Davinci Resolve 15: Editing | Film VFX | Skillshare

Davinci Resolve 15: Editing

Film VFX

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14 Lessons (3h 27m)
    • 1. Introduction

      0:52
    • 2. Create Project and folders

      1:13
    • 3. Frame Rate, Import & Smart Bins

      17:35
    • 4. Davinci Edit Interface part 1

      33:09
    • 5. Davinci Edit Interface part 2

      18:26
    • 6. Davinci Edit Interface part 3

      27:54
    • 7. The 4 Edit Modes

      16:27
    • 8. The 7 editing options

      18:25
    • 9. Transitions and handles

      9:36
    • 10. The 3 methods to speed playback (2 types of proxies and caching)

      14:57
    • 11. OpenFX and where to get more free OpenFX

      5:19
    • 12. Editing - Several topics part 1

      11:59
    • 13. Editing - Several topics part 2

      8:26
    • 14. Export

      22:55
30 students are watching this class

About This Class

Welcome, in this class you will learn how to Edit in Davinci Resolve 15

how to create projects and organise them in folders
The importance of setting your Frame rate
how to import media
how to automate the organisation of 100s of media with Smart bins
you will feel comfortable in the interface, I will show you every part of it
You will master the 4 Edit modes
The 7 Edit tools
The 3 methods to speed up your editing using caching and two types of proxies
Transitions
OpenFX and where to get free effects
And how to export your project

I will spend more time on some aspects not because they're complicated, but because they're important.

This is not your typical classroom teacher, I'm a filmmaker, and I will take you in a journey in which we also talk about stuff you should do while filming so when you reach the editing stage it goes smoother.

Transcripts

1. Introduction: welcome. In this course, you will learn how to edit in DaVinci resolve. 15. How to create projects and organize them in folders. The importance Offsetting your frame rate. How to import media. How toe automate the organization of hundreds of media files with smart beans, you will feel comfortable in the interface. I will show you every part of it. You will master the four edit notes the seven edit tools that three methods to speed up your editing. Using cash in on two types of proxies, you learn transitions, open effects and where to get free effects and have to export your project. I will spend more time on some aspect, not because they are complicated, but because they're important. This is not your typical classroom teacher. I'm a filmmaker, and I will take you on a journey in which we also talk about stuff you should do while filming. So when you reach the editing stage, it goes smoother 2. Create Project and folders: This is the first screen that you get when you open DaVinci resolve on your asked to create a project and then organize its with within folders. If you want to. You have the possibility to create a project or create a folder. Okay, so by default, I've got something entitle but you I would strongly recommend if you're going to work with several projects as you start organizing them, like creating new folder is gonna be like, I don't know, You can call that your fiction films and then something like another folder where documentaries, Um, another folder with one of our music clips on Do you get the point? OK, so this is for folders when it comes to, let's say, for fiction film gonna dive in and say New project on will say, um fiction filled one. Whatever ani se create when you say create, it opens up and then gives you the possibility to import footage, and that's what we're going to do next. But there is an important thing that we need to discuss before they're in that. Okay, so in the next section, we're going to talk about the media dub 3. Frame Rate, Import & Smart Bins: Once you create your project, individuals or 15 and you want to import your media hold on a moment. There is one critical step that you need to do before we move any further. If you import your media, it's too late, so important. Your media, While it sounds more common sense, that is the first thing to do. Well, it is not. Actually, it is too late for one of the most critical things when it comes to exporting. So now we're talking about exporting. You want to export your your your footage and you want to set your your problem eaters, and then you're gonna come down here to frame rate, and you are going to be stuck stuck with the frame rate that you had once you imported your footage. This is something typical to the Venturi's off this you will not find in another software. So please be careful when you're editing using DaVinci resolve. You bring in footage. It's too late. So basically, if you want to correct it, you're gonna have to delete the footage of important, which basically means all your network is gone. Something like that. Okay, so it doesn't sound good but it just something you really want to keep in mind. I need to be fair, harnessed and clear from the beginning. You really want to said this? Right? So this is gonna be project settings. Number one, come here to timeline frame rate. This is your absolute first step. Don't you even think of bringing any media whatsoever before you change this? Why? Well, because you won't have the choice to do it later. Let me show you. Here. You have plenty of choices. Okay. Um, so you consent, Whichever one you want now. But let's say we have for gotten to do so. And we have just imported something. I'm just bringing one. Just one, and I will not even use it. So no timeline there. Zero timeline. Not then. Nothing created, nothing used, Just imported. Um, Do you know what's gonna happen now? Let me go back to the product setting and try to change it. Too late. Great. It's locked at whatever was there. If it was 24 you're gonna find 24 there for age four. That's it for the rest of the product. Now, if you import you for the region and start doing all sorts of goodness during editing on you move to your refuge in and add effects and move to call great and become creative with your stuff When you move on to fair lies and tweaker audio. When you reach the delivery stage where you think great, we're ready. And then you look at your frame rates. Well, actually, the clients wanted to have 24. I'm working with 25 or 29 19 Whatever. I'm gonna have to change that Too late. That is the thing. Yes, I'm making a big point out of this. I'm put in if all you're learning about bringing in media in indefinitely on hold so that just you grasp this concept because if you miss it, you're gonna miss up really badly. Okay, so get this one, right. Please make sure you set it before you import your footage, okay? Because otherwise you're gonna have to delete everything just like I'm gonna do now. Re move. And then your project is gonna look as clean as if you've never made any work. All right, So, um, the first thing is, of course, come here and select your framers. What do you select. Okay, let me show you. Let's also show you that. Let me take you to the delivery top. Okay? Let me take you in the wrong route up to the delivery tablets. Bring this. Wanted a timeline. I bring it down here to timeline, and let's move. Let's say okay, this is time Anyone to run their you know, we've done everything we wanted to do. Yeah, you find sometimes those nasty. It's a public beta. Do you find these? It's just a view and think it's not a rendering. Okay, um, I'm here. I have already important. You see that this one is not great. Do you think? Well, you make in a whole point about the frame rate, but this one is not great. Yes, but you only have one choice. The one you're stuck with it. Okay, so I hope I made it clear enough. Let's now go back to our frame rate, set it to whatever you want. And just for fun. I'm gonna leave it 25. Okay? I'm just gonna even 25 because we're in Europe, So really, 25. You off. I'm gonna set this based on what? What is the frame rate that you're going to choose here frame. It depends on the export settings. What? Where do you get them from? So it's gonna be 24 going to 29. Come on. 97 is gonna be 30. It's gonna be 25. Which one is gonna be? You need to take that where you get information from. Basically, this is my question. Where to get information from you get it from your technical delivery requirements. Now, if you are doing stuff for yourself, it really does not matter what frame rate you choose because it's yours. It's your stuff. You are the final recipient. You can. You going to then put it? Ideally, you're going to shoot using the same frame rate as the one you are you're going to deliver unless you have some slow motion. And the intention is to have this very high frame rates of four. Slow motion. That's a different story. Okay, for these slow motion shots. Different story. But you are going to shoot with okay. For example, we're gonna deliver 25 for TV 25. Um, your shoot 25. You ready? 25. You deliver 25 Why? Because the technical delivery, the requirements off that television station tells you it is 25 frames per second. There's a lot more to the tell you is just It's not just a frame rate. I think you a lot about the resolution now. The frame rate, the old yo If it is it a e c eyes, it's 48 hours. It's a lot of stuff. It's all for in Terms. Office at minus 60. Be for limiting its plenty of information technical delivery requirements. There's you get a package off para meters to set. Now, this is the source for you to set in here. Okay, so I hope this one is clear because I don't want you to love a project you cannot render. Okay, So let's just now consider it done. Let's move to important our media. Okay, we have spent how much time? About 56 minutes talking about this. I think it's definitely worth it. It's worth even more, because if you forget it to you end up with more trouble. Let's, um, imports media. How do you undo important What? By the way, what do we have in here? What do we have in here? I found it really important to talk about the friendly before even talking about the interface off the major workspace, the media workspaces. What we found first here and we've got here is the media storage. And we've got, like, the preview thinking here, and you've got your whatever. This is like, the must have been like this when you're bringing stuff is gonna end up here. Okay, It's gonna end. Appear. So what is this? This is your tree view off the system like you've got your hard disk. They're gonna be here. Um, I don't want you to look at it as OK. Yeah. Makes sense. Move on. No, no, no, no, no. I mean, she's a little bit different as a tiny tiny tell you a little bit different. Um, if you add working the Vinci's open now, okay. If you add something while the Vinci is open, it's not gonna see it. It will not see it. Okay. Egypt with davinci that some things you need to live with the frame rate story you need to live with that, um, the You hear the links, you may be thinking Well, okay, whatever. It's just normal stuff. It Just click on, then go back. What is this? Like what e? It was my file E. And then you go to food. Yeah. Okay. I'm gonna find it in here. Yeah, but if you add something after the Vinci's open, it may not be visible. It's may or may not be visible. Changes. All rights will not be visible. So all you need to do is come right. Click and save. Refresh. Okay. And another story about DaVinci and system and drives is that chances are you will not even be able to see your drive if you connect it after you open. DaVinci. I mean, it's may or may not work. All I'm saying is it's may or may not work, Okay? Because several times, more often than not, it doesn't work. But I just need to show you how to sort out simple right click at the new location. So the vision is it needs a little bit off man who will help with your system drives. Okay. If you can't see it at new location and you go point your drive, you're gonna be able to see it. If you put a file recently. Just Yeah. Okay. I just need to bring in that music file. Added the end or an ambience. You know, the ambient noise, the noise, ambient sound that you want to add. That was not only your disk, and you want to add it and you put any disk and you can't seating here. It's because it probably gonna need to refresh. Okay, Just right. Click and refresh. Okay. So this is something to know about the vision. This is your trading on your disk. And now you know, the two things that probably may happen, and then you have here the contents or at the contents, Just whatever you're going to. Um I said it's all of this on Dragon drop. Whatever media you want to import, you just drag and drop it. What if you just want to take it straight from your finder in Mac or from your Windows Explorer in Windows? You can do that. Okay. What do I have here? I've got some mix of fires, which is like Sonny fx seven shot with 24 7 This is short with the DSLR then Or what kind of decisions are this? This is drone shot with a drunk. Um, and then you've got This is red Already. CDs are red files, Drug on files. Roll. Okay, so I know these are folders, you know, even expected to open its folder, go to the files and then dragged them. Knew? You don't need to do that. You just select the whole thing, including the folders for the Red Files on Dragon Drop. And it's gonna go in there and the Red Files gonna look great, because here we go our three d You can't find any folder in there. It has recognized. Oh, this is a red folder. Okay, I know what it should have inside. It has this meta data. It has our three D files. These are the ones. Let me bring them in. And that's what you have in here. Okay, Are three deep are through the others are Red Rover, Red Files. Okay, cool. Now, this is your master Been, which is basically, like, the default folder where you dump your stuff. Okay, this is you're gonna have where your import your your media, you can look at it as tumbling, or you can look at it as less than you can split the view like have this view. And this one view on the left, one being the Russian be thinking, Why is it for fun? No, because you maybe were on several. You would be working on several folders at the same time. I'm gonna be using folders more than bins. But it's like the same thing. Okay, that's bins or folders. What about, Of course, you have been at folder. Um, you're going to be creating bins whether manual static bins like the normal ones or the smart pains, which basic, like, automated based on rule. Okay, So if you come here and you add a smart been, you are going to define rule, we will talk about this. Okay, But first, let's see about the bins where you could also have a look at it this way. Like, exploited this weigh on, you can create your bins. I'm just to go back to one view for now, and you say Okay, fine. I've been I wanna have the your hospital scenes, whatever. Holmes created stuff, and then you've got the war scenes on Got some swat scenes there. Okay, sweetie, you know, just what be quite nice nickname for the SWAT. Ease sweaty. Okay. And then you go the hospital here. Okay, This is a hospital is, But I think you just check. Yes, His hospital. This is hospital. Say, Yeah, I could just move it manually, putting in there. Okay, then you have your stuff, your your your stuff, your hospital scenes in there. Now, I would solar command if you have. If you have blend your files, you may consider I leave that up to you. Okay. You may consider using meta data on. That is a great opportunity to talk about the metadata. Let's go to meta data. You click in here, and then what? You've got nothing. Why? Because nothing selected. When you click in here. Then on any one of these files, you are able to look at your meta data. Well, by the way, we're going to see the same thing when we talk about the editing workspace. These icons here they helped create more space vertical versus horizontal. So if I do like this, I'm giving more space to media storage. And if I do like this, I'm giving more space of the meta data. OK, so now, with Mr Data on, I just come here and select what kind of data Dwight wants. Well, I can come to just look here. Technical details. Camera short, short and seen shortened. Seen is what you would want to populate. Manually shortened. Seen. Then I say, OK, description. You'd rather use it with keywords. You can ride description, but my recommend you use keywords, so this is gonna be like, something like hospital. Um, And then you come here and then you say whatever hospital, um, nurse? Yeah, sure. On the enter and then nurse. Whatever. Yeah, you're probably gonna add surgeon. I'm just adding stuff. I'm actually I don't need this for the film to the fiction film. It's not needed for for that. But it's just that I'm showing you how to use it to do. Should you need to create smart beans? Why are we doing what we're doing this stuff to organize ourselves, That we're able to let the smart bins take care of themselves. If I now se um, let's create a smart, been okay and smart. Been? I'm gonna call it hospital scenes. Then you think Well, the moment you just created the manual one Yes, because I want to show you how to do it manually and how to do it to this Smart. Been. Okay, So they come here much. All in all or in OK, you are now in a creating room. Christian rule. Just like I think you find this kind of stuff in Excel is what if you've worked with Excel and there's a filtering the rules for filtering Ace if I have the same thing. Okay, So you come here and say OK, media pool properties. I want to have made a data shot and seem because I've worked with that. Okay, I'm gonna go to keywords. Has my key word was my committee see? Marquee word? I can't seem okay. We're Description Commons seemed short. Take, He would go keywords. So keywords contains or ease contains or is contains men's it contains is means. It's only that it's not more than that. So if you say is hospital, you won't find anything. Okay. Whole spittle, you say creates Maupin is gonna be empty. Why? Because these they have more than hospital. It's not just equal hospital equals hospital. Answer John, in this one. If I come now here and I'm going to, um it's more been come and change it to contain automatically before even clicking. OK, you get the fans listed. This is the beauty of the smart ones. Okay? And you have the possibility to work with meta data. It's something that you really want to do at the beginning. I know when you want to start editing, you have that urge to immediately start cooking, like start making. You're working on the edit and having effects and stuff and just see what the film is becoming. Maker Assembly. It really pays off to get your footage organized with meta data. All right, so you do it only once. Assuming you you've said the frame rate right at the beginning. OK, otherwise gonna do it a few times. You do it only ones, but it helps you later. All right. So should you search for any footage later? Just a lovely rule in the smallest Been And we'll take you there. It will take you there. Um, just structure is another one. I think my point is clear. My party clear. We can add another one, which is like war to get war or swept or Let's get war war scenes or scenes. Okay? And it's gonna include what I shall. Don't know. Fire name. Yeah, I didn't set anything. Let's say keyword was my keyword. And then contains, let's say, war create small planes going to empty now. But let's go here on. Let me find some war stuff, okay? Everything that's readies war, everything that is red is war read? No, this is this is war. This is war somewhere here, we've got some. Someone's sick. You got some? Yeah, I got some yet The army. So, yeah, I'm not just gonna take this one and put in war as soon as they do that immediately down here, you're gonna find it. Okay, so these are the smart pins. You can organize it in plenty of ways. I've shown you the key words you can use here already. You can use the clip color now. You can set the clip correlated in the timeline. But if you choose to set it now, you can do it, Okay? And you're smart Beans are able to work here when it comes to your, uh, this mountain, you can use plenty of choices. Okay, good. OK, so this is about your smart bins 4. Davinci Edit Interface part 1: the interface off the visual resolve. Editing workspace has two monitors. One is the source. One is the timeline. Of course there's a timeline, and then we have some more taps. They're not really behaving like tramps, but we can consider them a such, like media Paul effects library, edit index sound library. This we will find on the left. And then there is metadata, Inspector on mixer on the right. Let me first please draw your attention to the following bottom. This one in here. This gives you the ability to, um, decide how much real estate is actually are located to the timeline versus the major pool. Okay, so you either extend the timeline or extend the media or any other time that it's opening here. All right, same on the right. OK, so if you're here and you click on it and you think Well, it's not working? Yes, because you did not have anything activated here. So if you have inspector on, I have something selected. Then I am able to decide how much real estates screen Real estate is located to the timeline versus the tab that is open Inspector versus time. Nine. Okay, so this is on both sides for you to be able to manage your monitor your screen, the way you want it to look. OK, so these are to start with. And then let's look at what we have in here we have on the left media. Paul. OK, the media police, simply whatever you have imported, this is the media that you have video, audio, anything that you have imported in the first workspace here, which is media. Okay, so this is a media pool on. You can work with the media, pull in different ways, right? So you of course you have. You have two different types of bins. Folders like the static folders and then the dynamic or smart folder Smart beans. These ones come based on the rules. Like they locate. They accumulate Phillips on media based on the rule that you have defined. If you say I want to have everything that everything that has to do with war. So the word war in the title just grab it and put it in there. It will do it. So the moment a clip is named war, it will automatically do that for you. Okay, there's a way to deal with the media pool if you want. Yeah, if you want, say, for example, here to split it into dual pane to able to see twice. Say, for example, you want to look at the videos out of the audio. The same times have access to both. Yeah, so this is a possibility to have dual pane. This dual pane works even in dis mode, even when you have the timeline extended. So you have access to twice the media Paul. But then because you know you need some clips in a particular folder and some others in another folder. So this is what you need to do to come here to media full view, sex with its signal or paid by default. It is single. Let's go back to single now. The next one is going to be your effects library. Let's click on this on. Let me first actually, um, given more space to, um, toe graphics library. If I click on media pool Andi, I click on Just go back Media Paul on a click on ethics library, it is going to get just half the screen. It's not really behaving like a tab said it was a tab and not behaving like a time because it's like a switch on off. It's like Togo on off. If it's either its owner off. So media pool is it on? Then you have it in there. If you switch on FX library, it will be added to it of there is space. Of course, if you're working with vertical space, then they will be together. If you couldn't care on the edit index, then you get it in here. But if you switch off this one, then you get just one of them. All right, it's a struggle on off. Okay, then there is the sound library, and this one really does not care about extended, not extended. It just takes the whole vertical space because it is a sound library and salaries. We're talking about thousands of files, so it needs a lot of space. Let's go back to our media pool on Go to the next one, which is effects library. Let's click on FX Library and what do we have in here? Well, you would expect it off course that if you have a non linear editing software off any kind , you will have video transitions. You will have audio transitions. You'll have some titles and you have some solids. Like if you want just a solid red color blue color, whatever color you have. All of these in here. So this is a robbery out video. All your title generators. Okay, You got this All 18 year. Cool. This is the traditional stuff. Now, what is not so traditional is what we call open effects. Open effects are not typical unique to davinci resolve. You find them in plenty off software are not saying editing software. You find open effects effects in nuke, you pine, you find open effects effects in after effects. In other we premiere in NATO, Ron in all sorts of composites, off hit film and all sorts off editing and compositing software. Open effects are fx of our designed on a platform that is shareable but multiple suffer. You do have a few of them that are already ship with DaVinci results. So when you start with the injuries off, you already have something in there like blur related on the resolve, effects and stuff. And what not? Yes. When you go for them. Um, paid version off the vin She then you have more of them. Of course. But what you also have can do is you can bring in your own open effects when I say Oh, not stuff that you develop but you either. By all you get for free, let me show you. I'll scroll down completely here. And what do we see? We see here, ignite everything starting with ignite. What is this? This is just a package and it starts with ignite. It is a hit film package is free off charge So you can either google it or also you were to find it. You could Google ignite open effects effects from hit film and they give it for free, right? Something like 90. If it's on, you can add them here in here How do you add them? Work for ignite? It's quite simply Just install it Once you install it is going to recognize you have adobe premiere It will integrate with me Oh, you also have after effects will integrate. You also have the victory It will integrate It scans your disk and finds all Sorry, it scans your applications and finds all the applications. It is compatible with and you find it already integrated there. They help you a lot with this kind of stuff. Okay, so but they tax your system, right? The attacks, your processor. These are effects. So they could be going have in terms of computation. Okay, but you do definitely enrich your tool set. Right? So this is about open effects. Let's close this and come down here. Rodeo FX. What is this? I thought that the old you stuff was in here. This is audio transitions. So what is the difference between rodeo FX on your transitions? Aren't order transitions effect? Well, in the technical term, what we mean by rodeo FX In here we mean sound first production effect. So stuff that you would do if you are working on sound first production. I'm not saying if you are editing and you're going to touch sound, I'm saying you are dedicating some time on effort to specialized sound burst production. Then you are going to work with fair light effect. OK, What you have in here is like the basic necessary key, important effects. You have the DSR. You have the noise reduction. You've got your reverb. You've got quite a few things in their delay and what not these are necessary. For for sound postproduction, you can add your urn. And when I say when your own, either you're paid or free versions off plug ins. And here we're talking about plug ins effects. So if you buy, say, for example, I saw top I set up is like the number one knows reduction and noise Wrist Andi Sound restoration application with also saw plug ins. You can buy these. These these bogans. Andi, integrate them in here. Okay, so you don't only have fair light effects, but you have much more. You could have much more than that. These are for sound post production. You do not work with these until you reach fair light and fair light is down here. Okay, so we're not going to go into too much detail with this because I do not expect you to be working with this stuff inside the editing. That's not the intention, Right? Fair light s for fair light, okay? And yes, you can you can work with a few arm. Hey, and he was it with some video transitions and some open effects. But when it comes to audio. Please do it in the field like time. Good. What have recovered Now we've covered the media pool would cover the effort. I think slavery. I'm going to switch it off right and switch on the edit index. And then you may be thinking, Hold on a moment. What is this? This is just a list. Basically just a list off your decisions and the cuts on in an hour. Starting point and everything, that's all. Do I expect you to be working with this? No, it's just they're like, this is the tab. This is the only thing that I think you will work the least with. It's just there, right, just for you to be where when you exports gonna be exporting that. But then it's just there, like it's it's the one you want to pay the least attention to. The next one is going to be our lovely sound library. This is your friend When it comes to enriching um, your sound, I'm really mean enriching. It's not restoring. Its not treating there is enriching. What is the difference between sound library on the sound effects in here may go back here Okay, You've got some sound here or to transition. You've got some sound here or do effects Fair light. I think that's a sound here. So why is sound library? No, somewhere here is not supposed to be with sound. Well, it is a different thing, this stuff in here. You know what these are? These are just effects there. No files. These are not sound fires are just FX. Okay, You already know this. Well, if you come here to sound library, there are no ethics you. Actually, it's a bit. Um um it's just the technicalities of the wording of the name in. They are effects in English, but not technically. But technically, they're not effects. These are the effects, right? These are the f. Technically, these are the FX days are files sound files, period. Okay. So, technically, these are sound files, that's all. What kind of father? These? Well, you know, folly when you do film and you all using footsteps. Addendum. When you want to add the noise off a car, break the noise off a plate, breaking the noise off a handle of the door, the noise off a door opening, or the cracks in the door. They are generally in plain English called year. These are effects, and when you go to call that stock footage and Stockbridge companies that also have sound, you're going to find them listed under effects. But they're not FX, as in Sound FX. There are effects, as in files, that that sound files that include what is considered like you would add some richness to your environment. Okay, that's that's That's basically that you're going to add environment un Beyonce. So if if it's especially for Dublin, especially if you're Dublin on if you don't change in language, you basically are gonna need a whole lot of sound library stuff. You need your your atmosphere, the sound of trees. Sound off. It's basically is enriching. Even if you're not Dublin, you're gonna need this. Okay, We've been talking a lot about this son library, but it's empty. I told you was your friend. This is your friend when it comes to enriching. But your friend is not there. Why? So why does DaVinci come empty? Well, because this is supposed to be your library, not the Vinci's library, right? These are copywriter thinks Yes, it could have bean. A lovely gesture from black magic to already prepare on own on make available for free. That would be great. Would, you know, make available for free a sound library for the users of the Vinci. But don't worry, it's not there. Don't worry. We're gonna get another one. Adobe has done that, okay? Especially for the users for the audition. But it's available for every anybody. Anybody can use it and it's for free. So I'll show you where to get that. We're talking about thousands of files, by the way. We're talking about thousands of files. So this is why you do not import your sound library. Please listen to this one. Carefully pay close attention because otherwise going to slow your whole system down. Major pool If you are going to work, if you're going to work and you know I'm gonna need some sound library stuff and you may not even use this word somebody I'm gonna need to add some atmosphere on, I'll need to have some cracks in the door and I need to have some footsteps. This, that You know what I've got. That library here it It's like three gigabytes for gigabytes or, I don't know, some of them could end up being 15 gigabytes or whatever. Don't important new media pool, please. Yes, I know it's it feels organized. Other being. And then add your sound stuff. Don't put it there. It does not belong in there because that is It's too heavy. It's too much. And it doesn't belong there. This is wider than she has put a separate tough for that. And it's called Sound Library. What do you do? Do you imported? No, you don't import that. You just come here at library click. What does it do? It just points. It points to the location of the sound library. No, I don't have it in here. But once I show you where it is, we'll put it and we will. Important. Yeah, so it's just basically pointed to it. And you notice that when you come to media, Paul, Or do you find that the search is actually these active by default, you need to click on the search to be able to search a start. Because you know your footage. You don't have that many videos. Okay? You may end up with 60 70 videophiles depending on how long your film is on, how many takes and what not. And if you want to already import all the takes or just those that you have asked the script supervisor to mark, as these are the ones you know, the brain's scratches in print. But your searches is able right. But when you come to sound library by default, it's the only way to access your files. Is the search. Because if you want to say, for example, door, door, handle whatever or footsteps, they're gonna type in footsteps in their into such right. So it's important to understand the distinction between these two. Okay, enough talking about these two now, and we're going to move back to Media Paul, just explain a few tweaks in here. A few a few things off course you see here Thumbnails. It is very handy, especially if you have a film on. I've just changed. Actually, what I've done have just changed the young, the the frame that you see, I've changed to something different than the initial one would be really noises that if you have, if you are, if you're shooting this is between brackets. I'm gonna be opening a few brackets for stuffed up. You would rather dude urine production to make your first production and editing much easier for you. Okay, so this is not a traditional teacher based me teaching you how to use an editor software. It is that Plus taking it from a production perspective. Listen, we're filmmakers and these are the best practice for filmmaking. When you come in and you bring in your footage, you want your first frame to be your slight. Okay, so this is one of the cases I have deliberately changed Those frames here moved them a bit , but this is an example. If you see this one in here, this one, that's what you want to see. So you ask your cameraman to only start rolling the camera. This is a technical word that goes back to the ages when they were rolling film. Now it's all digital. There's no not ruin, But still, we say camera roll in sound speed when you start rolling on Lee once the slate is in focus . That way you're able to quickly go to the this has taken about. This has taken about three to see number 14 be taken over three and it goes straight there . So why am I talking about this? Because you have the possibility now to live, either use your list or your company's on. Increase the time nails or reduce them OK on. This is how you're going to be able to recognize your slate information to know this is the slate. This is the clip that I need to be using, especially for for sound sync. In, Of course, well, when you were filming on Set, right and again, this is about not just the software itself. It's about technique and attitude of the mind said when you were filming on Set. What do you do? You're going to ask your for the video purposes you're going to mark the this late. So when you say market, basically, it's marked audio wise and visually, visually is what you see on the state and market is the person who has this late verbally. So this is the sound party or your part Say's it loud. Seen 14 b take three and then hey, collapse. Okay, well, do you think it's kind of just for fun there or showing off? It's very important because then the sound guy who is getting his his broom po closed this late once the slate is clapped, captures that market as well. So your sound file because I do expect that you are recording sound separately. Yeah, so recording sound unless you're pushing it straight to the camera. But then the question is, why are you? Yeah, OK, fund, that's your choice handed out. That's your choice. You can you can move your sound straight to the camera on your video file will include the sound, but then hold on a moment. There's that there's a whole story there desert as a whole chapter there about mixing things and about phasing issues. If you have a broom pull at the same time with the with the lovelier mike and everything, just go into the cameras. You're gonna have a big mess of spaghetti there. So that's why record separately, please. And that's why you need to have your slate visible in the timber nail and thats why this time nothing is useful. Well, okay, we've opened this whole paragraph in this whole talk about stuff during production that you are aware off things during production. You know, everything you do during production in film in comes back in prescription. Either comes back to help you, or it comes back to bite you. Your choice. Okay, let's close this one now and then we move. Why? We see media? Poor view. We've seen this one. Dual pane. Lovely. The next bit we've seen FX library. You've seen it. Index Sound library. Now let's move to the right. Do the right. What do we have in here? Let me just extend this one a bit. Give this time that a bit more space to breathe. Yes. You're going to find another moment. You're gonna find some stuff like this. That it does happen. Okay? It's already gone sometimes. Okay. It's a public beta. Okay, The future is all 15 public period that sometimes it turns green. Right? Your company is gonna turn green. Your, um, timeline preview is gonna turn green. Don't worry about that. It's not gonna It's just a temporary book thinking we hope it's gonna go. All right. Good. Next one is gonna be Let me just close it on D C. Okay. We have to monitors here. And when you start adding more things like Oh, I want to have expense Specter as well, then the interface does, you know. Hold on a moment. Listen, you've got limited space on your screen. I understand you want to have both the media pool on the inspector open. Guess what. Shall we don't just limit ourselves to one monitor and it's gonna be the timeline. Okay, so on when you click on the media ball, then I'll take it. T disorder. Smile. Okay. So if I click on this one, then it takes you there, so Okay, fine. Now, now we want to source finest. Do it. So let me just click on the Inspector now. What is the inspector? These are you either know it or you don't on. If you don't, it's even better. Actually, if you don't know what inspector is, it's even better because the Vinci does cool things differently. Then the rest. OK, so inspector is properties. Okay, that's it. That's all properties and perimeters. So you have here composite transform crop in. You're just going to change your your, um things to resize to You also have the less correction in onlys, your lands and stuff for distortion. These are prime meters. Okay. It's nothing else but perimeters. You have a very for video also for audio. Okay. On here. A very, very big points honey to make. Don't touch your audio. Please do yourself a big favor. Don't touch your until you are in fair light. All right? Yes. You may be tempted to say, Oh, that's lovely. That's volume pitch. Well, that's lovely. The pitch one, The pitch is actually don't even understand why they put it so, so, so high up on the list. Bitches like, not so important and where it's just making your voice. Um, it's very handy. It's very useful. But I'm just telling you that in the early stages, off them integrate and fair lights and everything sound things are not really in the rights order. Okay? You don't work with the trust. I'm just be blunt with picture is one of the last things you do. And volume is the one of the things that probably you don't touch ever. Right. So this is why resist, please. The temptation to, um, to work with audio in the editing mode. I'm talking about this now because we are in editing workspace, not fair light is down here. See, this is editing, but you already have your order here. Resist the temptation to work with this. We're gonna find it back in fair light. And that's where the sound stuff happens. Um, yes, you need. You can make your volume, but then the question is holding moments. Have you recorded stuff? Um, with this for you, then you should. It's everything about production, everything about filming. When the recording is done properly, then you don't need to increase the volume. Actually, it's different. Think it's called Normalizing? Normalizing is come comes only when you make a mistake. Generally, okay, there are different schools of thoughts about normalization on something we were gonna address. And when we talk about fear light, um, normalisation is generally okay. The main school of thought is generally that you only do it if you've missed up really badly during filming that you have recorded things to quite. And if you're quarter quarter things, you're think you're you're you're too quiet. That means you're gonna have to normalize. Normalize means you're going to increase the floor level. The sorry, The noise floor increasing the noise form is whatever noise that you have is gonna be louder. Which means your nose is gonna be rubbish. More rubbish. A lot of things to take into account. Filming is where you fix your post during production. That's where you make sure your everything is working properly, right? They're not here. So Volume, I don't expect you to work with volume or pitch here or even clip. Equalizer clip. Equalizer is is wonderful. And I don't want to get the wrong with pressure. It is wonderful. Equalizer is my best friend. That quote classes my most favorite order to by far, but not this one. Okay, so stay away from this stuff, please. Once we moved to fair lights were going to work with that. And I think we're gonna have a bit more things to do in the equalizer, cause here we only have to like one, too. This is just for the I don't have these kind of these ones. All right, you can change it. Of course, you can change them, um, Teoh to to change the type and they end up with four. I generally work with them. OK, all Sorry, no, in DaVinci But if you have another plug in you can bring in. But what I'm saying is to resist the temptation to work with anything or doing here. It's just OK if you if you need to, you can do it. But it's it's better to do it in fair lights. OK, enough about sound now, but I just thought is very important to mention this stuff. Because again, this is not your traditional usual class style DaVinci resolve how to edit. I'm not here to show you how to push the buttons. I'm gonna tell you when not to push the buttons as well. On what you should have done during filming to avoid pushing the buttons. All right, so this is now the inspector, which is nothing else but the perimeters and the for the properties. Right? Meta data. What is this? Well, this is if you don't touch it, it's whatever it comes with the file. This is the definition of the file. This is data level is photo with your channel is to what is not. By the way, this is not e. Pick another week. Another one, which is Ah, I think it's another one. Um, yeah. Let's get this. Let me get a red. Yeah, this one is a red. That was a big mistake. Okay, this is now sort of open source and then bring it in here. I'm just bringing one here quickly. Um, yeah. Just bring it down here, Click Combat and click on the Inspector. Okay? And seek in the meta data. All right, it got Why did I do that? Why did I do that? Because this is red footage, okay? And just to show you that actually, no matter what you do, it is gonna be the same. Eso just have standard information you would expect for red. Raw, raw footage had raw footage. You would have much more. Yes, you're gonna have much more, but not in this stop. You're gonna have much more into color grading. Remember, the venture is off by definition. When it was born, it was born a color grading application. It's now starting to add some more stuff. So when you're missing something, you're gonna find in color, color, correction. OK, so all you have here is like stuff that is typical to your file definition mixers. Okay, I just remove this one on. Go back. Teoh some older. Some other footage. You Just seven years. One nice mixer I click on mixture and then I get what I get. This makes on here, um, on the right. Here. Good. What I know is that I have much more than just one Or Jewels is old you want and main one. Okay, But I don't think I have just told you one. I've got much more than that. I've got, like, 78 to wear a day. If you click on drought, you're gonna be in several of them. And this is a 12348 All of them, Everything. 13 years is gonna be in here. And then you got the handles and everything that looks fancy. And what not resist the temptation to work with this place. Okay, um, sound, It's No, it's too late. OK, now it's too late to work with it. It's not too late. The great news is that we have fair light in integrated. Okay, so when you want to work, would sound Just wait till fair lights, everything that smell sound fair light. Just wait to fair, like, okay, because in here, you're gonna be tempted to use this and these are gain on volume things now. Most problems. And I hope you don't have problems by Just embellish your sound. Most techniques that you want to do work without the amplitude. Okay, they do. It's not that directing that harsh just yet. Let's increase this oneness. Reduce this one on recall its but sound postproduction. That's not the case. Resist temptation to work with this one. It is there. Yes, thank you. What? We're gonna use it? What you could, however, do you think? Well, do you mean I shouldn't even touch sounded to allowing? When I'm working with my video, the most important part for sound and what I want you to do is to switch this one. Let's bring it back to where it was first. Thank you. I'll turn two meters. That is it, period. That's all. You want to have your meters? Why? Because at this stage, the most importance to see if you have the ugly sleeping if your sound has reached zero sound that reaches zero is distorted, is unusable, is ugly, is unprofessional. Is bad, is whatever you wanna call it. You can't walk work with that stuff, so it needs to be dealt with, and you're not going to deal with it in the editing time. You don't have the tools for that. You're gonna have to limit. Let me just check here for you. Effects. The fear lights have limited here. I think it's gonna be part off another. Yeah, we're gonna have No. So we're going to have to use the Limited as part of another effect, which is gonna be a fair light. But that's basically what you do. Like back. Worst case. And are you Just avoid bleeding. Teoh. Avoid the wound from Billy. Stopped the one bleeding you're gonna have to limit. OK, basically, you should have sorted that mess during recording that you have backup plans. And when I say backup plans, especially when you have shooting, let me show you. Because this is a practical course. This isn't just about pushing the buttons, my dear. Let me just show you here. There's a shooting. Where is that one? That this is shooting. This is shooting happening. No, no, no, no, no, not that one. Okay, I've missed up again. Um, let's close the inspector. Remove, not give them. Makes it. That's fine. Let me get this one. If I get this one here, there's some shooting here. Oh, wonderful. Have you seen that shooting that is gonna happen? Okay, See that red one on, then? What? Do you know what these things are? Stuff that you see in here. Just try to okay? Yeah, I know. You hear that? Cool. Okay, you know what this stuff is? Ah, this is red footage, red raw footage and what we have in here. This is a real as in real Kalashnikov. And these are real shootings. Okay? The only difference, however, is for the safety of our actors that have gone running. So we've got a child. I'm just check for you. There's a child. Is that there's a girl running. There's a child, is our does a man on There's two rebels. Are the two rebels here? The two rebels here. Okay, they're all actors on. We reached the point. They shoot themselves. They should backwards, they should towards a lot of people there. So we're using blanks, but blanks with real Kalashnikovs that sound as riel as the real ones. Okay, because we had there were also the real bullets in there, but they were not used for safety. Why am I talking about this? Because, my dear, if we reach here the points can you see? Have you seen that? So the file, this video file, the video file. Of course, the video's gonna have sound that is going to be used as a reference for thinking just for thinking. But when you record, you're going to have your recorder with three different recordings. The 1st 1 is what you believe is okay, which is never. Okay, The 2nd 1 is what you hope is going to save you, which is not going to save you on the 3rd 1 which you think Oh, that one is too too quiet. We don't agree. We're gonna use it. That is the one even end up using, right, Because bullets are very, very loud. That applies to any other sound that you have. OK, so this is the only use I can see you doing in editing work space. You have meters and you see which one has messed up badly. You make a note of that, you can even market. You can flag it. You confuse the flag in here, we'll talk about flags just you know what? You could do a few things to highlight that on. So once you reach the stage off Fairlie to say, Oh, that one needs some surgery. We need to work on that. Okay, cool. So this is a long talk about the mixer or not the mixer. OK, so basically, it's just the meters. If you wanna play with the mixer, find that's up to you. But I recommend everything. Sound needs to be done with fair lights, because now we can. Okay, cause now we can Okay, so have we now closed this parts off the OK. Media have covered this will cover that. Got all this stuff in the next part, we're gonna be talking about the monitors, all the young, the bells and whistles around them here on day, another party will be talking about the timeline. 5. Davinci Edit Interface part 2: now Move into the monitors. We have the show. Sorry. The source Monitor on. We have the timeline monitor. What do we have in here? You know what? Let me just close this ones that we see more. Um, yeah, we have. We have bigger, bigger screen. Okay, we have this to fit or to zoom. Or you could just decide for yourself How much you want to see if that so. We've got to fit in there. You have the time code. Okay? How long is is the stuff? And then the time code you have in here, how many are opened? A source. Okay. You could move from one to another to see which one is this? Yeah. OK, whatever. So these are These are your, um this is this is your source on. You can decide which part is going to get in the timeline. So this is timeline, right? What can I do with this? I can also display the audio. Not just a video. You see here, you've got show zoomed audio and show full clip. Or do you okay? Full khalipa. Does he do? If I clip click on that, This is your full audio clip. Everything is here. Okay, so here we start with some stuff when people start running. And then there's some shooting by the rebels and then the shooting by the army. And then everything is on. Let's finish. OK, so this is it. If you want to see it zoomed if you're working on particular frames and I think no, I just want to see the zoom apart, the nuclear consumed then in here we know exactly what we're in the middle of the shooting . Okay, so this is the red line here showing exactly where you are. By the way. You notice when I just moved here? Is this something here that shows that What is this? This is video on. This is audio. Okay. When I If I click on this one and grab and move somewhere down then I'm grabbing just the audio. If I get us lovely, this is, um it's it's it's a bug. It's OK, historical. Now we're used to it Every time the term turns to green is fine. I just move the year player, the better it's gonna be. It will go away. It's just a minor glitch in the public beta off the damn injuries or 15. Or it let me go back to our story about the zoom. So this is assumed one. If you want to go back to the four, you can see the four. If you don't want to see any audio, then just disable it. What you can also do is just see the audio. Nothing else. OK, well, if it is just an audio when you load it in there, you're going to see just the audio. Of course. Well, let's assume you only want to see the audio, not video. How do you do that? For whatever reason? Okay. You may have your reasons. You come down here and then you have the choice. This is sourced. This is offline. Flying with a one off line. It's But if you want to offline and then this is the way to do it or you're track. So when you click on that, you only see your audio track. Your figure is not visible. Then you have both of them on top. You have the full clip audio on here you have resumed. Remember here we had Oh, it's going. It's going. It's going. It's going because we were supposed to. Okay, source, remember here. Zoomed and full. Well, you've got both of them in here when you're working with the order track. Okay, so this is the 41 on. This is assumed one on. Then you have a few other things. Multi. Come if you're working with multi. Come on. You've got connotations of you haven't updated your stuff. But our for filming purposes. We don't do that stuff. We don't do that. Okay. Um, all right, so I'm coming here back to my source. What else do we have? I'm gonna skip this one. Come back to it later. Well, you're familiar with these things, Like universal play. Um, forward play backwards. Stop and then go to the extreme and extreme and again here, backwards. Um, this one. Okay, you can scrub. Of course you can scrub here. You know what? Let me Just cause this is gonna be heard in the microphone. Just turn off the sound for this. Okay, so this is better. You you're able to see it in here in the meters. That's why we have this one open. If I move this, you're going to be able to scrub and see. OK, which were You want to start, But sometimes you need to be precise for that purpose. Let's say, for example, you just want to show exactly when the bullet is shot. Something like this. Assuming I didn't reach it that easily with this one, then what I'll do is just come here and is I'll be able to move frame by frame. Obama, just look. Yeah. Okay. Yeah. Okay. You could refrain my friend here backwards or this is This is really very precise movement . Okay. And very slow. All right. Good. What else do we have? We have in here something that's called much frame. I don't have the same thing in the timeline monitor. We have much frame. What is this? It's quite simple. I think we'll cover that later as well in detail. But for now, I need to make sure you know what this is. What's this? This is the source monitor. So when I say much frame and I click on this, it is going to look for this clip in the timeline, because where am I now? I mean, the source monitor. So it's going to be looking in another monitor. It's gonna be looking, not know. Monitor the timeline. It's gonna look at the timeline. Find the clip, find the frame on, show it to me and get the play head standing on it. Okay? Same story here. If you had come here. When I say OK, much frame. You are. OK, let me just bring in. Which one was this? This is 05 90. So I'm gonna need to go to my 05 90 05 90. Is this one loaded? 05 90. Okay. A bloody 05 90 then actually didn't need to need to do that. It has already done it for me is just that I have the green screen bog thinking Whatever. Um I just disable this one. No, what was stupid? I'll show you that it's still working. So if I click on much frame, it did bring it. Just move on for him and come back again, okay? Yeah. Okay. Just on my stream again. Okay. It's just a book. Any time you see something great, but it has matched exactly where the, um see is just that one is green. It's no impact in anything. Is just the view, right? Okay, so this is for matching the frame back from the timeline to the source or from the source of the timeline. Okay, so this the same thing on this is for the in and outs. Very important, because when you are going to film and say, for example, you have a few takes Well, you're not gonna include the whole clip because you just want to be the part as off the time you say action. I mean, depending on what kind of production. It's a feel of his documentary. If it's a music label, it's whatever you just recording in advance. Whatever you may need just a fraction. In that case, you just limited. You see what these things are? This is an in point. This is an out point. Now let me just remove these. You do multi. Oh, and it's gone. You do it with. I owe you. Can do you use these ones mark in mark out. I actually never used these ones because it's it's universal. I think it's an almost every possible software you can think off. It's in. You get in nature on it, and I think it's in after effects and and or be as well. It's io io in input, but it's the same thing. So you come in here. I come in here. Oh, okay. I'm supposed to show you with this one. Just I'm just cleared with this because I'm you saw. Um, Yeah, this is your in, and then you move here. This is your out on This is the only party you're gonna take. Okay, but here, they had already finished him the scene. When you want to say it's starting from here in and then we move. Yeah, This is like a good frame turned right here. So what do you do when you move it? Whether you move on the the video or only the audio, or if you grab from here, then you're going to move only this pass between in and out. Okay. Um, you have different ways to to to move it. We look at that as well. Um, we have finished now with this. Let me see. Yes. The most important point was the old you part. Let me come here and look at the monitor for the timeline. Well, it's exactly the same thing except except on the top here, you're gonna find something called bye, puss. Well, because you're going to be working. We hope you're gonna be having lots off color correction things and effects. And you're going to embellish your video during playback, especially if you're working. And that's another partner. Parent is I have to, um no, I need to open a few of your brackets here. If you're working with them with footage, that is especially now. I have to talk about this because we're talking about the bypassing. Now, if you're working with roll footage, you're kind of OK, Okay? Not really. Okay, but kind of okay, because you got to apply effects That can be computational heavy. Okay. Color grading the country competition heavy to a raw footage which is, um, large in terms of size but does not require decoding. That is the key word, right? That is what the key word okay, by passing is whenever you have a problem, whenever you have no problem when you whenever you run in slow. Whenever your computer is struggling with a competition, you've got too many effects going on for us. You're footage. The type of the footage okay, it is worse when you have four k compressed, Then you really are begging for trouble. You have decided to have a nice man, which means that by default, anything you add is gonna be a nightmare. You make color correction, it's even what it makes it slower, Slower because you're compu computer on. This is something that generally I'm not sure I don't know if you know this, but generally doesn't. There's a miss and this understanding there's a misinformation as to whether role is slower than the other formats or no, it's the opposite than what generally tends to be said. It's the compressed footage is worse. So why are we talking about this? Because when you come here to bypass its because if you bring in four K footage compressed , you know what your DaVinci resolve needs to do? It used to decode it first. We haven't even started working. It needs to be decoded. Andi. Oh, it is it for K. Okay, we're gonna decode a four K. And is it a large section that you need to? Okay, we're going to decode a four K and a large section. Only then Okay, you have color Graydon effects. Okay, We have open effects as well. Okay, then it becomes heavy. Right? But when you have a role is different. Yes, it's large. Yes, It gives you the impression that it's heavy, but actually is know as heavy as the, um, cold pressed one. Okay, so row is always better. This is now to save the day. If in terms off playback, you think Well, this is becoming too slow. You can't even see what you're doing because it's skipping frames and stuff. You just click that one to bypass your FX to move on with the okay. Bye, passengers. Just for the timeline just for the viewing. Okay. You don't bypasses for the for the application was you render it. Just bypass it when you're playing back. And then there's this one in here. Savings. If you just want to focus now, okay? I'm done with bringing in older the media, I ones. That's it. I want to focus on my timeline. I don't want to see this source monitor anymore. Get rid of it. Click on this. That's it. Let's move on. Yes, you may need to have effects Library. That's it. You just need one on it. That's all you need. You could have two or one. So this is your decision in here on the same, um, applies to the rest Off the are the things here. So I've got your much frame in out. Okay, in out here is a bit different. Okay, It is. It is the same in the house, but then you're creating an in point an out point inside the time. Nine. You better be careful why you do that. Okay. You better know why. Why you do that in ours Generally, if you want to say OK, I just want to render in out. Okay, then you know what you're doing. Because in out for source is one thing in for timeline is a completely different thing in us for timelines, mentally for his intense rendering. A section okay, on. We have this one, but the difference is this. Now let me go back. So again, another green screen. Okay, let me go back to get to monitors, because I need to make sure we don't the comparison. Uh, where's my hair myself? Okay, My big air. Okay, fine. The monitor here, This one. What? We have sores or your truck, you know, stuff that you need to decide what part to take in here. It's more action. What would you like to do about it? Transform, transform. If you click on transformed, then you get the handles and you can simply drag on resize it or whatever you want to do. Like just move ill E. You have the possibility to do that. Of course you can do that with the inspector. That's what the inspectors in here for. You can do it with here. But if you want to do it manually, have kind. If you're used to demand will way of doing it. Fine. You have it in here, OK? And you can collect it is able So you don't see those hands any war, and then come back on Click on crop where crop does exactly what it say is a crops. Okay, let me just do this and come back again. You can disable it on. There is something else called dynamic zoom. All right, let's get a convent. Um, exam when I click on it. What do I get to rectangles? Not just one. I get the green. I get the red. The green one is this starting point. The red one is the ending point. So the video depending on your play head. Okay. My play had to stand in exactly the middle ear. If I move to play head here and say OK, from here onwards, I'm going to define this as, um, the starting point. You think? What? This isn't what I want because this came as default. I wanted to just be zooming on these guys. Um, by the way, it's not the case. I want to show everything in here. That's why we've already framed it properly. The way we wanted it in, um, in film, especially if you are shooting film like a drama film Action film fiction don't don't plan to do any crop. What is this done? An egg zooming later on? Because honestly, you're framing should be right from the beginning if you work in documentary and four to the reason you need to exclude some area or do something fine. But when we're talking about fiction, this work must happen during filming. It's your frame is your GOP You two go together with the GOP you define Actually, the director defines the frame. Okay, on the GOP is just about the lighting and making sure that actually the frames properly folks in everything cool. Okay, so it's you mean you're going to want to change this, then you come here and no, it doesn't move. Why? Well, why doesn't let me just get just one screen on, show you with the inspector? Because this dynamic link certain Islamic Dunham Exume thinking works on Lee was the dynamic link is enabled for that clip. Okay, once you enable it, then you're able to change this on the move. It's something like this. Okay, then this becomes your, um, starting point. Then you could move the end point as well. Okay. And then see what it gives you whatever. Okay, but that that option you have it. I just remember to switch on a dime. Exume for that click. OK, it's good. I think it's really good that the venture result has it disabled by default. But you need to remember to come to your inspector to your properties panel called Inspector. Okay, that's disable all of this stuff. Just do controls that a few times just to get rid of this stuff would not use Dynamic. Actually, never used on a makes him because we only work in fiction films on them in fiction films would just You have to have your framing right, That's all. Okay. And then we disable this stuff. By the way, By the way, if you want to see it in action, let's say it's in there. Um, okay, let me do it. I didn't show you something. Let me do it like this. Um, And now, even if I scrub through, it doesn't. It's not working. I see the whole thing under rectangles are sitting there just like lazy not doing anything . Why? Because you need to switch this one off, Disable it. Once you disable it, then it becomes it takes action. It's a little counterintuitive. And I'm going to say disabled in the Northeast of it enabled is enabled. Is just sitting here now you're like and Orender part of it. Okay, then probably you get something like this. It's not bad, but I prefer to have the young I felt to have the full have the whole, um I received on exhumed click on that. I was just reset this stuff that I'm Exume. OK, and then click on this three movie. It's important for us in this part of the film to show that it's a residential area. Show that it's a very calm just creating contrast between heavily on Special Forces on a peaceful residential area. That's a little Okay, Cool. What do we talk about? We're talking about the here. Ok? D don't I'm exam that it will open effects overlay were haven't worked for the open effects and got to honor annotations if you work with the notations in here. Good. Okay, let me go back to my double double screen mode on. We've covered this one. Of course. This one on. We have covered this part of ahead of covered everything where this is second. Same thing just to move in one frame. This is for ah for ah. Um, yeah, I want to look. It is quite universal signs that just for Lupin Andi, in the next part of me, just make sure we've covered everything we needed in the upper part. Yes, in the next part, we're going to talk about the lower part of the screen because I really need you to feel at home when you are working inside the interface off the Venturi's off 6. Davinci Edit Interface part 3: Now it's time to talk about the time line on everything around it. Okay, Good. Um, very happy time, like Okay, that's number one. Number two is what is all of this stuff in here? All right. Every time you see a separator, it means we have a different category. Okay, let's look at these categories. 1234 What Audi's these are. These are the only things we're going to talk about later. But for now, I need you to know that these are your editing modes. This is your selection mode Motrin mode. This is the covenant. These four modes are going to define how your timeline behaves when you do something. If you do exactly the same one think it will behave differently in one, then in the other. Okay. In detail with you that next. Not now. But this is coming. Next. We'll get into details. So this is just to tell you that you have four editing it it in Moz. Okay, a little bit. And then we have here another category, which is three. No, this isn't three. This is seven. Okay. Why did you wait here? Only have three year. It is DaVinci resolves its black magics choice, actually, to just put three, they think. Well, we think people are gonna use these three moat more often than others. So let's have this tree only in here. Let me talk to you. Let me show you exactly what these with these are when say, for example, I want to add Where's my timeline? Where's my place? Is here. Okay, play head is here. Okay? We're completely sport with all the green stuff everywhere. Not with that book. Okay. Lets just, um I'm gonna put it here. Um, anyway, what about just somewhere? Um, if I want to move this, there are a few ways to move it, right? Generally, you just define Oh, you can You can use this in sort. Was this overrides and then you've got this. Replace what? I wanted to show you how to shoot a seven brothers. Are there seven edit choices that you have? If you could click on you drag, but not to the timeline, but to the timeline monitor to the monitor. Then you have this lovely window that pops up on gives you one, 234567 These are your seven editing choices. Yes. Insert overrides. Replace which you'll find back in here. Inserts overwrite. Replace are the most often used ones. Okay, those that are used most often. Okay. And then you have fit to feel placed on top, a band and ripple of right. We are going to go in detail over each one of these. Okay, don't worry about that. But the idea is to tell you that you have a shortcut here for the three for three of them. But I wanted to be limited because these four are very handy for other cases, like, not really the most cases, but for other cases. All right, so these are your editing choices. Let's go back. Four editing modes. Seven editing choices off which you only have three listed here. Then we have some other stuff in here. You know, this one? If you've worked in any other, um, I didn't software before. It's not pain. It basically does not announced him. Then make sure that you you stop where you want to stop. If that's where you month to stop. Okay? If you want to stop here, then your play head is gonna stick there. He's gonna snap to the end if you're going to move a destroyed to move something. Yeah. When I move, it is going to stop, not just goal in depth if you push it further, is gonna thinking, OK, these guys doesn't want snap. It is just move on. But if you just move it slightly, it will snap. Okay, so this is for snapping. If want to disable it, find you can just do it and then you move and it ignores completely ordered borders and edges. Fine. So that's one. The 2nd 1 is enabled by default. So you have noticed that in DaVinci a few things are enabled by default because they are handy, useful by default. We want them own all the time. Including this one that's called linked selection. What is this thing? Selection? Have you noticed that whenever I select video, all the audience type is linked? Is selected with it? Everything. Well, if I disable this okay, let me just if I select just the audio. Same story here. The video selected before Disable this. I click on one audiophile. I can move it somewhere else, if I want. Okay, I get the red flags saying, Oh, you've got a sink problem off so many frames. But you have the option to do that, okay? And even if you come, I'm just come here and then move this one, okay? And then close it again. Like link them. Now, if I move, they're gonna move together. Even with this ink problem, Okay? I'm just like this one. And bring back this one where it's belong. Cool. What is this? Look, this does not look the timeline. This locks the position. So if I click on this, it's not enabled by default. Of course you reach. You want to use this somewhere around the end when you reach picture lock. Although it is not really a picture or functionality, I really would have wished to have Provincia have a picture lock. Real picture lock, which basically means you've reached a stage where your image and your editing is not going to move any further on. You can apply your effects if you want, but that's set in terms of picture. It has its locked. The editing is locked. It's not. It's not fully there. Okay, so it's not 1% picture lock. Once you have it. You can't move. If you click and drag, you can't move it. But if you click on, try to change the edit, you still can. Okay, so it's not real. Real picture lock is just look in the position, okay? It's partially useful. Okay, So what else do we have? We have another category, which is flags and markers. Okay. What's the difference for your flag in Marca? Okay. Flags when you flag something that's use red here. I've used the flag here. It fax the lip. Okay, including the source clip. Let's go back. A look at the media pool. Have you noticed this is a clip? This is 0006060606 My red flags here it is flagged in here as well. If I use any portion whatsoever off, this clip is going to be flagged. Red. Why do you need to flag a clip? Say, for example, you had some background noise that you could not get rid off. Um, that you one of the wonders of filmmaking is that you do everything you can possibly do, and then you end up on a particular day with works happening that have not bean communicated and their works in the background. Okay, you know that for that one, you're going to use heavy surgery methods for noise reduction. You're going to bring in the big guys. You're going to bring in the eyes atop plug in or something really robust. Um, or there's something specific about the clip. Something unique that specific attention flagging is not categorize in like. Okay, this one is red flag. This one is blue, but this one's green on. This one is scion. This one is because we got think. No, no, no, no. It's not for categorizing. You've got something going on. Something special going on in that clip that requires special attention. All right, so let me just removal of this stuff. Eso It's not for categorizing things. I will show you if you want to categorize things by color or show you how to do that. Ah, they're all cleared. Everything? Yes. OK, so this is for flagging. Now, when it comes to markers, it is a slightly different story. Slightly. Not really. You can mark Mark. It is about time. It's not about the clip and specific conditions going on. It's about time. It's about when, um, at that particular moment, something happened. And I want that something to do something about it. Okay? Something to do something about it. Say, for example, you have particular moment when he say something on you need to see her reaction. Um, okay, fine. You bring in that clip and you say okay and dark. I'm gonna mark in the timeline. You either mark the clear. Okay. You can mark the clip. Uh, just clicking. Actually. Click in here. If it's blue, you can change the color. Or you can mark the timeline. So have you know Oh, sorry. I need to disable this one person that controls it. Um, incorrect somewhere. And then click the time. What is this? This is different. You have a marker or each one of the clips laws. You have a mark on the timeline where these are two different things. This marks a particular moment inside. Clip on. This marks this moment in the timeline. Regardless of whatever clip you have in there, it could be anyone. You could just move this one. Why a put another stuff in it. It doesn't care. It just tells you at this moment in time, we need to have something right. Cool. So this is about the markets. Let me clear this stuff clear or markers. And well, then, you know, just lead to Smart. Early on for this one, I can clear it. Clear or markers. Okay. Cool noise. So the next one, I'm gonna jump this on. Come back to it later. Minus blows. Where says says when? It's quite obvious, actually. Just to extend or reduce your timeline length. Okay, Not length is just like to see more of it. Always of it. All right. This one now requires some detailed discussion. Okay, let me let me take you step by step through this one. What is this? Let's start with the easy ones and then go to the more fun. So the last thing is gonna be Doctor, the the best one. So the track Hatem and video. It's like how old this stuff is. Just functionality thing. You know, um, just for visibility purposes. Right? Um clip view options. Do you want to see the thumbnails is all about thumbnails. Okay, let me just increase this little so that we see what we're talking about. Yeah. So I've increased this and what I have is okay. If I come here and say I want to have this one then OK? Show me toe nails all of the place. If you say this, then you say show me tumbling is just the beginning. And at the end, what is one of the beginning And must be one on the end somewhere. Okay, that's it. That's either one of you. Um or you can say, Well, I don't want to see anything. That's well, that's that's your choice. Can't you trust? I'm going back here. Andi, you notice when you click on this one, they re still get reset. These ones who just get a little bit higher. So you see everything Probably. Okay, So I, by default, is this one, because I think it makes kind of sense. Um, you do not see okay by default, you see it. But once once you're really convinced one everything is reset to I wouldn't say to default . Everything dissipates, including my way form eso. The way form is not. There's like, how can I tell you what? When he's talking? When he's not talking? Well, you could see it visually, visually, but I want to see my way form your way form is here so I could enable or disable it. Okay. Generally, we tend to want to have or always are way form enabled. It is enabled by default. It's just because I know I clicked on this one to show you It disappears The moment you called this one, everything disappears. Um, and then you have here Subtitles If you want to have some title track visible if you have some title track and then there is this fun one. Okay, I left it to the end so that we talk about stack timelines. Okay. What are stacked? Timeless. If you worked another we premiere on any other editing software that has stabs you open a timeline. It opens senator as a tab on day are next to each other, and you're able to see them. It's exact same thing with a little bit more. Okay, So what do I have if I click on this? What happened? Um, just close this one out. What really happens is that you can OK, it. It happened by the four. Because I had already done it before and I left it like that. So I came by default, You said, except the timeline. And you go number two so you can create. You can have tubs. This isn't what is meant by stacked. Actually, um, stack timelines. This isn't what it means. Stacked is what we'll see next. Now, I just wanted to show you know this number. Okay, number. That's enough. That's enough time. Line one and Timeline. Tory enough here. If I come here and I click on this place here, I'm gonna get a stack timeline. Then you have one of the top and one of the bottom. What do I have? I have one unto opening year. So here I will only have three and four left Factory country. I'll find three year. Okay. Now, what is useful about this is just showing off. Yea, I can see all of them at the same time. It's about the possibility to drag to drag a clip from one time lime toe. Another on this is especially useful if you have a fiction film and you, which is already done. Okay, which is already finished. And you are creating a trailer. Then you're going to drag does specific shots that you believe represents more. The film I know trailers are made and filmed before film in the film. Okay, but, um, not everybody has this luxury. Okay? Because when you have, um, when you have an expensive, expensive sets and and when your production cost is very high, you don't go there twice. If you're going to use a helicopter crash and it needs to be in the trailer, it needs to be in the film. The entrances. Are you going to do that? Helicopter crash once. Okay, uh, then he's gonna end up in your trailer on in your film, right? You do. I'm just showing you that. Yes. Sometimes we do feeling the trailer first, and then we work on the film. But the same shots do end up and are actually supposed to end up in the film. If your trailer shots on a good enough to be in the film. Actually, they're not good enough for the trailer either, but yes, we've noticed so many times. Trailers are somewhat different from films. Okay, close this this racket again. But I'm showing you that was just one example of many. If you want Thio Thio, You just show you actually that you can but you can drag and drop. Yeah, this one is very small. It's if you do like this. You know what happened Exactly what I want to happen. I have not moved. I have copied. So this is wonderful for fiction. Film trailer Basically, I have the same one here as in here. He just drag Copy. It's not Dragon drop as he move Drag Copy Because it should not impact your initial one. If you want to remove something from in from your first time line, that's a different story. You press on the backspace. Oh, by the way, Very important. I know it's Maybe we should be talking about this at some other points. But now it's because it's so important. Do not press delete Do yourself a big favour. Never, ever, Ever press delete on a clip in your timeline in DaVinci resolve. Why? Just like that, if you press delete all the stuff is gonna happen. Um, it's just every software has got its own craziness and box and what not just don't press delete. When you press delete, you have other footage sound that is gonna be deleted as well. Don't try. T Don't try to understand. Just use this space ball. Eso No, I'm sorry. Not the space bar. The backspace used the backspace to remove your your your arm, your clips. Okay. I close this packet because it's something I want you to be aware off before it starts getting frustrated. Okay, good. So this is quite handy. Let's say I don't want any of this. I'm gonna close. It's on. Go back to my timeline. Just one of them on. Um, I have it enabled. You could you could for fun have it's enabled, and then use it whenever you feel like you want to use it. Okay, But it could add in all the time line here and then see, but of them, Okay, it's It's your choice. This way. You can look at it the way you would. You are using other opinion a few years out of here. Okay, Good. So what else do we have now? We have covered most of this stuff. Yes, we've covered all of this. Where this for your increasingly looking at more or less your timeline on the right here. This is to uh, reduce the overall volume. Okay, but this one is different. Okay, this dim is completely different. This is just for you, and everything else is for the project. Except it's them is just for you. Let's say And especially for this case, that let me just look about. Just find that one. It is another timeline, actually. Is it this? No, that's not this once knows no shooting in here. There's another which was in as well as the one we're shooting yet. This one. All right. Um, there's the one with the shooting on. You see here if I have my headsets on on, I need to work. You know, when you have clips, you gonna work on them several times. And if I go through this stuff several times, so many shots are very hard on the ear. It zvehr e. It's very hard. Yes, we go into work on the sound later and fair lights. But for now, we haven't sort of the issue yet, so it's gonna be hurting your ears. You condemn it just for you. This is no for the project, just for you. Okay. Um so it's not impacting anything in the project. All right, what else do we have in here? We've covered this bars. And then you have ah, small meters years. Just shows you the year, The levels. All right, let's now see, it's the same thing. The same thing that you have in here. You have a tin ear hole. Honestly, I don't think this is any useful cause if I want to see my meters, I want to see my meters. This is way too small. Money way. Whatever it Zook. Um, this is what you want to see. I want to see just just monitoring the red and stuff and why you need the meters and stuff instead of this. Remember, we talked about this mixer and stuff. It's not time to mix anything here. You don't mix anything here. Everything happens in fear lies, period. Everything sounding fear in Fairlie. But why do you need it here? Um it depends on your projects. Where does it go in? Is it for theatrical release or is it for television? Or is it for a client? Or is it for something else? Some sort of mother online Thievy o d channel. It could be television channel that has its VLT channel, so it could be four television. But it goes through the beauty. It's not going to the to the rear of the division. Why am I saying this? Because the levels here you notice what defines green, yellow and red. What makes it? What would you find out? Did I find out I didn't find it? Actually, what defines it is them is. Where is the final destination? Is it television? It's minus six period. That's the point. It's like, this is why I need you. When you're working on a project, you start from the end and you use the right tools. Don't waste your time with the mixer here for simple reason that the most important is that me is are the meters. If you're working, this goat is going to television. Television is to be minus six. So if I'm going to work with this, if you're gonna work on city or video clip video clip that is not going to television, then it's OK. Can go toe up to ministry minus three is fine. I mean, technically, up to minus zero is kind of fine. OK, minus zero plus zero is about the same, right? His zero technically up to zero is kind of OK, but who accepts kind of folk eighties This time TV goes with minus six music stuff. You better stop ministry. Um, if you go in theatrical, then your dialogue is gonna b minus 12. You're shouting is gonna be out about, like, minus seven once, eight minus it Could can go to minus six. And if it's something really bad going on and crash and stuff, it goes my But nothing goes beyond minus six where this is the reason why we have the meters, right? So when you when you are here Oh, this one has gone beyond minus six. Okay, Okay. No problem. We don't panic. Find was clicking here and give us not a marker. Give it a flag and give Ah, yeah, I think it's It's very good to give a red flag to anything that goes beyond what you believe is the final destination delivery requirements. So delivery requirements for TV on minus six There it goes. Beyond minus six. Requires working. Okay, I'm just cleared this stuff here. Let's go back of what have recovered with court. This stuff on, we talked about this meter. And how inconvenient is it is because it's so small and has come back here to our timeline on the left, on the left. You have tracks. Okay. We have some very, very simple, easy stuff here. You want to disable it? You can convince one disable. Enable Zabel enable. Okay. You want to lock it? It's gonna look great, but it's still visible. It just looked. You can't act on it. You cannot do something with it. But it's just there is visible. You can see it on. Then there is this one, which does nothing but decides whether in three mode when you work, whether distract is gonna be ignored or not, that's what it does. I'm sorry. This one in the middle, This one? Yeah, it's It's okay. This is a trimmer. So it's the same kind off sign. I just accept the one in the middle ear. Say it's kind of the same size, basically, whether the struggle gonna be ignored or not ignored when we're working. It was driven mode in the strike. Okay. What else do we have for told you? We have well, the very common common sense ones you've got to solar mute. So it means you want to hear just that one. A mute men's. I don't hear that one. Okay. And you, can you console a few? I think you've been sold a here a few as well. So selecting which ones you want to hear solar is not just solo, as in one. Um, it's used to be ages ago solo, as in just this one. But now you have multi solo home, multi solo, you console, dome or tracks Muses from you 10. You've got the look and you've got the same story here about the training enable disabled on what is this? 2.0? What is what is this 1.0? What is this stuff? Okay, this is audio we don't find in video for the simple reason because this is audio and audio comes in. That's right. Click to instruct type and you find more. No, that's 1.6. Sorry. Morning with this 1.0 studio. That's 2.5 point one is that's 5.17 point one. Is is 7.1. Yeah, So that's that. That's what you get? Um, it defines actually What kind of track is it? This is stereo. This is more know. All right. Um and what else do we have? We have the possibility to change the color. Well, this is now. You see, it's got blue Cyan. I think if you come here and you make it so I don't know, let's make it some purple. Okay? Just becomes open up. What is purple? The track is purple. Let's reduce the view like this on the city's click wounds here. Okay, that's good. I'm gonna create a new track. Right click track. Andi, let me move this one up. Ah, it changed. Color it. No, it's not become. It has now become blue because the color off the track is blue, my deformed. But if you say no, actually I don't want to do this stuff by truck. I want to do it by clip. Then you can right click on I must be color thinking, clip, color, clip, color. And then you make it so. No making green green jobs. Green yellows have a green Now even if you bring it down, it overrides because the clip overwrites the track and you end up with testes. controls at a few times. Bring them back. Okay, so, you know, to create a track, you know how to. Oh, by the way, this red rectangle is active. Basically, if you have, um, let's create another truck on There's another buggin desist stuff. If I clicked on Yes, come here at the end. Hey, at the very end, let's say I want to have this shooting just after the school. They are completely unrelated. But let's say we want to do that. I'm going to come here. And if I click on inserts, okay, Actually got inside. I am going. We'll be talking about the editing choices later. But for now, just to show you the functionality for the timeline, if I click on insert, it will come here. But I What decided here. It's the active, this red rectangle here. That's what decided it. I'm going to remove this and come back, and I click on that on this one. If I click here now and I say, insert, where's my insert insert? Denny came here. Okay, so it is defining where your Landon Zone for your editing choice is gonna be cool. Now there's a bug in this stuff. Is that when If I want now to activate this one? Oh, it's working Very good. Okay, Very good that they used to be a book. Used to be a book that I'm happy with this Very good. I used to clicking here and stuff. Didn't. Didn't Didn't work. Fantastic. Good. Let's move on. It's good. We have less box. And we think, um, what else do we have in here? We've covered this part. Of course you have the timeline here, which you can switch. Um, just close this. Does this one's focus only one of them? You can creates as many audio tracks as you need. Just Yeah, you can at track. It's either now, because we're standing on the audio side, it gives us at track and then is it more knows the story of because we're going to create a soundtrack. We have also the possibility to color the order The soundtracks delayed the tracks as subtitle track and then one year has decided. Subtitle track. Then you're able to see it using this subtitle functionality in here 7. The 4 Edit Modes: Now let's talk about the editing modes that victories off. Has another referring to these four that we have here at the top of the timeline, there is what? There is the selection mode. And then there is the trim edit mouth. And then there's the dynamic trim about, and there is the blade edit mode, which basically just the razor. Okay. Okay, so the 1st 1 is in terms off movements. Like, if we have it, select. This is a default one. Okay. If you have it selected on your go into images, zoom a little bit here. Um, you're going to get one of these, um, and you move. What has happened is that you're dreaming, but creating space, okay? Your treatment and creating space. Same applies what I'm doing now just do do, um if you come here between the edges, okay? Between edges, you've got the training for birth. This is gonna define for about a few Persia. You're reducing one on extending another. You reduce in one on extending another, and you notice that you have this white rectangles that have been created show We knew that these are limits. If you reach here is gonna be the limit. And if you reach here, is gonna be the limit. OK, so, um, you have a similar thing when you just focus on one. Um, hedge. So here you have to. Now you have one. So this one you can extended up till there's a red line there. Can you see the red line? Okay. So the red means you've reached up the the end, but we already knew we would reach the end because of the white rectangle. Can you see the white rectangle that extends up to here? OK, this is when you want to edit and trim. Actually extended this case by trimming the other ones up till whatever level you want to do that. And that's the same thing for the other one. So you have either both or individually. Okay. What I'm going to do now is show you in contrast, like the difference. Okay. Waas difference with the other ones. If I try to do the exactly the same thing where the other ones what would happen? Okay, The main difference. Actually, the main differences between these two in real reality, you only have to editing. That's like, really big difference, but it in notes, we have selection and trim this dynamic dream mode. We're have a blast off. It's just a short cut. It's a keyboard convenience for using this dreamboat. Okay, on the blade edit mode. Ask your razor. I just your razor. Just select your raising. Coming got okay, that's all. But I want to draw your attention to the big differences between these two big ones. Okay, these are the two big ones. I'm gonna do the same thing. Okay? The same thing with this time with this one with a tree moat. What does he do? Okay, now the tree mood. If you come here, what do you get? You get a slightly different cursor. It looks different, right? Let me come here. Because this one is has less more contrast. Okay, so it looks different. Let me go to another clip. That has got even more contrast year. These guys, they always go back to these guys. The police interrogation? Yes. Is the one with the most contrast. Okay. You can see here the, um um if I push Ah, hold on a moments. What is going on? I thought that I would be able in this mode. If I move it, I'm trimming the other ones. Like pushing the other ones on. Making space you're creating space is the main difference. The main difference. Actually, the only difference there is the only visible difference there is. Between this mode selection mode on the tree mode is one word got. Are you gonna create a gulp or not? If you want to work without creating gaps like, yeah, I want to move this one somewhere here, but at the same time, instead of just moving like this and then extending this one, um, you don't want to do that. If you want to work by extending the other ones like you work on all of the same time, you use your treatment boat. So what you do when you come here, even if you dream? Ah, what? Even if you reduce this one, you know what happens. It doesn't create a gap. It pushes it. Say this one on the right is being pushed. So if you're reducing, reducing doesn't mean it creates a gap at the end or creates a cup of the beginning. There's no God. Let me in. Do I'm gonna do the same. Think would dismount. If I push like this, you're reducing the beginning and you're creating a gun. Now, what if I do this on bullshit like that? What does exactly what The tree mode as without you doing it twice in two steps. That's exactly the treatment does. The trim bird is much more convenient when you start using it. It does. I mean, you could do everything you want with this election about. Let's let's keep it like this. You can do everything you want it. You can get away with doing everything with selection about, But it's gonna be just too many steps. And this girl about your move, this one, they got a gap. Let's create that 10 sorry. That one's got too much stuff. You know what? It's bringing this old this create that stuff is right back. Um, yes, you can, but these are too many gaps. Okay, um, if you want to do it like neatly, then you would come here and say Okay, I know I want to get rid of this spot. How about getting rid of this part and done not impact in the rest of the time line where you all you do is just push it like this, using the trim mode, and that's it. And we're done and everything in the time that has just been pushed to the left. Okay, um, if you want to change in the north point in an out points off your, um sorry. I know I'm working on a on A on a clip. That is not on the timeline here, but it's system. Let's just get the play head here if I want to. Teoh, You know, because we're focusing on this is we don't even need the source monitor. You know, we're going to something really cool. Get away of the get the media. Pull out of the way. Get this one other way. Just get one monitor. Yeah, this is because now we're working on the timeline focus on this one. If I come here and starts moving or have you noticed? I've got four screens. What is going on here? I thought I was working on one clip. Well, what happens is you are now on the top row looking at the first frame and lost frame and deciding what is your first direct frame and last frame for that clip. Okay. On the lower row you have on the left, The last frame off the clip before on on the right. The first frame off the clip after trim mode is really neat, organized, handy. Pretty cool if you know what you're doing. And if you know what you want. Actually, if you want to know what you want to achieve, you can get it much year. This is one angry policeman I know for five hours in interrogation. Hey, cannot smile. Um Well, um, saying the needs of the insurgent eat the dream mode is gonna give you a lot off flexibility, doing things faster and more choices in terms of just in place of just, you know, instead of just doing it manually like this would gaps on what not, um, I've shown you now one parts off this story, okay? It would be unfair to stop now because there's another part of the story which is down here . Oops. When I move, the cursor changes. Have you noticed this up here? It looks this way. And it gives me what gives me the possibility to act on their kill. Ip being selected. Now, if I go down, it is gonna act on what it is gonna act on. The other clips not on the clip selected. The clips. Excesses remains untouched. But I am moving. I am trimming and extending the other clips, See? And it just depends on where you are standing with York user that so? And that's the beauty off your trim note. Okay, Same story. Here you get the same four frames, the big in India and a big in India. And of course, if I'm using the lower and the first trial was gonna be frozen, that is off course gonna be frozen because this is the choice that I'm not gonna impact the clip that is selected. I'm gonna impact the clips that are before and after. Well, if I go up here and start moving, I'm gonna be impacting declared that selected and off course the frames for the ones before and after I gonna be frozen. That's why you see the face of the woman is for is frozen because that frame just doesn't live. I'm only slip in through changing the in and out points off the policeman's clip. All right, same applies, actually for the restaurant scene. Good. All right. So this is your treatment, moat? A bit difference. I mean, it's quite handy. Uh, it gives you a bit more. It's more control gives you more control than just selection mode. Now, let's move to the other ones. Okay, let's move to the other ones. So, Okay. Before moving, what was the main difference? No gap. The final, actually. Impact and result. Selection leaves a guard behind tree mode is quite neat and organized. It doesn't leave any gap behind, that's all. That's That's the final visible results. Now let's move to this one. What is this stuff? Dynamic train mode. What? What is it? It is nothing but the keyboard shortcuts you are used to. If you're used to editing your know, you know that J. K l are the keyboard shortcuts done the ones that you're gonna be using more often than anything, even more than entering space. And is J. K. L. Okay, 18 is jail, right? So because I'm so k is stop. L is play. Let me. Sorry. Let me just aren't such off the sounds of this one. Um l is for plain and not just playing. If you press it twice or three times, it goes even faster. So twice as faster. Three times, three times faster, a four times, four times faster. And Jay is going backwards. Well, I'm explaining this just in case you don't know it. Okay, I've got to do it. But I know that somebody who edits needs to know. This stuff like J K l is is the basics of the A B. C's of the primary school stuff for it. It him J k l Now why is that so impulsive? Why am I saying its primary school It is so primary school start that it is embedded inside da Vinci. As for J K l common, use the dynamic treatment. You know what I would have wished you call logic It l instead of just dynamic trim mode. And in between brackets slip. Why is between brackets slip? Because you have two options. Is it slip or is it what? You right click and you get super slide. What do we have in the tree moat? Let's go back to tree mud when you're here. What are you doing? Slipping ID at slip When you are here. Down on the on the when you're in the thumbnail. You're sleeping When you're here, you're sliding. Okay, So what is this? If you come here, then what you're gonna do is okay. I mean, just come here and then what we have is slide slip. You can choose. Okay, Slider slip. So Ok, so how does it work? What? It just works with J K l. If you do, l Oops. That was a bit too fast because I have pressed to too much on the young on the, uh when the l. Okay, now it works. This is why it's not a problem. Sometimes they call things really not appropriately. See here it says dynamic trim mode. What? This is dreamboat. And now you're saying this is not an extreme. It's not dynamic trim. It's Just drink it l. Why? Because I'm using it with the selection. You can use this with selection, or you can use it with trim. Basically, is your keyboard shortcuts? So what I'm done is I have activated selection it section. What does it do? It leaves a gap. So instead of moving it with the mouse, you just press l see. It's like blame. It's playing. But moving into the speed of playing and it creates a cup. Why does it create a guts? Because I'm in selection mode. Selection by definitions, the moment to start moving things. It does create a gap. Let's do this. Let's go back to now. The tree melt, we notary murders. Quite a neat and organized mode, and it doesn't leave any gaps behind. So let's press. L see what's happening up risque now. So it is changing the in and out points. Let's go back again. Same story. It's doing exactly what we were doing in the tree mode, but it's just doing it with J K l. I'm pressing now, Jay, going back and then you stop it. OK, okay, so you get the point. This is nothing but a key board shortcut. J k l that you can use with the selection about a on selection mode. Be okay. It's just what is our number one and number two Just the selection mode. I'm sorry. Selection. Both. Andi, um trim moat section, Motrin, Maverick. And that this one you just activated to be able to use the JKLF. That's all on. This is what blade? Let me see. Wow. Fun sees the name. And for this one blade edit mode. Be cool. What's not the nurse about the razor? Right? Click on the razor. You've got to think on you. Move on. That's it. You're just You've got your razor that okay, lets and do this. All right, Good. Let's go back. And we're going to summarize this now because it's very important to know about There are two. Okay, I know. I said there are four, but they're presented us for. But there are two main editing modes. There is the selection. One is the guy who lives the guy behind. And there's the trim One is the guy that is organized and neat and doesn't leave any gap behind. Okay, then there is this one. Here is the very nice, gentle knight helpful guy that gives you everything with the keyboard shortcut, you see? Okay, I'll do everything for you. What do you want? Do you want the selection mode? I'll do it for you, Jay. Kay, All this is J. K. L. This is your Giquel, okay, this is not note. So Jake it up. This is your razor, that's all. Okay, cool. So I need you to feel comfortable with the dream mode, because this one is quite everybody works with selection, and it's easier for people subject yet was moving that way, moving that way. Yeah, movie that right. I need you to feel a bit more comfortable with the with the story with the trim bird, because that one is quite, um, um, it's quite is quite cool. It's quite cool. It does a lot. A lot of things. Um, it gives you a lot of things for free. Like a few gives you a few steps less, you can do things with less steps, all right. 8. The 7 editing options: Let's now look at your editing tools. Editing choices. We said that if you drag from this monitor the source monitor to the timeline monitor. You have a few options. You have seven editing choices. This are the ones we're going to cover in detail now. Okay, so the 1st 1 is insert this override Replace fit to feel place on top. A planned at Andi is gonna be your friend. Your best friend's gonna be appended and not anyway. And then there's wrote Ripple over. Right. Okay, let's start with insert. By the way, most of these work based on the position off your play head. Okay, so where you play had is positioned, that's gonna be important. Is it in the beginning, or is it somewhere in the middle that is going to define what? The behavior? Okay, but we will look at that number one inside. Okay, If I click insert, then it basically pushes everything and makes room for the newcomer. What is the newcomer? Okay, we haven't defined in an out point. So brings the whole clip. Everything okay? So I got the whole clip. Now see the whole clip, including the clapper board. We don't want toe have that doing? No, I make controls that OK, so based on turned out, when you use inserts, it's gonna just take whatever you have given it. Have you given in and out points now? Okay, I'm taking the whole thing. So let's say we all going to have the in point somewhere where it's meant to be okay, just before these rebels, I'm gonna kiss. Okay, Let's just just do it for us just somewhere I Preston I foreign point, Or you can click this one and then somewhere here outpoints click on this one for our point of press hope. And then now, if I press on duh. Yeah, okay. If I press on, say insult, then it does insert it creates room. But then only for the inner, not points. Okay? Only for days, um, till here to the last frame. Okay, Good. Now this is because I was enough organized to have my play head at the beginning off the clip. Now, what if I mess up and have it somewhere in the middle? Or if it's an artistic choice? Okay, then it's going to do exactly the same thing. And so it is good. Just gonna create room inside of psychotic. Push everything under make space and room for the newcomer to be in there. Okay, so that's your answer. Nice. Okay, The next one is gonna be straightforward. Thinks you can find them in any any lease, and it's after a other people me everywhere. But I just need to make sure that you understand, especially for the timeline for the play head position on the common ones are gonna be quite tricky. Not overwrite of writers. Also quite brutal. So if you just say Oh, variety just doesn't is blind, it doesn't care what's in there. It just overwrites. It doesn't just whatever you give it. It just put it in there. It's just overrated with him, that's quite simple. So that one does not require a lot off explanation other than the fact that it's going to use your play here. Position again. All right, so that is over. It next one is quite handy, quite useful. So I am going to stand here in the beginning, off the clip and come somewhere I'm gonna choose deliberately. Now we're gonna do I'm going to remove in and out points okay, out I o and then having lived I'm sorry, but I and then Oh, then I removed my in and out points and I am going to look for a noise train that I have in here to look for it properly. I need to use this framed by friend. Thing is yes. Yeah, that one. That one. Ok, this is the frame that I want to pay it and should. Okay, Mom, I've chosen this one the liberty, because there aren't that many bullets coming out on. But this one is quite obvious, right? Let meat don't show you what happens if I drag this one. I don't choose. Replace when it does exactly what it say's replace. Okay, It has replaced this clip of me and do it and show you again one more time. It was a dragon drop. Replace. It's simply replaced the clip. It doesn't touch anything. It doesn't ruin anything. It just nicely say is OK. That clip that you had before is gone. Bye bye Now I'm bringing a new one. Hold on a moment. Don't you really don't want you notice that I haven't even settled in point in our point didn't we see that this group is so huge? And it had also the copper board was not my crap a ball. Why is it not there? Why is it starting with this rain? Because it is smart enough to know what it's human is human. You know what you're doing? That this frame is exactly what you want. So it starts from here. Say, Oh, we're since you're standing on this frame, Dane, this is the one you want. I'm gonna pick it as a reference as a starting point. And that's your starting point, then. Well, whether you have deliberated, chosen it or forgot to choose your standing point, whatever it stick, and that one is a starting point. Okay, so this is just a starting point. Let me do controls that and come back again. No, what I'm gonna do is be in the middle of the clip and let's see what's gonna happen now. Okay, Now, what happens if you don't? You are standing somewhere just in the middle of a clip. You don't have in and out points. You've got absolutely nothing and you say replace. Let's bring in this one and say replace, Do you know what's gonna happen is going to replace just a clip very nicely, not creating any chaos in our timeline. But the difference is now at this lovely frame is where the play head is. It is not in the beginning. So it does add stuff that was before. This doesn't become your starting point. It becomes just the reference. So when you go back, you see that they have. They're just arriving now. See, we didn't have this. It's before. So this is what happens. It takes your It just matches your this, this cursor here where you're standing here with your plan, that's all it is. Okay, This one is this ones. Which means that this part is gonna be this part on this part is gonna be this part. Go. OK, let's doing everything for you. It's human. This is what you want. All rights book. Now that you know, that's how it works you can use. You can make the best use of it. Okay, let's do control that on go to another tool, which is gonna be our fit to fill. All right. Fit to feel. What does he do? We need to have something to feel. So she needs. Which means I'm gonna have to make something up. Let's come here and make a slit. Might make a go up here. Okay, Um, as a service small one, something like this has got the end. Well, let's take two of them. A 62 of them will say fit to Yeah, let's make it big. Make it big. I'm not sure this is big enough anyway, and I'm gonna define on in an arc point just very quick. I don't wanna have something very precise here something. Just have something, all right? If I take this now, clearly what we have before is the restaurant scene on later is gonna be school. Um, this is the policemen running in school. Then it comes into young classroom stuff going on. Okay, um, we have this. So what? When I say here, fit to feel basically is going to Okay, this is very important, is going to feel, But you notice that there is this indicator here, which is speed. Okay. Remember, always fit to fail is one word. Speed. Whatever you do, it's gonna change your speed because unless it matches the the whatever you want to bring him much is precisely the same duration is in here is in here. It's going to change your speed. You asked for the holes space to be filled for the whole gap to be filled. Fine. We're going to do up, do that. You have asked for the in and out points to be used. Fine. We're going to do that. But I'm going to stretch that in a not point off yours so badly that I managed to close the whole gap. And here, if you see I just played, play it. And so dead snow. Yeah, it's really that's so I'm showing you what happens when he used this fit to feel one word speed message would not messes. If it's short, it stretches it. If it's too much, let's Let's let me show you, I'm sure. Is that the same thing? Um, you space spar que space bar again when you want to delete. Don't use. Delete your space bar. Do yourself a big favor. All right, Now I'm gonna do the same thing. Now I'm come over here and remove. Remove out i o. So there is no no input. Know at once. I have a very long clip and I wanted to be in a small squeezed area. It needs to be here. Exactly. This All of it. Okay, Now you ask DaVinci to fit. Guess what? It is gonna fit, that's for sure. They only think is now it has become crazy. Now it's like just running really fast. I'm just played this. It z just like OK, it's over. It's so far. Just keep in mind One of the main word, the keyword forfeit to feel a speed, it's gonna mess up with your speed. The only way to do what you you're asking to do. It's by changing the speed because you asked for the whole Got to be closed. Okay, so that is one. Let me just do this and come to another one, which is placed on top. Okay, place on top. You know what? I'm going to use something different to explain this one. Because I need, um I need to show you one of the examples. That's not always but one of the examples when this stuff kind of stuff gets used. Okay. Can you see this? This is an interrogation room where you've got This woman has been interrogated by this policeman. You are gonna have this reaction cutting from one to another. Let's assume you're still in the very, very early stages off your cuts in your edit. And you have your, um you have your, um, wide shot and you have your to close up Saand. What? Not mediums on? Do you want to place on top? Let me just show you an example of placing on top. Where is that woman? She's here. Right? Okay, she's here. Which means Okay, let's say I have this guy here and as soon as he say something, that is quite it. It's quite violent in the story. The guys have spent five hours in interrogation, so by now he's sick off her. She's sick of him. Andi didn't get information they wanted. She just wants to go home. Whenever. Anyway, we want to have the reaction that she's really, really, really angry. Let's come here and let's get her very, very brutal reaction. I love this is amazing. Okay, now, if I have this and I say OK, I want to have this part. Um And on Done. That's enough out. Okay, I wanted just as he finishes about finishes as soon as he Okay, this is enough. Okay, let's say here, here. Okay. If I bring this one when I say place on top Well, it does exactly what it say's especially over. Let me let me just let me do something for us. Let me delay Distract. Because I have created it earlier. This is how did when she comes out first with one video track. Okay, If I drag it on top, it's a place on top. It's gonna come on top. Okay, It will come on top, but I didn't have a video track, so the Vinci did does create a video track for you. On this way, you're able to have this reaction. What? This is very early stages of your editor. Of course. At some point in time, you're gonna drag it down here, gonna push it down. But just let's say that you're still deciding that one point you want to have your actions and everything. Okay, so this is one of the users. Okay? So you want to have it on top? It doesn't mess with your track. It just comes on top. Okay, so Let's just remove this one. Get rid of this stuff on. Moved to another tool placed on top is quite straightforward. Is it? No abandoned. And I told you that one is going to your friend. You're gonna love it. You remember? What's your most? What other things that you tend to do most when you're editing. Yes. Forget your play head. Because when you work in you just you don't keep this stuff is not following your cursor. So you're you've you tend to forget sometimes that you're close with someone here. You're play here to somewhere here and then you want to bring in stuff because you've just been playing. Noticed something how he said it all. The performance is not that great. I just change it. Okay, that's fine. This one is good on you Stop just in the middle because that's the only part of the performance that you wanted to pay attention to, and it will get you ahead here. Oh, okay. So if I want to add something and start building up my timeline, um, if you have a documentary, you know this sequel. So you are. If you have a fiction film and you have the takes and you know exactly the sequence of the takes. One. I hope you know the sequence of the takes and you are bringing them together. Like what? Recall a assembly. You are making an assembly, which is the very early stages of a film. You just make an assembly to to look at the whole thing. Okay. What does it? How does it feel to make an assembly? It basically just bring in stuff quickly. But it needs to be brought at the end. Hands the word a band at. And so when I come here and I say a band at Onda, where did it go? Exactly where I would love it to go at the very end of my timeline. Told you that is gonna be your friend. Eso It doesn't matter where you are in time that you've been enjoying a performance. Say okay. You like the performance of this policeman so much that you think Yeah, let's watch this 13 times you watching is okay. Fine. Let's move on. This movements keep building assembly. You have to play head here and then you can just bring Continue doing your your stuff from the list off shots. This is really handy. So whatever happens, your upend at the end takes you straight at the end at the end of the timelines, or if you've got any gaps, it's gonna take you to the end. So you better not have any gaps, okay? Because you're building your assembly. Okay, so that is about this one. And then comes the very asked which is ripple over. Right. What does this one do? Let me open another. Got. Okay. Um, remember when we talked about this fit to feel that is, they're cousins, okay. Fit to feel on ripple overrides are cousins. They are related to each other. Fit to feel. Tells you gives priority just to to to the space the duration. Here, you say. Okay, decent duration for you is so important. I'm going to stick to it. But you're giving me an input. I'm gonna squeeze in input that input in that duration because situation is sacred, it refrigeration is important. That's what comes first in the 2nd 1 in the cousin here. Grip over it. It is exactly the same thing. Actually, I would have wished, but they have this report overdid it close to each other and named them slightly differently. Just fit to fill. I don't know some other E. They did exactly the same thing. This is also fit to fill, but fit What? This fit this duration off. Hm? Don't start. I'm just, um The 1st 1 fits the clip on the 2nd 1 fits the gap, That's all. So this is Yeah. So, for example, they should They should have called it fit clip to fill on this one fit gap To feel that is the exact accurate English description of what happens. Eso let me just come here. And I have this gap and I want to How'd yeah, let's let's see how long this stuff is. Just fit. Fit to fit, gap to fill me or another ripple over right Eye clicking here and what it does is okay. I understand that all you want to have between this and this is this small stuff in here. Okay, I'm gonna put it in there, and then I'll bring everything closer. So that's that's what it does. Same story if it's too much. Yeah, just bring even further away. I mean, you get the point but I just really want to make sure they understand the family relationship between fit to fill and rip love, right? It is doing more time on you say ripple of rights so it gets added on it pushed. So it just gives priority to the clip over the gap, whereas the fit to feel this priority to the gap over the the clip which means that fit clip to, um, um fit clip to fill the gap on fit gap. Okay. On almost any way this is fit. The clip on this is fit the gown. Okay. But there to do the same thing. Basically these to do the same thing. All right. These are I'm just dragging now all over the place. Okay, So these are your seven editing choices. 9. Transitions and handles: Now, let's talk about transitions, Okay? You want to add a transition? So you just come here to ethics library and you grab your video transitions. You've got quite a list. Generally we tend to use cross this sort more often than any others. Especially when you're working in film. You don't use any at all. Okay, As I said, this is not your typical classroom teacher. I'm a filmmaker on I'm just giving you the stuff with the perspective of a filmmaker. If you're working in fiction, if you're working infections like it work, you're making drama films. Stay away from these residents. Please. OK, don't use any at all. You can possibly dip to black, right? You can dip to black on. I would even recommend that you create your own preset. I'll show you how to do that. But that's gonna be like used ones in the whole film. In fiction films, there are no transitions whatsoever. They're just like the heart got. That's it. You will notice it yourself. Just watch any film you any film you want and you're gonna see that they're not transition . So yes, I do open these kind of brackets to tell you that transitions are for other types of things . So if you would like to have e I don't know if there's a music clip, probably or this documentary with them. I don't know. If you feel you need to use a transition, let me show you how to use that. Okay, but not for fiction films. All right, so this I'm gonna be using cross to solve, though. You know what I prefer to use dip to black. But let's let's create this is creating across the sore first, and then we can work. Don't talk about your own creating your own presets. Okay, First, let's bring in this one. So you just drag and drop. You go somewhere in the middle of your dragon. Drop it. Okay, so it's either here, I'm just backspace again. Again? No delete. Do not delete. Not the bottom delay. Just backspace. Everything's gonna be all right if you use backspace. Okay, Cross this off. If you place it's somewhere on the left is gonna be on the left, just affecting the one. The clip on the left. If you place it somewhere closer to the right, it's gonna be affecting only just right. Yeah. Affecting only the one on the right. If you pressed it somewhere in the middle is gonna be affecting about that makes perfect sense. Okay, that's quite simple. If you start Dragon don't gonna. Of course, they find how long or short order transition's gonna take on. If you really feel like getting a bit more detail than you click on this little icon here, it's gonna give you a little bit more information here. But it's not enough. Just click on this one, and then you get the rial meat. Okay, Then you get the real stuff in terms off more control about what you want to get when you click on any one of these points and say, I want to change that. You get the handle on your stop playing with your with. Your handle is in out whatever type off transition you want to make, you can you can just customize old thing. Okay, customize it. All right. So let me just reset this whole thing because I didn't mean to do any of that or any of that on. We close this and then we close this again. All right, so this is about transition, as in Bring it in here. OK? There's another way of doing it. I'm just bark space, not delete backspace. If I want to do it by selecting, does that give you select this point, See it become red sari as green becomes green? Yes, it becomes green. So if you want to say I want to apply it to these three same transition just okay, um pressing control and click and then say I want all this tree to have the same one then OK, fine. You come here and you, right click And you say add to selected edit points and clips. You click on that and it gets founded. Okay, this is the video transition that comes as a preset. Okay, now what if he comes ships by default? Individuals? What if you want to create your own transition because you just believe your own works best . Let's do it like this. Say, for example, it is going to become, um I'm gonna tweak it. You're gonna tweak it and say you're going to change just and do all of this stuff. Come and create one somewhere somewhere here? Yeah, sure. We just for a change has come to this short over here. Uh, so this one is color grated. This one is no. Okay, again. The sound off. Sorry. Just switch of the sound. Okay, So if I have here, um, I'd like to have a transition. You're going to start with one. Okay. Gonna start with the one that you want to work with? Say, I would like to use a No, no, no, please not know shape. Why? Don't know none of these ones. No motion for slide. I was thinking which one would work best. The blood to solve dip, dip to color. Lovely. Yeah. This is the wonder if you ever if you ever have one transition of the whole film is going to something like cross dissolve. Unless you have some, um, dream style transitions that you possibly gonna take it to the white with a little bit more effect infusion. But that's kind of it. Infection. OK, eso I drag and drop to dissolve one. It does. It doesn't on a country inspector. Why did I come to inspector? Because I need to change these settings. It does default toe white generally tend to use the black So let's go with black. Okay? Let's say this is what I want. All this is not enough. Let's I want tohave. It's shorter. Um, something like this. And just have a little look. That's to be too hard. Okay, let's let's assume this is okay. Let's assume this is what you want, but I'm gonna leave it to you that you are too sick. Choice. I'm gonna leave it to you. Let's say this is what you want on. This is what you believe you should be using all the time. You don't need to do it. Every time is like, OK, bringing and change the default color to black and then change the duration. He just creative presets. How do you do that? Just right. Click on this thing. You can do it. Even after team just increased this. You can even play with your is in out Whatever stuff you want to do. It is just for fun. Just use this one. Maybe like this? Yeah, whatever. Okay. And then close it. Okay. This is the one. Okay, this is the one. You're right. Click. Create transition preset. You created to say deep, too deep to color. the soft reset deep to black dip to black color presets. Yeah, whatever you wanna call it and then click. OK. Okay. So where is it going? Um, well, if you scroll down, you're gonna find something called User. Where good. This is the one that we have created. Dip to black, dipped a car, black, preset. Anything you create is gonna be yellow. And it's gonna be down completely down on the list users. So this is the stuff that you want to use. You use some transitions quite often. Please create presets. You're gonna save your self a lot of time. And if you are going to apply, it's to more than one. Then instead of just community and dragon 12345 You just select your your, um select your your transition points like these ones control, control, control. And then you come here and then right click and at selected. Okay, it's there. Another thing about transitions in the fisheries office that you can set your preferred one . The one we've just created. The user stuff that we just created. Dip to black, preset dip to color, black preset. You can set a standard position. So now what's the standard position? Distended position is cross this off. If you come here a new right click set a center decision. Then you've got the red thinking here Which says you this is your default one. What does it mean? Every time you do the full win, What is the fall when I show you you are going to get it by default? So you don't even need to scroll down and look for user stuff? It is that the full transition, that is the one that is gonna be every time. Okay, so how do we do that? You come here, say, for example, you want to create it here, you press shift on cult in windows and shift option in Marca on you drag. So you need to be enough section on your drug. That is a bit too much. Just like just one of them. Shift an adult and then you drag when you drop. What happens? You created position. But which position is this? This is your default transition. This is then your dip to black. So it's the one that we have created. Your user default One. Okay. If you leave it as default. If you leave this cross this also, whatever you do, any time you use shift out or shift option and you drag your clip, you create the default transition. So you better set your preferred one as a defaulter. Then you use shift. Ulta, a spot of talking about the transitions, actually like to talk to you about the handles that you find in the clips themselves. So without even bringing in a transition, you have the possibility to use these handles to play with the fade in enough. Actually, it's not really feeding an ounce. In reality, it's an opacity thing. Well, if you just move, describe it a little bit, just frame by frame. What is happening now? This is not black. I'm just against which off the sound. What is happening here is not actually black. It is opacity. So if I take this in here, you go to notice that you fight. Bring this one that actually it's not the black, it's just a paucity. So these handles do change the opacity off the clip. OK, 10. The 3 methods to speed playback (2 types of proxies and caching): Now we're going to talk about something very important when it comes to editor, which is a smooth playback. You are going to bring in some heavy files, probably some funds that need decoding. You know that if you're shooting roll, that's gonna be large. What easy to digest. If you're bringing in 8 to 64 or heavily compressed format and it's four K, it's all it is large Andi difficult in terms off decoding for the Vinci so again, between brackets. Another story. The fact that you use role is much better than using smaller files. Small fine sizes because small find sizes means they have bean encoded, which basically means DaVinci is going to have to decode them first before moving to the plate playback before doing some effects. It's a lot of work, but when you have role, that is true. It is true. It is a large file, but it requires less computation. Okay, good. OK, now, regardless of that, if you have heavy stuff on, you think well, I need smooth playback. Help me with that. How do we do that? There are three things we can work with. Number one. The proxy mode playback proxy mode. Okay, that's number one. What is boxy mode? It is a time line proxy. We're not talking about proxy media proxy files. That is the second thing. So the 2nd 1 is going to be to create proxy files. You see these fires in the media pool? Okay, let me just extend this one. Um, these fights over here in the media pool. Okay? These are original files on this is a red file by with our three day this is the red file cases Red file. This is red file as well. Ok, there's a large bonuses red file as well. Um, you are. This is Ah, Sonny, ever seven. I'm except file. They're quite large off. Okay? And this this is roll. This is roll. Okay? These are original ones. The second method. When I said proxy media, it basically means of inching. You're going to ask the veggie to replace the existing the original media with fake one with a proxy, one with one that is lighter, much easier to digest and everything we're talking about here. Everything in this section wouldn't talk about making your life easier. And playback has absolutely no single impact whatsoever on your renders. This is for ease off years for your peace of mind. For your faster processing and editing for your focus on getting things done itself, waiting on getting frustrated. This is just to make sure that the playback is a smooth experience. Okay, the 1st 1 being playback. Proximo. I'll explain in detail. This works. The 2nd 1 is this media is going to get changed. Don't worry, Don't worry. You don't need to do much about that. She's gonna take care of that on everything happens in the background and you will not even notice it. Okay? It's meant to be not noticed on that. There thing is, traditional is the Kachin Okay, The Kachin is Let me just open the young. Um Project city is just Just click here for the project settings the master and then you have rendered cash format the cash in case you decide to cash in as well. Ok, so that is the 3rd 1 So 1231 is your playback proxy mode. Number two is your media is going to change. Number three is we're gonna cash the thing right. You have so many effects applied. And every time you want to play back, it has to really compute everything. And that doesn't make any sense. It needs to be cached, because if you're gonna change it, you better cash it. Okay, Cash. Meaning? You're going to create a file. And it's reading from the fine instead of to re computing everything. Let's go through this. These three steps, okay? They're not three steps. There are three different techniques, and you can apply all of them at the same time. Except with the combination off proxy mode and cash. They don't work together. It's either one or the other. But, you know, if you get Brooksie mode on proxy media, then you really are spoiled. In terms of payback. Everything's gonna be smooth. How does that work? Well, what? You could possibly their escape. Come, come here and say, Play back. Proxy mode, half resolution. You can have resolution. Aren't that's going to change. Okay. What does that mean? It has already happened. Actually, you don't notice much because by the way, when you're working, your screen is I don't know how big is your screen. But this part of the monitor is quite smaller. unless you press control f, you won't notice much of a difference. Now I can notice a difference, because this is meant to be a four. Kate makes ffs seven soniya for seven file on. I feel it's not the quality that we have. Short work. This is half the quality because we have again. It does not impact your renders is just for you playback just for smoother playback is that when you work and you get faster results, Okay, but we have decided proximate to be half resolution. If I go for quarter resolution, it's safer. Lower now. Let go with control f And now you notice that Well, yeah. Do you want to get going faster? This is one way of doing it on. This is just for the timeline Playback, that's all. It doesn't impact anything is just for the viewing purposes. You are viewing less resolution. That is one way of doing it. Let's go back to off and go back to the original. So this is the method number one you can combine and choose, but this is number one. Number two is going to be to come back to come here and say Listen, I know there is the timeline method off proxy stuff, but I've got too many heavy media on Yes, Ahmed, a mystic off making encoded, heavily compressed for the gist off instead of shooting, withdraw off shot with heavily compressed footage, which is the enemy of visual effects, which is not very smart. But anyway, if you end up with heavily compressed footage because basically what when you shoot heavily with heavily compressed footage, all you're doing is you're going for smaller size. Smaller file size doesn't help anybody but your hard disk. It's not even the Ram is just the the external hard disk you gonna save on. That's basically all it does. Everybody's gonna get hurt except your hard disk. You're gonna get hurt. Your computer's gonna hurt. The fish is gonna complain your processes and complain, you're wrong. Everybody's gonna complain, So compressed footage is never a good idea. That's why please go with row you go with or if you don't have it, go with the highest quality products. If you go to visual effects with this, we've you go if you try. If you ever try green screen keen with compressed footage, I'm gonna wish you a lot of flock because you're gonna need plenty of it. Compress footage is a nightmare. So why am I opening this very, very, very big topic inside a small Prentice's For a simple reason? Yes, We are now making your life easier, but it is not an excuse to come with rubbish footage. Rubbish footage is compressed footage, period. So we start withdrawal. You can't find role. Fine. No problem. Go down if you're if you can shoot with drawer is the highest quality. Fine. And you go down until 42 to 10 bits. Don't go any lower than 40 to 10 bits, please. If you're going to head for any visual effects or anything to be added to your footage, you leave color information. Now let me close this bracket and get back to get in it. Don't. Okay, so let's assume your computer cannot handle the the compression crossed the launch file. Plus the many things that say you are in trouble and you have just a small up top and you still get need to get the work done. Let's do it. Fine. How do we do? That is, quite simply, you just select everything. You've got your right click and you say, Where's up? Um, where does it must be? Somewhere. Well, generator. That's it. Okay, so step number one is they generate optimized media. You click on it, generating optimized media 0% and it's gonna be increasing. Okay, I'm gonna cancel this. Let me see if it is going to do it quite fast. If it If not, then I'm gonna have to cut this one. Oh, that's gonna take off in our That's not a good idea. Okay, so, um, what on earth that's even more OK? Because I've got plenty of footage on some red bones and rolf origin stuff. Okay? This is actually something you may. It is. It's changing from half an hour to one writer. OK, but I don't think happened is also good. So this is the kind of stuff you want to do before you start working on it. OK, so you're gonna spend something like half on our when our it's your system is going to change it. You know what really is happening? It is happening in the background. I'm gonna stop this. By the way, I won't make you wait for this to happen. But this is happening. The background. You will not even notice that it has changed. The naming is going to stay the same. Are you gonna be working on? You will even forget, actually, that you have changed it so much that it looks the same. Well, what? Based on what? Actually, what is optimal? Generating optimized media. What? I'm gonna cancel this income here. Your first step on this is something we should have started with. Your first step is actually to come here and say optimized media resolution. I clicked on project settings and I come to most of setting There's time line for my video monitoring. Come down here is optimized media and render cash. So this is for the second. And this is for the third method Second method. We're talking about shoes automatically. You can check for yourself if you want the optimized media to be 1 16 18 goto half resolution. Whatever you choose again. This is just for playback purposes. Yes, I know you're changing your source files, but eventually smart enough to know who are you going to run their now? Fine, No problem. You know I'm gonna do, I'm gonna swap them back. So when you work in it swaps to the fake ones when you want to render its swaps back to the good ones So it is just for your convenience Urine playback. That's all you can define here, which, if you doing Windows, you go with D N h h R s Q or if you're working with Mark, it's gonna be POTUS. Lt Okay, so many. Choose which format or you let DaVinci choose. OK, that's another way of doing it. Which is gonna scan your system and just think based on your capacity is gonna think. Okay, I think I'm gonna go with this one or you do it manually. OK, so these are the two things to define, or you can leave them as is because the Vinci is gonna take care of that. Then you are going to right click and go for the generator. Optimize media. You waited. You have an hour. I'm gonna constantly and you carry on doing the work as is. But then the 3rd 1 is to make sure that this one is ticked. Well, it is actually ticked by default in DaVinci by default. It's there. But just as 1/3 step to make sure it's there. Just make sure use optimized media if available. That's it. OK. Do you need to do it for all of them? Know if you think just some files are slowing you down, then these wise you can change them. We just select a few fires like this one or red one. This one This one This one compressed ones are really bad. And then you click and say generate optimize media. Okay, you make your optimized media on. Then you use it fine when you're done. What did you need to do? Something absolutely nothing. You render and everything's gonna be alright. Why? Because you don't need. You don't need to to do anything else to cancel your action or to revert back to something because it's already being taken. Care off that when she does not render based on your fake media the Vinci renders based on your real ones, it just does the change to the fake media content fame, fake media. Okay, says proxy media is proxy files. OK, so this is the 2nd 1 we're finished in the 1st 1 was what that was proxy mode, which has nothing to do with your files. It's basically just bring in the heavy finds the source. The source files the way they are on Blaine. Them in half resolution playing them in court. A resolution number one of number, the middle number two. I'm gonna wait for them to reach a timeline. I'm gonna change them at source. Make these files. Ah, half resolution or quarter resolution or whatever you want to do. Okay, so this is the method which we have just seen, which is to generate optimize media based on your project settings and muster settings. Here. You find it, you define for yourself or your leg. DaVinci chores for you on, then, you white something that happened hours. And I got to get those files replaced the 3rd 1 The third method is which is not, by the way, compatible with the 1st 1 So if you have this one on, if you have half resolution, then it's not gonna work. The cash is not gonna work because it tells you where. Listen, it's the same thing. Basically, you want things to be fast. You can only use cash. And if the proximity is off Simple. OK, so you can't do it twice faster. Whatever. So the Kachin how does that work? Well, you come here. Same story, personal settings found down here you've got run their cash format and you decide for yourself what you want. So it's gonna be like a d n a R S Q on Ben, you decide if you want to change, enable background cash in off the five seconds every time there There's no activity in the timeline accounts. Five seconds in stark fashion. So saying that you are actually have nothing to do in the timeline so it doesn't need it's going to reflect your changes when we move here. Just going Okay, the cash fires locations will be here at the gallery started. This is this. These are the settings and you say automatically cash fusion effects you can define if you want to have it for transitions for composites as well. And this is designed settings. Now what you need to do is simple. It's just come here playback and then render cash. It's norm, which basically means Kachin is disabled. We have said the settings with cash is able to come here. Come here and say smart either. Say smart years of defined or generally smart basically means you're asking the vicious take care of that. I would recommend you go for too smart a nuclear combat. Okay, this time, if you have any effect whatsoever, if you apply any effect, you're gonna get the red line Tony into here. You got to go. So I've got the red line here turning into blue. You see that? You know what's happening now. The Kachin is happening, right? So this is what's happening. What what is doing now? If I'm playing now and we just turn off that sound again, if I played now, it is not playing from the source file. It's playing from the cash. Why? Because it doesn't even need to re compute any effects that are have been applying. It is doing it directly from a fine it has written. The cash is a filed has written on. These are your three choices your playback brooksie mode, which is a time than one your files change into proxy files on your cash in 11. OpenFX and where to get more free OpenFX: we have talked about open effects. Now it's time to use them and to point you to the right direction where you can get more of them. Okay, let's see. Ethics library. Let me just extend this one to have the full vertical space available for me. And you find them here. Open effects. What do we have here? Stuff the chips with DaVinci Resolve. No, you have it. Yes. Yes. But I also have hear me, huh? Not you. If you open this my default, you won't find this stuff. But I'll show you where to find it. So I have plenty off free open effects effects, Blufgan. Okay, so all of it is called ignite. It's one sweet off FX is called Ignite on. Then from here onwards, I'm just Oh, that's need video. That's that's noise reduction thing, which is also different. Um, yeah. So this from result of fixed wrap up up all of this stuff Ships with resolve, with this result and from need video down there need videos, is need video like the one for us. It's a separate one, but then I'll show you where to find this one for free. This one is paid. This one is for free. Actually. Can get the demo one if you want to try it. The name was free, of course, But you get the water market Onda limitations and, you know well, the ignite. You have plenty of these. And where do you find them? Let's come here to Internet and you just need to search for igniter. Hit feel ignite Express. Okay, on its in ethics home dot com ignite expressive excitement is it makes hit film. It's film is is another software for editing? Yeah, it's not really It's for editing, and it's got a few bells and whistles for effects. It's not really advanced, but, you know, whatever. We're not here for the hit film we hear for the Ignite Express free stuff. So they have 90 plus free plug ins to add. Okay, this is exactly what I've done. So what do you do? You just press on, get it? You may need to register or something. You're gonna have a download. You don't don't know the zip file that includes the 90 plug ins. You get much better. Actually, you're gonna get something that makes your life much easier and Really? This is a nice gesture from hit film from FX Home Re Lassiter, What do to give you an executable file. So I'm going to do it now. I've already done it, but it's dead simple. You just install it, basically. Just install it. Once you install it, you know what it does. Okay. There. Listening this stocking. Here they listen. This software, this is the software that is compatible with this package. This is why open effects is his open effects is like it works with so many software that work in. This is your davinci. So what it does when you install it? You don't need to do anything at all whatsoever. You don't need to say OK, but one time, where do I place the folder so that it's recognized? You don't need to bother about about Just install it, period. What? You know what it does for you? It is going to scan your applications in the system and look for anyone of these. Look for all of them. Actually, if it finds after effects, it will integrate in after effects. Oh, you also have Premier well integrated Premier. Oh, you've got down as well you've got the Vinci fine, it will integrate. So without doing anything at all, you find yourself with a list off this stuff exactly where it should be. OK, on this is free three and it is provided by hit film for free. Okay, so we make use of how do we use that? Simple. Just drag and drop the thing. So I'm just gonna use any one of these deflector whatever. So I'm just dropping something, Just dropping something. Where's my head? Where is my plan? We're a my is my dad. OK, d flicker. Put the stuff in there. You have reached limit. Oka have picked the wrong one because as we've agreed, we are going to work with the free version. Okay? All this stuff I'm showing you is how to do yourself a few fashion. Yes, sometimes was stepped on paid functionality, Which which s okay. Not yet. I don't have to Teoh, come here. Open effects on deleted. Okay, this is what I want to show. Actually, there's video this audio, but then there's open effects, right? I just need that one. Let's xgo for something that is probably less. Ah, problematic. Okay, Great. Is there. But that's no open effects. Yeah. So where does it not work? Yeah, it's there. Ok, whatever. Okay. It's an effect. Just show you actually open effects here. Other in your grid, your stuff for you know, you can change the perimeters and whatnot or what? I mean, is that for that specific for these effects, there's gonna be a tab here called open effect. That's where you find your stuff on if you have. If you apply few of these, I'm display a few of these ones. Hopefully, Okay, limit auto. Once your limits, some of it we get something called a compressor, maybe. Oh, yeah. God, is it There now? Drop it. Here. So it's working. Call compressor. Okay, This one is to change the order. Right. So now I have pushed a cold compressor on. If you want it down, then you just click like this. Okay? You know, Torto, reset it. Okay. Cool. Okay, So this is about the open effects. You can get more, but I just thought it's good to get started with ignites express 12. Editing - Several topics part 1: Listen if you come here, okay? So let's say we are in a media pool. Onda, let's have a look. Few footage. Stuff that we've got in here. Okay, Andi, let me close. Let me close this one. Timeline, close file close. Current timeline. Okay. Closed. So have I got absolutely nothing. Okay. So have nothing to select timeline? Nothing. Let's just even get rid of this one. The young stacked stuff. Okay, now there is absolutely nothing. There is no timeline. Although, you see, there is a time, and actually, it is just like the framework, Like just the structure of the timeline. There is no one. Okay, so how do we make it? How do we create a timeline? Actually, it's recommended that because you're gonna use the footage that you bring in, Just bring in the timeline is gonna be created automatically for you. You can do it manually. But I would recommend you just say come grab Any one of these, um scrapped described one of these things in here. Andi us to drop its here. Yeah. Okay. So what have I goes in here? This is now the timeline. Select timeline. What time it is not in there. But if I drop, if I drag and drop either here or here, I'm gonna be creating a timeline on add into it. The media. Okay, so just bring it back on, take away the inspector, because that is actually creating. I mean, if you open the inspector, you're gonna get just 11 monitor just the time. My monitor. But if you have it closed, then you're gonna have your, um Your, um Just go back so it quickly go back to this one. Yeah. So Okay, you're gonna have your source monitor and your timeline, but basically, you just drag and drop the thing. I just get get in and out. I always preferred have in announce. I'm just doing it right now and you drag and drop on you say insert whatever you wanna do it over, right? And then by doing that, what happened? Timeline number five. I remember. I used to have just 121234 Terminal five just been created. It has just being created. Okay, timeline. I prefer my timelines to be in the time that folders are all going to do is something like cut it Okay, So just, uh, good on. Come here on, paste it. Okay. And then opened my timeline. Five. I prefer to have my time in a separate folder. So this way everything is organized. Okay, So this is one way off getting you're creating your timeline. I would like also to show me that, actually, you remember when you we wanted to bring in stuff and I just leave it there may be there. When we wanted to bring in, um, stuff into the timeline, we always used the source monitor. So we just thought OK, yeah. I'm going to select in and out points, and then either take it down here or take it to the monetary and then choose one of those seven choices editing choices. But actually, you don't even need to go through the through the source monitor. You can drag it straight from the media pool to the timeline. But then here comes the point off. Okay? You haven't defined any in and out points. Okay, if if that's what you intend to get the whole clip in, I'm just have a look. It is not clip Mrs. Go down on. Get any one of thes. Yeah, Probably probably gonna get this one if I drag and drop this. I can important directly. Have you noticed directly from the media poll directive from here, from the media poll to the timeline. So you don't even need to go through this most money form, but the moments you do it, um, the moments you do that you are going to find yourself with the full clip rise because you have not defined in and out point. Okay? If you define it, not in the dark ones, you're gonna get the in our points. All right, so where is this clip? But, um, this one is the one that is up here. Is this one? Okay, if I drag straight from the media, pulled down on Lee getting what's in an outboard because this one already has in an outpoint defined. All right, so just be aware of this. You can go through the monitor source monitor, defined your enough points, do whatever you want or take it straight from the media pool on. Go to the timeline. I know that. I think I'd like you to know is okay. We've already talked about this, but let's do it now, Let's do it If you want to take just audio. I'm sorry. Just the video. You grab this spot, right? You grab this, Andi. Well, let's use one of those. Lovely choice is a band. That And when I do this, well, have I got I just got the video in there. No audio. Okay. Same story. If I would have just told you. Then I come here and grab just the audio on a bandit and any go city and see, I told you that is gonna be your friend upon the time. Because it doesn't care about where do you play head is? It just looks at your timeline was the lost part and he's gonna be Then just take away the r sound. OK? Just be careful with something. Please. If you have a music file, which they tend to be quite long Yeah, music fast. And to be quite long compared to if if you want to have music and then start at in videos, um, several videos for one single music clip when you use a band to at and let's just do it. Let's do it now. I'm gonna get just just the video part. If I could just a video parts and you say a pendant and it does not look at your video end . It looks of the whole timeline. And so if I say funded and it doesn't come here, it comes at the end. It really is the end of your timeline, whatever that is. If it's video of its audio, it's the end of your timeline. Okay, now this is not covered. Let's go back and look at some other goodness. We have nested timelines where it's something, you know, if you've York worked in other normal in your editing Softwares, it's everywhere. It's also in DaVinci resolve. How do we do that? Well, it's good that we have a few timelines here on as usual, where we get our lovely green screen here, which is just scrap a bit on. You're gonna find it. Z gonna go good. I have here time. I never five. I'm not gonna talk. Number 55 Let me drag and drop timeline number number one. Number one tends to have a lot of goodness. This is this lot off clips in there. There's this plenty of stuff. Let's drag and drop it here. What happens when I do that? Okay. By the way, you can do it. It's the same story. You can drag and drop it. Um, using this seven methods. Same story here. Let's just a pundit on the game, pundit. And and then what happened? Let's look at this. Well, it's came in. What you've asked for was done. What was that you brought in a time? Nine. You did not say you wanted to have your individual clips in the timeline in this timeline, you said bring the timeline. Okay, that's what DaVinci resolve has done. Good. Now what if you want to, um, you are interested in a few clips like you were You were making another updated version off a trailer or Well, you know, film trailers. You've got the trailer number one. Trailer number two or number three. Sometimes you've got international trade, and then you've got local trailer. Whatever. Just an example. If you want to have used a few examples. Sorry. A few clips from this timeline. Let's look at that Timeline number one. What have I got? Quite a lot of stuff in here. Quite a lot of stuff is just a little bit like this. That's a bit okay. A lot of stuff in here. If I want to have these ones in there in number five, then it's quite simple. Right? Click on you click on decompose in place, Which basically means I don't have the time land, man. Just give me the individual competence and you click on Decomposing Place and it becomes here ago. Now your timeline has been converted into individual clips. This is handy if you want to rearrange things and rebuild stuff. Well, it's now you know how to have to do this. What if you want to do the opposite now, which means that Okay, I want to grab these ones on, make a timeline off them. It's not gonna be really timeline timeline, but it's gonna be something that looks like a timeline. It is combined. So you are going to right click and say new compound grip, which is can you group this stuff for me, please? Just basically what you're saying you cally combat and say Yeah, compound clip number one create and that's it. And becomes compound clip number one where it has everything in its okay. lets take it. Okay. He's got everything in it. Everything all day on all the clips that we have now. Is this a timeline? Let's have a look if you see here, by the way, every time you create a timeline or a compound grip, it is going to get created in the folder that is open our Corgan folders They called bins. I just felt according photos in the bin or full, that it is open. So if you're working on timelines, just keep this one open so that you get it's automatically saving. The other one's gonna have got based it, they're or just drag and drop it. What about? So it's got created here. Have you noticed the difference between the icons, this icon here? But you see, I just see if I can agrees this, that you can see a bigger now. The icon doesn't increase the thumbnail dollars, but I can stays the same fine enough contrast here. So it's black. You see this one? This is a timeline that this is different. What is this? This is our compound clip. They're not the same, but they have similar behaviour. Let's say that that wasn't a good idea. You know what? Let's go back to my initial clips so you could just right click on Go to decompose in place on you to composing to go back to your individual clips. Okay, This is about your, um your individual clips on your timeline nested, timeless and about the compound and aggregated lips. Now, what if you actually are revisiting a project? Happens quite often. Revisit a project. You want to update it, and you may be thinking we're gonna moments Where Where did I get this one from? Yeah, I know it's called Whatever. Let's this one is called C zero. Let me just have a look. Sierra 0094 before where did I get it from? You're not gonna be actually asking this question, because if he if you are, if you open that, definitely resolve and I think you cannot find it. Everything's gonna be like offline media offline and gonna get that ugly, red, ugly red thumbnail which basically tells you well, I mean, she doesn't know where is the file? Okay, I can't find the file. Can you help? Let's assume you want to find where the final is whether it's in the in the project. If you've got plenty of them or in Finder, if it's Mac or an Explorer, if it's some this windows, then you just right click on the find in media pool. You just watch click on that. And there it is. Find in media pool. It's well, it was good. Another one is this it is Reduce it. Okay. Is this one here? Is this one here? Okay, um, then or you could go to another one like this and then find in major pool. There it is. Okay, now what? If you want to find it in your disk, their sim simple story. Here it Just come to the media pool on you. Say open file location if you have any meat. Okay. Reveal in media storage. Open. Find location opened. Fire location is gonna take you straight to where it is stored. Okay. In the disc. Um, if you are using Mark is gonna be, like, open and finder or something like that is gonna be you. Something about Okay, So this is how you find your clips 13. Editing - Several topics part 2: these Ablin at enabling clips. How do you do that? So we need to do is right. Click and go to enable clip on you Disable it. Okay, that's it. If you notice there's also the d So instead of just right click and you can simply click on a clip on D you enable and disable. Basically, enabling disabling means that it does no longer exists in the timeline as in render. So if you render it, it's not. It won't be there. It won't be there in terms off off timeline in terms of friend there. Okay, you can see it as in placeholder. It's there, but it doesn't. It would not be visible in your, um, timeline monitoring it will not be visible in your under. When you work in the Vinci and you're editing, sometimes you do so many things on. Did you decide? I want to go back to much earlier. Okay, But I just don't remember. Actually, how many things have done you could undo, But if you keep on doing, you don't know actually, how many? How many Hindus you need to make You need to come here edit and into history. This gives you the full list of stuff. Of course, the last one is gonna be the last thing you've done at the bottom. I have a go bark, then it gives you the original. Well, then it's up to you to decide at what point you wanted to be okay, so just select one of them on say, Okay, This is what I want. Then it takes you back to where you want it. Okay? I'm just gonna take it back to initial on. We close this. If you would like to select a the clips before or after eclipse. Ever example with standing with someone here, Okay. With some here on, we would like to select all the clips come after. Okay. How do we do that? There's a possibility off just reducing the time down and then do it manually like this. And I think I may be missing something. This is not the way to do it. This is not the way to do it manually is not the way to do it. So how do we do that? You just, um come here to your timeline on you do select clips backwards, and you didn't get the choice if it is own old, the tracks or only on the selected track on the active track. Okay, only say on this track basically on the active track. So you say all on, uh, selectively backwards on this track, you click backwards now, actually, backwards means backwards here, so but But starting the starting point is your play head. So a lot of stuff that happens in DaVinci is based on your plate. And so the play head is here. It is going to include the clip that that there is standing on, plus all the clips that are backward. OK, now, if this is once, if you want to have it the opposite want to have select forward found selectively forward on all the tracks, then you do like this and you get it all selected. There is something I'd like to show you for the playback. When you want to say, for example, it it and you are want to pay close attention to a particular fragment. A section where say, for example, let's have a look here. You got a green screen again. Okay, Just take away the sound again. Some He's gone. Nice. Okay, This is what I would like to focus on. Say, I would like to work on their spot. You see, my play head? It is here. Okay, um, I want to listen to it a few times. For whatever reason, you're going to be listening to things a few times. Gonna be watching it a few times for editing purposes. If you are tired every time off bringing back the play head because you play and then it ends up being here like Okay, let's bring it back is big. But where was not? There is a possibility to radical consists a stop and go to last position. OK, so stop a lot. Go to us. Position he activated. Right click activated. Okay. In this case, if I go or that applies actually used to play this well. So basically, this is the play. It's the same thing. If I come here, where's my angry lady here? Okay, So if I come here now and I say, Well, I'd like to start somewhere here. Good. Okay. On a press pret play using l GIC, it'll all of space. Whatever. And when I stopped, it goes back to the beginning because I needed to go back to the beginning because I would like to work on that fragment carefully. Like we want to dedicate a lot of attention to that part. So this is how you do it on. The same thing applies to this source monitor as well. It's the same thing. So if you come here right click, you're going to see that it is actually activated for both. When you activated for one of them, it's activated for the other one as well. It tells you. Okay, this guy wants the playback to be brought back to the initial frame would do that. Fine. But we're gonna do it for you in the time that Alan Discourse monitor as well. So if I come here, let's go back. Let's go back to a framed that way. We know very well that frame that is so well known. I just find it with this. Yeah, One of those frames. This one. Okay, I'm starting here. Okay. I'm just old Iot. Just remove the in our points and I'd like to replace spray. Okay, press play. Okay. Just place. I'm not using the source money for right and say OK, fine. If I click now on stop, it goes back to that frame. It is really handy when you want to work on a particular segment and did it on spent and have a lot of attention on that particular second. You don't need to go back every time manually and look for your friend. Let's say for whatever reason, you're going to reuse the same clip modified several times. Okay, for whatever reason, let's come here. Let's come here and take one of those clips that say it's gonna be this one. Andi, I'm going to change it. I'm gonna change. It is go to the year, um, transforms here. What I'm gonna do is a little bit, um Zoom. Yes. Let's zoom its rim on this. Let's change the position. Let's, um yeah, it's just I'm doing something crazier, but the idea is to demonstrate a point. OK, I know you never do this pitch thinking like this, uh, but it's just to demonstrate a point. OK? I have missed up badly with this with this clip. Now what if I want to use it? As is the way it is now, Ok, not the source clip. If I want to use the same thing again and again. Then what I'll do is I'll have and head to the media poll. You could put it anywhere else, but hot. I would recommend you be a bit more organized under create some sort of been for these kind of things. Like modified, modified, uh, modified clips for reuse. Okay, on what you gonna do? What? That's quite simple. Just like a dragon. Drop it there, and that's it. So what you really have in here is once you create, go to another timeline. Um, it's open tumbling. Number five was one of the five. Number five is here. I'm already number five. Yeah. Okay, let's go to number four, then for his anti. When I go to this one and I'll drag and drop with here. Okay. So what is this? This is exactly the nonsense that I have actually created. And it's including the in and out points. Okay, So if for whatever reason I mean it's not it's something you can steal, just Yeah, I definitely want to remove that bitch and your thing. Uh, but if for whatever reason, you find yourself repeating the same, um the same clip again and again, especially if it's a B roll. That is a specific up needs to be mentioned a few times, and you say Okay, did not need it in that specific position every time it's being mentioned, you can do that. You can just save its back, save it backwards like save it back to the media pool in the interface off the editing workspace, in addition to the fact that you're actually able to, as we said, media pool view dual pain that you have dual pane here you have se of timeline open here and then footage open here. In addition to this possibility, you can simply open the whole been the whole folder in a separate window. So you just come here open as a new window on this way, if it's not enough, if you say OK, that's that's a bit too a small familiar, and then you'd have everything open enough in a different window. Then you come like this, and then you have it's open in a separate window 14. Export: exporting your footage. Out off. DaVinci, resolve 15. Now, once you're done, assuming you have finished everything and then you want to move to the deliver tap here, this is your exporting works workspace. Okay, so this is for Adobe the equivalent off Adobe media encoder. Okay, here. You said everything. Now at the top on the left, you have a presets. Okay, you have some presets in here If it's gonna be for YouTube for the mayo, for final God stuff. We've got quite a few processing here. All you can define your own. That's custom. Okay, then you have the fine name if you have. If you need a preset, just click on that or you choose a swell the the resolution. If it's v Mayo, it is gonna be by default grade. But when you click on it is gonna be active. So there's gonna be your preset or custom one a custom that you're going to define yourself . Use in, Of course, the format. Choose the former that works for you. And again. Listen, when I say works for you, um, chances up if you don't know what to choose. Jesus. All this isn't going anywhere right. Let me just honest and clear this isn't going anywhere. Okay, If it's not going anywhere, then go with one of the presets. Go with one off the presets, go with you to present or vimeo preset, and you should be kind of fun. If you don't know what setting to use. Chances are that project is yours is not going to a television is not going to a client if it is a client project. If it is a television project, If it's a film that needs to have theatrical release, then the recipients is going to have what we call technical delivery requirements, which you should have gotten of the beginning. When you have this cost with the client with the television where anyone was recipient, when you discussed about making it for them, then you got okay, this is these other did technical delivery requirements. If you have not gotten these yet, please ask for them because it's very important and ask for a few options, by the way, because, um, if you are working with the Mac, you have the possibility to export with progress. A lot of televisions work with Paris. Okay, Andi, they have as their technical requirements porous. But if you're working with Windows and using the Vinci in a Windows machine and their technical requirements is, um is porous, Dinu kind of stuck because a prez is only available in back. Okay, do not please do resist. Do resist the temptation to use those land be progress options and they do exist. It's not gonna work, so it's either generated by Mac or not. Why am I opening this brackets? What I'm talking about, um, the delivery at the point is not to show you what buttons to press and wants. You press them, what happens? I'm going to show you that anyway. But the idea is that I'm gonna need you to be ready to deliver properly to your client, to your television, to your African release. That stuff needs to be based on the agreements. So when you come here, you say OK, what should I set in here? You should tell me. No, no, it's not me. Who should tell you it's your client. You should tell you that. Okay, It's the format is what they expect. The Kodak is what they expect, because otherwise you could choose any. By the way, you could choose literally, and you could go and give them YouTube. 10. 80 p. And that's it. But that's not the point. The point is that you have technical requirements, and I'm talking mostly about televisions. Televisions have very, very clear technical requirements for sound. And here you have your audio for sound. The big depth with all of this stuff is set it up. General 24. Um, all this stuff is set was leaner. Appears Sam a CC generalise. Linear PCM. Okay, get married. Okay. I'm sorry. I'm just writing some of the technical sentiment. All of this stuff you're gonna get from your client, and I'm just showing you where you can change it. It's in here by the video. You've got a format you can choose quick time. Or just see, um, the Kodak, the Kodak. If you are one working windows, you can go for, um, yeah, D N h r. Excuse The is the light's version, but it's basically is I contend, I can point you to any one of these Humber by the end of the day. It's what the television wants. They really have. Believe me, they really have one page. Okay? I think it's at least one Beijing. All of them, All of them. All technical televisions that respect themselves have something called technical delivery requirements. And that's why gonna choose. OK, so this is why I will not take you step by step to tell you this format works for this. This former, except for eggs, are I'll talk to you about the excise. This is the only one that I'm going to choose from all of this list. This is the authenticity you know disappears for is for the theatrical theatrical release. I'm just check in a little book. Let me just check recipe. Okay. So this is the you choose when you have this. Okay. When you are required to make a desipio, if you're sending your film to a festival and they say you must think I'm using the word must delivered as a desipio, they don't give you another option. Then this is your disip e. Okay, if you are working with visual effects and you are asked because by the way, let me just talk about the real life experience stuff instead of just pushing the buttons. Delivering doesn't happen at the end. Did you know that delivering like exporting doesn't happen at the end? In most cases happens at the beginning. You may be thinking, What the hell is he talking about? You are if you are working with visual effects and I left now the screen open on this Eggs are a bit here because it's the essence of what we're talking about. If you're going to have visual effects in your film documentary, whatever stuff you gotta be musically, if you're gonna have visual, are you going to have any type or sort of visual effects on, especially if you have any three D elements to that will be included in there. Then you are going to make a very quick and dirty I'm sorry for the world quick and dirty, but it really is a very fast exercise off making quick edit and giv e ek sar format to your visual effects guys because these guys they only speak eat eggs are they're not gonna talk to you about. See ya. Send me an RV, send me uh What's that? Yes, And may quick time. Finally you consent If sometimes architects are good, are great. Fantastic they're wonderful eggs. Are is the industry standard by consecutive. Um, PNG's are not here. It's quite surprising, actually, that you can't get the P and G's that they do work as well. Really? Well, so XRs PNG's aunt If the changes are not listed here Autistic boy wise it all here anyway. But you've got you've got two of them go. Except you're gonna give what you're gonna get E x ours to your visual effects guys, before you even go back and start thinking. Okay, let's now do the proper editing. Why? And what kind of editing are you going to send to the visual effects guys, You're going to send something that's not quick and dirty, as in, Just give them anything. Give them something that is almost locked. I'm not saying picture locked, but something about picture locks on 95%. No effects. So no color graded there is going up. It's another story to another. So I could You're going to do when you come here to To the color Great. In part. Okay. If you are going to deliver, if you're going to deliver on, you have to delivery route. Architect to delivery moments at the very beginning when you have visual effects. Not really. The very begin somewhere in the beginning, when you have visual effects because these guys need to start working as well and they need to work based on your work. And they're not gonna wait till the end till you're done. Yeah, I've got all my DaVinci resolve, color, great and done, and it looks gorgeous. Let me send it to you now. No, no, no, no. That's too late. You need to make what is called a technical. Great. There is the creative grade, and there is the technical. Great creative grade is when you sit down on slowly, take care off each frame off each clip. You are going to work on each one. Take it the direction you want. That's your creative great. That's what happens at the end. Technical grade is the quick and dirty, and I'm using these words quite often so that you get the point that it's all about speed fast. These guys are good, especially if you're working with flat images. Yeah, so this is a flat image. This is This is a look, a slog stuff. A mistake was ever got off here somewhere. Read? Yeah. This is a slow cause. Well, this is this log. These are flat images. So when you get flat images and you send them this stuff the way it is to visual effects, you don't have enough contrast. You don't have enough. They are there to do the visual effects, not the technical grade. Instead inaugurated something you need to do for them, right? So if you send it, somebody works with Maya or Houdini explosions on or real flow to make any special water effects on it, you need to do a technical grade. You are OK with Adan a lot. Okay, a lot table. It's fine. You just add another. I know. I know this section is about delivering, but it's extremely important to talk about this. You could just add, um, another one here lots, and then dump something that makes sense. The German film Look, sonny from looks Yeah, it should be fine of this home with Sonny. Let's try this one. Okay. Well, check with your check your with your visual effects. Guys like 709 is gonna work more often than not like seven or nine is your quick and dirty . Yeah, Yeah. Okay. This is this is much better is much better. OK? Industry said this one we said not great. Uh, just check. Yeah, this was much. Okay, so if you don't know what I'm talking about and you have somebody from visual effects or study, Okay. Can you please make a technical red? Just come here? I note that without s take film looks on. Go to 709 Fuji, What of? Ah, 35 blah, blah, blah, blah That won the 65 Whatever. So take that one on a random apply to the whole film, um, to the whole all the clips and you're going to render what you're going to export. Let me go back. We're going to export on Lee the visual effects on only the visual effects clips. And here comes the point off this stuff in here, So render what you know. There are some things we have skipped. I move direct. I'm of directive from them, from the presets down here to the format. And I didn't talk about this. I didn't talk about this stuff because we come into that. Now is the time single clip is when you export the whole thing. Like all of this stuff is exported as one clip that's clear is one file, but individual clips. This means that you are going to render each one off these clips individually on this is what you need to do in the first surrender When you have visual effects. Guys, this is what you need to do. Okay, so you do a quick technical great using a lot the 709 rec seven or nine stuff you prepares for them, check with them. If it's okay. If that technical great is enough, they all they need is enough contrast for and color information on if the lens distortion is is enough clear and stuff. They they have some technical requirements to work with, but they did not gonna work with flat images. Okay, so second grade is important. You're going to deliver now You're going to deliver what? Now you deliver e x ours. So this is the only exception where I tell you at the very end, it's your client is going to tell you what to give them. Okay, But at the beginning, we're talking visual effects. No, one is gonna save you for this one. I was gonna help you with this. You're gonna have to do it yourself. Eggs are or tiff. Okay for DaVinci. I can't find the PNG, which is like, fine, but xar is Is that the industry standard? And then you just decide. Check with your visual effects, guys, if they want to compress or non compressed, Um, because it does make kind of a difference with diem with the size, but also for the core information. And what what application are again? They go into you to use if they're gonna work with fusion. If it's for you. Working infusion, that. Basically, you should've already. You don't even need to worry about that because it's embedded near got fusion inside. Okay, I've just clicked on fusion, waiting little bit for the have to love the little bit. Okay, it's loaded. Okay, fine. This is fusion, so you don't need to worry about that if your visual effects are done. Infusion. Um I mean, I mean compositing. The composite of the viewer fixes on infusion. Then you know it. If it's done Inuk or later on or in after effects, Sometimes it happens in aftereffects. Yeah, but if it's done in nuke, um, or infusion Stand alone the compositing, then the visual effects guys are gonna tell you what kind of compression they need and and stuff. But it generally tends to be X are okay. And resolution on everything here depends on what the visual effects guys need. So you have to summarising two moments off delivery. Have you got visual effects? Yes. Okay. You need to deliver a quick and dirty technical graded in developed individual clips. Only using e exiles to your visual effects. Guys, if you don't know what they're talking about, just tell them what kind of exercise you want. OK, Number two, you're done. Whether you have visual effects or not, you're done. You have finished. Now go back. It's single clip. Well, that's obvious. That's common sense. You're gonna generate just one file. And if you don't know what you what you needing? If it's yours, own projects. Just feel free to use any one of the presets, because chances are you going to show case your work and you're gonna do that. Chances are it's gonna end up in one of the social media platforms. YouTube on female. Well, you already have the processing. Their inventors go into a television. Well, that is a different story. All you do is you get the eight that you get the one page before with the video and audio priest presents technical requirements, and you literally fill them in here. Please ask for alternatives. So because not all the Codex are available in all the Softwares in all the systems if its windows, if it's 70 of its windows, its adobe premiere of its windows if it's finally feel sorry if it's Mac and finally got if it's pro raise required, it's ask for what the possibilities are. Okay, this is where your former girls is. We gotta go. You gotta go. Is generally the good quality that the equivalent of prayers for Windows is D N h h d. This is the equivalent. And of course, you got all sorts of flavors of it. They come in 7 20 p flavors. They come in okay for eternity. I This is interlaced. Um, interlace is like is interlaced. Yeah. Okay. So we don't work with until a suitable it's everything is progressive now. So yeah. 10. 80 p, this is your This is your stuff on, the higher the betrayed, the better. So if you don't know what you really once you're gonna store a version that's high quality go Indian HD for yourself. Unity TTP or to K one of if they got to get this is a free version. The free version, Yes, we have to keep its not really to case. It's just like the young, the fake, too. Okay, I'm stick. I also have Grass Valley. It's cute, just like the tedious. You know, Grass Valley is the company that makes tedious. It just is, I'm not sure pronouncing it right. It's another really good editing software. Um, okay, so, yeah, you can you can go go with D N h r h Q X 12 bit for 44 10. But that depends on what you have. What what's quality of the footage that you've shot because you can't add more information that then what you already have? If you've shot great four for four, then yes, you can keep it at 444 But you shot with 4 to 1 you're trying to export it for, for for it's like it Just duplicating the same pixel information. You're not adding anything. So this is This is about the format of the Codec. Andi committed resolution. The frame rates where we talked about the frame rate. I don't think you want me to talk about it again. Right? Um, at the very beginning. Okay. Use constant bit rating we've got with us citizens. Well, generally, if it's a TV, you're gonna find it there. But most often, the North is gonna be square. Okay, Data levels. Um, you You can leave it at Moto generally. Yeah. Data burn ends, same US project. Whatever it Z did this stuff you are giving to have in your data? Sorry. Technical delivery requirements. OK, so, um, you choose your your fire name and you choose your location. Andi, I mean, just just creator create Orender here because there's something I would really like to show you, which is typical DaVinci, Which current of his? Um yeah, it's one of the things to live with in dementia. So there's the file here. Finally can change the name. So let's call it something like render one. I know it shouldn't be called like this, but I'm just creating a few examples here. You could have the file suffix. So it's something that comes in the beginning of the So it's it's part of the name. Um OK, so I go back now to my video on a say Okay, this is what won't let's go with you know what's going to preset? Let's go with cost some preset. Okay, Go to progress. Clicked. Um, you have you noticed? What, then? That's exactly what I'm. Our next step is likely concussed, um, on back again on this. Okay, what happens when you click on here and here it refreshes the fine name. Now, if you have a few timelines, how many times have I got? Oh, that's nice. I've got few of them. Okay, Timeline number one, I'm gonna create a renda. So location was just big somewhere. The Vinci Okay, E da Vinci has finally got some okay with this Even Chico, Um, you just click. Add to render queue. You add to render queue on here. You have it added as a job. Okay, A few things to note here. Um, if you want to have another timeline, So Okay, I need to move to this other timeline. Fine. Andi, you make your changes. Guess what? Nothing changed here. This is one of the things to live within the Vinci's that you need to click on custom click back again in here, and then it's going to wake up and think, Oh, you're talking about timeline number two. Okay, let's do it. Something. You just need to live with it. And I'm in shock. So click on custom and back again to whatever stuff you just make me. Just make sure the fine name is not messed up because it keeps the old one. Then you come here and go. OK, let's go. Familiar. Here. This is four for funds changing. I'm going to say after in the queue, and I'm going to number three. I got something. Number three. Yeah, I got something there. So yes, and as usual, just need to click somewhere and then come back probably to YouTube 27. 20 to focus, make to not have insurance. His do it is if. Okay, okay. Okay. That's number three. And then you click under becomes your YouTube, and then you have all okay. Now you may be tempted to start and say Yeah. Okay. Find this is my render queue. So it seems like these are jobs that going to render on. I just come here and click on start. Render. Um this is something else you want to be aware off. This is something you want to live with in DaVinci is the fact that it will render what's been selected. If it's not selected, it will not get rendered unless endless everything is not selected. So if you by default when you add your stuff and you're in a hurry. So you guys just started, and then you go if you leave it running and deny to wake up the following morning has just rented one file, the one that was selected. So get in the habit. If you have only one projects of extending this one and just clicked somewhere else to make sure no one is selected. And now I can click, Start, render. Okay. I'm in his six starts under Andi is gonna give you start on this stuff. I'm just going to stop this, okay? Because this is not what consult Constant Constant. Okay, But you can render it any. Gonna find it there. What if you have multiple projects and you want to render everything So you gonna work during the day and there's a weekend that you would be all for something. And you just want everything to bury under during that weekend or during that night. Why? Just quite simple. Just come here and say Show all projects that sometimes there's a bug. No, there's no bug. Now it's already okay. Um, they used to be a problem that everything disappeared. But now it z sorted. Okay, So when you say you show all projects, if you have any other projects are gonna be listed in here as well. That means if you have added anything to the Q grander to the Q save the project moved to the next one. Render took. You don't even start to render. Just leave it there, Leave it in the queue here. And then once you're done, come here and say, Show me everything showed me or projects and gonna list everything you need and then make sure no one is selected. Press a miles on any click or start Render on. This is how to export your, um project from DaVinci Resolve 15