DaVinci Resolve 16 - The Complete Video Editing Course | Patrick Inhofer | Skillshare

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DaVinci Resolve 16 - The Complete Video Editing Course

teacher avatar Patrick Inhofer

Watch this class and thousands more

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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

10 Lessons (4h 32m)
    • 1. DaVinci Resolve 16 - Introduction

      2:14
    • 2. DaVinci Resolve 16 - Lesson 1

      39:42
    • 3. DaVinci Resolve 16 - Lesson 2

      46:36
    • 4. DaVinci Resolve 16 - Lesson 3

      27:12
    • 5. DaVinci Resolve 16 - Lesson 4

      29:54
    • 6. DaVinci Resolve 16 - Lesson 5

      32:02
    • 7. DaVinci Resolve 16 - Lesson 6

      23:52
    • 8. DaVinci Resolve 16 - Lesson 7

      30:24
    • 9. DaVinci Resolve 16 - Lesson 8

      24:22
    • 10. DaVinci Resolve 16 - Lesson 9

      15:35
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About This Class

Start editing your video professionally with Blackmagic Design's DaVinci Resolve 16!

If you are looking for a free video editing application that will allow you to edit videos however you want them, DaVinci is the best answer. DaVinci Resolve 16 is used by amateur and professional video editors across the world for every type of production from business & marketing videos, music videos to documentaries, feature films. This full course is the best way to jump right in and start editing.

Make videos the way you imagine them!

  • Edit an entire video from beginning to end, using professional and efficient techniques in DaVinci Resolve 16
  • By the end of the course, you'll have edited your own short documentary using either the supplied footage (video clips, photos, graphics, music, etc.), or your own footage!
  • Start a project with the right settings for any type of video, from any camera.
  • Edit your videos, and make them more dynamic with cutaway footage and photos.
  • Export and save your videos for HD playback in DaVinci Resolve 16
  • Design clean and professional titles for you videos.
  • Add motion to your titles, photos, and videos... making them more visually interesting.
  • Color correct your video to fix issues with white balance and exposure.
  • Add a feeling to your video with color grading in DaVinci Resolve 16
  • Apply visual effects to your videos to make them look better.

Meet Your Teacher

Hello, I'm Patrick.

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Transcripts

1. DaVinci Resolve 16 - Introduction: hello and welcome to this course, which is designed to get you up to speed on the venturers off 16 in as little time as possible. My name is Patrick in Hoffer. I've been working in post production for 30 years. I started in New York City as an editor, and I've dedicated myself to digital finishing and color grading for the past 20 years. In this series, you learn the four information you need to get through resolved without stumbling. It also helped. The side of resolve is for you because the venture resolve is very deep. You should consider this an introduction I've provided to you a 62nd commercial that you can edit, color, correct, add graphics mix and render for final delivery. We start by learning about the barest cool sense, how they're organized and how you move your projects. From rough cut final rendering, we step through the process of importing your media, using both manual and automated tools. Toe. Organize that media and then you start building your rough cut resolves brand new cut. Then way, Use the edit page to finesse your rough cut and look at the more advanced trim tools of course, color correction is essential for a visually cohesive story. You'll learn how the color pages organized hadn't used color wheel curbs, create isolations and use the tracker. Extremely important to your story is sound. Using the fair light page, learn how to organize your tracks, apply to you at the clip and track level, and create sub buses to do track channels for the final mix. For most of us, the whole point of all of this is to release your project to the world in the deliver paid . You learn how to use preset export templates. Create your own reusable custom export it set up multiple renders in the Ranger. Yeah, Creek will cover a lot of brown. I look forward to getting you started with The Vinci Resolved 16. 2. DaVinci Resolve 16 - Lesson 1: one of the confusing aspects of the venture resolve, especially if you're new to the software and don't have someone to guide you, is that there are two versions. The paid version and the free version. The pain version adds the word Studio to Venture Resolve Studio. The free version is simply called the venture Resolve. This movie is here to help you understand the significant differences between the paid and free versions, but also how they're precisely the same. The first thing to know the studio version is a physically different download from the free version. They are two different pieces of software in this series. I'm working with the ventures off 16.1 public beta three. A common question I get is, should I download the latest version of the vigil? Resolve to follow along with this training? My answer, yes, but not the public Betas. I'm using it here because by the time you watch this, it'll be out of beta. As a beginner, I suggest you start with the most recent stable version of resolve. That means if you have to scroll down past the public, Betas to the most recent non beta version got it good. Let's keep moving. If you decide to purchase two venturers off studio, then you have three options. There's the legacy option. Back in the day when you bought Studio, one of the things you bought was this, ah, USB dongle. You insert this dongle into your computer and it stays inserted the whole time to ventures off studio is running on your machine. The good thing. It's portable. Any machine with this dongle can run resolve studio. But dangles are no longer sold. You could find them online, but be careful. Many sellers are fraudsters. I suggest you Onley by Donald directly from someone you know who is a legit user. Or, better yet, how about this next option? You combine two victories off studio and get a license key, which you enter on the splash screen the first time you launch it. This is how all new versions of Resolve Studio are now sold or bundled. The license entitles you to run to computers, usually a workstation and a laptop. Now there's 1/3 alternative for Mac users. You can buy The Vinci Resolve Studio on the Mac App store. Then you can run studio on any computer logged into your APP store account. No dongle, no license. But it's a bit of an offshoot from the other two options. You can't migrate this license to a PC, and it has some restrictions that don't allow the nifty collaboration features of other studio licenses. If it were me, I'd buy a license key, since that gives you total flexibility and no compromises. But app store integration may be more important to you, and that's fine now that you know what the compromises. If you don't have a dongle if you don't have a license key. If you don't buy it on the Mac App store, then you must download and use DaVinci Resolve the free version. This brings us to the real topic of this movie. What's the difference between resolve and resolve? Studio? Here are my top five reasons Toe upgrade and pay for resolve. Studio reason. One is the single most useful stand out of resolve studio integrated noise reduction. You could by third party noise reduction plug ins, but none render faster than the native tool. For me, it solves 90% of my problems. Reason number two to upgrade to Resolve Studio are the various restrictions of places on the free version, including restricting larger than uhd frame sizes for rendering plus no de interlacing or adding three to pull down on rendering you can't use resolves new machine learning feature to automatically detect and group faces in people. High dynamic range tools, including Dolby Vision, are not accessible. Using more than one graphics card to accelerate real time playback and rendering is not possible on the free version, but on the Mac App store version you can use to GP use with the free version. If you have a new Mac Pro running resolve Free Reason Number three for Considering resolve . Studio resolve affects plug ins that Onley work in resolve Studio. My five favorites film Grain Lens Flare Color Stabilizer Object removal. That one is big and face refinement. These just my highlights. There are many, many more. If you're thinking of buying a few open effects plug ins for those operations, it may be cheaper to purchase, resolve, studio and unlock. All those features were discussing all of which our GPU optimized and playback and render pretty quickly. If you decide to buy 1/3 party open effects plug in and it's being sold as studio on Lee. Then you know they're taking advantage of special programming features that won't work in the free version. What happens if you try one of these features in the free version of Resolve? Will they work well? First, you'll see this dialog box informing you that the tool your using won't work. Then, after closing the dialog box, you'll see this big old watermark that watermark will render if you leave the plug in or feature active. So, no, you won't be able to use those features in the free version now very quickly now. My last two favorite reasons for upgrading to resolve studio but which may or may not matter to you. Studio lets you collaborate with other artists in the same project simultaneously. Think colorist, editor, assistant editor, fusion artists and Audio Mixer, all working on the exact same project on the exact same timeline at the exact same time. It's brilliant, but do the Mac app store limitations? This feature won't work on the Mac App store version of Resolve Studio. Finally, there's remote grading, unlike collaboration, which happens entirely on an internal network in the same building, remote grading lets you drive DaVinci Resolve Studio Located somewhere else in the world. It's amazing for in demand freelancers, and that's it. The main differences between the free and studio version of the venture resolve. Now there's one cool concept I want to leave you with. The project files between Resolve and Resolve Studio are literally identical. You can work with resolve free. Have a friend who has the dog will for resolve studio come over and install studio. You could then say, Set your noise reduction a studio only feature and render it out after rendering. You can then reinstall resolve free so you can keep working and reopen the project. But what's the drawback? There will Those shots with noise reduction enabled will be re watermarked, but then your friend could come back. Reinstall rear ender. The point I'm trying to make resolve free isn't some severely hobbled version of the ventures off studio. The projects created by both versions are identical and you can freely swap between the two installs. So hopefully now you have the information you need to decide if the ventures off studio is right for you or if you're fine using the free version of the venture Resolve. If you have access to the exercise files, then this movie will help you understand what I've provided to you. After you download the file, you're going toe. Unzip it. It opens into this exercise files folder. I've just placed it here on my desktop. You can put it wherever you want. Just remember, throughout this training, whenever I come back and reference thes exercise files, you're gonna dig for them wherever you place them. Inside this folder are three more folders. We've got projects, media script and XML. Let's start at the top in projects Media. I've got two folders and a DRP or DaVinci resolve project files, starting with the folders. The 1st 1 is the end resolve projects. What I've done is from time to time saved off the end states of one of my movies and provided it to you for import so you can examine it or continue from my precise settings. These are exported out as DaVinci resolve projects. They do not include media because the file paths to the media on my computer is different than yours. When you import these, d r. P s into the venture resolve, you're gonna need to relate the footage. We'll be looking at relinking in a moment This O A C spot conformed. The are A. This is a particular kind of the venture resolve export. It's a DaVinci Resolve Archive or dot de r a. A resolve archive exports, not just the debentures off project file that drp, but resolve has also collected and gathered for me all the media used in that project. A DRP is created. The media is gathered and placed into a common folder that ends in the extension dot g r a . So if I step into the dot de r a, we see a DRP and a Media Files folder. If I step into that folder, here's all of our media assets we use in this training audio consolidate graphics, music screenshots, consolidated video, trance coded and the oh, this is about 1.9 gigs in total file size. The important thing to realize is that a D. R. A. Is nothing but a folder. And what happens when you restore a d R. A. Not only does the project get restored, the media files are also re linked. It's kind of a nifty trick. Basically, I'm delivering this media to you inside a d r A. When you restore any other resolve project file I provided you will need to re link to the media inside this d. R. A folder inside the script folder. I've provided you two scripts. These air here for your reference if you decide to recreate the 32nd commercial on your own . Finally, I've given you an XML is folder. Now there's a read me in here, and the read me basically says, This folder is empty and yes, that's on purpose. It's self explanatory as a reminder these demo files are licensed to you for use on Lee. With this course, it's not licensed for uploading to video sharing sites for commercial purposes or for redistribution. As part of this training, I've provided you with exercise files footage. You have scripts and you have project and archive files. In this movie, you're learning how to restore a day ventures off archive or dot G. R. A. It's a great feature that allows you to take a project and archive it and resolve, not Onley exports the project file. It gathers all your media in that project and saves it with the project file. You can then move that dot de r a to another computer. Restore it. The project loads up and automatically re links to the media inside the project, saving you a ton of time. So let's restore the dot de r A from our exercise file. When you first launched a venture resolve you land on the project manager now right click in the grey space not on another project, but in the grey space and choose restore. You could try import, but that only works with dot de are peas were not importing a project file. We are restoring an archive, so click on Restore Now, navigate into exercise files on your desktop and into the Projects Media Folder. And here it is. It's a folder with the dot de R A extension. Now I can double click and open into this because it's a regular folder. So as I double click, you'll see there are media files in here. I can double click into those, and I've already pre arranged all this media in here, but this is not what we want to open up right now. We need to come up to the level where we choose the dot de r A folder. So I'm going to click back up on Projects Media. I'm going to click to choose this folder, and I'm going to stop there. I'm about to select. Open the DOT br. A folder Extension Tells dementia Resolve. This is an archive. When I click open, the project is now fully restored. You could see it's automatically re linked to the media itself, and that is the big benefit of a dot de r A. It reduces the workload you have to do when you're restoring a project from the archive in the exercise files I provided you. We also have the ventures off projects that you can import into the venture resolve. Let's see how they're a little different and what we need to do in order to get all that footage inside the project to re link back to our source media in the Exercise Files folder . So once again, I'm going to right click here in the gray area again. I don't want to right click on a project. It gives me a different set of contextual menus. I'm going to right click and choose import projects. We're not doing a restore. We're doing an import. I'm gonna navigate to my desktop into the exercise files folder. Click into that Click into Projects Media and let's pull up end resolve projects. Now, these may be different in the final project files I provide to you, but let's go ahead and pull up this 0509 Hugh versus start, select anyone that you want. It doesn't really matter. I'm gonna go ahead and click open. And now Hugh versus START is loaded into my project file. I'm gonna double click into that and we've opened up the venture resolve and you see that all the media is offline. So what do we do about this? How can we fix this? Well, one of the easiest ways and I usually like doing this from the media page because I'm gonna click down here on the bottom and click on media and then here in the bin. I'm going to click on Master and shift click on the last folder listed. And every single piece of media in this project is now listed here in the media pool. Ah, click on any one of these items and do a control A control. All right, click and choose re link selected clips. Another way of doing this without having to do this. Click and select. All is we can come back up into master shift, click on the folders right click on a being and choose reeling clips for selected bins. Now I'm going to navigate down to the hard drive that contains all of my footage exercise files. And now I could just choose exercise files because the media for this training is located down here in this dot de r a. But I usually like getting a little bit closer to where my source footage is. Imagine that this exercise files was actually a hard drive that contained lots of folders, toe lots of different projects. If I click it this top level there, it'll have to rummage through all of those folders, and that could take a lot of time. So I like to get as close to my footage is I can before clicking the re link button. So I'm gonna come down here instead to the dot de r a folder and now ah, click. Well, it's the okay button So let's click that a dialog box tells me it's looking for the matching media and everything gets re linked. Sometimes DaVinci resolve will ask you if you want to do a deep search. It does that when it can't quite find everything, or if the folder structure isn't what it expects. When that happens, say, yeah, go ahead, do a re link, and then it will dig through every single folder that you've selected every single sub folder you selected and see if it can't connect up some of those clips. It's having trouble finding If you've been following along, I've quit out of the venture resolve and restarted it. When you launch resolve, the first place it takes you is the project manager by default. The untitled project is the active project you can tell because the orange border and the check mark double click to step into it in resolve. 16. The first place you land is usually the cut page, which is a brand new editing interface that supplements the edit page. But it's empty, There's nothing to show, and what I really want to do is give you a grand tour of the venture resolve But before we do that, this white bar is annoying the heck Adami. If you click and drag it around, you notice that the resolve interface is a floating window. But since resolve has a very dense interface, and because that what bar is visually distracting, let's make it disappear and maximize our screen real estate, go up to the workspace menu and choose full screen much better. We could take this a step further down in the bottom along this darkest gray strip right click and choose show icons on Lee. We've gained evermore valuable pixel space for the active part of the screen. Really useful on laptops. You can do the same thing up top if you want to declutter. But we won't, since those text labels are useful to you at this stage of your learning. Let's turn back on the labels. Now let's get you into a fully populated project for our grand tour. Hover over the little House icon in the lower right, a tool tip pops open. Click on the Project manager Icon toe. Open it up. This is the same menu that launched us into this untitled project. Double click on the O a C spot conform project we restored in the earlier movie on restoring resolve archives. We're back in the cut page with a fully edited timeline, but let's start with the media page down here on the bottom left and click on it. The media page is where you load your footage from your hard drives in to resolve to simplify our understanding of this page, click on the audio and metadata buttons to hide those pallets. Notice how those icons now dim down the screen is now split in two. The bottom half is your media pool. Footage listed here can be used on the other pages in resolve. The upper half is your media storage. These are your attached hard drives. The only way you can edit, color, correct or mix your footage is to get it from the top half media storage to the bottom half the media pool up. Look in the video H 2 64 folder in this been list. Now I can see the footage in that folder, and since this footage is in the lower half the media pool, I can work with this footage and resolve. I'll click on the first clip in this been it shows in the viewer. I can hover scrub over the thumbnail, the viewer updates. If I click the metadata button. Details about the clip I just selected appear in the upper right. Is this down arrow below this TV like icon? Click on it and select all groups. This exposes every metadata field you can associate with a clip. As I scrolled down, most of these could be filled in. Some of them can't. The only drive attached to my laptop right now is my C drive. I'll navigate to my desktop to the Exercise files folder in my D. R. A folder and to the music folder. I'll select my clip if I hit play. I can hear the music and watch the way form played down. I can expose my audio meters by pressing audio. Press the space bar to pause. All right, now let's move over to the cut page. This is where you'll start when your first building your timeline. A few things to note. We've got the media pool in the upper left, just like we had on the media page, but that can be replaced with any of these other palettes. Another thing to notice. The dual timelines. Notice how they're both interactive and how audio moves with the video. The top timeline is always zoomed out at 100%. This allows you to quickly navigate your timeline. When you click and drag in the ruler area, you're moving the play head around the bottom timeline is always zoomed in. The play head has locked the center and the timeline scrolls past it. When you click and drag in the ruler area, you're sliding the timeline around. It's really a very nifty display. If you need to significantly find tune your edit, you can migrate over here to the edit page. This looks more like a traditional timeline. It's easy to get to key frames and adjust individual audio channels. If you don't like the way the media pool is dominating the left side of this screen, click on what looks Like to Me is a TV on a stand. This retracts the media pool tohave screen and that real estate opens up for the time line just below it. You can click on the been list icon to hide the text labels for bins. If you need more room for your clips. Notice we have a more traditional source timeline. Dual viewer set up. I can hover over any of these thumbnails, and they pop up in the viewer to put them up there permanently. I'll double click on it, and now my clip is in the source viewer. I'll drag the play head in the timeline, and you could see that in the right side. Timeline Viewer. Ah, click on the inspector toe, Open that pallet and then click on a clip in the timeline. This gives me a slate of additional tools, and if I click on the square with the down arrow, it expands to show me the full set of tools. Open the cropping tool, just double click on it and then double click to close it. I'm going to pause here now to give you some time to mess around with the three pages we just covered. Remember, you can always go to workspace, reset the user interface to get back to default and then choose go full screen. When you're ready to move on, we'll finish our grand tour of the resolve interface. Continuing from the previous movie were finishing our tour of the Resolve interface. And here on the edit page, let's select the clip in the timeline and then jump into the fusion page. Fusion is a visual effects powerhouse, and we're Onley lightly covering it in this Siris. For now, we're gonna move on and click on the color page. This is the original heritage of the venture. Resolve, color grating. It's his feature rich as any other page. Here in the software, like the cut page, notice that it has two timelines. This is the thumbnail timeline. You can use this scroll bar to scroll through it. Below. It is a mini timeline. They can scroll independently of each other using my middle scroll wheel, hover over the many timeline and zoom in. And now it can scroll independently of the thumbnail timeline. The thing to remember is what shows up in the viewer is the clip highlighted in orange. And as I click through the thumbnail timeline, the orange clip in the many timeline highlights or I can click on a clip in the many timeline, and then it will jump the thumbnail timeline. The lower third of the interface is resolves color correction tools. The small icons reveal each of the many different tool sets. Many of these tool sets have several pallets of their own. You can use these pull downs to navigate through the sub pallets or use these dots to directly jump from one sub palette to another. Like I said, resolve is dense. Or I guess, as software engineers like to say, it's feature Rich now in the upper right quadrant is one of the defining features of DaVinci Resolve. Color correction. It's the no tree. This square is a node. A single node contains all the corrections in the lower third of this page, and we can add nodes to build our corrections. Next stop on our tour, the fair light page. Notice how the user interface completely changes again. This page is all about audio. There are a multitude of features Baird in here. At this point, I want to pause and point to things out to you. Number one. As a project progresses, we tend to move from left to right through the pages. So we start down here on media work through the to edit pages, going to color correction and visual effects. Then we go into music and audio and mixing, and then finally, onto the deliver page. Second, notice how the user interface has completely changed as we've been moving from page to page . Even our timeline takes on entirely new forms. But it's all one single timeline. We're not doing any exporting or importing. No errors are occurring as the timeline gets handed between each of the different tools. This is huge. It's one of the most important distinctions between the venture resolve and its rivals. Now let's jump into the deliver page. Here is where you can pull a presets too quickly to deliver to YouTube or Vimeo, or you can create your own custom presets and save them. At this point, we've gone through the entire resolve interface from left to right. We've looked at all the pages. You've gotten a sense of how the resolve you I really reshapes itself. Depending on the creative task at hand, these are all custom designed user interfaces. So what's next? Well, play with this project. Explore all the menus and pallets and options. You really can't hurt yourself too badly. You can always get back to normal and most importantly, have fun. If you've been following along. I've just quit out of resolve and restarted the software so that it takes us right back into the project manager, where an untitled project is highlighted and ready to go. And I'm just gonna press, enter or return in. Orderto open up that project. Now let's start by setting our global preferences, these air settings that will persist between projects and databases. They're usually related to our hardware set up or to personal preferences that are not likely to change with individual projects. So let's head up to the menu item DaVinci Resolve and choose preferences. Notice up top there two sets of global preferences system and user. Let's set up our hardware first in the system preferences At the end of this movie, I urge you to go through all these system settings, methodically tweak the settings so they're appropriate for your year. Since I'm using this laptop, let's start with Memory and GPU The big thing. I check his GPU configuration. If I had external graphics cards, this would tell me that resolve sees them and allows me to tweak how they work. If resolved, confirms that things look good. I tend to leave this a default unless resolve starts acting up on me while I'm working. Let's go to media storage at any drive here that contains media if it's not already listed , The important thing is to put your fastest hard drive first at the top of this list. If you have to delete a drive ad in your fastest hard drive and then add your other drives back in, this helps with playback. If you ever use resolves built in render cash system in audio and video, I Oh, if you have any external video cards or audio interfaces, here's where you select them and set them up. If you're having trouble. Hearing Audio Speaker Set up is one of the first places you should check to see if you need to make changes. Are you running with the control surface for color grading or mixing the control panels menu is where you set your gear. Are you delivering to your own account in YouTube or video? You could set up your account info here so resolve can render and then automatically upload to your account and yes, in the deliver page. You can even set your privacy settings and other metadata. Let's click on Save to Save our changes. Notice the dialog box. Thes system changes usually require a resolve. Restart for them to take effect. Not the whole computer. Just a venture. Resolve. Click. OK, but don't quit out of resolve yet. Now let's reopen our resolve preferences with the keyboard shortcut, command comma or control comma on the PC. Now let's switch over to the user settings and goto projects Saving load Enable live Save This is a great feature. Resolved continuously Saves your work in the background. It can be a lifesaver. Let's go ahead now and click. Save Notice that since we didn't change system settings, the dialogue warning doesn't appear this time. There's one more big customization we need to look at. Keyboard shortcuts in the DaVinci Resolve menu. Choose keyboard customization. This tool is very feature rich, but there are only three things you really need to know right now. One. You can mimic keyboards from other non linear editing systems. Use this. Pull down to select from any of these other APs, except don't use the pull down. Please leave the selector unresolved. If you're coming from any of those other systems, understand this. Their keyboard layouts are optimized for their features. If you're jamming the avid T board while running resolve, you are missing the opportunity to learn how resolve approaches the craft of editing. While you can use the follow cut 10 pro keyboard, I urge you slow down a little and learn resolve on resolves terms. The second thing I want you to understand is in this options, pull down. You can save export import and rename your custom keyboard layouts. This means you could take your personal layouts and migrate them to any resolve system. My third take away for you is you can use this graphic display of the keyboard easily. Visualize what commands are signed to particular key combinations, and you can see in which of the pages each command has an effect. For instance, X It marks a clip throughout the application shift. Control X is a ripple cut, but I can change that by clicking in the Edit timeline. The right panel shows Ripple cut. I click in the box. It's highlighted. Now let's choose the keyboard shortcut shift option or on the PC shift. Ault, you, the commanders reassigned and the name of our layout gets an asterisk telling us the preset is modified. I'm going to cancel out and discard those changes in this series. We'll be tweaking many more preferences as we go along. For now, I'm gonna quit resolve and then relaunch so that all of the changes we just made take effect If you've been following along, I restarted resolve were back in the project manager and I'm going to press enter in order to open up the untitled project. Now, ah, press command or control on a PC s, and that brings up our save dialog. We're gonna call this our first project. It saved. Let's reopen the project manager with the keyboard shortcut shift one. Here's my question to you. Where does this project actually physically reside on this computer, and how do we move it around? Here's the answer. If we right click on our first project than the contextual menu items, show us how we move projects around. You use the import and export command on export. If you've been using look up tables or saving stills in the color page, which we talk about later, then you can use the export with stills and lutz option. Then you take the project file you just exported, bring it to a new computer and then used the import option toe. Load it up on the new computer in the previous movie. I asked you a question. Do you know where your DaVinci resolve projects reside? Now? I told you how important export them to move them around. But I didnt actually answer the question. Where do DaVinci resolve projects live? Will they live in a database on your computer? And the real question is, where on your computer does a DaVinci resolve database reside? And the answer wherever you put it. But right now, more than likely you're working in the default resolved database To find the location of that, we're gonna come up here to this little icon right next to the project's label. And as I hover over it says, show high databases, let's click it, and it reveals our local database underneath the word disk. This is a disc database. That means this database is a folder on your hard drive on your disk toe. Find that file location you're going to right, click on it and choose open file location. And here it is this is our resolve project. And if you look at my tool bar up here, you can see it is deeply buried here in my users. Two points I want to make right here. Number one. This thing is very buried, This default database and it could be tough to find. And it can also be tough to back up, depending on how your backup routine is set up. You may or may not be capturing this database, And if your computer dies, for some reason, you may not have it on your backups. And so you want a double check and make sure that you're backing up these folders, these databases. And so the second point I want to make is you probably want to build your own database. You want to get out of the default database because you can put this literally, anywhere you want on your hard drive and on your boot drive. So how do we create a database? Let's close out this dialogue. Let's close out that window and we have a menu command down on the bottom for new database . Click on that and we're going to switch this over to create connect is for a database that already exists. We want to create a new one. So we're gonna create a disc database post graze We're not gonna talk about in this training. Siri's. You're probably almost definitely going to want to work with disc databases. Let's name our database, and I'm gonna call this my first database, and you will notice very quickly that you can Onley use lower case and you could only use underscores no spaces. Now I have to find a location. So I'm gonna click to select a directory. I'm gonna come down to my desktop, will just put it on our desktop for our purposes. Here I am going to create a new folder, and I'm gonna call that, and I like naming my actual folder. The same is the database that I'm creating. So it makes it really easy to connect the two later on. Enter select that folder. So now the folder path is selected, and now I click create, And now my first database is created and I have an untitled project and there are no projects in here. I want to go back to the project we've been working on. I can switch back to the local database. There are those projects. And then I come back to my first database and there's this untitled project. And again, if I want to find this, if I forget where it is, right, click open file location and here it is on my desktop. 3. DaVinci Resolve 16 - Lesson 2: when we open a blank project, the first thing we usually want to do is import footage. Except there's one setting you need to get right at this very moment before you import your first clip. Because once you set this, it's set. You cannot change it at all. And that is our frame rate for the project. Let me show you how this works and definitely follow along either with the footage I've provided or your own, because I need this to burn into your brain. First, let's navigate to our footage. I'll jump into the media pool. I'm going to come up to my C drive. I'm gonna switch this into a list view because I find it easier to look at. And then I'm gonna navigate onto my desktop. Here's my exercise files folder. I'm gonna double click into that. And in fact, what I'm gonna do is I'm gonna favorite this exercise files folders so that I don't have to keep redoing this navigation. I'm gonna right click on it and choose Add folder two favorites. Now, I have a quick access to this folder right here on my desktop. Now let's go into projects. Media open this up so that we can see that I got my d r a. Because that's where all our media is. Media files. Let's jump here to the video trance coded folder and I want to see what the frame rate is for all of these clips, and I'm gonna give myself a little bit more room by closing down this been view. And now I've got all of these columns exposed here, and I'm just going to scroll to the right until I see frame rate FPs. And now if I click on the column, it's going to sort by frame rate. What I like to do is do a quick toggle, first sort a sending and then descending. And as I do that, I can see if there any differences in frame rates. And, yes, I've got 23 976 footage, but I also have 29 97 footage. Now, as I scroll through this been, I can see that almost all of my footage is 23 976 And if I click on one of the 29 97 it's graphics. So now I know that the project settings that I want to set globally for this project for the frame rate is 23 976 Let's come down here to the gear icon, and this is our project. Settings are click on the gear icon. Make sure I'm in master settings, and I'm going to go ahead and set my timeline frame rate for 23 976 Once I add footage, this timeline frame rate will grey out, and I will never again in this project be able to change my timeline frame right? It's safe now that I set my frame rate for the project. Let me show you something else here that happens when we have mismatched frame rates. So let's go ahead and find one of our 29 97 clips. And one way to drag a clip into the media pool is, like I said, dragged the clip into the media pool. Now because there's a mismatch between the very first clip, I'm dragging it to the media pool and the project settings. I'm getting a dialogue box, and it says these clips have a different frame rate than the current project settings. Do you want me to match them if I hit change, which I'm going to dio My project settings are now set to match this clip, which is I look in the inspector 29 97 If I were then to say right, click and then create new timeline using selected clips and I'll just go ahead and click create. I've got a new timeline here. Now I'm going to right click and choose timeline settings. You're going to see that this timeline has a frame rate set for 29 97 Not what I want. I want 23 976 and I can't change it. You can even open up this custom settings dialog toe overwrite almost every single decision here on this timeline to modify this timeline exactly how you want it set. But the only thing that is great out unchangeable is under the format tab timeline frame rate. It is forever set, so I'll click OK, and I'll open up project settings and prove to you once again this is the one thing you need to get right because you could get to the end of the project. And if your client deliverable is 23 976 this could be a problem for you. The only way toe undimmed. This is to go ahead and highlight these two items delete, then remove. And now I can go back and set this back to 23 976 It changed. Now, one other projects setting I probably want to get right at this point although I can change it at any time, is external monitoring. So I'm gonna open up my project settings again. Master settings. Video monitoring is separate from the timeline frame rate. If, for some reason I need the timeline set to 23 976 But monitor some other frame rate. I can do that. So if I wanted to, I can switch this for external monitoring down to 10. 80 p 24 hit. Save So resolve is actually very flexible beyond that in letting you have one project frame rate, but monitor externally at another frame rate. So there it is, the one preference you have to get right or you need to start from scratch. It's kind of a crazy thing. It's something that people have wanted to change and resolve for, You know, 15 years ever since it started so personally. What I do is I set my project frame rate to the deliver verbal requested by the client. They will tell me what frame rate they want when I render. That's what I set this to. I don't have a client. If it's just for me, then I'll set the frame rate to the main camera for the project. What's the majority of your footage? That's the frame rate I'm going to select. Resolve generally does a pretty good job with mixed frame rates, but for the absolute best results on final rendering, you want your project frame rate to match your final rendering frame. Right When we start up the venture resolve and we start a project, we want to populate our project with the footage that we shot. That means we need to populate the media pool because once a clip makes it into the media pool, it's available in the rest of the software. So let's take a look at a couple different ways. We can do that, and one of the ways to do that is from the finder or explorer, and I'll come down to my desktop again and exercise files project media that D R A. Media Files, and I'm gonna come into the video trance coded. And of course, I can take a single clip and drag it from the Explorer or the finder directly into the media pool, and it exists. Or if I undo that, let's switch back. Or I could step up one level. I could drag an entire folder in here so this entire folder is dragged in. Undo that switch back. Or if I want to maintain the name of this folder like, I've got all of these folders With this nice folder structure, I could drag the folder itself into the BIN list underneath, Master Let go. Now I've got a folder named What It Was on the Finder or an Explorer and all the clips inside of that. Let's go ahead, right click remove being I got a dialog box enter to remove that. The other thing I can do is from the Media Storage Explorer. Here are select exercise files are shortcut that we created. I'll jump into my projects media into the d. R. A. Media files, and once again I could drag it into the media pool, undo drag it into the sidebar, undo or drag all of these folders into the sidebar. And now everything is in here or right here. From this been list, I can right click on media files and choose add folders and sub folders into Media Pool. Now, in theory, I don't really need this topping closing Media Files folder. Or if I don't want to maintain the been structure, I'll just right click and add folder and sub folders into the media pool. And that's all of our clips for this job developed to us here in the media pool. That's the fundamentals of moving footage from your hard drives into Divinci resolves media Pool. Remember, resolve Can't access any footage on your system until it's seen that media pool. If you've been following along, we've added a bunch of footage into our media pool bar. Right now, the media pool is just populated, and my got my audio mixed up with my video, and I don't want that, and this footage has been nicely organized into these folders. So let's click on this master been right click and choose remove all clips and been asks me to confirm that action. I do. And now let's take a look at another way of adding clips into the being, which is I'm gonna click on the first folder here in the Explorer shift, Click on the last folder. And remember, if you're seeing the little thumbnail icons like this, you can use these two tools up here to switch between views. With all of these folders selected, I can right click and add folders and sub folders create bins. And now I've got my perfect being structure here. So now I've got all of my elements mostly isolated from each other. Now let's further organize our footage. For instance, I've got music in Vo. So on the master been I right, click and choose. Add been. I'm gonna create an audio been and then drag the vo click and drag on toe audio and then click and drag music onto audio. And I've got my audio nicely isolated from my video elements. Now I've got Screenshots consolidated. Clearly, that was an editor who did that and delivering to me, and what I want to do is clean up this, naming a little bit, so a click and then click and hold and then release. And now I can edit this text, right arrow to get to the end of it. Instead of consolidated, I'm gonna call it animated and enter. And then I'm going to consider this to be graphic. So I'm gonna drag this into the graphic spin, and then I'm gonna examine the clips in this bin and notice that this one has a poster frame. The poster frame is black. It gives me no information about what's going on in here. But if I hover and click, as you just saw, you could see that this is an animation that comes in. And I think this would make a great poster frame that this is a animated logo. So I'm gonna right click on the frame once it selected and choose set, poster friend. And now, when I'm not hovering over it, this poster frame lets me know what that clip is. All right, so let's close up the graphics been and imagine for a moment I'm not happy with how these folders are arranged. Can I sort them? Can I control that? The answer is yes. By right click on the master folder, I come down to sort by and so I can sort by all sorts of different things include the modification date, the name I can change a sending or descending. So let's first go by name. And now it's sorted by name. But that's not really what I want on the very particular guy when it comes to organization . And I wanted to sort the way I wanted to sort. And that means I'm gonna enable user sort and I'm gonna put my video footage up top, and then I'm gonna put my graphics and then I've got my audio. And what's this? Audio consolidate. This is the footage with the audio full up, whereas the video trends coded is just the actual video shots on the video track. So audio consolidate has my full audio tracks there. So I'm gonna actually drop this here into audio and then within here I could put my vo first and then have my music and then have my audio consolidate. Finally, I can also color code Been so maybe I want all of my audio bins tohave one color sauce. Choose them. All right. Click color tag. Let's call audio pink. Ah called graphics Another color yellow and then, on video trends coated, I'm gonna color tag that as blue and now click on the master tab. You could see I've got three different colors here. Now these air not the big, vibrant colors, and you'll also notice that sub folders don't inherit the state. They need to be actively highlighted when you assign your color, so I'll go ahead and assign this again with the color tag of yellow Enough. I click up here. There you go. They match. That's the fundamentals have been organization. For those of you who run dual screen setups or very wide screen, here's a tip you are going to love. First thing you can do is split this view up and have two bins open simultaneously. So if I come down to this little pull down, you could see that there actually three different been views. This icon gives us a single full screen been. This gives us a vertical split, so now I've got to been views, each of them independent from the other. I can also split this horizontally, if that's what I prefer, but let's switch back to our normal been view without the split, and if you've got a dual screen, said, If you love this because you could go ahead and say, Take this audio, Been right Click and choose open his new window, and now it is a floating window. If I had a dual screen, I could throw this off on the extended desktop into my secondary monitor, and I could have as many of these bins open as I want. And I can also, if I have, let's say this been is on Lee for vo. I can go ahead and close the been view. So now I have a vo been that only has my vo contained in it. If I do have multiple beings open and I want to cycle through them. So, for instance, let's also open the video trance kloden been. Drag that off here and I want to cycle through these. I can come upto workspace, come down to media pool windows and have direct access to whichever one I want. Or, of course, you can use the keyboard shortcut for your operating system, which will either be control for the Mac Ault for the PC and tab and tab through all open windows. With our footage loaded here into the media pool with our beings organized and colored and set up how we want them. Now it's time to go ahead and start standing, are clips and marking them up. If you want to follow along with the provided exercise files, I'm starting where we just left off and you can import that project, which I've named 0203 Organizing end and you can import that from the End Resolve Projects folder. Now we're gonna talk about marking our clips. Now that we've organized everything into bins. Let's go into this video trance coded folder. And as I hover over these clips, they pull up here into the viewer. And sometimes the audio can be really annoying as well. You could do two things. You can turn off your audio and mute down your audio, using this little audio button underneath the viewer. The other thing you can do is turn off live scrubbing. I know when I'm going through a lot of footage, just random mouse movements. Suddenly changing my shot on me kind of drives me nuts. So to do that come into this little ellipsis menu, which is an options menu, find these all over the resolve interface and you click on it and it shows you options unique to the palate that it's attached to. In this case, I want to turn off live media preview. And when I do that, no longer does my hovering automatically pop the videos up here. In order to get them up there, I need to click on them. I don't have to double click. Just a single click gets in them up there and then, in order to scrub ah, grab the little scrub tool underneath the viewer in order to play. I've got a couple different options. I can hit the play button, play forward, stop playback. I can go toe end or to the beginning of the shot. I can set up loop so that when I get to the end of this clip, it just keeps playing through. If I just need to see how a clip plays through our action plays through, I can also use keyboard shortcuts. Let me turn off this looping J. K and L. A. Very common. This has become a standard transport controls for nonlinear editors. L is play forward. Jay is played backward and k is pause, so l Okay, j plays back pause by double tap on l little play double time. Double tap on Jay. Double times backwards. Let's pull up a longer clip. So let me go into this list view. I'm gonna sort by duration toe. Look for a long clip. This is a long clip here. Seven seconds long. Pull that up. And now I'll hit J to start playing and then I to set an in point and oh, to set an outpoint. The concept here is were marking ins and outs so that in the cut or edit page, we can very quickly just, you know, insert or override or click and drag from the viewer on Tar Timeline and already have our edits set up for us. But sometimes, especially on longer clips, you might have multiple elements there that you want to use. And you could use markers in place of in and out points, which are kind of transient. So let's create a marker point that's separate from our in and out. And maybe as I scroll through here, right there on the jump shot right there, I want to create a marker point So I've selected my clip. I compress M for Marker and I've got a marker created. You can see that there's an overlay at the top of the window here. If I press and the second time while I'm sitting on a marker, a marker dialogue comes up and I could call this jump shot. I can add notes. I can give this key words. I can even color code then and then I click done and now I've got. If I click and drag offer here, you could see I got a marker. Now what if I want to span this marker? Let's say that I want this marker to spend the length of the clip. I can do that, and then I can ault on a PC or option on a Mac and drag that marker and create a duration marker. So you see, this marker now has a duration of a minute in seven seconds. Here's the cool thing. By right click up here I can set and in and out point from the duration marker. If I do that now, my in and out points are set for later editing, so I have another marker up here. Let's create one more marker duration. Let's say him dribbling. Right? So I like this action right there with the kid moving. So I'll do a double tap on the M dribbling. Give this another color. Maybe I'll use yellow is a possibility. Click done. And then I'll J right there, right until he starts moving up once again. Then I'll alter or option on the Mac and drag to my current point. And now I've got two sets of markers. So when I want this section of it, I can right click and choose set in and out from duration marker. Finally, if I jump into the edit page here, I've got this duration marker here and let me add, And you been here in the media pool? I'm gonna have been, and I'm gonna call this sub clips I can do is right. Click in here and choose create sub clip or all to be so there's one sub clip. Now select this second set of markers right click set in and out from duration marker. And now we'll go ahead and sub clip this out. Let's do alter or option B because it's faster. Now let's double click this first clip, That's it. Play, that's our jump shot and the second clip hit play. And that's our dribbling. Sub clipping is a powerful tool on big productions. Assistant editors often use this to trim down all the extraneous material before the director calls action and all that material. After the director calls Cut, the editor can then view the footage without the distraction of the noise that happens on set. But for you, maybe you're just letting the camera roll. Well, you can set up duration markers, convert them to in and out sub clip them out. And so you get rid of all that extraneous stuff, and you can just focus on just those sections of longer takes that you want to use. Let's jump back here into the media pool. Let's pull up that first clip we've been using. Now, once a marker has been set, can we change it? Let's say I don't like the name jump shot. Yeah, the answer is yes. You can right click on it and choose modify marker, and then I could go ahead, make changes or remove the marker they'll think I could do is shift up and down between marker in points. Now in duration markers, you're only going to go to the in point of the marker, but it'll jump from market a marker using shift up and down, and then once I'm on it, I just press M, and it calls up that marker interface. Metadata is a term often used in digital post production tools. Metadata can be simply to find as information about your footage. Some metadata you can change like frame rate or the length of a clip. Sometimes your camera inserts metadata that you can view later, like F Stop I S O date and time. DaVinci Resolve lets you see all of that metadata. It also lets you insert this dizzying array of metadata that really only exists within resolve. But it does get attached to your clip. So let's select a couple shots and see what we can do. Now I'm continuing from where we were in our previous movie and one of the first metadata things that we did in this training Siri's is we sorted by duration. We took this metadata that already exists. We clicked on a column heading and sorted longest to shortest, but one of the things you could do say is sort by date and time, and this helps keep your footage organized with the shots that were shot together. So if I switch this here into the thumbnail view now, you could see that all the basketball stuff is grouped together. The doctors office visit is grouped together. This will make sense. And when I do this, I can use metadata to help me make decisions like, Oh, wait, this is actually graphics, and it belongs here. So I'm gonna grab these animated screenshots here, and I will control click on all of these shots to individually select them and click and drag into our screenshots animated. And then we've also got these logo animations I selected the 1st 1 shift clicked to select the last one and all of them between click and drag into the graphics folder. And so now, using just that simple bit of metadata, date and time created, I was able to further optimize my organization. But let's take this a step further. I'm going to click on this first clip. I'm gonna skin through here and we've got the kid and the dad, right, so Let's go ahead and close our audio. Let's also now choose all groups in our metadata. And now we see everything that's available to these. But all we're really gonna work on right here are keywords. And I'm gonna add three keywords. First thing to do is basketball scene. Then I'll come up and add Dad, and then I'll add Sun. So now I've created three bits of metadata that really it only exists and resolve. If I were to open this clip up on any other software, it wouldn't see these keywords. But here and resolve it does. So now I've got that bit of metadata attached to this particular shot, and I can go through here and continue this type of thing. So now notice what happens is when I start tight being basketball basketball scene pops up because it remembers. As I add, these keywords, resolve is starting to build up a keyword library. There's a weird little bug in here where it drops to the end of this list in the metadata tool. So I'm gonna narrow this down just to shot and seen and let's go ahead, delete Basque and go back to basketball and I've created a mistake here, right? So I've got Baskin basketball. Let's choose basketball scene. I want to get rid of Basque. I don't need this to keep popping up on me. So let's come upto workspace and choose keyword dictionary. And these are all the keywords built in to resolve. It comes with a huge predetermined list of keywords. But I can go ahead and modify this so type in Basque. Click on this keyword here that I don't want the mistake and just trash it. Good. Now I don't have to worry about that again. I'll type in Dad. Choose that. And then let's do one more here. Basketball scene. Dad, son. All right, so now I've got these three bits of metadata that have been added onto these three clips. Now, before I pause toe, let you explore the metadata panel and all the options you can use to sort, categorize and track your footage. I want to point out one special metadata category we will be looking at very shortly and underneath keywords here is people, and it looks like you should be able to type in here. And as I'm trying to type nothing is happening. That's not a mistake. And you'll be seeing very shortly how DaVinci Resolve uses machine learning to populate this very powerful metadata category at this point, feel free and go through all the different metadata panels and think about if any of those help you organize the kind of projects you work on. The deal is not to fill out every single one of these fields. You fill out the fields that will help you in your personal workflow toe. Organize large projects. The venture is off allows you to create a special kind of being called a smart, been smart Menzies metadata. To create bins that automatically add footage based on parameters, you enter the kind of like live bins. Does this sound confusing? It's not. Once you see it in action to make sure you're smart, bins are enabled. If you don't see it down here already in the lower part of your been view, you come up to view and choose show smart pins. We've already got it selected here. I can hover over the border between our regular beans and are smart. Been to bring this up and give us a little boring room and now I'm gonna right click and add Smart Been So now I can create my own custom been and the bins view down here actually updates in real time as we write out the logic of this Been so I'm gonna call this dad. I want everything with Dad in this been. And now I'm gonna start from left to right to choose the metadata I want to select in order to populate this. Been right now, Right now, it's showing me everything in the project, and I'm gonna come down to metadata shot and seen notice how the second field changed because this will change depending on which sets of metadata we choose. So it's come back to shot and seen. That's a description. What I really want is keywords right down here. And then I want Dad. He words contains Dad and Aiken really kind of tighten up this logic if I want, but this is fine with me. Contains dad and create smart, been. And now I have this smart bin folder. And if I were to go in here and let's say pick another shot that has dad in it, There we go. I'll go into my keywords. I'll add Dad here and immediately. This new shot is added into this been so this being will live and automatically update as I update my metadata. And, of course, if you're working in a dual screen set up with an extended desktop, you can right click. And just like a regular folder, you can break this out as a new window and put on your secondary screen. The power of smart beans is that a single clip can appear in multiple bins, and those bins update in real time as new clips are added and tagged with metadata. But smart pins have a powerful new feature that you have to see to believe it's based on the venture resolves new machine learning algorithms. And yes, I'm gonna tease that and tell you it's coming up next. One of the new headline features into Venture Resolve is based around Smart Bins. Now this is a studio on Lee feature, meaning it requires the paid version of the venture resolve. But it's so cool I got to show it to you. Let's see it in action So we're gonna do is come to our video trance coded folder and we're going to select all the shots in this folder. So selected the first shot and I do control a to select all right click and choose analyze clips for people. Yes, this is based on machine learning. And after I selected this little dialog box comes up and it is searching for faces. And it's gonna go through this pretty quick because these clips have been trimmed down to just what we need in order to recreate this 32nd spot. But when it does, it is going to open up a dialogue box right here. And it has grouped all of our clips into, in this case, six different groups and you'll see that if I click on person one, it's showing me a little red box around the face that it's analyzed, but to name it, which is really what I want to do. I got to come up to people here and we're going to start here on Dad and I'm gonna enter the first name and I'm gonna call this dad and you see Dad's renamed under people. Then I'll come down to son and then we'll do nurse. Now we've got nurse in two different angles. Machine learning actually broke this out into two clips. I'm not gonna name this one and you'll see how we're gonna fix this in a moment. And then we're gonna go to Mom and then other people. We're gonna have to deal with that separately. So now let's go ahead and refine these results. So go to sun. And yet that's the sun. That's absolutely right. Then we've got Mom here, and this is amazing. If you take a look at this clip if I go ahead and double click it so loads in the viewer behind here. And let's close this out. You'll see that Mom is barely on screen. She is on screen with her face for about 15 frames. She's completely obscured the rest of the time. And yet some our another this machine learning actually managed to detect her as a background character. So how do we get back to that view in order to continue refining wrinkle upto workspace people, We're back here looking at mom. So these are all mom and I'm gonna go through and make sure all of these air Mom and if any of them aren't, I can re categorize them to something. But these are all Mom clips. That's all good. Let's go to nurse. Yep, that's the nurse, son. That's the Sun Person for it. Captured the nurse here and it missed him. The dad. So we're gonna do is right. Click. Not person for it. Is person nurse all a sign? Heard a nurse. Right click, not person. Four. I'll sign that to nurse. Now what we're looking at is really a 1.0 of this algorithm, and it's not a signing multiple faces to the same clip. It seems to kind of pick one person and assign that person for that clip. That's currently a limitation in this, but I guarantee you, as DaVinci resolve progresses, it looks like they'll be refining this a lot more. Now let's jump down into other people and see what we've got here. All right, so it's got the sun on a couple of these shots, but it doesn't quite know who it is, and so we can go ahead and continue to assign these. And we've got one clip in here where it's kids. So let me double click on that to load into the viewer and you can see that this clip are the two girls and it's only captured one of the girls. So what we're gonna do is create a new person, you person and will do daughter one. And then we'll assign this clip again as daughter one. And so we can go through here and start refining these clips as necessary. When I'm done a click close. This is a really nifty feature, and one of the reasons I really wanted to show this to you is the term machine learning or artificial intelligence has been sweeping through all sorts of different businesses. And here in DaVinci resolve, we get to see one implementation of that, and it's an early implementation. But when it works, it astonishes me how well it works. And the thing you're gonna want to do is keep an eye out to see how this develops over time , because that will tell you how much more powerful machine learning is as it matures as a field. Sometimes you have elements that you want to reuse across multiple projects, show opens and lower thirds air, very common examples. Now you could constantly import them into every new project you create and then reorganize those folders. Or you could allow resolve to create things that are available in every single project in a single database. Those bins are called power bins. Let's see how they work. We're gonna pick up from this project we've been using and I actually have been sake, this project off yet it's still called Untitled Project and to the database we created earlier. So I'm just gonna go ahead and save this and I'm gonna call this test project, and I know that I've got elements in here graphical elements that I want to re use. Let's say this particular element here and this particular element here these are the two pieces of graphics I want to use over and over again. So what are we gonna dio? What we're gonna do is come up to the View menu and choose show power bins. Now, a new being shows up here. So we've got our regular bins. We've got our smart bins and now we've got our power bins. There's a master here. I'm going to right click for organization purposes and choose add been. We're gonna name this show graphics. Now. I'm gonna come into this graphics folder, and I'm gonna drag to these elements. Adama, drag this lower third unto show graphics. I'm also gonna drag this animated show open into show graphics. It looks like nothing's happened, but actually, it has copied those elements across now hasn't copied them in the background on the computer itself. It's just duplicated them just within the DaVinci resolve database. Not physically on your hard drive. So now we've got this power been and let's go ahead and open another project. And what I'm gonna do is we're in this my first database. Let's go ahead just for practice. We're going to restore that DaVinci Resolve project archive that I've provided in the exercise files this dot de r a folder. Open that up. Well, let resolve import that double click to open it, and you can see the power been window already. Has this show graphics in there? I mean, this is something I saved off a while ago, and I created an archive off a while ago. Yet the power been is sitting here. The show graphic is sitting here. It wasn't created when I restored that archive. And yet here are the two graphics I selected because power bins they exist within one database, but across all projects in that database. 5 10 more projects in here, every single one of them would show me this show graphics power been with these particular elements in them that I could then use an edit into any of my timelines. This wraps our introduction to the media page. The technique shown in this chapter are great for big projects with lots of organizational needs. Those projects have so many clips without these tools, you get buried in your assets. The Cup pages brand new here into ventures off 16. It's designed to streamline the editing process for those of you who just don't want to make a significant investment in learning the full tool set of the page. Now for experienced editors or those of you who really do want a master editing and resolve the cup pages designed to get you to your rough cut as soon as possible. And it does have some distinct differences from the at a page, show you what I mean. I've restarted to venture resolve in the project manager, and I'll open up the untitled project and save it as cut page 101 started with a blank project in resolve. One of the interesting things about the Cup pages. It gives you instant access to some of these settings that you otherwise would have to go into project settings in order to go through and if you notice project settings, is pretty intimidating. So if I cancel out of project settings, what are some of the quick things we would want to set up for a quick turnaround job or to get a job started right off the bat? Well, let's go ahead and set up our frame size. If you're working in ultra HD. Well, then that's what you would select in this case. All of our footage is full HD 1920 by 10 80. That's what we will select. You could also use this as a shortcut to get to your custom project settings that affect these choices. So your timeline format and your video format in here you've got your color science, those of you a little more advanced instead of working the default eventually Y RGB color science. You have alternate choices here, which we really won't be covering in this particular training. You also have this little button here that allows you to toggle on and off color correction . So you've gone ahead. You've edited, you've done color correction. You could quickly bypassed these either to see what the original footage looked like or to get better performance on this page. And of course, we have the ever necessary mute button if we want to. But also notice, above here, quick exports. And not only can we set up the initial project settings before adding any footage where you go to quick export and in a one button set up without jumping into the overwhelming options here in the deliver page, I could just say, Yeah, I want to send this up to YouTube and log into my account and upload this video directly from within the cut page without having to go anywhere else. You don't even have to jump into the media page to import footage here on the Cup age. You can either import a single clip or an entire camera card or folder, and that's kind of what the thought is. Here is, maybe you'd important camera card copy to your hard drives and just import that folder. In our case, we're gonna go into our desktop exercise files, projects, media, D R. A. And I want to pull in this video. Trans coated Select that folder and now all of my footage will come in. Now I have a choice. Do I want to change my frame rate and yes, sure, go ahead. Let's do that. It's probably gonna change it to 23 996 And here is all my footage. And so we've skipped the media page. And if you don't need to do all the keywords we've talked about or any of that prep stuff, you just jump right into it here on the cup page and never leave the Cup age. That's the intention of it. If I go ahead and click this back up to the master now, it can go up my hierarchy in my bins. Aiken import another folder. In this case, I'll jump into music and select that folder. Now I've got my music folder Double click into There, and there's my music folder, and then I can use this little pulled down to navigate between folders. Come up the video, trance coded and let's go ahead and double click that into our viewer. And I could see we even have little audio wave forms that are automatically displayed for us. I can hit play, I just in here. What's going on? I can set in and out points I can drag. I could just visually use these wave forms to choose where I want this edit to go. And then when I'm ready, just drag it down into here and resolve automatically creates for me a timeline and it drops this clip at the very beginning. One hour straight up is the default. For the first frame of your video, I'd have to set any of that up. You notice I kind of dragged it off center here. This lower timeline always drops. The very first clip always gets dropped into the center here with one hour straight up, pulled up. And then on the this timeline, I can quite struck through there I can scrub through this year. If I find I need some more room for my timeline, I can go ahead and use this little control on the right hand side his little three straight lines in order to adjust how much room 4. DaVinci Resolve 16 - Lesson 3: Let's go ahead and put together a quick, rough cut, and I'm not actually adding this to any particular script. If you want to see that happen with the project files I've included with this particular course we could do is look at my day venturers off 14 course. There's an opening chapter and they're called Quick start. In that quick start, we completely edit this thing from beginning to end using scripts, which you'll find here in the exercise flowers I've delivered with same delivery. So if you want to do that, go ahead. Jump into the result 14 course after finishing this one. But what I do want to show you is what makes the cut page rather unique from the edit page . And so we've got these 1st 2 cuts we put together. Now I want to add 1/3 and I'm gonna go past this at a point and let's say I just want to kind of drop it in at the end. Just take this close up here and I'm gonna click and drag it and notice I can't drag it past the end of the timeline. One of the unique things about the cut pages. It will not allow you to add black gaps, just won't let you do it. I can click and drag this. I just let go and it snaps back. All right, Another very unique thing That doesn't happen on the edit page. And then, if I want, I could just very quickly trim this down just into what I want to see. So I could just grab the last part of that head turn and then hover to the end of this clip and drag it back and then watch as he looks down again. Right now, let's take this to the end because I want to show you another nifty little tool here in the cut page. There's another really interesting tool that's down here right here. This is the close up, and it's not immediate, obviously, what it does. But let's bring this back. And so we play across the edit, he looks down, and now we want to cut to a close up right there. Now we don't have a close up, and what we really want to do is take this shot and blow it up. Let's say 200% because maybe we shot it at u h d. But we're delivering it in HD. So have plenty of resolution to do it two times blow up. Imagine so what I'm gonna do is right at that point where I want to cut to the close up. Ah, click that and it's created. It did a match frame to this clip, dropped it on the layer above. And now I've got this close up, but it's not really close. If it's just a blow up of the shot underneath it now, how do you control that blow up? Let's say maybe I want to reposition it. Will you come down to this tool here? And it reveals, Ah, bunch of additional tools and the 1st 1 is your zoom tool, and you can see it zoomed in two point. Oh, that's a doubling of size, and I can drag it back and kind of bring it to the size that I want. So it's kind of nifty this close up tool that it does a bunch of actions all at once. That typically and editor would have to take two or three steps to do one click of the button, and it's done for you right here. You'll also notice that here's another conceit of the cut page, which is a builds up. So as you come up with alternate ideas, what you'll want to do is use the bass track video track one as you're kind of narrative storytelling and then when you have cutaways. So, for instance, let's say I wanted to go to this wide shot right in here somewhere. I could drop it on a top layer and just let it live on that top layer and then trim it down and move it around what I want. But the concept is the story. The pacing of this story is determined by the bass track, and then my cutaways start going and getting built up. One final thing I want to show you on here in this movie is if I go to the Edit page, it's managing my audio tracks for me. You can see that on the cut page. There really aren't audio tracks for me to deal with. So resolve is eliminating ah, lot of the tedium, especially early in the edit stage, where you don't have to manage and think about your audio tracks the way you do. You're really kind of building up your video. You're thinking about your narration and you're just kind of putting the story together as an initial rough cut the cup page here, individuals, all 16 has one great new view for quickly going through an entire been of footage. Imagine Ah, card that you shot today. You can copy that across your hard drives and has this great feature for seeing and quickly getting through all of this stuff that you shot in that particular day. And then from there we're gonna take a look at some basic other tools for marking your clips, getting ready for editing. So the first thing to look at our these three items right here, which is this is your source side. So looking at whatever clip is highlighted in here, also notice that there's a ah, hover operation. If I want to take a look at that clip, I click on it and then I can hover scrub there so I can go through here, clip by clip and scrub through these, and as I scrub through them, I could go and sit in an out point. So as I'm scrubbing with my mouse hand with my other hand on pressing I and O on. Then you can see that my marks air showing up here. I can do that on clip by clip basis. This shot already has in and out marked on it. Let's do the same thing here. But now I'm gonna just click and drag and scrub through here, and I'm gonna take his head turn. I'm gonna mark that. Pre marked that in case I want to use this shot. Now, on the other side of these three icons is the timeline views if I want to switch and see. Okay, I'm on the timeline. And now my keyboard shortcuts for playback will act on the timeline sides. If I had J K and L, I had played forward and the timeline plays forward played backwards. Pause. I'll switch over to the source clip, view and hit, play forward and play backwards. So these same transport controls now control the source clip. But there's one other view that's pretty amazing. Which is this middle one, which is source tape. So again, imagine all of these clips came back today. I'm gonna go ahead and click on that and see this timeline down here. All of these little tick marks and what's happened is every single clip in this been is now represented as a single clip in my viewer, so I can scan through an entire day day's worth of hammer recording very, very quickly and sit here and even set in an outpoints. I'm right on this shot market in Mark my out. And then if I wanted to, I could go ahead and add that into my timeline. So we're gonna press Olt or option on the Mac X two clearer in and out points. And there's another control that's unique here on the color page, which is fast review. So I hit play. What is going to do is it's going to speed up on longer takes and slow down to just a little bit faster than real time on quarter takes, so I could get through in theory, an hour of footage in much shorter period of time while seeing everything that was captured that day. Click Stop. Now I still have markers. Aiken set markers are double tap M in order to pull up the marker menu, and I still have that in any of these views. I could set markers on a clip of double tap M and there's my marker, or I could do it. Even here on the timeline, let's jump to the timeline. I hit play. I remember that. Oh, maybe I want to look at an alternate shot here. Ah, double tap on em and say Alternate question, Mark, just to remind myself that I want to come back and look at this shot a little bit later, you could see the cut. Page has some very unique features here. The source tape thing. I want that everywhere. Wherever I could see my media pool anywhere in the venture resolve, I want to be able to click on that view, to be ableto look at an entire been of footage in a single viewer. I mean, I just think that's brilliant, and you can also see how the Cup page works very differently than the Edit page. It has that kind of magnetic thing going on. Where doesn't really want you to be able to create black holes in the middle of your edit so that you don't make any mistakes. One of the key features of the cut pages. How adding clips to the timeline differs from the edit page. In this movie, you also learn the various edit and trim operations on the cut page, and we're going to start by rebuilding our sequence as a rough cut, using more traditional edit tools here on the cup page. What I've done is I've deleted all of our clips. I've also gone ahead and reset, are you? I lay out and put us back to full screen so that we're all kind of starting from the same position. So I'm going to start by grabbing this clip A a and then 501 dot m o v. Of course, we can drag onto the timeline here, and I can either drag up here into the many timeline or I could drag down here. And I want to emphasize that, as I do that drag operation that it will always drop us out the start time code of the timeline, which is one hour straight up. If you're European and you want to start at 10 hours instead of one hour, you can modify that in the edit page by modifying the timeline, start time code on the edit page. Let's grab our second shot here, and I'm going to double click and then we're gonna J K. L threw it to pick our moment, and our moment is when the kid shoots and then we're out at the very end of that. So I'm marking my ins and outs and then I'll go down to the timeline on the press, a cue to switch over to the timeline. And then I hit play and as a kid shoots on, in fact, the wait till the basketball gets up higher, like at the top of its arc that we're gonna do right there and let's come back. And let's change our in point to where the basketball is right about there at the top of its arc. Upset my in point there. So what's the next thing I could do? Let's go ahead and come over to this icon place on top. I'll click over that now. What it's done is it's taken wherever my current time code indicator was where I was sitting on this timeline and just dropped it in place. So now if I press the backslash, it's gonna back up a couple seconds and then clay this action through from all right, that's not bad. And I'll do the same thing. But I press p to go into the cinema viewer and then hit backspace. I get a better look at this. There we go. All right. Not bad. So we're starting to build out our sequence. Let's go now for our third shot. My third shot is going to be this guy right here. 14 01 dot m o v. I'm gonna double click that to pull that into the viewer. And he's talking to camera. I just need a second right, And I'm going to get his reaction to bring this down a little bit later marking. I just need a second mark out. And now I'm holding down the K and scrubbing through here using J and else on being a keyboard combination. K is a pause Ellis to play for, But when I have the k press down, it's gonna go frame by frame just so I can kind of find Tune. That at a point right there in the basket has already made it through the hoop mark in. And now what we're gonna do is appended to the end, using this button here append whether or not you have an inner outpoint set on the timeline , it will always when you use this tool, drop it to the very end of your timeline on Alternative Way is to actually drop it in. And I think we probably mentioned this in the previous movie where you can just drag it down and it will always if you go to the end of the timeline, it will always but it up directly against the last shot in your timeline. Now let's go ahead, hit play. I just need a second. So that's feeling pretty good. And they were gonna get a reaction shot and I'm gonna double click onto 17. 01 dot m o v we use. This is a reaction as his son just keeps on playing, he got the basketball back. He's gonna take that shot and then his reaction shot. And we're going to use a slightly different tool. And this tool is kind of interesting because let's pull ourselves back and I want to show you something. We've got this little downward carrot that showing us where the closest at a point is yes to our current time indicator, which is this little orange line. And when I use this tool, it's called the smart insert tool, not just insert smart insert. Smart insert means it's going to drop this shot. Well, technically, if I Q. This shot, using its in and out points to wherever this little arrow is sitting. So I wanted the shop before the end of the timeline right there and now Lapresse smart insert, and it does an insert and then pushes back the clip that we were sitting on. So this clip and if there was anything after, it would be pushed back to open up a hole in here and drop that clip in. But that's not what I want. I actually wanted in the other direction I grabbed the ruler of here, and now we've got the arrow at the end, and now I can do my smart insert, and it just lops it on on to the end of the timeline shift Z. So just bring myself back to the very top of the sequence it play. I just got a couple things going on here, and we could definitely use a little bit of trimming and a little bit of tightening. We've built a nice little sequence here, but it could use some tightening. Its been roughed out. Now experienced editors will realize that what I'm about to show you here on the cut page is a ripple tool. That's what we're using here on the cup page. For those of you new to editing, here's what that means. Let's scroll back and actually want to work on track to here. And let's just quickly play through this and get a look at that quick cut away. We need more time on that. And so what I'm thinking is, I want to extend this out there. A couple ways of doing that one way is to hover my mouse right next to the at a point, and you'll see that the mouse changes what it's doing as I get around the at a point. So in this case, because there's no clip on the right side of it, I get either the double bracket mouse or get a single bracket with the arrow pointing right either one of those. I'm just going to click and drag the at a point. The outline shows me the length of the actual shots. That shows me how much time I have left on the end of this shot. So I was gonna click and drag it to the end of the shot just to give it a little more room . And then I'm gonna press the back slash to play around, and that feels a little better to me, although it feels a little cutting right, because we're going from the wide to this kind of reverse angle here. And then we're back to the wide very quickly before we go to the close up. So let's now pull up the whole timeline and shorten this clip up. They're a couple ways we can do this way. Number one is with our traditional in and out points, so I'm kind of hovering over this clip. A press, the X button and the X button will set my in and out point for the clip that I'm hovering over. If I were to hover over track to press the X button, you notice how it's still selecting the bottom track. That's because that bottom track has the widest in an out point, and that's what it's choosing. So I've got that in and out point. Let's not drag back to the last frame of the shot on the second track market in. So I've got this in an outpoint set and I'm just gonna click away out in the gray area to de select that at a point, just in case it decides to try to delete maybe a frame there or maybe delete this clip on a press backspace. And when I pressed backspace, you could see it got rid of those clips that I'd selected and pulled everything up. I'm gonna undo that. And also try the delete button because backspace and delete can often do different things. If I press the delete button, I get the same exact behavior here on the cut page. I'm gonna undo that because we could also use the trim tool. So what I can do is come down and hover. And now I've got the bracket with the arrow pointing to the right, which means I'm grabbing frames from this clip as opposed to this clip de select click drag and notice what's happening. It's actually moving the clip up top, and this is one of the things that happens here in the cut page. It tries to keep everything in sync. And so we're not getting quite the behavior that we want. I'm gonna undo. Now let's go ahead and play around that at it and see how it feels. And I'm gonna press P to go to our cinema viewer and then press the backspace to play around. I just need a second. There we go one more time. I just sat there we go. All right, maybe a little fast, but we're roughing it out. Still making sure we get the basic tempo down and I'm happy with that right now. Let's go ahead and hit play. I just need a second and then the last bit of tightening that I want to do is right here. We'll take it from where he's looking down and looks at his son going for a second shot, and that's what we want to pull up to. We want to get rid of these frames in front of this shot, so we're going to use the little ripple tool. I want to bring the mouse right up next to that. At a point, it turns into a little bracket pointing to the left. That means it's going to affect the shot on the left side of the at a point, as opposed to if I bring it down here and hover it. So I get the bracket with the arrow pointing, right. It's gonna affect this clip here. So it's come to this side of it. I'm gonna start pulling this up until I get to where the current time indicator snaps into place. And also take a look in the upper left hand side in the timeline viewer. You're gonna notice that we get this to up view that showing me right now meant default. This is where we started. And this is showing me how many frames I've slipped the outgoing shot. So right there, I've slipped at 46 frames. So let's bring it back. Snapped the current time indicator. We've slipped it nine frames. Let go. I'm gonna click away. So we get the full viewer at the P button. I play around second. Yeah, there we go. I just need a second. Some other quick navigation tools in here. Of course, you can use the up down arrow key to move from edit toe edit, cut to cut and then two other tools I want to show you is if we're in the middle of a shot right here and we've got this little arrow showing us kind of where the smart too will work . So there a couple of smart tools here that used this little arrow and will do what you tell it to do based on the position of this little down arrow, and one of them is a desire. So I don't have to be on an at a point I don't even have to select. And at a point in orderto add a dissolve onto that at a point. All I have to do is come up to this icon press dissolve, and it headed the dissolve right there without me having to even be on that point hit play to play it through. There we go Now. I decided that was kind of a dumb idea and noticed that the carrot is still on that at a point, and there's a cut tool. It's job is to take any dissolves you placed and turn them back into cuts. So let me go ahead. Click on that and it removes our dissolve. The Cup pages designed for quick edits It's easy to quickly chunk in sections of clips you want and then refine them. One thing an experienced editor will notice. It's tough to move audio out of sync in the cup page. Notice how we don't really see audio tracks. Let's take a look on the edit page here and I flip over to the edit page and there are audio tracks. DaVinci Resolve has been keeping track of these for us, but it's been hiding them here on the cut page again. The cut page doesn't ask a lot out of you when it comes to building your timeline for short , quick turnaround jobs, you may never even have to jump into the edit page in this movie. I want to show you another key feature of the cut page Progressive discovery. The easiest way to show that concept is with the cut pages Zoom Tool. Now I'm continuing from the previous movie, but I also saved the end state of that movie as a dot drp, which you can import from the exercise files. It's named 0304 editing cut page end All right. So we're back on our time line here, and I want to go to this final shock and right about here, I want to maybe actually has his head moves. Yeah, right there. As his head moves, I want Teoh cut in tighter to him. And there's a nifty little feature in here called the Zoom Tool right there. That's the icon for the zoom tool. I'm gonna click on it. Let's see if we could figure out what it did. Ah, click and look at that. It put another shot on the track above and resumed in. So if I hit, play and play this down a press p to go to the cinema view Hit play. There we go. Nice tight shot. But what did resolve do here on a cup page with that nifty little button? Well, what it did is it took this underlying track down here on track one. It did a match frame edit. Cut it back in on top of itself on the track to and guess what it did? A scale operation. It zoomed up this shot into a tighter shot. Now my question to you is can I just the zoom factor and the position of this shot on the cup page. And your answer should be, yes, here's how we do it, and this shows progressive disclosure. So if I click on this button here, this little icon, that's the tools button, and it magically shows a range of tools at our disposal that necessarily is an obvious. In other words, there's a lot more power on the cut page than just merely cuts at its and putting your story together. We actually have a bunch of tools at our disposal, but DaVinci resolve doesn't start by presenting this to you in a blindingly obvious way. In other words, it hides some of its complexity, and that's the concept of progressive disclosure. As you start using the software, you slowly start discovering new features. And here are a whole bunch of new features, including a scale tool crop. You've got some audio controls. You got some speed controls. We have a bunch of other controls in here. We're just gonna focus right now on this scale. Control. You notice that it says my scaling is nominal. It's normal. It's at 1.0 haven't done any scaling. That's because it's showing me the numbers for the clip that selected down here on the timeline. If I unclip now, it's showing me the numbers for the top most layer. So as I move my current time indicator showing me a two. But as I dropped down here and let go now it shows me a one come on back, it's showing me a to so I can adjust that by hovering and then making whatever changes I want to make. So maybe I don't want to blow in quite so much. And maybe I want to reframe it so I can change my horizontal and vertical framing here a little bit smaller. Kind of like that. And then I use the back slash to play around. All right, let's say I like that I can hide this and I'm done. I've now adjusted what the zoom tool initially did for me. I'm gonna show you one more feature that's kind of hidden here in the effects tools, and that's dynamic zoom kind of a fun thing to do. So imagine we like this cut, but we want the camera to be slowly, maybe pushing in on him a little bit. There's a nifty feature called Dynamic Zoom. I'm gonna turn that on, and now it's showing us a wide of this shot. It's kind of showing us where we're starting and where we're ending. Let's take this and make this smaller. And just to show what's going on, watch what happens when I do a player and using the backs life. Right. So the green box here is showing us our start position Starting in, zooming out the red is showing us our end position. So what I want to do is actually swap these because I want to start wider and end tighter. So I'm gonna come down here to this little back and forth arrow Click on it. Now, this is the end position and the green border Here is the start position. Ah, play around. There we go. So now we're going tighter into him. Now you'll notice that even though this is showing us the full clip when it coming to scale , it's actually starting us at this scaled position. So now let's come back and play and see what happens. There we go and I'll probably want to not going so tight. I just want to keep this a little nudge than a snap zoom. Let's nudge it rather than snap zooming in. There we go. All right, I'll hide that up. Get down And there we go. That's a lot of additional power hitting on the cup page That's not immediately apparent. Progressively disclosed. The nice thing is, if you need additional controls over those effects tools, you click into the edit page, Open the inspector, and these tools are available there for you to really start tweaking them. 5. DaVinci Resolve 16 - Lesson 4: with our rough cut finished, we can move into the edit page for additional or more advanced editing work. Let's start by taking a more in depth tour of the edit page. As I switch into the edit page, notice that we go from this single viewer set up into a dual viewer set up. So by default on the edit page, you always have your source visible here in the left hand viewer. And in the right hand, viewer is always showing you the current time indicator here on your timeline. Now, if I want to operate more like I, we were operating on the cut page. I can come up to this little icon here and change my monitoring to a single viewer monitoring and then, if I want to see the source viewer. I used the Q button to toggle between source and timeline, and then I clicked that again to get back into our dual monitors set up. Now, especially here on this laptop, this media pool is taking up a ton of space. I tend to like having my timelines running the full width of the screen so I click this little button here to retract my media pool to have screen, and now my entire with of my screen is given over to the timeline. I can also change the size of these thumbnails, and this is true. Wherever you see these thumbnails and you see this little slider widget, I can make them smaller to see Mawr thumbnails or larger to get better looks at these thumbnails. Let's pull it the shot where he talks to camera and one of the great tools you can use for setting in and out points, especially on dialogue, our audio wave forms and here to venture resolve. We come up to this options menu here on the source side, and we can choose show zoomed audio wave form and this Kenly Aly make it easy for us to set our in point so you can see that there's a little current time indicator right there, a little tough to see with his arm, shirt and the orange time indicator. And so I could bring that right to where I see him start talking on the audio waveform mark my in point there, and that's really useful. But this is Zoom. Then we can also have the show full clip audio way for and now you're seeing the away form for the entire length of this clip, and you can see the little gaps in here. And if you didn't multiple reads, you kind of just bounced to the beginning of each read just by looking at your audio way form. Now actual audio clips have a slightly different display. Let's open up our being here, switch over to the music and double click into that. And now what we've got is a dual way form. Set up on the bottom is our zoomed in view. On the top is the full length of the clip, and I could quickly jump to any portion of this wave form just by clicking in the upper view and then in the lower view. That's just a display. There's no actual navigation to navigate on the lower news, either a little slider here or I do have this jog wheel available to me, just like we had in the hut page, right click, hold and drag, left or right, and I can kind of use that to dial in, maybe on a particular beat or sound switching gears over here to the timeline side, I clicked on the timeline viewer. You saw that this timeline when orange. That means now all of my controls are happening on the timeline side. So if I hit J. K and L and I played backwards, that's on the timeline. Watch what happens when I click on the source viewer or if I have the time line up again, you can use the Q button to toggle back and forth. I keep repeating that because it's a fantastic shortcut. You really need to understand. Now here's another shortcut. This little button down here is match frame, so I've got my audio pulled up. Let's say I've already trimmed that in. I'm happy with it. Now I want to work on this shot again and I want to find it. I want to pull it up on my source viewer because I think there might be a better take of it . So what I can do is just go here and press this button, and now it is pulled up the exact frame of this clip on the timeline here on the source viewer. So I've got the actual clip back in the viewer. Let's come here to the last shot and on the cut page. We've done a zoom on this and I want to show you that we do have onscreen widgets here. So we've got the transform tool. Now we did a zoom in, so I have to kind of shrink this down in the viewer so I could either drop this down to, let's say, 12.5%. And now you can seethe wire frame that I can drag in order to reframe the shot. And I can also click on the middle to move it around, undo that and then to get the actual image fully filling this viewer, I'll come up to this widget click fit, and now it's back full screen. Now here on the edit page where we have just the single timeline. We don't have the dual timeline notion that we have here on the cut page. So you're gonna do a lot of zooming in and out to zoom in your press control plus and minus , and that will zoom you in and out if I'm gonna zoom in state. And now I want to reframe the entire timeline. I could press shift Z and now Shift Z will automatically frame the entire time line. However long or short, it is within this view that if a press shift see again, it goes to the previous zoomed State, which in this case was really zoomed in. Let's say, really zoom it out like that Shift Z frames it in and then shift see again goes back to that previous Zoomed State bullshit Z. I've got a couple different ways of adjusting track heights. I could use it here. In the timeline view options, I can adjust my video track heights and my audio track heights independently of each other . Not to mention I could get rid of this filmstrip view on the timeline on the video tracks we go with heads or tails view, or if I'm really challenged with real estate and I have lots of tracks, I could go with this plain view that gets rid of all the extraneous stuff and really gives you a very compressed height viewing option on your timeline. And then there's audio wave forms that you have to want to pull up on your timeline. You have to enable those by pressing this button here and they've got a couple different audio view options you can play with to help. You better see these wave forms. In addition, if I wanted to give up, say, track one a little bit more space, I can click and drag. I go into this area between these tracks. It turns the cursor into this little up down cursor, and then I can make them larger or smaller. And I can do that video or audio tracks. And what I want to do now is I'm gonna take the split view here between the video and audio tracks. If you have a lot of audio tracks and you working on them, you can move this up to Seymour Audio tracks or a lot of video tracks could move them down to better see your video tracks. And I'm gonna click on this last shot and I'm gonna drag it toe open it. And you know, this would have been basically impossible to do on the color page. We can do that here on the edit page. We can easily open up holes on the edit page. We can frankly throw things out of sync if I click in the gray area to de select this shot click on linking so that it's no longer linking. I could just grab this video track and throw it out of sync, but it's telling me it's out of sync. It's saying, Hey, these two tracks. His video and audio tracks have the same time code, but they're not lined up. You are out of sync by 22 frames so I can adjust this back by pressing plus 22 and you'll see that up here in the upper right hand corner hit, Enter. And now it just moved that clip the number of frames that I told it to move. The other thing I can do here is Mark an empty spot market gap. Use the X button, the gap is marked. Use the back space and nothing happens. Why? Because you're on the edit page. Backspace is just basically a lift. What we want to do is a ripple delete, which is pressing the delete button and it ripples. The timeline closed. Last thing we're gonna take a look at in our tour are closer. Look at the edit page is the mixer so we can pull up the mixer and it will have asthma. Any tracks. I can drag this out to expose all the tracks that I have audio tracks for. I can also switch this into meters if all I want is metering, so I can go ahead and hit play very compressed view for me to look at my meters. Or I could look at my mixers in order to do basically track level mixing. And then I can adjust these audio levels here and do clip level mixing. I've also got some basic e que controls in here, and what I could actually do is open up the inspector and clicked on a track. And then here's my clip equalizer, and then I could start making changes onto this clip, which is OK, but it's kind of annoying to have to do it to clip after clip after clip. I just undid those changes. As a matter of fact, let me do these changes again. Show you one other thing, which is the undue stack. So in the edit page, if I come up to and it history, this is my history of actions and Eikenberry up to anywhere I want in orderto undo some of the moves I made. So, for instance, I did these to modify clip equalizers. I'll just bring it back to this toggle CQ for clips. And there we go. We've undone those last two items. Trimming on the edit page is more complicated and the cut page. That's why the cup page is a good place to start learning editing. Now here on the edit page, it's much easier to do things like Leave one friend Gaps for off Audio Sync on a Shot. But you can also do more complicated trims and be much more intentional about your work, for instance, appear on track to I got this quick reaction right, and what I want to do is maybe get to it a little bit sooner because the whole thing feels a little rushed. And I'm thinking maybe if I make this shot longer, then it won't feel quite as Rush. So I can, of course, click and drag and just make this shot longer. Kind of like that. Let's hit play top that we get his reaction. The other thing I can do is instead of clicking, dragging, let's say, maybe on a beat I needed that shot to hit. So right there is where my beat is. I clicked to de select so that I could show you something. So I want to do is select the edit that I want to put right here at this point where the current time indicator is so select that at it and I'm just gonna press the e key. That's an extend edit. It automatically takes whatever at a point I've selected and brings it to where my current time indicator is. We use the back slash play around it. I just Yeah, that's better. In fact, I'll use the P E to get a better look at it. I just All right, I'm gonna go with that. I'm gonna de select that edit and show you a really meet command. This one I love. And what if I wanted to take this shop and swap it with these shots? Can I do that very easily? Well, the first thing I would want to do is turn on shot linking so that my audio goes with my video. So if I d selected re select now, my audio is being selected. I'm normally what would I have to dio I click and drag. Drop that in, select these and drop it in. All right, that was a swamp. Let's undo that. Now let's do it the modern way, which is you're going to use a keyboard combination of shift control and then the period button. Nothing happened because I need to select the shot. Select it. And there it goes. It automatically did that for me or a use shift plus control or option on the Mac comma, and it swamps them back in this direction. Now it gets a little more complicated if I don't have linking turned on because, you know, I'm just now moving the video track, and now I'm gonna swap to the left and I've lost my audio cause my audio stayed behind. But for some reason, I don't fully understand on this particular command. It took the audio from the following two shots and overrode it. So you have to be a little bit careful. I'm gonna undo that. This could be a little bit complicated if you're not using linking. So I suggest using this command with shot linking so that you can make operations like this seamless. Now, what if I wanted to switch these shots, but leave track to where it waas. I could do that. I'm gonna turn off track twos. Auto selector. What's the auto selector? It's this button right here. So I turned that off When I'm telling it is operations that I'm targeting on tracks. Ignore those operations. In other words, this swap operation is now ignoring track number two because the auto selector is turned off. Neat little trick, right? Let's look at the two main trim modes here on the edit page. The first is the Arrow tool selector, and that's what we've been using most of this time. Is this little guy right here is a little arrow hover over it. It's the selection mode. The A is the short cut, and basically I'm just clicking and dragging. And that's kind of how I'm making these operations happen. One thing you will notice is on the trim tools where you do these hover operations click and drag. What happens when I click and drag right? It's leaving Ah, hole. It's leaving a gap. In other words, when you're set up in the selection mode, you're really Onley affecting the clips that you're adjusting your not affecting anything else. I'm gonna undo that. But when I go into the trend mode and click that button, I get a very different operation. This is what happens on the cut page. I come over here, turn this into the bracket, pointing right click and drag, and now I'm adjusting the position of every shot behind it. I'm adjusting the overall length of the timeline. I'm gonna undo that now. Why didn't track to go with it? Because this auto selector track two is turned off. It's not honoring these types of operations. If I want track to to honor this, let's say this is all in sync with each other. And I need to turn that auto selector back on click drag. And now track, too, is moving with this operation. Undo and I could do the same thing here, and you can see how we're changing the duration off the timeline in the trim mode and I press A and go back to my normal selector. Now, the one operation that's the same in both the selector mode and the trim mode is when I'm hovering on a net a point. I got the double brackets with the double arrows click and drag and all I'm adjusting. Is this edit point itself? Now I'm gonna zoom in on this timeline, and so far we've been working at it appoints with these ripple operations. But I want you to notice that when I'm in the middle of a clip here and I'm gonna go ahead and turn off the filmstrip view and just heads and tails so you can see this better. So in the middle here, I've got the brackets facing outwards and the arrows Sonthi inside of the brackets and I've got two different modes here. There's the mode in the top 2/3 of the track and then a mode in the bottom third of the track. We're going to get to different operations here on the top. We're gonna get what's called a slip. So I'm a click and drag and notice that the in and out points stay precisely the same. All I'm doing is slipping the frames in between the in and out point, not changing the duration of the timeline. I'm not affecting anything else, but the clip I'm using and look at the viewer. There's a four up view. And as I move this, you can see the two top squares are the in and out point of the clip that I'm slipping. And then the two squares below it are the match frames of those in and out. Points on the left are the in on the right is the out. Now. If I go down to the bottom here, click and drag now it turns into a slide. What happens? Well, the in and out points are locked, and I'm actually moving the clip through the edit by Ship Z. But you'll see that I'm not adjusting the length of the timeline. So you notice you remember I said a little earlier that trim tools affect the overall duration of the timeline. That's true when you're working at the at a point, but when you're working on these slip and slide operations, that's not true. You're actually only working on the shot and the other points immediately surrounding that shop. Let's come back up to her at it scoped are headed history. Let's open our history window, and then I am going to come back before all of these slips and slides and all these roles and go right there and undo all of those actions. So we're back to where we were if you're new to editing and you probably understand why the cut page was created because these modalities are confusing. But if you spend your career editing full time, then the tools here in the edit page are essential for quickly making complex edits and trims. The timeline on the edit page is called a multi track timeline, and it is powerful, and it can get confusing when you're trying to place a shot on track one instead of track to and you're using keyboard shortcuts. In this movie, you'll learn how track selectors and track targeting works in DaVinci resolve. We're going to start by doing something a little bit different. First, we're gonna add a new being, and I want to show you that you can do this here in the at a page, not just in the media page. I'm gonna add. And you been I'm gonna call this vo. In fact, I'm the press control I to go to our import dialog, and I'm actually import footage directly into the media pool here on the at a page I'm going to go to my desktop exercise files and we're gonna dig into the D r A here for our video track. I don't need the folder right now. I just need to track open that up. It gets dropped into the active folder. Here is my vo. Let's go ahead and close down these other palettes that had been open and I'm back now into my dual viewer set up. I'm gonna double click onto my wave form and you can see that I've got a long bit of video here. It's actually a 31 minute read. Lots of pickups. We've got a script that supplements this. If you have access to the exercise files, what I'm gonna do is jump to about one minute on the timeline. So I'm just gonna press one 00 That's one second to more zeros, puts it toe one minute, press enter. And now I've jumped toe. One minute in this track, I'm gonna hit l to play J K l double time. Yeah, I want to do that work off screen, So yeah. Little extraneous information here. Okay, Okay. And it's here starting to read. Just jump right in here. I use a little jump off. You're OK. Don't ask a question. You ask you a question? That's what we want. Now I press the J button to go backwards, and I'm gonna press and hold the K button and tap the l button going frame by frame. And then I hear the audio start and I'm in a market in point about a frame or two before I hear the audio start hit play and then marking out after the first read, Let me ask you a question. Is your weight holding you back out? Okay, now I want to edit this in. I'm gonna edit this at the very end here. So we're gonna get his reaction shot, and then the video is going to pop in. How could we do that? Well, a couple things I could click and drag this over the viewer and I have a bunch of editing options in here from insert overwrite, replace what I really want is upend at end. Click on that. It just dropped it to the end of the track. Now I'm gonna do is make sure this track is wide enough that I can see the name of it. But you know what? I don't want it on track one. Track one is for my sound Up when I really want is on track to for this clip toe end up there. So I'm gonna double click this. I'm gonna call this V O and I'm going to click this track. And I could, of course, just put myself on a pressing a button to go back into our selector mode. I could just drag this down here onto track number two, if that's what I want. But I want to show you how to do this, where you can edit directly in the track to and that's using the track selector. You see this little orange box here? It's saying that audio one from my source is going to track one. If I click and drag this down here now, audio one from my source is going toe audio, too. So now if we do this again now I can click and drag and a pendant end, or because I'm already at the end here. I could just do a regular editing command, so f 10 is an override, So I'm gonna press F 10 and now it directly sent this to track to Don't believe me. Let's go undo that. Let's scroll down to track three. I just click that press F 10 and now we're going to track three. So this little track selector helps you determine where you want to put things. In fact, I'm gonna take this back a little further, So I just zoomed out control and minus. Let's see his sound. Just need a second. Let me ask you questions, a couple things. So this is taking too long. We've got a lot of cutting this going on second. All right, so let's just right at the end here. We're just gonna get rid of this section here. I'm gonna mark this clip and then press I to market in. Now here's a thing. I've got the audio active. It's the clip that selected I can tell by the Orange border. If I hit backspace, it's going to delete that clip. I'm gonna undo that. And what I really want to do is with it selected. I need to de select it. I can either click off of it or control shift a and that de select everything on the timeline. And now you can see that my next action will affect just this range by hit backspace. Well, I've left the gap. That's not what I want. I want to delete and do a pull up. So let's use the delete button. And there we go. We've got our pull up. Now let's see what happens. I just need a second. Let me ask you a question. Is your weight holding you back? There you go. All right, that's better. So still a little cutie. But we'll be working on this yet. Let me just want to go on this video is pull up the audio and rather than using the mass amuse just the J, k and L J and L to come forward and back. And then I'm a hold down both the k N l to play in slow motion your question and then I'll tap the buttons in order. Find my in point market in is your week. You worship right there. A press, the delete button there. We've tightened up that gap. Now we're going back and press play. Let me ask you a question. Is your weight holding you back there? We go. Probably maybe a little bit too tight. So what I could do is put myself into the ripple mode by pressing T click and drag and just move this like two frames. I love the little dialogue that pops up showing you how many frames you've moved it play around using the backs. Ask you question. Is your weight holding you back? There we go. By now. You should be having a real sense of the control that we have on the page with trim, targeting and how it is very different from the cut page, where on the cup a jewel that complexity is hidden here on the edit page, it is wide open for you. The Edit page has a variety of controls, doing typical effects that an editor might need. Let's start by re examining the clip we applied the zoom to on the cut page. I come back here to our last two shots on track number two is that shot which resumed into I'll open up the Inspector and then I use a little drop down to show it full screen, and you can see that I've got these transform tools here, and that's the Zoom tool, 1.477 If I switch over into the cut page, reveal the effects and go to the Zoom Tool, 1.477 In other words, they're the exact same tool to different interfaces. I'll just hover to slightly adjust, maybe take this a little bit down a little bit. There we go. And there I'm happier also noticed that I do have my overlays here. The transform overlays are available, just like we had on the cut page, allowing me to click and drag and make these same adjustments. Now you'll notice that I'm doing an aspect adjustment here. Let me undo that. If I hold down the shift key, it will constrain the proportions on that closed down this transform and let's take a look at the dynamic zoom because, remember, we have dynamic zoom going on, so as it cuts, it slowly zooms in. So we have the same controls here I can come down to dynamic Zoom. It's starting from green and finishing on red, so starting at the widest position, which in this case is a transformed position. We've got this blow up going on, and I can go ahead and change this framing. Let's activate the Inter frame and set this end position and let's just push it off a little further frame left and then let's hit play. You can see that going on. I'm not a big fan of that. So let's go ahead and bring that back a little more centered. And now we should just have a nice small zoom. Now, if I don't like it, I could just go ahead and turn it off. I'll turn that off now. The dynamic zoom will be ignored. Go back and play and now straight cut. And by the way, I come back to the cup page, Take a look at Dynamic Zoom and you'll see that it's turned off. This is the toggle on and off here on the cut page for these effects, it's toggled off. The inspector not only works for video, it works for audio. Saw these select by clicking in an empty space. Drag us onto the audio clip, let's turn off our overlays, and now you see that the inspector now has audio controls from volume panning pitching, and then we have the four band clip equalizer. I can turn that on for to become active notice. It's called the clip Equalizer, not the track Equalizer. This clip equalizer is on Lee, shot by shot clip your wings clipped. As I go to this clip, it doesn't inherit it. I have to copy and paste those properties which Aiken dio. So what I'll do is ah, select this clip control. See the copy, Then select the clip. I want a copy. True. All TV now I have my paste attributes. What I want to do is paste. The equalizer had apply and now I've pasted the equalizer. But I'm gonna undo these two. I'm just gonna go ahead and turn them off. Finally, let's come back to a random shot here. Let's click this icon to turn off our graphic overlay and what I want to do is add an effect to the shot words. Do something random kind of over the top. I'm gonna click on the effects library, come down here to open effects. These all ship with the venture resolved, I'm gonna scroll on down two lens distortion because it's just pretty darn obvious. This is a GPU accelerated open effects that was written by Divinci resolved by the DaVinci Resolve team. I apply it and it gets applied to this clip and you'll see here in the Inspector. Not only do we have video and audio tools now we have the open effect Stroll and then I can make changes. That's ungh. Ang this, and I'll have different distortions on the different color channels to come up with some weird little effect if I want to. I can bypass that effect by clicking on this little orange switch. Now it's turned off, and now it's turned back on, and that gives you a good overview of how to use the inspector here on the edit page. 6. DaVinci Resolve 16 - Lesson 5: frequently in the edit. You want to key frame adjustments that you're making the inspector. You want them to start one way and finish another. And a great example. Izam or manual version of the dynamic Zoom. Lets redo that dynamic zoom. But this time we're gonna use key frames to get a sense of how all of this works in resolve . Now let's move to this last shot in the timeline. We're gonna click on this shot we want to work with. We have dynamic Zoom turned off. Let's do that zoo motion. But we're gonna do it using key frames. And the important thing is to figure out where's your first key frame going to be? And I'm gonna set that first key frame up just as he opens his eyes right there and when I like to do is add a master key frame. In other words, I could just keep frame, zoom and position. If I want to buy clicking these dots, I've added key frames. But notice all these other transform options are not key framed. I'm gonna undo what I just did when I like to do is add a key frame for all of the transform options as like my first key frame, because what that enables next is when I do this second move, which is the zoom in as I start making adjustments and I need to link this together as I start making adjustments, it automatically adds those key frames on those adjustments. So the auto key frame is nice. And since I've already keep friend everything at the beginning, I don't have toe worry. I know that this move is gonna happen on its own. So now if I go ahead and press back slash just need a second. There's my moves. But it's pretty quick now, isn't it? So let's go ahead and zoom in. Let's make this a little taller here on track to and now let's press this little key frame icon and I congrats my key frames now and adjust their timing. That's backslash. You know that. It's a little better question. You should probably stop that. I could probably just bring this all the way to the end and maybe not have a pushing quite so much. I really want more of a nudge than ah, swish pan. So I'm gonna use the little arrows, toe land on that key frame and then not pushing quite so much. Maybe like that. And then I go back to the first key friend and into the last, just to see how that move looks. All right, Let's come back a little bit. Hit, play. There we go. Yeah, much nicer that way. Now I'm gonna close down that key frame tool and open up the key frame editor, and I'm going to select this point here, and I can either click on it or from afraid I'm gonna move it. I can click, drag and select the range of key frames that I want, and right now this is set up for a linear key frame. If I right click on it, I can choose between linear or season, or this button here switches to ease in. And now, hopefully, as it gets to the end of this move, it will slow it down. So let's go in and hit play, and it's less obvious that it's slowing down. It feels a little bit more natural. I'm done in the key frame editor and I'll close it down. That's a simple example of how key framing works in resolve but frankly doesn't get any more complicated than that. Frequently in the edit, you want to key frame adjustments that you're making the inspector. You want them to start one way and finish another, and a great example. Izam or manual version of the dynamic Zoom. Lets redo that dynamic zoom. But this time we're gonna use key frames to get a sense of how all of this works in resolve . Now let's move to this last shot in the timeline. We're going to click on this shot we want to work with. We have dynamic Zoom turned off. Let's do that zoo motion. But we're going to do it using key frames. And the important thing is to figure out where's your first key frame going to be? And I'm gonna set that first key frame up just as he opens his eyes right there. And what I like to do is add a master key frame. In other words, I could just keep frame, zoom and position. If I want to buy clicking these dots, I've added key frames, But notice all these other transform options are not key framed. I'm gonna undo what I just did. When I like to do is add a key frame for all of the transform options as like my first key frame. Because what that enables next is when I do the second move, which is the zoom in as I start making adjustments and I need to link this together as I start making adjustments, it automatically adds those key frames on those adjustments. So the auto key frame is nice. And since I've already keep friend everything at the beginning, I don't have toe worry. I know that this move is gonna happen on its own. So now if I go ahead and press back slash just need a second. There's my news, but it's pretty quick now, isn't it? So let's go ahead and zoom in. Let's make this a little taller here on track to and now let's press this little key frame icon and I congrats my key frames now and adjust their timing. That's backslash. It's a little better question. You could probably stop that. I could probably just bring this all the way to the end and maybe not have a pushing quite so much. I really want more of a nudge than, Ah, swish pan. So I'm gonna use the little arrows toe land on that key frame and then not pushing quite so much. Maybe like that. And then I go back to the first key frame and into the last just to see how that move looks . All right, let's come back a little bit. Hit, play. There we go. Yeah, much nicer that way. Now I'm gonna close down that key frame tool and open up the key frame editor, and I'm gonna select this point here, and I can either click on it or from afraid I'm gonna move it. I can click, drag and select the range of key frames that I want. And right now this is set up for a linear key frame. If I right click on it, I can choose between linear or ease in, or this button here switches to ease in. And now, hopefully, as it gets to the end of this move, it will slow it down. So let's go in and hit play, and it's less obvious that it's slowing down. It feels a little bit more natural. I'm done in the key frame editor and I'll close it down. That's a simple example of how key framing works in resolve, but frankly doesn't get any more complicated than that before moving on to the color page. Let's look at one or very common effect. You see today speed ramps and I'm gonna create in your timeline. And I'm going to search for a specific clip because I got a clip selected and to create a new timeline, I'm gonna come up the file. New timeline. It automatically names this timeline to Let's call it speed rent, shoes create and you could see it dropped it into the Vo folder. Why did it do that? Because whatever folders active whenever you create a new timeline, that's where it's gonna drop it. Personally, I'll drag it because I like it back. Either in the top level menu, there's actually a preference that if we go into our preferences and tar user preferences into editing, we've got these automatic smartphones we can create, and we can create an automatic smart been for timelines. Have you been creating time lines and haven't been paying attention to where they are in your project? Enable smart bins for timelines, press save and you'll notice down here. You now have a timeline. Smart, been. And both of our timelines automatically populate in there. All right, so we've got our speed, Ram, Let's go into our video folder. Let's hide the bins. Make these a little larger. Now I'm looking for is very specific clip. You can imagine that maybe the producer had already logged this and said, Hey, Patrick, what we want is clip number 1401 underscore s 00 So I'm gonna type in 140 and then I could just stop right there, and it's automatically looking within any characters within a clip name. It will start filtering out your bins. And so I've got two clips that match what the producer said in the producer wants this s 000 So I'm gonna take that and just drag it down here into the timeline and notice. Unlike the cup page, I could just drag and drop this clip toe wherever I want. I'll just drag it down and then move it to the very beginning. I'm just gonna pull this up in order to see everything that's going on, and I'm gonna make my video track a little larger so we can see what's about to happen, and we're going to zoom in a touch. All right, We're gonna do a little speed ramp here, and we're gonna time it with swishing his reaction. So as his head turn, we're just going to slow mo this down and then we're gonna speed back up. Doesn't really make sense because it's kind of talking in the middle of this, But let's just for the fun of it. That's what we want to do visually. So right about there is where we want the speed ramp to start. I'm going to right click and shoes, re time controls Control our now, When you've got these blue arrows, it means that you're playing in real time. One of the things you'll notice is it's a little 100% with a little down arrow. What we're playing in real time 100% Israel time. I click this down arrow and I've got a bunch of controls here and I'm gonna add a speed point. So what I want to do is start the slow mo from right here. It adds a speed point, and now I'm gonna visually slick, right? I just There is where I want to end the Sloman, go back to real time, click on this and choose add speed point again. Now everything's still a 100%. But now this section right here, you'll notice that I've got these little split outs now as I add speed points, each of these can have its own independent speed. So I could go ahead and click on this and change speed and just said it to 50%. And the shot got longer. And when I hit, play slow down and then he's fixed back up again. I could also just drag these points directly and then this will update down here. This number updates. Tell me what this speed, how fast were running in terms of percentages on right there, I could say, Yeah, I really want to speed it up right there. So let's get this back up to full speed right here, right? And so I've got these adjustments. Like I could even take this a little bit further, right? I could right click and said this point as a freeze frame. And then let's shorten up. The freeze frame slows down freezes picks back up again. Now what if I decide that I don't want to have a freeze frame sustain itself? I just wanted to rant down, hit the freeze frame and immediately start back up again. Well, what I can do is right Click on the clip and select re time curve. And now these points are key frames that I could go ahead and delete. So I'm gonna select one of these points on this freeze frame. Backspace it. And what's gonna happen when I play this down is he'll slow down to a freeze frame and then immediately start back up a second right click, choose the re time curve. And again, this is another way of adjusting your key frames and just tightening this up. And I'll just tighten it way up like that. And now I was a very slight little adjustment there, and what I can do is select these and then change this to ease, to make these ease in and ease out. And let's see what happens on there was a very slight pause as he then ramped back up again and I could do that. He's in and out again. Also on these other points right here. Select that. Choose that's like that Trees easy Eazy e's. And now we're gonna ramp slowly without that big stock. I just need a second. You can adjust how this ramping happens by just ing the handles on your key frames. I just need a second for handling the smoothness of your ramp. When we're done, just turn off the re time curve. Turn off the re time controls and it's still there. You just don't have to be bothered with that, you element. And if you want to truly get rid of the speed ramp, you decide you don't like you to. Your client decides they don't like it. Come back to your controls and reset clip and then hide your controls and you're back to real time. Normal speed. It's that amazingly easy to create sophisticated speed ramps here on the edit page, the color pages powerful. It is dense. It has lots of tools on it. So we've already done a quick tour of the color page. Let's dig into the stuff I didn't talk about that will help you customise your workspace and understand where all the tools are. One of first things to recognize is that on the upper left hand corner, we actually have three choices of tools. We've got our gallery, and we can toggle that on and off when we're not using it. And the gallery is really just a place where we can grab stills. So imagine we've color corrected this shot, and I want to use it as a reference or say I want to hold off on the UN color corrected reference and hold that off into the Stills library. I can right click and choose. Grab still. Now I have to right click in the viewer. If I right click in the Stills Library, I get ah, completely different set of options, none of which is grab. Still, if I right click on the blank space on the no tree, I get a completely different set of contextual menu items, so I have to right click on the viewer and choose Grab Still and Boom There it is. So if I'm on this shot here and I want to see and compare it to the shot that I've saved off on this still library, I can right click show reference white and click and drag, and now it can wipe between these by clicking and dragging in the viewer. When I'm done, I can turn it off. I could also use this little widget here to turn on and off our image. Wipe. And then I've got a bunch of controls on the image white so I can instead of doing it, a vertical split. It's, Ah, horizontal split. I'll switch back to a vertical and I'll turn that off. I can also have bins of galleries and still So if I turn on the been widget here, I've got stills. I've got power grades, power grades are stills that gets shared between every single job, every single project in a database. So if I were to grab this still drop it into power grade one now to my power grade library , that means in these other two projects, this still will be available to them. I'm not gonna click and drag us back into the stills. One folder, it's asking me, Do you want to permanently erase the selective power grade? It's not being erased. It's just being moved. So I'm gonna select elite, and then I come up the stills and there it iss it's it's been saved. We've got our viewer here. There are only so many options for actually making the viewer larger, smaller. We don't have a lot of opportunity here to move things up and down. This is a very locked off you I. So if I want this viewer to be bigger, well, the first thing I could do is hide the gallery. It's not really getting vertically bigger, so what I need to do is hide a timeline. I'll hide my timeline, and that's the many time line down here. So hide that that gives us a more vertical real estate. I'll hide our clips, timeline or a thumbnail timeline, as I like to call it. And now we've got a much bigger viewer. If this is a view that I really like, and I want to save and get to know, one always be turning these things on and off like to do is come up to do the work space and save this off as a layer preset save layout is preset. Call this Patrick faves click OK, and now I'll turn these back on and maybe I've got the gallery on and I've done a bunch of stuff, and I want to get back to work. My favorite layout. I'll just pull up the Patrick favor, load the preset, and there we go at the beginning, even the no tree can be turned off so that I give the entire viewer the upper half. But I don't actually have to do that. There's actually a shortcut to get us there. There's a pre defined workspace that we can quickly toggle on and off. And that's viewer mode there. Three different viewer mode cinema mode, which have been looking at throughout this Training P. And then there's alter or on a Mac option F. And then there's full screen viewer shift F. So let's take a quick look at those and let's go ahead and actually turn all this stuff back on so we can see those differences. Shift F gives us a near cinema viewer view, but we have some transport controls on here. We haven't completely given over, are you? I to this Ault or option F gives us this view with the timeline, the clips hidden the gallery hidden. So what we've got is a nice clean look in our viewer. But we have all of our controls down here and then all theft again. And it toggles me back to whatever last state I was in whatever combination of windows I had opened or closed open effects. Those are our effects that we can apply to shots. I can turn this pallet on and off In order to access these, I can do a search. So if I know that I want the stabilizer, the color stabilized. I could start typing in their two filters that match my typing X that out in turn metals. A nifty view here is the lightbox view. And so this is my entire timeline in timeline order one shot after another. Now I can go ahead and make these much larger, and this is a great view if you're looking for shot mismatches. So if something was way out, I could see that here as I scroll through here and you could think about you know, a 20 minute timeline, you could have 40 or 50 shots in here, and in fact, if you have an external control surface for color correction, you can even color gray these shots while you're looking at them in this view. Or if you're on the mouse, turn on color controls and you have your full color control. You I with your lightbox view, let's turn off lightbox and we're back to normal. Let's turn off open effects. In fact, I'm going to do is just do a reset. You I lay out, go to full screen and we're back to our standard Look. Now the one thing that gets me after a while is having these markers because on this project, O A. C spot conformed. We'd already pulled this in previously, had done a lot of marker work, and I'm gonna go ahead and just uninsulated show marker overlays so I don't have that distracting me. A couple more things to mention it right here. One of the really valuable tools here and venture resolve is your mouse, and what you really want is a three button mouse with a middle scroll wheel, if you can. And the reason I say in middle Scroll wheels, because you can hover over this many timeline and use your scroll wheel to zoom in and out very quickly. Dig in two sections where you might want to quickly jumped to. And then, when you want, quickly, zoom back out again to get a full view of your entire timeline. Finally, the last thing I want to show you are a couple of these controls down here on the lower right, we have our key frame tool set that's displayed by default. But we also have our wave forms down here, and you can break these wave forms out into their own floating palate by clicking this little expand button. And now we've got our wave form display, which we can then resize and change if we wanna one up, display a two up display or four up display, and we can change which of these shows up in these various displays, and then I'm going to use the keyboard shortcut control shift W to make that go away if I want to bring it back. Control shift w keyboard shortcut to pop it open. Let's close that down. And then there's the info palette very similar to the info palette on the other pages. This is going to give you a lot of details of a client saying Are you sure that's the raw clip and not the rendered clip. You can come up here and you can take a look and figure out like, What's my Kodak? Or is this Ah uhd shot or is it HD at 1920 by 10 80? And that's our overview of the color page. You wind where you can find additional tools that we haven't covered yet here in this training for almost 20 years. Now, when it comes to digital color correction and non linear editing systems, color wheels have been central, especially if you're an editor coming to color correction. You probably came to it through color wheels. So let's take a quick look at how these color wheels work here in DaVinci resolve, and you're gonna find them here under this little circular icon menu. And when you come to this pull down, you're gonna find their three menus here. Three sub menus primary wheels, primary bars and log primary wheels and primary bars are the exact same thing. Visualized differently. So when you're changing and working in primary bars, changes you make here will be reflected in primary wheels. Log wheels. We're not going to really cover in this training. They're different. They operate differently and typically, unless you really understand them, they're going to get you into trouble. So we're not going to cover them here because most of what you need to do can be done here with our primary wheels. All right, so what do we got on these primary wheels? Well, what we've got are three color wheels lift gamma gain you can ignore, offset. That kind of stands on its own. So we're just not gonna look at that right now. Think of these as the three way color wheels lift gamma and game. So lift has the greatest effect in shadows. Dane has the greatest affected highlights. Gamma has the greatest effect in mid tones. What I like to do is work what I call from the outside in. In other words, I always make lift and gain adjustments first. And then I make my gamma adjustments whether they be for color or for contrast, because there's so much overlap that if you make a gamma adjustment, you're probably going to come back and reset your lifting gain so your minds will leave this as your last adjustment. After you've worked these 1st 2 Now, I mentioned you could make color adjustments or contrast adjustments. So we've got the shot right here. Let's go to the first shots. I'm gonna press the home button that takes us to the very first shot in the timeline. And there's a fade up going on right here. And so that's why we see black on this shot. If I hit play, it fades up from black if you want to. For the purposes of color correcting, ignore fades and dissolves. What you're gonna do is turn on this button right here on mix. You're gonna enable that. And now it's gonna ignore those so that you could look at every single frame your regardless if it's in a dissolve or not. And now I'm gonna go and throw this in toe loop and hit play on. I'll stop this halfway through. Let's take a look at what gain does. And to do this I'm gonna open up our way forms, and I'm going to break them out. And let's start with just one of these wave forms, which is the RGB parade, because this one shows us this image red, green and blue, and it's it'll show us what we're doing as we're making these changes. So anything above up 10 23 here is getting clipped out. That's detail that's lost. So my first adjustments always to pull this down and see if I've got any more detail to resolve. I don't. The way forms air clipped off, so I'm gonna do is just take this gain and set that clip right near the very top right there. Then on the shadows down here, zero is black. I'm gonna work on the outside and drop my contrast first and adjust it down. And don't be afraid to make big moves like this. You see, I'm not just going straight to the move I want I'm kind of making big moves just so that I understand what's happening here. And there we go just until the three way forms of touching black, but not so that anything is clipping out and then looking at the viewer, I can kind of make my mid tone adjustment now that viewers kind of small. So let's kill the gallery. Let's kill the timeline and right, let's even kill clips for now. So we get a better look at this and now I want to just the overall brightness or darkness of this right about there is fine right notice. We made our contrast adjustment before we made our color adjustment. When you're working with color wheels, it's always a great way of working, because contrast has a huge effect on colors, much more than your colors have an effect on contrast. So we work on the big stuff first and then go to the more subtle stuff. And then here I can start working on the overall color scheme of this image. If I want to cool it down, I can take the gain and pull it towards blue, and I'm adding a lot more blue and you can see that in the wave form that as I pulled towards blue, I'm pulling away from red and you see the red going down. But if I pulled towards green, green is going up and red and blue are coming down, and that's because we're pulling away from magenta and magenta is made up of red and blue. So we're having this opposition going on in here, and that's kind of how you start balancing your images by balancing your wave form is one way of doing that now have a reset button here that I can use to reset if I'm not happy, and it resets both exposure and color. The other thing I could do is while I'm in the color wheel rather than clicking and dragging here. On the contrast, if I press down the control button and click in the color wheel now, I'm adjusting my brightness, my gain adjustment here. Do the same thing here in the lift wheel, hold down the control key and click and drag, and now we're making a lift adjustment. So it's a quick and easy way of switching between color and contrast adjustments without leaving your mouse from the color wheel area. Now, if I want to make very big, very quick adjustments to color, if I hold down the shift key and then just click right over here, the outer edge, it just jumps toe where my mouse is. So, using the shift key, plus clicking, I don't have to drag. I can just click toe where I want by double click. It will reset the color wheel without making a contrast adjustment. It keeps my contrast adjustment. Remember I said that we also have primary bars, and the primary bars replicate what's going on in our lift gamma gain. So if I go ahead and pull this up, you'll see that red, green and blue world going up a swell as this white bar, which is our brightness values If I switch over into our color wheels and now let's pull this away from blues that we've got red not clipping out. Well, when I switch back to my primary bars, you can see what's happened here. The blue is really high, the green has come down a bit and the Red Channel has dropped. But let's I want to make it adjustment on Lee to my red Channel. Well, I can do that here in primary bars by clicking on the red bar and pulling that up. Or I could just pull down the Blue Channel and then pull down each of these channels independently of the others, which is really hard to do in the color wheels. McCullough wheels. What you end up having to do is is kind of balance these things out. You're never quite sure what reaction you're gonna get. Let me reset this and try this again. right. So if I'm trying to make just a read on Lee adjustment, it's tough here to adjust my Reds without affecting green and blue. Come to my primary bars. I could do just that. Now you notice that there's a counter action going on in here as I brighten my reds. The reason that happens because DaVinci resolve uses why RGB color science and what it tries to do is leave your brightness values overall the same. So as I'm adding more red to keep the image from getting overall brighter cause I'm pumping in more red, it's gonna drop down the other two color channels to keep the perceptual brightness the same. So as you add one color, you're always gonna be dropping off another two colors on. That's just how DaVinci resolve works. Sometimes you like that behavior. Sometimes you're not. In this case, I've pulled up the red. But what if I also want to drop down the brightness? Well, I can grab this white channel here, and that will drop down my brightness, or I can go with the exposure wheel here. As you play with this, you'll see that they have slightly different effects the last thing I want to point out is this offset. So there is 1/4 color wheel here and the offset. Unlike lift gamma gain, which are total adjustments shadows mid tones highlights offset affects the entire image. So as I lift this up, notice how all three color channels are working in unison with each other, right? If I reset this offset and grab just the Green Channel, the Green Channel isn't getting stretchy. It's not getting smushed the way it would be. Let's say, if I used the green in the left, you see how it's stretching out or getting smushed to reset that in the gamma. It's kind of stretching out or getting smushed. None of that happens in the offset. The offset affects these color channels uniformly. It has no tonal kind of bias and what that means. It could be actually often times used as a great tool to do some color balancing. If you have a strong overall color cast that goes from highlights down into shadows, that's the basic concept of working in color wheels. Eventually, this gets very, very second nature on, and it's very simple to use, and it's usually where I'll start on a job on a particular shot before you jump into some of them, or complicated or more sophisticated tools. 7. DaVinci Resolve 16 - Lesson 6: color correction is all about the I and what our eyes see. But here's the thing the more we look at an image, especially an image that we haven't touched yet longer we look at it, the more correct it looks and toe fight that auto balance thing that happens inside our brain. We use upset of objective tool sets, especially early in the color correction process to help us do some initial evaluation and help us make some initial corrections. Those are the way form and the vector scope. We're gonna look at that now to see how we can use it and just do that. I'm gonna create a new timeline, and we're gonna put in a gray scale rap which very clearly shows how the vector scope in the way form work. And so I'm gonna jump here into the edit page. I'm going to close down the wave form file new timeline. We'll call this grayscale, create that new timeline, and what I'm gonna do is pull up in the effects library. I'm going to come down to generators and choose gray scale. I've dropped that on here. Now the thing about generators isn't ventures off you can't color correct the generator. In other words, I jump into the color page. I turn on clips. It doesn't show up as a clip. I turn on. The timeline doesn't show up in the timeline. What I need to do is create a compound clip or in terms of other non linear editors were gonna nest it. I'll call this grayscale as well. And now when I jump into the color page and I show clips, there it is. There's our clip. We can actually color. Correct this image and let's open up our way forms. So control Shift W opens that up. I've got the parades up here and let's start out instead of the parade. Let's look at just the pure wave form. In other words, the parade is red, green and blue Channel. And because this is gray, that means that the gray scale red, green and blue are identical to each other. Whenever the Red Channel, the Green Channel and the Blue Channel had the exact same pixel value, it's a neutral color, and so this entire gray scale is neutral. What I want to do is look at the some of these were going to start with this wave form, so you take red, green, blue, add them all together, and then you get this single wave form. Now what I'm gonna do is make an adjustment on the exposure wheel here, and I'll do that by clicking in the color wheel and holding down the altar or option key on a Mac. And you can see that what's happening in the gain is zero. Black isn't changing on the gain wheel is changing everything above zero black the closer get 200% white, the Mauritz changing right so you can see in this gray scale, it's showing us very clearly what's going on. In other words, if I reset this at the bottom of a wave form is zero at the top is 10 23. This is zero black. This is pure white, and everything else is great. In between, I come to the lift, click and drag on the wheel itself. You can see that pure white is not being affected, but every pixel in between is being affected, with the pure blacks being the most affected. All right, so there's a lot of overlap between lift and gain And then when I come into the Gamma, you can see that just looking at this way form what's happening on the gamma channels. Zero black and 100% white are pure pinned, and now it's bending down here in the middle of the image. Way forms are terrific for analyzing images in this manner. I'm gonna go ahead and reset all of this. Now let's look at the RGB or the parade. Now the parade is the exact same thing is the wave form, and it's just individual color channels red, green and blue showing what's happening on those color channels. Where this becomes really apparent is when we start adding color bias in here and we start pulling two different colors. Now you'll notice the parade and the wave form are showing me that something's happening here. But what it isn't showing me is what the image looks like. What kind of color bias is going on here? Could be a little tough to tell Now if I switch to the vector scope, the vector scope is all about color, and you can see that Oh, okay. I'm putting in a color bias in here because the way the vector scope works. I'm gonna click on this Options, tad, because what I want to do is kick up the intensity of the markings in here. When I'm color grating, I tend to keeping them down. But let's increase the intensity on here. And so now on the color wheel, you can see that I've got targets, and these targets correspond to the primaries Red, green and blue. And they're secondaries, magenta, yellow and science. So right now with this big push I'm doing in the greens on the gain channel here, I'm really pushing it towards green. Now gonna pull up and push it towards red and now push it towards blue. And these are happening in the highlights. If I reset this and try the shadows, it doesn't really tell me on this normal vector scope where the color is coming from. Is it in the shadows? Is it in? The highlights is in the mid tones, but it does tell me that there's a big color cast. Nothing it tells me is that you know there are pixels in here that are staying your gray at the very center of these crosshairs is pure neutral. colors from black toe white and all the greys in between. So I pulled the scopes. When we look at the image itself, clearly, the whites are not being affected. There's a cool mode here that's brand new and resolve 16 which is low mids and highs, and these are limited by brightness. So the lows are the bottom 30% of the image. 300.3. I tend to actually like that a little lower, probably closer to 0.13 is what I like to say. I want to see the darkest shadows isolated from the highlights, and I usually like the high range up around 0.85 or so, and that really isolates to the highlights. And then that leaves me the mid tones right here, Everything in between so you can see the mid tones are definitely being highly affected. Shadows are also being affected. Highlights not quite so much for getting a little bit of that green in there, but not a lot. And if I go ahead and balance this out, you're going to see that the dot is right there in the middle because we have a perfectly neutral or perfectly black and white image. That's the basic theory of how to work with your scopes. Now, working with scopes on a great scale rant is fine. But really, where the rubber meets the road is working on actual images and using scopes to evaluate that in this movie were picking up from where we left off on understanding scopes. And now we're gonna apply what we learned in the previous movie working with the gray scale on an actual image. So I'm gonna go from the grayscale, bring us back to our finished timeline where nothing's been color corrected, and we did some corrections on this shot in a previous lesson. I'm gonna go ahead, come up to the color and choose reset all grades and notes. All right, so we're back to our original. Now I'm gonna open up using keyboard shortcut control shift W. And I'm gonna cover this up and let's start with our brightness values. And let's just use our parade and you can see we've got a parade. This parade is an RGB overlay, so you can see red, green and blue. And where you see these neutrals, that means they're exactly imbalance with each other. And what I might want to do, because I see that the highlights are a little red and the shadows might have a little bit of blue. It's a little tough to tell right now. Let's just move some of these around and see, even get some sort of balance happening. Working outside in shadows, toe highlights, looking down on the bottom here. This might be the shadow that I want to balance out on the bottom down here and see what I get. Let's just see what that image looks like. And if I shift F, we get a better look at it. I can use this button here to toggle the before and after. Honestly, it's looking a little bit blue to me, so let's try a different approach. I'm gonna shift F open up our scopes. Let's try our parade. And sometimes I usually like working off the parade. It tends to give me an Uncluttered view of the image, and what I see is, yeah, the blue you could see the Blue Chan, especially in the shadows, is a little higher than the red and green channels. And so I'm gonna go ahead and do that there and then I'm just my exposure dad, and this resolve has been doing this recently where you get to a point, and then it suddenly pops your corrections. This is a bit of a bug, and it's been going on for a little while. Hopefully, we'll get that solved and then let me drop the highlights down just so that I'm not clipping anything out. And I'm looking at the balance here and seeing if I might want to maybe bring up the blues or not. And let's go ahead and hide this and let's take a look at our before and our after So yeah , I mean, it's not bad. That shot was kind of in place anyway. Didn't require a lot of work and really my only job. Here's to decide where I want this mid tone brightness to live. That's looking about right to me. Now, I could also open up the vector scope to take a look, a color balance, and you can see that there isn't a lot of bias in here. Maybe a little bit here, pushing a little bit towards blue. We're looking at the high only, so let's take a look at all There we go. That's everything. That's our lows are mid tones and our highs by jumping in my mid tones. What I usually like to do is take the center of the blob and try to center it up a little bit. Maybe there's a little bit of a green push here so we can come down to our temp and tint tint, moves us between magenta and green. And so I'm gonna push this a little bit towards Magenta. Just a touch, too. Center up that blob and then 10 moves us between blue and read or really kind of this blue , cyan and red. So let's take our tent and just kind of centering up that blob just a little bit. Just we get any rid of any color bias in one direction or the other, and then this red out here, well, there's red in the image by closes down. There's a red shirt right there and then colorful nous. So what I want to do is kick up my saturation. That's usually my last step. Kick up that saturation until I go too far, and this is getting too vibrant down here. Shift F to get a better look at that, and then you had probably gone too far. And that's fine, because when you go too far, you back it off. The human I really likes for us to look at extremes and then bring them back, and that's what I like to do. There's a lot more work to be done on this shot, but this is a good starting point. The point of using scopes is to get you a good starting point to reduce the time you're looking at the image. And did you a objective view of the image before you start tweaking it in with your I remember. The longer you look at an image, the more right it looks. Use your scopes in order to counter act that effect. Wave forms, vector scopes. It's all complicated stuff. It takes some time to learn. Wouldn't it be great if there's just some freaking auto button you could press and magically things happen? Guess what? There is there to tools we're gonna talk about here that do exactly what it is you actually want them to do. The thing about them is they've been completely rewritten here and resolve 16. If you've tried these tools in previous versions. Adventurers off, they work very differently now. I will say, as we start that especially the auto balance tool tends to overcompensate. It tends to push your highlights too high your shadows too low. But it does that to get the mid tones right. And I think this is the correct approach that the venture resolve is taking on this I'm getting with results that I can actually use. Now let's take a look at this in action, picking up from where we left off on O A C 60 finished in the previous movie. I'm gonna pullup are clips to pull apart Thumbnail timeline and let's go here into this close up And one thing I like to do is scrub through a shot or even play and loop through a shot before I ever color. Correct it to find the right frame to judge where I want to set my image. And right here is where I want to set it. His eyes are looking at us. He's on camera, looking straight at us. This is the most significant moment here on this shot, and we're just gonna click the auto balance tool and see what happens. And that's the A button right here. Down here on the left hand side. I'm gonna click that. And while I do that, I'm gonna have the parade open here so we can see what happens when I do that. A press, the a button. And there we go. Boom. Now, remember, I just said it has a tendency toe basically over correct the shadows in the highlights to get the exposure right and you'll notice here in this node and you can see that this notice showing If I hover over you see the tool tip auto color was done on this. You see, these three little bars pop up. That means we've done a primary correction. That's what this is. Now. What I want to do is bring back these shadows there, clipping out and bring back the highlights. So we'll just do that using the contrast wheel and lifting up until this detail comes back and then dropping down on the highlights until that detail comes back. And now I've got an image that's looking better. And now if I turn this on and off, yeah, I've got a little more contrast in here, his face is popping a little bit more. The color balance looks about right on this computer screen right here. So I think I've got a pretty decent looking shot. Maybe I kick up the saturation of touch and then drop it back just until it looks about right that aren't shirt really really pops, some actually dialing it back a touch. Here's where we were before. Here's where we are now. So I've done an auto correction on here, and I'm fairly happy with it. So then the next question is, Well, I did the auto correction there. Can I copy that correction to this shot? Answers. Yes, there two ways of doing this. Several ways of doing this. Actually, we could middle click on the shot of the color correction. We want a copy across. So I've done shot four and also notice the shot number indicator has this kind of rainbow effect around it. That means a color correction has been applied to it, so I can middle click and copy the color correction from shot for right into shot five single click. But they're two different camera set ups, and there's no reason for me to believe that the match plus look of the whites. This is kind of a little Kulish. This is a little warmish. So let's undo that. And what I'm gonna do Say, you know what? What I really want is to match shot five to shot four. It may require slightly different correction with shot five active orange border. On that shot, I'm going to right click on shot number four and choose shot match to this clip. There's an automatic function. There we go. And now, as I look at them, look at that. Those whites are actually a lot closer to each other. Now, once again, the highlights probably have been popped a little bit too much. So I'm gonna come down here and drop down the highlights. A touch and bounce between these two shots. That's much closer than what they were a moment ago. Un color corrected. We're bypassing our color corrections now and now this is without the bypass. Not a bad job. I'm actually pretty impressed with what that just did. These auto correction tools don't always work as well as they just did right here, but they're not always wrong either. and especially you have a really big job or you're really tight on time. You know, toe press that auto button and to see if it gets you any kind of results you can use is about 10 seconds to make that decision. You try it on a couple shots. If it turns out on that particular job not working for you, you skip it, you go back to the old way. If it is working for you, it's a huge time saver. So have fun experimenting with these brand new redesign features here. Individuals off 16 One of the defining characteristics of color correcting and DaVinci resolve is working in the no tree. Most of us are used to working in layers, and we stack up our layers. If you're used to work in Premiere Pro with Lumet Tree, you're kind of tabbing, and you're building up your lament tree stack from left to right. Well, here. It's kind of like that low metre stack you're moving left to right, but you're doing it on nodes and you have the entire tool set of the venture resolve available to you in each individual node. Let's take a look so This is our node. And you could see we've got a couple corrections in here because we've got these icons there. And if we hover over this, it's going to say, Oh, we did a shot match and we did a primary balance. We did two things in this node. Now I can use any of these tools in this node, and then little icons will pop up, showing me what I've done. But here's the thing. You don't have to do everything in a node. And that's the mistake that a lot of beginners to color correction, hair, DaVinci, resolve make rather think of nodes as thoughts as you haven't. You thought at a new node, the node string out from left to right. They follow a chain. And if you suddenly decide, I don't like that thought I had two thoughts ago. You just turn off that node. You've eliminated that thought and kept the rest of your work. That's the power. Let's see that in action. So what we've done here is we've got our basic shot match going on. But then we did a saturation adjustment. I want to undo that saturation adjustment. I'll come up here to the edit menu. I'll come up to history. And unlike the edit page, we do not get a history on the color page. So what? All I can do is dio undo, and then I'll do another undo and then another undoing. There we go. So now all we've got is the color balance, but our scopes, you notice we're clipping out some highlights. So my next thought after doing the shot match is I need to adjust my highlights of my shadows. What I'm gonna do is add a new node. You can right click, choose and node add cereal because there are multiple types of nodes and this series, we're going to focus on the serial note. And serial simply means that we're going from left to right, one into the other and you follow the green arrows. So we're coming out of the edit page and fusion page entering the first node doing our shot match. Then we'd go out of the shot match into our second node. We'll do whatever we're doing in there, then we can move out of here into the deliver page for rendering, or we can add more nodes afterwards and we can even change their order. Let me go ahead and alter s or option s on a Mac. That adds another node. Now, if I make any changes in here, it's gonna happen in the node that's active. I can change which note is active at any given time. So let's do something really disgusting and no Number two, we're going to take the gain and just push it way towards green. And then we do something in no number three and we're gonna take the lift and push it way towards red. And you can see that the node thumbnails update to show you the state of processing in that node in this node, I did a green push and you can see it here in the color wheels in this node. When I click on it, the color wheel interface changes. Keep an eye on clicking right now, and now you can see that there's a red push in the shadows. And if you suddenly decide I hate the green, guess what? You don't have to delete it. You can just go ahead and bypass it by pressing on the number of the node. And now we're going from no number one. Our initial balance. We're skipping no Number two and Onley doing the processing from no number three. Now. Order of operations matters, So let's turn on no number two again. Let's activate no number three by clicking on it extracted by pressing E. I'll move it down. Open up some space in here. Ah, click and drag and position it until I see that the connector, the node connector back here highlights. And then once it highlights, I let go, and it's dropped into that. No tree. And you see, it looks different now that the Reds don't have nearly the effect that they had after the green move. Then they do before the green moves. So there's a lot less effective, although you do see they're having an effect, but not nearly as much and probably have to add a little bit more mid tones into their in order to really have an effect on this final image with No three happening before, no number two Order of operations makes a difference. Let's take a moment. Talk about resetting our nose. I showed you had a bypass, but what if you decide you know what? This green push was a really, really bad idea. I need to reset this green node. Well, one thing I can do is highlight it. Come up to the color menu, reset selected node grade or shift home. So it's used the shortcut shift plus the home button. And there we go. I've reset this node. You can see that it no longer has any operations going on in there. So now we're going from the balance to the red push to nothing. It's just sitting there if I want to delete a note, So let's come to know Number three. That was a bad idea as well. I'll just highlight it and press delete and the no deletes if I want to reset everything, so let's undo that. Let's keep this red push. Let's say I say, you know what toll operation was terrible and I just got to start all over again, right? So I'm gonna come up to the color reset, and I'm going to choose reset grades, but keep the nodes, I'll do that and the entire no tree has been reset. But we kept our node structure so we can still use the same note structure and work from node to node to node and start all over again. I'm gonna undo that. The other thing we can do is just completely reset back to beginning, reset all grades and nodes. And now we're back to our initial state. I'm gonna undo that. So to finish us up here on this particular movie, I'm going to right click on this particular node and choose reset node grade. So now we're back to our initial balance. Now, in no number to remember, we did an auto balance. Now we want to pull this image back. Well, what I'm to do is do this in the next node in the chain. It's labeled number three. Remember, we extracted it and move number number three before no number two. They're numbered in the order in which you add them, not the order in which they appear. And I'm going to come back and we're gonna pull down our exposure on the highlights, balance out shadows a little bit, and then adjust our color a little bit. And there we go. So now we have our first thought, our second thought, and we're ready for whatever. Our next action is going to be 8. DaVinci Resolve 16 - Lesson 7: one of the key skills that colors developed is shot matching and shot matching often means we have to take a shot that we're working on now and match it back to a reference that we might have worked on a day ago. That occurs five minutes earlier in a different scene, and one of the things we do to help manage this is we're able to save stills. Let's go ahead, open up our gallery and there's this still that we saved off. And when I hover over a still in the gallery by default, what's gonna do is apply whatever correction is applied to this shot and show it to me on the shot. That's current. So shot five is current, which is this shot right here. This shot doesn't have any correction applied to it. This still that I saved off in the gallery. And so all that showing me is this uncorrected clip. But this hover behavior kind of drives me a little bit nuts when you're working all day long. I usually don't use this and so what I can do is turn off life preview, and now I can work with my various stills without having these looks automatically applied into the viewer, which could be a little bit distracting. So let's go ahead and take this shot here. Remember, I said I want to take where his eyes are kind of looking at camera. The eyes are definitely the window to a successful correction. I'm gonna grab this still because this is a color corrected reference. I'm gonna right click it and choose Change label. And I'm gonna type and say Dad, Ref! So let's say we really like this image and we want the rest of the scene toe look like this . Well, now I've got it up here. And the cool thing about gallery stills, as I implied a moment ago about this life preview is that you Not only are you grabbing a still which technically, is a D p X image, if I right click, I can choose display no graph. And now we see the no tree that built this color correction and you can see that we've got two different corrections applied on here. One was the auto balance and the other was the primary wheels where we adjusted our exposure. So what that means is I could come to this shot here. Shot number seven, Middle click, and that color grade is automatically applied again. The middle click wheel is essential for the color page. If you don't have a three button mouse with a middle click, you are an extreme disadvantage here on the color page. I'm gonna undo that. The other thing I want to show you about the gallery that's hidden but you may find super super useful is resolves pre built color effects. If you click on this expand button now you're gonna open up the gallery window or the gallery view, and there are a bunch of pre built effects here and DaVinci resolve for you to use. So let's grab a couple of these just for hoots. And let's grab something extreme like cross faded and maybe warm mid tones and notice. I'm grabbing these and dropping them into one of my still libraries, so I've got stills. One. That's where I'm saving all of this right now. I want to I can add a still album by right clicking in this area and choosing that option. I can double click and call this looks. Come back up the stills one. I'll drop these into the looks library here and then let's choose maybe something that's Ah , little de saturated Right. So maybe something that has a bit of a C p A tint. There we go. So we've got three different looks. I'm gonna close down this window and you'll notice that I have a bin library here so I can switch between my grades that I'm pulling and the looks that I have selected And now I could turn on Life preview. Let's see what happens when I do that I hover. And now I'm seeing the shot with this monotone look Or I can hover it with this cross faded look or Mississippi Ella, I'm gonna go ahead and turn off this live preview and let's go ahead And just for kicks and giggles, I'm going to apply this cross faded Look by middle clicking on this still and the color grade that created this look is now live in here. For me to customize however I want, this is a great feature and venturers off tremendously useful and even more important, one last thing about stills is I can right click choose display no graph and say I only want the yellow side of this effect. I can click, drag and drag it on top of no number one. And now I've got on Lee the yellow side of that effect. Most of us aren't just color correcting one image at a time, most of us air color correcting multiple images of the time that then have to look like it's one continuous story we can't have, the images popping around and all sorts of different ways, with a wide shot looking different on the close up. So what happens is, once we get the close up matching the wide shot Well, how do we get the rest of the close ups toe look like that close up in the rest of the wides? T inherit the grades, the color grades off the wide that we're happy with. That's what we're gonna talk about very quickly here in this movie, copying grades and pasting grades from shot to shot. We've already looked at the easiest way, which is if I come into shot number eight here and if I middle click on shot number seven, which we did this crazy great on in the previous movie middle click on that. And it just copies that great across. There you go. We've copied a grade. Undo that. There are more ways of doing this. For instance, Shot number seven. I want to take this node and I want to copy it so I can press control, See to copy. And then on shot number eight, highlight a node control V to Paste. I've just pasted that correction just that node from one node into another. Now that I've got some other options, for instance, we can come back here into no number five. I'm gonna make no number one acting. That's the auto match that we did. I'm gonna press control, see to copy. I'm gonna come into shot number eight in a press control V to Paste. It's now overridden. That crazy correction I did with this shot match from shot number five. And then if I want, I can, then of course, fault s or option. It's on the Mac. And then start making adjustments from there, just like in a still library where I can right click and use display node graph. Copy these across like that. Well, what I can do the same thing is here on the thumbnail timeline. So I come back, I say, Oh, yeah. I liked what I used in shot number five, but I don't want to take the whole thing. Just a piece of it. I'm gonna right click display node graph. And now I'm going to take just the piece I want. Which is the exposure correction drop that in and have copied just that great in the shot number eight. I'm gonna undo that. Now, on some of these nodes, we can often have multiple things happening, and we can actually now do and resolve 16 paste attributes. So I come back into shot number five. Copy No Number three coming to shot eight Highlight, no number to bolt V. And to know number two, I can tell it what properties I want to copy across. So Onley overwrite those properties I select. I'll say the color corrector I will apply. And so it's applied the color corrector, but left a shape that's in here. But that's how you selectively apply your collar operations between nodes and this movie. We're gonna take a look at Kurds. Curves are funny beast. They can be used a lot like the three way color wheel where you make very broad corrections . Or you could make very targeted corrections with curves. Also here individual resolve. There are multiple curves. We're gonna take a look here at the main curve, the custom curves. So when I talk about curves, I'm talking about this display here in the middle, lower third of your screen. It's underneath this curves manual. You'll notice that there are a bunch of different curves here. What we're working on our the custom curves Noon resolve 16. Is this awesome? Hissed a gram display love that hissed a gram display because it really helps you decide where to target your adjustments. If I wanted to target this little bit right here, well, I could put control points around here and then target that little bit right there. I'm going to reset this using the reset wheel, but that's not how I usually like to approach curves. What I like to do is often use them in place of the three way color wheels on some jobs. Three way color wheel Zahra struggle. But you know, maybe on this particular job, where it's kind of dark like this curves might be exactly the tool I'm looking for. I can see that the shot feels a little bit under exposed. I can see it here in my parades where the brightest portion is barely above the 50% mark. And I see it here on my hissed A gram. So I've got all of these color channels gang together, which means red, green and blue are all gonna move together. And I know exactly around to put this point, which is up just above the brightest pixel. I'm gonna put a point right there, click and lift. And now I'm brightening up that image just where I want it to brighten up. And it's got a nice little curve and I said, Roll off that it's doing into the highlights And I've done an initial brightness adjustment . I probably pushed it a little too far. I did an initial brightness adjustment similar to what I would do with the gain, but different. He's often feel different using these two different tools. Now, what I'm gonna do is also just my shadows. You can see that the blacks airlifted. The image feels a little bit washed out by all F and Haidl My other controls. So where do I grab down here? I'll look right there is where my shadows are. So just grab just right around there. Click and drag down. And now I'm expanding my shadows down, dropping them to near zero. And now she's just feeling a little overall to dark, right? And you can see it. All of my pixels in this hissed a grammar all jumbled down there. So I grabbed right about here and start lifting that up. Or let's Ault f out of this. And I might make some additional adjustments on this. For instance. Maybe I want to kick up the saturation a little bit, and maybe I want to just dial in some overall color balance. So I'm gonna add a new node. Remember having you thought, Adam, you know, no dust, no cost you any money. They generally don't slow you down unless you do a very intensive operation like noise reduction. So I'm gonna alter s. And now in this node, let's experiment with color. So we're gonna kick up our saturation, and as I kick her, if she's just looking a little bit green to me, so I could come into the gamma curves and make an adjustment. Or I could just kick on green and say, You know what? I want to make a green adjustment, mostly in the skin tone area. Where would that be? Well, I can come up to this little widget here. Click on the little qualifier Now when I hover over I've got this little eye dropper Ah, click it on her skin tones Click and drag It puts points down for me Now I see where her skin tones are lying I'm gonna take this green dot I'm just gonna pull down to pull out some of the green bolt f So get a better look at the image. I've gone too far trying to split that difference. This would be a good time to switch to the vector scope and I probably blow up that vector scope. So I get a better look to see what I'm doing. And if I'm pushing it to magenta or to green right about there, probably about the right balance. And then if I want to take some warmth out of it, grab that read in her skin tones a little bit. Let's see how that looks when I hide this, probably a little too much on that red. Let's put a little bit of that back, and that's the basics of working with custom curves. Here in DaVinci Resolve. My general rule of thumb is the fewer dots, the better you start adding a lot of dots. You could actually end up introducing artifacts into your image, usually in the form of post or ization, so keep it simple. Be happy as you're learning color correction. Here in DaVinci resolve 16. I cannot let you get away without looking at the vs curves. They're gonna find them here under the curves menu. And when you go to this pull down, you're going to see a bunch of these verses, Hugh versus Hugh versus Loom versus and Sat versus what do these mean? These are very powerful. Let's start with Huber Saturation, one of my most common reasons for jumping into here, and I'm gonna press Ault f to get us back into our normal display, and I'm gonna jump into a shot. We've color. Correct. Let's jump into shot number five. This is a perfect shot to show us what we want to Dio. So we've done a basic correction here and nodes one and three. Let's go to know number two and we want to target the saturation level of the orange and yellow shirts. Maybe they're a little too saturated. Or maybe they're supposed to match up some brand colors that we need to really adjust. Now, What I love is with the hissed A grams down here, we can really target those colors. I can definitely see where this yellow is. It's gonna be somewhere in here. I can see where this orange is. It's gonna be somewhere in here. And what I can do is click. I've got this tool selected. The qualifier becomes an eyedropper, and when I click in here, it's gonna set control points. So there's a middle control point and there's a control point to the left and a control point to the right, and we're in the hue versus saturation. So I'm selecting the hue that I want to change. As I pulled down, I'm de saturating that you as I pull up over saturating that use, I pull it all the way down to de saturate. I sometimes like to do that to see how my selector is working, and then I can go ahead and broaden it out to get more of his shirt while making sure I don't hit his skin tones, right? Cause you don't want to de saturate those skin tones along with his shirt, kind of like that. And then I'll pull the saturation back up to where I actually want it to be. At the same time, we've got Hugh versus Hugh so I can select a hue and then spin that you around. Now there's a new thought. I could do this all in one note. There's no reason why I can't do a humorous issue, and the humerus is sad. But I think what I want to do is isolate these in case my client has a problem with one or the other. So I'm going to Ault or option on a Mac s. And let's now with our eyedropper active, select this yellow in here. It puts in some control points for me, and I could start adjusting that Hugh now notice. I'm gonna make a big correction. I'm missing a lot of the yellow, so I need to take these and open these up, but I don't want to Just there, Hugh. So I'm just going to click on the DOT and then use the input. Hugh, this little control here and click and drag toe. Open it out so that I don't pull it up or down to rotate, and I can come back to this. Start here, click on it, click and drag to the left. Open that up, and now I'm getting most of that shirt. And now let's bring it back to where I want to actually rotate it, too. Let's say the brand colors worm or of a lime green and there we go. We've gotten to those brand colors and now the clock, it's say, Well, why is his aren't shirt so de saturated? I like the contrast. The color contrast. Okay, I'll turn off no Number two. That D saturation is no longer occurring, and now we've only got our line green action going on the other versus Curve that I really , really enjoy is sat versus sad. So continuing with this shot. What I can do is add a new node, and what's happening here is we've got a saturation scale on this end. Is no saturation on this end is ah, 100% saturated and we could see most of the saturation isn't here. And what if we wanted to boost the saturation in the shadows, but leave the rest of the image alone? Well, what I could do is add a control point down here in the shadows and then boost those shadows. I'm getting more saturation with shadows while leaving the rest of the image alone. And you notice if I go off center here, the easiest way to get it back on center is on output. Click there and set it toe one, and that gets you right back to the center line. So now if I toggle this note on and off and let's go ahead and really saturate that up so we get, um, or exaggerated effect. And let's open this up a little bit more, even get a more saturated effect. There we go. So you can see, like the shadows in here on the reflections here Now, those greens air kicking up. And that's the effect that we wanted. That's one interesting way of trying to approach it. So these versus tools really, really versatile, really, quite excellent. Ah, great way of targeting specific elements of your image with tools that you can't really replicate elsewhere in the venture Resolve. I really encourage you to experiment with these and get a real sense for your favorites. When I first started working on the venture resolve, we didn't have custom curves we didn't have versus curves. All we had was the H s l Kier Hue, saturation Luminant Scheer. So we wanted to select a color and rotate the hue. We had two key out that color and then rotate that you rather than using the curves interface. One of the things that I really like using hs l for even to this day is for isolating brightness, values or shadow values in order to adjust the image. Let me show you what I'm talking about. We're gonna come back to a shot. We started a work on, and I'm going to delete no number two by highlighting it and deleting it. So we've got this basic balance going on in here. Let me open up our scopes, switch this over tour parade, and I'm gonna add a new node. Alter option s on a Mac no number two is selected. And just do some final tweaking on this node before I do any keying. Yeah, there we go. And then maybe on that Red Channel, that Red Channel is a little bit out of whack. So I might want to do is come into my primary bars, maybe drop that red channel just a little bit on its own and then kick up the gain on that red channel just to get a little bit more warm. Kind of like that. There we go. All right, so now I've got an image that I feel is a little bit more balanced. So we're at the point now where maybe the client wants to look at some sort of effect, right? So I'm going toe Ault s add a new node, and what I want to do is isolate the highlights. So I'm going to come into our qualifier, which is R h s l here and isolate the brightest pixel values in this image. So I'm gonna grab the low range down here, click and drag, but I can't see nothing's changing. I can't really tell what's going on. If you take a look at the little thumbnail view. Oh, yeah, Look at that. You can see that something's happening. What's going on? I need to view the qualification. So I'm gonna come up here to the highlight mode. Click that button and now it's showing me what pixels and my isolating. I also have a low softness control. So I'm gonna soften out that correction. I can also blur the correction a little bit, so I don't have any harsh values rolling off. And then I can shift age to turn off. Highlight. And now, if I go ahead and make some big correction, let's say we go back a dark color wheels and we really want to push cool. We can do that. We want to push you in warmer. We can go ahead and do that. And we're Onley adjusting those highlight values by toggle this on and off. We're not really adjusting our deepest shadows because we're doing a luminous on Li ke. The truth is here individuals off 16. I'm not using the HSE elk here the way I used to. Back in the day, it's It's duties have been largely taken up by some of these other tools, except for these kinds of operations where I just want tojust those highlights. And then I could even do things like add blurs or effects on top of that which will look at when we talk about open effects. In the previous movie, we talked about using the HSE elk ear to isolate pixels in an image, and in that case, we were using their brightness values. That's the isolation. What if we physically want to isolate, you know, part of the image over here, and just affect that part of the image over there? Can we do that? The answer is yes. And it's with power windows. Let's take a look at those and we're gonna jump into shot number 12 here, and we've got dad here walking across the screen. So I'm gonna pick this moment right here is where we want to kind of design our image. Let's click a for auto here in no number one, we're gonna ault s or option s on the Mac in order to add a new serial nude. And now we're going to bring in those results like we've been doing on those auto corrects dropping them down a little bit and then again I'm seeing, at least on this screen it feels a little bit of like a green tinge in here. And part of it, I think, has to do with this red channel. So I'm gonna add another node, and I'm going to switch into my primary bars, just the Red Channel, using the offset primary bar and then using my game red, kick the reds up a little bit more just to add a little bit more warmth in there and give us channel a little bit more emphasis. And then I can just that green channel on the offset underneath that just a dialling in the look that I want. All right, so there we are. Now, when I want to do is isolate Dad, because I want to push back. There's a lot of distracting elements in here, and what I'd really like to do is not so much isolate him, but get rid of the rest of the room and push it into the background. We're gonna ault s another node. We're gonna turn on a circular power window, so I'm gonna come up to this windows icon Now we're in the power windows section and I got several pre built shapes Square circle. You click. To toggle it on, you click again to turn it off. I've got a political where I can add extra points as I want. It's great for, like garage doors or doorway entrances. Turn that off. I have accustomed shape so I can go ahead and, you know, build shapes, click and drag in order to creative busy a and then click to close it. And then I've got this Grady in tool. It's tough to tell what the grating tool is doing until you press shift H into highlight mode, and there you go. Now you can see that it's on Lee affecting wherever you put it, and it's a nice long feather. Technically, you could recreate this with one of these other tools, but this is used so often by colorist that eventually Black Magic built this a couple of years ago, they introduced this into the venture resolve shift age to get out of highlight mode and will turn that off. So we're gonna do now. We're gonna do a very simple circle shape, and we're going toe isolate dad here, and I'm going to use these on screen widgets. And if you don't see the on screen widget, come down here and set it to power window and then you'll see the widget and then all adjust the aspect ratio. The softness I was have controls down here for this. Just the softness down here. The sizing, right. I want to make this fairly large. And for me, power windows are the key To them is feathering. I don't like hard edged power windows. I like very feathered power windows that act more like lighting effects, almost like you lit on set. Then you're doing something heavy here in post production. If the power window gets in your way like you've said it, but you can't really see the image to do your correction, just click to another tool. It makes it go away, but you're still isolated. If I go to highlight mode, you can see what it is you're affecting. Except what I really want on this shot is to do the outside of this shot. So let's go back into highlight mode. And right here is the invert button, so inverting so now, infecting everything outside of this power window. Just eight now, I'm gonna come down and I'm gonna hide it. Get rid of it. The other thing could do Relatively new feature is shift till day, and that makes the on screen widget go away. So you're toggle ing on this wire frame on and off, so just talk a bit off. And now I want a dark in the outside sections of this image. I'm gonna come into my wheels. I'm to come into my exposure, and I could do this. A couple different ways away I like to do is take a little bit out of each of the total Rangers a little bit out of the highlights, a little bit out of the mid tones and not much more out of the shadows, just a little bit. And we're just looking to create a lighting effect, not to make it really freaking obvious, right? And now if I toggle this on and off, there we go. So now we've isolated dad Power windows. Extremely powerful, Extremely useful. Quick tip. Remember, going to highlight mode if you get confused, I don't understand. And my color cracking inside or outside of that correction going to highlight mode and that will definitely show you what parts of the image your color correcting. When you're using that power window, let me show you how you kick it up a notch with power windows. And that's when you combine them with the venture resolves built in tracker. So I'm gonna add another. No, we're gonna continue on the shot and notice when I play this shot down. We've done some color correction in here, and we kind of dropped off the outside edges of the image. But when he walks off screen right, he kind of falls into nothing. What I really want to do is highlight the upper part of his face here so that as he walks off the screen, he remains in light. So what are we gonna do? How are we going to do that? I'm gonna add another node bolt or option s on a Mac. We're going to enable another power window in this note. I'm going to click shift till date because I turned off the wire frame. And by the way, if you find yourself in this position where you're not quite sure what happened, maybe use that till they command to turn off that window. Go ahead. Just go down to this little overlay menu. Click on Power window. It pops back up again. And now what I'm gonna do is kind of set this to the shape of his head, Gonna bring this on his head, and we're going to shrink this down a little bit. And now I'm gonna jump into this menu here, which is the tracker menu, and I'm tempted to leave everything in default. Except I don't really want to. You'll notice that I got all these check marks. These are all the different aspects. That resolve is going to try to re create not only pan and tilt, in other words, up and down and left and right. But if he steps towards us or the camera moves away from us, it's gonna try to make the power windows smaller or larger for zooming. If he rotates his head around, it could try to rotate the power window. And with three D, which was recently introduced into venture resolve, it's actually gonna try toe to track him in three D space. I don't need these last three. They can often mess up your tracker. It's kind of like too much information. So I tend to turn these on Onley when I need them, and then I'm gonna click track forward and it follows his head off screen. And now it would just come back to this original tracker point. Using this little widget right here takes me back to that original start point. And now I'm gonna track backward. And now let's play down and see how this tracker did. It did exactly what I wanted it to. That's Fran tastic. All right, so now we're at the end of the shot here and now we want to adjust the brightness here. So how are we going to do that? Well, we're just gonna go ahead and kick up the gain a touch just like that, and dropped down the gamma touch just like that, just to make sure he doesn't completely fall out on us. And then I'm gonna shift till day to get rid of the wire frame scroll back. He looks OK in there for me as well. And now, because we are brining it up even in this point here, if I turn this on and off, that brightness is still being applied. But I kind of like that brightness, you know, takes him out of the shadow and into the highlights. And then when he drops out into the shadow, doesn't completely disappear on us because we've done this a little bit of this adjustment in here, that play rotate through. So there's that or we could do without that highlight. And he really falls into the shadow power windows in DaVinci Resolve. Fantastic love. Um, combine it with the tracker. When I started to venturers off 10 years ago and I got my hands on the DaVinci Resolve tracker, it blew me away. It was better than anything I'd ever tried. It's only gotten better over the years, and it completely changed the way I color correct? 9. DaVinci Resolve 16 - Lesson 8: div. Injuries all of ships with a number of plug ins provided by default. Here they're called resolve effects plug ins. They're based on the open effects architecture and what I'm gonna do show you how you can apply them to a node on and get some specialty effects going with them. And we're gonna come back here to shot number eight where we had done Ah, highlight key. And what I mean by that is if I going to highlight mode, I just keyed out the brightest pixels here in the image. So just the highlights of the image. And now what we're gonna do is on this node. We're gonna apply an open effect and it will Onley affect the pixels that are active here as we see them in highlight mode Woman news. Come up to the open effects tab and I'm going to search for Glo. We're gonna use the open effects glow effect, click and drag it toe. Apply it to this node. You can see that it has a little open effects badge. Now, one of the keys to working with open effects is looking at something like the select out Put a lot of these open effects have this kind of pulled down where you can look it. We'll hear the shiny regions and here's the glow alone. So you could tell right in here. What is going to be glowed in what is not in this one? It doesn't look like it's having much effect. I need to lower the threshold. The threshold slider is one of the most effective sliders you'll find in these open effects . And so I'm gonna drop down the threshold until I get the pixels that I want the glow effect toe have an effect on something like that. Probably Now I can switch to the glowing image. And as I turn this on and off, I can see if I'm getting much of an effect out of it. At this point, I'm gonna press shift F and what it gives me is a large viewer with my open effects panel still open so I can see what's actually happening in this image. And I kind of like that right? And many of these effects you can even do things like colorized so I could grab this little eyedropper. So you know what? I need this to feel more like the light source, so let's go something a little warmer. So you go through here and adjust these, and there is a whole range of these for you to choose from. Just click into the library. I'll turn off my search, and you can see all the different categories blur color. There are generators, light effects. The actual lens flare is actually very powerful. They've got a lot of options you can do in that lens flare effect that you normally spend a lot of money on. But what if you want to remove that hope in effects? Let's not leave you hanging right, So let's shift f out of that. There are two things you could do. You could either use this little switch to turn off the glow effect, or if you really want to remove it entirely from the node, right click, remove open effects. Plug in and it's gone. When the fusion visual effects package was integrated into the venture resolve, one of the side benefits was a new class of title generators called fusion titles. Let's take a quick look at how those work because they're eventually gonna launch us into opening up fusion itself. So here on the edit page, we are going to come down to the effects library, and I'm gonna jump into titles fusion titles. And you could see we've got our regular title tools and anything with this kind of lightning bolt next to it is a fusion title. Now, this text plus is essentially a text generator. We're just going to drop it in there, but it's based on the fusion engine, right? Let's turn off the marker display so we don't have to look at that. I'm going to de select show marker overlays, and you can see that this has gotten a little wigged out here. I believe what's going on is the render cash option. You see this little blue line here? What the venture is office trying to do is render out this particular little clip here because fusion effects do tax your computer and so it will automatically try to render things out. And I think it's having a little bit of problem with my render cash. So going to do is come down here to project settings. Scroll on down. Yeah, I'm compressed 10 bit. I'm gonna pick something that I think it's going more likely work with like Dnx H R H Q as my to render cash formats. It's save, and it kind of pops back in there. So if that happens to you, that's one idea for cleaning that up. Now, as I click on this, well, how do I adjust this title? I go to the inspector. So with this selected now, I have a full set of tools. This is actually the fusion title generator. When we open up fusion, this is what it's title generator looks like. It's now been exposed here on the at a page. Let's drop this down so we can see all the various controls honestly, can sit here and knock yourself out playing with all of these. And also make sure you take a look at all of these various other tools that you've got in here. This is not your grandfather's title tool. It's really, really powerful. But that's not what I want to show you right now. Let's go ahead and click backspace to remove that. Well, I'm gonna do is come down into these pre built fusion titles and you can see that just the description alone tells you that there's something special going in. So, for instance, three D lower third plane slide in on. Go ahead, drop that in and we will see what this thing does. So I'll let it render out as the red turns to blue. And by the way, I can speed up when the render cash starts kicking in by coming into project settings and enable background cashing, I'm gonna drop that down to one second. So enough the week for it. And now let's play this through and see what happens. There you go. So we've got a slide action happening in here, and as I stepped through it using the right arrow key and then hit play and doesn't do anything on slide out, then it slides back out again. Now there are ones that airway Mawr extreme than that three D title in a box. Now this is truly a three D title. The fusion visual effects software is a true three D environment, so you can enable cameras you can do lights and textures. And that's what this is going on in here is it's a three d text effect. It play. We've got a long title in a box, and what I can do is, if I want to adjust this click on it. I've got the inspector Open click on the Fusion tab, and now I can adjust the main text. So let's go ahead and call this learning resolve. 16. It's starting the render cash back off again automatically to help me out here because it probably won't play back in real time on this laptop, once the red turns to blue hit play Learning Resolve 16. And all of these parameters are fully customizable. Everything from fonts, two colors, shadows, you know, just kind of scroll down in here. And you can see that all of these are parameters that you can use to customize yourself. So if instead of this kind of scion ish color going on, we could go ahead and go with something, let's say red click, OK, and now I've got that. Now how do I save this off? If I want to use this time and time again easy. I'll come into my media pool. I'm going to add a been I'll call this custom titles, clicking there click Drag and now I have this custom three d title in a box with my own text and my own color scheme. DaVinci Resolve ships with about out of no two dozen of these fusion titles, feel free to go through these. You should probably get to know them a little bit so that when clients or projects that you're working on call for some quick titles, you have an idea of what it is you want to pull up right away. But these are very powerful and a fantastic way of using three D tools right here in the edit page. The venture is all fusion. It's its own beast. It's its own visual effects compositing package fully featured, like Nuke or any other third party compositing program used in Hollywood. That's what you have here on the fusion page because of that and because, like DaVinci resolve, it has a very long history and has been in development for a very long time. It is super feature rich, and it could be a little intimidating and overwhelming to start working in it. The good thing is, the fusion titles that ship with DaVinci Resolve are actually true fusion cops, fusion compositions, and we can use these fusion titles as a stepping point to get a sense of how fusion compositions air created the Siri's is not going to go into actually working infusion. But what I want to do is give you an entryway into understanding how fusion works. And this entryway will probably let you know whether or not you want to spend a lot of time learning how the work infusion. So we're gonna pick up where we left off on the previous movie where we created this Pink Learning Resolve. 16 animated title. Using these fusion titles and we're gonna do is I'm gonna highlight it so that when I click into the fusion page fusion knows what clip it wants me to work with. Because I've got two clips underneath the current time indicator. I've got the top layer, and then here on track number one, all we want to do is work with the top layer. With its selected I'm gonna click into the fusion page, and here we go. I've got a little navigator here for really large compass. This allows you to navigate through your composition, and what I've got here is the actual three D title and then going to media out. Media out is basically the output of the fusion page that feeds back into the edit page. So we go from the edit page into the fusion page and then back out into the edit page, which eventually feeds the color page. That's basically the imaging pipeline. So it doesn't look like there's a lot going on here, right? Really simple. One little thing here except you saw when I hovered over this before on this tool tip. This is actually a group the fact that contains 12 different tools. Cool thing is, we can go ahead and on grouping. I'm gonna click on it. Right Click and choose on Group. Yeah. This is more like what I was expecting, right? We've got a lot of things going on now. Number one. It kind of reminds me of a no tree on the color page, doesn't it? So, in many ways, fusion was actually a great integration into DaVinci resolve because they're both nodal based environments. Grab this media out. Pull it over here. There we go. And as in the venture, resolve your generally start left and work to the right. Now infusion. You can actually have multiple groups. So you could have, you know, this kind of build up here and then have another duplicated build up, and then they eventually merge down along the chain so you could have these vertical stacking as well as horizontal stacking in these no trees. And so, as you go through here, I click on this first node and this is called box color, and they've labeled these nodes so that you understand what's going on in here. So once I click on box color up, here's the inspector, which is turned on automatically. So I got the inspector tool. I have the metadata tools. So there's something in here from looking at a piece of footage. It'll show up in there. There's key framing, So the Fusion page has its own integrated key framing tool set. There's also a spying tool. That's kind of interesting, but we will not be getting into its It gets a little complicated. You also have a set of preferences and settings just for fusion, so you can spend a lot of time in here. You're gonna want to hope in this up. Yeah, These were its standalone settings. Just for the fusion page. I'm gonna cancel out of that. I'm gonna click on the box color node inspectors open and it doesn't look like it has any controls. That's because I have to double click. And okay, there we go. All these controls remember, this is the color that we selected in the previous movie back on the edit page. So you know, the Edit page is talking to the fusion page and the fusion pages talking to the edit page. And these are the controls that are available there. And as I go through these, I can start affecting these various tools to customize what's going on. For instance, I got this main text right here. Here's the fusion text generator. I could come in here and make additional adjustments. There's a way infusion that when they exposed these tools in the edit page, they might leave some parameters out. If you need a parameter that was left out, you could jump into the fusion page to expose it. So what we've got are a bunch of effects that break out, get pulled back together with merge nodes. You've got merged notes, feeding it emerge nodes and then Finally, we get to our media out. One more thing. How do you find all of these various nodes? Where are these effects? If you want to add them and maybe build and start building your own effects, you're gonna press control space bar. And now you're gonna come up with the various tools and there are a lot of tools for you to master as you go down this path of learning about the venture resolve fusion. Fair Light is a fully functional digital audio workstation, and it's completely integrated into DaVinci. Resolve, when I've done is create a new project that I've shipped with the exercise files for this training. I've imported it here into the project manager. Let's double click and open it, and I'm on the fair light page and you can see that my media is offline and I haven't relented on purpose because I wanted to show you something. I just press shift Z to frame up the entire timeline. I can open up the media pool within the fair light page, right click on the master, been and choose reeling clips for selected bin, and that will be all the bins listed here in the master been category, and I'm going to come down and navigate to my desktop, dig into my exercise files projects. Media D R A. That's where all of our footage exists that I shipped with this training click. OK, and now it's gonna find the matching media. And when it's done, everything comes back online. I'll close the media pool. You could see that fair light really is integrated into the rest of this pipeline, even with the media pool, even with relinking, by the way, if you have external resource is that you want to drop into your mix, you can do that directly through the edit page tool here on the fair light page. What I've done is I've broken down all of the different soundtracks onto their own individual tractors. I've got the VO on one husband, wife, Nat sound and music, and I've put some that sound in here so that if you want to practice mixing on a fully conform spot, you can do that with the exercise files that I've presented to you Now. One of things I want to do is make these tracks a little bit wider so they can see their wave forms. I'm gonna open up our view options And one of the really neat things I like here in fair light is this scroll er and there's audio scroll or one you can have audio scroll or two and a video scroll that goes along with that. I don't particularly care for the video scroll or so I hide it, but I imagine it could be useful for doing fully type of work. I'm gonna close this down and you could see that I can assign each of these Scroll er's to a different track. So I've got five different tracks on here, But what I want to focus on for now is the wife track. So I'm gonna select the wife's track to display on Auto Scroll or one and I'm gonna go with the music track on notice. Roller to hit Play. Clearly this is not mixed. That's okay. I want to show you that this feature is here, and when you're done with it to close it and get rid of it, just turn these off and you don't have tohave them anymore. Another aspect of the fair like page that I want to point out, especially when it comes to integration with the Edit page is that if we click on the inspector and we click on a clip, let's say this video track here, I've got this four band equalizer. This is the same four band equalizer as back on the edit page. So if I click on my vo track here, I'm gonna take this first line of VO in this last batch. Here, I'll open up. The inspector expanded out. I'll turn on the clip equalizer and just take Bands two and three. Just pull them up and they're gonna listen to it. The point here is when I click into the fair light page in the Inspector. The four band equalizer is activated. With those precise settings, I could just turn it off here in the Inspector on the fair light page, I go back into the edit page, and there it is again, the point being complete integration between the two pages. But of course, the fare like Page, has its owned equalizer. I can double click. There's a six bend equaliser, but this equalizer is for the entire track, not for the individual clips like it is here in the Inspector, and I'm gonna close that at another tool. That's very useful. Here is this range selection mode. So if I just want to focus in on a small part of my timeline, Yeah, I could zoom in and out and then I could try to scroll to the right place. Or I could just take this selector and to say, Yeah, this is what I want to focus on. Now, when I press Ault backslash it's only gonna play through this little section in here cause And then to clear that out, I'll just click and it clears out that range selection, and that allows me to play down a very particular piece of section that I'm focusing on at this moment. As we come up here into the fair light menu, you're gonna find a lot of options you might find interesting. One that I like is test tone settings so you can go up here and create test tones for your purposes. Another thing I find very interesting is the immersive controls. So you can do at most style audio mixing here in fair light. And you've got a three d space that if I had seven or 10 speakers set up. I could replicate that here and then control each of these audio tracks in three D space. Two other things I want to point out before really start digging into the mix. One is loudness metering. For those of you who are delivering to broadcast, this is gonna be important to you. I'm going to play. We haven't mixed down, but you can see that it's measuring loudness over time and giving you your average. Over that time, you can choose your different loudness standards that you want to optimize this tool. For Before this, it appeared in fair light. I had never seen a loudness tool integrated into any of these platforms that didn't cost you extra money was really quite astonished to see that Black Magic had delivered this as part of the fair light page. And then finally, if you're working on a dual screen set up, you can pop out this viewer and then go ahead and put it on a secondary screen on an extended desktop. And those are some of the additional features that we haven't talked about previously. Here on the fair light page, just like the pages, a deeper tool set for editing than the cut page. The fair light page is a deeper tool set for audio than the edit page, and we're going to start by looking at a common audio operation, which is a fade or, more specifically, an audio cross fade between two tracks. Now you'd think that'd be pretty easy, But Fair Light is for audio professionals, and for them, a cross fade is never just a cross fade. We're going to start with a project that I provided to you with the exercise files, which is O A. C spot. Fair lights start. I've also gone ahead and reset our workspace where I recently you I lay out and I went ahead and put this to full screen and we want to focus on Is this particular section of track right in here? Which is where the mother is talking and ah, hit play? You hear talk, and there's a bit of a pause, and there's a bit of an audio glitch. There's some extra breathing going on there, and what we want to do is try to smooth that out. So I'm gonna control plus to zoom in amused the range selection tool. Select that range in a press all Tupac space to play this out. Now I can hear her at all, thanks to the music track. So let's go ahead and solo. Mom here. I know you're worried. I found this. So right there, Right on here. I don't want to change the timing because this edit has been approved. But what I want to do is try to smooth this out a little bit. A little bit of lips, smack, a little bit of breathing. Now, what I could do is select that edit by right, clicking on it and choosing add 24 frame. Cross fade. Right. So there we go. I've got my cross fatal. Of a sudden I can go ahead and hit play. No, you're worried. I found this. All right. And this also matches up to the cross. Fade here on the edit page. So if I scroll down, there's the wife's track. There's the cross fade. We just added, but, you know, audio professionals being audio specialists, they want a little bit more control than this. Conducive them. So we're gonna undo that and what we're gonna do is create two dips. So on the left side of this edit, I'm gonna do what's essentially a fade out. Then on the right side I'm gonna do a fade up. And now I'm gonna enable a special feature that's only available here on the fair light page by going up the timeline and I'm going to select layered audio editing. Click on that. And essentially, what that does is it tells fair light that were gonna treat these two clips as separate tracks within the same track And what that really means, that I'm gonna click out of here and switch to my arrow selector. I can drag this at a point across, and now we have a cross fade and you could see that these two tracks air coming across each other and I can tighten or make that smaller. I can also take the center point and wait that across. Let's go ahead, re select our range. I know you're worried I found this all right, so I like that a little bit better, and it feels a little bit better to me. I admit this seem so Phil complicated. At least it seems a little complicated to me just to do a simple cross fade on audio. But I'm not an audio professional, and that extra control is one of the defining characteristics of a dedicated audio tool set . 10. DaVinci Resolve 16 - Lesson 9: Let's talk about the mixing controls on the fair light page to give you a sense of how toe work in it, and we're going to start by explaining the layout of the mixer. Enable the mixer here. Make sure it's fully pulled out so I can see all five of my channel strips. And that's what each of these air called. So each of these tracks have dedicated channel strips, and these channel strips are essentially the same set of tools replicated over and over again. And so one of the ways to de intimidate yourself on looking at a mixer like this is to understand there's really only one set of tools, and they just keep getting repeated for each of the tracks. Let's start by looking at that six band EQ You. I'm gonna double click that, and now we have a six band EQ you, and it's dedicated to the vo track. This means that what I want to do is set my vo levels so that they're consistent against each other on a clip by clip basis. But then I can apply this vo equaliser to the entire channel, strip the entire track, and they will all get that without me having to cut and paste this individually into each of those. So I'm gonna go ahead and just make some random moves here, mostly to show you a particular feature which is looking right here at this little line. The reason these are all flat is because there have been no adjustments. Once you start making adjustments to the six band equalizer, you will see a visual representation of the adjustment you made. I can bypass this and that visual reproduction becomes grayed out and says, Yeah, you've made e que adjustments. They're just not active right now. If I want to reset this whole thing, I'll just hit the reset button. What is this, like this range for playback? I'm going unsold, loathe wife there and then switch this back to the arrow tool. I'm gonna hit play and the music is way too hot. So the first thing we're gonna do is I'm just gonna play on through and pull down the music Trash and generally music around minus 20 is usually where you wanted to live. You can start improving our drop it down even a little bit more free to But what's happening here? If I shift Z and bring this back it play, Think about it. The music still kind of fights with the audio, and what I want to do is eat. Cue the music track to nosh out. Is it your weight? Those ranges in the vocal sources? What I mean? Well, let's go to the Music Channel Strip Double click on e Que And what I Want to do is adjust the EQ you in the range where vocals live, the kind of very these sound ranges so they don't fight with the vocals it creates kind of like a channel for the vocals. I'm gonna smooth out the Q factor a little bit, so it's not as intense. And when I might even dio, that's probably OK, because the other thing I could do is turn off Band four and just used banned three in here . We don't want to notch it. We want to keep it kind of wide, and we've got him probably around one K might be that center spot. Let's go ahead and now hit back slash. I know you're worried. I found this. Take your weight matters challenge. Now the vocals, Air cutting through a Little Better Let me continue. It is lower weight matters down or growing up the music a little more. Help you take control. You can start improving your life right away. Down there we go. So what we've done is we've applied this equaliser to the entire music track. Their multiple edits because we've applied that E Q to the Channel strip. It's being applied to that entire track without me having to cut and paste. And now my next job would be to do the same thing. For each of these tracks I can come through to the Vo. And if I wanted to punch it a bit mawr, I'd come to this video channel strip double click on the E Q. And then where I was notching out, I might be able to go ahead and add a little bit mawr in those vocal ranges for that video artist in order to help him cut through the sounds associated with excess weight or obesity can be serious, but you can do something about it. All right, so for me, the Vo track seems to be cutting in a little bit better over that music bed. That's the basics of track level mixing on the fair light page. You're about to learn how to format your own custom buses and assign individual tracks to them, and it will be obvious very, very quickly why this is so powerful. We've got five tracks here the Vo, the husband, the wife, the Nat Sound in the music. We've already done a little bit of work on balancing out the music track, adding some e que onto that track, and we even added Samy Que onto the vo track. What we want to do now is balanced the relative sound of all the sound ups the vo, the husband and wife against the Nat Sound and the music. In other words, we want to sign these three sources to its own fader that we can control all of these together once we've balanced them against each other. So what we're gonna do is come up here to the fair like Tab and choose bus format. Now, as I'm about to click the sub, I want you to take a look under here. You'll see the main, and everything is lit in green in the main watch what happens underneath main when I click sub. Now we have a sub mix assign so I can assign each of these individual channels into our sub mix. And if I pull this all the way out, there's now are sub channel strip now this service set as mono and that's fine. I'm not doing any kind of left right stereo thing with these tracks. They are gonna be mono, so that's fine. I want to select a different color. Let's maybe go with chocolate, Right? Everyone loves chocolate. So I've assigned that color chocolate click, OK, and the next step I want to do is do a bus assign. So I'm gonna come up to fair light bus a sign and now I'm gonna un assign all and I'm gonna go to the sub mix and also unassigned all there. Now let's go back into the main mix. And so what do I want to get sent to may? Well, I want the Nat Sound to go to May. I want the music to go to Maine and I want the sub one to go to Maine and then in Sub one, all I want applied there is video husband and wife. Ah, click save. And you could see that these lights have toggled to represent the choices I just made. So what does this mean? What I'm gonna do is de select this range here, select my our tool. I'm gonna come back, and we're gonna play this down as I make quick changes here to the sub. So you can hear as we move from the video to the husband to the wife that I'm affecting all of these simultaneously, allowing me to balance the sound up channels against these other two channels. Hit play about every day. Task getting hard. So as I'm moving this Did you see this? Your cousins in the hospital? All right. So as I'm moving the I've now gained all three of these channels and I'm able to balance them against the other two channels feeding the main at the same time. I might want toe drop the vo a touch and maybe boost the wife's channel a touch. And I still have that flexibility within the sub to balance these three channels against each other and then getting them and balance them against the rest of the mix. In addition to the buying controls I have on the sub. I can also apply my own e que toe all of those vocal tracks as well as my own dynamics. As a video professional, I've always been a little intimidated by audio, mostly because these tools have been sequestered into separate, dedicated APS. I just never had access to. Of course, there's always been third party plug ins for compression and advanced e que. But here and resolve 16. It's still available to you. Even in the free version. You've edited your video, you've color corrected it, you've mixed it, and now it's time to render it out and release it to the world. And that's what we're gonna talk about right here right now is the deliver page, and let's kind of get oriented on it. We did a quick overview before. Let's dig in a little bit deeper now. One of things I like to do is from this default window set up Number one. I like turning off show marker overlays. I don't need them at this stage of the journey, and I'm also going to extend out these render setting so I can do less scrolling through all of these and just break it out like that. And the question is, what are we gonna deliver too? We have all these preset options up here, some of these air for delivering to other software packages Others like I m f could be delivering to actual networks. And then we've also got social networks we've got of YouTube and video for social sharing of our videos. Let's go ahead and set this up for YouTube. So I click on the YouTube preset, So I'm gonna call this p s a for approval, because I want to send this to my client to get the final approval. Of course, I've set this to my desktop, which in reality is about the last place where I'd want to render these things too. But that's what we're gonna do here for the purposes of this exercise. Now, I'm gonna come through and set the rest of these settings, which all look like compression settings. But look at this. Upload directly to YouTube, offer up a description visibility, private, public and enlisted. Wait a second. What have I done? I've gone ahead and in my preferences here, under Internet accounts, I've connected my YouTube account into DaVinci resolve. I signed into it from resolve it saved. So now I'm telling it after you render out, go ahead, upload to YouTube, fill in the description, please approve for final delivery and then visibility. I'm gonna set this to private because I don't want to take any chance of public or unlisted that someone finds this before I want them to. It's going to stay private. And eventually I log into YouTube in order to grab the link to share with my client. And then I had my category that I can assign it to. Not really important in this case. When we're done filling out our metadata, we're gonna add to render queue down here. And now this job shows up in the render queue. If I want to edit it after it's been added to the render queue, I click this little edit button. You'll see I've got canceled update job and add new job. So let's say I actually wanted to tag this as auto and vehicles, right? It's a ridiculous thing, but I want to do that update the job. And now that change has been made here in the render queue, and this is a Q. So as it suggests, I can go ahead. And maybe I also want to do a premier pro XML. I can highlight that. Now these settings change. I've got some advanced settings I can work through here, I've got audio settings and I've got file settings, all of which I can customize. And when I'm ready and happy with these changes, I'll go ahead at that to my render queue. And now these. When I press start, render will automatically start rendering out on me now job, too. I don't wanna happen, So I'm gonna go ahead and just delete it and press, start, render when it's done. This is gonna get uploaded to YouTube. The deliver pages, preset export templates. They're great. They work really, really well. If you have a preset that you're delivering to, what happens when a client comes up with their own little deliverable? That doesn't fit into one of these preset templates. That's what custom templates of four. And if we take a look in this little selection range here for our export templates, we can click on custom and custom gives us an entire range of all of these options available to us. You'll notice if I pick something like, Well, YouTube. I have its own little interface, and I can't really vary from that all that much. But if I go into something like premier Pro XML, I conduce do a variety of different things. But some of these options get grayed out on me, and I really can't adjust them because this export template restricts me from some options . But if I go to the custom template, every single option opens up, and I can go ahead and make changes every single item down here. Now, the interesting thing is, once you've gone through and made all these changes, if you're doing multiple deliver bols of this exact same export template come up here save as new preset and we're gonna call them client X Y Z delivery Click OK, and now I've got this client X Y Z delivery and I could have multiple custom exports. For instance, client X Y Z always wants quick time on compressed. But I have another client. They always want MX f o p. One a. And so I'm gonna go ahead and select their particular settings. H Q x 10 bit, and they're always delivering to Uhd 38 40 by 2160 ultra HD. All right, so now I've made those changes. I'm gonna go ahead and say that as a preset will call this Klein ABC delivery. And now I've gotta pull down here and I can choose between a B. C or let's switch us upto x y z And now we're back to our UN compressed switch this back up to ABC and we're back to our dnx hr delivery. And if I make changes here, let's say on the file delivery I always want to use the timeline name whenever I'm doing this. Dnx hr export for client ABC. So, having made this change, I can come up to this options menu and choose update current preset. I've done that and it's been updated. Now when I switch between these x y z uses a custom name, ABC use the timeline name. If you have clients or a particular workflow that you're executing time after time after time taking the time to sit down and really optimize your delivery options here on the deliver page, it's worth your while because when you're done, you can go ahead and save those as presets and then reuse them time after time