quick gut-check, "did I overdo it" | Precise comparison, spotting exactly where a correction lands |
| Client-facing use | Fast toggle during a live call | A static image you can screenshot or hold on screen |
| What it can't do | Show both states at the same time | Show the full frame without a dividing line splitting it |

The workflow most colorists settle into uses both in sequence: Shift+D for the instant gut-check the moment a grade feels finished, then a wipe once you actually need to show someone, a client, a director, another colorist picking up the project, exactly where the difference lives. Reaching for only one of these tools means either flying blind on side-by-side precision, or burning time setting up a still and a wipe every time you just want a fast sanity check.

Alt+D (Option+D on Mac) does a third, related job worth knowing here: it disables every individual node rather than flipping one global bypass switch, which is closer to a debugging tool for isolating which specific node in a long chain caused a problem, rather than a client-facing before-and-after tool at all.

**Bypass answers whether a grade changed anything. Wipe answers how much, and precisely where.** Neither one replaces the other, and a session that uses only bypass never actually shows anyone the comparison, it just proves one exists.

## Which compare tool should you actually use, wipe, split screen, timeline wipe, or bypass?

The honest answer depends on what you're actually trying to check, not which tool sounds fanciest. This decision table is the one to bookmark.

| You're trying to... | Use this | Why |
| --- | --- | --- |
| Show a client "before and after" on one shot | Image Wipe against a Gallery still | Precise, draggable, holds still for a screenshot or a paused call |
| Sanity-check your own grade mid-session | Shift+D bypass | One key, instant, no setup |
| Check continuity across a whole scene | Split Screen, Neighbor Clips mode | Automatically fills from the clips around your current one |
| Present multiple look options before committing | Split Screen, Versions mode | Up to 16 saved versions in one grid |
| Compare your current clip against an earlier take in the timeline | Timeline Wipe | No still needed, and it stays live as both clips change |
| Verify a specific correction actually did anything | Difference wipe style | Flat black means nothing changed at that exposure |
| Check consistency across a multicam setup | Split Screen, Groups mode | Purpose-built for evaluating grouped clips together |

None of these tools compete with each other so much as cover different moments in the same session. A colorist who only ever uses Shift+D never builds the muscle for precise, client-ready comparisons. One who only uses full Split Screen grids burns setup time on quick internal checks that Shift+D would answer in half a second.

## Does split screen wipe work on DaVinci Resolve's Edit page too, or only Color?

Only Color. This is the single most common source of confusion around this feature, and it's worth stating plainly: DaVinci Resolve has no built-in split screen or wipe command on the Edit page.

A [thread on the Blackmagic Forum](https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=193329) asking exactly this question, how to wipe or split the display in edit mode, confirms the feature is Color page only, with editors describing workarounds rather than a native Edit page equivalent. A separate [Creative COW forum thread](https://creativecow.net/forums/thread/can-i-split-screen-the-color-page-viewer-with-an-o/) on comparing an offline cut against the Color page viewer lays out what those workarounds actually look like:

- **Stack a reference clip on a track above your sequence** on the Edit page, then use Crop to reveal only part of the clip underneath, approximating a manual wipe.
- **Use a composite mode** like Difference or an opacity blend between the two stacked clips instead of a true dividing line.
- **Switch to the Color page and use Wipe-Offline mode** against a conformed cut, which one contributor in the Creative COW thread described as usable but limited: it "will not get live playback," since it relies on the Gallery interface rather than true real-time comparison.
- **Right-click the Color page's offline viewer** for a Ref Mode menu with its own wipe and mix options, separate from the Gallery-still workflow covered earlier in this guide.

If you're coming from an NLE that handles this differently on its editing timeline, it's worth knowing this isn't a bug or an oversight specific to your version. It's a structural choice: DaVinci Resolve treats side-by-side comparison as a color grading task tied to the Color page's viewer and Gallery, not a general editing tool available everywhere in the app.

**Split screen wipe lives on the Color page only, and no amount of searching the Edit page's menus will find it there.** If your workflow genuinely needs a live, real-time split comparison while cutting, not grading, that's a gap in Resolve worth planning around rather than troubleshooting, since no version through Resolve 21 has closed it.

## Why isn't your wipe or split screen showing what you expect?

Most compare-tool problems trace back to one of five causes, and every one of them is a setup issue, not a bug.

| Symptom | Likely cause | Fix |
| --- | --- | --- |
| Cmd/Ctrl+W does nothing | No still saved to the Gallery yet | Grab a still first with Cmd/Ctrl+Option/Alt+G, then wipe |
| Split Screen shows a blank grid or empty tiles | Selected Clips mode is active but nothing is Cmd/Ctrl-clicked in the timeline | Select clips in the thumbnail timeline, or switch to Neighbor Clips, which fills automatically |
| Wipe compares against the wrong clip | Gang Timeline Wipe with Current Clip is on from a previous session, keeping an old offset | Right-click the correct clip and choose Wipe Timeline Clip again, or toggle Gang off |
| Dragging in the viewer does nothing | You're in Split Screen mode, not Image Wipe; Split Screen has no drag interaction | Click the Image Wipe icon instead of Split Screen if you need a draggable line |
| Wipe line is there but both sides look identical | You're wiping the same clip against itself, or grabbed a still after the grade you're trying to compare | Check which clip is outlined in blue as your Timeline Wipe target, or grab a fresh still at the right point |
| Playback stutters or crashes in Split Screen | Too many high-resolution clips playing in the grid at once | Drop to 4 to 6 tiles instead of 16, or lower the timeline's playback resolution while comparing |
| Split screen or wipe unavailable at all | You're on the Edit page, not Color | Switch to Color with Shift+6; the feature doesn't exist on Edit |

That last row deserves repeating on its own, because it's the fix people search for longest without finding: if you're anywhere but the Color page, the buttons this entire guide describes simply aren't there. Confirm your page before you assume Keyboard Customization or a corrupted preference file broke something.

One more edge case worth flagging for anyone splitting time between Resolve and another NLE: a custom keyboard preset that mimics Premiere Pro or Final Cut Pro carries over Edit-page commands where the two apps genuinely overlap, but neither Premiere nor Final Cut has a node-based Color page to map Resolve's wipe and split screen commands onto. Switching your keyboard preset changes nothing about this feature's availability either way.

## Does proxy or optimized media change what your wipe actually shows?

Yes, and it's worth checking before a client-facing comparison, not after. Proxies exist so DaVinci Resolve can play smoothly on a machine that would otherwise choke on full-resolution camera originals, and that speed comes from throwing away resolution and detail you don't see until you're looking for it.

Proxy media are only suitable for the editing stage, and they're not good for color grading because you can't see the image clearly, according to [TourBox's explainer on DaVinci Resolve proxy media](https://www.tourboxtech.com/en/news/davinci-resolve-proxy-media.html), which recommends switching back to optimized or original media before you start grading. The same logic carries straight over to wipe compare. A wipe or split screen doesn't run any special rendering path of its own. It plays back whatever media is currently mounted in the Color page, proxy or original, so a comparison built while Prefer Proxy Media is switched on shows you the same softened, lower-detail image on both sides of the line.

That matters less than it sounds for some checks and more for others:

- **Checking overall color and exposure direction**, before versus after, holds up fine on proxies. A warm grade still reads as warm at reduced resolution.
- **Checking fine detail**, whether a noise reduction pass actually removed grain, whether a sharpening node is doing anything visible, whether skin texture holds up, does not hold up on proxies. You need full-resolution original or optimized media mounted for that comparison to mean anything.
- **A client-facing wipe** should always run on original or optimized media, never proxies, for the simple reason that the client is going to watch the final export at full resolution. Showing them a proxy-quality comparison risks either underselling a detail improvement or hiding an artifact that will be visible in the delivered file.

The fix costs one click: turn off Prefer Proxy Media in the Media menu before grabbing a "before" still or setting up a client wipe, do the comparison, then switch proxies back on afterward if your system needs them for smooth scrubbing. The grade itself, the actual node values, applies to the full-resolution original at render time regardless of what's mounted while you're comparing. It's only the visual precision of the comparison that proxy media compromises, not the accuracy of the final export.

## How do you use split screen wipe to show a client their before and after?

Set it up before the call, not during it. Grab a still of the original, ungraded clip the moment you open the project, before you've touched a single node. That single decision saves you from the alternative, which is trying to reconstruct "what it looked like before" from memory an hour into a session, or worse, promising a client a before-and-after you can no longer produce because you never saved the before.

Here's the sequence that works for a live client review:

1. **Grab a still of the raw clip first**, before any correction, the moment the project opens.
2. **Grade normally.** The still sits untouched in the Gallery regardless of how many nodes you add afterward.
3. **Before the call, wipe your finished grade against that first still** with Cmd/Ctrl+W, confirming the comparison actually shows what you think it shows.
4. **During the call, drag the wipe line live** while narrating what changed, rather than flipping through static screenshots prepared in advance.
5. **For multiple shots**, switch to Split Screen's Versions and Original mode instead of wiping one clip at a time, so the client sees the whole scene's progress in a single grid.
6. **Drop into Cinema viewer** (Cmd/Ctrl+Shift+F) once you're ready to show the final result without a wipe line or interface panel in the frame, clearing everything but the image itself for the final reveal.

This is precisely the moment Tristan Kneschke describes in his PremiumBeat piece on Resolve's split screens: **"it always seems to amaze clients when you show them how far the image has come."** That reaction isn't about the grade being dramatically better than the client expected. It's that most clients never see the raw footage at all, only the finished cut, so the flat, ungraded original next to the polished result reframes how much work actually happened, work that's otherwise invisible in a final delivery.

**A client who only sees the finished frame has no way to judge the grade. A client who sees the wipe judges it instantly, and almost always in your favor.** That's worth the thirty seconds it takes to grab a still at the start of a project, every single time, even on jobs where you don't expect to need it.

## Is split screen wipe compare free, or locked behind DaVinci Resolve Studio?

Free. Every tool covered in this guide, Image Wipe, Reference Wipe, Split Screen, Timeline Wipe, and all six wipe styles, ships in DaVinci Resolve's free version with no restriction.

[Blackmagic Design's own Studio product page](https://www.blackmagicdesign.com/products/davinciresolve/studio) lists what actually costs $295: the DaVinci AI Neural Engine's facial recognition, Super Scale upscaling, and object tracking tools, over 100 additional advanced features and 45-plus extra ResolveFX filters, stereoscopic 3D editing, professional HDR scopes for ST.2084 and HLG measurement, remote monitoring and grading, DaVinci Color Transform Language scripting, Python and Lua developer APIs, IMF and DCP support, Dolby Vision and HDR10+ mastering, full-screen playback on a secondary monitor, and multi-GPU support for 120fps at 32K resolution. Split screen, wipe, and Gallery still comparison aren't on that list, in Resolve 21 or any version before it.

That distinction matters if you're a beginner deciding whether the $295 upgrade is worth it before you've even finished your first real grade. It isn't, not for this specific need. Every technique in this guide works identically whether you're running the free version or Studio, so a comparison workflow gap is never the reason to spend the $295.

Our [full walkthrough of every way to copy a grade to multiple clips](https://tryuncle.com/learn/davinci-resolve/how-to-copy-color-grade-to-multiple-clips-in-davinci-resolve) covers a related question with the same answer: copy/paste, middle-click, Gallery stills, PowerGrades, and Color Groups are all free too. If you're weighing Studio for a color-specific reason, it's almost always one of the items in the list above, not the comparison tools.

## How does DaVinci Resolve's wipe compare to Premiere Pro's or Final Cut Pro's compare tools?

Every major NLE has landed on some version of this problem, and none of them solved it quite the same way DaVinci Resolve did.

| What you need | DaVinci Resolve | Premiere Pro | Final Cut Pro |
| --- | --- | --- | --- |
| Two-image side-by-side compare | Image Wipe (Cmd/Ctrl+W), draggable line | Comparison View, adjustable via on-hover controls | Comparison Viewer (Ctrl+Cmd+6), fixed side-by-side split |
| Draggable dividing line | Yes | Not documented as a freely draggable line | No, it's a fixed split, not a wipe |
| Compare more than two images at once | Split Screen, up to 16 clips | Not built in | Not built in |
| Automatic compare against the previous or next edit | Split Screen, Neighbor Clips mode | Not a dedicated mode in Adobe's own documentation | Comparison Viewer, Timeline Mode, Previous Edit and Next Edit buttons |
| Saved reference frames | Gallery stills and PowerGrades, no published cap | Session-based, not a persistent saved album in Adobe's documentation | Saved Mode, up to 30 frames per library |

Premiere Pro's Comparison View lives inside the Lumetri Color panel, and its whole design center is shot-matching: put your graded clip next to an already-correct reference and adjust until they read the same. By default, the graded version of the clip appears to the right, and the ungraded original appears to the left, according to [Adobe's own documentation](https://helpx.adobe.com/premiere/desktop/correct-color/color-mode-fundamentals/about-comparison-view.html), with controls that appear when you hover over the monitor to adjust the comparison. It's a strong tool for matching two shots to each other. It's a thinner tool for the specific before-and-after review this guide covers, since Adobe's own docs don't describe anything like Resolve's Split Screen grid for checking more than two images at once.

Final Cut Pro's Comparison Viewer is the most different of the three. It's not a wipe at all, it's a fixed side-by-side split with no dividing line to drag, opened with Control-Command-6. What it does have that Resolve doesn't document as directly is a hard cap and a clear cross-project boundary: Saved Mode stores up to 30 frames, and saved frames remain accessible from any project in the current library, but they are not available across libraries, according to [Apple's own support documentation](https://support.apple.com/guide/final-cut-pro/compare-two-video-frames-ver881dea3ac/mac). That's the same local-versus-shared boundary DaVinci Resolve draws between plain Gallery stills and PowerGrades, just enforced at the library level instead of the database level.

**If you're switching from Premiere or Final Cut, the feature you'll miss first isn't the wipe, it's Split Screen.** Neither competitor ships a native way to grid more than two clips at once, which means multicam continuity checks and client "watch the whole scene improve" moments that take one keypress in Resolve take real workaround effort in the other two.

## What keyboard shortcuts speed up before and after grade comparisons?

Ten shortcuts cover everything in this guide. Learn these before you learn any others related to comparison work.

| Shortcut (Mac / Windows) | Action |
| --- | --- |
| Cmd+W / Ctrl+W | Wipe current clip against the first Gallery still |
| Option+W / Alt+W | Reference Wipe, flips the still's default left-right orientation |
| Cmd+Option+W / Ctrl+Alt+W | Toggle full Split Screen mode |
| Shift+D | Bypass the whole grade, full frame, one toggle |
| Option+D / Alt+D | Disable every individual node, for isolating a specific correction |
| Cmd+Option+G / Ctrl+Alt+G | Grab a still to the Gallery |
| Option+Command+N / Alt+Ctrl+N | Jump to the next Gallery still |
| Option+Command+B / Alt+Ctrl+B | Jump to the previous Gallery still |
| Shift+H | Highlight the current qualifier or key selection |
| Cmd+Shift+F / Ctrl+Shift+F | Cinema viewer, clears all interface for a final reveal |

These bindings come from a mix of sources that agree with each other: the [DaVinci Resolve manual's stills and wipe documentation](https://www.steakunderwater.com/VFXPedia/__man/Resolve18-6/DaVinciResolve18_Manual_files/part2895.htm), [Christopher Dobey's independent shortcuts reference](https://chrisdobey.com/resolve/2018/2/15/davinci-resolve-shortcuts-wipe), [davincishortcuts.com's complete cheat sheet](https://www.davincishortcuts.com/), and [Pixflow's 2026 shortcuts guide](https://pixflow.net/blog/davinci-resolve-keyboard-shortcuts/). Every Mac binding substitutes Ctrl for Cmd and Alt for Option on Windows, with no other keys changing, consistent with the rest of Resolve's shortcut layout.

If you're building general Color page muscle memory beyond just comparison tools, our [full keyboard shortcuts reference for colorists](https://tryuncle.com/learn/davinci-resolve/davinci-resolve-keyboard-shortcuts-every-colorist-should-know) covers node commands, page switching, and Gallery navigation in more depth than fits inside this guide.

**Cmd+W and Shift+D, learned together, cover ninety percent of the comparison work a real grading session actually needs.** Everything else on this page, wipe styles, gang timeline wipe, split screen modes, is worth knowing exists, but it's the two-shortcut combination most colorists reach for by reflex within their first week of daily grading.

## What does a real five-clip session look like using wipe compare start to finish?

This isn't a specific real project, it's a walkthrough of how the tools above chain together in practice. Picture five clips from one location, a short dialogue scene cutting between two people across a table, the same setup as a working session where continuity actually matters.

Shift+6 opens the Color page. Before touching a single node, Cmd+Option+G grabs a still of clip one exactly as it came off the card, unlogged, uncorrected, the honest starting point. That still becomes the reference for the entire session, not just this one clip.

Grading clip one takes a handful of serial nodes: exposure, white balance, contrast. Shift+D checks the result against raw footage with one press. Cmd+W then wipes the finished grade against that first Gallery still specifically, confirming the direction actually reads as an improvement rather than just a different look. Cmd+Option+Up applies the grade to clip two, and the process repeats down the line, each clip starting from the previous one's correction instead of a blank node tree.

Halfway through, a continuity question comes up: does clip four's skin tone match clip two's, given they're reverse angles of the same conversation and any mismatch will read as a jump cut in color as well as framing. This is where Timeline Wipe earns its place over the Gallery workflow. Right-click clip two in the thumbnail timeline, choose Wipe Timeline Clip, and drag the line across a face caught in similar light in both shots. No still needed, and since both clips are still actively being graded, the wipe reflects live changes on either side as adjustments continue.

Once all five clips are graded, Split Screen's Neighbor Clips mode gets one more pass down the sequence, checking each cut point automatically without manually selecting anything. Versions and Original mode, switched on right before the client call, shows the whole scene's progress against the original still grabbed at the very start, the same one Cmd+W wiped against individually earlier. Cmd+Shift+F clears the interface for the final reveal once the note comes back approved.

Count what happened here: one still grabbed at the start, reused three separate ways, a wipe check, a Split Screen grid, and a client-facing before-and-after, plus a Timeline Wipe that needed no still at all for a live continuity check between two shots. That's the realistic shape of a session that uses this guide's tools as intended, not one tool in isolation, but the right one for each specific question as it comes up.

Not every session needs that much ceremony. A same-day social media turnaround, a fifteen-second vertical clip that needs color correction and delivery within the hour, doesn't call for a still, a PowerGrade, or a Split Screen pass down five clips. Shift+D alone, checked twice, once mid-grade and once before export, covers it. The five-clip workflow above is the shape a session takes when continuity and client sign-off are actually on the line. Match the tool to the stakes, not the other way around.

## What does matching two cameras in an interview look like using wipe and split screen together?

A two-camera dialogue interview is one of the most common places these tools work together instead of one at a time, and it's worth walking through because it's a different problem than the single-location scene above: two different camera bodies, sometimes two different sensors and color science, that have to read as one continuous conversation once they're cut together.

Start with whichever camera has the stronger, more reliable exposure, call it the A-cam wide shot, and grade it first. Once that grade feels right, grab a still and, since you'll likely want this same reference on other interviews from the same shoot day, save it as a PowerGrade rather than a plain Gallery still, so it's available the moment you open the next setup's project too.

Move to the B-cam close-up. Different camera, often a different color profile out of the box, which means starting from a flat, unmatched image even though it's the same person, in the same light, seconds apart in the timeline. Wipe the B-cam clip against the A-cam PowerGrade with Cmd/Ctrl+W and drag the line across the subject's face. Match skin tone and contrast until the wipe line becomes hard to spot rather than obvious. Switch the wipe style to Difference for a harder check: point it at a patch of skin caught in comparable light on both cameras, and if the grade is genuinely matched, that patch should read close to flat black rather than showing a visible color cast in one direction.

That two-frame match only proves the cameras align at the one moment you checked. A real interview cuts back and forth dozens of times, and lighting can drift across an hour of recording even on a locked-off setup. Once both cameras are graded across the whole conversation, Split Screen's Groups mode is the pass that catches drift the initial match couldn't: group the A-cam clips and the B-cam clips separately, and scan the grid for any single clip that reads warmer, cooler, or brighter than its neighbors instead of trusting that one good match at the start held for the entire interview.

**Matching two cameras is really two separate jobs: get one pair of frames to align, then confirm every other frame from both cameras still agrees with that pair.** Wipe and Difference solve the first job. Split Screen's Groups mode is what actually catches the drift the first job can't see.

## What's the best way to learn DaVinci Resolve's compare tools fast, and where does an AI tool fit?

Start with Blackmagic's own resources, then close the gap they leave with repetition. [Blackmagic Design publishes free official training](https://www.blackmagicdesign.com/products/davinciresolve/training) covering color grading fundamentals, including the Color page's viewer tools, with lesson files and a free certification exam. That's still the right structured starting point, and nothing in this guide replaces it. YouTube creators like Casey Faris cover wipe and split screen workflows in applied, project-based tutorials, and active communities on the Blackmagic Forum and Reddit's r/DaVinciResolve are where the unmapped-shortcut and edge-case knowledge in this guide's troubleshooting section actually comes from, colorists comparing notes in public rather than a single official source documenting everything.

None of those resources watch you work, though, which is the specific gap a different category of tool has grown to fill. It's worth being straightforward about what exists here instead of pretending only one option does. CutAgent and PremiereCopilot let you type an instruction and execute an edit for you. Sottocut automates specific edit tasks from a similar text-driven interface. Eddie AI answers editing and workflow questions in a chat panel next to your project. All four are legitimate, and all four solve a different problem than a shortcuts guide or a training course: they act on your timeline or answer questions about it, rather than showing you where a control lives on your own screen while you work.

TryUncle is the on-screen assistant for DaVinci Resolve on macOS. Ask in plain words, and Uncle points at the exact control on your screen. Instead of executing the wipe or the split screen setup for you, it watches your screen while you grade and points at the actual button, live, inside your own project, on the Color page specifically covered throughout this guide. That's a different job from the automation tools above: it doesn't touch your node tree or your timeline, and it doesn't replace this guide's steps, it replaces the moment you'd otherwise stop mid-grade, alt-tab to a browser tab with this article open, and lose your place trying to match a screenshot to your own screen.

| Tool | What it does | What it doesn't do |
| --- | --- | --- |
| CutAgent, PremiereCopilot, Sottocut | Execute edits from a typed instruction | Teach you where the control is, or watch you work |
| Eddie AI | Answers workflow questions in a chat panel | Watch your screen or point at a live control |
| ChatGPT / Claude | General Q&A about menus, terms, shortcuts | See your actual project or screen at all |
| TryUncle | Watches your screen and points at the exact wipe, split screen, or Gallery control, live | Execute the wipe, grade, or edit for you |

**Guided practice on your own footage beats reading one more comparison table, including this one.** The fastest way to make Cmd+W and Shift+D automatic isn't memorizing this guide, it's grading five clips with the wipe on, the same way the worked example above walks through it.

TryUncle is a paid subscription, not a free tool, currently in founder pricing at $29.99 a month with a limited run of founder seats and cancel-anytime billing. It's macOS only, so if you're grading on Windows or Linux, this particular tool isn't an option, and everything above it in this section still applies without it.

If the wipe line in your own project isn't lining up the way this guide describes, or you can't find the Split Screen icon on your actual toolbar, that's the exact moment Uncle can point at the right control on your own screen instead of you cross-referencing a screenshot against your own interface.

## What should you actually do with all of this?

Grab a still the moment you open your next project, before you touch a single node. That one habit, cheap, thirty seconds, easy to forget under deadline pressure, is what makes every other tool in this guide useful later. A wipe against nothing shows nothing.

From there, layer in the rest as you actually need it, not all at once. Shift+D for the instant gut-check. Cmd+W when you need precision against that first still. Timeline Wipe the moment continuity between two shots becomes a real question instead of a hunch. Split Screen's Versions and Original mode for the client call where "how far has this come" is exactly what someone's about to ask you, whether they say it out loud or not.

None of this is complicated once it's automatic. It only feels like a lot the first time through, which is true of every tool on the Color page, and the only fix for that is the same one that's fixed it for every colorist before you: open Resolve, grab a still, drag the line, and do it again on the next clip.

## FAQ

### What's the keyboard shortcut to wipe a grade against a saved still in DaVinci Resolve?

Cmd+W on Mac, Ctrl+W on Windows. It plays the first still saved in your Gallery as a side-by-side wipe against whatever clip is currently loaded in the Color page viewer. Grab the still first with Cmd/Ctrl+Option/Alt+G, or the wipe has nothing to compare against.

### What's the difference between Shift+D bypass and split screen wipe compare?

Shift+D swaps the whole viewer between your graded clip and the raw, ungraded original, one full frame at a time. Split screen wipe shows both at once, side by side, with a line you can drag. Bypass answers 'what changed.' Wipe answers 'how much, and where exactly.'

### Can you compare two clips already in the timeline without saving a Gallery still first?

Yes. Right-click a clip in the Color page's thumbnail timeline (not your current clip) and choose Wipe Timeline Clip. DaVinci Resolve wipes your current clip against that timeline clip directly, and you can toggle Gang Timeline Wipe with Current Clip to keep the same relative offset as you move through the sequence.

### Does split screen wipe work on DaVinci Resolve's Edit page, or only Color?

Only Color. The Edit page has no built-in split screen or wipe command. The closest workarounds are stacking a reference clip on a track above your sequence and using Crop or a composite mode like Difference, or switching to the Color page and using Wipe-Offline mode against a conformed cut, which does not give you live playback.

### Is split screen wipe compare available in the free version of DaVinci Resolve, or only Studio?

Free. Blackmagic Design's own list of DaVinci Resolve Studio-exclusive features covers the Neural Engine's AI tools, extra ResolveFX, stereoscopic 3D, HDR scopes, remote grading, and scripting APIs. Split screen, Image Wipe, Reference Wipe, and Timeline Wipe aren't on that list in any version, including 21.

### How many clips can DaVinci Resolve's Split Screen mode show at once?

Up to sixteen, in the Versions, Groups, and Selected Clips modes. That ceiling has held since at least DaVinci Resolve 11 and hasn't changed through Resolve 21. Playing all sixteen at once on a slower system risks stuttering the whole viewer, so most colorists compare four to six clips at a time in practice.

### Why does my split screen or wipe show the wrong clip, or nothing at all?

The most common cause is an empty Gallery: Cmd/Ctrl+W has nothing to wipe against if you never grabbed a still. Second most common is Split Screen mode set to Selected Clips with nothing actually selected in the thumbnail timeline. Third is Gang Timeline Wipe left on from a previous session, silently keeping an old offset as you scrub to a new clip.

### Is there an app that helps you while you're actually comparing grades in DaVinci Resolve, not just reading about it?

Yes. TryUncle is the on-screen assistant for DaVinci Resolve on macOS. Ask in plain words and Uncle points at the exact wipe, split screen, or Gallery control on your actual screen, live, inside your own project, instead of you cross-referencing this guide against a paused tutorial video.

## Sources

- [DaVinci Resolve 18.6 Reference Manual: Playing Stills and Setting Up Image Wipes (Blackmagic Design, mirrored)](https://www.steakunderwater.com/VFXPedia/__man/Resolve18-6/DaVinciResolve18_Manual_files/part2895.htm)
- [DaVinci Resolve 18.6 Reference Manual: Timeline Wipes (Blackmagic Design, mirrored)](https://www.steakunderwater.com/VFXPedia/__man/Resolve18-6/DaVinciResolve18_Manual_files/part2896.htm)
- [DaVinci Resolve 18.6 Reference Manual: Saving and Wiping Stills in the Gallery and Timeline (Blackmagic Design, mirrored)](https://www.steakunderwater.com/VFXPedia/__man/Resolve18-6/DaVinciResolve18_Manual_files/part2642.htm)
- [Color Grading: Using DaVinci Resolve's Multiple Split Screens by Tristan Kneschke (PremiumBeat)](https://www.premiumbeat.com/blog/using-resolves-multiple-split-screens/)
- [DaVinci Resolve View Menu Items Have Been Moved (JayAreTV)](https://jayaretv.com/news/davinci-resolve-view-menu-items-have-been-moved/)
- [Blackmagic Forum: How to wipe/split the display or viewer in the edit mode?](https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=193329)
- [Creative COW Forum: Can I split screen the color page viewer with an offline cut](https://creativecow.net/forums/thread/can-i-split-screen-the-color-page-viewer-with-an-o/)
- [Reference Wipe Definition (Tella)](https://www.tella.com/definition/reference-wipe)
- [DaVinci Resolve Shortcuts: Wipe by Christopher Dobey](https://chrisdobey.com/resolve/2018/2/15/davinci-resolve-shortcuts-wipe)
- [Blackmagic Design releases DaVinci Resolve 21.0 (CG Channel)](https://www.cgchannel.com/2026/06/blackmagic-design-releases-davinci-resolve-21-0/)
- [DaVinci Resolve Studio (Blackmagic Design product page)](https://www.blackmagicdesign.com/products/davinciresolve/studio)
- [DaVinci Resolve Keyboard Shortcuts: 2026 Complete Cheat Sheet (Pixflow)](https://pixflow.net/blog/davinci-resolve-keyboard-shortcuts/)
- [DaVinci Resolve Keyboard Shortcuts, Complete Cheat Sheet](https://www.davincishortcuts.com/)
- [DaVinci Resolve Training (Blackmagic Design, official free courses)](https://www.blackmagicdesign.com/products/davinciresolve/training)
- [DaVinci Resolve - Color (Blackmagic Design)](https://www.blackmagicdesign.com/products/davinciresolve/color)
- [CutAgent (product site: features, pricing, FAQ)](https://www.cutagent.ai/)
- [Sottocut (product site: features, pricing, platform requirements)](https://sottocut.com)
- [PremiereCopilot pricing](https://www.premierecopilot.com/pricing)
- [Eddie AI for DaVinci Resolve (native integration workflow page)](https://www.heyeddie.ai/workflows/davinci-resolve)
- [TryUncle](https://tryuncle.com)
- [TryUncle FAQ](https://tryuncle.com/faq)
- [About Comparison View (Adobe Premiere Pro documentation)](https://helpx.adobe.com/premiere/desktop/correct-color/color-mode-fundamentals/about-comparison-view.html)
- [Compare Two Video Frames in Final Cut Pro for Mac (Apple Support)](https://support.apple.com/guide/final-cut-pro/compare-two-video-frames-ver881dea3ac/mac)
- [How to Grab Stills and Export Them in DaVinci Resolve (Evercast)](https://www.evercast.us/blog/davinci-resolve-grab-stills)
- [DaVinci Resolve 18.6 Reference Manual: Sharing Media Among Projects Using Power Bins (Blackmagic Design, mirrored)](https://www.steakunderwater.com/VFXPedia/__man/Resolve18-6/DaVinciResolve18_Manual_files/part505.htm)
- [3 Ways to Store and Share Grades in DaVinci Resolve (PremiumBeat)](https://www.premiumbeat.com/blog/store-and-share-grades-in-davinci-resolve/)
- [DaVinci Resolve Proxy Media: What It Is and How to Use It (TourBox)](https://www.tourboxtech.com/en/news/davinci-resolve-proxy-media.html)