over exposure

Je suis nouveau dans le logiciel davinci resolve 18 studio, je me demande s'il est possible d'améliorer une scène de film qui est totalement en surexposition et que l'on voie à peine le sujet

[Peter Chamberlain]

Moved to Resolve forum.
As this is an english forum please translate and add that for others to see in english,

this time ive done so for you, i just used google

"I'm new to davinci resolve 18 studio software, wondering if it's possible to improve a movie scene that is totally overexposed and the subject is barely visible"

Claude, if the video is that overexposed there wont be any information in the picture that can be recovered,

The only thing you can do to make it less obvious is smoothing the edges of that highlight and maybe desaturating it to white (it may be blue or yellow from some cheap cameras).
It would be helpful if you post a still as an example.
(Use DeepL for translation, it does a great job with French).

Depends on the file. If it's H.265, you're stuck. If it's RAW then you might have the data there. I would start by dropping the ISO and trying the Recover Highlights tick box. If you're trying to recover direct sunlight or direct Aputure 600d (basically the same thing as the sun, let's be honest) then that won't happen.

Frankly, I would recommend watching some tutorials on color grading as this is a pretty basic fundamental.

The only case where there might be some detail recoverable from compressed material is Sony with Superwhite. Just try to pull down the highlights a tad and see if there's something showing up.

Compression does not affect clipping in any direct way, neither does h265 codec vs raw. Raw isn’t magic, its value range is bound by bit depth, everything above is gone forever. 12bit raw has more or less the same storage value range as 12bit prores or h265 (raw data does not do video levels is only difference). For whatever codec, dynamic range depends on transfer function of colorspace, not codec itself or compression. Superwhites are no magic either, it is just the range above video level threshold in signal. It gives roughly 10% more values and does not change stored scene value range one bit if that is already clipped by transfer function.

Thanks for the detailed explanation.
I didn't try to say anything to the contrary, just wrote in a hurry. Point is that some non-log footage out of semi-professional Sonys may show some detail from the Superwhites when pulled back.