The action being tested is how drag-and-drop editing behaves on the Edit page. When you drag a clip onto the timeline, Resolve performs an overwrite edit by design: the incoming clip starts at the drop point and replaces the existing frames there, without creating new space or shifting the rest of the timeline (unless you activate a separate ripple/insert workflow). This makes it quick to swap a shot or replace a portion of the sequence without altering the overall timing of what comes after it. Because of this behavior, you can’t perform an insert edit simply by dragging a clip onto the timeline—an insert would require moving subsequent content to make room. To insert, you’d use a different command or mode outside the basic drag-and-drop action. That’s why the correct statement is overwrite edits only.

Saving a customized render setup as a preset on the Deliver page is done using the Render Settings options menu (the three dots in the upper-right corner) by choosing Save as New Preset. This captures all the current render settings—format, codec, resolution, bitrate, destination, and any other options—so you can reuse them later without reconfiguring everything. The other paths listed aren’t where presets are saved in Resolve 18, and there isn’t a separate Save Preset option in the Edit menu or by right-clicking the Render button. After saving, your preset will appear in the Presets list in the Render Settings, ready to be selected for future renders.

In Fusion, color correction or stylized looks on a layer-based approach is done with the ColorCorrector node. This node directly adjusts color values using lift, gamma, gain, and saturation, and it lets you balance or stylize colors for a specific element in your node graph. Because Fusion is node-based, applying ColorCorrector to one layer lets you shape that layer’s look without changing others, making it ideal for building composite looks piece by piece. Lumetri lives in Resolve’s Color page, not in the Fusion node graph, so it isn’t used for per-layer corrections inside Fusion. ColorSpaceTransform is about converting color spaces and gamma, not performing typical color corrections or creative looks. Blur affects sharpness and detail, not color.

The main idea is that primary corrections shape the entire image, while secondary corrections target specific colors or areas. Primary corrections apply global adjustments to the whole frame, using tools that influence the overall luminance and color. Think lift, gamma, and gain for shadows, midtones, and highlights, along with broad tweaks to contrast and saturation. These changes establish the base look for exposure and color balance across everything you see. Secondary corrections, by contrast, isolate particular colors or regions so you can tweak them without altering the rest of the image. This uses qualifiers to define a color range, curves to fine-tune tonal relationships, and windows (power windows) to limit adjustments to a selected area. For example, you can brighten or shift the hue of skin tones, or adjust the sky’s color without changing the subject or other colors in the shot. In short, use primary corrections for the overall look, and reserve secondary corrections for precise, localized refinements.