Beginner's Guide to Video Editing in DaVinci Resolve 17 | Christopher Navarre | Skillshare

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Beginner's Guide to Video Editing in DaVinci Resolve 17

teacher avatar Christopher Navarre, Software Instructor

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

23 Lessons (3h 24m)
    • 1. What to Expect

    • 2. Preferences Setup

    • 3. Timeline and Project Resolution and FPS Settings ~ User Default Project Config

    • 4. Importing Assets to Resolve on Media Page

    • 5. Adding Files to the Timeline

    • 6. Blade Tool & Making Cuts in Video Clips

    • 7. Trim Tool for Precision Edits

    • 8. Positioning Clips, Snapping, and Linked Clips

    • 9. Modifying Properties with the Inspector

    • 10. Cut Page Video Editing vs Edit Page

    • 11. Animating Properties with the Inspector

    • 12. Dynamic Zoom

    • 13. Transition Effects

    • 14. Fusion Effects and OpenFX

    • 15. Adjustment Clips

    • 16. Adding Titles to Videos

    • 17. Sound Library and Free Resolve Sound Pack

    • 18. Modifying a Clip with Fusion Nodes

    • 19. Building a Simple Title with Fusion Nodes

    • 20. Auto Color & Lookup Tables

    • 21. Face Tracking, Power Windows & Blur with Color Page

    • 22. How to Remove Green Screen Background with Color Page

    • 23. Fairlight Audio Effects Dialogue Processor and Vocal Channel

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About This Class

This is a quick start guide on how to use DaVinci Resolve 17 to edit your videos. The top goal of the course is to familiarize yourself with the different stages of the video editing workflow in Resolve and to learn many of the basic tools and options you may want to use for editing many different types of videos. We'll cover setting up resolve, adding transitions, adding special visual effects including custom titles on the Fusion page, audio editing, and of course topping everything off with how to export your videos.

By the end of the course you should have a good idea how to take your raw videos and turn them into reasonably edited final video with an collection of techniques and effects to assist in your editing process.

Here are some of the key topics in the course

  • Customizing DaVinci Resolve Preferences and Project Settings for Your Projects
  • Importing Assets to Use in Resolve
  • Timeline Edits including the Blade and Trim Tools
  • Keyframe Animation
  • Video, Transition, and Audio Effects
  • Using and Editing Titles
  • Creating Custom Titles and Node Setups in the Fusion Page
  • Color Grading Tools such as Lookup Tables, Auto Color, and the Color Wheels
  • Masking with Power Windows, Face Tracking, and Blur Effects
  • Removing Green Screens and Replacing with Backgrounds of Choice
  • Audio Effects and Mixer Tools
  • Exporting Videos

Meet Your Teacher

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Christopher Navarre

Software Instructor


My philosophy in information technology and learning in general is that video learning is the best way to learn for yourself. I can provide the videos but it's up to you as my student to absorb and practice the information to become a more educated and skilled person.

If you want to get a taste of my approach to education and tutorial series, you can find me on my YouTube tutorial channel Chris' Tutorials.

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1. What to Expect: Hello everyone, Coursera. And in this video I want to briefly introduce you guys to this course and what we're going to be covering with respect to defend she resolved 17. So this is meant to be a course for beginners who just want to get into video editing and aren't really sure where to start. De Vinci resolved 17 is the tool of choice as a free video editor is extremely solid. It does have a premium paid version. Now, as far as what we're gonna cover in this course, first, we are going to be starting with how to import videos, put them on the timeline, do basic edits like cut and trim. Later we're going to be talking about how to add simple tidal effects and to create some for your own, will even be diving into resolves fusion page as well, which is the way that you create your own custom effects inside of resolve. So that's great for creating titles or more complicated effects. And you can also combine multiple effects on the fusion page, basically you create what you need. It's very flexible whilst we're talking about how to animate properties with Keyframing. So you might notice over on the inspector over here these little diamonds, almost every property inside of resolve for your video clips in your effects are actually customizable. You can animate them, which is very handy. On the color page of resolve will be talking about basic color grading concepts like look-up tables, and how you can use tools like the power window to mask parts of your video clips for when you want to apply certain effects to them, like a blur for instance, which can also include tracking a person's face, like right here has the guy moves across the shot, the little mask power window here follows him. So result has good tracking tools for that. Well, so color the qualifier tool which can be used for removing a green screen and then replacing it with any background you want and how you can achieve a pretty decent result using the color page to do that, then we'll jump to the fair light page, which is specifically for audio editing. So we'll be talking about some of the effects and tools you can find and side of it, like the dialog processor, which is actually a combination of effects here. And of course, you're going to want to know at the end how you can actually export your video and pull them up onto sites such as YouTube so that people can watch whatever you want to put out. So in the end of this ends up being a pretty general guide. And I do try to cover some of the new features that you'll run across inside of differentia resolved 17. So if you have used the program before, there may still be some content relevant to you in the course. But the main goal here is to take someone who's relatively inexperienced and just has raw footage, go through the different steps of the video editing process and resolve loan a little bit about each one that you can take and apply to your own videos. And then at the end of the course, you should have a decent idea of how to put out basic videos for yourself. 2. Preferences Setup: Before we get started with video editing, let's go ahead and talk about some of the settings you may want to customize inside of the vinci results 17. So let's go ahead and go to the preferences so you can find that in the top-left versus the venture resolve and then click on Preferences. And this many, we're gonna wanna go to the top where it says Memory and GPU. And then here you can see your GPU configuration. As you can see on this laptop, there is a integrated graphics chip on the CPU. And then there's also a dedicated in video card, which is what you'd want to use for heavy graphical tasks like playing video game or in this case, video editing. So if for some reason, resolve is not automatically selecting you discreet card, you can uncheck GPU selection and then you give a checkmark to the card you want to use for the venture resolve. So you're almost always going to want to use the stronger GPU on your computer, which in most cases is going to be the discreet card as dedicated card and not integrated like a part of your CPU. If you only have one selection here, You have nothing to worry about. You can just leave it on auto. It's just going to be very important for the sake of performance that you are using the correct graphics card when you do video editing. Ok, so next, your outputs speaker. So we can find that in video and audio. I0. I0 stands for an owl and you want to go to speaker setup. So by default, this beacon configuration is setup to use system setting, which means whatever you default, output devices on your computer is also going to be the one that dementia resolve outputs two. Now, in some cases you might not actually want the audio to output to the same default speaker as your computer. Maybe you want all of the audio of resolve to playback in headphones. So if you need to customize this for any reason, you can click on the drop down, go to manual, and then you can select one of the devices from your computer. So in this case, I have my laptop speakers. This four USB corresponds with a headset. The H3 O2, you is actually an external speaker set. And then the hypertext Quantcast, That's a microphone. So with this microphone, you can actually plug in headphones straight into the microphone and listen to the audio back from there. So if you manually make a selection, like let's say, four USB studio device, you may see that the output gets set to unassigned, and in that case, you might not actually hear back your audio. So make sure that your output has something set. So I'm going to go in here and select one speakers for USB audio device. And then that assigns it so that we can actually hear back the audio inside of resolve through our headphones. Okay, next, media storage. So on this tab, you can see a location where resolve is going to be storing. Galleries tells. These are basically freeze frames of the video that you can save for other purposes. For instance, you could export a gallery is still to be a JPEG image, the news and a thumbnail if you wanted to. And then also cache files for your projects and resolve. So here I have this actually customized to be secondary hard drive and this computer, the main drive is a SSD and the secondary drive that d dr just has more storage for videos and stuff like that. So you can navigate to a location on your computer if you want to add it, and then select the folder, and then it will be another location for a media storage. I don't wanna do that right now, so I'm actually going to remove the C Drive. So you can just remove the extra one. You don't want to use. And then whatever's left is going to be the location way those files store will take no, as it mentions here, it should be a permanently connected place. So you probably don't want to use an external hard drive, but rather one that's internal to your computer that isn't going to go anywhere so that those files are always there when you're loading up projects again. So now we can go down here to Audio plug-ins. So da Vinci resolve is compatible with bST Audio plug-ins. If you look around on the internet, there are many tools such as Reaper filters, which you can integrate with DaVinci Resolve, add them onto your audio mixer tracks, and then get some extra tools to work with inside of resolve. Resolve, of course, has a bunch of Bill and audio effects which can probably take care of most of what you need for basic video editing purposes. But it's always nice to have extra functions. So by default, when you install VSD Audio plug-ins, they'll usually installed to one of these two locations. But if for some reason you have a plugin installed and it's not showing up and resolve, then you can add it, navigate to the folder where there's VST plugins are added and, and then when you look for the VST plugins and audio effects later on, you should be able to see them and use them with unresolved, Okay, next up, Internet accounts. So these are relatively recent feature for resolve. But what you can do with the Internet accounts is that when you export your video, you can have it automatically upload the video once it's done, exporting to various websites including YouTube, Vimeo, and Twitter. In order for that to work, you need to sign in with the sign-in buttons, authenticate like normal with each of those services that you want to use. And then when you go over to the deliver tab, which is how you export and resolve, you'll see and the vendor settings on the top left, there are three other options here in addition to custom. If you want to export an upload to YouTube, you would come in here to the YouTube option and you would check this box upload directly to YouTube so that when you export it's done. It's going to automatically upload that file to your YouTube account, the one-year authenticated with, and then you can publish it after that. The only downside really of these three is that when you upload, when you hit the checkbox here, it doesn't give you all of the settings that you probably want to edit if you are uploading a YouTube video, for instance. So more than likely, after it's done uploading, you're gonna wanna go into the YouTube Creator Studio or the equivalent on Vimeo and Twitter and actually do more added to the video before you publish it. For instance, you probably need to add some tags to the video so people can find it. Search engine. Okay, So one more big one over here on the User tab here. So go from system, the user on the top, there's projects save and load. So this two settings here that are pretty helpful, lives saved when you make a change on your project, it's going to automatically save for you so that you don't need to keep heading Control S over and over again to save your project. Basically saving as automatic and it keeps itself updated. And then project backups will take a copy of your project files and put it in a another location indicated down here with the project backup location. It will perform the backup every set number of minutes. I think I usually set it for 15 or 20. Maybe this time around I'll go with 20. And they'll also be elderly backups and daily backups. So all of these will be stored here. And it's helpful in a couple of ways. One, if your original project file gets corrupted, you won't be totally ruined. You can load up one of the project backups and at least you'll be able to keep some or most of the progress you've made with your video editing. Or in the case, the you made a bunch of changes that deviated a lot from the recent backup. And for some reason going back in history wasn't really enough. You could always just revert to one of those early backup saves and start working from there again. But I would say the main advantage here is just redundancy. If something happens to your main project file, you have a backup to load so you can continue working. So go ahead and hit save when you're done with that. And that should be good for getting most of you setup with your main DaVinci Resolve preferences. 3. Timeline and Project Resolution and FPS Settings ~ User Default Project Config: So the last thing I think we need to setup before we start video editing is to set up the project settings and specifically the resolution and the FPS of our timeline. So we can do this on a per project basis and we can also set defaults so that every time we load the vinci resolve, it'll have the same resolution and FPS for our timeline. Now I should mention that for the first video file that you import to your timeline, if the settings in the video are different than what you have as your timeline defaults. It'll ask you if you want to change the timeline to match the video file. So I'll go ahead and demonstrate that by grabbing one of these stock clips and bringing them into this timeline with a drag and drop. So this is the pop-up I'm talking about. If the frame rate is different, you can just make the current project match the settings and the video file. I'm going to don't change right here. And what I also want to point out is that once you have a video in your timeline, you can no longer change the settings about the timeline. So if I go up to File and then project settings or shift nine on the keyboard, you'll see that the timeline frame rate is now locked. We can no longer change it. In order to change it, we would have to delete every video clip from our timeline. So I'm going to Control X here on that video clip and remove it. So if we go up to file and project settings, we can see for timeline frame rate that it is now locked in place. We can no longer change it. In order to change that again for our project, well, we would have to do is to delete the timeline altogether. So in the media pool you can select a timeline. And then after you get the prompt, delete the timeline, confirming it, you can hit delete. Now we can go to File and New timeline, give it a name if you want to know that there's a video file inside of our timeline. If we go to File and project settings, we're gonna see timeline frame rate locked in place for our project. And what we would have to do to change that is to remove the video file from our timeline and also our project. So I'm gonna delete it out at the media pool. That doesn't delete it on the computer, only removes it from our project. Now that this video file and our project, the timeline frame rate is essentially locked in place and we go to File and project settings. We'll see in the Timeline Frame rate that this is now unchangeable. If we remove the video file from our timeline and go back to File Project Settings, we'll see that it is still locked in place. So we would actually need to do now is to delete the timeline from our video project. So you can see in the media pool, it's right there. You can select it, hit Control X or Delete on the keyboard, go to File Project Settings. And now we can change the timeline frame rate again. So now we could change the timeline frame rate from 24 to 30. Playback frame rate will be adjusted as well. Probably want to keep those two synchronized and we can go ahead and hit save. When it says Change Project frame me, I'll go ahead and hit Change. And now we can go to File New timeline. If you want to give it a name, you can, by the way, you can have multiple timelines in results so you don't have to be constrained at just one. Let's go ahead and hit Create. You'll also notice in the bottom left-hand corner here there's an option to use project settings. So now that there's a video file on our timeline, the frame rate on that timeline is now locked in place. So if we go to File and then project settings, you'll see that the Timeline Frame rate here is locked and we cannot change it for that timeline anymore. What we could do if we wanted to have, what we could do if we did want to, different frame rate is to be to go up to the File menu and choose New timeline. Then for this timeline, we can uncheck, Use project settings. If you go over to Format, you'll see here that the timeline framework can be changed. So maybe you want to set it to 60 FPS instead of 30 FPS. Generally speaking, you want your timeline to match all of your video clips and then you videoclip should be recorded with the same frame rate. It's technically not required. You can mix and match video frame rate. But when your timeline is done being edited that are going to be exploited at the same frame rate, whether they were recorded in that frame rate or not. And if you change one frame rate to another, it might not look quite right. So anyway, when you have your timeline frame rate set, you can go ahead and hit Create here, and now you have a new timeline. We drag the video clip N2 here, the sign. We don't get any prompt, but we can confirm that best timeline still has that 60 FPS frame rate by clicking on the timeline, going to the top right and then choosing the Metadata tab. So when we open up metadata, we can see timeline to as the video frame rate of 60 FPS. And it's running at 1920 by 1080 pixel resolution. Okay, so that's how you can customize it for individual timelines. But let's say that you wanted it to be customized for future projects as well. You always want new timelines to be creative with a certain resolution. So what I would say first is that you should start with a blank project if you want to customize the setting. Because if we go back up to file and project settings, you'll see that the timeline frame rate is still locked into that 30 FPS here. We can't change regardless of which timeline we're clicking on. So in order for that to, so in order for that to become an option, we can change and therefore save. So in order for that to become unlocked setting that we can change and therefore save as a preset for our future projects. But we can just remove everything from our project or just start anyone if you already have a project going, starting a new project and then, and then make the setting changes there. So I'm just going to delete the eclipse and the timelines here. And now that that's out of the way, we can go to File Project Settings. The timeline frame rate is going to be unlocked here. I do want to leave the preset at 30 FPS. So what I'm going to want to do here is to check the frame rate of the videos. I'm going to add it. So, so here I have a bunch of clips that we're gonna use for our video later on, I'm going to right-click on one of them. And Windows File Explorer go to Properties and then we can see some metadata about it if we go to details. So you can see this one was recorded with 29.97 frames per second. So if we come in here and we select one of the videos, we can right-click on it, go to properties to find out more details about it. Go over the details and we can see this video was recorded 23.98 frames per second. So if we want to set that up in the vinci resolved so that our project matches that raw video clips. We can click on video timeline frame rate here and choose 23.976, which I'm pretty sure is the same here. I think the Windows Explorer, it's just rounding up that 76 to eight. So of course, your timeline frame rate will vary depending on how you recording you for HIV using OBS. It might be 30, it might be 60 FPS. So just check the clubs before you make your setting changes, okay, the other setting that you might want to consider changing is the timeline resolution. So right now it's at 180 P Resolution 1920 by 1080 pixels. You may want that to go up or down. So if you click on the timeline resolution, you can lower it down to 720 P here with 1280 by 720 HD 720 P. So that's a lower resolution. Probably these days, most videos wouldn't be that low resolution. But you may want to go up as well. So if you scroll down here, so if you scroll down a little bit, you can see three thousand, eight hundred forty, two thousand, one hundred and sixty pixels ultra HD, otherwise known as 4K resolution. So in the free version of dementia resolve, I believe that is the cap height. So whatever timeline resolution you want to set, it doesn't even need to be that 16 by nine ratio, but most videos would be. So when you have your settings here, how you like them, go to the presets, and now we can save our current settings as a new preset. So apply current configuration. Well, that's just going to take the setting changes we made and apply them to the current project. So I'll do that and now I will enter a new preset name. So let's set it as 1000 ADP, 23.976 FPS, whatever kinda name makes sense to you so that you can help me remember what the settings are, what you preset is all about. Let's go ahead and hit OK. So now that we have that preset, if we want to make it a default for future projects, then we right-click on it and then choose Save As user default configuration. If you do that, then whenever you start a new project, it is going to load those same settings. Which means in this case you would have 1000 ADP resolution. Before we go ahead and save our preset, let's go ahead and hit Save here at the bottom. So the everything applies to our current project. Change project framework. Yeah, let's go ahead and change that. And now we go to File Project Settings, making sure that all the settings are still there, how we want them. And now we can go over to presets at the top. So here we can set a new preset profile. Then we can make that, that user default configuration if we want it to apply to every future projects. So choose save as given a name you can remember and understand. So I'm just going to give it basically the resolution and the FPS here. So 1000 ATP and then 23.976 FPS. We can, okay, here should be pretty obvious what that preset does. Now if we want that to apply to future projects, I could right-click it and then I choose Save As user default contact, which means that when you start any project, it's going to be using those settings by default. So I'll go ahead and do that here, and we'll just start a new project real quick. So I'll go to File New Project, will give it a name. I'll just call it test. And now we can go to File Project Settings and check that our defaults have loaded up here. We are in fact running at 23.976 frames per second. If you want to switch back, go to the presets tab, and then we can right click on whatever we want as our UserDefaults. And do you save as user default configuration? So that's pretty much everything you need to know about customizing your frames per second and your resolution for your timeline individually resolved, and also how to make those same settings become a user default for future projects. So now in the next videos we can get started with actually editing our project. 4. Importing Assets to Resolve on Media Page: In this video, I'm gonna be showing you all some ways of pulling media assets into your project so that you can use them when you're editing your video. So this could be things like video, of course, images, music files, audio clips like sound effects or images that you might want to use a new video. So the basic way of getting acids inside of a project is to put them into the media pool. If you want to edit something on the timeline, it needs to be in the media poor first, one way to do that is to simply drag items from your computer into media pool. So using Windows Explorer, I can left click hold and drag it into here, drop it into the media poor. Now you can actually do this on not only the media page, but also the cut page with the media pour up there as well. And then the media pool is also on the edit page. So why bother using the media page at all? Well, one reason is up here in the top left, media storage. So if you don't want to rely on pulling items in from outside folders or your desktop or wherever you have them stored on your computer. What you can do is that you can link up this storage locations for your assets and attach them here in a list under media storage. If I wanted to add a new location, such as, let's say this directory here, d dr, videos, stock clip, cityscapes, place what? I've just put a bunch of stock clips inside of here from, which is a cool stock flips site by the way, then I can start by copying this network. Then I can start by copying this location on one of my hard drives. So right-click and copy, and now we can add it in here to resolve. So if I right-click in the media storage list of locations, we can add a new location and I could navigate to it manually. Or I can just go up here to the top and hit control V to paste and the location which we already found. So hit enter here to navigate to the location. And then I'll select the folder in order to add that to our list. Permanent now resolved has some cool features when you're in thumbnail node for your video clips, you can hover over any part of the video similar to a timeline. So we're kinda scrolling through the video clip and on the preview screen right over here to the right, depending on what percentage are. Little line here is across our video that is going to be the preview frame we're going to look at. So you can actually scrub through an entire video before you even add it to your project and get a sense of what is actually contained inside of that video file. So now when I want to add a video clip to the project, I can left click on it and drag it down here to the media poor. I want to add all of them at once. I can drag a box with left click and hold around all of the media clips. And now I can check them all at once down here to the media pool. Now it's a little hard to see the video titles of all of these clips. So another way of looking at your items is to go to the ListView. So it's right next to thumbnail view, which is six little boxes. And right over here we have ListView. So I'll click on that. And then we can see all of the files that are end this project. If we're curious about more of the details of these clips, you can left click on them and then access the metadata panel, which you can open it in the top right, if it's not already open. And you can look at details such as the FPS. It was recorded in the resolution of the original video file and the duration of the clip or video recording. So now because there's files are in the media poll, if we go over to the page for editing, we're going to see all of the same clips pop in here and edit page as well. And we can go to thumbnail view if we prefer, just like on the media page, you can still scrub through one of the clips intermediate point before you actually put it into the timeline. So if we have other assets such as music files, the ways of bringing them in are basically going to be the same. So I can left-click on one end file Explorer for Windows, and I can just drag it into the media poor. And now we have this audio file. And one way we know it's an audio file or a video file is that the icon here is different. So you see a little music note there. And then the ones below it have kinda what looks like a video preview window. Also enlist mode. You can check the type of the file and you can see this is just audio and then these two below our video plus audio. Also, just like before, we can use media storage to navigate to files. So also worth noting, if you do navigate to media files in the media storage, then you can actually preview them on the side here as well. Of course, you can play them back using the controls in the preview window as you could play back the video files. But you can also look at the waveforms for the audio. So scrubbing through it can look through the waveforms of the audio, kinda like a timeline. At the top here, you have the full file. So if you needed to go to a specific location, you can click around with left-click up here. And if you wanted to look at the details for the peaks and troughs of your volume. Then you can look at the lower timeline, which will only show part of it at once. And just like before with any of the previously mentioned assets, you can just drag it into the project just like that. And that's pretty much everything you're going to need to know about importing video and other assets into your video editing projects inside of resolved 17. 5. Adding Files to the Timeline: So in this video, I'll be showing you how to import video and other assets from immediate pool onto the timeline. So currently we don't actually have a timeline because we have not created one. So we can automatically create a new Timeline by bringing on our first video asset to the section over here, just to note where on the edit page. So that is the main editing workflow. As an alternative, you could use the cut page. But for right now we're going to be focusing on the edit page workflow. So if we want to create that first timeline, you can left click on a video file and drag it onto the timeline, the timeline section rather. And you'll see that a new timeline will be created with video track one and audio track one. So typically videos are going to have one video track and one audio track. It is possible to have multiple audio tracks in a video depending on how it's setup. But videos are only going to have one video track when the export it. So you might even wonder about having multiple video tracks well, in the timeline when you're editing it, you can have more than one video track. So if we right-click above video track one, we can add a track and here, so one reason we might do that would be to add titles. And so if we go to the library and we go down to titles, we could add a simple text to our timeline here. So I'm gonna put it on video track too. So it's sitting above video track one basically becomes the foreground to video track one being the background. And when we hover over the section with the title on it, you can see that the title shows in front of the video in the background, even though the video on the background covers everything, items that are selling above it on video track 23 or above, I'm going to show on top so you can still see everything. Now another way of adding assets to your timeline would be to set in and out points on a video clip or audio clip. So that when you actually add it onto the timeline, you adding just part of it. So if you had a really long recording, maybe something in our lawn and you only wanted to add five minutes and this would be one way you could do it. So I'm gonna double-click on this clip that's in my media pool to make it selected for previewing. And then on this preview window over here, we can see the video for that clip and we can navigate through it. So we're assuming that we only want to bring part of this video clips into the timeline. I'm going to hit i to set an endpoint on the keyboard. Then we go to wherever we want to set the out point and hit o. So now this selection is whatever is between this N and out point. So now if I try to bring this into video track two, if I switch the window to the metadata, we can see that the full clip is a minute and 22 seconds long. So what I'll do is I'll zoom out a bit on the timeline using these controls over here. And I will drag this into the video track. So when it's here, you can see that this clip is now only maybe 30 seconds long, so it's not the full duration of the original clip. One problem we run into though, is that even though importing the video clip onto video track to its trying to override the audio, that is an audio track one. So let's not commit that change. If we want to make sure that the audio goes to audio track two and doesn't override audio track one. Let's go ahead and section below audio one, right-click, go to add track stereo. And then we're going to left-click on this a2 here. So it's actually targeted for where we're going to drop our audio N2. Now if I left-click and afford on the video clip, we wanted to add to the timeline, and I drag it down here to video track two, you'll see the audio. Track two is now the receiving track for that audio. So you've gotta be careful when you're adding video clips and audio clips to your timeline. You wanna make sure you don't overwrite any of the video or audio that already exists there. And last, that was your intent. If you do make a mistake though, like, let's say overbite this a few times. We'll just drag the clip in there 3-4 times and you wanna go back. You can hit control z on your keyboard. So I'll do that twice. And now we've inverted the last two edits. So back at this point where we want to undo some of our recent changes, another way we can do it is to go up to Edit and then go to the History menu. And then you can see a description of each of the changes that you have made recently. So in this case, dragging a clip onto the timeline is the change that we've made most recently. So we want to go back two steps before that. So I'm gonna click on move clips by 84 frames. And that is gonna pause two steps back in time. So if you have a long list of changes there and you wanted to bring it back to a specific point. It might be a little easier than hitting Control Z a bunch of times to make sure you actually get to exactly the right change. Now when it comes to audio only files like music or you would need to do to add a music track under the timeline would be to drag it down here below. And you should see the audio wave forms. They're for your music. So I'm gonna put it on audio track three. Now you can see that by just dragging it down here, audio track three can be automatically created. Now because we're only adding audio and here, creating the new audio track three isn't going to affect the video track in any way. So I feel comfortable just dragging and dropping it in here and not really worrying about anything else. So now we have music on audio track three and some video files up here as well as a title on the far left here for video track two. And that is the basics of how you can add items to your timeline from you media poor, or titles from the effects library. 6. Blade Tool & Making Cuts in Video Clips: This video will talk about making cuts on video clips that are on your timeline. So the tool we use for doing this is called the blade tool. You can switch over to it using B on your keyboard. So be switches to blade mode. And when you end blade mode, you'll notice that the blade Mode icon there lights up read. The default mode is selection mode. You can it a on your keyboard to switch back to that. And then the third main mode that you're going to use is trim mode, which you can hit t to switch to. So we'll touch more remote in the next video. This one's just all about the blade cut tool. So with the blade tool, as you might imagine, you can split a clip into two clips, of course can make more than one cut if you want to turn one clip into three or four, so on and so forth. And when you're in the blade mode, you can hover over clipping your timeline. Let me zoom in a bit here using the zoom tools on the right. And with the blade tool, you can hover over your clips and you're going to see a red line go from the top to bottom. If a clip is LinkedIn video and audio, which is the default for a video you bring onto the timeline. It has audio attached to it and resolve will automatically keep them linked together. You can unlink them by the way, if you want, by right-clicking, unchecking link clips. But in any case, you want to make a cut on one of those clips. You hover over the time part that you want to make the cut and then you left-click. So a really obvious way that you can figure out when the best time to do that is just going to be to look at the preview window up here at the top. And when you find the moment that you think would be good for cutting away from your current scene to another video clip. You just left-click and make the cut. Okay, so let's say that you had a video clip that also had some audio information with it, some spoken audio, like this other tutorial I was recording from my youtube channel instead of this course. So in this video, you can see that there are times in the video where I stop speaking and then I start speaking again. I need a minute to recollect myself and my thoughts before I progress to the next topic. So regardless, if you're recording a screen cast or skip is likely going to be these downtime moments that need to be basically cut out of the final footage because there's just nothing happening there as boring and you need to condense your video. So a good way of using the Cut tool would be to go in here where there are these obvious breaks and you can just cut them away. And this case, just knowing my own speech pattern, I'd probably cut this part too because I obviously messed up once before I jumped into the idea and got a take that was actually correct. So now that I have these two cuts made, one left-click on the left side with a left-click, and then one on the right side as well. With a left click, you can select this clip and then you can hit Delete on your keyboard. And also to wrap up the video information from the right over to the left so that the black space void that would have been there if you just cut the video out, is filled in with the video information to the right. And now the cut between these two clips is going to be seemless again. So now if I go ahead here and hit play, there's obviously a jump cut and my face there, but the two clips do connect to each other without a random black space in between. And that's why using the delete key, it'll automatically ripple the video information from the right over to the left. However, if you're making a cut and you actually don't want that ripple, then another alternative. And I'm just going to make another cut here so I can delete this little part in the middle. You select it, then you hit control x, and that is going to cut away the video clip. It puts it in the memory buffer. So I can go here to a different part of the Timeline, hit control V to paste it back in if I want to do that. But if I just want to get rid of it, then I can just ignore the fact that it's in the memory buffer. Another thing definitely worth pointing out is that you can actually make cuts while the video is playing back. I can watch it. And then I can still come in here with the blade tool and make a cut way want to, another thing you'll notice is that by default, these tools in the timeline half snapping enabled. So there is a clip in video two, and if I hover around that area on video track one, you'll notice that it will try to snap to that clip that's on video track too. So I can left click there. And now this cut is made at the exact moment where would change to video track too. So I can hit a, I can select this clip. Now on the bottom, I'll hit Control X to remove it. And now on the left side there's nothing getting in the way between these two clips. But on the right, I might want to make the same kind of cuts so I can it be hover over here? And you'll notice on video track one, it's now snapping to that clip that's on the bottom track. So I'll left click on video check to make that cut a to go under selection mode, I select control a. And now I've cut away the extra information from both clips. So if I wanted, I could bring the video track to down to video check 11A. So I'll left click up here and bring it down onto video track one. And now we have our clips tied together on the same track and they can seamlessly go between each other. So if I go here and I hit play, they'll be an immediate jump from the first clip to the second. Now in some cases, just having a direct cut between two clips is okay. And later videos will also go into how to add transitions between your clips as well. But for the simple act of making cuts on your videos and being able to cut away pieces you don't want by selecting them and deleting them or selecting them and doing a control x, that's pretty much going to cover it for now. 7. Trim Tool for Precision Edits: In this video, we're going to be covering the trim tool on the timeline. So to switch into trim, you can either click right here next to selection mode or you can at T on your keyboard to enter trim mode. So the tremor allows you to do is to fine tune the clips that you have in your timeline against the raw footage of the original video file. So if you left-click on one of the edges of your video clip that's in the timeline using trim mode, then if it turns green, then that means that there's actually video information to the left of this video clip because we're clicking on the left side, we are looking for information that comes before this in the clip that's on the timeline. So if I left-click and I start dragging it, you'll see a white box appear to the left of the clip we're editing. And whether white box represents how much video information there actually is that we can pull out here to the left and add onto the clip that's in the timeline. So as we expand the current clip in the timeline, based on the raw footage, it's automatically going to be pushing clips that are further in the timeline to the right, like over here you see this just gets pushed forward a few seconds as we add a few seconds to this. So there we're changing the duration. It does automatically keep everything tied together nicely and resolve. So this part of the tool is just to expand or decrease how much video information you want to show on this particular shot. What you also notice is that we have to preview windows. On the left we have the ending frame of the previous clip. And on the right we have the starting frame of the clip on the right. So that in this case is going to be the new Starting frame based on our trim adjustment. So as I move the trim to the left and right, you'll see that the new Starting frame changes. So this is really handy if you were shooting a scene with multiple cameras and he wanted to synchronize all of the camera shots so that when you end the view on one camera, you move to that exact moment in recording time on the right cameras so that you seamlessly transition between the shots. You're still looking at the same moment in time, even though you might be switching to a different camera. In this case though, since we just be jumping between two stock clips, they don't really need to sync up. So I will just choose a starting moment, which he thought looked cool enough to be the first thing somebody sees, which is of course important. Alright, so you can do the same thing on the right side. If you click on it, as long as this video information for you to add back onto, it'll show green. So let me zoom out a little bit here. So let's do the same thing on the right clip again. So I am going to left click right here slightly to the right of the edge. And as long as there's video information that you can add back into this clip that's on the timeline, extra raw footage that is passed this moment that we took from the original clip, then we can just keep moving this to the right. So now let's do the same thing on the right side. If we left click here, then we can trim by moving to the left. Or we can add an extra video information as long as this extra raw footage to pull from by pushing it to the right. So as long as it's still green, as long as they're still out white box showing that extra video information, we can keep going to the right until we run out of raw footage. Let me zoom out a bit and then we can show what happens when you run out of raw footage to draw from. So I'm going to left-click here and pull this all the way to the right. So when we get here you see the red line. That means you at the end of your foliage. And you can also see that on the left side, if you're at the start of your raw footage, there's nothing else to pull from. So the only direction you can go inward to trim away from the raw footage. Okay, so let's show off another function of the trim edit mode tool. If you hover over one of your clips on the middle, then you'll notice that the symbol here changes if you left-click. Now, what it's going to do is allow you to adjust what video information shows in the clip, but without changing the duration and the timeline. So what we're basically doing is shifting which part of the voltage is going to show for this duration on the timeline for this particular clip suffers don't warning left mouse button down and we slide this to the left. It's going to be shifting the clipping the timeline closer to the end of the raw footage all the way up until we run out. And if we shifted to the left than it is going to be going back towards the start of the raw footage. If you look at the top, you'll see that there's four previews now. So on the top left you are looking at the first frame that is showing on the clip and the timeline. And if you look at the right side on the top, you're looking at the last frame for the club that selected on the timeline. The bottom left is the ending frame for the clip directly to the left and then the bottom right is the starting frame for the clip that's on the right. So when you're shifting your footage around in this way, you can compare all four of those frames at the same time so that you can get both the beginning and the end of this cut to match up nicely. So there's one other way to use the trim tool here, which is if you hover directly on the line between two video clips, basically right on the cut, any left-click, you can shift both clips at the same times as long as this extra video footage to shift into for both of the clips, you can't extend a clip further than this raw footage for obviously. So if we click on the line and we drag left, then it's going to be shortening the clip on the left and extending the clip on the right because we're changing where this cut line is located. So when it says negative three seconds here, then that means three seconds taken away from the clip on the left and added to the clip on the right. If we go the other direction, then it's the opposite. We're shortening the clip on the right and then we are extending the clip on the left. So wherever the cut line ends up, there's still going to be that cut, but the duration of the clips that are bordering it have changed. Now there's one thing I do want to point out, which is on selection mode, you can actually trim away from the edges of a clip as well. Now before we wrap up this video, there's one thing I want to point out about selection mode, which is the innocence. You can also trim clips with selection mode. But the difference is that when you do it here, left clicking on the edge of one clip, it's not going to be rippling the adjacent flips over, but rather if you left-click and you pull in on your clip, it's going to leave a gap space. It's not going to fill that in with anything. It's not going to trim this base away. You're only shortening the clip that you are currently editing. And the same applies for the right side over here. So you can do that and it could be handy if you don't want any of the rippling to occur. Maybe you have some other plans for the black space and you want to drag a new clip or an image or something into that. Also, if you hover over between the two clips, you may also notice there's that same functionality where you can adjust the line of the cut that was made before. So if you left click and hold, you can drag it to the right and drag it to the left exactly how you code in trim mode to adjust where this cut is made and adding information from the raw footage on the left and pulling from the right or vice versa. But the ability to change where information is on the clip without changing the duration is solely a tremor edit mode function. So back in trim mode, you can go ahead and do this. But if you look at selection mode, you'll notice that function isn't available now that there's some blank space here. Random quick tip, if you want to make sure that when you slide a clip over to the one on the left, it snaps in place properly, enable snapping. So that will enable me to do this. And it will snap here very nicely with no effort and without shortening either of the clips. But if you didn't have snapping enabled, you can see how you might accidentally overwrite some video information there. So that's gonna be it for this video on trim functionality and resolve. 8. Positioning Clips, Snapping, and Linked Clips: So at the end of the last video, we left off with a fairly obvious problem here, which is that there is a bunch of black space. I can even click on the black space. And one option for closing the gap between these two clips is that if you right-click on black space, you can do a repo delete. Also, you'll notice that delete is the key for doing a reportedly which removes whatever you are clicking on. And for the space gap that was just closed, everything to the right will be pushed over to the left and an effort to close empty gaps between clips. So let's say that I had the clip over here and I didn't want to select the black space and do a rippled delete, but I just wanted to pull this clip over to the left and have it snap in place every time perfectly, basically being right on the edge with this clip ends. So that is where snapping comes into play. Snapping is enabled by default, and usually I would say you're going to want it. There are some annoying times where you need to make micro adjustments and things. And then the snapping might get in the way and you can always turn it off with left-click or Anki. But in most cases, snapping is very useful. So if I left-click on this clip on the right, I can actually pull over to the left. And as I get close to the edge of the clip that is on the left, it will snap into place. So you'll see it's snapping because there'll be that vertical line right on the edge where there would be a cut between these two clips. If I let go, we're going to be perfectly adjacent to each other right now, if I go ahead and hit play on the timeline, and when it gets to that moment, once again, we're going to have that nice cut from one clip to the other and you won't see any black space. Okay, so that's really handy. Now, I'll show you what will happen if you have snapping off. So you want to be careful about this when you're editing your videos. First, I'll have this clip on the right, like it was before. And now I'll try to position it over here to the left. I'll even zoom in a little bit so that it's easier. So the idea is we still want this video to end with this frame. And I'll try to just free hand, drag it over. So I'm pulling it to the left. We can get very close. But you'll notice without snapping, it's very easy to overwrite the video by a couple of frames. In most cases that's not going to be a big deal. But maybe at the clip on the left positioned just right. And now you're going to have to make a tiny micro adjustments, probably with the trim tool like we talked about in the last video. So if you zoom in a bunch with trim tool, I can left click on the edge here. I can add in that one or two frames that we accidentally overwrote right there. And the further you zoomed in, the easier it is to use tools like the trim tool or the blade tool to make edits. So keep that in mind. Being zoomed in is often a good thing. And you can always zoom out when you need to get a full picture of your project. So aside from that, one thing you may sometimes want to do with eclipses to move them between video tracks. So you usually use the selection mode when you want to move clips around on your timeline. So if you click on Eclipse, you can pull it up to video track too. By the way, if video track two isn't existing, IT probably will automatically create for you as soon as you pull something into here. That also applies to clips from immediate pool. And we can just keep dragging it around left and right. As long as you hold down the left mouse button, you can basically position it anywhere you want. Let's say that you wanted to position the video track onto video track two. But you wanted the audio to be on video track one or video track too. So there'd be a couple of ways that we can drag audio track to two, audio track three without changing the position of the clip on video track two, that's video clip. One is to lock video track too, so that its position can no longer be adjusted. Now we can drag audio track to, down to audio track three. Now you've gotta be careful because even though they're linked in this case, you're able to D them because you can still drag the audio track left and right. And the position of video track two is going to be staying in place. So if you don't mean to D sank them, which is probably not the case, then just get it positioned just right here until you no longer see that. Read the sink indication, which is measured in frames and seconds. So the second way to move your tracks individually while they're linked together would be to uncheck the linked selection up here. So you can hit control shift on the keyboard if you wanna do that. And that basically makes the linking of eclipse irrelevant. So you can drag them around automatically and you'll notice you still get that distinct indication. So as long as they're linked together, you'll still be able to see how many seconds there are. Desynchronize them each other. So if you want them to be back synchronized, then you just need to snap them back into place. But you can still move your audio tracks up or down as you need to. Now usually turning off linked selection is going to be the way you want to do this. But if you want to permanently take the video and audio of your clips and break them apart from each other. What you can do is select your clips or turn on linked selection and then just left-click on one of them. And then right-click and uncheck link flips down here at the bottom. So when you do that, these two are now no longer considered the same clip. And if you drag them apart from each other, you can move them independently. But you're also not going to get an indication of how many seconds they've been D Synchronized from each other. So this could be useful if you just wanted to unlink them and you wanted to get rid of the video without accidentally getting rid of the audio as well. So I could control x here on the video clip. Now that's gone and all we're left with is the audio and some cases that might be all you want. So don't usually use it. But if you're editing your tracks and you've already finalized the positions of everything. And you just want to make sure that you don't accidentally move anything around on your timeline. There's a tool here called position lock if you left-click on it. So when you're in position lock mode, you can no longer change what's on the track except for adding effects and which can also include video transitions. So I can add a random video transition onto the right side here, but I can't drag a title on to the timeline. If I left-click and let go, it's just gonna disappear. Same with adding something from our media pour onto the timeline. It won't allow us to do that. But in the inspector, we can still change properties like the zoom of our video clip. So this can be handy when you want to finalize some adjustments to clips. Maybe make some animation with keyframes. But you wanna make sure that you don't accidentally move stuff around on your timeline, and that would be what position lock is good for. So that's about it for positioning clips on your timeline snapping, and about how you can move individual tracks up or down, even if they were initially linked together. 9. Modifying Properties with the Inspector: In this video, we're going to be talking about the inspector panel, which is one of the most powerful tools you have available to you for doing video editing. And you'll find the Inspector in the top right-hand corner. So what the inspector allows you to do is to look at properties inside of the currently selected video clip. And at least in most of the pages when those clips around the timeline, you're able to modify certain properties about them. So for instance, if I took this clip here and I looked at the zoom property, I could increase or decrease the zoom on that video clip by either double-clicking on one of the property values and typing and a new number. So I could zoom in an additional 20% by typing 1.2 instead of 1 and then hit Enter to commit it. And you'll notice in cases like zoom, that there is this little link symbol here which keeps the Y and the X zoom tied together. But if you ever see this and you want to unlink them, then you can actually change the values individually as well. The other way to increase or decrease the value is to simply left-click on the value once, hold it down, and then you can drag your mouse to the right to increase the value or to the left to decrease the value. And you see now that the zoom property is unlinked, that I can scale the y and the x independently of each other. If you ever want to reset a property to its default values, you have a Visa icon over here to the right for every property. And you can also reset an entire group if you go up to the category name and this case transform. And then on the far right, you have a reset of the values for the lower properties. So if I click the visa on transform, it's going to return the zoom in any other properties we've changed to its defaults. There's also a little diamond here which is used for Keyframing animation, which is basically to have a property change its value across time. We'll talk about that more in the next video. So let's cover some other properties you might want to add it in the inspector. So for instance, the position of your video clip, you can move the clip to the left if you decrease its exposition. So it's changing where this video clip is centered on our video output. And you'll notice that it's possible to poor clip off screen and leave empty block and to leave empty black space. So one thing you could do is to position four clips on the screen one at a time and then to have them all showing at once. So in order to do that, I would change the zoom acts and zoom y 2.5 each, so that they're taking up 25% of the total screen space. Since we're having horizontally and having vertically, half by half, you get 25% of the original space. And then you just need to position them at their respective corners. So I'll pull this up here. So I'll decrease the expositions tells on the left side, increase the Y position till it's on the top. And I can take this clip or another clip and duplicate it three more times or adding new clips to the timeline. I'll select this clip, hit Control-C to copy it. All coded the start of this clip. And now let's go to video track two. I'll left click on v2 so that we are going to be pasting into here and now control V to paste the clip. So to duplicate our clip, I can select this clip, hit control C to copy it. Now by default, it's going to be pasting onto video track one in audio track one. An easy way that I can keep creating duplicates is to simply move this video and audio track up. Go to the start here of the clip using snapping, hit control V to paste it in again, move the two clips up again to video track for three. And now let's go to the start here of where we want the clip to be and hit control V to paste it in, move this to video track to go to the Start, hit Control V. Ok. And now we have four copies of the same clips layered on top of each other. As you can see here, it's just move everything out of the way and make space. So now to move them to the four corners, I just simply need to change the x and y position. So I'll click on the one end video track to, let's move this to the right side. So it looks like we're going to want roughly positive 240 pixels. Okay, let's move this one as well. So currently the clip surplus 143 pixels vertically. Let's make it negative 143 and see where that goes, roughly where we want it. And now for the fourth corner to move it to the bottom, let's just invert both of these values, 240. And then for the Y negative 143. Now if we just do some micro adjustments left clicking on the property and pulling it down just a little bit, we can fill in that blank space. And now the other ones may be needed to move up just a tad. So I know it might be off by a couple pixels here, but you get the idea pretty close to what we're looking for. So it's probably a couple pixels offer here. But you get the idea if we hit play here, you can get an idea of what we might be going for. So rather than having formed the same clip, you could easily just have four different clips playing each of the different corners and setting up situations like that is pretty easy if you use properties K. So really quickly on another clip, let's look at a couple other properties. So cropping when you want to take away video information from one of the sides and not show it to the viewer. You can crop one of the sides off. So, so if I crop left, it's going to be pulling in video information, kinda trimming it in a sense, trimming the edges in a sense, and not showing that. So if I increase this crop left by a 110 pixels, it's going to remove the a 110 pixels on the left. So that could be another way that you can make space for other things like a background layer that you want sitting behind your video. If you prefer not to have a hard edge on your cropping line, then you can increase the softness. And of course, you can crop multiple sides at once with any property. If you need a specific value, it's usually better to just type it in. So I could say a 110110 on both the left and the right. And then I would get that precise value rather than scrolling it left and right. Also, you can see here with some of the properties, there are slider bars. So rather than dragging on the number, you could instead drag on the control for the slider bar, which basically does the same thing. So with the inspector, there are also other tabs. Most of them are grayed out right now because we don't have any effects. Are transitions applied to our currently selected clip. We can go over the audio though, where we could change the volume of the currently selected clip. So if we shift this over on the slider, negative five decibels, so it's going to be making the audio much quieter for that current clip. You may notice on the timeline that when you adjust the volume, the audio section turns dark green, indicating that we have modified the original audio Here. You may also notice that in the audio section, you can actually click on this line if you want to raise or lower the volume. So if I left-click, I hold and I drag it up, then you can see that we can edit the volume setting here as well, which corresponds with the inspector. So a lot of the other properties you might add it in, the inspector would actually require you to add an effect on and then you change the settings of those effects in the inspector. So if I go to the effects library, will go to Open effects, and I'll come down here to something like light rays. If you hover over an effect, you can see the individualism of 17. They give you a nice preview of what the effect will look like with the default settings, which is really handy. So you get an idea of what in effect is before you even try to use it. So if I wanted to take all these bright areas and add light rays to it, I can left-click on the effect, drag it onto the video clip. I want to apply it and like go. So now that this clip has a special effect, we can go over to the effects tab and we can see that effect that we've dragged and dropped onto the clip. Note that you can actually have multiple effects inside of one video clip. And here we have similar settings to the video and audio tabs where we can change values about the effect. For instance, there is the position where the light rays are coming from. If I click on this area inside of the Video Preview window, we can go to Open effects overlay. And if I zoom out a little bit, we'll actually build a see the position for that light rays icon. So similar to how we can adjust the volume, looking in the timeline and pulling on this bar up and down. We can also adjust the position of this effect by moving this open effects overlay icon around. And as we adjusted, you'll see that the light rays are now coming from a different position. Just like before, we can adjust the value of the property inside of the inspector up and down or type in manual value. And some of the properties don't work on a number, but rather a drop-down where you click on it. And it will give you some options that you can apply to the effect to change how it might interact. So in the next video, we'll go into more detail about the inspector specifically with animating properties using keyframes. So the main takeaway from this video is that if there is a property you want to change the value of likely the best place to do that is going to be envy Inspector, which you can find in the top right-hand corner. It's very flexible, allowing you to change many properties about your clips, your affects, audio, and so on and so forth inside of resolve. So it's a really important panel to remember. 10. Cut Page Video Editing vs Edit Page: So in this video, I'd like to talk about the cut page Workflow inside of DaVinci Resolve 17. So here we're looking at the page and here we're looking at the edit page, the original way of editing your videos. So you can achieve mostly the same things on both of the pages, but the layout of the two pages quite a bit different. So one of the most obvious differences you're going to notice on the cut page compared to the edit page over here, is that the cut page you have multiple timelines that you're working with at the same time. So with the main timeline at the bottom, you can see your standard timeline features such as thumbnail previews of the different frames of your video clips as well as audio waveforms for a video clips as well. So when you're actually adding effects or titles to your timeline, if you're gonna do it on the cup page, likely you're gonna do it down here, similar to over on the edit page where you would do with this main timeline section. But if you look right above this section, you're going to see a full timeline of your entire video project. So this always shows from beginning to end the duration of your timeline. And so it becomes useful when you want to quickly navigate to a specific part of your video. So if you click around, you can navigate to specific clips that you need to add it. And when you update this timeline, the bottom timeline also updates to correspond with that. So the timelines are linked together. So on the cup page there's actually three timelines. If I go over here to a inbetween of two video clips on the timeline. And I tried to do a tremor adjustment by left clicking on one of the borders of the clips. I can pull this to the left and right. And you'll see in the Video Preview window that a third Timeline appears now this third timeline is frame-by-frame, so you can see thumbnails of how every single frame you are removing or adding two looks. And you can also see how this trim is going to affect the left side of the clip and possibly the right side as well. So if I left-click on the border directly between the two clips, I'd be adjusting both at the same time by sliding where one clip ends and the other begins. So you end up being able to compare both of the clip side-by-side. You also noticed that the Video Preview itself becomes the final frame of the left clip on the left side and the first frame of the right-click on the right side. Another major difference between the timelines here and what you find in the Edit Page is that this timeline cursor is always centered. So if I go ahead and hit play and the timeline, the timeline cursor moves with the video as opposed to the edit page with a timeline cursor moves rather than what timestamp you looking at for the timeline at any given time. One of the big differences of the page and resolved 17 compared to 16 is that they have actually brought the Inspector over to the cut page. So if you need to adjust any of the properties about your clip, you can do that over on the inspector page now. So if you want to increase the zoom or you want to animate a property with a keyframe diamonds over on the right side. A keyframe right there to have one value at 1 in time, come over here, change the value. And now if I hit the left arrow going to the first keyframe and hit play, we get a basic zoom animation. So doing that kind of basic animation at its is now possible on the page as well. And there are also a lot of these little hot bar functions you can use and the cut page to help with editing your video. So for instance, if I want to add a new video clip to the timeline, I could use something like this append function. So I'll just double-click on a video clip. And then here with this preview bar, we can set in and out points. So I can either drag on either side and trim which parts of the video I want to not include on the timeline. Alternatively, you can set an out points, so I and O on the keyboard to set in and out points respectively. And now rather than dragging this clip down into the timeline, though, you could still do that. I could append, which is going to add it at the very end of the video timeline. Or if we hit Control Z, we could hit Smart insert, which is going to try to add it right in here after our current point. You'll notice that it adds after the current clip ends, but it doesn't actually cut away any part of this current clip. So it automatically figures out for you where the next clip should go. Ripple overwrite will replace the clip that is right here on the bottom. And if the incoming clip is a shorter duration than the replaced clip, than the difference between the two durations will be cut away from the timeline. That's the rippling part. So if we overwrite, you can kinda see how everything to the right in the timeline slides over just a little bit. Now doesn't fill this entire gap here because that gap was already there before. It only adjust spaced on the duration of the previous clip and the current length. Take the incoming clip and try to move that to a higher position in the timeline. So in this case, video track two. We can see this clip kinda spices and right there automatically. And so these little shortcuts that they have on the cut page can end up saving you a little bit of time and kinda automated part of the process for you, such as figuring out where to add the new clip into the timeline based on the positions of the clips that are already there. So a little bit further to the right, there's a button here for dissolves. So if I click on the dissolve effect and I am close to the border between two clips, it'll automatically try to go ahead and add a symbol transition on the border. Now in this case, if I click it, it's not going to succeed because there's not enough video information from the source on either side of the clips. So I would actually need to left-click on the edges and pull them in a little bit so that there's extra information on either side of the clip that result can use for those effects. So if I put a little more on this side and I go ahead and hit dissolve here, we get a transition added onto the timeline. Now just like on the edit page, you can click on transitions and edit them. You can also click on a video clips in the timeline that have a transition. And then if you go over to the Transition tab, you get the same settings for editing those transitions. So if you want it to be shorter, you can decrease the duration and number of frames Scott and hit play on your timeline and test your simple transitions. If you want to remove the transition, you can click on the icon, which is just going to remove whatever video transmission was there. If you go a little bit further to the right, the faster the View button will basically play back your whole video at a very fast playback speed that's kinda similar to hitting the play button and then L on your keyboard to double and then quadruple the playback speed a bunch of times. But here you can do it with just one button click, just click on FASTA review to play a video very fast. Next to that is the cart page tools. So this section is actually going to look quite a bit different to what you find on the. Edit page of these properties though you would be able to also edit on the edit page. It's just another way to do the same thing. So for instance, the zoom width and zoom height and the Lock button to keep those two ratios linked together. If you want to take a clip and increase the zoom on it, you can easily do it on the video tab of the Inspector. But as an alternative, you can use the options below the preview window with the tool hop bar. You may also notice that when you start making edits and the inspector and down here that in many cases you'll get gizmos for editing your clip further. So for instance, this handlebar here is used for a rotation and you can stretch the edges of your video by left clicking on these edges here. Now, note that when we click away from the corners and automatically on links, the Zoom for our video clip. So if we wanted to stretch both sides equally, and let's just go ahead and left-click on the clip and Dragon amount so we're panning the position. Notice it updates there and the Inspector, but also and here in the zoom tools. So if we click on the corners, that's going to be stretching the Zoom for the width and height at the same time. Then with pitch and ya, you can make your clip look a little bit 3D as you tilt it towards or away from the screen. What I would say though is that if you do want to animate these properties as unchanged, the value over time, you're probably going to be better served to using the inspector though. So in the inspector, we have the keyframes for any of the properties. So if we wanted to animate the pitch over a period of time, we can just click on those keyframe diamonds at a couple different points. And then we'll have the values animate between those two points in time. Some of the other tools you'll find on this hot bar include crop. So if you want to take away video information from one of the sides of your video clip. You can crop from any of the sides. So top, left, right, and bottom. As you crop one side, you know, as part of that video information just as hidden from view. And if you move all the crop, it goes back to normal. Also another animatable property and the inspector, as you can see over here, with dynamic zoom, you can set up some sample. So with dynamic zoom, you can set up simple zooming animations over the duration of a clip. So you can move these green and red boxes around. Green is going to be where the video clip starts and then red is where the video clip ends up. So in this case, it's going to start slightly zoomed in. As you can see, the frame for this is not as big as the full video frame, and then it ends up fully zoomed out at the full video frame. So with dynamic zoom enabled here. So we have to toggle that on if you actually want to use it with that little toggle there. And we can make the effect of a lot more apparent by increasing the difference between the two. So let's have it start very zoomed in here, go back over here to the start. And when we hit Play will actually see the zoom in action. So I hit play and you can see it's very, very zoomed in here and it'll become less zoomed out over the duration of the clip. You can also use these Pan effects as you moved the box to one part of your screen. Now it would be coming from the bottom left-hand corner. And then it ends up in the center of the screen by the end of the video clip. Okay, let's just go out and play that really quick so you can see how it started more on the bottom left side and it's drifting towards the center in addition to the zoom. So just really quickly go through the other tabs. The next one over here is composite. So there are different composite modes you can apply to a video clip if you want it to interact with Eclipse underneath it in a different way than the standard default, which is that they just layer on top of each other. So for instance, you can have the colors of one clip effect, the colors of the other clip. So if I change that to color there, you can see how the colors from the top clip are now affecting the bottom clip. And there's many different ways of being able to do that. That can generate different interesting effects. The next one over and the speed tab, you can easily increase or decrease the speed of your video clips. So if you want it to be playing faster than normal, just increase this speed past 1. Note how when you do update the speed, it's going to change the duration of the clip in the timeline, but we can at play here. And if I increase the speed a lot, well obviously it's going to be playing kind of fast forward mode there. And likewise, if you decrease it below 1, you would be slowing down the clip below its normal speed. So if you have a very shaky clip, using the stabilized tool can potentially help reduce a little bit of the canvas shakiness. So if your raw footage is very shaky, the stabilized tool can help to reduce a little bit of the camera shakiness lens correction as a feature I haven't actually personally tried out at all yet, so I won't really comment on that. But note that with all of these features that pretty much you can find them in the inspector as well. So Composite here correlates with composite on the inspector with the speed. Speed would be correlated with speed change. So you can see similar settings over here. Stabilization while there's a stabilization tab and the inspector individually resolved 16 and below the page, didn't have the inspector over here. So if you didn't want to switch over to the edit page, these would be the tools that you have available to you. But now in the new version that they have both the Inspector and then also the tools that, and then also the toolbar and the preview window so you can mix and match whichever one you prefer, depending on if you just need a couple quick settings or if you actually want to animate properties with the Inspector. Okay, so beyond that, there's the color tab over here. So auto color will have resolved, analyze the colors in your video and automatically try to enhance them. I'll just go ahead and click that right there and you can kinda see how it locks. Sometimes you get a good result. And other times you might want to manually just things personally over on their color page. So here is the after color. You can see it's a bit more vibrant. If I turn that off as the original colors, they don't pop out as much. It's not as saturated, so it's usually worth trying out auto color and seeing where that leaves you if you like the new colors that the software basically picks out for you, you can always just toggle them off if you want to switch back to the originals. And then on the final tab over here you have volume controls. So if you want the clip to be quieter or a louder than just raise or lower the volume as you need it to be. So beyond that, you do have the same functionality of the effects library from the edit page, except they've been split on three separate windows over here on the top left on the color page. So instead of the effects library, you have transitions, you have titles, and you have effects. So as far as I know, you have access to the exact same tools. They're just separated into three different categories here. And even on the effects library page, they are separated just in a different way, where you have a few drop-down menus that categorizes them in a slightly different way. So one final feature we can point out is that on the page there's a Quick Export button here. So on the deliver page, you have the four options for how you want to export your video, including many different video formats that you can export your video too. But on the page, the Quick Export simplifies it so that you can just get a video file, export it as quickly as possible. So if we click on that, you can see It's going to by default put it in H.264, which is going to export as an mp4 format. I believe the defaults that you're gonna see here are going to be the same as your current projects timeline settings. So if your timeline is one API resolution and it was edited at 23.976 FPS. As you can see here, then that's what it's going to try to export. And as well, basically the same settings for all four of these tabs over here. But if you wanted to upload directly to YouTube or Vimeo or Twitter, then you can actually log into each of those accounts over here. And when you go to publish, you have the option of directly exporting to those websites as soon as the video is done exploiting. Alternatively, you can just export it to a standard video file, just coming in here using the defaults hitting export, choosing a location on your computer, hitting Save and basically being done with it. So in a nutshell, it's a slightly quicker way of getting your file out there if you don't think you need to worry about any of the custom optional settings like adding subtitles built into your video or changing the export format to a different type of video file. Then, then the Quick Export might be the way you want to go. Note though that when you do do Quick Export, you can still Kelvin solve whether you want it to export your entire timeline or just part of it. So if I come over here to about here in the timeline, I hit I to set an endpoint. And I go a few seconds later and I, oh, then this N out range, if I go to quick export, will be the part that actually gets exported. So Quick Export up here and you can see the duration has been reduced. Its only talking about this four seconds and the timeline. So this video doesn't cover every single feature that you'll find in the cup page of results. But hopefully I've given you a good idea of some of the differences between the edit page and the page and the differences in the workflow, like how the page works with three timelines instead of one when you're editing your videos, I mostly comes down to a matter of personal preference. Pretty much anything you can do on one of the pages, you can also do on the other. So it's just a matter of which style works better for you. 11. Animating Properties with the Inspector: So in this video, I wanted to follow up about the inspector with respect to Keyframing animation, which is another really important part of editing inside of resolve. So in the inspector, when you look at almost any property, you are going to see a little gray diamond over here on the right. That is a keyframe diamond. If you click on the keyframe, Diamond is going to create a keyframe at that moment in time. So keyframe is saying to resolve that at that moment in time, this property should have the value that is currently set inside of the Inspector. So if I press the keyframe diamond here for zoom right now. So what this red keyframe is saying is that for the current position in our currently selected clip, this amount of space between the start of the clip and where we are currently. At this point in time, the zoom property should be set to one. Now, if a second keyframe at any other point on the video clip, then resolve is going to automatically tried to animate the value between those two points. For instance, let's go a couple so I can see you're more in the future for our video clip by dragging the timeline cursor, you will see that here the zoom values are set to one. And there's no red keyframe here. If it is a great diamonds, that just means a keyframe has not been set for that frame on that video clip, if I click on the keyframe now, now there's two key for imposition, but there's not gonna be any animation, yeah, because both of the keyframes about set to one. So if I go back here earlier on in the video clip and I hit space as a passes through both the keyframes, nothing actually changes and our video clip. So I would need to go to one of the key frames and a different value in order to see some new animation. But when you have multiple keyframes, you'll also see that there are arrows which allow you to jump in time to the time periods where those key frames are sad as well. So it becomes easy to add it. If you don't want to accidentally create new keyframes, then make sure that when you're editing the value of the ISI, the red keyframe indicating that there is already a key frame there and you're just changing the value on the keyframe. And that's important because if you said to many key frames, then the values are going to be animating all over the place. And it's much easier to understand if you only have a couple at once for this keyframe, I'm gonna change the value on it now. So let's make the zoom double. So I'm gonna take the zoom x, which is also going to take the zoom why by default, because they're linked together. And I'm going to for the Zoom value and hit Enter to commit it. So now at this point in time, the clip is zoomed in. The clip is zoomed in. A lot of video information isn't showing in the timeline. It's just on the outer edges because we're so zoomed in on this clip. So if the left arrow on the keyframe area, it's going to go back to the first keyframe where we have that normal zoom of one. If I hit the right arrow, we're gonna go to the second keyframe. So you can see the two different values being set. So let's actually show the animation or hit the left arrow for the keyframe. Now at the first keyframe, space to play back our animation in the timeline. And you can see. The video clip is now zooming in on the center of the video clip that you can easily zoom in on any part of your video clip by combining a Zoom and also targeting a position of the screen. So let's go to the first keyframe here. I'll hit left arrow twice. So now we see the keyframes, so that now we're at the first keyframe. And by the way, if you're on a actually visually see the keyframes on your video clip in the timeline, you can click on this little keyframe icon here. And it will show you the properties where you have keyframes Set, and also the locations on that video clip where the keyframes are. You can also snap to them. So if you have snapping enabled, you can easily between these keyframe points and then set the values as you need up in the inspector. And anyway, we wanted to change the position between the first key frame and the second key frame so that we actually zoom in to a different part of our video rather than the centre, we have the Timeline cursor lined up with our first transform keyframe. Let's key frame the position here as well. So I'm Keyframing at 0 x, 0, y. So that's going to mean the center of our video clip. Now let's go to the second key frame for the Zoom. I'll use the timeline cursor to do that. The snapping pulls us there, and now we can keyframe here as well. Another way of creating keyframes, when you only have one key frame set for a property and you change the value. Any other point in time where a keyframe has not been set, one will be created automatically. So if I take the position here and I adjusted, then you'll see the keyframe icon turns red. So now there's another keyframe here for the possession. So now let's just adjust the position of the video clip until we get it to the location we want to zoom in on. So this could really be anywhere. Maybe we'll just go to the top left hand corner here where the clouds basically covered the screen. Okay, so now we have two properties key framed at the same time. Let's take the timeline cursor earlier on here and hit play. So we have the zoom, but as zooming in on the center anymore, it's zooming in on the top-left area. So it's very easy to keyframe multiple properties in order to create different kinds of animation. And it's one of the things that makes it really powerful. Now it's not just the video properties you can adjust the transform on. Let's go back to that clip and the timeline where we actually added light rays in the last video. And now we can click on this video clip, go over to the effects tab, and now we can animate, let's say, the position for where the light rays are originating from. So I'll zoom out a little bit in the Timeline and now we can see the open affects overlay for the position where the light rays are coming from. As long as you click on this drop-down and use open affects overlay. So let's move it to a position where we want things to be originally, maybe right around here. And now we can set a keyframe. Let's go a bit further on in the video clip, and now let's adjust the position of that light ray origin once again. So because we already have one key frame size, if we change the value of the position and new keyframe is going to be automatically. So we could do that in the Inspector, but we could also use the gizmos to create that key frame as well. So I'll just click on this little light ray origin. And I'll pour over here to the right wherever we want it to be and like go. And now we've created another keyframe for that property. So now if we go earlier on in the timeline and we have play, we can see how that property is going to animate across time. The light rays are going to adjust their position as this little light source moves across the screen. Once again, though, we can also animate multiple properties at the same time. So maybe what we want to do is to make the sun, maybe what we want to do is to increase the strength of those light rays as the effect progresses. So using the left and right arrows and the keyframes to go to where the other keyframes are set. We can keyframe the length soften and rightness properties here so that they stay as they were originally at that point in time. And now we can click on the arrow for the position to go to the ending position of that light source. And now we can estimate the values of the length and brightness and maybe the soften as well just by pulling on the values here and getting them to be where we want. So if we extend the light rays, you see that they go out a lot further. If we make them brighter, there'll be more visible and we could increase the softness if we want them to be blurred out. Or we could actually lower down If we want those light rays to be a lot sharper. So now I'll click on the left arrow again to go to our first keyframe point. And we can hit play to watch how our properties enemy across time. So you can see the light rays becoming a lot more visible, right? And last blurred out due to the soften as time progresses and our timeline. Let me go ahead and make a slightly burger preview window and play that one more time. I'll hit space to play. And now we can see the light rays changing their angle as time progresses. So go ahead and hit space to play it and we can see our properties animating across time. So obviously in this video that was just a couple of examples of what you can use keyframes to animate inside of resolve. But hopefully you can see the power of this, especially when you combine animating multiple properties at once as super flexible and once you get the hang of it, it will really help you when you're editing your videos inside of resolve. 12. Dynamic Zoom: So in this video, let's talk about a tool you can use called dynamic zoom, which is really handy for creating great zooming and panning effects inside of resolve. So to clear things up a bit, let's actually start by creating a new timeline. I'm gonna go up to File and then New timeline. And I'll just leave the default name of timeline to here and hit create. This'll just allow us to have a fresh start with whatever we're working on on the timeline. So let's throw another clip onto the timeline here, and we can start working with us. So dynamic zoom is essentially a visual tool that you can use to easily set up zoom and pan effects. And we can find it to talk on inside of the inspector. If you scroll down on video to the dynamic zoom section, you'll see that it is disabled by default and we can go ahead and turn this on. When we do that, you may see pop in a little bit as the Zoom has already, in a sense taken effect. But there's really no indication or setting that we can see here. Even if we expand the dynamics zoom, we don't really see the settings for it. So in order to actually edit this dynamic zoom, we want to go to the viewer overlay area, which is the bottom left-hand section of your preview window on the edit page. Click on the dropdown and switch to dynamic zoom. When you do that, you're going to see two boxes here. So the green box represents your starting point for the zoom and then the red box is your outer point. You'll notice that when we are looking through the dynamic zoom viewer, we actually just have normal zoom on the outside. But if we go back to a different mode, then it actually adds the dynamics zoom back in. So in dynamics zoom mode we're setting up, but we can't actually see the effects of it until we hit play or switch to a different viewer overlapped. So if I hit play here, what we're going to see is that it's going to start zoomed in and it's going to zoom out a little bit over the duration of this clip. So let's go ahead and do that there. And if you watch it, you can suddenly see it's starting to show more and more information. But to make it a little easier for everybody to see, let's actually add it that ending point. So we wanted to zoom out a lot. So after starts at this very zoomed in position, we want it to zoom out a lot more. So I'm gonna take the ending red box. I'm gonna stretch one of the corners by left clicking on it and pulling it outwards. And as we get to the bounds of our base video clip, it's going to represent more and more of a zoom out change from the starting point to the ending point. So let's go ahead and go back to the start and hit play now so we can see the zoom is much more immediate now. So in order to increase the zoom out effect, making it a more zoomed out position, we need to Paul outwards on one of these corners for the bread box. So I stretch the box further because the gap between these two points is bigger, the animation should be more visible. So let's go to the start and hit play again. And we should see the Zoom Out Effect is much more obvious, is a lot more of the screen shows. Now you do have to be a little bit careful, as you can see here. If you make it, you have to be a little bit careful. As you can see here, if you make the outer box too big, too zoomed out than the video clip may not fit the frame anymore. Just kinda have to adjust the zoom positions. Maybe we can push both of them n, So it starts more zoomed in, but it doesn't end zoomed out enough that we get black space. And the way we can just check on that is to go right here to the end, hit play and just check it one more time. So it needs to be controlled a little bit more. And I think that should be good. Let's have play. And it looks like we got, so if you want to reverse this effect, basically start zoomed out and you want to zoom in, then you just reverse the positions of the red and green boxes. So I'm going to take this green box and increase its size, which means that it's going to start more zoomed out. And I'm going to take the red box and push it inwards, which means it's going to end zoomed in. Hall effect is basically just transitioning between these two Zoom points. Let, let's go back to the start here and hit play. So we're zoomed out and we're slowly zooming and over a period of time. Now there is one setting in the inspector for the dynamic zoom and that is the ease of the curve. So by default it's linear. And when you have linear ease, what it means is that it is going to be progressing the effect at a consistent speed. In other words, the rate of change between the zoomed endpoint and the zoomed out point is going to be consistent over the duration of the effect. However, we can change it to 0s N, which is gonna make it slow at the start, ease out, which will make it slow at the end and ease in and ease out, which will make it slow at the beginning and end. Now the end, now the start and end point are still the same. So if you put 0s n an out, then because it's slow at the start and the end, it has to be faster in the middle to make up for that to end up at the same position. So if you wanna slow start as low end and a fast middle, then we choose is n and out. Let's go to the start and hit Play. You'll see what I mean. The zoom is very slow at the start, but as we get closer to this metal, the zooming effect becomes a lot more parent. Most of the zoom in, it's right there now are quite zoomed in, but at the end it does not zoom in much more because of that ease out. Sorry, I also mentioned with the dynamic zoom that you can do panning with this effect. You can think of panning, adjusting the XY position where you're looking at a different part of the original video clips. So when we're really zoomed in, we have the luxury of choosing which part of the original footage that we want to look at. And so the painting will help us do that. So how you pan is that you move the position of one of these boxes or both of them off-center. And then you'll see a new line up here in the center. So this line represents the path of the pan. So the main thing you need to remember here is that the green box is always going to transition into the red box over time. So if the green box starts to the right, that means that we're panned to the right initially. The red box is still in the middle, which means we are going to move from the right towards the center of our original shots. So let's go ahead and hit play and you'll see what I mean. So we start from the very right. Of course you can see it's even off the screen, so we do need to adjust that, but it gets closer to the center of the screen until at the very end of the dynamic circuits all the way centered and very zoomed in. So you just play it back a couple of times. You just it but wherever you position the two boxes, as long as they're both not centered, you should see this path line appear. Now note that you don't have to have either of them centered. So you can take the green box and put it down below, and then the red box and push it up here to the top so you don't end in the center now and you don't start in the center now, and we can just adjust them kind of as needed. So let's go to the Start hit play. So let's shrink this box a little bit more. We don't want it to be too off the screen. And now we can go ahead and hit play and we can watch how it's now panning from the bottom to the top of our video shot. I do want to point out that you can also use dynamic zoom over on the cut page. So let's go over to the cut editor real quick and I'll show you where to find that. And the preview window here, there's a tools icon. If you click on that, then you'll have a bunch of tools that you could. Then you'll have, then you'll have some of those same viewer overlay tools that we saw on the edit page over here, like Open effects overlays. When we open up tools, we have dynamic zoom over here third, from the left, as well as a bunch of other options for affecting our video clip. And we essentially have the same workflow here. We can adjust the positions of the boxes and the panning. There's also three presets here that we can take a look at. The zoom pisa is basically the defaults we saw over on the edit page. There's a pen preset. What you'll notice about this is that the two boxes are the same size, so it's only panning. There's actually no zooming until we adjusted. And this angle preset, which is basically like Pan preset, except we are moving it at a angle from the top to the bottom left, the swap button reverses the positions of the green and red box. So a quick way to turn a zoom in and zoom out. And then you have the IS curve settings. So linear is n, ys and, and out and ease out can be set over here, which if you choose one, of course, that would be also reflected over on the inspector and the edit page, and the inspector and the cop page, even the cut page has the Inspector now, which I think is good because the inspector, once again is really, really powerful. So it's nice to have it on as many pages as possible. And now you can see that the dynamic zoom easier is set to a linear once again, but we can keep changing that as we desire. So that's pretty much everything you need to know about the dynamic zoom tool. It's great for doing Zoom In, Zoom Out Effects, panning, or a combination of the two. So in the next video, we'll talk about adding transitions between clips and resolve. 13. Transition Effects: In this video, we're gonna talk about setting up clip transitions inside of DaVinci Resolve 17. So when we're talking about Flip transitions, what we mean is the way that we move between one clip and another clip and the timeline. So if you don't have any transitions, what's going to occur is just a shortcut where one frame you're looking at one thing and then the next frame is a completely different shot or sink. Now, now in every case, would that be a bad idea? But if you don't add any transition and it's going to be really obvious when you switch scenes. So result gives you a bunch of ways for adding transitions. On. The simplest way to transition is probably going to be the hover over the line between cuts on the video timeline. So right here, for instance, right-click. And then you can see six frame cross dissolve, 12 frame cross dissolve, 2448. The difference between the frame count here is going to essentially be the duration. So if you're working in a 30 frames per second timeline and you add h well-framed cross dissolve. I believe that comes out to 0.4 seconds. That is going to be the duration for that transition. So if you want to 0.42 transition and you're working in 30 FPS, choose that or you can double it 4.82 transition as the 24 frame cross dissolve. Of course, once again, it depends on how many frames per second your timeline is playing at. So if you're working at 60 FPS, then you need to double the frames to equal the duration of a 30 FPS timeline. That also applies for any effect that you work on in results. So if you set up a fusion animation later. So if you set up a 3D scene in fusion and you wanted to play back five seconds of animation, then you should make sure it's 300 frames. If it's a 300, if it's a 60 FPS video, or a 150 frames if it's a 30 FPS video. So let's go ahead and add in a trough frame crust is off here. Now in this case, because I just dragged the clip straight onto the timeline, you can see that the border between these two clips is red on both sides. That means that we're at the start and end of the original graph footage, which means there's nothing else to use for a transition. And that's why it gives us this box. And that's why we get this pop up here where we either need to skip adding the transition or we'll have to trim the clips. We have to trim the clips to basically make room for the transition. So I'll go ahead and trim the clips here and you'll see that it shortens the timeline duration for one or both of these clips. But our transition is added in. Let's go ahead and zoom in so we can see it. So when you add a transition onto the timeline, it's going to appear over your clips. You can see that there's one for the video, but adding the cross dissolve also automatically added a audio crossfade as well. Which means that if there's audio playing back on both of the clips, your audio will fade out. And although the volume and then the audio on the right-click, well-paid n. So similar to that for the video of a crossfade, it's going to fade out the left clip and then fade in the clip in equal proportions until one's out and one isn't. So let's go ahead and hit play and we can take a look at it. Ok, and one more time. And you can see how it's much smoother. If you just sharply cut between two video clips inside of a single frame. So let's show what I mean over here. There's no transition here, a play, and then it just immediately jumps to a completely different scene. There's no warning or anything. But over here on the left, we get that nice trove frame transition. So it takes 12 frames to make the jump instead of effectively instantaneous one frame. Note that you can also add the crossfade as a starting and ending clip. So if we right-click on the edge here with this NO clip on the right, I can add a sixth frame cross dissolve. And if I go here and hit play, it's going to fade to black because there's no clip on the right, so that's also very acceptable. So another way that you can add in a basic transition without actually going into the effects library. And we will go into the effects library in a minute. Here is to hover over clip and on the top right edge of your video clip, or the top-left edge, you're gonna see this little white notch. So rather than right-clicking and adding a crossfade, you can left click on this little notch and pour over to the left. So this is going to cause your clip to fade from black or to black. So you can see here that this was a negative 15 frames. So under 30 FPS video, that's 2.5th. If I go over here and I hit play, then we're gonna get a fade to black. So that's not exactly the same as a crossfade. If I add one more clip over here and we play it back, it'll fade to black. And then the second clip, we'll just pop in immediately. So not fading in the second clip at all, like you would with a crossfade. However, we could fade to black and then fade back in from black if we wanted to. So if we pulled on the left notch for the right clip and remove this over here, then it's going to end up black in the middle, and then it will start coming back in on the right clip. So that can be a pretty decent transition as well. However, that effect also exists as a transition in the effects library that would basically be dip to colour, but with black as the selected color. So let's remove those white notches here for a second. Go to the library and close the media poor. And now we can go over the video transitions and you can see all of the options that result gives you by default. If you want to preview any of these, then you can hover over the effects and it will show you roughly how the effect is going to lock with the default settings as you go between two clips. So if you hover on the left side, it will be the start of the transition, and on the right side will be the end of that transition as the second clip comes in. So doing this little hovering and scrubbing is a great way to see how something looks before you actually add it onto your timeline. Inside of results 17, I mentioned the depth to color. Let's add that and here you'll see you. If I scrub the depth color, it looks almost exactly how it was before. If I left-click on the border for these clips with the selection tool, we can see that they have the red line, which means that they are already extended in the raw footage. So to do a transition, I am going to need to pull them inwards a little bit. So I'll go to T four trim mode. And then I will left-click on the clip and port M. The reason for that, it keeps the black space repelled away, so as long as I do it and trim mode instead of selection mode, these two clips will still stay neck and neck with each other. And that'll be handy when we want to add the transition. Because in order to add a transition to clips do need to be stacked next to each other. One clip on the left frame, m1 Click on the right frame. You can't have any blank space in between them. So let's add depth to color. Now, you'll notice that with these drag-and-drop transitions are going to add them on the right side, the middle, or the left side. So this is mostly a timing thing. Do you want to go half and half between the left and the right clip for the duration of this transition, Do you want to use the star of the right-click or the ending of the left clip. So just position it. Where do you think makes sense? I typically like to put it on the border between the two. And now that it's there, we can hit play. See how it looks between the two clips with the transition. So one advantage of using the color here rather than the notch method I showed, because as the pointing on the border between the two clips, it's going to have the same amount of duration on the left and the same on the right. You don't have to get each of the white notches individually adjusted. And other thing is that if you go under selection mode with a and then you left-click on the white box for this transition. Then you can actually adjust some more settings about it, such as adding an ease curve to it for the speed. So if you want it to be slow at the start and end, we could add 0s, n and l. And you can also dip to any color, not just black. So we could do to white if we wanted to. Let's go ahead and try that. Go back here and hit play. And you'll notice with the e's n and l is slow to start and slow to end. Which can give you kind of a interesting animation effect. Okay, so let's talk about a few other transitions. If you want shape-based effects, then you can use these Iris options. So what will happen is that using a shape, one clip will appear inside of that shape and the other clip will stay outside of that shape. And as the shape expands, the second clip will become more and more visible as the timeline progresses. So if I add this diamond iris on the border between two clips, looks like I need to adjust the edges of these two clips first. So let's go t into trim mode. Paul On the edge to make room for the transition. Also same on the right side. And we drag and drop the diamond iris on the border between the two. Now we can play it back, snapping about here at the start of the transition and the timeline and hitting space to play. And we can see our little diamond iris transition, which is kinda cool. Other options like motion, if you wanted to appear like one clip is physically moving one of the other clips, you could use push to move it from one side of the screen to the other. Or if you want it to split from the metal to the sides of the screen, you could do a barn door effect. So you have a bunch of other transition options available to you as well. If you come down here to the bottom, you'll see some of the new ones that are added with dementia resolved 17. Let's go ahead and drag the glitch transition onto our clubs and give it a shot. So let's hit play here. One thing to note about these fusion transitions is that you can actually edit them over on the fusion page, hence than being cold fusion transitions. So if we right-click on one of these effects, we can open it in the fusion page. And if you'd like to learn about how these effects would be created and maybe consider creating your own later on, we'll talk about diffusion page a bit in this course. Then you can come in here and double-click on the node groups. And it's going to look quite complicated for the moment. But basically, in order to create that transition effect, you need these nodes working together in order to generate your output which goes to media, our media and media and to serve as your base. So that would be the first, second clip that kinda go in here to the effects. And then everything in here makes the transition happen. Sandra fusion page, we can actually see some of that gets most of everything that's going to be working in the background there. Let's expand this preview box. We can kinda see it. And hopefully if we go to Frame here and hit play at all playback smoothly enough that we can see it. I'll go ahead and hit play now. So we kind of have our glitch effect there. Once it goes ahead and pretty renders everything, it's going to play back a lot smoother. So you can kinda see here from the gizmos, there's quite a lot actually going on inside of this effect. One more thing to note here affects like glitch when you look at them in the inspector on the Transition tab here, you can't actually see any settings about them. So if you want to customize the Coolidge effect or similar ones, then you can also click this button over here to go straight to the fusion page. So when you're on the fusion page, obviously you're going to have full control that each of these nodes for adjusting the effect for right now it could get quite complicated, but just note that that's there if you want to change how any of these effects work. But for this simple video I've just shown you guys transitions inside of dementia resolve. I think that's going to just about cover it for now. So in the next video, we'll be talking about open effects inside of different series of 17. 14. Fusion Effects and OpenFX: So in this video, we're going to be talking about video effects that you can apply it to your video clips on the edit page and the page. So on the edit page, if you go to the top-left and open up the effects library, you'll find visual video effects in two categories. The first category is called Open effects. So these would be effects that you drag and drop on a clip. And you can modify the settings of them, and then you would pretty much leave it at that. The other category for video effects would be Fusion effects, which you'd find under effects under the toolbox. And these fusion affects a lot of these are pretty new and some of them do require you to have the studio version in order to use. But if you apply one of these effects like night vision, because they are fusion effects similar to fusion transitions. You can actually go over to the fusion page and then edit the nodes that were actually used to create this effect in the first place. So let's go ahead and drag night vision onto our video clip here. So we can see that it does a lot of things here, especially pixelized using a lot of these top areas of the screen where areas that would have had multiple colors instead get these giant blocks of a single color kind of overlaying our base of video. And also obviously it churns at Green. So in order to see more about how this effect operates, we can click on our video clip, go to the inspector and the top right, go over to the effects tab and you're going to see night vision listed here. Now in this case, many of the controls that you would want to adjust for night vision have been exposed here, which is helpful because then you don't need to know anything about the fusion page in order to modify it. So for instance, with the color here, we can just shift around these slider bars and we can completely change what kind of color that night vision effect is going to have. So green would be the obvious standard. But if you want to change it to something else using the same effect, you're definitely able to do that just by using some of these slider bars with something like pixel frequency with the last frequent the pixels, the bigger they're going to be. So if we have a high pixel frequency, then you'll see it becomes less and less pixelated. If we go all the way to the far right, then it'll basically be impossible to see any kind of pixel effect. It'll look more like the original clip. But if we shift it the other way to something like 9.4, then you can see that these pixels created by the effect are now very, very large. Of course they don't completely override the underlying clip. Then you also have some other typical settings down here, like the brightness if you want it to be a writer. And the final result contrast to increase the variation between the colors. And that's what we'd be able to see in the controls on the Effects page. But like vision transitions, we can click on this little icon to go over to the fusion page and see the actual fusion nodes that built this effect. So I'm going to left click on that now, this should take us into the effect on the other page. Pretty obvious that there is a media input which is used as the base for what goes into this effect. And then the effect spits out an output that goes to the final media out where we can actually see it on the screen and export it into our video. So if you want to see the effect itself, we double-click on the node group here, and let's just kinda move stuff around a little bit. So once again, looking at diffusion effect and all the nodes that built it, we can see that it's somewhat complicated. But if we dissect things one step at a time, then we'd be able to get a better sense of exactly what's going on. So for instance, the mosaic blur here, that's the part that's going to be responsible for that pixelization that we kinda see in our video. So if we double-click on the title here, and the inspector for mosaic blur will be able to see all of the settings about that actual control. So the pixel frequency that was shown on the edit page, but other options here like smoothing strength had been excluded from the edit page inspector. So one advantage of going into the fusion page here is that we can actually edit some of these other settings. So for instance, the smooth strength here, I can increase that a little bit. So if at any point using a fusion effector of fusion transition, you feel that there is a setting that you can't see in the Edit Page Inspector, then you can always dive in here and try to see if one of the nodes offers that setting as a control. So we can just go to any node we want to edit and we can adjust some of the other controls here. So for instance, the saturation was not exposed on the edit page. So we could raise or lower the saturation here if we wanted to do that. And I can hit control and zoom out a little bit. And then we can adjust the saturation a little bit more and then see if that would be a little bit more like what we want. And we can always say play even in the fusion page to kinda preview our clip. Now note that when you are using Fusion effects, whether you custom build it yourself or you're using one of the preset ones. It may take a little while for the rendering to play back here, especially if you don't have the green bar going all the way across indicating that it has already been precast, expected to play back at less than the normal 30 frames per second, at 24 frames per second, whatever your timeline is running out, since it's going to need to process each of those frames and generate the effects for each and every frame that it's showing to you. So we can go back over to the edit page now, that is a brief look at fusion effects. Now the other type of effects, open affects SAR, as I mentioned before, these are effects that are basically self-contained. You wouldn't go and edit them directly on the fusion page, though, you could definitely create similar effects or expand upon them if you know what you're doing with fusion nodes. So for instance, there are many blur effects that you can use and apply to your video clips. If you hover over them, you can see a preview of what it might look like and we can drag it onto the clip in order to add it. Of course, you can easily have multiple effects at once. So we have a fusion effect over here that night vision, but the open effects over here, main difference is that you can't really go into the fusion page to edit them further. But generally speaking, you're going to have all the controls that you would really need to worry about here anyway. So that's not a problem. It's perfectly fine to use open effects. So let's go ahead and adjust something about our zoom blur. So we have the position here, since it's an open effects, we can check out the open effects overlay and this viewer window drop-down. And we might be able to see one of the controls visually displayed here. In this case, we have the position of the effect with the zoom blurs centering around. So if I expand it a little more down here, and I drag this around and you can see how the Zoom blurs can be focusing around the center point. So with the zoom blur, wherever the center point for year blur effect A's is going to be what's in focus and then everything that goes further out than that, it's going to be blurred out heavily. So the Zoom blur could be interesting in that you can still maintain focus on one character inside of your video. Sing. Then blowing out everything around it can also increase or decrease the strength of the zoom pretty easily there. And for most of these open effects, it's just going to be a matter of finding one you liked by hovering over it, dragging it onto your clip, playing around with the settings a little bit and you'll be good to go. Of course, we can scroll down here to non blur effects as well. So one that I like to use a lot would be a vignette. This clip is clearly getting too much stuff right now. So let's go ahead and add something else to the timeline so that we can work from scratch. So I will pop this clip and here, and now let's put a vignette on it. So closing out the media posts, I can see everything down here under resolve effects, stylize. We can drag the vignette onto our video clip. And once it goes ahead and updates here will be able to see how it's gonna look. So on the effects tab in the inspector, I'm going to talk about the vignette on and off so you can see the difference. So the basic idea here is that with a vignette, you have a center area which is going to still show clearly to the screen. And then as you go further away from that center point, it's going to become more and more blackened out. Or really the color can be different than black, but black is the standard color 4f. And yet, so you have a center lens here. By default it's a circle or oval shape. And then on the outer edges, it gets darker and darker as you move away from this kind of viewing lens. So with the vignette effect, we can change the operating mode from basic to advanced if we want to change the shape. So the default shape here is oval, but you can make a many other types of shapes. So for instance, a rectangular vignette. It's going to kind of have a box inside of the box of our video frame. So let's shrink the box here, a bunch. And you can kinda see how there's this rectangle here. Now you also notice that when it transitions from the really black areas to the untouched areas that there is kind of a smoothing here. So if you decrease or increase the softness, then that's going to be reducing or increasing that distance where it needs to transition from really dark to kind of dark and then to perfectly bright. So here's one fun idea you could do with an open effects like thin yet. So you can keyframe most of the properties in these effects, so you're able to animate them. Now you can see right here we have the open overlay for the position of our vignette effect. So I can drag this and I can move it around on our screen. So an essence by having a vignette, we can darken everything in our video, in our video clip. And we could use the position of the vignette in order to eliminate part of the screen that we want at any point in time. So let's just say I went up here at the start, or maybe on the left. And we keyframe to at the first frame of this video clip. So let's go ahead and click on that keyframe diamond. And now we can go over to a different part of our videoclip a few seconds later and the timeline, and we can just drag this position over where we want it. Let's say May something like that right in the middle. So now if we go to frame one and we hit play, we have an animated vignette as it's going to be moving that light across our shot and revealing a different part of the original video clip for us to view at any given time. So now as we get to the middle of our videoclip, we have a pretty cool light show going on here. And if you wanted it to be more like a spotlight, then you could just change it back to an oval shape and make sure it's round. Maybe decrease the softness a bit, and then maybe shift the shape of the oval with this endomorphism setting here to make it a little bit more circular. So now we can go back to the start hit play. And now we have something like a spotlight moving across the screen. It's still a little bit more of a general oval like an egg than it is like a circle there. But you can just adjust the settings until you have exactly the shape you are looking for. So that's just a couple of ways that you can use the built in open effects in fusion effects inside of DaVinci Resolve 17 in order to enhance your videos. 15. Adjustment Clips: So in this video we're going to talk about adjustment clip layers, which are a great way to add different kinds of visual effects to multiple clips at the same time, or to overlay one underlying clip with a video effect without directly affecting the underlying clip. So you can kind of think of adjustment clips as adding whatever you do to the adjustment clip over any clips that are below it on the timeline. So to find an adjustment clip layer, we go over to effects library toolbox and then effects. So you can find it right at the top here where it says adjustment clip. Now, to use an adjustment club, you have to drag it onto the timeline like you would a normal video clip. And in almost all cases you're going to want it to be on video track two or above. Because what an adjustment clip does is it affects the underlying layer with the changes you make to the adjustment clip. So if I drag this adjustment clip above our two clips here, let's go ahead and drag this right amount there. Well, we can see that it's five seconds by default. So if you actually wanted to affect both of these clips, then no need to expand its duration passed that point in the timeline, I'm going to left-click on the border of the clip and drag it over here to the right in order to expand the duration of this adjustment clip. So as long as the adjustment clip is him play its part of the timeline. If I change something like the zoom, it's going to affect the underlying layers. So we can see on each of the underlying clips that the Zoom value is set to 1. So no Zoom has been affecting the bottom flip. Or over here on the second clip to the right on video check one. If I click on it, it has a zoom of one. But I can increase the zoom on both of them by increasing the zoom on the adjustment clip layer. So select the adjustment clip. We'll get the orange box around it and then we can go and increase the zoom. Let's just make it something like times two. And now you can see that although it's on the adjustment clip layer, the underlying clip is going to have that zoom of 2. And if we go to the second clip over here, we can see that the 2 zoom also applies there. So it makes it really easy to move over the transition cut, but apply the same effect to multiple clips, Soviet play here. Then it's going to transition to the clip on the right. But both of them are going to be zoomed in by default thanks to that adjustment clip. Another great use for an adjustment clip is that you can have it apply only over part of the underlying clip. So here the adjustment clip is right about to n. So if I hit play and the adjustment clip ends, it's going to return the zoom back to that 1 because the adjustment clip is not above the Video Track one right here. So you could easily use a small adjustment clip when you need to zoom in on something in your video clip, but only for a few seconds. And then you don't want to mess around with keyframes. You just want to set a specific duration where you double the zoom with an adjustment clip. So speaking of keyframes and animation, you can also use keyframes on adjustment clips. So if you wanna do an animation like let's say have the zoom transition from 1 to 2 over the duration of this adjustment clip. And then you want that transition to occur. As our clips are transitioning, we don't need to keyframe each of the underlying clips in order to have them sync up nicely, we can just keyframe that top adjustment clip and then we'll get a seamless transition as the bottom clips cut from one to the other. So let's go ahead and right about here. And I will set a key frame for the zoom on the left clip. Let's go ahead and set the zoom for 1. And then I'm going to keyframe it there. Now let's go over about an equal distance on the right side for the second underlying clip right around here in the timeline. And now I'm going to click on the Adjustment clip layer and we'll set a new keyframe value here. So I'm gonna zoom to point O here. And now we have two key frames set, so it's going to cause a animation over that duration. So I'll hit the left arrow here to go back to the first keyframe. We can hit play and we can watch that zoom in animation occur. And then at that moment when the underlying clips cut, the zoom is still occurring. So it makes it really easy to have a animation carry through between two clips, even as you cut between them or you have another underlying transition to take it one step further. With adjustment clips, you can just about apply anything to them that you could apply to the base underlying clip. So if we wanted to apply a video effect, we could also do that with an adjustment flipped layer. So in effects are open effects. We can come down here, find a effect that we might want to apply to both clips. And we can just drag that onto our adjustment clip layer. So for instance, we could try something like glow out, though it does appear that the preview isn't going to work super nicely on the top adjustment clip because they just went clip doesn't have any video information itself. So while you're previewing it, you might want to click on the bottom clips and then kind of hover over the glow effect or maybe the light rays to see how it will look roughly speaking. And then go to the top, then drag the glow effect onto the adjustment clip layer. So that will open up the effects tab and the inspector over here. And we can go ahead and control the glow effect for the adjustment clip layer, which if we click over here on the left, is going to be applying to the first clip as well. Since the adjustment clip sets on top, the glow effect doesn't really immediately appears obvious here, due to it being a daytime scene, we can toggle the glow effect on and off to see how it affects things a little bit. So with glow on and the top right, we can see that there's a little more light glow. If we want to increase the impact of the effect, we can play around with some of the settings on here. So increasing the brightness will make that glow a bit more apparent. We could also lower the shine threshold so that the base brightness that is needed for there to be the glow effect goes down a little bit, so it's expanding the radius of our glow here. And if we go to the right side, then we can see a bunch more glow over here as well. For these bright areas and our nighttime scene. One more thing you can know about adjustment clips is that you could stack more than one of them on multiple video tracks. So if I only want him one of these effects per adjustment clip layer, I could reset the zoom to its default here. And then I could bring out a new adjustment clip layer that will go on video track three. Let's right-click in the area for video check one and video check two. And then we'll add an extra track. So we get video track three here now. And we can bring a new adjustment clip over the same duration, ten, let's make sure it's on video check three there. And we can expand the right side of it, snap it to the same duration as the underlying clip. And now we can separate our zoom from our glow effect. But that could be useful for multiple reasons. One would be maybe you want the effects to be at different points in the timeline, so they might overlap a little bit, but maybe you pull your zoom out here to the right. So now the start and end of the zoom is going to be different from the start and end of the glow effect. So let's go ahead and keyframe the zoom. I will just put a keep em. They're kinda randomly go over here to the right, and let's increase the zoom a bit. And now we can go to the start here, hit play, and we can watch both of the effects. So currently there's no zoom, but we see the glow effect. And now as we get to that point in the timeline where the adjustment clip starts zooming in. It's a little bit more gradual than it was before. But as we watch it progress over the next few seconds, we can kinda see it zooming in very subtly until we get to write it down here. We could also watch the values change on the top right in the inspector to verify that it is actually working. Okay, so that's adjustment clips in a nutshell, they are a really great way to affect underlying video clubs. If you need to apply one effect to multiple video clips, they're going to be really helpful. Or if you just want to separate your changes so that everything is its own thing. You want to zoom across a specific point in time, or you want to apply some video effects, then you can do that quite easily with adjustment clips. I definitely recommend giving them a shot and trying them in your video workflow. 16. Adding Titles to Videos: So in this video, we'll talk about adding titles to your video timeline. So if you want to add a title, you can find it in the effects library and you go down to toolbox and then titles. So you have basic titles up here in the titles category. At the simplest level, the basic text tile, a step above that text plus which adds a bunch of extra controls in the inspector that you can use for customizing that title. And then if you want to get a little more advanced, note that these do take up more system resources in order to render. You can use Fusion titles. So similar to fusion effects that we talked about in a previous video. With these fusion titles, you can jump over to the fusion page to actually see and edit settings about those titles in the little nodes that make up the tidal effect. So let's go ahead and drop a text plus title onto the timeline and we'll start from there. So let's put this right about here and video check to. One of the things to note about titles is that you almost always want to put it in video track two or above, so that when you have text, it's going to be sitting on top of your underlying video clips. So if in video one you have an image background or you have a video clip, then that will fill in all of this space where the text title does not render on top of. And then with the title and video track two, you'll have that vendor on top of everything else. So if you click on your title, you can go into the inspector top right, and then start with the text tab right here. You want to change the text of the title so you use the giant textbox for that. So let's go ahead and give it a title here. So I might give it the text, city nights. And then you can go down here to further settings that titles. Do you have a lot of settings you can customize. We'll start with the font. So with font, I might switch to a title font I like to use such as babies know a, a baby's chi. And when we do that, you'll notice it's all blocky. All caps title text. So if we increase the size of the text, it's going to fit nicely onto our screen. And funds like that could be a good choice for videos. So if you have the opening for your video, you might animate a little title like this onto the screen. So as we've been going through, as we talk about editing things in the edit page, You can so keyframe most of the properties about those titles. So it becomes really easy if you want to apply an animation over the text title. So for instance, we can jump over from the text tab for the text title to the Layout tab. And here we can control the center x and center y position for where this title is gonna sit in our screen. So if I take that center x and I drag it to the left, well that's gonna move the center point off-center and basically moving our entire title to the left. And you could adjust the y position as well. So up at the top of the screen is 1. If you want to go down, then you drop it closer to 0. Okay, so let's suppose that we wanted our text positioned right about up there. We can go back to the start of our title and hit play and the timeline and mixture that the position looks good. Having white against the black background is going to be a really good contrast. So it could be a good position to put it. And now let's animate something about the titles. So just like with most properties and resolved, you can animate the titles as well. So if we go to the start of our title, let's go over to the text tab here and we can scroll down. And there's gonna be a setting here called Right on, which we can use to show and hide characters on our Title one at a time in a transition fashion. So if I take on end and that means on this part of the title and poor inwards, it's gonna be hiding those characters from right to left. So let's go ahead and drag the end slider adjuster to the left, and we'll see all of our characters disappear. So we can keyframe the title here for the on. Go about one to two seconds in. And now pull the Right on, right slider adjuster to the far right to reveal all of the characters again. Now if we go to the start of our title and hit play here, it's going to be revealing the characters onto the screen over a couple of seconds. So with titles, you can also add a video transitions. The titles do count as a video clip in this regard. So if you go to video transitions here, you can drag any of the same transitions that you can apply to a background clip, one of the normal video clips, and you can also apply them to the title. So if I grab something like slide here and I position it on the left side of our title. Let's go to the start of this transition in the timeline and hit play. And what should happen is that the text title should push onto the screen. Now note that that also applies in combination with our buy on effect, right on or off depending on what direction you're going. So you have this slide transition, but at the same time, all of those characters are being revealed as well. So you can use video transitions to make your titles appear on the screen. Or you could create totally custom transitions by using keyframe animations on the properties of the title as well, or like we just did there, use them in combination and create something a little more unique. Alright, so let's dive into fusion titles a little bit now. So fusion titles make up basically everything that is not a really basic text on the screen title. And they already have a bunch of other functions going into them in order to create more interesting looking tidal effects. So for instance, I could put something like jitter onto the screen here. And let's just drag the title on to video check to oh, and by the way, you can also scrub through the titles to get a preview of how they look like before you even position one onto the screen so you can see they have different shapes. Some of them kinda have an outline job shadow. Some of them kinda have an outline drop shadow. And if we put it on the timeline, we can go ahead and preview it here as well by hitting play and just watching the title up here onto the screen and render here with the default settings. So just like a fusion effect, you can click on a fusion title and you'll be given a set of controls that should let you customize most of what you want about those titles. So one obvious thing that every title would probably exposed would be the textbox. So what do you want the title to say? So say, I don't know, sushi fusion. And now we have written here in lowercase. We can change the font just like before to anything we might prefer. Now note that in this case, that outline that kinda bounces around the background is independent of the base font that's going to be coming from some of the nodes over on the fusion page. I think the exposed jitter edge controls here would also affect that. So if we wanted to decrease the speed and make that jittering of that background outline a little bit slower than we could lower the jitter speed there. And you can also hit play and then adjust the bar up and down as it plays to see kinda how it's going to look back more in real time. But you might notice that this a decent amount of controls here, but maybe not everything you'd be looking for. So that's when you can jump over to the fusion page and edit things at the core of how it was built up. So you click on your tidal effect and then you click over here to navigate to the fusion page. Or you can just click on the fusion page at the bottom and go there manually as well. But I'm just going to click inside the inspector and jump over to the fusion page for that effect. And just like with fusion effects, you're gonna get a node group here. You can double-click on it, expand all the nodes that go into creating this title. And for each of these nodes, you can double-click on them. You can click on the node and then double-click on the header for the settings to expand everything. So if you only see that title up here, you just need to double-click on it and every other setting will be revealed. And if there's any setting you couldn't find over on the edit page, then once again, you can come in here on the fusion page and customize everything. For instance, you can see here that this effect has a right on, right off. And as these little white notches for the key framing of that effect, maybe you want the right onto take less time. So we could go to frame 20 here. And with the solid text here, the right ON will just change the value here to be 1, which is going to set a keyframe. They're making the right ON affect effectively. And at 20 frames n, if we wanted to, we could also go to frame 30 and remove the keyframe here. And now that effect looks like it's about to take 17 frames rather than the 27 or 30 frames that it was before. So if we have play, it should go a little bit faster. So that would be one example of a property that you might not have seen over on the edit page for the title. But going over to the fusion page, you can find it and customize it. So if you want to keep things simple for yourself, just look through some at the preset templates here, drag them onto your timeline. And then you can just use the controls inside of the Edit Page inspector to customize some simple things about it. You don't really need to mess around with everything on the fusion page. More than likely for nine out of ten things you're likely going to want to change. You'll just find it easily accessible here and the controls. So for instance, with this one, the text color would be a really common example. So we can just use this color selector and change the color to something different, hit OK. And in fact that without worrying about the fusion page, so as you might have guessed, it is also possible to create your own totally custom titles from scratch on the fusion page. And the way you do that is using Fusion composition clips which are Blink by default, adding nodes to it. We'll be covering that more in a few videos. So for now, just try experimenting a little bit with the default templates and seeing if there's a few you like and making some customizations to them. 17. Sound Library and Free Resolve Sound Pack: So in this video, we're gonna talk about the sound library and how you can download divinity resolves official Freesound pack to your computer to use within divinity resolve for your video editing. So if you're on the edit page and you click over on this tab over here to the top sound library, then you'll have this panel pop over on the left. So in this sound library, you're gonna see a search bar which allows you to search through sounds that you have added to resolve. Basically, sounds in your computer and network that resolve now knows about. And then if you click over here on the right, you'll see that that's gonna be searching through your local sound database. Now what consists of the local database? Well, if you click on the three dots on the top right, you have the ability to add libraries in to resolve. And then any projects you'll be able to search through them and quickly load them up into your video timeline. Now below all of that, if you haven't downloaded your free sound library for adventure resolved, then you're gonna see this download button, very apparent. So we can click on that. And then down here, the main area for the panel. If you haven't already downloaded the da Vinci results Free Sound Library, you can click this to be taken to the website where you can do that. So the black magic fail a sound library downloads as a zip file. So I'm going to save that. So if you extract the zip file, there'll be this little executable installer inside of it. So I'm going to double-click on that and now I can go through the process of installing it. So hit next, we'll choose a location for where the sound libraries should be installed. So I'm going to install it to accustom directory here called Dr. videos sound. Alright, so the installations done, and we can see inside of the video sound folder that we have the media files, all of the sound effects that we might want to drop into our videos inside of media files. And then the database file is over here and database. All right, so once it's installed, if you reboot de Vinci resolve, then the sound library should be automatically recognized here. So you pop it back in here. And now there's this little preview area for seeing and playing back the sound effects before you add them to your clip. So you can search through the installed sound library by typing in words that would be found in the name or the description for that sound file. So for instance, if I recall this ant based sound effects, so if you type in ant, you can see ants scurrying about a squished sound effect and some other sound effects where and could be found in the name of the description. I think at this case it's a reverberant. What you could do is use quotation marks around and in order to make it so that it has to be specificly ant and not award that just happens to have the word. And in it, though, you can see that by putting it in quotation marks, sound effect for Ants was left out because answers not the same as Ant. So if you wanted to search through the sound library and find everything that starts with ant, but ends with anything else. Then you could use quotations and then put a star symbol as a wildcard, ended the quotations. And now and, and answer gonna turn up there, as long as it starts with a and t, it's going to match this little search term. And then the wild card just allows anything after ants to be okay. But it wouldn't be like You just searched ant up here where reverberant ends up in the list somehow. So a couple of tricks you can use there for searching. And now there's a good chance you're going to want to add extra libraries to the sound library, aside from these basic free sound effects that you get just by downloading them for dementia result. So for instance, I have a stock music folder on my computer. If I wanted to add that to the sound library, I can click over here to select which database I want to add it to. So we're going to choose the local database here. And I can go to the three dots up here in the top right and choose add library. Or I could click library down here because nothing's been connected yet. And we can just add a location on the computer. So for me that's going to be navigating to this d dr. Videos music folder. I'll go ahead and hit select folder. So now everything inside of that folder should be added here. So we see added eight out of eight clips. Now note that these are music tracks. So if I hit x here on the search term, we'd still need to know what we're searching for. So if you remove the term from the search, you can see that you start to actually search for any files you want to find. So if you don't already know the name of the file that you're trying to add to your timeline. It can be a little tricky to find it. So what I can do here is manually open up the folder and I can find some of these music tracks that I might want to use. So you can see all of these music tracks here by Kevin McLeod. Let me try searching for one of these in the sound library support and a half. We have the music pop in here with the name, the duration of the clip, and we can see the audio waveforms. We can also give it a star rating if we want. Maybe we think that one song is really great and we want to reuse that again. So I'm gonna click on the mute button for a resolve right now. But if you select one of the music tracks and you hit play, then you can actually see the audio waveforms play back up there in the top left. And you'd be able to hear the music or the sound effect as it plays back. So going back over to the fair light sound library, it would be the same case here. If I put in a and T, I guess it can unmute it for this and we'll go ahead and just play back the ants scurrying sound effect. So I'll hit play. And that's basically how we, and that would be how we could preview it before we add it to the timeline. So when we want to add the sound effect to the timeline, you simply need to find an audio track with space for it. So right now there's only one audio track and that has the audio from our base video. So what I would probably do is just drag this out effect onto audio track two, which will be immediately created as long as you bring it below audio track one here. Alternatively, you can right-click under audio one and then choose add track and stereo for two channel audio. And then you can drag it on after that. Okay, so let's use this sound clip down here, the pool pump motor, in order to show an out points. So just like with video clips, you can selectively choose to add only part of a sound clip or videoclip two-year timeline at once to reduce the amount that you need to manually cutaway with the blade tool, I'm going to mute resolve again, just to have that out of the way for a second. And let's say I on the keyboard while hovering over this Sound area. So that sets our endpoint and everything between our endpoint and our output. In this case, no OUT point set is going to show light gray in this little timeline. So let's go a little further over here and I'll hit o to set an out point. Now if I left-click on this preview area and drag it onto the timeline, then we'll see that this is about 15 seconds long. So we've selectively cut only part of the sound effect to our timeline. If I left-click up here and then Sound Library again and I hit Alt X, it will unset that and out points for that sound effect. And now if I drag the entire sound clip, left click, hold, drag over here to the timeline, and I zoom out a bit, you can see the massive difference and the duration for that sound effect. So in most cases, you wouldn't need 50 seconds of the sound effect to be on your video clip at once so you can cut it away using NLP points. Same applies to your raw footage if you only need to use part of what you've recorded, maybe you were recording for an hour and you only want to use one specific minute for that, for one shot. So using those n points is just another way that you can trim down on your video or audio as you bring them into the timeline without necessarily needing to later use the tremor or blade tools, although you could easily do that as well. So in the timeline, I can t, And I could pull on the left side or right side of this sound effect if I need to shorten it down or even to expand it for a longer duration up to once again, the maximum duration of the original sound effect. So that's pretty much the Sound Library and the Freesound pack you can get inside of defensive resolved 17. 18. Modifying a Clip with Fusion Nodes: In this video, we're going to start diving into the fusion page of results. So specifically, we're going to take this video clip here, go over to the fusion page, show a few nodes and what you can use the nodes four and applying effects to a base video clip. So on the edit page here, what we're looking at is nothing but a simple video clip that was put onto the timeline. Nothing else has been done to it. And if we want to edit it on the fusion page, we simply have it selected and then go over to the fusion page, which is the fourth one in the middle at the bottom. So you jump into the fusion page with a clip selected, you should see a media and media out. So media n is essentially your source video, and then media out is what the final result should be after it goes through the fusion editor. So in between here you're able to add fusion nodes which can generate certain highly customizable effects that you might want to include on your clips. Also from the nature of nodes being able to connect nodes to other nodes and merge them together with the merge node, you can also include many different effects before having your final media out. As long as you merge everything back together before the end, you can include a lot of stuff here. So one really simple example for a node here would be a blur node. Now, of course back on the edit page, You can use the effects library to add blurs like a Gaussian blur. One of the reasons you might decide to do it on diffusion page instead is that you can link and another node to your Blur node, such as a mask shape, to cause the blur to only impact part of your video frame and not the entire picture. So if I have media one selected, and then I go up here and find a blur node on the toolbar up here, I can left-click and because I have media one selected and I'll try to find the best place to add the blur node two along this chain. So you see how the output of media one now feeds into blur one and the output from blur one feeds to media out, which means that before going to the final output, it needs to have the blur effect first. You can also see on the blur node that there is a little blue triangle here for the effect mask. So this is another important note for the blur. Note where you can optionally add a shape to the blur. So the, as I mentioned before, that affects a certain area of your screen. Let's show this time how it would look like if you add a node without having a node already selected. So if I go up here to the toolbar, I could click on rectangle or ellipse for a simple shape. So I'll choose a ellipse here. And with this ellipse node, you can see when it's selected that we have gizmos in the preview window to go ahead and edit it. So this green line here is the outline of the shape of our mask layer. In the notes section, you can see that the node has been added here, but it's not connected to anything. So if we tried to render with this setup, the ellipse node wouldn't actually do anything. So to connect it to the blur note, but we need to take this gray rectangular box, which is the output connector, and then connect it to the blue triangle down below for the blur. So this means that the ellipse is going to be serving as the masking shape for the blur. And note, now if I go back to the blur node, I can set up the blur. So let's go ahead and increase the blur size. So as I increase the blur size, it becomes a stronger and stronger blur. But you noticed the blur only happens inside of this ellipse shape. Now, just like in other pages of Resolve, it's possible to keyframe animate the nodes themselves. So if I click on the ellipse node, then you'll see a center x and center y position for that circle. So inside of the preview window, I'll control and then scroll on my middle mouse wheel out so that we can see a bigger picture. And let's go to the first frame of this. Let's go to the first frame of this clip here. So all the way back at the start where we might have a transition and I will take this blur shape and move it off the center. So at this point in time, there is no blur in the center because the ellipses not inside of the frame. Now I can keyframe here to set that as the starting point. Then we can go 2430 frames in to this clip for about 1 second of animation. And now if I adjust the position of this box, I can use the gizmos or the settings and the Inspector. Then a new key frame will be created and will get an animation out of it. So I'm going to left-click on the x center gizmo here and drag this over here to the right. Note that it also shows you the path that the circle is going to be following across time. So that basically another visual indicator there. Now I can go to frame 0, where it's off center of the entire video frame entirely. As a matter of fact. And I can hit play to watch the animation of that circle moving on to the center of the screen. So we estimate the property on one node, the ellipse, which serves as a mask. And that's going to effect the output that we have with the blur node because the blur depends on that ellipse node. So hopefully this example gives you a bit of an idea of how you can chain your nodes together to get certain results. Let's show another way now to add nodes. So you have your basic nodes up here in this toolbar, but there's actually a lot more inside of result. So I can right-click, go to add tool. And there are many categories of nodes that you can build custom effects inside of result for one of the new types and resolve 17 or a vector shape nodes. So with vector shapes, it's easy to add simple 2D graphics to your video clips for this category though, as well as 3D nodes. The setup is a little bit different because you have to also have a special render nodes. So for shapes, it's an S render node. So whatever you set up with the vector shape nodes has to go through a surrender before it goes to the media out. Let's start with a simple shape note here, I'll do a S rectangle. So it's a rectangle shape as a vector. Now normally if you want to preview how your setup looks at a specific step, you can left-click on these little circles that are below each of the nodes. So I could pop the S rectangle into the left view. Once you left click it and you see that white circle. That means that it is on the left or the right view with vector shape notes specifically though, you can't actually see anything until it gets rendered. So if I right-click and add a tool, let's go to shape and then S render. I will connect the rectangle to the S render. And now I'll left click on that preview circle, the left view. And we'll be able to see our graphic rendered to the screen. So we can see here it's just a simple little white circle. I can click back on the S rectangle. Note if I want to change some settings about that, maybe I want the corners to curve around a little bit so we could add a corner radius. We could go to style if we wanna change the color. So let's just adjust that a little bit. But obviously at this point in time, you can tell that the media out does not have this blue box inside of it. So the media owl is previewing and the right, and it has a blur because the blur and the ellipse, that's all part of our chain that leads to media out. So we need to find a way to mix in the Blur, but also with the surrender. And what we would use for that is a merge node. So the quickest way to get it would probably be to left-click on the blur. And then I'm going to right-click on the line in front of it to make sure that the merge node gets added to that line. Go to add tool, and then let's go to composite and merge. So our merge node appears on the way to media out. The yellow connector ends up being the background or what shows and back. And then the green connectors, the foreground or what would show on top. So if you are merging nodes together and you have a title, you would probably put that in the foreground so that a renders over any of the background video because the background video would hide anything that was beneath it in terms of layering. So let's take the S surrender now and connect that to the green foreground connector. And now our box is going to appear on screen. So if I left-click on the rectangle, get all the gizmos, I need to adjust this little rectangle. Let's move it around on the screen. You can see as I move it off center that the blur is still there in the background. So we're already combining multiple facts and one output. I might want to shrink the size of this square now, so I'll lower the width and height, something kinda tiny so I can just throw it in one of the corners. And let's adjust its position with the gizmos over here. Usually, it's a little bit easier to visually adjust things with the gizmos unless you need a very specific value, which you can always type it in in the inspector. So now if we go to the store and hit play, we have a little animation. Our lips slides into the circle. And we have a random blue. And we have a blue vector, a rectangle on the top left. Now one thing you'll notice that when we're hitting play is that a lot of these nodes are flashing green and it's taking a very long time to move through this timeline. So other fusion page, these effects need to be rendered out and it needs to render any updates on a frame by frame basis. So it can take quite awhile for an effect to get pre-rendered here so that you can actually play it back smoothly in the timeline. So we've kinda ended the first 200 seconds here. If I go to the start here and I hit play. So unless your video effects in the fusion page get cached. So unless your fusion of banks have been cached and that the effects have been pre-rendered and they're all currently in memory. And you can check, lay back, and then render cache and fusion memory cache to make sure that those are functioning correctly. So I believe that user for vendor caches the default here and then fusion memory cache out. If they are cached, then you should see a green bar here on diffusion page timeline. And then you should be able to play it back and realtime without the slowness of basically needing to render as you play. But if it's not cached, then it's going to play back pretty slowly obviously, since it's rendering everything on a frame by frame basis, you don't really need to worry about that though. When you actually export your video project, everything will be rendered and the video should play back at the timeline speed what you actually your project up for Circuit's 24 frames per second, it should take 1 second to play 24 frames once it's exploited. One more fun tool we'll throw in for this video, or the vector shape nodes. There are also nodes that can interact on the bass notes. So if you have a rectangle node, you could duplicate that many times by selecting your shape. Note right-clicking on the line to add the new node to the right spot, go to add tool shape, and let's do a red node. So when we have a grid, it's going to duplicate the original shape many times. And we can set how many copies there should be, what the offset should be as well. So let's just go ahead and play around with this account here. Perhaps we go back to the rectangle node and we also adjust the location of the original node here. And then let's bring that onto the screen. On S grid, I will lower the y offset to bring them closer together. And so just like that, you can create not one, but 12 rectangular squares. So obviously with vector shape nodes, they could easily be the base for something like a custom video title. So with vector shape nodes, it would be really easy to do things like create video titles and then having these shapes serve as some kind of background and maybe you layer the text over them just as one example for what might be possible. So in the next video, we're going to be talking about creating a simple custom tidal inside of dementia resolved 17. 19. Building a Simple Title with Fusion Nodes: So in the last video, we introduced a bunch of the basics for using nodes on clips inside of the fusion page. Now that we've talked a little bit about vector shape nodes though, let's introduce how to create a new fusion title from scratch. So if we go over to the edit page where you're probably going to want to do creating a new title is to make it independent of the underlying clip. You would want a tie. You would want to title to be moveable. You would want the title to be able to be moved and adjusted independently of whatever is underneath it. So the way we can do that is by using a fusion composition clip. And we can find that on the effects library over n fx and infusion composition. So this is essentially a completely blank clip where if we go over to the fusion page, is only going to have a media out node by default. So there is no media in, at least initially. So I'm going to drag this onto the timeline where I would want to create a title. We can go to this title, zoom in a bit. By default, these fusion composition clips are going to be five seconds long. So if you want a longer title, you may want to take the edge here and increase the duration of the title. But in many cases, five seconds is actually a pretty good number. So I'm gonna Control Z and leave it as a 5 second clip. Now let's go over to the fusion page and we can start working on a title. So over on the fusion page, you have two options for how you want to set up your text nodes. If you want to create a full 3D scene. There are 3D shapes over on the right, including text nodes here. So in 3D space, you can get a perspective view on your text rather than an orthographic view as you move items around in 3D. And you can also add lining to your text objects since they are 3D objects, if you've ever played around with another program like Blender for 3D modelling, it's very similar to that, just you can't actually model inside of fusion. And the last thing I wanna point out right now is that if you set up any 3D nodes, they do have to go through a 3D renderer to take the 3D scene and turn it into a 2D image before it goes to media out. But in this video, what we're gonna do is we're going to use a text plus node over here on the left. Because with this effect that we're going to create, we don't actually need any of the extras that you get with a 3D scene. And in fact, if you don't need those extra as having a 3D scene is going to bog down the performance of your rendering by quite a lot. So if you just want your text to be kind of flat and basic, then you'll get better performance with text plus, since it's not a 3D scene, it's 2D. So I'm gonna click on text plus here to create a text node, I can left-click on the left would view circle to pop it on the left side. And we can write some text for our node. So I'll go ahead and type in resolve 17. We can select a font for our text. So I'm a big fan of babies chi, let's try that one out, Increase the size. And because this is in 1920 by 180 pixel frame, it's going to be pretty consistent over here with what we are going to get in the media out when we connect everything together. Because I know we're going to add some extra vector shapes to this setup, the title. Let's go ahead and click on a merge node. This time doing it with the toolbar as a shortcut. And I can take the marriage and put that to the media output. The only thing I might want to change here is making the text the foreground, that green connector rather than the background connector. The reason for that is so that the text shows above any of the shapes that are in the background if they happen to overlap later on. So let's disconnect this node. Texts wondered merge by left clicking on the right side of that connector. And then let's take the output connected the gray box and connect that to the green. And when we have our vector Shape node set up, that will go in here to the yellow connector. So I'm gonna right-click. Let's go to Add to, and let's grab a shape. Let's try out in gun. So an ingot is a polygon that has n number of sides. So anything from three to 20, I believe, is the max and result. And then we'll be able to use that as the shapes. So we could have four sides for our rectangle, three for a triangle, 64, a hexagon, and so on. Let's also right-click and add tool, go to shape and then S render. So if I connect the gun to the surrender, we can put this on the right view. So left clicking on the right view circle. Connect this to the merge. Okay, so you can see for the n gun that we have six sides here. We can adjust the position, the size, or the rotation angle of our shape. So maybe I'll play around with that a little bit. Kinda looks like a honeycomb. Why don't we try the grid note again, I'm going to right-click on the line in front of the Afghans, go to add tool shape. And now we have a bunch of the shape on the screen. But the way to big, I can also control and zoom out with middle mouse wheel to see the full frame up here. So I'm going to shrink the size of each of these in guns. So let's drop it down to something way lower until the shapes fit onto the screen. Maybe I will type in the size and make it point 15 for width and 0.15 for height. So the sides are equal with each other so the shape doesn't get warped or stretched too much. What I might also wanna do is preview the shapes with the text together. So hovering over the media out OneNote, I can put this as the left preview. And now we can see both the text and the white shapes at once. White with white is going to make it very hard to read what's going on here. So I'm also going to change the color for the vector shapes. So under style, Let's go ahead and give it a different color by moving the sliders around. So that's kinda cool, pinkish red there. And now we can see the white text against those red shapes is much easier to read. Now, one of the advantages of this grid node is whatever you change to the first node is also going to affect all of the other nodes in the grid. So you change once and it's going to apply to all nine of these nodes. So why don't we go to frame 24 for this title here, which is 1 second. And our project, I'm going to key frame the width, the height, and the angle there. So that's gonna be the base setting for how it locks for our clip. But we'll go to frame 0 in the fusion timeline here. And we can adjust those settings. So if we want to have the Afghans be smaller at the start of our tidal animation, I could 0.01 here and then 0.01 for high as well. Now if I play, the size of those angles is going to get bigger across this 1 second of animation, I can also change the rotation angle. So I'm going to actually just take the angle here and set it to negative 360. I will right click on the arrow to go to that key frame. The first keep him we set at 24. And I'm gonna actually on keyframe it here because what I want to do is to have the hexagons rotating for the entire duration of this clip. So going to frame 19. Now, let's take the angle and type N something like 720. So if we go from negative 360 to 720, that's 34 rotations every 360 degrees is a full rotation. If we go to Frame 0 now and hit play, we should have rotating hexagons for the entire duration of our Title. Other things we could keyframe could be the color. So if I go and keyframe the color at frame 24, I can go to frame 0 now and change it to something else. Let's say black maybe, and hit play. And the color is going to animate between those two values. So going into frame 0 again, hitting play. And you can see how it kind of fades and over time as the black goes to having an actual color of the red. So now we can actually edit the title a bit more. We might want to add on buy off effect. Or maybe we could go to shading and add some drop shadow to this text to make sure that it is very readable against the background shapes. So on shading, I will go to select elements and choose three, which is where you'd find black shadow and enable it. So now we have a text with some shadow here. It's quite strong though, so I might lower the alpha of that shadow down so that it is less dramatic. We can just leave it there. Now on the text node. Let's animate the title and an effect where we can have a bounce up and down in terms of size. So at frame 0, Let's go to Layout tab here. So lets our bass key frame, frame 24, and I'm gonna keep frame this size here. And what we'll do is have the size of the text bounce every 12 frames are. So 2.5th sub-frame 12, we have about 0.2 size and it's going to animate up here to this value. Let's copy that same size value over to frame thirty-six point two. So I'm going to control V, paste it in here. And now our text should be bouncing a little bit in terms of its size. Let's just say we want this to occur for the entire video clip so we can copy the keyframes around. So if I open up the keyframes panel on the top right-hand corner, let's zoom in here a bit. Go to the start, and then we can see these key frames as these little notches. So if I expand text1, I can click on these key frames and then copy them around. So I'll copy the keyframe, airframe 24. With Control C. You left-click it, you hit control C. And now let's go to frame 0 and this little timeline and control V paste it NF, frame 0. If I want to copy and paste one of these keyframe points, I can select it and then do right-click and then choose Copy points on the menu. Go here to frame 012 seconds before that low point, right-click and do paste points and value. So now we have four keyframes. Fair play, we should get two bounces there, and we can keep this going as well. It does look like I pasted it into frames to find the features. So you can actually left click on the keyframe notches and drag them to where you need them to be. So this should be at frame 0. All four of these are lined up properly. I can select R four of them at once, and then we can right-click Copy points. And we can keep duplicating that for the rest of our timeline. So let's go to frame 4812 Frames after the end of the first one. And then we can paste all of the points and again, so I'm gonna right-click and do paste points and value. So that gives us another four keyframes. Let's go another step further. Up here at the end, we have frame ADA psych guess we'd be looking at frame 99 and then we can paste it and again, to add even more keyframe points. And we don't exactly need to worry about removing the extras at the end, you could, but if the title factors only rendering to frame a 120 here, then these, then these key frames are just never going to actually render folly at all. Stop right here, where it's expanding at the end again. So let's go to the start here and hit play. We can kind of watch out a little animation here. Now there's just one thing about this, which is that the speed of the bounces is linear. In many cases for like a bouncing ball or that sort of thing. You might actually want ease curves to make it look a little bit more realistic, where its fastest when it's popping out and then slowest when it is far in the background. So let's pop open the spline editor in order to control those curves. So opening spline and I'll close keyframes. Now we want to talk on text1 size here. So inside of this blind graph editor. So by the nature of slowing down these low points where the size of the text is small, It's going to speed up the points on top because the size is still going to animate to the same value over the same duration. So part of that transition is slow. The other part has to be fast to make up for it. So to grab all of these bottom points, you can drag a box left-click hold, and then drag a box around these bottom six points. If you miss one or two, you can hold Control down and add extra points to your selection. But just in this case, make sure you get the bottom six points here. Now with these bottom six points, I'm going to click on this smooth operator on the bottom left of the spline window. And you can see how this flattens out the curve on the bottom points but makes the size rise a little sharper. That indicates moving faster when it's going up or down, it's going to be moving fast when it goes left and right. It's not really adjusting the size in this case. So let's go to the start here and hit play. And we should be able to see how, when it gets small, the speed of the change slows down. So it looks a lot more bouncy than it did before. And that's one way you can use splines in order to just how your animation is going to lock. You can also do the same adjustments to the rotating and guns in the background if you wanted to, so that everything is bouncing up and down. The last thing I really want to point out for this video is how you can actually save a title for reuse. So over on the edit page, we have this fusion composition clip now, so you can see everything outside of the title. It's just black because there's nothing behind it. If I move the fusion tight over here to the left than we can actually see our title layering on top of everything. I mean, that looks pretty messy with what we added on the background video. So not the ideal candidate. What we wanna do is to take this fusion composition clip and save it for later. Now, if we go to the media pool, you'll see here I have something called power bins and then the Master power Ben. You don't see that by default, how you open it up as you go to view at the top. And then you go down here to show power bends and you check it with the power Ben is, is a resource folder that is shared across your result projects automatically. So if you save something to the power of n and then you open up a new project, that same vision composition adjustment clip. Anything else should be usable inside of that project? So if I click on the Master power band here, which is the one, which is the main one. By default, you can also right-click and create sub-bands if you need to. I need to do to save it to the power Ben is to drag it in. So if I left-click on this fusion composition and I just drag it into the power Ben, left click hold and then let go and power ban. Then that is going to save that fusion composition for later re-use. Now in this case, fusion composition doesn't really help us to really understand what is n here. We can hover over the effect to kinda see our title there. So if you want to rename it, left-click on diffusion composition and then left-click down here on the text in order to change the title name here. So I'm going to call this tutorial title. So now we can hover over it and also see the title and have a decent idea of what that is about. And so now that we have the title saved here, we can go into a new project. So I'll just call a new project power Ben test. If I left-click on the power band now, we should see our tutorial title so we can drag it into the timeline and use it just as if we had it and the other project. And because we saved it as a fully editable fusion composition clip, we can take this even in our new project on the timeline, go over to the fusion page and continue editing it to customize it for this project. So we have all the same notes and nothing is stopping us from adding extras or taking away nodes that we no longer want or need. So that in a nutshell is how you can create a simple title inside of resolve and also save it for reuse for your future projects. 20. Auto Color & Lookup Tables: In this video, we're going to start moving over to the code page of resolve, which we can use obviously for color grading among other purposes. So the two things I really want to show off and this video are ways of easily adjusting the color on your clips. One is auto color, and then the other is using LU tease or lookup tables. Let's go over to the color page for a second. On the color page, you can see your video timelines down here towards the bottom. And if you want to adjust the color on one of your clips, then you're going to want to select it just like any other page. So you can click around on the specific clips in your timeline that you want to adjust for color. So the autumn color function does pretty much exactly what you would expect. It all. Take your base video clip and to automatically enhance the colors, making it more vivid, depending on the base colors in the footage. So do you think it can work pretty well as a good starting point for if you need to do extra adjustments and you wanna save some time. So you can find the auto color function up on the color menu at the top. And then you can go down here to auto color. You can also do Alt Shift C as a key binding if you want to do that. Now note that on this page, when you do apply an effect or auto color, for instance, it's going to be applying and not just on the clip that you have selected, but the node up here that you have selected. So similar to the fusion page, you're going to have color visual information input over here on the left with the green circle. And then as you progress, you're going to want to end up having them output to this output visual information node. So for right now we only have one node. So with this selected, it's going to be applying the auto color directly on this correction node. And since we only have one node here, that basically means this is going to determine our final output. So let's go ahead and do the hotkey there. So Alt Shift and then c, Note that auto color does take a minute to process. So now that it's done, we can go back to the start of our video and we can kinda see this automatic color grading might be easier to see if we actually go over to the edit page here. Let's actually go ahead and expand the view here so that we can see everything and go ahead and hit play. So because it's processing the base video clip and the auto color on top of it. It is playing back a little bit sluggishly here, but you can definitely see how it has affected the underlying colors. Now, of course, you can't really control the output of this. So what you get out of the auto color may be something completely different than how you want. I also find that the auto color effect usually works best when the colors in your clip don't radically change over the place. So if you had something like a lens flare and your video clip or the colors were shifting around a lot, it might not give you a great result in the entropy, but in any case, we can open up our nodes here if we want to see how the output looks without this auto coloring or any other effects we've applied in the color or fusion pages. We can go up here and toggle the bypass for fusion and color effects and just play it back normally. So now this is the original clip we can talk about back on to see the color grading changes, and then we can evaluate if that's a lock we actually enjoy. So if you want to revert your change and go back to the base state, we can right-click on our correct or node over here on the right and do reset node grade. That's going to remove all of the color effects off of that node. So now let's give lookup tables a shot. So lookup tables in the top left, you have a bunch installed to result by default, and you can actually get a bunch more off the internet and installed them yourself if you want to do that. And basically, each lookup table is going to have a certain way of matching the base colors in your original video clip to a new output. So it's basically a pre-defined way of calibrating your clips. And you can reuse the lookup tables in order to have a more consistent effect across your video. So if you want to preview one of the lookup tables, you simply need to kind of scrub through it like this, hovering over the thumbnail. And then you can see how that's going to affect the colors in your video clip. So some lookup tables are going to have specific purposes, but if you're looking for just general film looks, you can use the film looks category over here. And just to get a different feel for how the output of your video clips could be. You can go for a cold look by shifting all the colors towards blue. So for instance, some lookup tables, if you look into them, my shift all of the colors in your video towards something a bit more blue to help emphasize a cold temperature environment. So if you find a lock you want to try out after kind of scrolling through it and previewing it, then you can take the lookup table and then drag it onto the corrector node for your video clips. So I am going to left click and hold, and I'm just going to drag this all the way over here to this corrector node on the far right. So whichever one you want to apply the lookup table to, you, just drag and drop it on. And now you video clip is going to have the adjustments from that lookup table. Now it's a bit beyond this video, but note that it's possible to have multiple character nodes that separate different parts of your video initially and then combine later on. Now just a quick note with these co-vector nodes over here, it is possible to split your base video input over here into multiple correct or notes so that you can apply different effects to each of the corrector nodes individually. So if for some weird reason you wanted to apply and lookup table to different parts of the clip individually. But you could do that by having to correct or nodes and then merging them back together later. But we'll go ahead and make covering those kind of features more in the next video. 21. Face Tracking, Power Windows & Blur with Color Page: In this video, we'll be expanding into other color page topics including how you can use power windows to target certain areas of your video frame when you're working with corrector nodes on the color page and also be showing you how you can use those same power windows in order to blur out specific areas of your video footage. So a power window is basically a 2D shape that you can use on your corrector node in order to mask part of the frame. So you can have an effect apply to everything inside the mask or you can invert it and have it apply to everything outside of the mask. So we'll keep it simple here and we'll take a rectangular power window here. So I'm going to left-click on the shape up here. And you'll notice that the rectangle shape is popped up here at the top. And you can see immediately that everything inside of the rectangle is calibrated and everything outside of it is masked out from the effect. So I can left click on the Power window and I can drag it around if I desire in order to target where I want that color grading to take place. And you may notice in the bottom right that these are also keyframe bubble. So you can keyframe the positions of the power window if you need to set an animation. And as we'll be talking about in a little bit, you can also have power windows track objects, namely people's faces, if you need to do effects like blur for right now for this example though, let's show how you can have the color table apply inside of here, and then to have a totally different color table applied to the outside. So the way we would do this is by adding an extra corrector node to our setup on the nodes. So I'm gonna right-click and go to Add Node and co-vector. So this now needs to be included on this chain. So we need to break the green output from the first director note and feed it into the input for the second character node. So I'm gonna do that right here. Basically it works the same as the fusion page. You just left-click on the right end of the line if you need to break it, and then left click and drag to make a connection. And now we will take this and feed it to the final output. So if we look at the second co-vector note, we can see that in the little preview frame here, it shows the entirety of our base video clip, but with the changes made from the first corrector node. So whatever effects you apply in the character note, well, basically apply to everything you see in this preview window. So we want to have the inverse of the first corrector nodes. So everything outside of this little box, and how we can do that is we connect the alpha from the first character node to the alpha input of the second corrector nodes. I'm just going to drag that in over there. And now we see that we get a exact copy of the first one. So we just have to inverse it. Now, I'm gonna go over to the key tab over here third from the right. And then we just click on this little Matt mask heat. So by doing that, we basically flipped it around. So now in this second correct anode, we're affecting everything outside of that box, which is exactly what we want. And now we can apply any kind of color grading or video effects on top of this correct anode. So we could drag another lookup table if we wanted. But you know what? Why don't we take a look at the color wheels in the bottom left-hand corner. So one way that you can manually adjust the Colors in your video clip is to use these color wheels. So there's four categories here, lift, gamma, gain and offset. So the lift is going to affect the darker areas of your video clip the most the gamma is going to get those mid tones and the gain wheel is going to be affecting the highlights that bright areas. And then the offset is a general wheel for affecting all of the colors in your video clip all at once. So if I go ahead and adjust the left towards Purple, we should see the dark areas are the ones that are kind of close to black. Churn, very purple here. So let's go ahead and shift that up. Now. Notice as I pull this up, it does kind of affect everything a little bit, but the areas which are most affected are the darker areas from our video clip. So I'm going to reverse that with this little reset key. And let's do the same thing but with again now. And what you should see is the white clouds are going to churn more purple compared to the background. And then the gamma once again affecting those mid tones. So it's going to be a little bit more evenly distributed, but then the offset is just going to apply the same colour change to everything. So if I make everything really blue, then you can see it basically applies to everything all at once. Okay, so just for the sake of demonstration here, I'm going to mess with the colors a little bit. So let's make the gamma kind of read here. That lift will shift that towards blue just for fun. And maybe the gain can be kind of purples. So we're just messing with the colors here for fun. Obviously, it looks really bizarre, but what it does point out is that we can adjust the color on different parts of our video by separating them with correct or nodes like this setup up here. And if you want to apply a blurred to one of those corrector notes, you have the blurred tab right over here to the keying tab, so to the left over here. And now we can just take the blur radius and increase that, and then that should blur whichever node we have selected. So if we want this outer part to be blurry, then we increase the blur radius. And just like that, we have a blur on the outside, but not on the n-side because we're applying the effects one character node at a time. So here in this shot we can see that there's a guy here walking in the background. Hugh isn't our main actor. And this little stock clip with the camera, it's only kind of defocused, so it's a little hard. It's already a little blurry to see the people in the background. But let's say for the sake of argument that you wanted to blur is face out even more. So we can do that on the color page. Let's go to the color page here and make sure that this clip is selected. And what we're going to do is find the moment where that guy comes from around his shoulder. So I'm gonna use start from about here. And we're gonna put a power window over this guy's face. So the power window tab is over here fourth from the left. And for a face, a oval shape would be a good candidate. So I'm going to click on the circular power window and let's move it and adjust it to roughly fit the outline of the person in the background. So we'll just pull on these gizmos until we have roughly a good shape K. We can put it right about there. And now let's add a bit of a blur. So I'm gonna go to the blurred tab and I'm just going to crank this blur up. Let's just put it at max. Why not? And so now everything inside of this power window is blurred out. But If we go to a different point in the timeline, you can see the guy moves. So we need to track his face and make sure that the power window follows the person's face. So we'll start from right about here with power window was already lined up nicely. And now we can go over to the tracker tab to the right, and we need to track forward or in reverse. Now you can see here that it is going to be tracking on all of these aspects, pan, tilt, zoom, rotate, and 3D. If you have all of them selected, it may take a little bit longer for the tracking to finish. But generally speaking, you get better results by leaving them all on. If for some reason it looks kinda funky though, you can always try turning a couple of them off, especially ED and rotate. And then only tracking on the other aspects, pan tilt and zoom. But I would leave them on by default until you have a reason to change it. So let's go ahead and track forward. I'm just going to press this and let it do its thing so you can see it's tracking forward, resolve, does this on its own. I'm not in control of it at all. And we get a pretty good result. So I'm going to actually play back in the timeline and we can watch how the circle basically follows the guy's face, almost Soviet play here we can see how the power window follows the guy's face really, really nicely. And we didn't have to do a whole lot of personal effort. But there's only keyframe set between these two points. If we go earlier in the timeline, you can see you kinda need to track backwards as well. So we'll go to this key frame. And then let's go ahead. After we get the cursor lined up, let's go ahead and hit track reverse. So now it's going to be doing the exact same thing in reverse. You can see though it gets pretty distorted after a minute. So, so this is kind of synthesis, kind of where, so this is kind of one of the areas you might run into some issues when the object leaves the screen. So I'm going to hit Control Z here to undo that tracking since it wasn't great. So I'm also going to turn off 3D rotate and zoom here because I kinda, I only want to make sure that the circle follows the face. I don't want it to get distorted here. And since these kinda moving horizontally across the shot, it, he doesn't really get bigger anyway. So let's try it one more time. We might actually need to do track one frame reverse and do that a few times to get the best result. But let's see what happens if we hit track and reverse. Okay, that was actually pretty good. Okay, and let's play it back on the timeline. That worked out really nicely actually. So we have one more problem, which is that although we're tracking is pretty good, the point O, this point in time when the person isn't even in the shot. And then there's a point in time where he is actually on the right side of the clip. So one way we could do this if we still want to have a tracker when he's on the right track or when he's on the left and probably know tracker in between here because we don't really want that blur active would be to separate our clip into three separate clips. So I'm going to go to the edit page here, and that's actually break those apart. So right here, we can add a cut and then we'll go to where he leaves from the right side. And we will add a cut right about there. And I'm going to click on this middle clip and we're just going to turn the power went off. So I'll go in here and toggle that off completely. And the blurb will reset that as well, because without the power window, the blur would just affect everything. Okay, so now that's okay. The blur now pops n here when he enters on the right at the correct time, roughly speaking. And, and now we just need to correct the power windows position foil when he's on the right. So let's go back in here. For the tracker, I'm going to reset the data here and we'll go to frame one on this clip, I'm going to move the Position. Actually, let's go to a spot where he is out in the open that will help the tracker a little bit. So that could be right about here. Its position on the head, adjust the shape. We can turn on, zoom, rotate and 3D for now. Now it can go here and track and reverse. You'll notice that the tracking stops once again when he leaves the frame. So there's little points in time when object exits the scene are probably the hardest points for tracking. But in this particular case, a kind of works out because having it there at the start is fine. We only need a blurred when he's actually in the shot. So we can just go with that. No further adjustments needed. And then let's track forward a bit and see how that goes. So it kind of gets stuck right about here. So let's just make another cut. Why not? Let's figure out where he needs to be surveyed. Here's where this tracking ends. About, here is where he's behind. So I make the cut here and then we'll just adjust the tracking again. So select this fourth club over on the color page. Let's go to the first frame here and just kinda position on the right, only even do any tracking here. I'm just going to reset the tracking, the sun and we're just going to position it right here. And let's go ahead and hit play and see how that works. So for this very short shot, let's go ahead and look through the frames and we can see the, it mostly covers it. Maybe we wanna add a couple more frames here. So what we can do is over on the edit page, since these are essentially the same clip, we can use the function where you hover over two clips on the border and you can extend one clip was shortening the other. So by doing this, we'll bring the blur n for a couple more frames without really adjusting any of the clips. So now if we go frame by frame here, we can hit forward, forward, forward. And at that point, the phases and tear and the background anymore anyway, so we don't really need the blurb. So at this point, the guy's face is basically blurred for the entire thing, will play it back one more time and watch a K. And it seems to be good. Of course, depending on what kind of video you are making. If you were blowing for actual privacy reasons, then you'd want to be careful about it. So you can go frame by frame and just check and make sure that you've got it on all of the frames. So they actually have a successful blur. So we'll just keep going frame by frame here and make sure we have a good result in the end. And that's actually looking quite solid. So that's the basics of what you're going to want to know about corrector nodes, how you can use power windows and mask certain areas. L, apply certain color effects or color grading to different portions of your video clips and how you can use the tracking tools to make sure that your power windows follow an object around that you want to track for purposes like blur. 22. How to Remove Green Screen Background with Color Page: So in this video we'll be talking about how you can move the green background when you're trying to do a green screen-based effect. So basically we're keeping out the background specifically. And if you don't already know, of course, the color, why use green for green screens as it's rather unnatural color to use and videos, people don't generally wear green shirts and you wouldn't find green as a color on people's bodies. So it makes it a good color to remove if you are filming in the studio or something. So let's go over to the color page. And just so you know, there's actually many places where you can do this kind of effect in resolve. But we can show the workflow, but we'll show the workflow for doing it. But this video will show that, show the workflow for doing it on the color page. So we have our clip here selected. And you can also see right here on the right, which is actually underneath on video track one, we have a random background clip that we're going to take the video track to green screened women and half showing us the background in place of this green screen. So one of the best tools we can use for keying out a specific color is going to be the qualifier tool. So right here, we can use the default selected tool that picker to select a color that we want to adjust for one of our collar page effects. Just so you know, this could be things like using the color wheels if you want to target a specific color to adjust. Or you can use other tools like the color curves or the color warping, which is new to dementia, results up until you have a lot of options for adjusting how your video looks on the color page. So we just take the picker tool and we go up where we have the color, we want to select m, we left like so now you can see with the corrector node on the right here, it has a pretty good selection of the green background. You can see it looks a little bit staticky because our selection isn't great. The background, so we need to adjust it a little bit. But what we're going to want to do is to change what the alpha output of our clip here is. So to change the alpha output, we need something for this corrector node Alpha channel to connect to. So I'm going to right-click on the notes section and do add alpha output. So we can see now there's a new output for the alpha channel here. Let's connect the character note to this. And now you can see is whatever is showing in this corrector node is going to be the new output and everything else has been selected out. But what we actually want to happen is that all of this green goes away, not the person. So under King tab, we are going to want to invert that. So I'm gonna hit Matt mask. So on the Qing tab we're going to want to inverse that. In this case, we want to hit the key output down here, this little icon here to invert it. And so we have the start of our result there. We can definitely see the underlying background coming through, but it is way too green. That won't do. So let's go back to the qualifier tab and we will adjust this a bit more. So we have a few options here for what we want to do. And I'm going to click on the enhanced viewer so that we can see our video a lot more closely. The first thing I'm going to try to do is add to this selection. So we can use this tool over here, picker, add to, add extra. The colors to the selection. So you can see that these actually operate on parse here. So adding colors is going to expand this bar. So let's get the other shades of green here. I'm going to try to left-click right here. And that will help us remove a bunch more. But this is only going to take us so far. So you have these map for NES options to help clean up the image after we have a reasonable selection. So one of the options here that's really going to help us clean up these random outliers over here is going to be clean white. So let's go ahead and take this and shift it to the right. And we should see most of this stuff over here kinda disappear. Let's just shift this to the right until something happens. Isn't preferable actually, ok. We can just kinda keep going with this, okay? So at some point you may get to the point where actually starts to pull from the cloud. So to scan of the person you're trying to keep the green screen. So at that point, you probably don't want to go further with your clean white. So let's leave that at a 45 here, which is already pretty high. Now we can work on this green over here to handle this, maybe we can try using the picker ad. We could get a little bit of a darker green here, I assume so. Okay, so that added a bunch to the luminance bar. Over here is Jada expanded a bunch. If a, a controls the, you can see it's a shorter range, but as soon as I click in here, we get those darker ranges. So if we'd rather not use the picker tool here, we could also manually adjust this. So if we pull this down, we can see if we can get of the greens with having other selections. Maybe we changed the saturation here a little bit. What we're trying to avoid is removing any of the person's body while getting better all the grains. So it's kind of a balancing act because if you pull your colors too far, like, oh god, like that for instance, you may pull from some of the other colors. So we just want this green range here. I'll expand the green range and that's going to help us out quite a lot here. So we just need to work on this just a tad more. Let's adjust the colors until we can get rid of as much green as possible. K looks like we need a little bit of saturation here to get rid of that. So he pulled the saturation all the way to the left. Okay. Maybe if we lower the colours at the top too much. Okay, just to show here, I'm going to intentionally increase the hue on the right too far. There's also a minus selection picker here. So picker subtract and we can go up here to the hair. Left click on the area with the hair should obviously be left click that and then it's going to add back. The hair color tells basically all there. But now once again, a little bit more green. So we may just need to keep adjusting this. We can go over to the edit page, take a look at it again, see if that's going to be GAD. So it's definitely not perfect, but you can tell it was green screen in the background. When you have a lot of hair, it can be a little tricky, but it's not too bad so far. So we'll give it a little bit more of a shot. So if we expand the range here, we might be able to, we just have to be careful when we're working here that nano or as little as possible of the body gets removed. Let's hit play. Okay, so it's almost good, but over here on the right now, a little bit of the code is getting removed. So once again, I want to re-emphasize it's a balancing act and it does take a little while to get right. So let's try a minus selection on the area over here. Okay, that was way too much if we shift this saturation in a little bit. So to kinda clean up this area down here and the little gaps in the hair, you can see it looks a little too sharp. I do think some of that Gottman moved. We can try increasing the de-noise, which does kind of blurred a little bit. But it might give us a better looking end result, 15 or so on the de-noise, I think we can get a better end result than having this set to 0. So what try that, that's kinda fit this to the screen. Hit play. One other thing we could try here would be to decrease the n out ratio. Bring back a little bit of the outline. You might see a little bit of the green comeback kinda looking at right here. Okay, one other little adjustment we could make here. If we zoom in, we can still see a little bit of green on this hair. So why don't we try going over to the color Walker tools and we can target the greens specifically. So you'll see around this web that there are pins that control the hue and saturation for your colors inside of this image. So each of the pins are basically going to control one type of color. So if we click on the pin and the bottom left hand corner, the green one, we can actually shift that all the way inwards, which is going to desaturate it as a, bring it closer to this middle point of 0. So if we look at the green right here, we can see it's kinda cover for right now. If I bring this all the way out, it gets more colorful. But if we bring this all the way to the center, the green is going to be almost completely desaturated. And that I think is gonna give us a better luck, because the point is to make the green screen as unobvious as possible. So making it desaturated, it's gonna make it blend and more with the hair itself. Once again, making our effect look a little better. So if we go back to the start now on the edit page, we hit play. It's decent. I would say still needs a little bit of work to much of the sweaters getting cut off there, and a little bit of the hair as well. So once again, back on the edit page, let's play around with it and let's adjust it a little bit until we get it where it needs to be. Let's find that moment where there is a lot of this sweater getting cut off. I would say one of our better options here, which probably to increase the denoise a bit. Doing this is going to kind of blur the edges a little bit unfortunately. But if you compare that having part of your clothing missing, I think it's much better for it to look for in the end, the final shot. So with that added back in, go here, hit play one more time. Watch out. It looks so in this case, we have most of the green gone. The body is still intact and that's what you're trying to achieve with your green screen. So depending on the quality of how the original green screen was done, pulling this kind of effect off is going to be easier or harder. So at this point, I would say that we have our green screen keyed out pretty decently. We've removed most of the green and we kept the body intact for the most part. And those are the two things were really looking for when we're trying to remove the green screen. The difficulty of pulling off a green-screen effect is going to depend a lot on how well the original green screen was recorded. So if the green color is completely even in the background in there, a lot of shadowing greens and really bright greens, but it's all one consistent color then that is going to make it a lot easier when you're using tools like the qualifier on the color tab because then you only need to target one tiny range of green. And that means less accidental colors that you'll be removing from everything else. But in a nutshell, that's pretty much how you can remove green screens from your video clips on the color page. 23. Fairlight Audio Effects Dialogue Processor and Vocal Channel: So in this video, we're going to be jumping over to the firelight tab for basic audio editing. And in this specific video, I want to show off a couple of useful audio effects that you can apply to voiceovers and side of dementia result. So if I wanted to add this to the timeline just like everything else, I'm just going to drag this entire audio clip down here and drag it onto audio track one. So no video associated with that, which is okay, and we're going to jump over to the firelight tab now. So that's the one with the little music note, second page on the right. So on the right page, let's close out that media poor, we don't need it at the moment. At the bottom middle section, we have our timelines down here. You'll notice that video is left exclusively out of here. You can't still preview clips with the video playing back in this little preview window if there is any. So if I was to go over here to the previous video, then we would still see the preview up there. But pretty much everything else on this page is specifically for audio. So one of the main things I wanna point out is the effects library over on the left. So here you're going to find all of the audio effects that are built into dementia resolved 17. And if you happen to install VST Audio plug-ins, so you could also find that located within here if you do have them installed on your computer and for some reason they don't pop up, then you can always go to dementia resolve at the top. And then Preferences go down to Audio plug-ins and making sure that the folder where your plugins are stored is listed here. So putting that aside, the two effects I think are relevant for this video are going to be the dialogue processor effect. And down here at the bottom we have vocal channel. So let's go ahead and start with dialogue processor. If you want to apply an audio effect to audio, then you are going to drag that onto obviously the clip and the audio timeline. So I'm going to drag it on there. And what you'll see happen is that you'll get a pop-up interface of all the effects that are located inside of the dialogue processor. So the dialogue processor isn't a single effect, but it's actually a combination of different effects that when put together, can give you better voiceovers and your videos. So you'll see down here that there are six of them. D rumbled, D POP ds are the compressor, expander and excite. So one of the things that result provides you are presets for your dialogue processor. So if you click on the drop down here, you can select between a Female voiceover preset and a male voice-over preset. This one at the bottom is actually my own Custom Preset. I'll show that in a bit, I guess. So if I'm a male and I'm speaking, I probably want to go with the male voice over preset. So you'll see that some of the settings here change, especially the amount of the excite drops from the default 0.38 to 0.21. So now we can show the preset I'm actually using for these course videos. So Hypertext Mail and you'll notice here I have the ds are turned off. So these first three effects are about removing bad, unwanted noises from your audio recording. So the D1 both targets low-frequency sounds. So you'll notice that the hurt style goes from 40 to 235. So very low frequencies for the cutoff of that effect. The deep op is for popping noises. So generally to remove popping noises, you would have a pop filter with your microphone in terms of physical hardware, and that will help to remove popping P sounds. So I'll try to make a few. I M using a pop filter right now. So the deepest effect as a virtual dementia result. Or here is basically a digital way of doing the same thing to reduce those popping P sounds. So the d'Azur is meant to help remove two types of sounds. It's kind of like an S, like sound and I believe also SHE sounds. He also noticed that the frequency cutoff here is quite high. So those sounds would be picked up on higher frequencies, much higher compared to the D rumble. So with all three of those in theory, you would be removing some of those extra noises and improving the quality of your audio. However, whenever you use any of the software based effects, although it may target certain frequencies and help to remove the sounds at those frequencies, you may also get unintended consequences where it pulls away from the original crispness and recording quality of your original recording. So with every effect you add, you might remove some background noise, but it's gonna get further and further away from sounding like the original recording. So it's a tradeoff. Sometimes it improves the quality, but then sometimes you take away from the audio information or sounds less complete than it otherwise would. So the compressor takes very loud audio and tries to lower the volume. So wherever it reaches above the threshold, it's going to lower the final volume on those loud sounds. So what they expander will do for you is to increase the difference and audio volume between your highs and lows. So the audio that falls below the expander threshold as the audio that you would normally here is quieter and quieter, the expander will be reducing it further and further. So if there is random background noise that's extremely quiet, then the expander will kind of cut that out. But you would want to be careful because if the audio you actually want to keep is to closer falls below this threshold, then you might accidentally remove some of the wanting to audio and make it too quiet and audible in your final output. And then the excited effect enhances certain vocal ranges so that they stand out a little bit more and kind of pop out more at you. And you'll notice that there's two settings for the effect down here, male and female. So likely depending on the person talking, if they have a particular feminine or masculine voice, you'd want to switch between male and female to help enhance the sounds depending on who's talking. So my current preset here, I thought I had done a little bit more to it, but looking at how it is right now, the only thing I really actually did was turn off the d'Azur. I just noticed that the vocals sound better without it than it does with it. And I don't really get a lot of those sounds anyway. And pretty much all my videos lately, I just throw it on my audio clips or rather my audio track specifically, and I'll show how to do that in the next video for any voiceovers that I happen to be doing. So let's take a look at another audio effect we can throw onto our audio clips. So we have vocal channel down here at the bottom. I'm going to drag it onto the audio clip. Note that you can use more than one of these audio effects on the same audio clip, but you probably don't want to go too overboard with it. So just keep in mind that more isn't always better. So you'll notice in vocal channel that there's also a compressor tool here. So if I toggle that on, you'll see that when audio reaches above that threshold point, this would be the original audio volume and it gets lowered down here. So it's another tool that you can include the compressor on. But I think it'd be a little bit more interested and the high pass and the equalizer. So the high-pass, when you turn it on, what it does is it lowers the volume on particularly low-frequency sounds. So this curve here, by default, it's not really going to affect spoken audio. If you find background noise, any recorded audio, then you may find that this helps to get rid of a lot of the low-frequency sounds, background hums or that kind of thing. So the equalizer, and there are multiple places to find equalizers inside of result, but this is just one of them. You can use this to raise or lower the volume at certain frequencies. So this equalizer, you get a low frequency, mid frequency, and high frequency. Those are controlled by these three dots you see on this graph over here. So you can adjust the position of these, which is going to control both at what frequency you want to target and how much you should lower or raise the gain or the volume on those certain frequencies. So you could adjust the equalizer here and pull this down and to the right a little bit if you want to take the high-pass and kinda enhance that even more, you'd have to be careful though, because n these mid ranges from 200 to 6.4 thousand or so, you're gonna get a lot of the spoken audio ranges. So if you want to take this and lower it down here, then it's really going to lower the spoken audio itself. And if you want with the high frequency over here, you can kind of get it to lower some very high frequency sounds. And so I wouldn't normally do it, but you could also raise the midrange is a little bit as well. And you can see how that sounds if it improves it in any way, but usually I'll just keep it down here. And if I do need to make the audio louder and stead, I'd probably be increasing the volume and the audio track mixer or left clicking on the track, going to audio and raising the volume here instead. So when it comes to filtering out unwanted audio, you're usually going to end up with some kind of tradeoffs. So you just need to try the effects, See how it sounds and see if it gives you a better result than what you had originally. The best way to handle it, of course, is going to be to get a good audio recording from the start so that you need to have less dependence on these Audio plug-ins. So in the next video, we'll be covering some more audio tools in the audio mixer over here.