Davinci Resolve 16: TITLES | Film VFX | Skillshare

Davinci Resolve 16: TITLES

Film VFX

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
7 Lessons (1h 42m)
    • 1. Introduction



    • 4. NEON SIGN





About This Class

Welcome, in this class you will learn how to work with TITLES in Davinci Resolve 16, you will learn different techniques, to make different title effects, in different tabs, in the CUT page, in the Edit page, in the Fusion page and in the Colour page. This class covers a wide range of tools and techniques that will make you completely comfortable creating titles in Davinci Resolve 16.


1. Introduction: welcome. In this course, you will learn how to work with titles in the venture Resolve 16. You will learn different techniques to make different title effects in different taps. In the cut page, India did page in the Fusion page on In the Color Page. This course covers a wide range of tools and techniques that will make you completely comfortable creating titles in DaVinci Resolve 16. 2. VIDEO THROUGH TEXT: in this part, you will learn how to make video through text effect individuals all 16 in different tubs with completely different techniques. Why? Because you want to learn as many techniques as possible so that you feel comfortable working on different effects, but also if you feel more comfortable in the Qatar edit Page. If you're like more with the editor background, then you get the techniques to do it there. You can do it faster when you're working in the tab your most of the year with If you are working, infusion and say I want to know how the infusion and I'll show you exactly how to do it in fusion, which is completely different than what we've done or what we will do in coordinate it. And if you are a colorist and say, I don't wanna work too much infusion in a war, can you show me how to do it in color? Off course. Also you have to do it in the color page on is going to be a completely different technique . Well, just to make sure that we're not working exactly on the same result, we're going to look at slightly different effects here, but overall, it's video through text. Okay, so this one is for this one is coordinated. Okay, This one is for fusion page, and this one is for color, slightly different styles. And this one, for example, for the color, you noticed that the edges are not that hard. And we have allowed a little bit off Furry Harry three. Look to the text to allow for the, you know, just blend in it a bit with the forest. Okay? Yes. Obviously, as we're speaking now, huge fires are eating up the Amazon. And we think I was going to be a good team for this for this part. Okay, good. Let's get started. I've got to close these timelines and starts fresh with. Where should we start? We start with the beginning. Cotton edit page. Okay, let's do it. There were going to get What did we say? Continent. Page. I think it was this clip. OK? And I've already selected in an out point. When I go into a waste our time with that, it's already done. I will just click, confess and repent, Onder. And there we go. This is quite simple. All I need to do is at some fixed. Okay, where do we add text To comfort titles here. And you add I mean, you choose text or fixed. Plus, I recommend that you get in the habit off using text. Plus, because this is a fusion text, which means it has more power. More features. You've got a lot of stuff, but the normal text is just, like, blunt, normal text there. No, not too much to control in there. So let's just drop text plus okay and put it in here. I'll just extend it to have it exactly much are video. Okay. Um how do we edit this? Well of William? You are in the cut age. You don't yet? We don't yet have how to get to the to the properties off the text. Plus, we have how to get to the properties off the text. Then you bring in the text to another to another track. If I select this, then you notice that I have here the team. Okay? You don't have the tea if you're selected video, but you have the tea. If you have selection, deal the text for the text for the normal text So this is why it's a matter of choice if you say no, I don't need to Many controls. I don't need too much too many features. I can go with the text, the normal text, and you can edit it quickly in the Carter page. All right, if you say no, I just came into X. Plus, I'll just find out how to work with that were, obviously, will find that work so that you can do it in the edit page. Let me just remove the normal text and we go to the edit page. Once you go to the edit page, you open the inspector. The timing is a bit time That has a small here. Yeah. Okay, Good. And then when you look at the click on the inspector and click on the text, then you have your fusion text. Okay? It's a template. So we can then work with a lot of goodness. A lot of stuff in here. Okay, for this particular text, be just using some of these and obviously the purpose off the way I'll be teaching this is quite by doing it, it's not really as in this stab, does this their style does. This is going to be simply going on doing it. So you know exactly what parts works where? Okay, let's now type in something, and it's going to be Amazon. Okay. The Amazon forest on delimited strap a phones again. The the text is actually most the beauty of the text is mostly if I'm speaking and searching for this, it's not gonna work. Okay, good. The phones is quite important. This but like this, the fault is very, very, very important for the talk of effect. Why did I choose this one? That is called impact? Um, just because I feel that it has more fat. It's a thick thing. And because I want to show video through text, I'm not going to go with a normal love to show you. Ah, just grab something just yeah. If you do stuff like this come on. It's not gonna fly. And you don't have regular don't have gold. Even if you increase it and you do the effect, you'll only be able to see so little. Okay, So do you want to have video through text? Look for something. Think I do the impact you can look for other ones. You can get other ones. Where's my impacting and go on? Die make It's a bigger super 0.4. Okay. And this is my text. Good. Okay. Now in the cotton at a stage in the edit area, both pages. You wants to remember one thing that the fixed is always in the background. Okay, so I'm giving you some keywords for per page. The key word for the edit part is the next is isn't the background. So you need to move this one up and this one down. Okay, Well, I'll see anymore. Well, that's fine. Okay, we will see it soon. So we need to do is come to the select the video. Okay. And you could become whether you are in the editor, cut pages irrelevant. Now, composite composite mode here or the cut page. When you come here, you open. This is your composite weekly conduct, and you get the same man, You okay? Let's do that. And we're going to come to darken. There you go. This is your video through text. But obviously we're not gonna leave it just like that because it means some refinements. And you may have seen. And the wonder of showed at the beginning that has some borders. So well, it's Did I? Okay, let's do that. We will done work on the borders. Working on the borders requires adding a little bit off. So duplicating. So I'm just pressing old and dragon, Okay? Ultimate or copy paste after drugging up. So I have moved this text off. I have in the background districts and is the same one in here. But this one click Just make sure you're correct on the right text. Because sometimes you forget that this one is collecting. It starts changing. Click on the one at the top. Now we're working just on the borders. You know this the stops. Now we're going to move to this table here. Then before, when we come to the appearance and in their appearance, you notice that there is this fellow here. You click on it, then you get yes, the boulders. Ok, now this text is this track is only the borders. This track is only the text without the borders. So when you have them together, they give you the combination. We will just reduce the thickness of 20 bit. It shouldn't be that, uh, if you keep it up the, um or is it gives you more like a Microsoft power points. Look, what should I do? No, necessarily, boy, if you just bring it a bit down there, it it's a bit more. Just local. Okay. On dumb. Okay, so when we have looked at, just look the to the internet. It let me open this one. You see, this is of borders, like how do we do this one? Let's do it. I must come back to my timeline of annoying. And let's add another text, which is exactly the same one who just lays. You guys were just often dragon them cookie. The same thing. Just give a bit of space here. Art and drag. There we go. This one is going to be exactly the same time again. We come back here and make sure you select in the 4th 1 The four track and I mean the text of the fortune. And we will come to this border over here. Click on this hoops. You get it by letter. We don't want that by characters with the level sales by character. I just wanted for the text. Okay, Good. I then can increase the size of this fellow size is here, so I can agrees. It's a bit like this, but it's not gonna help, because if I push it, I can't. It's not Oh, this could be a look. Yeah, this could be something. Let's do it for a change, Kate. Let's do it. But let me show you how to make sure that you're not really stuck with this. You have here the young, um if you come back here, you have the extend horizon. Extend vertical, so extend vertical. You increase and reduce like this. This is how we've done that early one. But you know what? Happy accidents. I think I'm gonna go with the one that we had here, some reason the size and then reducing back this one of the first, you know, just let me just reset. It is I really like this one. You're just telling of it. Something like this. Rights and, um, the size. Well, you're not limited to the maximum 0.5, obviously, so I can go with 0.6 as long as you type it. Now. It's just Madoff style in style izing the thing. Okay, if even if you're working on a normal text effect like video through text, you wanted to be a little bit more stylish. The thickness. Let me come back here with my thickness. Thickness. Okay. This is my border. Nice. Okay? Yeah, we're working on something. They were not, but weights. I want the video to go through those lines as well. Okays How do we do that? What we know. But if you want to see the text as white, it needs to be both the video on. Remember, when we are working to the coordinated page, the keyword is background. So if you want this one to work, you need to put it in the burgh around. Let me just push it. Father, bring in the audio, bring down the audio. So I'll move all of these fellows All rights one and then drink this one down here. All I need to do is is bringing it out. Now it's all any. See? Okay, here we go. Maybe the thickness is a bit too much. Maybe I need to bring it closer. See what I'm doing. I'm doing something really bad now. Okay? No, no, it's OK. It's OK. It's just responsiveness off the okay. Is this motives? Yeah. OK, good. So this is one way off them in things on. This is how you get your video through text in the edit page. Now let's move to the other pages. Fusion. We just saved this one. Miracle on the was my timeline. Just telling number nine. Where's my nine? Okay. Your timeline number nine is gonna be outside, I guess. Yes. Timeline annoying on this. Move it to the videos. Re text. No, that's not the one that is not the one. The text there aren't. And move my talent night to the timelines. Because now, as off 16.1, when you create a title, by the way, this is a public debate are not off the 16 of the 16.1. So about DaVinci 16.1. So I'm already working with the stable version of 16 plus all the new features in 16.11 My saying this because when you create a timeline, it will go back to the to the root folder. It will not be left in a in the folder where the media put is open because they think it's You gonna find a part time finding it if you don't pay attention to where the media pool wars when you created the timeline. Okay, So, back to my timeline. Just call this one cut, and it's on the number two. Okay, Good variation to or yes, some expression to variation, too. All right, let's no go to the fusions. The fusion is going to be something like this. The idea is to have a background and then a video. Did you have background? You know, we only have the, um, the black. Okay, so here we're going to have a background plus video through text, and we're gonna have some, um yeah, forest burning. Let's get to that. We will just simply close all the time lines, then come to the hair to the, um, the most once you be using up he just using because, Inspector, I just go to the cut page. It's for a change. Where's my Here we go. This one I have I were to have the the, um in an ounce points. Yeah. I'll just leave it as it is because I want to show you some more tickets, OK? This is not what once, but I'll keep it deliberately because I need to show your stuff. Let's get this one and let's get another. How many? How many seconds? That's the loss. It's a lot of seconds. Yeah. Sorry. Didn't update I once. About eight seconds. So plus some, this five is gonna get us seven point something. What? It's something. Okay. Next one is this one. And let's just add it into the end. Good. I'll just keep it as Yes, we will tweak a few things. Okay, So I need to show you also have to deal with video when it does not necessarily fit with your text. And you want something in particular? Do that a nice position? Just very, very quick across the stove here. Oops. It doesn't work. This is exactly what I wanted to show you. Okay, let me do it later. Why? Because I want to show you um how to reopen. I'll explain. I'll explain later. Okay. I need to show you how to reopen this thing once we made a fusion clip out of that. Right. Okay, we're done. We're done with this part. No, we need to do. Select all of these. Okay, let's say this is the length you want. 16 anxiety at 16 seconds ish. Right click Select both. And creator. New fusion clip. When you do that, then all of this has turned into a new fusion clip. And then you can go to the fusion type and open this fellow good. What do you get? Them just opened the nodes and probably the media pool. No, we don't need a medical. Okay, um, maybe I'm gonna need more. Yeah, Just to To monitors. Good. So this is what isn't timeline. This is what we'll be seeing. Okay, I need them to add some text. So if I scroll here, this is what we have. Que That room text is here. So when you click on this to get text Plus because you were not working infusion, you get text. Plus. Okay. This is your text, you drag. I'm dropping here than he gets. I'm just inspector. Okay. You can either. I mean, yeah. Yeah, I guess you know these things, but you can either control space and then you get this in this state, um, merge. And then you drag this one here. And then it will work. Or you simply drug with the right click your right click on this on the foreground. And you put it here. Okay. Something like this. All right. Good. So I want to type just something Whatever for now is gonna be title to be Title increases the big just to see what we're doing And the keyword The keyword in fusion is merge in merge in a What was it for? It? Text is in the background and composite darkened for fusion. It's merge instead. Simple. So this is your merge and you go to the operator and you go to in Oops. It didn't work. Why? Because this fellow is let us show you before drug here is in the foreground. Well, obviously it is the same story as for the edit is going to be. It needs to be in the background, But guess what? I need to show you stuff, so I'm gonna leave it in the background and show you how to swap them in the merge, right? Click and say swap inputs. When you do that, there you go. It works. Merge in context, being in the background. Okay, Um let's now get some goodness going here. Text and then it's going to be the I am a zon. It is not burnings while you're writing, it is burning. Well, it's not turning is being burned. Okay, Onda, we changed the form to something that makes sense for vigils with excitement. I'm gonna stick to my impact IQ all your time, please to choose the phones. Because once is the beauty off the text. Where is morning line? Okay, get them. Big closers. This line spacing one is be closer. The track and I leave it as is because I want them to be close to each other. Good. Now that we have this than to say, Okay, we're done with this part. But hold on a moment. I showed you this. It looked a bit more so when I opened this timeline. There seems to be more going on, like I can see here that the fire is on, like we've turned the lower part of the text as the ground so we can see exactly what's going on. See, this is much better than just leaving it as is so I need to go to my aggressive new timeline. Where is my time Light again? Time 90 somewhere. Here, let me bring it back. Always goes back to the roots. It might feel, um not so convenient, but it actually turns out to be much better. You know exactly what you find your timelines. They are in the root. Then you can place them where you want. OK, but just text that Then I go to my parliament and timelines and they go silent. Then this is going to be your fusion fashion too, right? So there's obviously a difference, because when you look at this, it doesn't have it's not properly positioned. OK, but wait, I can't work on this because I have a fusion clip. Now, if I come to the inspector and start moving things, I'm going to be moving. This is room in or something off. I'd be moving the whole thing. The whole fusion clips. What? Why do simple. You're right. Click and you go to open in time line. You click on this like you go back to the whatever is inside the fusion. Now do whatever you need and then close it. I'll show you how to close it shares closed. First, let's get this done. I will need to drink it a bit higher. Well, this that works on this one before. So I have an idea for this. Should look like Let's go back. Teoh. Teoh. Yeah? How you close it, By the way, you double click on the timeline. Well, in here, then you close it. It's so Kadish, but no Great. So let's re open it. And then let's mean or faded slightly that that's not slightly. The controls are a bit too okay, just a bit like this. Drink it, throw any bit cuts. It's Let me just double click here. Yes, this is what we want. Good. Now this is for this pots. But for dis text, it's a bit weird because let me show you open in timeline for this part. This to hell or whatever this is is black. And it's stopping the things that but what can do is one points. Just increase the holding and rotated something like this. Okay, the controls are a bit weird. Something like this. Okay, on da. Bring it up because we need to see Yeah, this thes thes are quite some sensitive. Okay, we're done. So now we have it that what you could possibly do is say thank you. Um, I prefer to have the fire in the burning and burn so they close to each other. These words I profess have most off the burning here. Then we go back and re open. And then it's week. This fellow, I'm just reset everything here. You said this stuff, I will flip them. So we slipped like this to get the fire under side. Then I will agrees. It's even more 1.4, and I will push it slightly to the right and tiny bit down. Now close. And I see that most of the flames are happening here. Yes, we don't see much of the stuff that the burning is happening to the fire. I mean, the brightest parts of the flames on their good. This is all artistic choices. You're here to learn how to do the tech stuff, but obviously stylized your text is important. It's not just about Yeah, I'll concede the video through detects. It's a bit mortars. Okay, Hum done. So let's go back to fusion. It was about fusion, right? Good. So how do I get that border here Simple. But here instead of just copy paste in it, let's do something else. That just cookie and based the you're going to right? Click here. Okay. This is important. If you de select on right click, you do not get okay. You okay? If you select here, let me say copy. And you right. Click on this one. You don't get what you need. You need to right click outside whether this is selected or not. You need based instance whether it's elected or not, you can save based instance. Then you get an instance off the text. It's a copy, or whatever happens in one happens in the other. Why do we do that? Where we don't want to change after sometimes that Yeah, I want to change the size of this one or it. Then you have to do the same thing here. Let this won't take care of itself. That would be a beholder months before. If I want to change something just in this one, then you deep instance it okay and this is exactly what we will do. So let's first combined these two. It needs to come in is to come. This is the background. Now we're going to add it on top of all of these things, which means that it needs to come after so right click and then merch. Yes, This is on top case. If you d select this on Bush, you'll see that it was in the foreground. Now the text is in the foreground. The borders, not the text that you see through the board. The white borders are in the foreground. Okay. Uh, yeah, but this is hard and everything. Yes, yes. We need to go back here and change the appearance. If I do like this, it seems like it's working. But actually, it's not. Why? Because I have a problem now because I've just changed this one as well. This original text has changed. So what did you say? We need to de instance this part. So if I come here and the instance just the appearance let me just go back, you hear? Then keep this one as is. I'm just just pushed this one here. And this one here to see text one. And thanks to get an instance here. Okay. Get closer. Something like this. Just to be clear. If I d instance right click and save D instance then it is now stand alone. No, the holding. Just disappearance. I can click on this and I get this. Follow this one stays the way it is. So now if I ones to preview to media out, Can I get this? Obviously the thickness is not great. So I need to change the thickness. Always. Whenever he wanted to do something right, click on the instance. Then you can change the thickness of the lines of something that is more artistically. Please him. Okay, that's done. Nice. Okay, So what else do we need to do? We would like to add the border. Okay. I need the border. Yes, you need the border. So because let me just say this on. Let's come back to the car. Pretty generous. Open this one. Oh, I don't have the ball there. No sorry. Border. I was on the border before. Yeah, we're not just Let's just do something else to spring in the foreground now. Sorry. The background fusion, her background Now, hardware, bring in the background also. Right? That is it's the wrong time line. That's a fusion to now and the background. All I need to do is come to my media pool. Look for my background. This is its hopes. This is a big thing. Save you, okay? It doesn't fit. Doesn't It's not big. It's it doesn't fit its I have tentative peace 1920 by 20 p and this is like whatever. What if this is like whatever I just need to resize it to match. So control space and Greece eyes you drag with rights and an input on Let's look at this resized by deformed takes 10. 80 p for the time line. Now and then, I have it as I want it to be. It's been resourced. Be careful with the fact that the original resolution was 1000 maximums. Now it's 1120. So it's resized. Good. Let's bring in this one as a foreground. So it just right click or you bring in control space and then large a role. You know? You know the stuff now then writes good. Can't and go. You start with the foreground. Okay. If you do like this, this is gonna be foreground. Merge is gonna be a foreground, But if I do like this is gonna be foreground. If I click, I'm not gonna get what I want. This is why you want just start with the foreground like this. It's complicated. Just control space undone control space, and then do merge. Okay. Oh, just just just select this merge and then you drug. This needs to be what, foreground? This needs to be walked by ground. Done. Okay. So another way of doing it, okay. Or you just simply drag this one too. This morning call. It's for Grant. Okay, so this is now done. So what we have is it's close all of these things. We don't need all of this stuff now. Only one screen. No, inspector. And this is what we get. We get burning, Okay? And then we get I'm just looking at the position on the flame. Okay? You can tweak it to your liking, but this is how you do video text in fusion. Okay, Now, let's move to the next one to color, because it is a completely different beast. Let's let's go to the cough page. Close this timeline. Save the project on close current online. Let's create new one that's going to be a few. So we're going to work in the color color on guns. Use another clip and I've got this part unless just do it. It's just drag and drop this click on this one. It's in the timeline. Okay, thank you. That's enough for us. I want to add What a word about text. Well, obviously, this is like a fish. I think it's look at the trees completely messed up. We're gonna work on this now, because by the way, it's not even be. It's not even going to be got visible. But it's not the purpose off this path. The purpose of this passes effects. Let's now talk about the big stuff. Core page is a bit different, and it looks at text as it doesn't really care much about the text. Let's bring in next blows. Oops, um, text close. OK, a list bringing text as well because we want to talks. Usually, let's go to the Let's just make them a bit different. So it is Paige for the text. Plus, I will go with Let's call it text. Plus, we're just I'm just ribbing. Start now, okay? This is like home alone. Text. I think the other one is not normal. Okay. Ah, Don, Don. Yes. Let's just move it up. Obits is the Y axis resets. These controls are bit tricky. You know what, master it. Some like this 1970. Yeah, Expensive, right? The purpose of this part is only to show you it is only to show you how to how to deal with color with texting color. Okay, so let me bring in D clips in the cliffs. Let's look at the nurses. Well, all right. You notice that I have three here I have 123 But the color page is not showing me eyes or my clip is not showing me. 123 trend we want to. Why? Because it is showing me the text. Plus, but not the normal text. Okay. Does that mean Oh, I am limited in my options. I did not intend to use the explosive. I only want to have text. Show me how to do that. Of course. Okay, If you want to use text simple, you come here and you, right click and just make it a compound clip When you make it a compound clip, then fusion. Sorry. The color page is going to deal with it as a proper clip. So you call it whatever you like fix, um, into whatever Some lineup creator. Then come back with the color page. And now I have 123 This is your compound. This is your fusion clip. This is your compound clip. This is the normal text. If I do anything to this node, if I say I wanted the not discuss race but say make its farmers we said see? So I'm working on that text, right? Good. Nice. So that was just the part where I tell you, color is a bit tricky with text, so if you want to bring in something, it needs to be like a text blast from fusion is recognized. You could work with that. The normal text from the edit tab is not going to work. As is it, Mr Change into a compound clip? Don't. Okay, now let's go back and clean the mess. I'm gonna remove this one and let's even delete that confound clip. Okay? I'm gonna find it later. I don't know where I don't think is OK, I find a later. So now let's resize this and work on its There's no a young exposed save the forest them save the Amazon. If we're changed or still kids keep up. Could less dirty, normal stuff changed anything. I'm just gonna go with, in fact, again. Take your time again to find whichever found my in bucked, in fact of it. Bigger, closer and cozier. That's it. Nice. Uh, nautical of age. So what did you do in here? You notice that in this debate every time I need to reopen these, um, his nose. Okay. Be color page has Okay, the color page for the text. Now, uh, we need to look at this text the way the core pages looking at it. How does the color paid you? Look at it. It is brightness values. It's like colors. It's that's all it is. Okay, So what does it really have? Let me turn off this track. What does it have? It has black, and it has white on this. Black can be turned into other. This white can be turned into over. Okay. All right. So if I ke it pikey the white, it will turn into offer and I could keep the black. I can keep the black or key, the white. So this is how the color pages looking at this whole thing. Let's no do this. I'll come back, reopened this. We reactivate the truck, make it move is invisible and then we come back. Yet This beta is where this is that this is the disadvantage of working with the latest version. They have goes back. Much has changed from are stable releases, not show anything to every time making a new data for something. And then you get the choice. Do you want to work with the stable of release? Well, you want to work with the beta because I want to show you the latest techniques. If there's anything that is in there, I want to show you Then it also means that if there is any bug or anything or inconvenience and interface, we're gonna have to deal with that. All right, let's now go to the here for the text. All I need to do is tell the color page that I want to keep this white out because this is how the color page looks at it. I want to keep it out. Just just remove it for me and make it an alpha. Make it transparent if it's transparent and I'll be able to see through this. Okay, So how do we do that? Simple first step number one. And that's the key word for the color page is right. Click on you need an alpha output. See here. You don't have enough, Father. Just this green is the color. I need them all four out, but all eyes blue. Then he gets a blue one. Here, you connect this and that's the first step. When you do, Doctor, you get this? Yes, it has some. Now, just look at this. And actually, this is why I have chosen this time for this. Has these this noise in here? Okay, we will work with it. I'm just saying work with it. As in, we'll make the best years of us. Let me keep this one else. Okay. If I start now, Kian, I can either work on this bars. Then I keep out the black. Okay, So for the qualifier, I can remove the black, the bright working on the imminence, obviously because just black and white situations. They're gonna work, use. I'm gonna work just black and white. I see that you removed the blacks. Four Exactly. Removed the whites. So you starts going down, down, down until it is gone. Okay, Than what I could do. Because in this context, in this team talking about a forest and then it say, Well, that's would be too noisy here. Yeah, I know. It's noisy. You know what we're gonna do? You gonna make good use of that noise? So you come to the clean black? We're not cleaning it. We're making it worse because it wanted to m 3. TEXTURED TITLE MERGED IN TEXTURED BACKGROUND: in this part, you will learn the techniques to make a textured text embedded in a textured background. We will be reproduced in this, but you will be learning the techniques to make any kind off embedded text with any textured background. Okay, we will be doing it in the cart page and edit page because you want to be familiar with. So we'll be moving doing some bits in here on some bits in here. Okay, um, we will be reproducing this, but if we come across any happy accidents, we may end up somewhere else. So let's see. Let me close this timeline Andric produced this recreated the timeline I have here a stock image. So what you need is a stock image background off an old book or any artistic choice that you have get a background with a texture. Okay, that's the first starting point. Let's drag and drop. It's on the timeline. Once we have that, we need to add some text to go to the titles part, and we have two choices. You have the text and fixed plus six plus has been fusion. We're going to go with something simple because, you know, when you don't need more features, you don't need more features. All we need is text. We need to be able to write it, choose the phone to do a few things and that's it. This text cause he's got a little more and we will be exploring this in other parts. But for now would be using this normal text. Will drag and drop is here is going to get the same length. Good. Now you can in the cut page and it's the properties off the text by Come into the this party and then t Alicante. If you're on video, you won't see the tea because there's not text. If you click on the text, you acidity a quantity open inspector. Then you will get this dialog box where you have what you need. These are the parameters for the normal, just normal text. Okay, where do you find this In your edit page? Same story. You come in here is your inspector. That's what you need to just click on this and then you find it on this inspector because it's selected good. So let's continue in edit page, because now we know where to find it in both. I will change the fund because this is an important part off your text. I mean, huge competence off the text is different. What makes or breaks the look off the text is the front. So choosing the right one, obviously rarely times new Roman is going to be quite quite critical. So I am just gonna go with something I've already chosen because I've spent some time playing around with these. You can get some new phones installed in your computer and use them. It's Olive the artistic part to you. Okay. I'll need to show you the technique for now. Let me just go to the one I have chosen. It was Magneto, Okay? I know it looks a bit rubbish air, but when you write something different, like the book off magic anymore, it's start looking somewhat better here. You something like this, right? So how do we take it from this too? This because I wanted to be kind of part of the background. Okay, this is how we gonna do with that. Let me just They're just Yeah, find my timeline. It's gone. Evolve again here and then goes to the texture right. Lamu Anointment Rename its six Chards. Thanks. Version two. Okay, so just be keeping it. Thinks of its structure Unorganized. Good video. Now we come to this is the text parts, but this is the video parts off the text. Meaning, how do we want to deal with the Clippers? A video of this track is if you do so with this With this Texas now in the video part, the composite in mode composite is crucial. So the keywords for this effect is you go away down, please go ahead and play with all of them. You don't add the color. Keep playing with all of them, Okay? Until you lose the tax. Um, but the one you need is so like when you click on soft lights, then what you actually are doing is just getting it closer when not there yet. We're absolutely no Monteria. We're just getting it closer. Meaning I can see some background through the text. Now, this is not really really what we're looking for, but it's gonna help us. Let's come back to the Texan. Tweak it. We need to change. The color. Obviously is. Everything is about the color. Now So about the young, the color of the off this color. Here you click and then you start getting the big screen colors. You just get it from the screen. Something that is darker. Get something that would work for you. Something like this. Actually, the black is not so bad. The black Yes, we'll go with that will go the back. Like, why did you usually just use the big screen color? He could have gone for the black Like, you know, it's just happy accidents who come across things like you Looks better this darker one. Okay, this is not really black. This is just dark orange. I'm sorry. Dark Brown. I'll go with black. Okay, lets go back. Okay, that's your black. And then you already have a little off Dexter in going on in here. It's like it's it's already kind of better. Let's let's do some more. That's a stroke stroke. It's already there. I can't see it like, what do I need to do? Well, the size zero. So if you bring it up, there is a stroke. That's if you want to have a stroke, you just increase it. Join a bit and then change the color cause the white is maybe not what you're looking for. Then you change slightly the color to again. Stop messing around with some values. Maybe this one. Okay, good. Um you them it's not as bright. It's not as bright as the other one. Okay? And go back to texture to the original one. Yeah, well, the this is, I think I prefer the 2nd 1 Well, maybe you want to keep it. Why? It's why that it's whatever works best for you, something like this. OK, so this is a quick way to get something embedded by making sure that your composite mode is soft lines and then using a color that works best with that composite mode. 4. NEON SIGN: Now you learn the techniques to make a neon text on a brick wall background or any background that you choose. Let me first close this timeline. Alistair it from scratch. Let's go to the media pool and bring in a background. Okay? The background image your country's anyone wants. In this case, I have chosen the brick wall. Andi have chosen it. Monochrome so black and white. Because it is easier for me to call a great it to take it to A to tend it because gonna be a dark seen a night seem okay, But you don't have to do that, even begin. Any picture you want any background you want. Let's do that and started. I know we're going to be working infusion, but starting cut or edit page is gonna be much faster because then I can set the right aspect ratio. This image is what ever aspect ratio was shot in. But my timeline is different, so I need to get in here. And then it's easier for me to come here on change, as in drink it, girl. And that's it for crop heads or whatever works for you. Okay, so this is now the right aspect ratio. I don't could come to the edit page because in the Cup age, I don't have the menu for that. If I right click, I can find the new fusion clip. Well, obviously we're removing from Page to Page because I want you to feel a bit comfortable working in page in different pages in 70. Now it's you have the freedom off using the right tool in the fastest way in the rights page. Okay, so we go to create a new fishing clip. OK, this vision clip, I can come to the Fusion tap. And then I started working here. It's Commune commune. It's loaded. It has loved it. Okay, that's, um let's look at this. This is my media in. So this is my fusion place. It is already, and the rights former case in the right aspect ratio because it has been resized and it's coming from the timeline it's coming from. The timeline is 1940. Good, but you could also have done is come here and say, Okay, I need to create in the official competition what's going to be completely blank. Then you come here, you won't have this media in is gonna be just media out. Then you can drag and drop this one. But if you drag and drop it, you still have to do the aspirational bits. And then just that it's much faster in the cut page, okay? Or in the pitch. Good. Now we can work. Infusion, add in some title goodness. All right. So how do we add title Simple control space and you text you type text is gonna be text plus not text reading text plus or you just simply click on this t here. Making sure okay depends on what you want. If it's selected, it will create emerge automatically. It's Let's do that. It's not selected Nikolic like this. It would just be like a text floating like this. But if you click on this one likely context, it comes as much. Now the order may not be what you want. This is why it's much better to just not selective. Let me just show you If I type something I can't see, I can I can I can OK, so it's the right shoulder. So this is being the foreground. This is the background. So it happens to be the right order now, But if you bring in, something's gonna come to the foreground or right. Or you can simply kick control space and then merge, and then we get here. Clear. Good. Okay. Now we need to write something that makes sense here, and it's gonna be whatever just wanted something here. Good. It's gonna be pretty. And then let's start moving this. Okay? Good. Bringing. No, Um, this looks like a text in the background. God, that's that's That's all it looks like. But we have agreed is gonna be in a context. Well, if it's the new context and it needs to look like now, So the look of the name, you can find it in the funds. Well, where is that on the phone to? You won't just click here and there and start looking for something that may much well, not much. Why? You think you should not be doing this because it's an auto complete waste of time because you want to get your after a particular look. I know you will have artistic freedom later, but before it needs to look like in the young text and they all sign So if it is a neon sign, why don't we go and get it from reality? Meaning, Why don't you go to those websites? I'm not talking about the front now, okay? I'm talking about the folks I'm talking about. The websites not that make forms, but that make this signs themselves the websites that make neon signs. So if you were to order something to hang it on your storefront that these are the sites where you would go and order it No. How do you do that? They give you the latest example. They give you an interface where you can choose the phones on the style and everything, and then click order on the side of it, and it will, uh, it will. It will be shipped, so you will get the real thing. Now, if this is the real thing, then the funds that they are using are the produce, herbal phones, things that can work they can produce if these are the funds that could produce. And probably it's a good starting point. Okay. So you can look in here and they say I cannot recognize any one of these in my Mr Phones. If I can't let this and there's a powerhouse or boathouse or whatever You wanna call that second call. Come here And there's, Ah, something that looks like that it's a 93. Whatever. I don't know this 93 years, but this is not much of three, so you can start here. Sorry, You can start here. Okay, Um, if you don't find any of those and it's not gonna be, it's not going to be on your arm. Normal phones, because these are special funds. Then you may want to go and get them, and you can either get them for free. Okay. From the phone stopped, come or any other website, please be careful with stuff you download for free because they may have some malware or stuff in it. You know, free stopping Internet, even pictures, even even the image. Even the background image needs to be careful with that. Where you get from Okay, so different outcome can give you some funds for free. It's eso you look at 100% free. Some some of them are personal use whatever you just choose, the one that you want and that looks like it's realistic. Now these are not 100% accurate in terms of reality. But now we're much closer. We are in the ground. Okay, so we're gonna grab this one, this one, this one. And you could also come to buy some of those. Or if you have the phones, refunds the type gets, then you can also go for something like this. I mean, he just search, search for a nail, and then you'll get it. Now, now that you have the right category Now it's your artistic choice. Now you get to choose, but before you need to get it first in the right shape. Okay, they first dictate this is the family off funds you can choose from. And now you can choose the one you want it. Once you do that, then you can come to your phones. Okay? Obviously install it. And then you just right click on whatever you've saved. Hopefully, it's to say, file, there's nothing normal were in it, and then you're actually gonna click and started is going to be visible. But if you are already already have divisions off open, it may not load automatically. So you need to close it on reopen it again. OK, so let's go and get some of those things. That's look at those four quickly. I'm gonna go to the Neil because we talked about three in the first and one in the last one . Uh, it took about three here. 123 and then we talk about this one. Number four, OK? Eso they own, we go. So it looks somewhat like this. Okay, so this is that gonna just fixed here? Okay, you can work with this one, or you can go ahead and get this neonics stuff. Not so, but, um, there's not DP phones deep in l Probably this one could work. Or you could go with HD one. I mean, it's the phone that you have chosen. Okay? I'm just giving you the choices that we have here. Here we go. OK, I'll let me let me go with this time to keep this one. Maybe I'll turn to DP form place time. I don't know. That's how it goes. Nice. Okay, Step number one is You know what? Let's just turn to BP if you first. Okay. Step number one is going to be what is gonna be the front Okay, done. Step number two. Or let's call it the keywords. The most important parts in this is the phone across the glow. We need to add glow because this stuff looks like Okay, he's got the shape, but nothing else. Now to have the glow you want to, it's a matter of flights and light glows in the dark better than in day. So let's get this one darker. So the media control space cc for color corrector you can you get this load And then what you're gonna do is bring the game down, make it a bit darker. It's night. All right? I can pick it up later if I want something like this. Okay, now, then I what I will do as I add a glow to this one. So control space and then glow. Take the 1st 1 and what I'll do is increase the glow size Onda Go Go Size is gonna be like how far it goes. And I don't want to goto that farc's I need to have those gaps, doctor gaps in year they really look much more realistic. OK, then you can increase how much blow with house. Don't put too much because it's not really very, very bright, right. There is some glow that's always see text with glow, that's all. But that's not now. So you need to have it in a particular color, right? So for that, we're gonna need to have a color corrector earth. So we begin ical corrector and that one, Where do we put it? Where do we put this one? If we put it just here, let me just do it. Face if I have something selected, okay, Have something selected and I bring in that Then it comes after it. Now, if I do this, it's gonna work half ago. Red, Yes, it works for me to have this reddish grow. But the problem is light, as you know, in reality interacts with stuff around it. So the wall doesn't seem to care about the lights. And that's not what we want. We want the light there as well. So this color corrector is going to stay, but not in the right place. What I'll do is just bring this one to the foreground and then move this one that's disconnected and would shift if I click shift and I come closer to align have able to put it on release. Good. OK, that's a bit too much beyond rail is now, because this is not how light interacts with the war light is gonna be brighter closer to the sign than around the edges. So when you do something about that, so how do we do it? Well, I just need to make sure that I isolate impact off the color corrector on the the um, just just around the text. So for that, I need to have eight black background. Well, it creates vignettes style dingy, but it will be working in the opposite. Um, yeah, it's It's a vigna, but it's it's will be creating a new lips of background, which is blacker than you bring in an ellipse. Where is that? Where is that somewhere? Here. Yes, here we go. So this shape. So when you have this media out here and you have your lips or background here, then you can work and still be able to see what you're doing. This way, you can have something like this with cricket plates. Ever. For now, let's see how it goes. Okay, Something like this. Now, if I now come here and grab this creates a merge basically and keep it in the foreground is gonna be like there's but well, hold on a moment. It's not what we want. Obviously, we need to come back to the L Ibs and in vert. Once we invert them, we can see through nice. Still not what we want. Well, because we need to have very soft edges, like really soft edges. Let me see if I can go higher than 0.3. That's terrible. So 0.3 Yes, I can. Good. Okay, so this takes us to now this media output with this. Now let's work. Let's let's let's talk about the text now. Because what makes the nail is not just the glow the glow is gonna take you only so far. But if you I'm just check now for the color, okay. And this one, this color corrector, I think we're gonna be too far with the gain. This is now. It's a matter off. Weekend is matter off tweaking the look on making it look a bit realistic. Right? So this is here and this is here, but ways we have a little problem here because this waas supposed to be read. So what is going on here is that this actually is impacting. Okay, Who says to you, right? I just have I just have the feeling that this is too. Yeah, it's too flat. Okay, so what do we do initially in the first place? When we place this glow, we would like to have it added to the text. You're going to need this feature later, but would do it right now. Okay, So I will I will do is this text will be merged with this one with the glow and only on this merged stuff. So the text plus the merge added with emerge text other to text plus girl. And that's what we're gonna bring in here to the foreground Now it looks much better. Okay, now it looks much better. Obviously, Even if the lights are blue, you will notice that the bright parts are always white, no matter how, uh, how colored the light is, they are going to be white. Okay, You could still he could play with the colorants. They get it slightly closer. You could do that, but it's not going to work really? Because if you if you do it too much, it's not gonna fly. It's what makes in this bright white is what makes the bright highlights of the light Okay , so I would rather keep its something like this. Good. Okay, now that they have this, I mean, obviously, you can stylized it the way once you could move to another front again. Um, yeah, I could keep this one. Give this one. Okay, then. Probably just moving the whole thing. Transform. Moving this. Just select it conjunctions form Just form then will then move this one of its higher here . But as I move, you notice that this is not moving it it I could either bear them, connect them, which I'll just do Right now we have the ellipse. So let's reset this one. Yes. We said this fellow set a default. It will in this one. And I will want to get my lips because when I been this one that I see the listen to transform. What I want to have is this one is the center center of literal form. It's the center of the lips. Okay, center of the ellipse. Let's go. Also deprive it. It's the L A center expression. Then I once to connected to this was my center to this one. If I do so, then it's well, don't magically presenter automatically follow it If I do like this and go to my fixed Muchas form. If I move, then the light goes with its and that's what you want. Okay, you can obviously reshape this thing without any issues. But the position just going to stay where the text is Good. That's a good starting point. Let's now move to something else. Because what you may want to convey is obviously the illusion that this isn't Yeah, in the context, but that that there's a when the light goes on off. So that effect you want to do it in the beginning in. So we're going to Can you make this animates? What if I come to the Independence fellow? Okay, fine. Now, uh, if I come to the most saturation saturation, if I do this, why's I can minute lights off? But then how can I have the lights off if this one is still bright? So this is not going to fly? Just not gonna is not going to work I need to do is because I have in this merge ploys got this much. There's this blend. No, actually, does this merge? Is this plant? So this blend makes the lies disappear, as in switch off. But if I do like this hoops the wall is empty, there's not, Then So here comes now. The main trick. The trick is actually to create on, um you know, No, it's not gonna fly if I create an instance because we wanted to do is create an instance. Say, copy. And then But it's not going to work. Still wanted to to show the district, actually. And then you right, click somewhere here and say they still don't try to click on the on the note. Right? Click here and it stays based instance. If you do that, you'll be able then to have two of them because I need to fix All right. This one is now, um, an instance. And what I had in mind is to just change the call off one of them. But because it's an instance and this one, I cannot the instance it you congee instance anything else in the instance this one. But I can't Dean, since the color. For some reason, I hope in the future. But people to the instance dust, and it's gonna be much easier for me. I keep everything on just the instance it to turn it into a dark, dark gray or black, so to weaken mimic the lights off. You can still see that there is. The sign is still there. OK, but this instance is not going to work. What will work, however, is the dead normal? A copy based. Okay, this copy base is gonna come here and let me just delete this one. This copy here is what will come to the You see, I need to have another. Okay. This one instance, this one instance copy the dress form because it needs to move wherever I move it. Then right? Click based instance. Then I can give the input here. And then this is what gets in the in the glow. Okay. Are you flowing? Okay, So this is initial text, which is going to be, which was whites. And now we have this one as white would grow. But this is going to be turned and turned into black, because what I need to have is tonight Certainly. Okay. Lights turned off men. Something like this. Just wanna have a light duck, duck gray, something like this. So when you come to the merge and you come to the blend Oops, it's not there, it's not there Because holding moments What have I done wrong? Done. Something terribly wrong here can emerge. And then you've got the glow, right? That's the okay. Lets Z make sure first, that we get the right color. Keep our black. This is good. This is okay. So this now, if I turn the saturation down for discolored director and I turn the merge down my work led the rise much. Okay, this is the rise much. It's this one that we need to work with. Okay, so it's this one and this one. These two are going to be friends. Now. They need to talk to each other because then I can come back to the normal saturation and then bring here in the merge a normal gland. Good. So I need to make this saturation on this blend go hand in hand when they they're both own or both off. We do the same trick color corrector in this one. Click on this merge. Then I will come to the It's the saturation with the bland, so saturation right click expression and then move it to blend. That's what you've got. Press enter. Done. So if I now move the blend, where's my blend? And then this one If I knew If I now move the blend, everything else moves, okay, It's too dark for May. This is too dark. First, change this one much better just to give the illusion there's something going on there. There's something there. Okay, good, because this is not gonna be seen as this is going to be a fraction of a second rights because that's how light blinks. All right, good. So now we're almost done because we need to animate it. So we need to unmake that we need to move to the animation part, which is keep rains are. Let's look at the cute friends. We don't have any key frames now, but I'm going to animate this. I'm in frame number one I'm going to start with on this blend. Just click on the key frame of Just created a key frame Nice. Then I move to the next frame with arrow to the right, and what I'll do is Rick again, because I wanted to be on, then moved to the next. Again on Done. Get down next. Oh next. Down next. Oh next down, then twice. Next. Don't keep it too much down too long. It's just two frames maximum, because otherwise this is gonna be too obvious. Then you click and then move. And then no and then down. And then another frame, another frame. And then it doesn't have to be every frame. So what can do is just keep it a little bit on, then click again to, because otherwise it's going to be slowly switching off. That's just like a demon it off. You need to have a key frame with own after you have gone this period. Then you move another key frame, and it's what you're off another kid. Frame this with your own something like this. Another key. Freeman's off. Another key for him is on something like, there's just something simple. Let's just play this and see how it goes. Simple. OK, it could be in a take your time to tweak the look off that lights blinking from I don't want to do is simply probably make more off it. So that's the sister that stole. It's just could come to the key frames. Close this one. Andi. Good to key frames here. Open. So I will do is simply creepy. And then come here on the face. Right. It's a bit misbehaving now. Okay, Got it Right. Have gotten boy key frames. Copy it further. Here. Based. Okay, good. Right. So what you have is something like this. It's a bit repeated. Okay? It's not playing a real time because it's he needs to cash. All right. So I could is the record also do is move these ones around, moved in here the's ones further, just to create a bit of chaos. Something like this. Okay, okay. I just let you decide what you want to do in terms of key frames and stuff and how the look off the lights. McInnis. But this is what we're going often now. We just have just one monitor, even actually, just remove the notes on, Look at the okay, and you may do It's a bit slower because it's one frame after it. You could take the time to have its lower. And this is how you make nao text effect in the pictures off 16. 5. HANDWRITING EFFECT: now you learned the techniques to make a handwriting effect with text in the venture is all 16. Something that looks like this. Okay, let's do it from the picking in. This creates a new fusion composition, because that's what is going to be. It's work infusion roids. I'll give it a descriptive name, of course, for the duration. Choose what duration you wanted to be, and we will then just also drag and drop that composition on the timeline. Click on it and just go straight to fusion. That's where the work is going to be. When we open fusion, we find only media out because it's an empty composition. We need to populate it, control space that we're going to type bluster to cheat our way out to get the text, because that's the only one with the bluster. If you do it like this is going to be a problem, because I kept the media out selected soul and do this okay, The select media also don't control space on get my text. When I do this to me floating, it's not connected to anything nice, right? Click on this and then input. There we go and I can't come. Just want to get my text. Write something. Whatever in this case is going to the deal on increasing the size of And it started animation for the handwriting. Obviously not because the phones is not appropriate for the handwriting. So we need to arrange a proper hand right in front a living up to you to choose where you get your stuff from. There are. I'm just showing you here options. You can get it from any website you want, but you want to have a handwriting font. I just use this one. Okay, so that's step number one. The critical bit is a hand right in front. Number two is 18 to make sure that you don't have a problem, Which is, if you let me just get this one in the right position, first transform, then bring it down, bring it down and build something like this. I think I'm wanted to have its and gets aligned with a video. Something like this sometimes. Okay, Now, why did I added transform? Because I wanted to change the position. But then you may be thinking, Yeah, but you can do that with the text. Yes, I prefer to have visibility off. What's happening. If something is not aligned, then I know that all. It's because I have nerved orginal text. So I want to keep this stuff like this. It's just personal choice. You can keep it as well for visibility, but this is good. Now let's go back to What did you say? Step number one was the phone step. Number two is to make sure that you don't have a problem. You don't want the letters to be overlapping because we're gonna be going to be used in a mosque in effect. And if you start having this overlap here, it's not going to be really good. It's gonna look not so good. Okay, so let's, um, make sure that we don't have gaps. So how did I do that? I want to use this fund, but I don't want to have gaps. But simple in the text here does track in. So you just change the tracking. But this is okay, D. The controls here are too sensitive, so we'll just move. It's likely like this just to make sure that it's not overlapping. Probably this is a bit too close, but I don't want to have too much space between, okay? Just move it. Just between the detainee. That standoff that's enough. OK, cool. Don't know. Where did you start? So step number one was the front step. Number two is no overlap. Step number three is Let's get our pained control space and mosque painter when we do that with the text selected because then you wanted to be linked like this. Everything disappears for a simple reason because it's being mosque. So we want to click on the mosque and go to the 2nd 5 year and invert just temporarily inverting we will. Oh, and check this one once we're done. But for now, we want to see what we're doing. Because we would like to Baines. What? Wait, we're gonna paint with this brush minute pitch with this one with the stroke. Okay? Once we click and stroke, then these this is being loaded as stroke one and then were able to go back here and change the brush controls number one this size to make sure that actually, what this does is good here that we are able to erase everything and at the same time, no currents. Something else. Okay, I'm just checking now. I'm just checking. I'm not raising anything. I'm just checking if this size is OK, good. Okay. Size should be. Should be here. I need to be on the right a bit. Okay. He should. Okay, okay. Softness. Absolutely. Zero. Not, then. Okay, the lowest. Because if you do like this with softness, you're gonna have some injuries. He believes in me. Just okay, not soft stroke controls. Then you come here. This is the critical part in step number three, which is right on. We need to have the right on effect, and then you can start simple. Okay, So you, I recommend, are few ways to do it, which is the 1st 1 which is, like, do do one part and move on, frame the one positive move on for and do our part and move on. Friends. That's a bit too much. You know what for? Lazy people, just we don't We don't want you want to do things fast. Like let's do it in one. Go right. If you're gonna write handwrite something, it's like writing it with your hand. It will be done in one go. So we will do all of this in one go. It may take quiets longer than initial right in. Don't worry about that. You're not supposed to write it at the speed at which should be seen on the screen. Just do it in the right sequence and not leaving too many gaps, obviously. But in one goal, which means do not release the your finger from the mouse. That's 40 mins. - Okay , so when I released the mast, a few key frames are going to be populated. Trudeau has taken quite a while in one goals. So let's now see what it looks like. And I'm going. Teoh, open the key frames and close inspector. And then we will be able to see sometimes made these completely zoomed out. Okay, we'll be able to sit. Actually, those key frames are so long compared to our composition. What you see here, this is our composition. And these are the key frames. Obviously, it's not going to take so long on the screen. So what we need to do is quite simple. Come to the stroke here, click somewhere here and then drug and select all of these key frames. They're gonna become yellow, right? Click on, Go to time stretching then a box. It turns white. A books A surrounding them. It's not their visible, but they are surrounded. Then you just grab the end and start moving them, stretching them till they reach. What did duration that you wanted to take? Okay, so now what I'll do is just pressed on this. Sounds like a reasonable speed. I could make it faster. Yeah, I think we should make its a bit foster. So I mean, you know, stress is even more okay. Lets go back again here and see if this is false enough. Yes, this is fast enough. Okay, this is fast enough. I could, obviously, because some places were fast, slower than others. I could select some bits. Save we are here. Anything quell. This part off deals is going to slow compared to the other one. You can sell it just this part of deals safe from here. Select all of these. So the select time stretching. Then you select again this parts, and then you do the same thing, time stretching. And then you going to make this one a bit Foster something about okay, that's all you need to do for now. Let's close the timeline. I'm sorry. The key frames disclosed Key frames Go back to the beginning on What we need to do is open the inspector still with the mosque pains cake that we want to being lived in fact, because then instead off an erase effect, it will do the opposite, which is the right effect Idyllic known space. And this is the right in effect. Now, this is a bit too slow, but I think it's mainly because it needs to be. If it is too slow, you can still you can still go back to the key frame, select everything. Just de select this one time stretching and select everything. I mean this chance. Here we go. I didn't sell X Everything did I know selects everything again, writes clicks. It's just the same story. Time stretching, and we will stretch it even more. Get it, Foster. Until you get the speed that you want. Right? So it's now Okay, This sounds like a reasonable speed. I mean, the deal part is too slow, but you know now how to deal with that. OK, good. So openly to do now is just that goes this parter. Go back to our fits everything on, then Probably go to the timeline at something to it. If you notice now, I have the fusion stuff being cash. So the red line is changed into blue line. It's being the whole thing is being cashed hasn't rendered in the background, and it's going to be reading from that fund has been rendered. Nancy Ellen, you changes. Made I click on this. This is the effect. Obviously you want to make sure that you know the l I didn't really here. I wasn't very careful with that. Have touched the part. That's something that is up to you that you just carefully do the pits. I just show you the techniques on. Then you know how to do that. Now you can simply add any clip you want in the background check. What is this was my click yet is a clip here. And Ah, this end here? No, it does not end here, but blankets something like this in the letter Cash. It's 40 cashing in the background. Good. So, yeah, you can have something like this 6. TYPEWRITER EFFECTS: let me show you how you can make a type writer effect with text in the Venturi's off 16 and control its speed. You use this kind of effects in many situations. One of them would be in feature films where you have an establishing shorter and you want to describe the place. For example, here we say research facility this and that or laboratory whatever or base camp. Then you have that text somewhere down on the screen. But then, generally, it comes with a sound effect, and it comes as a typewriter. Um, effect. Okay, so let's just do it. It's something like this. Okay, let's do that. Let me save the project. Close the timeline, and we'll do it from scratch. How do you do that? You go to the effects library, and we're going to use text, plus not the normal text text. Plus, Okay, this is a fusion preset. That template, actually, that ships with the ventures off 16. Good. So once we have it, we open the inspector, and we just type whatever we need to type. Um, yeah, I'm gonna take whatever I had I for to keep it in capital letters. Research facility. And then what was that again at that comma? Hoping, writing it right out there. Come on. Um, does It's on a chilly. Okay, We just form. I think we move it to also not this one. To the roids. We bring this one like this, move it here. With this stop, you will be able to control where to find It looks. Yeah, they're quite wild. These controls can be quite wild, actually, as their 0.5. Okay. Yeah, just ever so slightly. But it's not really Okay, Good. Good noise. Bringing it down. Something like desk go back again. Bring down, Uh, yes, something like this. I'm trying to find a healthy balance between something like this. So same similar space here was in here. Something like this. So that this spaces equals of this space. Kind off. Alright on. But it's not too two big on the screen when it's establishing. See, obviously you can use it for different reasons. For different effects for defense situations. Good. Yeah, but now we only have a text that is static there. So how do I make it type right itself? Simple. We just need to come to be um, the controls that we have on the right or not as masked. Not this one is the right on its effect. Is this one right on You have this right? On effect is the typing that happens. But well, I needed to happen on the screen. I can keep playing with these things were obviously we're going to keep ranges. So in the beginning, like the first different here we're going to have zero. Okay, Nothing. And then click a key frame and then say How long does it take? Let's say I don't know and put it somewhere because I want you to get in the habit off. Tweak in your timing in the fusion top. No. Sure you have to do that, then used a fine. I am going to move it to one. Well, just by moving it, I have another key frame created. So what happens is this is what happens. It just happens to be quite a nice speed, by the way. But let's assume it is not Denyce that the right speed. Then what I would do is click what you're done. You can choose if you know exactly where you need and then you're done. OK, but I don't want you to be done. I want you to know more. So you need to show you some more stuff in the techniques. What if What if you're in the Russian? You don't have time to keep trying and error trial and error. Yeah, it's lower. Can you get it faster? Can we get it? There's You want to have more control because this is a fusion template. You can go to the fusion tab, Click this one, go to the fusion time, but okay. And what we will do is just opened this key frame. Okay, select this template. Okay? Don't need to open it. Just click on key frame. Obviously, when you click first, you're going to see much. It's gonna be, like, so zoomed out completely. Assume that just zooming keep doing it until you get this. And then what you have click on this template on did you will get these lovely Keith Rains . You have just quick to key frames. Start and start and okay, so you have both of them select both off them because there's the starting. So there's a ticket back. There's the start and There's the end. So 00 01 Okay, so they did. This is what what's written in there because you could have 11 which basically means it appears and disappears. That's saying, not really the same times like it's written raised. You can do quite some fancy stuff in it. All right, this is your speed. An infusion. You see that? Actually, it's not. It's, um, thinking Sometimes short, you can just select. Sorry. Click somewhere down here, Click someone dark down here and select both. Not did. Not the starches. This one on. Then just choose. What's the speed that you want? It's much faster if you do it like this and then click. All right. It is the right speed, Find 7. TITLE FOLLOWS PATH: Now let me show you how you can make a text follow a path in the Venturi's off 16. And how you can, honey maid that text along that path. All right, let me close this timeline. Let's start from the beginning by creating by dragging and dropping video. Okay, this one will be creating a part along the mountain shape, okay? And they will have text in there. So I right click on this one and creates a new, efficient clipper and go to the fusion here. I will have a text. That's just get the text loss. Okay, I right click and much having the text in the foreground. I will based dexter first. So first you start with the text, and then you typing on, then you create the part because then you have the better visibility off how the text is following the path. Good. So we have a long text here. Just about enough to, um now, just check of phones, um, people, This one. Okay, so let's let's start. Let's keep it as is, or just reduce the size of tiny Better doesn't have to fit in the okay. We can. We can make it keep could make it fit. That's fine you don't have in the beginning, But it's fine. And now it's time to create the So how did you do that? You know, when you come here, you have this layout. This layout has type, and you can go to the park. Oh, okay. Nothing happened. That's because you have not drawn that you did not draw the party, so you need to draw it. So you need your cursor has changed now from the normal master, sir, to this cross. So what you need to do is click and then click and then click on. Then you will notice that you're fix the is getting in lined where the part that is being created. Trying to state a bit further from this edges because Okay, that's about enough. That's good. All right. But these edges are not what we want because they're too harsh. I need something snoot. So I need to come. These are a lot of controls. How you can control your pack, that you've got a lot of controls in here. The number one I come to this one, which is select old points. You know, I need to do is just over over. Each one of them is gonna tell you what it does, but I'll show you which ones we're going to need. Select all points. So I select all points. I come here, make them smooth. So make them Smith. All right, that's a good starting point. This is standing in the way these controls are standing in the way. You can't see exactly what you're doing or you can do is come here and remove this show controls for this way you're able to see Okay, I need to change something. Or maybe not. It's gonna be closer. 100% maybe 50. Okay. I'm just using the controlling, um, most real. Okay. Eso it is very clear for now. We need now to come back to the text under change a few sessions to make it fit on. You decide ice to work with us. And that's just that I didn't leave enough space between clouds and mountain. So I will do that. It's good, actually, because I have read an excuse. I have an excuse to show you something. I mean, select. Oh, that's not the right one. I just need to collect somewhere outside. Okay to de select. And then I can grab each one of the users separately. All of them. I can draw condole like this and then move everything. Something like this possibly move. Just want to get down. And then you get the handles as well. You know these things? You get these handles, line some stuff if it is not the shape you want it to be. Good. Now, I will leave that up to in terms off perfectly light in it. But I I will do something here just to make sure that we're not even it like that. So this is fine. Good. Let's say that this is what we want to go with. This is how you make it's followed, but what age you want to any amaze it? Like, OK, this looks more like a Photoshopped thing. Well, let me just make you Lett's first play. This It's gonna be a bit, um oops. It has crashed. Well, because we're working with the beta version off 16.1. Okay, so I'm gonna say ignore for now. I'm going to relaunch it again. I had to restart a DaVinci because it had crashed. I am used in version 16.1. The bait off version 6.1. It is not the better off 16. 16 gorgeous, stable release. But I'm always using the latest version. And with latest version comes what exactly? Instability. So, uh, I have to live with that. And I'm happy, actually, because I get to use the new features as they are released. And also, I can give feedback to black magic when this is happening. Okay, good. All right. So what were we going to do? We're going to Mr the Animation Parts where we will just animate the text along the path because now it looks static. It looks more like Photoshopped picture. Well, that's true. But if we play this like this, then you see that it is moving like the clouds are moving. Okay, It is going to look great, But what if you want to move the the, um, the text as well? We come to the same place where we find our path. And then there is a noise feature here called Position on part so you can check where you want to place it or simply just the move it up here in the first. Where is it? Sorry. You can use it too far. No, that's point out of the frame. Or probably just here. Okay. And this is the frame number one. I click on the key, creating a key frame. Okay, then I decided somewhere, somewhere like here, maybe 100 frames. Well, seconds on da it and change it to this to the final one. And that should be it. Okay, so if you come back here and you play, not sure if it's gonna crash again, you get It's not really playing very smoothly. And obviously because I'm recording at 15 frames per second and you're gonna wash this stuff and then it looks jagged. But I will show you the final render. Think with full frames, not just 15 frames per second. Ok, so this is how you can any made your text along a part in the Venturi's off 16. We have used this footage off the mountains where we have a text and you see the mountains thinking them rigid while they will pass as the passing of clouds. It is a scientific fact that mountains are moving. They move very, very very slowly, So tiny mountain Everest is moving every year by a tiny, tiny, tiny bit. You'll find this in the BBC documentary on the It's the Movement is over centuries. Okay, It's noticeable over centuries, obviously, because we're talking about huge things. Good. All right. So this is how you amaze your text along a path in DaVinci Resolve 16.