Basics Of Stop Motion Object Animation Using Davinci Resolve And Bandlab | Phillip Dillow | Skillshare

Basics Of Stop Motion Object Animation Using Davinci Resolve And Bandlab

Phillip Dillow, Be Driven!

Basics Of Stop Motion Object Animation Using Davinci Resolve And Bandlab

Phillip Dillow, Be Driven!

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6 Lessons (52m)
    • 1. Welcome To The Class

    • 2. Understand The Mechanics Of Basic Stop Motion Object Animation

    • 3. How To Use Davinci Resolve To Create Stop Motion Object Animation

    • 4. Understanding Bandlab And How To Create Copyright Free Basic Music Loops

    • 5. Completing Stop Motion Object Animation Project

    • 6. Faq 1

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About This Class

This course is designed to assist you in learning the basics of stop motion object animations in Davinci Resolve and Bandlab for use in social media, video, and more.  This basic stop motion object animation course is designed to teach you the ins and outs of basic stop motion object animations, even if you have little to no experience with it. This Is A Basic Animation For Beginners Using Free Software Course. Throughout this course you'll learn to:

  • Create a basic stop motion object animation video

  • No prior knowledge or experience is required

Can't wait to see you in the course!

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Phillip Dillow

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1. Welcome To The Class: Hi. Thank you for joining me to learn how to stop motion object animation. And this course we're gonna be taking you through all the basics with very detailed examples and really breaking down all the steps associated with stop motion object animation. So I'm excited to have you here. Let's get to the course. Let's have some fun. 2. Understand The Mechanics Of Basic Stop Motion Object Animation: Let's talk about the basic mechanics of objects. Stop motion Here you have your objects. Any objects will do these air Some of my child's toys. Nothing really too fancy. Just, you know, toys, right? The important thing to keep in mind about object stop motion is every time you make a move , you're making a very little move, right? So little is the key. So if you're going to be creating a story with this, you're going to need to think about how are these guys going to move very slowly to manufacturer story. So what I'm gonna take you through is step by step. What I do to, you know, basically just focus on the movement. So we're gonna simply start off with our guys in line. They were end of having them in a circle. So we're gonna start off and were to move pig. We're gonna move sheep when I'm of horse. I'm gonna move cow, And that would be a picture. Then we would move pig. There were sheep, the name of horse. Then remove cow picture. And we're just gonna start repeating little movements taking a picture. Are you getting the idea? It's just very, very simple little movements that create what will be our animation once we combine all of the pictures together Now, where what do we have them? In their kind of like a weird little shape. The ultimate goal is to continue to do this process. I'm just gonna work on moving them slowly until we end up working our animal all the way around. And yet again I'm taking a picture every time I'm stopping Until we have the sheep facing this way The pig facing this way the horse facing this way in the Cal facing this way And then we'd have them come in. And that's roughly how you would do Stop motion animation now showing stop motion animation . Live video is very difficult because every time we move picture, picture, picture of the easiest way to do that is to show it. So here's a live action time lapse example of me doing stop motion object animation. And the reason we spent this up is you can already see, you know, you make a move, you take a picture, right? Um, doing this in real time. It just takes a lot of time. That's a lot of tedious work. It doesn't mean it's not rewarding and enjoyable. But, you know, we'd be sitting here for several minutes, watching me slowly move around a callup, IG horse and sheep. The main thing to see from this is how slow and out tight and how deliberate the movements are. You know, you're trying to tell a story, so you want to make sure that everything is concise, but the same time you're trying to do a technical process which is moving, um, within reason, as little as possible. Now, the broader your movements, the clunkier shot's gonna be the tiger movements. The time of your shot's gonna be Now that we have this all done, let's take a look at live and here's our example going, You can see they're doing a little dance and it looks like a classic little stop motion animation video 3. How To Use Davinci Resolve To Create Stop Motion Object Animation: Okay, so the first thing we need to do is download DaVinci resolve so you're going to go to lunch . Black Magic designs dot com slash products Last DaVinci resolve or just Google the venture results. You can just simply click the download button or you can scroll the way down to the bottom , and it will give you some options just to make one thing clear. We are trying to avoid downloading. Any bait is right now, and they have the new DaVinci 16 coming out. Don't download this beta. Let's get the full version of 15. And at this point, time. Don't worry about doing the paid versions. There's a lot of great features in the free version that air going to keep you going for a long time. So go ahead and download that. You know, Mac, PC, whatever you're using. And then once it's downloaded, we're gonna pop over to Divinci. Now you can see I already have Are working area set up and the reason why that is is bringing in all these images. You know, it takes a lot of time, and I didn't wanna boreal the death with me. Uploading Teoh 10 images 10 images over and over and over again. But I'm gonna talk you through everything that I did. Once you have DaVinci fully downloaded and set up, it's gonna take you through a set up wizard. It's gonna ask you just a couple of questions in terms of how you like to edit, um, whichever options you pick, it doesn't really matter in terms of what we're gonna be doing in this course. So feel free to customize Divinci to your personal preferences. Whether if you want the editing to be set up like premier or like Final Cut or to be in Divinci default, it absolutely doesn't matter. It's all good with me. We are going to be over here in the editing tab once you get everything pulled up. But we'll start off talking about the media tab Here in the media tab is where we're going to bring in our raw footage or raw images. If we were doing actual video work, But since we're doing image work, we're gonna hang out over in the editing tab. But I want you understand, if you're doing video, you start here, you're gonna create a ben new Ben and call it. Ah, we'll just call it been to and then you would go over here. This is where you search your files and you would pull up whatever file you want. Bring it down here or bring it over here. You know, into your timeline. I'll give you guys examples. Here's on my folders. Let's say I click on my M 50 folder and I wanted to take this and drag it down. I would just drag it down, Drop it There it isn't that been so. If I'm working with video, this is where I start. If I'm working with images, I start over here. So we're gonna go ahead and delete that been and go back to Ben one. And just reminder if you start over here, it's the same controls. Is the media folder right Click new Ben named Ben wherever you want. And then you could simply come over here to this big column, right Click Import media. Then you import whatever you want. Now we need to import the last 40 or so images from our stop most animation. So we're going to do that now just to give you guys an example of importing and we need to start with Image 1000 and go all the way down to the final image and we're gonna click open . It'll take about a second and will pop up. And that's basically the procedure that did for all these little image brackets, our image groups, bringing them all together. So what we want Dio is we want to come over here to our timeline, and we want to start pulling all of these guys together down here on the timeline. But before we do that, we're gonna go over here to this little gear button and this is our settings. So right now we have it set up on six frames per second. That's perfectly fine to start with, Um, it's going to make you output in 24 frames or 30 frames or sub 24 which is 23.97 or 98 Um, nothing you need to worry about right now, So let's just leave it words out on six. If years doesn't happen to be on six. Let's go ahead and put it to six just right now, and I'll explain why, once we get all the images up on the board. Okay, so now we're going to take all these, drag them down to video one, and we just want to make sure and stay in order. And some of these are gonna be different sizes just because depending on how the pictures grouped some, I could do a little bit more of a group. Some I had do a little bit less. I'm just gonna try and get these down as fast as I can. Now, if you're notice saying how everything is kind of sticking together perfectly without me doing a lot of effort. That's because of this little magnet button icon, wherever you want to call it. Any time that's turned on, it's called a snap, which means the two pieces air going to snap together. If you didn't have that turned on, the two pieces could overlap. And what we're doing with stop motion animation, that could be really bad. So in default, this should be turned on. But for some reason it's not. Just make sure this is turned on and coming down the last couple and there we go. That is all of our imagery into our timeline. So we want to now is want to highlight everything and we're gonna right click and we're looking to combine this clip, which is gonna be new compound clip all the way up at the top, and it's gonna ask us to name our new compound clip. You can call, but if you like, I'm just gonna leave it as compound clip one. So once that's done, we can shorten or grow or play with our compound clip however we want, but as opposed to a having a bunch of different little bitty pieces that we have to move around or group whatever else. Now we have one clean block of imagery. So let's go ahead and play that and see, just see what it looks like. And so far, this is looking relatively clean. Nothing really too crazy. Yeah, this is perfect. So let's talk about what you can do with your image to make it are. You see what you can do with your images to make them appear stylistically in different ways. So if I take this and I right click and I go to change clips speed right now, it's set on 24 frames per second. Now I can adjust that to, you know, down to 12 frames a second, which is going to be 50% speed or all the way down to six frames a second, which is where we had our settings at a second ago. What I'm gonna tell you is before you export, which is over here underneath the deliver tab, you want to make sure whatever is in the change speed is the same over here in the playback frame, right? And the reason why it is you want to make sure that your understanding exactly what's going to be coming out of the render process so we can see since we change that down to six seconds, we gain a lot more footage. Now, depending on the look you're going for, that could be bad or good. If you're looking for something that's got a little bit more of, ah, kind of a choppy feel, going slow is the way to go. If you're interested in something, say, with a little bit faster feel, do both of these a 24. If we play back this clip a 24 and 24 we're gonna have significantly faster video, and you can see over here on our little counter are playback is having a little bit of a hard time keeping out because it's really clicking along now. You won't have that same it to and the render. But in terms of knowing what you're getting, it is a little frustrating. But it's not the end of the world, which you need to understand is it's faster. So we're going to kind of shoot somewhere in the middle, where we are going to do a speed of 12 and will stretch this guy all the way out. We'll come over here and change your playback and let's take a look. You can see it's a little bit choppier and stylistically, it's a little bit, um, a little bit more kind of stop motion animation. All right, let's go and render and go over here to the liver. Tam. Once that pops up, it's gonna bring you over here to your ah settings of your presets. You can. You custom? Mostly. What I do is just click on YouTube, go down, make sure it's on in p four, and you can do Ah sub 24 regular 24. It's not really gonna make that big of a difference in terms of what we're doing. After that's done, you can name it whatever you like up here instead of, ah, Timeline one, you could call it Ah, stop test and just hit and render queue. It's gonna pop of over here and then the little progress bar is gonna take down, letting you know whatever it's done. So whenever it's done, I will show you guys what we got. All right, everybody. So here we have our stop test, which was done at a 50% speed or 12. Now I have gone ahead and done a six or a 25% speed, a 12 50% speed like our stop test and a 24 which would be 100% speed. And yet again, these air speeds and adjusted frame rates on a 24 frames per second time scale. So when we were saying six and 12 it's not a true 12 frames per second time wine. It's just adjustment to a 24 frames per second time line. We're gonna start for the fastest, which is 24 then we'll work our way down to six. You can see the animals moving along very quickly. Very snappy, Uh, almost almost reminiscent of, like, a little cartoon. So it's moving so fast, and then we're done. You know, that was all of 15 seconds. Let's move on to 12. And this is really gonna have more of that classic stop motion animation. Feel very think of like old claymation movies or old stop motion movies. It has more of that kind of clunky vibe. And there we go. The animals have got the cup of tea in there, and what I like about having a 50% speed is it's easier for you as the viewer to keep up with emotion and joy, kind of some of the, um, the clunkiness of stop motion animation. And then we'll take a look at the six. I'm just gonna be your slowest. Obviously, this is really clunky. The problem with going this slow is you start to kind of hit that amateur esque vibe, and if that's what you're going for, you know, or that's the feel you want. You want to be that kind of slow, methodical stop motion, then this is great, I would say. If you're doing a voiceover. You know, doing a voice around something like this because it's moving very steady, very slow is gonna be relatively easy. The other nice thing about two. As a viewer, it's very easy to keep up with whatever action is happening on the screen just because of the speed at which it's moving. You can easily see all the different little movements I did with our little plastic creatures to get them to where you know, the tea was in the teacup. And then here in a second, the horse is gonna move women and limits Gonna cut. It's gonna crawl up behind the glass. So there is there is, ah charm to going at a 25% speed timeline. Ah, lot of this is really gonna bowl down to what makes the most sense for you, you know doesn't make the most sense toe have a slower clunkier timeline are now have a faster, snappier timeline. Anything to is if you're trying to feel Phil, you know? Ah, certain time block. Well, going into 25% or a six on the timeline speed gets you an entire minute of footage. Whereas if you go 100%. You only get you 15 seconds. So just keep all that in mind. And a lot of these air, just purely stylistic choices. And just to kind of run over everything again, remember, we start off over here in the editing you created bin by right clicking and then going new Ben. Then you go over here to this column. This is your media column, right? Click import media import whatever media you want from your computer, and then once you have it imported, you simply click and drag down to your timeline, and that's it. Now, if you want to take it and compress it into one timeline, you just simply click on it, right Click and all your men, you know, your compound kill it clips your speed. All those little things are gonna be right in here. And that's all we need to know about DaVinci Resolve for adding this project. DaVinci is a great software. There's a ton of stuff you can do with it, and you can really go in depth polluted. And it's even used on a lot of, you know, like Hollywood style productions to make some really killer masterpieces. But that's like it, says Faras. We're going to go if you're interested in learning more about DaVinci. There are a ton of really great creators out there who have done some super deep dives on all the different little pieces of DaVinci. But I will warn you, you are gonna be investing quite a bit of time becoming a master and DaVinci. But you can pick up a lot of the basics to do simple projects very quickly. That's going to do for this video, and I will see you guys in the next one. 4. Understanding Bandlab And How To Create Copyright Free Basic Music Loops: All right, everybody, we're gonna be getting into band Lamb. So you were gonna be a band lab dot com, and my screen's gonna look a little bit different than yours. The first time you go to ban lab dot com, go ahead and register and get yourself set up with an account, and then it's gonna look relatively similar to what do you see here Now what is banned? Lab? It's basically a loop kit that happens to have some Mitty style functions, and a lot of that you really don't need to worry about in terms of, you know, what does all that mean? The main thing we're going to focus on is the Loop Kit section, and that's really the easiest section to delve into at the end of the day. You're using this to make copyright free music that you can put into you know, your YouTube videos or your online courses or videos you're making for yourself in your family or something you're doing for you wherever you work or whatever it may be. All you need to do is just go appear to this red button, says create. They were going to say, Let's make music, and we are going to browse loops now. This kind of goes back to the other things I was talking about a second ago. There is a ton of stuff you can do in Band Lab and Band Lab is 100% free, which is amazing, but a lot of it takes a lot of explanation. And whenever you get into some of the digital instruments, you leave the technical side of things and you go into meaning to understand how to make music or how toe how to play instruments. Um, we're not going to be covering that. That's that's not my forte. My forte is other things. So we're gonna go over here towards his brows, loops and a really great thing about band lab. For people like me, who you know, I'm not super musically inclined. You know, I have, ah, little bit of talent, but not enough to do anything remotely professional. You don't have toe. No, you know, had account music or out of read music or what it sink a patient or all those different other you know, technical music terms. You just think Teoh, listen to what sounds good and then build a song with what sounds good. So that's what's great about having all these different Luke kits. You can just pick whatever sounds good to you. So we're going to start off with bedroom beats and we're out. See what that sounds like? Doesn't sound too bad. That's kind of interesting. Let's just kind of click around. We have some Chicago house, Okay, we have some cinematic music. It's really super serious sounding stuff, but that'll work for right now. Any time you run across something you like. Whatever. Maybe with if it's synth wave or trip hop or whatever, click on that Luke it and it's gonna bring up all the different instrument loops in that particular kit. So let's just pick on one. We're gonna go with dark synth Genesis three. It's kind of this moody, almost Elektronik obo sound. No different meat, but long story short is you can kind of go through here. You can play around with all the different stuff until you find what you're looking for. This isn't really what I envisioned to go with our stop motion animation, but it's Here are things you can do to is you can turn this off. You can search loops. So So there's a certain beats per minute that you're looking for, like 120. You can type 120 beats per minute, and it's gonna show you everything that's hitting that 120 beats per minute. If you want, just check all the loops. Just simply click that little reset button. I just hit there and I'll bring up every Lupin every loop pack. That's 120 beats per minute. That's a lot different. No instrument alludes to go through, but if you're trying to build something on specific timing or no rhythm or whatever, maybe that could be really useful to you. So you have a bunch of different, you know, loops that you can look at, kind of, you know, mix whatever vibe you're going from the video that you're making, and we're just thinking kind of pick on some random things and see what we get. Let's start off with the East beat. That's not necessarily happy enough movements a little bit happier. Let's try L. A FX heart that something bad. I mean, it's not. It's a little synthesized. - There's the happy stuff. All right, So we're gonna be in the D. N C section, so we're going to click through all the DNC stuff and see what we get. It's just a bass riff that another wrong with that, a little heavy that would work well with one appear at the top. I like that nice and soft. I don't even know what that's supposed to be. We're not going to use that. Oh, that's nice. Then last one, that's a little much, but not bad. So you can see we're gonna be hanging out around 100 beats per minute. So let's take all the ones that we like you. If they're not necessarily any type of order, we're just gonna throw him into our work area over here to be like this one knows too much , and I'm gonna bring the bass beat and later I'm not as worried about it. Let's go and get all these lined up. Let's just hear what it sounds like. That's pretty perfect. Now, that may not be what you envision for your stop motion animation video. The important thing to learn from this whole exercise is you can make it whatever you want to be and let's use an example. So there was a couple things in here that were a little synthesized. Let's pull him out and find them. So I'm a mute everything and just go through them one by one. That's not synthesized. Not there. It is. Who? Both of them. Let's say you want something. It doesn't have that synthesized element. It you want. Seven. It's still fun and playful, but doesn't have those harsh computer sounds. Well, let's just take these two. Let's drop our other two and we're gonna go appear more and type in 100 then we're gonna hit reset, and it's going to bring it everything that falls when the 100 beats per minute. So let's try and find something. Ah, happy. That's not very synthesized. Well, that won't do. And a long time that you're gonna be doing in Band Lab is just doing a lot of searching. Uh, I might not be too bad. Maybe a little bit of piano. Uh, it's a little melancholy. - I don't hate that. Personally, I'm just going through that because that sounds cool, so that probably won't work at all. But it sounds cool. So Let's play it yet again. This may not be perfect for you, but for me, this sounds really neat. So the next step is you some kind mess on the volumes over here. I'm gonna take this. I'm gonna stretch it out, say about the 20 right here and just kind of bring them all out. Who? And I think this guy needs to be turned down. Maybe not quite that much, but definitely some and same thing with this. All right, let's take a listen. Now let's turn down a little bit more. It's not very upbeat, but it is very childlike and very soft. Um, it's it's easy on the years, so I think going to go with that. I mean, it's it's not perfect, but that's kind of one of the things about Band Lab. If you want to find the perfect loop that fits that, you're going for him. You're going to be spending quite a bit of time, you know, going through and just clicking on different sounds seem was gonna fit differently, seeing what's gonna make sense for you. Um, so they can just eat a lot of time and I don't wanna bore you guys to death with going through, Um, you know a 1,000,000 different sound clips to try and make the perfect sound. Now, other things you can do in Band Lab. Let's say you don't like the key that's in you. Go up here to this little button, Word says. The key you can click on you can change the key to whatever you like. And let's say I'd like it to be higher. It's gonna say, Do you do you want do that? I must say yes and it's gonna process which will take a second. And here we go. We're now in the key of B major, and you know that's not related. Something that I like. Maybe you do in go the opposite direction. You can go all the way down to the bottom, and we're now we're in C minor and you can see depending on what type of sound you're trying to make. Um, you know, different. Different just mints are gonna make for a better in product. Next is the beats per minute. You can change this sort of you like, let's say I don't think this is fast enough and I want to go to 120. And now it's gonna just the timeline from 85 to 120. Usually it's best to stay, you know, with with easy multipliers, you know. Ah, take 60 to 1 20 or take, um, 82 you know, 1 20 year buck 60. Excuse me. 1 60 Going from 85 to 1 20 isn't. Ah, perfect exchange. It won't hurt us where we're doing. But keep in mind, you know, tryingto have clean multipliers are clean dividers. Going 1 20 into 60 is gonna make a lot more sense than going, say, 1 20 into 92. And it's very whimsical. It's a little fast for what I want, but I don't hate it. What I'm actually going to be doing is I think this around 100 wouldn't be bad. Um, not usually what I like to do messing with time lines like that, but we're gonna try it out. I know you probably can't hear the distortion in there, but but I can Ah, and I'm just gonna go back to our was at 85. If you're ah Riel. You know, audio person, you're you know you're going to catch Those weird little things were just doesn't line up just right. Ah, and it's gonna know you Most people aren't gonna catch it. Ah, it's not really into the world of somebody does. But I'm making something. It's gonna have my name on it. I want to sound as good as it can. So we're just going to stick with the 85 now. There's some other things in here. You can change. You can change the scaling. Don't even worry about that. Just leave that alone. Um, you can play with some of the other little effects and stuff like that in general. Leave Malone. Don't you worry about it. The only things you need to remember our you can change the key. You can pick me loops. And if you right click on the particular instrument, you can change the color or you can delete the track, or you can move it up and down, and that's really all you need to know. So the next thing you do is bring up our name on it and we will call this Ah, just stop motion. I'm under just stop mo and we click save And once we collect, save we can exit out. And here's our song. Now you can go back and edit it. Um, you could publish it and share with the other creators on band lab. You can just share it on Facebook. You know, if your you want to make beats for yourself, for your for your friends or, you know, toe show what you can do, you can download it, which is what we're gonna do. And then there's some other things. Now we're gonna go to edit mastering next, and it's going to give us the option to master our soundtrack to make it sound at the best quality possible. Now, you probably wouldn't want to do this if you're just making something for yourself Or, you know, um, for maybe an immediate family member someone like that. But it is going to definitely improve the overall sound quality and not to go into any great detail with mastering is. But the algorithm in Band Lab is going to go through, and it's just going to clean some things up and re level it to make it sound possible thing . So here we have our options. We have CD quality. We have efficient clarity. We have bass boosted now, depending on what your Your route audio. You're the loop that you made is these different things are gonna have different effects. You know, if you have something kind of like a lot of base, a lot of heart beats in it, you know, going over here and hidden bass boost it. It's really gonna, you know, bring some heavy sound to it If you're doing a lot of synthesize stuff and, you know, maybe you got a little bit too much overlapping on the synthesizing, and it's got some really kind of fuzzy kind of wonky points. You can go over here to enhance clarity. It's gonna clean some of that up. We're just gonna stick with CD quality, and they're gonna click done, and then it's gonna process it and redo the sound. Ah, all the clarifying and other stuff that does to bring up seat equality. And once that's done, we're gonna download it, and then we're gonna pull it all back into Divinci and add it to our little stop motion animation. So I will see you guys in the next video. We'll be in davinci 5. Completing Stop Motion Object Animation Project: All right, so here we are, back into Vinci. So what we're gonna do now is we're going to go over here to the master section yet again. We're in the edit tab and we're going to right click and go new Ben. And let's just go have been, too. That's fine. Over here in our media column, we're going to import media, and we are looking for our stop move, and then we're gonna click on it and drag it down, and then we're gonna go over here to the edge until we see these little brackets and were snapping to the same size. Now, once that's done, if we play the clip as is the audio is just gonna be way too loud, you know, already here is just unbelievably to out. So if we take in our little sections and years probably starts off looking like this, if we come to the little gaps and we hit the edge of the line just like if you're working in Excel or some of the type of spreadsheet or whatever else you can come over here, you have the ledges and you can stretch stuff out to make it you know, relatively whatever size you need. Then we come and we're going to see this little kind of pale line. I guess that's how you would describe that running through. We can take that and drag it down to make it softer or drag it up to make it louder. So we're looking for Let's start off with negative 10 and let's see how that sounds and that little distortion you're hearing right there is loading lag. So don't worry about that. Focus on the sound versus the video and it's a little out. So let's try. Let's try negative 15. That's pretty good. So just like what we did before, we're gonna go over to deliver. We're gonna go to YouTube anything and call whatever you want. Um, I'm just gonna say s him, too, And I'm going change to MP for now. You can pick whatever format you want, whatever best fits your needs. But in general, MP four is pretty common. And then we're gonna add to render queue and start render. And once this is done rendering, I will see you guys to watch the final product. All right, let's take a look at our final product. Yeah, it's pretty cool. So I hope you guys have enjoyed going through this course of me and learning, you know, all the basics of stop motion object animation and seeing what you can do with DaVinci resolve and using banned lab to create some really fun loops and bring it all together as a final, complete project. 6. Faq 1: So this is gonna be the first video in our new F A Q section. And a recurrent question I've been getting is whenever you're bringing media into your timeline in DaVinci, um, it's being grouped as a sequence as opposed to being individual pictures. And pretty much how that happens is it all depends on how maney images you're trying to pull into the program at once. You know, here you can see I have nine images when on images isn't very many, so it's gonna pull them in one at a time. You know, if I take him and I bring him down here, the timeline, it's also going to bring them in one at a time as well. Um, if you were trying to bring in, say, um, you know, a couple 100 images and if you remember your from earlier Ah, in the Victoria Laure the course. What? What you were seeing is it was bringing in images and groups of, say, 20 or 25 entering them as a sequence. One time you're trying to bring in that many images, it's going to auto group those images together, and regardless of what you do, the moment you put something on the timeline, it's going to create a timeline sequence. So just keep in mind the volume of images you try to pull into Divinci at once. There's some automatic presets. They're gonna make some things happen. And sometimes it can be like, easier for you. You know, if it does that, you know, I know for me. Generally, I line up everything, Um, before I bring it into divinci. But it can also be reappointed Frustration if you want to do all of your story boarding and everything in DaVinci itself as opposed to doing it, you know, in the file Explorer on your computer. But let's go ahead and let's ah, delete this. And here's what happens if you bring in everything at once. They're all gonna be independent files. And if we play this, you can see it's just kind of going through everything. Nothing like crazy is happening. And what what? All these images are there just some stuff I drew on a white board earlier, basically to show animations or motion where you wanna call it, and you see the ball is kind of bouncing up. It's going to reach its Zenith, it's gonna come back down. The one infuriating thing and you're about to see it right now is these two are not lined up correctly. What I mean by that This Ah, this this frame right here, it needs to be where this frame is. And that is when the kind of frustrating things about Davinci you can't always trust it to do a perfect job. And if we keep going balls going down, ball kind of scope washes on the floor part and then bounces back, right, So that's just a really, you know, super duper simple whiteboard animation. But it's meant to kind of highlight some of the struggles You're gonna have a davinci prime example. If you try and import a lot, it's gonna auto group things. If you try and import less, it won't auto group them. Um, but just because you import less doesn't mean it's going to always line them up correctly, which, even if you have your followings perfect, you really put a lot of time and effort into making sure that everything is very understandable for DaVinci everything. Is there any miracle? Um, a lot times eventually still gonna have a hard time. And if you go back and look at like, um, in earlier in the tutorial, the cell phone video I did You can find a couple frames that are out of sequence. And it's not like it's the end of the world, especially for just doing a demo. Um, but it can be really annoying if you're doing a passion project. So the best advice I can give you is, you know, go over to your file, explore line everything up the way you want to go, organize your files, give them chronological names or, you know, numerically increasing names, whatever you want to there. That way, Divinci is gonna know what comes after the other one and import your files slowly. If you're really trying to, you know, tighten down really hard on a project to make it, you know, just really, really perfect. I'll give you another example. So here we have one of my older projects. We have 34 images of a paper airplane flying around and revealing a logo, right? Or company name or type side set where you wanna call it. So I'm just gonna highlight all those and I'm gonna click open. And what did it do? It brought them all in as one sequence. Likely better would have put it so I dry good over to my timeline. How is he gonna come to my timeline is gonna come into my time on the same way. Which of everything's lined up perfectly? Like what? You know what I I've done here, you know, 123456789 10 is the annoying No. But if you want things to be in a certain you know, let's say you want this this frame to hang out for 10 seconds. It's framed. Hang out for one second this room, hang out for half of the second. This one hang out for two seconds. It's not gonna give you the freedom that you want. So you'd have to do is you have to actually take those one at a time and bring them in, and that is really infuriating. But it's one of those deals where Da Vinci is trying to help you out by lumping things together. It's easier to read. It's easier to understand. It's doing a lot of work for you, assuming that you have everything the way that you want it. What it's frustrating, though, is whether you're using DaVinci. And this isn't Mr the way you want things you don't really have. Ah, whole whole lot of options. No grand. You can go in here. You can change the speed at which is gonna go. You can change a lot of little things. Um, for instance, Jane's club speed and let's go, Teoh 50%. That's close enough. We're going to see we get a little bit more clip, right? There's a paper airplane flying a lot slower, so you know you can manipulate that way. But if you really want to sit there and kind of make everything the exact amount time that you want, you're going to go through the frustrating process of bringing in everything in one at a time and see you can see over here I have you know, if I brought in three and love to all together brought in to lump them all together. So it is a little frustrating, you know, having to kind of bring them all in one at a time. But the one thing that will make you do is it will make you focus on your story boarding and how you piece everything together. What I would tell you is, you know, if you're dealing with hundreds and hundreds and hundreds of shots, you know, I would ask you to really think about what are you trying to accomplish and why and where I would put in my brakes, For instance, if I know. You know, um, even just one through nine. I just want them to move at whatever speed. Well, I'm just gonna go ahead and bring in images one through nine. If I know. I want 10 to say hang out for I don't know. Ah, five seconds. 10 seconds. Whatever. I'm gonna bring 10 in independently, and I could go to my timeline. You know, have nine come in, do whatever it's gonna do. And then I could have 10 come in and I could play with the speeds accordingly. Yes. Let's say I wanted to take nines clip speed, and I want to drop it down to this is go 50% for easy, easy math. You know, I could have it going relatively fast. And if I wanted to hang out on frame 10 I could So here we go, and then we're stuck on frame 10. You know, that's gonna be an easier way for you to kind of playing everything out more so than trying toe get into all the settings on, um, on the Vinci cause. Some of the stuff can get kind of confusing and just trying to keep it easy for you guys. This is gonna be the easy way for you to kind of control getting around everything being lumped into a sequence for you. Now, what I would tell you is you know it again. Um, assuming that Divinci doesn't try and get things that sequence, it is really nice. It doesn't make things really easy. It brings things together for you really quickly. It is. I hope that answer the question. Um, feel free to message being If I need to clarify anything or anything to this, this is gonna be the first of several ethic use I'm gonna be doing on this course. And again. Thank you for taking the course. And I hope you guys were having a fun time learning