DaVinci Resolve 17 Crash Course - Video Editing for Beginners | Ben Rowlands | Skillshare

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DaVinci Resolve 17 Crash Course - Video Editing for Beginners

teacher avatar Ben Rowlands, Professional Musician and YouTuber

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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

12 Lessons (1h)
    • 1. Introduction

      0:27
    • 2. Creating a Project

      2:48
    • 3. Sequence Settings

      2:42
    • 4. DaVinci Resolve Basic Overview

      9:19
    • 5. Importing Media

      3:20
    • 6. Editing Clips

      9:06
    • 7. Working with Clips

      5:26
    • 8. Slowing Down a Clip

      5:52
    • 9. Time Remapping Slow Motion Clips

      3:44
    • 10. Zoom In and Out with Keyframes

      5:08
    • 11. Render Settings

      12:11
    • 12. More Skillshare Classes Coming!

      0:27
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About This Class

In this DaVinci Resolve Course we are going to learn the basics of video editing in this programme. If you are completely new to DaVinci Resolve, this class is for you! 

We will begin with a Basic Overview of DaVinci Resolve, exploring the various workspaces and panels. This class will primarily focus on the Edit Page, where we will spend most of our time composing and creating our video. 

As we progress through this class, along the way I will share tips and tricks. That will help you get more out of DaVinci Resolve! 

What you will learn:

  • Introduction to DaVinci Resolve and Basic Overview
  • Importing Footage and Media - File Organisation
  • Creating Custom Sequences
  • Basics Editing Techniques
  • Adding a B Roll Sequence 
  • Time Remapping for more Professional looking Slow Motion Clips
  • Exporting a Video

If you are a Content Creator wanting to make videos for various Social Media platforms such as YouTube. Or wanting to learn how to video edit for professional clients! This class will help you on your way to becoming a video editor using DaVinci Resolve 17!

Meet Your Teacher

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Ben Rowlands

Professional Musician and YouTuber

Teacher

Ben Rowlands is an up and coming YouTuber with over 2,500,000 Views and 18K Subscribers. Educating people about the power of Live Looping through tutorials, product reviews and live performances. 

Ben is a Professional Musician with BA (Hons) in Music Industry Practice. Through his experience of performing live shows as a one man band over many years, supporting acts such as Frank Turner and KT Tunstall. Ben pushes his equipment to the max! Providing him with unique and unconventional knowledge.

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Transcripts

1. Introduction: Hey, what's up, having a fantastic day and welcome to this DaVinci Resolve 17 crash course. In this class, I will take you through the basics of editing a video with intervention resolve, covering everything from creating a project and saving it correctly within the database, to customizing your sequence settings, importing and organizing your footage, and so much more. We will also take a look at creating a bureau sequence with this cool drone clip. If all of the sounds of interest to you, then Xiaomi here for this Getting Started guide inside of the Vinci Resolve 17. 2. Creating a Project: The first thing that we want to do is create a project. Now the way that the Vinci Resolve manages your project files is slightly different to any other video editing software that I have personally used. Now what we have are these things called databases. So this here is the homepage on DaVinci Resolve that you will get a symmetry boots up the software. Now this gives you an overview of all of the projects that you have created. Now because this is a fresh install, currently we have got node projects other than Untitled Project, which is just a blank template. Now to the left-hand side, we have this panel here called local database. What a database is, basically it is a vault for where all of your project files will be saved. And this is quite interesting because you can create multiple databases with different saving locations, which makes it pretty ideal for either working on client projects. So you can work off of like an external hard drive and then just give them the hard drive at the end once they've paid for that edit or whatever it is. But also it allows you to maybe sort of create monthly databases. So videos for April, videos for May, June, July, whatever you are doing. So currently we just have a single database which is the default one called local database. This is saved to your C drive on your computer, on my personal computer or I do all of my video editing on my YouTube channel. I just use the local database on my C drive because that just gets me really quick, fast performance. And if it becomes a problem down the line, or create a new database and relocate some of my files. But so far seems to be okay. Now you can create a new database by going down to the bottom here and clicking new database inside of here, you can create a separate volts for this particular project files. So let's say you work on multiple different platforms. So you create YouTube videos that you also create Instagram videos. Inside of here you can create a database for all of your YouTube videos and just simply select the Save location where you want this to go. So for example purposes, I will save this in my documents, create a new folder, and I'll call this a YouTube database. And we'll save this Create. And there you go, we have created a new database. And like I previously said, go ahead and create a database for every type of content that you create. A YouTube database, Instagram database, Tiktok database, and even a client database. So if you work with a particular client frequently, they can have their own dedicated database for all of their projects. So now that we understand the vault style saving system of the databases, Let's go ahead and create our very first project inside of the local database. I'm just going to create a new folder by clicking new project here and we can call it whatever we like. So we're just going to call this cost demo. So we're going to create a little video here to demonstrate some of the features throughout this class. And just like that, within a matter of clicks, you have created a DaVinci Resolve project file. 3. Sequence Settings: There are a few different ways we can approach customizing our sequence settings. Now in other video editing softwares, normally you go ahead and create your file and it will sort of ask what your sequence settings on the full, the project file is generated. So then as soon as the file has booted up, you can start dragging and dropping all of your footage in and it will conform to those particular settings. Now with DaVinci Resolve, there's a few different approaches that you can take in order to configure the actual aspect ratio, you'll video will be in S. If we head up to our menu bar over here at the top and go into File and scroll down to this option here, Project Settings. You can additionally use the shortcut Shift nine. So if we exit out and go Shift Nine, this will take us straight into our project settings. Now under this master settings tab here, this gives us the ability to customize the timeline format. So you can see currently the timeline resolution of the project that we have created is 1920 by 1080 P, which is a HD video. Now for majority of things, this is probably perfectly defined. This video you're watching right now is currently in this sequence setting. But if you maybe want to create a fork, a video, or a more cinematic warm, we'd like a more cinematic black bars aspect ratio. You're obviously going to want to customize this. So the customizer timeline resolution, you can click down on this drop-down menu and you could choose from a couple of different presets. So you can see here some pretty standard presets you may use in a professional setting. You can see here there's ultra HD, HD, as I just briefly demonstrated, and all sorts of other resolutions that you may wish to use. But if for whatever reason you require a custom resolution in these little boxes here, you can type that in. So whatever it is that you need, Let's say we wanted it to be 1080 by 1920. So you know, we're making a vertical format video here that you feel like a YouTube short. There you go, we have done that. So we can now go ahead and save this down here if we wanted to, there are some additional timeline settings that you can customize, such as the timeline frame rate. By default, this will be set to 24 frames per second, which for majority of people may be perfectly fine. But as I based in the UK, my cameras are set to a powerful magnet NTSC for the American farmer. So my camera's actually sutta 25 frames per second. So I need to change this in order to get the correct settings. So just like before we can go into the drop-down menu and choose the frame rate that we require, 25 frames per second. I recommend exploring this panel further, especially if you want some more professional settings, such as the color space inside of the color management here you can see change the color space settings. You can import a lot if you're working with Locke, but it's so much more you can do. But customizing the timeline resolution and the frame rate is all I need to do for this particular video. So I'm just going to go ahead and click Save. 4. DaVinci Resolve Basic Overview: Now let's move on to a basic overview of Da Vinci. Resolve, know something epic about the software regardless of if you have the free version or the paid version, is that you can do pretty much everything you need within a single program. Now, I just recently transitioned over from using Adobe Premiere Pro, and I edited hundreds and hundreds of videos. There'll be Premiere Pro. And one of my biggest things I hated was editing the video in Premiere Pro. And then if I wanted to do any form of motion graphics, I would have the boot up Adobe After Effects enable Adobe link and have two programs running at the same time and then refreshing between one another. It was really frustrating and also it caused a lot of crashes that weren't needed. However, with the Vinci Resolve, we have individual workspaces for each phase of the video production, allowing for a very seamless and fast workflow within a single program. So you can see at the bottom of the screen we have got all these different icons that change the state of how this Vinci Resolve is laid out. Now inside of each of these workspaces, we have a totally different set tools that we can use. Let's first begin with the media page inside of here. This gives you an opportunity to organize all of your footage in a dedicated screens so you can import all of your footage, use the shortcut Command I, and this will allow you to access your files. You can drag and drop them in, and then you can go about organizing them into individual folders like B-roll camera a, camera B, C. So everything is organized for the actual editing process. Additionally, in the lower right corner you get the metadata of the clip you currently have selected. This is very useful for helping you understand what this clip was actually filmed up. So you can see this was shot in the codec H.264. It's at 25 frames per second. It was shot in HD. It's got stereo audio because it's two channel. And you can see the bit rate and everything that, that was shot in for that particular clip, which is very, very useful for getting the correct project settings that we took a look at in the previous video. The next workspace is the cut page. This provides a fantastic opportunity just to sort of throw your clips into the timeline and go ahead doing a rough cut. This is very fast workflow. So you can see inside of here we can go ahead and just sort of cut our clips to rail. Cow, any mistakes that I see here, I'm not even talking to the camera, so we can cut that out until I actually begin speaking just super quick. And then we can delete all of that out. And you can see at the top of the screen, it's giving me an overview of all of the clips, which just allows me to quickly select and scroll around the timeline for doing this rough edit. And then once the rough edit has been created, we can head into the edit page. Now this is the page that we are going to primarily focus on throughout this class. The edit page is probably going to be the workspace you are going to spend the most time in when it comes to creating your videos. Inside of this view, you will have the opportunity to work with both the video and the audio of the clips that you import. And then you can drag them around, edit them, and start formulating the actual video that you are imagining on the surface, the edit page and the cup page appear to achieve the same thing. You may just think this is a place where you cut your clips. But when you look finite, both of the workspaces that totally different inside of the edit page, you can see we have individual channels for our video and also our audio. Additionally as well. You can see we can do a little fancy things with our clips. You've got these little lines here where we can drag in, fade things in. So it's got to cross dissolve sort of thing. And we can also do the same for our audio down here as well. Whereas in the cup page, none of that is available. You can simply just cut your clips and reposition. That is all that you can do. On first impressions. The edit page can be very overwhelming, but I want to break it down and all of the different panels so you can clearly understand what is achievable within this workspace. The first thing I want to share with you is the timeline view options. Currently we are in the default timeline view, which gives us a full basically live preview of what's contained within this clip. So if we click this little icon here, this will let us customize our video view options and also our audio View Options. First, let's explore the video view options. Now the default option will give you a live preview within the thumbnail of what Eclipse actually doing. So you can see here, I'm not looking at the camera at all. I'm just sort of setting up my workspace so I can begin my video here, because that's when I actually begin to look at the camera. The next option will give you a fixed thumbnail. So you can see we've just got some knell for the beginning and also the end of the actual clip. And the third option will give you just a fixed color. Now I actually quite like this, especially on more complicated projects if you have a color code system. So you're talking head shots are blue. And then maybe the areas where you need to add B-roll, you may be right-click on that clip and you change its color to be orange. So wherever there's an orange clip, you know, right, there needs to be B-roll added here. That's a workflow that I do quite a lot. So usually my talking head is blue. And then whenever I need to add some overlay footage because I'm not looking at the camera, I'm talking script or whatever I'm doing, I will have that labeled as orange. So I don't miss that in the actual edit. This is perfect if you are editing very complex projects. Above our timeline, we have got our toolbar. This lets you choose different selection modes in tools for your mouse cursor to achieve different things when you click on your timeline. So currently I have just got the selection tool. Chosen. Niche just allows me to select my clips, drag them around without doing anything to the clip itself. However, if I were to take a look at some other options here, we can scroll over and it'll give you a tool tip when you hover over an icon. So this is telling me this is the Blade Edit Mode, which is a cut tool referred to in other programs. And this will now start slicing up and cutting clip, but you can see it's no longer dragging it. Like the selection mode previously was. Now not only when you hover over a tool, does it give you the name of that tool? It also shares with you a shortcut. So you can see here it says to access the Blade Edit Mode, click B on your keyboard. And likewise to go back to the selection tool hovering, it will tell us to use the shortcut a. So this gives you a nice way to easily learn shortcuts. And if you forget them, you just go back to what the tool was and it just prompts you and remind you. So if I click B on my keyboard, you can see it's selected the blade tool that we clicking there and there you go. I've got the blade tool. Now at the selection tool, click a, and there you go, it selected the selection tool. I'm about to choosing things. Same is true for all of the other tools within this menu. Inside of each workspace, there are additional panels that you can open and close depending on what you are doing. Now, right now we're in the default view of the edit workspace. But let's say for example, we needed to access some effects. We wanted to add an effect to my video footage or to my audio footage. Up here, we have got different panels. So if I click on Effects library, this will open up a totally brand new panel for me to then access audio effects, video effects, transitions, a variety of different things. And once I'm finished with this panel, I can just go ahead and close it out. Same is true for the media pool. Currently, we've imported all of our media, so we don't really need this here, taking up all of this space so I can close out the media pool and have a much larger timeline. And the same is true for anything else that you may need to access. If you need to do a quick edit to the audio, you can open up your mixer. You've got access to all your sliders, your EQ, your effects. Now you can close it out. When she done for the final few workspaces, I'm going to briefly talk about them as some of them we will take a look at later on in this course as we progress down the video editing workflow. Additionally, for all of these workspaces individually, I will be doing particular skill share classes, deep diving into all of them, showing you what you can do within each panel. So make sure you're following me here on Skillshare so you don't miss those classes when I upload them. The next work panel is called fusion. This is the Vinci results are equivalent. Adobe After Effects. Inside of here you can do sort of 3D animations. You can also do text graphics, very advanced things, and it's all node-based, so it gives you quite a lot of fine tuning in regards to what you're doing. Now this is a very advanced topic, so we're going to move on from this and go into the color tab. Now this is probably one of my favorite things and one of the major reasons why I switched over to Da Vinci resolve the color capabilities of this editing software is just unbelievable. Inside of here, you can adjust the brightness of eclipse so you can increase the brightness of a clip. You can increase your saturation. You can do a very detailed color grade if you're working with log footage, or you can just do a bit of color correction if you're working in a standard printer profile like these, shots are currently within, but this is phenomenal. Such a good workspace, you can do pretty much anything you can imagine in terms of coloring within the color page. Next page is lights inside of here. This is basically like a digital audio workstation for music production. Basically it gives you a very detailed workspace for actually working with audio. So adding the compression EQ dynamics limits is normalizing audio. Everything you can do inside of here, it's just super powerful. And finally, we have got the deliver page. This is where you will export your videos. So once your video is finished, you can export it to its own file. You can export it directly to YouTube or Vimeo, Twitter, whichever you prefer. And we'll take a look at this right at the end of the course, as is very cool, very cool options for actually exporting your video. 5. Importing Media: Let's take a look at working with in the media pool. This is a very important part of the video creation process. Organizing your footage before you actually begin editing the video can save you a lot of time and frustration located in clips and having no idea what any of this stuff is within the timeline, we currently have some media present within our project from the last video when we were taking a look at the different workspaces and I was demoing the media page. And if we go back to the edit page, I primarily want to focus on the media pool. When you're actually editing your footage, you can change how you visualize your media within the media pool. If we go back to the top here, we have some different view options. And this will change how the tiles of the footage is currently laid out, giving you more or less information depending on what you require. So for example, if you are working on a huge movie, you've got this view is probably a bit more useful if you've named all of the clips like scene one, scene two shot ABC, this will give you the best way to see all of that footage. But if you're a bit more casual or you want it to be a bit more visual, like like myself, you have these options here. So obviously you've got this one that gives you the length of the clip that date the clipper shot the name of the clip, which could be once again a bit more useful. Or you can just simply go for this sort of tiled approach, which is my preferred method when it comes to adding footage to your media pool, you can use the shortcut that I taught you in the previous videos command I, which will import footage with that shortcut, which is very easy. But you can also import media a few different ways. You can right-click and just go import media that way. If you can't remember the shortcut, which is pretty simple, or you can just drag and drop your media into the bins. So on my desktop here, I have got this demo project. I can go ahead and get my footage. Drag and drop that footage onto my media pool. And you can see it important the extra clips that we haven't added to this project yet, I think depending on what operating system you are running, Mac or Windows, that may determine how you go about importing your footage. Now since I've switched over to Mac machines, I prefer using the shortcut Command I and just finding the foliage within my Finder. But when I used to work on my Windows computer, my Windows 10 machine with Adobe Premiere Pro, I used to do the more manual approach that I just demonstrated where I just drag the clips in manually as I had so many folders and like so much storage on that device, it was very frustrating to scroll through your documents. Just took longer than just dragging them straight in. So whichever you prefer. Now that we've added a lot of footage into our project, we now once you organize this into bins so we can right-click and we can create a bit. So you see here it says new bin. This will create a folder basically, and we can call this whatever we want it to be. So I'm going to call this B-roll. And now I can add all my B-roll here. So all of these product shots are just drag them into this bin and it tidy things up. You can see now inside this bin, all of my B-roll footage inside here, and I can go back to my master. And same again, I'll create a new bin and we'll call this, let's say a talking head. So talking head, or we could call this cam a can be seen depending how many cameras you have. And once again, I can just take all of this footage, just hold down, Shift and click on all of it, drag it straight into the bin. Super easy. 6. Editing Clips: Let's move on and begin taking a look at the different ways we can go about editing our clips that are present within our timeline. Now the first thing I want to do is I'm just going to click and drag and delete everything on my timeline at the moment. And I want to show you the few different ways you can go about imposing clips onto your timeline. Now previously the way we were importing clips was very simple. We would just simply dragging and dropping it onto our timeline, which is perfectly fine for majority of clips. That is what you will want to do. However, let's say for example, I want to add some B-roll. So we'll go to our B-Roll Bin and I'll just pick this random B-roll out here. Now, I could click and drag this clip onto my timeline, will go for this longer one, click and drag this clip onto my timeline. But you can see it has added the entire length of the clip. We have got the entire clip right here. So now I have to sit and click B on my keyboard to get the blade tool and begin cutting this up. Cutting this up. And this takes ages, takes ages. Go back to my selection tool, I'll zoom in again, make sure I got it a 100 percent correct, no, fine tune it. And then once I finally have the clip that I want, Let's say this section here. Drag it about. I can then go right. I'll keep that. Delete the rest. Too many steps, too many steps that are needed. And also, we have this audio which we don't need. Obviously, this is going to be a slow motion B-roll clip. And we have now got this audio that we need to figure out how to get rid of that. So what we can do is instead delete this out. We can actually go over to our media pool. Let's double-click on your clip and it will appear inside of this sort of preview window. And then inside of here, you can just drag this little play head around and you can add your own in and out points. If I click I on my keyboard, that will add an in point. And then if I drag over and do an O on my keyboard, that will add an out point. And then I can drag just the clip on its own by clicking this into my timeline. How easy was that? Don't have any of these excess footage to deal with, such as the audio, all of the clips that weren't needed. Very, very easy. And then you can do this again. Let's say you want another clip from the same clip. And that was a very way of saying, let's say you want another shot from this clip, you can go ahead and just click. I unclick. Oh, that's a very awful clip. Just to showcase it and drag it in and it will not impact the other clip that you customize, which is fantastic. When it comes to trimming and editing your clips. There's some fantastic features within Da Vinci resolve that completely transformed how I edited videos as I've shown already, if we click B on our keyboard, this brings up the blade tool, which is also referred to as the cutting tool. Now when I used to use Adobe Premier Pro, the way I would edit clips, I would manually go right, there's a gap here. I'll get my cutting tool and I'll cut that out. And then go back to my selection tool, delete that, and then do a ripple delete. And then I would do that for every single part of my video that required that sort of cut out. So supposing the audio here, cut that out and ripple delete. That's what I would do every single time. However, individually resolved with me, just undo all of that, has some mind-blowing ways of editing your clips. The first thing I want to show you when it comes to using the blade tool, as you can see currently we click B and then we manually click where we want to cut. However, we can completely remove all of those multiple clicks. Now we can use our play head and just simply go Command B. And it will add the blade cuts straight away. Command B, blade cut straight away without us having to change too, which is extremely convenient, that are more exciting tools that we can use for editing with individual resolved. Let's just add a point by doing Command B here. And what I'm going to do is I'm going to show you the basic editing tools without using anything fancy, just using our selection tool. If we go to the edges of our clips, you will see we have these little sort of close brackets icon. And depending on whether you're at the center of a cut like we are now, you can see there's a sensor cut here, depending if you're lined up at the sensor or whether you're at the edge of a clip, it will change the icon you currently have access to you. Now if you just have a single bracket like we do here, this will just control the end of that current clip. And likewise, on this side, it will control the end of that clip as well, front or back. Now if you line up in the middle, so if you go down the middle of the clip with the two brackets, We'll let you move the cup point of both of the clips at the exact same time. So let's say for whatever reason we wanted a little bit more of this shot rather than these shots, we can line that up. Just drag it to the left a little bit without having to, you know, move this clip out, make this one shorter, move this clip in super seamless. Additionally, if we click T on our keyboard, this will give us access to what is called the trim tool. If you go to the center of a clip previously in selection mode, this would just simply drag a clip left and right. If you click T and go to the center of Eclipse, you can drag this clip to the left. And you can also drag this clip to the rights, allowing you to close up the gaps, exceed got this huge gap between the audio. Instead of dragging this clip like I just briefly showed you note no cutting it like that. Just click T on your keyboard and close out the gap. Super quick. And extension of the trim tool is called the dynamic trim mode. Now here we have some yellow icon. You see how if we choose this icon here, it turns yellow and our play head turned yellow compared to all of the other tools. This is now enabled dynamic trim mode, and you can trigger this by using the shortcut, by hovering over w. So if we now use J, K, and L on our keyboard, this will do something quite interesting. So if we click L on our keyboard, this will move our clip forward. And then if we click K, it will stop. None. If we click J, it will bring our clip backwards. Now if you're familiar with any video editing programs, I'll disable this tool. Traditionally, the L key will play in fast-forward mode, so you can repeatedly click that to go and play back in fast-forward to save time while editing cable obviously stop. And likewise J traditionally rewinds and goes backwards on your timeline. So when you enable the WK for the dynamic, Jim mowed this one. Now edit your cut point and I guess can be very useful. The next thing I want to show you is reorganizing the placement of a clip. So let's say the structure of your video slightly changes when it comes to editing. This can happen very frequently. Now what you could do magic go right, I won't click C over here to actually be placed here instead of Clip be being in this current position. So to make this super clear, I'm going to right-click on this clip. I'll change the clip color to be orange so you can clearly see what is happening here. Now if I go about the traditional method, what you would normally do is you go right, I want this clip to be where this clip is. So I will just drag this clip out the way. And then I'll drag this clip in place instead. And then i'll, I'll do a ripple delete to save time ban that we got done it. Well, you please know it's a lot easier than that. We just undo that by doing Command Z. And we choose this clip here that we want to relocate if we do command or Control Shift and then click, and we then reposition this clip. It will automatically reposition that clip forests. See how convenient that was. Way quicker than dragging, dropping, dragging again, repositioning rippled, deleting, just a simple action. And same is true if we move it back, command Shift, click. It will move it back to where it was. Very, very convenient way of relocating your clips when editing. Final editing tip that I wish to share with you is adding an in and out point in the timeline. So obviously at the beginning of this video, we took a look at adding an in and out point before we drag the clip into our timeline. Well, this time we are going to add an in and out point after the clip has been added to our timeline. So here we have got this talking head segments. You can see we've got a lot of blank audio at the start of the clip and a lot of blank audio at the end of the clip. Now obviously we could use our trimming tools and just simply drag that and close out that gap and drag that to close out the gap. Perfectly fine solution. However, if we just simply place our play head where we want the clip to begin on your keyboard. If you trigger the shortcut Shift and then use these brackets over here, you can add an in and an out point. So back on our timeline, if I hold down shift and click open bracket, it will add that endpoint. And then if I go to the end of the clip and do Shift close bracket, it will add the output very fast way of editing, once again, reducing probably three or four clips to execute the exact same command. There's also an extension onto this. If you hold down Command Shift open bracket, it will ripple deleted the same time saving you having to, you know, do that endpoint and then drag the clip. Does that for you. 7. Working with Clips: Now that we are beginning to build up a bit of confidence when it comes to editing our clips. We know a lot of shortcuts now, a lot of different tools we can use to speed up this process. We can now move on to working with clips. So there are some important factors to understand about working with the eclipse. Not only editing the clips, but also getting the most out of actually placing the clips within the timeline and other tools that support that kind of role. First thing I want to share with you is the snapping tool. Now so far throughout this tutorial, this has been enabled. So whenever I've edited Eclipse, if it goes into a close proximity of another clip, it will snap into place. Just like that. See how that got to about here. And then it snapped into place pretty much a majority of the time when I'm editing, I have the snapping to on always. But if you click N on your keyboard or come up to this magnet tool, you can disable the snapping tool, which will then give you free form control over the placement of your clip. So no longer are you binded by the sort of magnetic attraction between clips. You now can place this anywhere you like. You can go dead close, you can go that far, can do whatever you like with the placement of this clip. So if you needed a little black gap for whatever reason, like, you know, like a black screen. You can do that without snapping. To place. The next important thing to know about the relation of your clip and your audio is called the link tool. Now here you have the linking tool. Currently, link selection is enabled. We can turn it off. We can also turn it on. You can also use the shortcut Command Shift L to turn this on and off, which is very useful. Now currently this is on. So if I select this talking KKT segment, you can see by the red outline, it chooses both the video and the audio. Now, change the color of this clip just to make that a little bit clearer. So we'll go till, you can see this red outline. Now if I do that shortcut Command, Shift L and disable linking. Now when I choose the video segment, it will not select the audio. So I now have complete control of the video segment. And likewise, I have complete control over the audio. This can be very useful if you're maybe doing like a j cut. So you just want that sort of Jacob there or an alkyne, depending on which direction you are doing it in. And you just want to sort of have that kind of effect within my workflow. The Link Selection tool is very useful for editing audio and doing very fine adjustments for the placement of audio on the timeline. If I'm sinking up external microphones, two cameras, sometimes there is a slight delay between the inaugural camera and the external audio recorder, and this allows me to fix that in post very easily. Now the next thing you need to know is something called position lock. Now we haven't yet taking a deep look at this panel over here. Now this panel allows you to change the properties of the current channel of either video or audio. So for example, on the audio channel, you have the options to mute the track, solo the track, and same again for the video, you have the option to disable the video track and a few different things. Now what you can also do is you can rename this video track. So I could just double tap on here and I could rename this to be talking head. So let's say for example, you've finished your final edit of your talking head. Everything has been finished. You've added all your transitions, the talking head partners, the video is complete, however you wish to add some B-roll over the top of it. Now to avoid accidentally making any edit mistakes to what he's finished, you can actually lock off the track. So if you click this little locking key button here, this will now unlock this track and you can do the same for your audio. And now you cannot move any of these clips. You can't delete any of these clips. So while you're editing your bureau segment over the top, you cannot accidentally alter all of the hard work you've done so far. So now that's just completely embedded in the timeline. You can't do anything silly. You can just go ahead focusing on your B-roll. And finally, one final thing I want to share with you when working with clips is adding markers and flags. So let's say you come across a part in your video. It's a product review and your referring to the connections on the back of a device. So instead of forgetting to put that clip in or writing it down on a piece of paper saying while minute, 18 seconds or whatever that is, you know, Insert clip of x. You can instead just simply click M on your keyboard. And this will add a flag market. So you see here in the timeline we've got Marker 1. We can then double tap on this so we can say add B-roll here. We can change its color. We can see a detailed notes, so the name could just be B-roll. And then here you could specify what particular shot. So product connections that could be on the back of the device. And then you can go about adding this market. So once that's all being typed in, you can click Done. And there you go. You now have a marker right here saying right, I need to add B-roll here, and it's the product connections. Additionally, you can also add a marker within a clip. So if you want to add a marker within this clip here, you will click on the clip and click M on your keyboard. And this time you can see the market has been added into the clip itself instead of on to the timeline. This can be useful because let's say you reposition this clip, the marker will move with the clip itself. So once again, if your marker was going to be add B-roll, this would move with the clip instead of being fixed in the timeline. So if you reorganize your clips, all of that effort is not lost. 8. Slowing Down a Clip: Let's take a look at adjusting the playback speed of a clip. This is perfect. If you are creating some form of a bureau sequence, I will be doing a class more specifically on filming and creating Bureau sequences in the future. But for now, let's take a look at how we can slow down Eclipse and also speed up a clip within individually resolved. So for this demonstration here, I've got this drone clip that I took the other weekend. So I've got this drone clip over here. We're going to create an in and out point, just like we did earlier. So let's say we want the clip to start about here, and we'll have the out point around here. So got our little clip. We can drag this in to the timeline. So currently this is quite a long clip, although it's pretty beautiful what we are capturing with the drone, the point it takes to actually get to the climax of this shot, it's quite a long time. And if you're putting this in a blog or you're using it inside like a real estates for age or something like that to set the scene, it's pretty boring. You can see the drones going pretty slow, so it kept its steady. It is good to take an eternity to get to the other side of the field to actually reveal the mountains in the distance. So what we can do is we can actually manipulate the speed that a clip is played. Backup. Just select our clip and click on our keyboard. We can change the speed of our clip. So see here currently it's at 100%, which is the speed this was shot at 25 frames per second. Now we can speed this clip up to, let's say 400% and click change. Now, this clip we'll play a lot quicker. You can see how much quicker that drone shot is right now. And it's finally taking those to the grand reveal that we actually want to get to. We can also do the same process with slowing down a clip. So if we drag some of our B-roll from earlier into this timeline, I shot this footage out 100 frames per second. So because this is a 25 frames per second timeline, I can slow that down quite considerably. So if we click inside of here, I will slow the speed down to 25 percent because it was shot at a 100 frames per second. And all I'll do is I'll just go ahead and click Change. So now we have converted this clip into a super smooth slow motion clip, and it looks perfectly fine. Now this was shot hand-held. I didn't use any Gimbels, any fancy embody stabilization. I just had my Sony a 6400 with just handheld footage. And you can see we've got some pretty smooth results, just slowing it down. But we can take this a step further. If we boot up the inspector. Inside of here, you have some additional options for manipulating your clips, such as the Zoom position and cropping all this type of stuff they may want to do, such as adding keyframes. But down at the bottom you have all of your speed changing, stabilization, and also your real-time in scaling parameters. All of these can be combined to create a mobile livable slow motion clip. So here obviously inside of the speed changes. This is very similar to you. The menu that we just opened up by clicking on. It allows you to change the percentage of the speed, but it also lets you change the direction on the fly so you can see it's going forward at the moment, but we could also just simply click that button and it will play it backwards. Super seamless. Plays it backwards. Or we can have it play forward. Very easy. Is it especially in Adobe Premiere Pro, doing something as simple as that is very annoying. So we don't need to focus on this too much right now because we've slowed down our clip. But let's say for whatever reason your footage wasn't very smooth. You shot hand-held like I did, but you just weren't as lucky and get as good of a short while inside of here you've got your stabilization. Now this is very similar to Warp stabilization inside of other editing programs. And basically it's just a digital image stabilization. The software will analyze your clip, apply some form of your digital warping to that to make it look a little bit smoother. Sometimes you get brilliant results with this. And other times, you know, you get a little bit of glitching depending on how bad the wobble is in your handheld footage. So if you require additional stabilization, just simply click Stabilize in here and you will analyze the clip. But what I actually want to show you down here are the real, real time in scaling options. This is the first thing you should try before you actually stabilize your footage. Because obviously stabilizing your footage, it's going to add an extra load into your individual resolve project. Make things run a little bit slower. Now inside of the red timing parameters, we have this one here called real-time process. Now, right now this is set to Project Settings, but the one of interest at the bottom here is called optical flow. Now what will happen is when you have it set to optical flow, it will create almost fake digital frames in-between the actual frames your camera captured. So it will allow you to, for example, take 25 frames per second footage that wasn't shot in slow motion. Apply optical flow to it and the software will create extra frames so you could slow down that footage and make it look a little bit more believable so it isn't that jittery. Let's take the drone clip for example here. So this drone clip was shot at 25 frames per second. Now, I am going to slow this down. I will slow down this drone clip to 25 percent, just like we did with this slow motion over here. And if we play this back, you can see it's very, very jittery, like because it wasn't shorted a high frame rate. This is what normally would happen if you slowed down low frame per second footage. Now, if you use real-time processing, you can add optical flow, and this will make it look slightly more believable. So let's take a look. So you can see just by applying that optical flow, it looks like I've shot this clip in slow motion like I intended to film this clip at a high frame rate and slow it down. Obviously, it's not going to be perfect, like as if you shot something in a higher frame rate. But it's definitely useful to get away with it. If in post you are like, Oh, that would like epic. If I slowed down this drone shot at this particular one, you can see how good optical flow is. And there's something crazy about Da Vinci resolve optical flow that just beats all of the competition if you try and do something like this in Adobe Premiere Pro, from my experience, the optical flow is nowhere near as believable as what you just saw there. 9. Time Remapping Slow Motion Clips: An extra tip I'd like to share with you for slowing down your footage is called root sign. Now if you remember in the last video, I showed you how to slow down clips, speed up your clips, and also add a bit of stabilization and optical flow to make clips look a little bit more believable in terms of the motion blur. Now this time, I want to show you how you can go from having a clip playing at normal speed and then add a curve so it gradually slows down or gradually speeds up. This is something you see all of the time on mega YouTube channels where they've got this crazy B-roll where it goes from fastest, smooth and DaVinci Resolve makes this effect effortless. So you see my drone clip here. What I want to do is I want to have this beginning of the clip play really quick, like we did in the last video. And then as it approaches these trees, I want it to slow down and show the landscape that's in front of us. So we've got disorder. Maybe start the clip around here. So we'll just add an important there with our shortcut from earlier in the video, Control Shift and O open bracket. And I'll just expand this clip out ever-so-slightly. So that's about as far as mediate skill. Now, if we click command R, this will bring up this little panel here. Now you can see we have instant access to just change the speed of our clip. We can speed it up, slow it down. Very similar to just clicking on your clip and added within this menu. So if I go ahead and just speedup is clipped to something crazy like I'd say for 100 percent because we want to go really quick. We want that drone footage to fly. We want that to absolutely zoom in. And then about this point here, I want my clip to slow down. So I'm just going to add a market by clicking m so I don't lose this point in the clip in case I move my play head and I'm going to right-click on this clip and I'm going to show the real-time curve here. So we'll show that real-time curve. Now we can add a keyframe. See this little button here. If I just simply add a keyframe, I have now sort of split this clip so I can slow down the speed back to, let's say 200 percent so it's not too abrupt. Now we can make this transition point like a lot smoother between the fast part of the clip and the slow part of the clip. Right now, it just goes from fast and then suddenly goes back to slow. If we click on the keyframe that we added, you can see this little white box has appeared. This allows us to set the easing of that keyframe. Currently it's set to linear, just a straight line. But here we can add easy, ease to give it a bit of a curve, so it looks a bit more human. Now, if I just click on this box, you can see nothing happened. I'm adding these little squiggly lines that we can pull left and right. Nothing has actually happened. But as I move these lines, you can see something is happening to the actual timeline. If I just go ahead and undo that. So it goes back to where it was, back to linear. And I go to this drop down menu and we select real-time speed. You can now see this very abrupt line has appeared, which is signifying the cut point between 400% in to 100 percent. So if I go back to this line, to this keyframe, I select that and do the easiest. Now you can see what is actually happening. So when I pull this to the left and right, you can see how that is now manipulating the speed between the fast and slow transition. We can actually just manipulate this point ourselves. We don't need to control it over here if you want to have way more fine tuned adjustments. But you can now see if we play back this clip, we have now created a very smooth transition between the fast and slow points. 10. Zoom In and Out with Keyframes : Next I want to show you working with keyframes. In the last video, we had an introduction to working with keyframes when we were inside of the real-time curves, tried to slow down our drone clip from fast to a slower speed and making that look more natural. Well, we can use keyframes in a variety of different applications. So if we just go ahead and close out all of this real-time curve stuff we were just using in the last video. And what I wanna do is I want to show you how you can add a slow zoom. This is a very common use case of keyframes. Now remember, keyframes can control pretty much all different types of parameters you can control like zooming, perspective, position, and also like audio keyframes, pretty much anything could imagine. You can automate it with a keyframe. Now, I'm going to do a steady zoom in on this drone clip. So as the drunk clip is playing along, we're going to add a digital zoom. So it has a weird sort a sense about the actual speed. So if we select our clip and go up to the inspector at the top in the transform tools, we have access to what I was just sort of talking about, Zoom and position type properties along with that rotation angle as well, you can add keyframes for those. Now these little diamond shape icons on your keyframes. So you can click this diamond icon to add a keyframe. Then you could scroll ahead in your timeline and you can zoom in. And that will automatically add a keyframe now because we added our first one. And if you play the clip back, it will add that additional Zoom that we didn't previously had, which are straight off the bat without trying, that actually looks pretty cool. Now I'm just going to Command Z to undo all of that. You can actually see what it should have looked like. That's what it looked like with the Zoom. What it actually should have looked like without the Zoom. And I will now go ahead and let's maybe do a zoom out effect because the drone is moving forward. Let's actually zoom out on the clips and create a bit of a sort of like exciting effect. So we are going to add our keyframe and positioning at the end of our clip here, which, which is the default one, one-to-one and zero-zero. That's just the default position for Eclipse. And then at the start of the clip, I want to actually zoom this in. So let's go ahead and zoom this in and even tweak the position a little bit. So we've got that framing there. And now let's just play this back and see how it looks. So that actually looks really cool. So we've got the drone moving forward while the camera is zooming out. So wave moving forward, but the actual clip is zooming out, giving you a very exciting effect there, just like in the last video when we were inside of the real-time curves, we can make these keyframes like a little bit more natural. So down in the bottom right corner of our current drunk clip, we've got these little icons. We've got this diamond icon, which obviously corresponds with the diamonds inside of the inspector panel. And if we click on this, this will show you what keyframes you currently have added within your timeline. And then if we add this little drop-down arrow, it will give you a detailed view of each keyframe you currently have added. So for example, let's say added a rotation point here for some bizarre reason. It's now added a rotation point. And then I can move this within the clip to change its positioning. If I wanted to come in sooner or come in later. And I'm just going to delete that out because we don't want that here. Now, if we just select these keyframes, just click and drag, and then right-click. We can add an easy effect just like we could previously. We've got linear and then we have ease out. So let's choose ease out. And let's go over to this other side. Choose all of our clips, right-click and click, ease in. So this is now going to give us a sort of slow out and then a fast in. So let's play this back. See how it looks. Pretty much perfect. It's just got that extra sense of humanization compared to the linear keyframe in that we previously had. Now if we click on that icon that I just chose there, this will give you the curves once again, just like when we were slowing down our clip within the real-time curves inside of here, we can have far more control over eclipse themselves and there's even extra easing effect types. We know just how we only had ease out and ease in. Well here we have a variety of different ones we can choose from as well if you want to get very advanced with this. So like in the previous menu, you can move this around if you want to add more Zoom. And just like in the last video, we can access other parameters within a drop-down menu, or you could just choose them from this transform menu over here too, you have quick access to them. So for example here we could change the Y Zoom or whatever, slow that down or speed it up, change the curve type. So that was a basic introduction to working with keyframes. And you can use the same principle to either a drone clip like I just did there, or if you're working in a YouTube video having it cropping and crop out. Same principle applies. 11. Render Settings: Now that we are coming to the end of this introduction to Da Vinci resolve and some of the basic skills that I have talked you through throughout this class. The final thing I want to show you is exporting your video. So to export the video, you want to head over to the deliver page inside of here. This will give you all of the render settings for the year, the format, the codec, everything you want to do for actually exporting the video. But before we get to the stage, there's one final thing that I like to do when I export a video within the edit page. So let's go to the edit page and let's just have a zoom out here. So I'm just going to shift said to give me a far zoom out here so I can see everything with my timeline. And I'm just going to scroll over to the end. And I'm just going to neaten up some of these clips to actually make it look more like a video. Because obviously you have just thrown in and drag some clips in throughout this course just to show you different techniques. But let's act like this is a finished video. So it's a finished video right there. Now right at the end of our clip you can see we've got some footage currently this is disabled because I've removed the external hard drive, it was on, but this is some extra footage over here. If we went out to go ahead and just simply yo go through our export, add it to the render queue. Da Vinci resolve would render out all of this footage here. And then it would continue and continue and continue going until it got so this random clip all the way over here. And whenever you edit any form of a video, whether it be a product review, YuJa video of log, anything, you always have access for Egypt, the end of the clip that you may be cut out or just had there in case you wanted to add that extra product shot, but then it wasn't needed. So you have a few options here. Obviously, you could just simply delete out that extra footage that you don't need problem-solved. You could then go ahead do the Expo and then the final video we'll finish right on the final frame of your video that you've created. So that's one way to do it. But what I like to do is I like to add an in and out point onto my timeline. So if I go right to the beginning of the clip and up at the snapping tool on for this, and I click I on my keyboard, can see how this is the old gray bar has appeared. Now, this gray bar is going for the entire duration of our timeline. So once again, it's going to render out a huge black video at the end of the finished video. So we'll take our play head and we'll put it at the end, put it right at the end of our video and click, oh. So now we have captured the beginning and the end of this video within these two keyframes. So now when we go to the deliver page, all that Da Vinci result will export is anything that is in this sort of brackets or what you could say be underneath this gray line. So anything that's in this gray line will now be exploited. Anything that's out of this gray line would just be totally ignored, like it doesn't exist. So it goes into the liver page. And now let's talk through some of the render settings. Depending on what platform you exporting onto, you could actually export the video directly onto that social media platform. So here you could go ahead and just export your video straight to YouTube. You could walk into your YouTube account within DaVinci Resolve. And as the video is exported, it will be uploading almost simultaneously to YouTube. That's one way to do it. Same again for Vimeo, Twitter. Anything else inside of here that's of interest. You can also export it out as Final Cut files if you want to then drop it back into another project in and edit it there. If you're doing like a huge movie or something. And some other presets now, H.265, H.264, different codecs like that. Now, I just personally prefer to just use a custom render setting, and I do this in any video editing software I use, so I know exactly what is happening to the video I'm exploiting. And first thing we want to do is for now let's ignore the name and the location. Let's actually took, take a look at the settings. So inside of this render option, you have two options. Did you single clip or choose individual clip? Now if you click single clip, this will take all of the individual clips within our timeline here and just merge that into one video. So that would just be one video file that you then upload to YouTube. So that's obviously 90 percent of the time, probably what you want to do. However, if for whatever reason you want to export out each individual clips. So this clip would be export it out in its own file. This clip would have its own file, this clip would have its own file, so on this would have its own etc. you can click individual clips. So this now means basically after this is rented out, you will have like 10, 20, 30 files of individual clips with everything you have done with individual results. So if you've done a color grade on particular clips that will be rendered out on its own channel with all of that applied to it. So I'm going to go for single clip because I'm not doing some crazy movie production where I am then sending these clips off to somebody else to you edit in CEOs and final Netflix documentary, I'm just some kid making videos online. So inside of this single clip, now that that's chosen, we can go ahead and get into some of the exciting render settings. So for the format, I'm just going to use this as, sorry, rather leave this as Quicktime. You could go for mp4 if you like, on Windows for example, MP4 is sort of the kind of equivalent there for just playing it straight on the platform. Some other things as well. But you will know what you kinda need depending on what video you're doing. Now this is going to be what you can say, a YouTube video or an online video that we just got to upload to you, a video streaming platform. So I'm going to choose QuickTime. And for the codec, I'm actually going to choose H.265. Now, on the surface, H.264 and H.265 appear to be a very similar codec, but H.265 is a newer version of H.264. Now because a lot of YouTubers now, and it's became very common that people have a lot higher resolution video footage that they are creating. H.265 allows you to render out, for example, a 4k video and have a roughly around 25 to almost 50 percent more. Information retained within that final export. So if you rent it out the exact same video in H.264 and rented out in H.265 as well, although they would be at the exact same resolution, technically, the H.265 former would retain more information and have better compression in terms of when you upload it to other platforms without losing overall quality. So for that very reason, I have now began exporting out at H.265. For probably the last year. I've been doing everything at H.264 within Adobe Premiere Pro. And I instantly notice the difference within my first YouTube video. Instantly notice the difference between this codec. So that's that for the sort of format and codec down here, you can choose your output resolution. Now, right now it's just going to export out at 10 ADP because this is a 10 ADP timeline that we created in this course. But let's say this was a four k timeline and I didn't want to render the video out full fork. So let's say for example, I was rendering out this video and it was edited in for k with four K footage. But I was uploading it to a platform like Facebook. Obviously, Facebook heavily compresses your footage so it doesn't matter whether you upload a video or a HD video. Still just going to look pretty average on somebody's phone when they're watching it. So you may as well save the save file size on your computer and just render out that for k timeline in HD. So this output resolution allows you to determine that here. So you can just go for HD, you can go for standard HD 720 P, like keep the file size even smaller. Or you could go all out and obviously choose the ultra HD that this timeline may have been created it because this is a 1080 P timeline. I'm just going to export it out at 10 ADP. Same again, you can choose the final frame rate of symmetrical achieved 25 frames per second because that's what this timeline is. Continuing on. The next few settings are more specific to the camera that you showed a shot, your foot hygiene if you showed it in like log format, 10-bit color, 16-bit R4 or whatever, you will know better what settings are suited to you. But I'm going to show you what I do when I export my videos. Youtube, that's been working fine. Now for the encoding profile, by default, this will be set to main, but there is an additional option to choose main ten when you go from Maine 10, this will export your video file as a 10-bit codec. My cameras currently only have 8-bit codec within them, but some of the newer Sony A7, S3, stuff like that. Those have a 10-bit code at giving you a much greater dynamic range. Now, regardless of the fact that my footage is a bit, I'm still going to export this video in Maine tend to get that tended format. So once again, my, when I upload this to a social media platform, it will compress it less because it thinks it's got more color information within that final expo, then it technically does. So let's select main ten. The next settings are the advanced settings. And like I just said, depending on what camera and picture profiles you shot at, these may be slightly different. If you shot something in HDR content is going to be totally different to what I'm about to show you. Now for the color space, you could just leave this to be same as project. So whatever your camera metadata was when you drag and drop it into DaVinci Resolve, that will have figured out what the color space and everything was anyways. But I just like to specify my own color settings just to ensure that when I export out the video, it looks exactly the same as it did with individually resolved when I calibrated it and did all of the fancy stuff that I was doing. So for the color space, I like to choose Rec 709, so I'll just scroll down to Rec 709. And for the camera tag, I go for Rec 709. A Rec 709 aim for some reason from my research, these codecs here, we're pretty well my foliage and allow me to export my file out and the colors and everything looks exactly the same as it currently do with individual resolve. Then from this point, I kind of leave it from here. There's loads of other things you can choose, like optimized media, CDS if you are using some really high resolution footage and you sort of optimized honor that during the edit. And that might help speed up your render time. But I'm just going to move on to the next stage, which is the audio. This is a very important part. You've got a very good-looking video, but you need the audio to be still high-quality, too much that no point in having a super fancy expensive microphone if you render it out with terrible audio settings. What I like to do is I like to set mine to be linear PCM. That's what I use on my personal editing machine. And if you are running the Vinci Resolve Studio, you get the option to choose the sample rate of your audio. So when I'm using my main editing machine, I choose 48 thousand for that box. Then you have your bit depth. Now for majority of people, if you're just using your microphone camera or like plugging a microphone into your camera. And that's just sort of recording, I think 16-bit anyways, it's nothing crazy. But once again, back to that philosophy for thinking about how social media platforms are going to compress it. Kind of the higher the better when you export your video, you get it nice and high. Keep all that information retained within the file. So then when it finally gets compressed on the social media platforms, it doesn't degrade the audio call a more than it needs to be. So because I'm using some pretty fancy send highs a shotgun microphones, I like to set my bit depth to be 32. So then when I explore this file, it retains as much information within the microphone track as possible. The final option you have is the output track. Now if you go to fair light, the way this works is you've got audio channel 1 and your audio channel two here, which corresponds with these two channel strips. These are individual strips, so you can apply effects to channel one, and then you can apply effects to channel two. And there will be different to one another's. You can turn this one down and turn this one up, whatever it is you're doing. Then this bus one is your master channel. So everything that is coming out of audio one and audio to you is going to Bus 1. So this is your master volume for turning it up and down. And then any effects you add on here will be applied to all of these audio channels. This is your master output. So inside of the deliver page, you want to choose your output track to be Bus 1, which is your master track, as I just said. So basically, whatever is being outputted via this will be embedded into your final video. You can go weird with it and obviously specify individual tracks or whatever it is you're doing. Just simply take it easy and go for bus one. Once all of that is done, you can now go ahead and name your file. So at the top here we'll just call this Demo cause. And then you can choose your save location. I'm just going to save this to my desktop for demonstration purposes. So just save this to my desktop. Click Save. Now division result here will tell you how much space it's taking up in, like how much space is being used, how much space will be left after? How much space will be used after the render on that drive. Pretty useful to know. So if you dries filling up, you may go off. She maybe save that in a different location. And that's pretty much it for all of you are rendering. You can just add it to your render queue now that you specified or your settings. And then all you simply do is click render all. And it will go through the process. 12. More Skillshare Classes Coming!: I do hope that you enjoyed this introduction to Da Vinci Resolve and it has helped you create your very first video. Within this video editing software, feel free to watch any of the videos again, if you need to refresh yourself on any of the tips as you go through editing more videos in the coming weeks for future classes on Da Vinci Resolve. Make sure you following me here on Skillshare so you can catch them as soon as they are released. But as always, IP BEM Rollins, thank you so much for watching, check out the class project down below. And I'll see you in the next one.