Using LRTimelapse with DaVinci Resolve

In this tutorial, I’m showing you the workflow to go from LRTimelapse to DaVinci Resolve.

I'm making sure you retain the highest possible quality throughout this process.

We’ll be going from your timelapse sequence RAW files, to deflickering them, to finishing your edit in DaVinci Resolve.

Check out LRTimelapse here and DaVinci Resolve here.

Firstly, you need to shoot a timelapse.

Set your camera to Manual mode, disable autofocus & image review, capture RAW photos, etc.

You can find tutorials on how to shoot a timelapse in this playlist here or in my free e-book down below.

Secondly, either edit your photos in Lightroom and LRTimelapse, or in LRTimelapse alone (check out this video about that here) to add your deflickering and ramping, etc.

If you want to learn how to edit your timelapse in just LRTimelapse you can watch this tutorial video.

Thirdly, you want to take your timelapses into DaVinci Resolve for further color grading, adding effects, transitions, and finishing them in a timeline to export your final master file.

Now there are two methods to do this, I’ll explain both and then show you which one I recommend, and why.

The first method is to use LRTimelapse and Lightroom to turn your RAW sequence into a TIFF sequence, and then take that sequence into DaVinci Resolve. TIFF files can hold an enormous amount of data, which is good for further color grading and editing, but they don’t work as smoothly in DaVinci Resolve.

Finish your editing in LRTimelapse then use Lightroom Classic to export a sequence of 16-bit TIFF files, then import that into DaVinci Resolve.

The second method is to use LRTimelapse to render your RAW sequence into a high-quality video file, then take it into DaVinci Resolve. The video codec you want to use here is Apple ProRes 4444. Here’s a blurb from the ProRes white paper:

“Apple ProRes 4444 is an extremely high-quality version of ProRes for 4:4:4:4 image sources. This codec features full-resolution, mastering-quality 4:4:4:4 RGBA color and visual fidelity that is perceptually indistinguishable from the original material. It is a high-quality solution for storing and exchanging motion graphics and composites, with excellent multi-generation performance and a mathematically lossless alpha channel up to 16 bits. This codec features a remarkably low data rate compared to uncompressed 4:4:4 HD, with a target data rate of approximately 330 Mbps for 4:4:4 sources at 1920 x 1080 and 29.97 fps. It also offers direct encoding of, and decoding to, both RGB and Y’CBCR pixel formats.”

So Apple ProRes 4444 is virtually lossless, which is what you want if you’re going to add further edits before exporting your final file. 

If your system doesn’t support ProRes, you could also use the Avid DNxHR 444 codec, which is a finishing quality or cinema-quality 12-bit 4:4:4 codec.

So my preferred method is the last one, as DaVinci Resolve works better with video files than with image sequences.

I’m working on a video comparing deflickering timelapse footage with LRTimelapse VS DaVinci Resolve, which I think will be important.

Please let me know in the comments if you’d like to see that and please subscribe and maybe join the channel starting at $1 per month.

Get all the best tools and techniques to become a great timelapse photographer.

• Master the art of timelapse in no time with The Ultimate Timelapse Course.
• Or get the e-book version The Ultimate Timelapse Guide.
• Create captivating hyperlapses with The Ultimate Hyperlapse Guide.
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