Guide to DaVinci Resolve 16 Video Editing | Christopher Navarre | Skillshare

Guide to DaVinci Resolve 16 Video Editing

Christopher Navarre, Software Instructor

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42 Lessons (5h 2m)
    • 1. Course Intro

    • 2. The Media Tab & Importing Assets

    • 3. New Cut Tab Workflow

    • 4. Edit Tab

    • 5. Keyframe Animation

    • 6. More on Video Transitions

    • 7. Titles

    • 8. Fusion, Color, Fairlight Tabs Overview

    • 9. Exporting Videos by the Deliver Tab

    • 10. Cut Editing Workflow in Depth

    • 11. Easy, Fast Video Stabalization Effects

    • 12. Zoom In to Target with Basic Animation Keyframing

    • 13. How to Use Adjustment Clips in Your Video Project

    • 14. Editing Multiple Projects at the Same Time - Dynamic Project Switching

    • 15. Smooth Timeline Effects Playback with Render Cache DaVinci Resolve 16 Tutorial

    • 16. How to Create Custom & Reusable Titles

    • 17. Make Fire and Smoke Effect with Particles

    • 18. Put Moving Text on the Side of an Object

    • 19. Animated Neon Title Effect DaVinci Resolve 16 Tutoria

    • 20. How to Turn Green Screen into Replacement Background

    • 21. Add Effects to Multiple Clips with One Adjustment Clip

    • 22. How to Replace Sky with a New Background Video

    • 23. Day To Night Conversion

    • 24. How to Accurately Change Color of Moving Objects

    • 25. Light Rays OpenFX Effect

    • 26. How to Turn Video Clip into Color Palette with DaVinci Resolve 16

    • 27. How to Create a Double Exposure Video Effect

    • 28. Black and White Threshold Effect

    • 29. Threshold Effect with Fusion Nodes

    • 30. How to Blur Out a Face with Movement Tracking

    • 31. Blanking Fill Effect to Edit Vertical Video Black Space

    • 32. Logo or Image Particle Dissolve Effect

    • 33. Creating a Snowfall Particle Effect

    • 34. How to Import 2D Animations

    • 35. Noise Reduction & Dialog Processor Audio Effects

    • 36. Audio Mixing Basic Tutorial

    • 37. How to Record Audio Voice Overs

    • 38. Automatic Dialog Replacement (ADR) - Recording Audio Takes and Using the Best

    • 39. Audio Effects to an Entire Audio Track

    • 40. Exporting & Importing Timelines and Fusion Titles

    • 41. How to Upload Directly to YouTube from DaVinci Resolve 16

    • 42. Export Video Still as Thumbnail JPG

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About This Class

Welcome to my course on learning video editing with the latest version of the DaVinci Resolve video editor!

We're going to start with an overview of all the main pages (Media, Cut, Edit, Fusion, Fairlight, Color, and Deliver) of the application and basic video editing topics like animating properties with keyframes and how to export videos. Afterwards, we delve deeper into content focused on creating visual effects and titles through the Fusion and Color pages to achieve interesting results in your video content. We also tackle new features in DaVinci Resolve like the Cut page 3 timeline video editing workflow. This guide is best targeted at beginners to intermediate level learners - some topics are a bit in depth but every step will be thoroughly and visually explained to keep it easy to understand and learn from

Here are some examples of what you will learn

  • Building fusion compositions to make custom effects and titles with a great deal of flexibility thanks to the nodes system
  • How to mask video sections to selectively blur or modify areas of your video such as a person's face with the Color page tools
  • Creating particle effects such as fire & smoke, snowfall, or dissolving an image into a million pieces.
  • Basic color grading topics such as turning a day scene into night lighting and pushing all colors towards a black and white threshold as a visual effect.
  • Audio editing topics like how to add noise reduction and vocal enhancements to entire tracks for better sound.

By the end of the series, you'll get a grasp on how things work with the different work areas of DaVinci Resolve. You'll learn a lot about making effects, editing videos, and how flexible and powerful DaVinci Resolve can be as well as how to implement that knowledge. If learning video editing and DaVinci Resolve 16 is your topic of interest, then I hope you'll join me for this course and learn a lot from it!


1. Course Intro: Hello, everybody, Chris here. And this is my DaVinci Resolve 16 Video editing guide. It's intended to teach, through example, showing off how to use the program in the process of creating and modifying effects, titles and other video and audio adjustments. Every tutorial was shown step by step so you don't get lost on the dark and aims to show off something new and exciting as part of the course. Since this is the newer version of DaVinci Resolve 16 and 16.1, we cover topics that are specifically related to the newer versions, such as the cut page workflow that has three timelines as an alternative to the traditional edit page. We also dig into functions like uploading to YouTube. Once of video vendors, you can have that automatically happen every time you make a video. Some other core samples you can expect to learn from include turning daytime lighting into nighttime recording audio voiceover straight from within, DaVinci resolve and creating custom new titles completely from scratch using DaVinci Results Fusion Page, which is usually used for adding three D scenes and special effects to your videos. So if learning how to edit videos is important to you, then I hope you'll join my course and learn more about video production and DaVinci Resolve 16. Thanks for watching. 2. The Media Tab & Importing Assets: Hello, everybody. Chris here and today I want to take you through the steps of editing a video from beginning to completion inside of DaVinci Resolve 16. So hopefully we're gonna be able to do this and 30 minutes or less, I plan to show you most of the basics. So I'm going to be glossing over the more advanced tabs which would consist of fusion color and fair light, and then said we're gonna be mostly focused on the media to have the cut tab, the edit tab, and then at the end for exporting your video, the deliver tab. So to get started, we want to import video clips into our project. And the ideal tap to do that on is the media tab over on the far left. So when you click on the media tab, you can see the media storage section in the top left hand corner. If you ever don't see one of these windows that I'm talking about, you can probably open it up by clicking on the name of it on the top bar. So with the media storage tab, we want to add in locations on our computer where we're storing media clips by default. A few folders, such as your user account video folders by default. A few directories, such as your user account slash videos, will be auto included here. But if you don't see on this less than we can add in a new location on your computer or network by right clicking and doing add new location. Now I want to pull and files from this 30 minutes for water I created earlier. But if I go ahead and select four here, what will see happen is that it will say that Ah, higher level directory already exists in list. So if you run across that, what that means is that on your list of locations, there's already one that's higher level than that. So my desktop here we can see Chris User's desktop contains the 30 minutes folders. So instead of adding it to the list here, I need to start by clicking on the user's Chris desktop and then navigate into thesis subdirectories such as the 30 Minutes voter. So here we have a few video clips. If we want a preview, any of them we can left click, and it will pop over here on the video preview window. If you hover over a clip, you'll get a line that will indicate the position in the whole video clip that you're looking at, and you can scrub it to get immediate thumbnails of the video furniture looking at. So that will help you identify which clips you actually mean to bring into your project and which ones are unnecessary, especially if you're working with a lot of videos. Now note that this is in the thumbnail view here that also the list view, which looks like this so you can't see the image thumbnails of each videos. You can still click on them to open them up and scrub through the clip on the preview window over here. But the main advantage of the list viewers that obviously conscripts a lot more videos onto the list, and then you can see more technical information about those items. By the way, if you want to expand a window, just go to the edge of one of your windows and left click, and then you should usually be able to scrap and expand one window by shrinking another. So to bring these video files into our project. I want them to end up in this quick pool down here, so I'm simply going to take thes three video clips and drag them in, therefore entirely into the media pool. And depending on the project settings, there's a good chance that you'll get this pop up, which says that the clips have a different frame rate than the current project setting. So when you're creating your video, you're probably going to be aiming for a certain frame rate that you want the final video to export in for YouTube. That's commonly gonna be 30 or 60 FPs. So it's up to you. If you want to change the timeline frame rate to match whatever the video is in this case, I'm gonna hit don't change. But if you want to see what the base frame rate on these videos is, a good way to do that is to open up the list view, expand it and look for the FPs category so you can see that these video clips are 30 FPs, 29.97 FPs and 29.97 FPs as well. If you want to know what your settings for your current project are. Then you want to go up to the file menu. Do you project settings and you'll be able to see your timeline resolution and the timeline ? Frame it. Now note that while you have any clips in the media pool, you can no longer change the timeline frame, right? So if you ever want to change this so that in your timeline the videos played back at a different frames per second amount, then we can remove these from the media pool by left click and dragging a box around them, hitting the delete key and removing them from our media pool. And now that the media pool is clear, we can actually change that timeline frame rate to whatever we want. By that, that's 30 FPs 60 FPs or some other sunny. So for now, I'm going to add these video clips back in Once again, I'm gonna hit Don't change because I want to leave the final timeline resolution at 30 FPs 3. New Cut Tab Workflow: And now to start editing our video, we can go over to the Kuttab or the Edit tap, so we'll start with the cut tab because that's specifically new to DaVinci Resolve. 16. So the cut tap is basically a simplified version of the Edit tab, where it presents less windows to you on screen has a little bit less features and what you're able to do in the Kuttab. But it's more optimized for if you're working on one screen, or if all you're trying to do is make a bunch of cuts to get your video out the door, and you don't really need to worry too much about advanced settings such as doing key frame animation. So just to take a quick look at the Edit tab, one of the main things that is missing from the Kuttab is the inspector here. So, in order to see some of the settings that pop open in the inspector, if I drop a clip onto the timeline like this and I left pick on it, you can see that there's a lot of settings you can edit about a video clip inside of DaVinci Resolve 16. Now some of these still exist on the edit tab. But as I mentioned before, you can click on these little diamonds and order Teoh animate a property such a zoom over time. And so once again, the main difference is that on the at a tab you have more full control over everything and your video clips, the changes in adjustments that you want to make to those the interface could get a little bit cluttered. So you may actually prefer to do some basic editing in the cut cap and step another one of the key differences between the inspector tab and now jumping back over to the cut tab is that on the edit tab, you actually only have one timeline that you're working with here. So if you want to make any changes, they're going to need to scrub throughout the timeline and navigate with your timeline cursor to get where you want to make your edits. But on the cut tab, you have not one but three timelines that actually exist to you, too, that you can see on screen So the bottom timeline works differently than in the edit tapas . Well, because this timeline is always going to be centered no matter what, on whatever your position is in the video, and then the second time line right above it will always show the entire video project. So whether your timeline is 18 seconds long or an hour long, you'll always be able to see all of the clips on this timeline. The third time line, which is for making frame by frame at it, shows up when you're trying to make adjustments to the edges of one of your clips. So let's start by dragging a second clip into the timeline, and I'll put it on this main project timeline that shows everything. So I'm gonna drag this right above the video track, one which will create the video track to immediately. You can see it numbered over here. Video track to video track. One main thing to know, if you don't already know, is that whatever is on the top video track is always gonna show over whatever is on lower tracks. If I go to this part where the second video clip comes in, you can see that as soon as the second clip is there, we can no longer see the bottom video now, in most cases, for the base video, we'd want that to not be laid on top of each other, but to be side by side. So with this clip on the top video track and left, click and drag that down here toothy video Track one, and you can see that in the cut tab. You don't have to be exactly precise about things. There's a little bit of smart sensing about what you're trying to do and side of the cut tab of DaVinci Bills itself 16. So it'll kind of auto snapped there to the right side of the first clip. Now both clips are on video. Check one. And in order to see the third time line, I could do something like left click on the border between these two clips. So now you can see to preview windows over here in edit mode. This is another one of the differences. It'll show the ending frame of the left hand clip and the starting frame of the right hand clip. So what? Dragging on the border between two clips normally does is pulls in more or less of the source material. But because the source material is already fully in the timeline, we'd actually have Teoh decrease part of it. So one way I could remove some of the source material from the timeline would be to hit control, be to make a blade slice and then that will separate one clip into two, and I can hit delete in order to remove that part. Another would be that rather than clicking on the border between two video clips, you can click on the right side and drag it in. So this is basically removing part of the start of the clip by a few seconds there, and now you'll see that when we left click on the border Between those clips, we actually get green instead of red. So the green represents that this extra source material to pull from in making our adjustments. So now, if we left click, we can actually drag to the left and right, and you'll notice that those two previews at the top there are immediately updated envy all times so we can see what the new starting frame and ending frame is going to be between these two video clips, and if we want even more control, that's where the third time line comes into play because you can see that this timeline works on a frame by frame changed so you can see how it will start saying, plus one or minus one or minus two frames. So we're doing frame by frame adjustments, which will allow you to get exactly the right starting point, an ending point that you're looking for. And once you find that spot, you can just kind of left, Let go, and then you'll have made your change to both clips simultaneously by controlling the starting and ending point. So at this point, I might want to go to the start of this video clip and just or trim the start of this video so I can drag this into, basically, pick the frame where we want the video to start at, so we could do it here, where in background, that guy kind of is holding his chin a little bit and let go, and our change has been made. So let's show a couple more quick adjustments you can make inside of the cut tab. If you want to add in a video transition, go to the part of the timeline, where you have a edge of a clip such as the start of the video and then over here in the media poor. You'll notice that this option here for dissolves so that's referring to a dissolve transition, which is probably about as simple as you can get. And if we click on that with a simple left click, you'll see that the dissolved transition is immediately added on here to our video clip. You can see over here in the preview window it's a cross dissolve. If we hit the space bar or the play button, we can actually see how that looks. So let's play that back one more time. And you can see that in this case because it's dissolving from black, it simply fades thieve video in. But if we go in between two video clips such as that cut we had earlier, we can click dissolve again, and that will create a quick transition between these two video clips. So this will have it fade from one clip into the other clip and a very smooth transition. And, of course, we can go to the end of the video and have a fade out by clicking the solve one more time and having the video fade out at the end of the video. So that's just a really easy way you can add in transitions to your video clips. So one more thing about the cut tab. If we open up this tools window, you can see that under the preview. Then you'll get a bunch of options that you can actually control about your video clip. So so you'll be able to see the video clip that you're working on in your main project, Timeline here. So left click on it to be sure about which one you're editing. And then we can change something like the zoom here by changing the value here from 1 to 2 , which is going to massively zoom in our video shot, and we can it play to see how that looks. With that change, made note that it only affects the video clip of working on and not the entire project. So I'm gonna undo that for now. But note that there's other settings you can change very similarly to the inspector in the Edit tab, which will get to in a second here, such as position X position. Why, If we go over to the other tabs, you have cropping the edges of a window. So if you wanna remove part of the left side of the top of the bottom of the right, you can do that on the 4th 1 You can increase the speed. So if we wanted to make it 1.5 times speed, we can increase that note that that may modify your timeline simply because it runs out of source material when it's playing back and a faster speed. What if we go here and hit space here? You can see that the characters are kind of moving a little bit faster than they would in real time. So hit Control Z in order to undo that. Okay, so, lastly, before jumping to the edit tab, note that you can add and other types of transitions up here in the top left hand corner. Ah, you would drag these onto the border between two clips in order to change the type of transition. You can also add in titles to your video timeline, and you can in special effects. So this marks mostly the same way as the added tab, and as such, I'll talk about that more in a minute. Here 4. Edit Tab: so going now over to the edit tab. We're working Maurin, a full featured interface that has more stuff going on and maybe a bit more ideal if you could pick up a second monitor so that you can spread some of these windows out. But in any case, you can see that you have the media pool over here on the top left. That's where if your clips, they're gonna be the A index in the bottom left. In most cases, I find you can just kind of turn that off. But what this will show is all of your most recent ad. It's that you've made to your video, referring to the type of added in this case adding cross dissolves or adding flips onto the timeline, and you can see all of those listed chronologically. I don't need that. So I'm going to actually turn off the out of index. You also have the effects library, as I was just talking about with three cut tab. You have transitions, titles and effects. Now those enlisted a separate windows on the cut tap on the edit tab. They're all in. This affects library toolbox, so if you want video transitions you Could you click on the video transitions menu. There's also audio transitions, which refers to cross fade, so that will have audio from one quick fade out as another clip fades end. Or if you put it at the start of your video, as in the first video clip for the last video clip, then you can just have it fade from nothing or fade out to nothing in kind of the same way as a video dissolved just with the audio levels. Instead. And then in the titles menu, you have many preset titles, so you might notice that these air called fusion titles, so fusion titles of three D compositions that are set up in the Fusion tab. We won't really get into that too much in this video, but you can create three D compositions inside of DaVinci result, which could be things like particle effects titles, creating three D shapes or putting an image on a plane. But that's a bit complicated for right now, So if you're interested in that, check out some of my other video specifically on fusion notes. You can also go to the effects menu here for adding in an adjustment clip or effusion composition. So effusion composition would be where you want to create a completely new fusion three D composition from scratch. That would be the starting block for that, and there's also adjustment clip. So if you have multiple clips and you want Teoh, change all of them at the same time for a period of time, then you can put adjustment clip on top of that and do something like Zoom Times two. And as long as the clips air underneath that for that period of time, all of those clips will receive the zoom times two. In addition to transitions and titles, you also have some other options you can create, such as blank fusion compositions. When you want to create like a three DS title but completely from scratch, you have open effects filters, which will change your video but aren't meant to actually transition from one video seen into another one. So, for instance, resolve effects blurs. If you want to blur out a video clip for the entire division, then you can simply drag something like a Gaussian blur onto your video clip, and you'll see that that immediately changes how that video clip looks without going into too much detail. Once, if added at open effects to a video clip, you can open up the inspector in the top right, and that will show up under the open effects category and they'll be settings. You can change about that right now. I just go ahead and delete that. There's also audio effects here, some of which are built in which you can drag onto a audio check in order to modify things about that track, such as having a noise reduction to remove some of the background noise. If I scroll down here, you probably won't see VSD effects. But you can note that you can add external plug ins in the form of E S T plug ins to your computer, which eventually result can use, such as Republicans, which can add some extra filters, equalizers, compression tools, things like that that you can, for the most part, get from the default fair light effects. But three external plug ins usually work a little bit differently, and you may find you get better results there. Okay, so enough about all of that when you're working in your timeline and you start adding a bunch of clips, you probably find that you want Teoh increase or decrease the zoom for your timeline. So there is a option here, right above the timeline where you can control the zoom and you can see your video clips in a bunch more detail. So anywhere there is a little white box over the edges of one of our video or audio tracks that is actually a video or audio transition. So we added these over in the cut tab. But if you click on them, you can actually see that you can modify some of the settings about them over in the inspector, just like you can click on a clip in order to modify settings in more detail, just like you can left click on a video clip in order to modify more settings than you would have been able to do otherwise on the cut tab. So, for instance, if we zoom in here and we left click on the cross dissolve, we can add a ease curve with the East drop down menu and change that to in and out, And what that will make happen is that the transition starts slow and in slow, but goes fastest in the middle, which will make it look like this rather than no easing, which will have a consistent speed animation. So that would probably be easier to tell if we actually increased the duration of this effect. So you can left click on the border of a transition and drag it to increase the duration. So I'll drag it over here. Where adds one second to it. You can also in the inspector, change that manually by typing in a duration up here. So let's play that back one more time, and you may be able to tell their that the fastest point is in the center. So now I said it to ease curve none, and you'll see that it's a consistent speed effect using the inspector. You can make all kinds of changes over time like that. So let's go ahead and show some new stuff. I'm going to add in 1/3 clip by dragging from my media pool onto the video timeline here and have it snapped into place right next to that other clip. If you don't see it snapped, then you may not have snapping enabled. So snapping is an option you can click on right here. You know it's enabled when it is white and seventh grade out. So on the edit tab this different modes for editing video clips in the timeline. So by default you have this election mode, which will give you the basic operating system cursor, and that'll let you drag around clips to whatever timelines you need. The month. Note that if you need 1/3 timeline, you can just keep dragging up, and the third time line will be automatically created, as was fourth and so on. There's also trim mode, so traumatic mode works most similar to how things do on the cut tab, where if you go over to the edge of a video clip, you can see that you can trim the start and end of the clip by left clicking on dragging on the side of the starter end of the clip. You can also adjust which part of the source material is going to be contained in this video clip without changing the duration and the time line by left clicking in the thumbnail area and dragging to the left and right you'll notice that as long as this extra source material, it'll kind of give you this ghost white outline showing how much data there is to keep dragging to pull from the source material. When you get to the edge of the source material, it will give you that red line on the edge, showing that there's nothing left to pull from so you can make adjustments as long as there is source material. Now, if you want to make cuts without hitting control, be every time. Although control be works pretty nicely as a hockey, as you can see there, you can also do it with the mouse if you click on Blade Edit mode or you hit the on your keyboard so this will change your cursor into a visibly. You can left click anywhere you want in order to cut one clip into two clips. So by doing that, you can now manipulate these clips as their own individual pieces. So if I just want to take this part of the source material that I've cut into its own separate clips on, I want to zoom in on it, I could just go over to the inspector with that new clip selected Zoom and said it two times two, and you'll notice that that has no effect on any of the other clips, even if they were pulled from the same source material. 5. Keyframe Animation: Okay, so now, to show something new and a bit more interesting. Key frame animation is a pretty big part of DaVinci results. So if you want the zoom to increase or decrease over time, what we can do is set key frames and have DaVinci resolve animate between there's key frames automatically by having the software figure out how much zoom. It should be every frame of video. So if I go to the start of this clip, I want to zoom in and I click on this little white diamond next to the property I want to animate, such as the zoom. Then that was at a key frames. So this will mean that at that point in time, the first frame of this clip, it's going to be one point. Oh, zoom. So that's just the normal video, not zoomed in any more than it normally is. Now I go to a new part in the timeline by dragging the timeline cursor, and if I want to set a new key frame, I simply need to change the value now to what it should be at that point in time. So if I set 1.5 and hit enter, you can see that the second key frame is automatically created. If I go back to the first frame, you can see that there is still one point. Oh, and if I go forward and video, you can see that the value now changes automatically. Overtime. Now, if you want to quickly navigate between key frames, as long as there's more than one key frame you can left. Click on these arrows that will be created in order to jump to the next and previous key frames on your video clip. And that's very, very convenient if we zoom in a bit more on the timeline. So I'm going to use the timeline bar for this and we go to our video clip on the bottom right. You'll see two options that are related to Qi framing. If we click on this one, the one that looks like the key framing diamond, we can see the key frames for each property in the timeline. And if we tracked the timeline cursor, it will automatically snap to those key frames where we can make adjustments easily. We can also drag the key frames across time if we want He's starting and ending points for those animations to be closer together or further away, thus increasing or decreasing the length of an animation that we could also click on the East curve spotting over here, which is right to the left there. And then, if you want to have easing in and out for any animation, we can click on a key frame point here. So in order to add easing between these two points, I'm going to click on this option over here. The second from the left. What? Your ad in a busier curve handle which we can use to control the curve between the first and second key frames. But I'm actually going to leave that as defaults there and end this curve editor. We can at it the value at each key frame so we could change the zoom to be 2.0, here or three point. Oh, if we wanted to. We can click on the busier curve handle in order to adjust of eight of change over time of the animation between these two points. I'm not gonna do that right now. I'm just gonna undo and leave it at its defaults And of course, we could change the starting value because that's just another key frame point that we can adjust likewise with the simpler key frame editor over there to the right, we can drag these points in terms of their duration or starting an end times as well by dragging it to the left and right. So for now, just to show how we were able to animate a property over time, I'm gonna hit space here and play back the video you notice that zooms in over a period of time rather than jumping to its full zoomed in value immediately. So if we keep playing that back, you can notice over in the inspector that the value animates over time without us doing any more work whatsoever. And what's great about key frame animation is you can use it on many, many different things, so you could animate the position of a video as well. So, for instance, you can have a video clip start way off center Mike so and then I can and have that animate back to the centered position of zero over time just by setting up to keep a couple key frames setting the values at there's key frames. And now, if a hit space here, you can see that the position also animates over time in addition to zoom also animating so you can get pretty fancy and complicated with that really quickly if you're interested in that. 6. More on Video Transitions: Okay, so at this point, let's show off one more video transition and add a title to our sequence. So what I'll do you hear is I'll move some of my clips around in another way, rather than just left clicking and dragging them where I want them. I'm gonna hit control acts to cut the video clip I want, and I'm going to go to where I want it to be and hit control V to paste it in notice how it pops into the timeline. We did leave a gap in between our earlier clips. So one way we can get rid of that gap, and you can also use this to delete Ah, video. Click while pushing everything to the right over to the left is to right, click it and do a ripple delete. So when I do that, you see that the rest of the timeline moves over to the left immediately. If I do that with a video clip, it will remove the video clip while pushing every other video clip to the right over to the left. So if I right click this and do ripple delete, it pushes everything over to the left. So that is really, really handy. When you're editing your videos, you can also do it by hitting delete on your keyboard. If you'd rather use hot keys and sent so like that, just select it with left quick and hit delete. Okay, so now that I have these two different clips, it probably makes sense to have a video transition between them. So in the toolbox, I'm going to choose video transitions. You can see the cross dissolves, which are added by default. You can see the cross dissolves, which we added an earlier, but we want to grab a different kind of transition. So I'm just gonna go down here and maybe grab something silly, like a heart shaped transition. So left Click, and I'll drag this over on the edge of where I want the transition to beat. So that could be on the edge between these two video clips. I just drag it on there, and if I hit play, I can have that simple transition playback in our timeline. If I need to make any adjustments to it, I can zoom in a little bit, so that's easier. Click on left click on the transition increased the duration. Or maybe if I want a border for this heart, I can add that on their change. The color just kind of these simple menu settings that you can do to change your video transitions by a little bit. So now we can play it back and can see how that changes things a little bit. By having that extra color there and pretty much with all these other transitions, it's kind of the same story. You just drag him on where you want them. You can left click on them, modify the settings, just like in the cut timeline. By the way, you can actually ah, just the length of the duration by left clicking on the border inside of the timeline and dragging it, as you can see here, so you don't necessarily need to use the inspector and just one real quick last way to quickly add transitions. If you left, click on the clip and you look at the top left of top right hand corner of those clips, you'll see little notch here, So if you want to do a simple fade in or fade out, you can drag these to the left to have it fade out over time. So know that this is always going to be a fade to black, so you're basically getting rid of the capacity of the video. Eso appeal simple transition. You can do it with the audio as well, so this will fade the audio out over time or faded in, which will make it more quiet as you approach the end off the clip or your soundtrack. We can also do that at thesaurus of a video. We can also remove video transition by left clicking on it and hitting delete. And now, if we wanted to replace that with one of those notch fades, we can drag it out over to the right and we contract the one on the left, clip over to the left and play it back and you'll see that it fades to black and then fades in from black. So that's just a really quick way. You can add transitions as well, and while we're at it, another way is to right. Click on the border between two video clips and do something like add a 15 frame cross dissolve, which will give you that simple cross dissolve. Look, we were going for earlier, which usually looks really nice, and that's probably why it's the default transition. 7. Titles: Okay, so next let's add in a title real quick. So and the effects. Like very titles, you have a lot of default options you can choose from. And for beginners, I would probably recommend you just stick to a default fusion titles template, and then you make small edits to it to fit your project needs, such as changing Thebe text. So if we want to add a title to our timeline, you simply left. Click it and drag it in. Make sure it is above humane video tracks because we want titles templates to show on top of our video, not to override it or not to completely remove the underlying track. So that will usually mean putting it on video track two or above so we can can describe through this title and see how it will look when it's fully rendered, depending on your computer. If you try to play it back in the timeline because it's a three D fusion composition, it may not render at full speed the first time you can note that the pre rendering bar there above the timeline will show how much of it is already pre vendor it. If it's blue. That means it's rendered. If it's red, that means that isn't so. You could just wait a minute if you want it to be able to play back and full ah, speed, or if you don't need it to play back in the timeline, you can just wait until your final video export, and when it's exported, it will play back in full speed. Now note that when you go to export your video, regardless of if everything on your timeline is prevented or not, when you do the final vendor, everything will play back in full speed so you don't have to worry about that blue bar being there. That's only for your in editor purposes. To be able to view it while you're editing your project, and every time you make a change to the template, it's gonna need to pre vendor. Anyway, Just don't worry too much about that unless you need to see it back in full speed while you're editing. Okay, so let's go ahead and change a few settings on this title now. So when you left click on your title, if you have the inspector open in the top, right, you can see that most of these D fell out of the box. Fusion titles will expose some settings that you can add it in the Inspector. So, for instance, if I go over to main text and expand that you can see that we can change the main text at which is the actual characters that are showing up in side of that title, we can change the font, which I'll go ahead and change here to something I like more baby snowing. You can always install more funds in your computer if you want more to show up there and you can change the color of your fun. Now note that because thes are three D titles that the text itself is a three D object and depending on how those three D scenes are set up there, maybe light that shows on the text. So that would be why you have multiple text colors here. So the text face color here is more off the base color so I can make that a little darker to make it more obvious. And then the speculative color is gonna be the color where the light is showing on. So in this case we have making it white, which is basically gonna take the base color and writing it up a lot, emphasizing that those are the parts that are being let. You can also see that the surrounding three D box kind of has that same thing going on there with a speculator white color, and then the base color for that box is more of a teal. So just like with the text, you can actually add it. The box material, uh, speculate color that bite based color for that and all other kinds of things you can looks like they've even exposed some light colors. So there's a lot of options. You can change here, but just to keep things simple, usually you would stick to what find you want to use. What do you want to show in the box? All call this tutorial on titles here to show Is that text in the box and ah, maybe the font size as well as something you can play around with. But once you have your settings, since you want it, you can hit play in the timeline and see how that looks. Obviously, once it pre vendors a little bit more, you'll get a better idea of how it will look in the final results. So every time you play it back, it should have a little bit more pre vendors, and that should basically show you how your title is going to look in the final result. 8. Fusion, Color, Fairlight Tabs Overview: so really quickly. I want to show a little bit about the fusion tab. Eso We're going to jump over to the Fusion tab with our three D titles selected, and the Fusion tab allows you to create or edit three decomposition, such as the three D titles. We can see here that we're editing the title clip and has a group here that says three D title long something or another. If you double click on that, you can see the Nodes group for the titles. You could see that it's quite complicated. It's got things like, um, main text and four different box shapes, and these all need to merge together before creating a final video output. So just know that in the fusion tab you create three D compositions by combining notes linking them together and then that will be able to generate a three D out part. So that is something you can do in DaVinci resolve. If you get a little bit more into it, okay, so just really quickly as well with the color tap. The color tab is where you can color grade your video so you can either try to target areas off your video by qualifying them, you can use three D power windows so that only a corner or a section of your video will receive any color changes. Or you can apply Ah, look up table to an entire video clip in order to change its look. So the idea here is that there's a lot of tools that you can use for controlling the look of your video and tools for targeting which areas you want to change. But up here in the top left hand corner, we have look up tables. So if we want to take a video clip and we want to apply a specific look to it, we can go over to look up tables such as film looks, and you can hover over them in order to see how you can drastically change the look of a video just by adding in one of these film looks to it. So as you hover over them, you'll be able to see the clips immediately. Get updated with how it would look if we apply the look up table. And of course, there are many look up tables that you can find online in order to play around with how your video looks. So, for instance, I had previously downloaded a pack of 35 free look up tables so I can kind of go through these and see how it affects the appearance of my video. So if I was looking for something a little bit more grungy, like a music video kind of look, I could use this one Chemical 1 89 I guess. And if I want to apply it to the current clip, I simply have it selected from this clips window down here, which can be enabled or disabled in the top, right and then right click and you apply to current note. And just by doing that, it changes the look of that video clip. So over in the edit tab, we can see that that has immediately applied a drastic look to how our video looks. We can compare that to the other shots, which do not have that look up table enabled, and that's just a quick example of one of many ways we can at it, how our video looks in the color tap. So next up is the fare light tab. If we click on that, you'll notice that there's a bunch of audio mixers here because the fair light tab is where you generally at it the audio of your video. Notice that in the timeline that there's no reference to video clips here because their life is all about audio. What blouse over this tap to but one cool fair light effects that the added in with DaVinci results. 16 is the dialogue processor, so we can apply this to any audio clip, which is where people are speaking to process the dialogue. Hence, the name dragged that onto the clip and in one audio effect, you actually be given six audio processors that tie together theoretically in order to improve the sound of the people speaking in the video so you'll have some so you'll have some dials to play around with. Here you can try it out. See if the dialogue processor makes your audio sound a little bit better. Note that any of these that you don't want you can click off at any time in order to disable them. And if you want to see once again how it sounds without the dialogue processor, which turns off all of the's is while you can cargo that on and off as well. Noise reduction is also pretty useful if you're just trying to remove some of the background noise from your recorded video. So one useful thing to know about the firelight tab is that by adding in an input device in the mixer here, bottom right so you can add in your microphones and use that in conjunction with tools like automatic dialogue replacement up here if you want to record in some voice over narration or character lines. 9. Exporting Videos by the Deliver Tab: so that brings us to the deliver tab. So on the deliver to have we can export our videos. As you can see here, you can export with default settings for YouTube or V meal. If you want to upload directly to those services, you can log in to your accounts by going up to DaVinci resolve preferences and then choosing Internet accounts. But aside from that, you can either use these defaults over here, or you can create your own custom settings. So if you want to create custom settings for your project, then you can click on these drop downs and find the settings you like. If you're curious about what I like to use, it's usually either MP four video files or a quick time. Quick time is the dot move format with H 0.0.264 video Kodak for the compression, the resolution and the frame rate is gonna depend on whatever you were editing your timeline in and what you want the final output resolution to be. So this is 1 80 p right here, which is really common. 7 20 p, which is 1280 by 7 20 is also really common. You may want to leave the equality automatically restricted to 10,000 KB's per second. Or you can just have it set to automatic if you prefer, which will let DaVinci resolve. Figure out what bit rate you want to use for your project so you can give it a final name up here at the top so I can call this learned venture Resolve 16. There's also some less. You use settings over an audio and file that you can play around with. Probably more relevant to most people is Do you want to render the entire time line out to a file? What do you want to output? Only part of the timeline. So if you want to read a part of the timeline can navigate with the cursor hit I in order to set your starting point and go over to the ending of your video or wherever you want it to be. Wherever you want the export to end that and it Oh, so in this case, if we've ended, the in out manger would only be from here to here. Otherwise, we can change render to entire timeline, which will automatically select everything in our timeline, which is usually what you want so I can add to render queue. If you are going to have multiple timelines in your project, you can do multiple render. Jobs are at once if you want to save some time and just let your computer render for a while when you're done with one or multiple projects. So I'll go ahead and hit that now, and this will export to the published location on your computer. By the way, you can change that over here where it says location. So I'm exporting Teoh D Drive videos published. You can browse your location on your computer, and that should be pretty easy to get a custom published. So once your videos done, you can go ahead, find it, open it up, upload it to YouTube whatever you want to do with it. But that's the general just of how you edit a video inside of DaVinci Resolve. 16th. So this was obviously a really condensed video, primarily targeted at beginners, but I hope that if this is your first time taking look at The Vinci Resolve 16 or future versions that this has helped you to get a better understanding of the workflow in the application and what you can do with the iPhone. Chris, thanks for watching, and I will see you guys in my future video content. 10. Cut Editing Workflow in Depth: Hello, everybody coaster! And in this video, I wanted to talk to you guys about the new cut tab of DaVinci Resolve 16. So this is a new interface that they've added as an alternative to using the classic edit tab over here. And the point of the cut interface is to edit your videos in a way that's a bit faster. Then, if you were taking the slower approach of using the edit tab, we're in the at a tab. You have more full control over doing things like adjusting the settings on your video clips through the inspector. But on the cut tab, you're trying to quickly piece things together and quickly split up your video and two clips, trim them and get your product out the door. So one of the really awesome features envy Kuttab is a scroll obl timeline. So rather than moving the timeline cursor here, what you can do is actually click on the timeline and scroll through your video and you'll notice the end of and she resolve 16. It previews up there very well, and what you notice is by having the timeline indicator always and this center, it becomes really easy to scrub through your clips and find exactly the part of the video you're trying to add it. They also have an additional time line up here, which will always show the entire timeline for your video projects. So it doesn't matter if it is 45 seconds long or an hour long. You'll always be able to go from start to finish by scrolling through up here, and you'll notice that as we go from beginning to end, the bottom main timeline always has the curse of position in the centre. So by using these two variations of the timeline, the idea is it becomes really easy to find that point where you need to make a cut. Also, one of the things that they've been working on, which makes it easier to move through the timeline is there scrubbing feature. So also, one of the features of results 16 is that the timeline scrubbing is very responsive now, So if we enable audio track, one here will actually be able to hear the audio pretty much in real time as we scrub through the audio clip, regardless of what audio track it's on, will be able to kind of hear it as I scrub through the timeline and you'll notice that there's not much of a delay in the responsiveness year Weaken. Basically, scrub through the audio track all day and here at what points? We have certain sounds, so that would be really useful when you have dialogue, because you can actually scrub through the track and hear some of the voices that someone would be saying So being able to hear the audio back as you scrub will be really useful for dialogue, because you'll be able to actually understand what's being sad as you move through the timeline. But you don't actually have it in playback mode. So let's pretend for a second here that this little peak of sound for audio check one is a part we want to make a cup for. So you know, to see that they don't really provide that many direct controls for editing in the timeline on the Kuttab. So what I would recommend, it said, is that whenever you want to split a clip into to use the control backslash hockey. So on most keyboards, the backslash is right under backspace, so control backslash and that will split a clip into two now because my audio track one is a random fire sound effect that's separate from the video. I need to cut that separately so I could go ahead and do that. I'll go ahead and meet the audio track for right now so that that's not in the way. So because you don't really switch between timeline tools and the got tab like you do in the Edit tab, you essentially always in trim mode for editing in the timeline here. So to create a gap in the video, I'm going to just go over here on the timeline hit control backspace and set another cut. No, one way. That's really easy to get rid of. This clip is actually just two left. Click on the side of one of its edges and trim the whole thing away. So wherever you see this little role of Cape and the timeline over, put your selecting, you can drag it to shorten in length and the clip and if you drag it all the way to the right side, and that's going to just completely remove that clip from the timeline. And of course you can do that without even pressing your keyboard. All use there was the mouse. So another thing that's different between the cut workflow and the edit workflow is that you don't really switch between tools like the blade at it moat you essentially always in the trim tool. So wherever you click on your timeline, even if you click up here and the full time line, you're going to be trimming between your clips so you can click on one side of your clips and order to shortened or lengthened them. And you'll notice here that as I'm adjusting it, it updates both in the preview window at the top and a frame by frame timeline adjuster so you can see exactly how many frames you're shortening a clip by. It also updates in the middle timeline for the full project, and it updates in the bottom at the same time. Also, once you've started trimming on one of the clips between a cut, you can also click up here on the top timeline to do a frame by frame adjustment, so this will be really useful if you want to get an exact number frames. So, for instance, if I wanted to trim exactly 30 frames, which would be one second in the 30 frames per second video. I can drag it to exactly 30 frames very easily, and I don't need to worry about zooming in on the timeline to get better control over it. You have three timelines to work through, so you can easily do big adjustments to your timeline in the middle timeline, moderate adjustments in the bottom timeline and then precise edits in the top timeline. So another thing you can easily do on the cut tab is to hover over. He split between two video clips and adjust the starting and ending time up those clips, basically shortening one, lengthening another without changing your overall timeline size by left clicking and dragging on them and then up at the preview window at the top, it will show you the end frame of the left clip and the starting frame of the right clip simultaneously. So if you drag this, you can get both shots. Two exactly where you want it with basically one adjustment on your timeline, So another way that you can make a cut in your timeline is to add an extra split to this video clip here on the right. So I'm gonna hit control backspace there. So that makes this separate part where we're just going to say we want to remove that entirely as its own thing. You can still hit the control X hot key to cut it out of the timeline or, if you want to, a justice starting in points of a video clip without changing the length. In the final timeline, you can go to the center area of your video clip and the bottom timeline, and there should be something that kind of looks like a zero there with two arrows on either side. If you left click on that, you can drag to the left and drag to the right for as long as you have footage. To replace the current clip with before you let go, you'll be able to see the starting in end frames of your new clip in the timeline before you let go. Of course, you can also see these gigantic thumbnails will kind of give you an idea of what's happening in your timeline without really having to go through it. So if you want to quickly add in some new clips to your timeline. They have some really nifty tools over in the media pool, so you can selective video over here. Double click on a video that you're considering adding a clip to in your timeline. It'll pop up over here on the right preview window, and you can scrub through the source material timeline to find in and out points that you want to add into your video. Basically, where do you want the clip in the timeline to start? And where do you want it to end? Of course, using Iot as you're in and out point sets. The tools that you have at the bottom of the media pool on this tab allow you to add clips to your timeline without accidentally overriding anything. And you don't have to really worry about positioning your timeline exactly. So if I get this more insert button, it's going to add in the clip from my source material selection into the timeline and push everything else to the fight So it doesn't overbite anything, and we don't need to worry about positioning the shot, and from there we can kind of move this around almost like a puzzle piece, you'll see that the snapping has is quite nice. So even without positioning this middle timeline perfectly, if I drag this down, it will snap into place with when she resolved. Kind of thinks it should go by using some smart detection. So by using these smart, snapping and rippling functions, I can do things like grab this middle clip and drank it on to the right side of the third clip, and then they'll immediately switch places. So the third clip kind of ripples over to the left and then the right. And then what was The middle clip gets put on device side. So that gets done without really needing to worry about where your timeline cursor is at or exact positioning resolve kind of figures that out for you. Also, if you want to do things like add in a close up, you can do that with a single clip here. So you have your clip selected in the media pool preview window, so in out at a selection here and then I can just prop this close up onto video track to with single clip. So by doing that, uh, not only puts it into the timeline, but it automatically zooms in on the shot so I can just drag this in, position it two way I want. And if you need editing with finer detail, just remember you always have the bottom timeline for when you want to move things just a fraction of a second or so. So there's a few of these functions there that exist in this media pool. For instance, if you wanna pop something on to the end of your timeline or the video portion of it, at least you can just hit upend, and it'll put it to the right rather than at the beginning of the video. If you want Teoh, add a quick transition between two video clips. They have a few buttons here, so dissolve and smooth cut dissolve, probably being the most common video transition so we can see just with one click, we add in a dissolve, which is a fade between two cuts and using the middle timeline. I can quickly position over here to another split between two video clips. And maybe we do a smooth cut between those. So that's another one button trust, and I can it play in the timeline. Obviously, that effect takes a little longer. Teoh generate entirely. But you can kind of see that going on there so you can still also add in transition styles and effects and kind of the more classic way where we could just drag them onto the timeline here because there's less windows in the cut Tabas opposed to the Edit tab. It's a little cleaner and easier to see everything going on here, and that's obviously good for computers, where you only have one monitor. So any of these transitions I want to add in I can just kind of track those onto the timeline between two clips. Obviously, you can see that the snapping is quite good, so I just position that between two clips and that we have a hexagon iris effect. Likewise, if you need some video effects like adding a blur onto one of eclipse, you can drag and drop those onto your clips here with the effects window. So if you want the ability to add it, some of the common settings about your video clips in the Kuttab you can left click on a clip and over in the preview window is actually a tools box here. So this is sort of like the inspector in the edit tab, though, rather than labeling everything with long text titles, you kind of indicated on what setting does what by having little icons. And then you can hover over each setting to see what it actually does. So position, exposition. Why what the zoom is Remember that when we added this clip, it already had a close up zoom effect so we could undo that by dropping this back down to one. Or we could just double quick and type in the value we want so we can just scroll on this stunning to get it back to where it was around one point. Oh, if you can't get it exact, just double click and then type in the value u wants so value of one there. So on these tools, they do give you many of the common settings like cropping, adjusting the speed of your video playback. So if you want to make it go in times to speed, just go to the speed tab and then make it a speed of two rather than one. So now create space. It's obviously gonna play back really fast. So as of yet, I haven't seen any way to open the full inspector in the Kuttab, which would kind of defeat the purpose of the Kuttab anyway. So if you actually want to change something like the text in a title, you may want to just go over to the edit tab temporarily at some point, and then you can just select that title, and then you can have full control over the details off the title, just like you would have in previous versions of DaVinci results. So if I click on top text over here and the Inspector, I can change the text that appears and this title so I could call this tutorial and maybe it's go down and do the main text and maybe else a DaVinci resolve 16. Obviously, if you need full control over a regular video clips as well, you can left click on them and do keep framing with the diamonds on the right or change some of the less common settings that you might need to adjust. Overall, though, I really find that the new cut interface of debentures off 16 is very cool. It's not only useful for being able to add clips to your timeline easily and move them around without really worrying too much about making mistakes. It really helps to focus your attention on what you're trying to do, which is simply to add clips. Your timeline, make simple cuts and trims. And the fact that the cut tab removes a lot of clutter from the screen is really handy. If you happen to be working on only one monitor, such as if you have a laptop, let's go around. A tiny screen means that you're able to focus more on the work that you're trying to do and not getting so distracted by all the text that you would have on screen if you're editing in the edit tap. So that's gonna be pretty much it for this video. Taking a look at the new cut workflow of DaVinci Resolve 16. I hope that this video has been helpful for you guys. I've been Chris, thanks for watching, and I will see you guys in my future. DaVinci Resolve 16 Content 11. Easy, Fast Video Stabalization Effects: Hello, everybody, Chris here. So in this video, I wanted to Dr Guys about how to do easy video stabilization inside of eventually resolves 16. So the idea here is that I have a very shaky, unstable video clip. When we go ahead and hit play, you can see that the camera is bouncing all over the place to the left and the right as the shot hands downwards and over the waterfall area. It just doesn't look very stable in general, so we can try to correct that in. So it just doesn't look very stable in general, and we can try to correct that inside of results 16 by going over to the inspector in the Edit tab. There's also stabilization settings if you go to the co tap and then the Trekker. But the easy way to do it, which is what we're focusing on this video is in the inspector. With Clip selected, you'll notice that there is stabilization down here now. It's enabled by default, but that doesn't actually mean it's stabilising anything by default. So if I double click on the civilization section, you'll see that there's a button here that says stabilized so nothing actually stabilizes until we hit the stabilized button, and we'll do that in just a second here. But first I want to briefly talk about the different modes. So under mode there is perspective, similarity and translation. The simple way to understand it is that from top to bottom, you have the most complicated algorithms for taking the most details into account when trying to stabilize your video. But when you try to use the perspective stabilizer, you might find that the end result has some issues, like little video defects, so you can drop down to similarity if you have any issues. So if, after switching to similarity, it still looks a bit chunky, you can drop down to translation as well, which only allows stabilization on the X Y access, making it less three D and possibly giving you a better result in the end. So the general pattern, though, is going to be try perspective first. If that doesn't look good, try similarity. If that doesn't look good, try translation. Putting that aside, we can look at the settings down here, So besides the mode, there's a few settings down here. The first is camera lock So if you check camera lock, you'll notice that it disables. The stunning is down here cropping ratio, smoothing and strength with camera lock enabled. The stabilization is going to focus on eliminating camera movement from the shot in an effort to make it more of a locked shot with minimum movement. But it's not going to have any of the smoothing that you would have by defaults. So when you don't have camera lock and able, it will still try to stabilize your shot in general. But it will also try to make the movement smoother based on whatever ratio you set here for smooth, which will make it look like your frames more seamlessly move into each other, which in general will make the movement seem more smooth. So in order for DaVinci resolve to do these moving, it's going to need to crop away part of the edges of your video because the original video file no longer is going to be a perfect square. But in order to make it look smooth, it will actually be doing things like rotating and moving around your original video file. So by cropping away those sides of the edges that would look really bad if you left them there. That's kind of how it's able to get the smoothness, trying to make the center look good and then the edges of just discarded. But to limit the amount that the stabilization cuts away, you have cropping vacio here, so the higher your cropping ratio is, the less of the edges it will really allow to cut away in the stabilization. So if keeping the majority of your shot is important than keep your cropping ratio high and then strength down here at the bottom is pretty obvious, the higher your strength is the mawr that Divinci results will try to stabilize your video . That just defaults to full strength because generally, if you want stabilization, it's important for your shop to look smooth. But if for some reason you only want to stabilize things a little bit, then you could always lower the strength down. Okay, and then lastly, the zoom box you're usually going to want this checked on. What this will do is that when the stabilization is complete, DaVinci result can zoom in on your shot automatically to get rid of the blinking edges that are created whenever you do the stabilization effect. So without that zoom, the edges would look bad. And that's why you need to automatically assuming a bit. So. So in most cases, you'll just leave this checked unless you want to manually do the zoom. Or for some reason, you want to see the edges of the shot where you just get like little black lines. But I can't imagine why you would want that. So get just leave zoom checked. So now we can start by going to perspective mode Stabilize. By the way, whenever you make changes to these bottom settings or the mod, you do need to hit the stabilize buttons so it can re analyze your video and reapply the stabilization effect. So when you have a new mode selected, just go ahead and hit stabilize, and it'll take a minute to analyze everything on your video quip, obviously depending on the length of the clips. So just giving him in and then come back. Okay, so now that all the stabilization is complete on our video and perspective mode, we can go ahead and hit play and see if it looks good here. So you should be able to notice the obviously, the shot is a lot less shaky now, and so far, from what I can tell, that doesn't really seem to be any major issues with it. It might be playing back a little bit slow in your timeline just because it needs to render the stabilization effect. Um, but overall, that looks pretty good. So if everything looks good in perspective mode, there's really no reason to drop down to the other modes of similarity or translation. But if you do get any weird video defects so warping, then you try it the other modes and that's pretty much all there is to doing stabilization . In most cases, this should give you the result you'd be looking for in your video without having to play too much around with the settings. If for some reason you want to have a little bit more control over things, you can go to the color tab and mess around with the tracker here. But that's a bit beyond the scope of this video, which is just about doing video stabilization the easy way. So I've been Chris, thanks for watching and also you guys in my future video content 12. Zoom In to Target with Basic Animation Keyframing: Hello, everybody, Christer and this video. I want to show you guys how we can animate a zoom into a specific region of a video put over a short period of time using key frame animation. So this is a pretty straightforward to toil for DaVinci Resolve 16. The idea here is that we need to change the values for zoom and position over a short period of time, and we'll be trying to focus on some item and our screen. In this case, it makes sense to kind of do the upper half body of thes de true of liberty over there. Now for any property in the inspector, you can change the value by clicking on it and then typing in a value or clicking on the value and then holding the left mouse button down and scrolling it either to the right or the left, which will increase or decrease the value. However, in order to make the value change to the new value over time, we need to use key frames to create an animation for that severely. This is quite simple. In order to do, I'm going to assume that you're going to be starting at the start of your video clips. I'm going to frame zero for this particular clip, and that's what we're going to set up the first key frame for the zoom effect. So in order to add a key frame, we need to go to the right of the properties in the inspector and you'll see for each property that you can animate. There will be a great out diamond. So if we click on that, that creates the key frame and you know that a frame has a key frame because it will have a red diamond instead of a great diamond. And now we can change the value over time by going to another position in the clip, such as one or two seconds in here. And then we can set a new valuing, so we don't need to manually click the key frame diamond again. Once there's been one key frame created, and we change the value at any other frame. A new key frame will automatic would be created. So if I increased zoom here, you'll see that the key frame diamond immediately turns red. So now that we've gone ahead and created two key frames that could go back to the start of this clip and we hit play. You'll notice that it will now have a animation between those two key frames. So at frame zero, I hit play, and what should happen is that it linearly transitions between original value and the new value. If we need to change any of values, we can go over to those key frame diamonds and hit the left and right arrows to navigate between key frame points. So you can see we can go back to the first key frame by hitting the left arrow and then back to the second key frame by hitting the right arrow. All we need to do to change that value at the second key frame is to increase your decrease it and we've edited the key frame. So now you also notice that the statue is so off center. So when I said zoom into a specific area, I mean that we're not just zooming in on the shot, but we also need to pan the position off the shot so we can do that by key framing out the position as well. So I'm going to start by going to where we have the first key frame by clicking the left arrow on the zoom. And then I'm going to mark a key frame here for position as well, by clicking on the key frame Diamond for position. Next, we're going to get the right Errol on the zoom key frame area to get to where the zoom key frame is the second zoom key frame, and we're going to adjust the value of the position here by decreasing the Y value to make it look upwards. And now we have the Statue of Liberty in our shot, you'll notice that a key frame for position has been created as well. So now we have to keep frames created for both zoom and position that air at exactly the same time. So if we go play it back from frame zero, you'll notice that both the position and the Zumar now animating over time so we can play that back one more time there. But you'll notice that if I keep playing it back after the point where the second key frame ends that the Statue of Liberty will drift off center a little bit over time, so we can go us a little bit of a step further with this video. If we want to try to keep it centered, we can add in more key frames, so I'm going to start by going to the second key frame for the position. And I'm gonna just the position acts to get this statue centered a little bit more. So let's increase the exposition until it is roughly centered, so that will automatically adjust that that keeping the end of the clip, I'm going to re center it by adjusting the position X. And why note that if you go to the final frame on a video clip, you'll get black space time going one frame before that. And now I want to readjust the statue to be centered again. So I'm going to bring it in line with center somewhere around there and maybe readjust the Y position as well. I'm gonna hit back to go to the second key frame and see where it's at. So it looks like the Position X can be adjusted a little bit more tohave. It line up with the first keeping, and that's actually looking pretty close. There we could have just a little bit by zooming in on the second shot and then moving the wide down. And with that, they should be pretty close together. I mean, over, like, eight second frame difference. That shouldn't be very noticeable. So now if we go back to the first frame of the video clip and we play it back, we'll have the zoom in effect. And then, after the 1st 2 seconds using the animated properties, we roughly are able to keep the object in the center of the screen. And all of that is done with some very basic key frame animation. But just for the simple to toil on how to zoom into a specific area using key frame animation. And then she resolved 16. That's going to be it. So I've been Chris. I hope you guys found something useful in this video, and I was two guys in my future video content 13. How to Use Adjustment Clips in Your Video Project: Hello, everybody. Chris here and in this video, I wanted to show you guys the idea of using an adjustment clip inside of DaVinci Resolve 16 so that you can apply a consistent visual effect across multiple clips in your timeline at the same time. And in addition to that, by using an adjustment clip, you can easily have the effect you want to apply to your other. Clips only occur for part of the original clips duration. So, for instance, we have two clips right here, a shot of a forest and a shot of a beach. One easy effect that we could apply to both clips at the same time would be to do a zoom in effect. So if we go over to the effects library and you go down to effects, you confined adjustment clip there. So with the adjustment clip, you simply drop it into your timeline above the video tracks that you want to effect. That's important because any video tracks above it will not be affected. So if you have a video check one and two and you want both of those to be affected by this adjustment clip, then make sure you position your adjustment clip above that. But aside from that, you can simply position in the timeline, adjust the length and duration of it. And now, if we hover over the part of the timeline that actually contains that adjustment clip and we start making changes, you'll see that it immediately applies whatever changes we make to the adjustment clip to the layers underneath. So if I boost the zoom up here and the transform, you can see that although I'm affecting the zoom on the adjustment clip, that zoom in effect gets applied to whatever's underneath. Likewise, if we scroll over here, too, where the cut occurs and we're back at the beach scene, you can see that the Zuman has occurred there as well. Now because the adjustment clip only modifies the underlying clips, we can adjust the position or duration off this adjustment clip as long as we need it to be without worrying about affecting anything underneath it. So the original clip will stay intact, but we can easily make adjustments or modifications to it now worth mentioning that because it's still a clip in the timeline, we can animate it just like any other clips so if I wanted the zoom in to occur over time, I could go to the start of this adjustment clip. I said, a key frame. Find what I want that Zuman effective end and set the key frame there. And now I can go back to the first frame here, and I can adjust that zoom in so I could bring that down to 1.0, which is probably what we'd want to start with. So now that Zuman can actually occur over time, and now if we go back in the timeline and play it, we can see that that zoom in animation occurs without actually changing anything on the base clip. Now the adjustment clip will be really handy when you have many layers of video that are over laid on top of each other because you can decide what you want, the adjustment clip to apply to and what you don't want it to apply to. So, for instance, if I go ahead and pour title and so I'll just so I just dropped this three D title in a box onto the timeline A. Put it in video track three, and by scrubbing the timeline, we can see that the video effect is able to be there, even though there's an adjustment clip without any zoom in. But if I want to include the three D title, and that's human effect I need to do is position this adjustment clip on top of it. So now, in the same part of the timeline, the adjustment clip is applying to two separate other video clips. So this could be a time saver if you have many video tracks layered on top of each other, or if you need an effect to carry on for a longer period of time, such as a cross to cuts in a timeline, but without having to manually apply the clip to each one individually. So to show one more cool thing, you can do with adjustment clips. If you want a property to animate between two clips, and when you make that jump cut to the secondary clip, you want it to be animated at the same values as the first clip. An adjustment clip can be really useful for that. So, for instance, if I go towards the end of this first clip and I keep frame the rotation angle on the adjustment clip player, and now I go over here to the secondary clip but still making changes on the adjustment clip. Then I can set this to something like 720 degrees. And now, by adjusting only one adjustment clip, I'm able to have a video transition that kind of goes between two clips at the same time and will smoothly transition. So let's take a look at that in the timeline. So we have the rotation there, and the second it jumps to the second clip, it's still rotating, and it's rotating at exactly the same angle that it was before it made the transition. So as a end result, it looks smooth, so just going to make this look a little bit nicer. I'll get rid of the black edges by zooming in a bit more, so I'll go ahead and set a key frame right before the rotation for the zoom and then at the frame within the zoom starts all set a new key frame by changing value to their and now I should do the rotation while assumed in and that looks quite a bit better, but it looks like we'll need a manual adjustment on the bottom layer simply because it was not the full frame size of the top clip. So if I do set up on the force clip directly, I can make that adjustment specifically for that clip. So that gives us this adjustment clipped rotation effect. That is just one of many examples of what you could do with an adjustment clip. So when that thing we can do to make this adjustment clip effect a little bit more interesting is to take the East curve and is to set of ease curve on the rotation. So if I open up the East Curves editor by clicking on that button right there on the adjustment clip player, I can take this first point here and click on the second ease curve from the top. It's the one as the one that kind of looks like two curves coming in from the side and then a center point. If you click that, it will add a ease to the beginning of the effect and the end of the effect, which will mean that it will start an end slower than it occurs in the middle, meaning that it kind of accelerates into the full rotation. So now if we play it back, it will look like this, which is overall a lot better. So that's pretty much gonna be it for this video on adjustment clips in DaVinci Resolve 16 . I hope this really always helpful for you guys out there. I've been Chris. Thanks for watching, and I'll see you guys in my future video content. 14. Editing Multiple Projects at the Same Time - Dynamic Project Switching: Hello, everybody, Christer. And in this video, I want to show you guys how you can vote up multiple projects simultaneously into memory and DaVinci resolve 16 so that you can freely switch between them copy files from one project to the other and that sort of thing. So first off start by opening the first project you want to load into memory. So with that, you can see the video clips, the files and the timelines that were for this project. So the next thing we need to do is open up the project manager one more time so we can click on the file menu to open up the project manager or hit shift one on your keyboard. Once we load up the project manager, we can see that there's a check mark next to my Neon Sign project that indicates that the project is currently located into memory. Now, in order to enable multiple projects being loaded at once, we need to right click on any of these projects and then check dynamic projects switching. So once we've done that, it will now allow us to load multiple projects into memory so I can click on another project such as this in large project over here. And now that we've loaded up another project with dynamic project switching, you'll notice that up here at the title for the project, we can actually click on the drop down menu and switch between projects. So Neon sign project right there. We can switch over to that one with only a few seconds. And now both projects are in memory. So if we want to copy something from one project over to another, like, let's say this entire at it. Timeline like, for instance, this entire adit timeline. I'll copy that with control, See, while having it selected. Weaken, Take that over to the other projects. So I'll switch back to the in large project here and control V to paste that timeline into this project. Now, what happened when you got be a timeline in is that any other timelines or files that exist along with that project timeline are gonna be included? So in this case, all my other timelines were actually part of the at a time line. So that's why I brought in all of the files. So one more thing I want to show you If you go back to the file menu and open up the project manager, you'll see that both of these projects are loaded into memory now. So if you keep loading a bunch of projects, you may find that it's taking up too much memory on your computer. So what you can do when you have a bunch of projects located and you want to close the mall is to right click and choose clothes, projects and memory. When you do that, any projects except for the one that is currently loaded in this case, the Enlarge Project are gonna be unloaded from memory. And you would need to reopen them up with dynamic project switching enabled in order to start pulling files from them again. And if at any point you want to go back, Teoh only being able to have one project loaded into memory at one time, then you can just right click in the Project manager and turn off dynamic project switching . So that's just about everything There is about having multiple projects loaded into memory with dynamic project switching and Vinci Resolve 16. So if you were trying to pull files from one project into another, or you just wanted to work on multiple simultaneously. Then I hope this tutorial helps him. You guys out. So I've been Chris. Thanks for watching. And I'll see you guys in my future video content. 15. Smooth Timeline Effects Playback with Render Cache DaVinci Resolve 16 Tutorial: Hello, everybody. Chris here and in this video, I want to show you guys how you can use the vendor cash to have effects free vendors in the DaVinci resolve 16 timelines so that while you're editing your video, you can actually see them play back in real time and have it look nice before you do your final video exports. So if you take a look at my timeline, what you'll see here is that the fusion composition over here on the right has a blue bar above it that represents that it has been pre rendered. And if there was actually in effect in that fusion composition, it should playback smoothly while you hit playing the timeline. Well, you also notice here is that I have an adjustment clip with an actual effect in it. So this is a video transition that layers on top of two bottom clips in order to create the final effect. If you right click on the fusion composition, you'll notice that has an option called vendor cash fusion output. It's upto auto right now, and that's why automatically generated the preventing of the fusion composition, which right now is nothing. But if you want to force it to always be pre generated, then you should set this toe on mode that you have it set to auto mode than DaVinci Resolve Will kind of under fly? Choose whether or not it should pre vendor in store in the cash or not, depending on your system. Resource is so if you have it on on mode, it will always be pre rendered as soon as it's done completing, turning the red bar into blue. But if we go over to the adjustment clip, you'll notice that when we right click, there's no option here for free rendering the cash. And that's because that the adjustment clip while it can be moved around in the timeline, it's actually dependent on what is underneath it in order to generate the final transition . Because after transition from one club to the other one in this case. So in order to pre vendor the adjustment clip, you actually need to create a compound clip with the bottom materials and the top adjustment layer. So to do that, I'm going to use the B blade tool to make cuts for the bottom two clips where we're creating the transition from. And then you select these three clips right click and do a new compound clip so I can call this transition and then once has been turned into a compound clip, we should see the option by right clicking to do render cash fusion output to ensure that it actually does pre vendor And we can play back in the timeline nicely. We need to set this toe on, so once you have it set toe on, you should see the red bar appear up here at the top and it will slowly turn blue as it pre vendors, it will be faster or slower, depending on how complicated the effect is in this case. It's gonna take a little while. So what I want to show you is one more thing. If for some reason you're not getting these bars at the top, check your playback tab and then go to render cash here. So the vendor cash refers to your timeline. Render cash and edit mode there should be set to either smart or user. If you haven't set to use a mode than it will look at the file project settings, master settings and scrolling down here for whatever you have checked, which transitions, composites or fusion effects should be automatically cashed or not. But if you have it in smart mode than DaVinci, resolve will kind of decide for itself more whether or not it's going to have an effect, Cash or not, depending on your system resource. Note that there's also a fusion memory cache. So whenever you're creating effects over on the fusion tab with nodes, this would be the cash setting that would determine things they're by default. This is set to auto. You can leave it on or off if you want it to. Always keep the fusion effect into memory or, if you want it to not store it in memory at all. You consent that toe off. Generally, I'll leave that as auto. So now we have our effect completely pre generated our transition effects. So if we go ahead and hit play now in the timeline, we should be able to see the video transition. So let's sit, play and check it out, and it played back very smoothly. So that's pretty much how it would look in the final export for the video, so enabling the fusion cashing There can be really handy if you want to actually see how the effect is gonna look like when it's playing back at full frame it. So hopefully these tips help you guys out. If you're trying to utilize the vendor cash and have your facts playback properly in the video timeline, so that's going to get for this video. I've been Chris. Thanks for watching, and also you guys may future video content. 16. How to Create Custom & Reusable Titles: Hello, everybody, Christer. And in this video, I want to show you guys how we can create a totally custom three D fusion title and Vinci resolve 16. So when I say fusion, what I really mean is over on the fusion tab, you're able to create special effects and three D using a bunch of nodes that tie together to create the effects you're looking for. So one note might be taxed, adding in shape particle systems so on and so forth, and then you can merge them all together and render them to a media out. So in order to create a totally blank template for us toe edit, we first have to go back over to the edit tab and then in the effects library, which you can find in the top left hand corner. Go down to the toolbox and effects, and here you'll see a option called fusion composition. So this is basically a completely blank clip that you can add it into fusion tab to create your three D effects. So I'm going to drop this into the timeline wherever I want that title to be. If we go over where it is in the video timeline, you'll notice that you get nothing but a black screen. It's completely empty, and that's what we want to start with. So next we're going to go over to the Fusion tab at the bottom in Results 16. That's the 4th 1 with the magic wand and sparkles. And here you will see one note that is the media out port note. So whatever effects we create in the fusion editor, we want to in the end, output to me out one. And that will allow the effect to render when we export our video. So in order to create a simple title effect, we're going to want to click on the text. Three D component. You can see that in the toolbar above nodes. There's a lot of common components that you can add to this nodes window with one single click, so I'm going to start with a text three D. And if you want to be able to preview one of your nodes and see how they look at that step during this process, as they all connect together, you can actually hover over a note and the B two black dots underneath the notes, so you can take that note and have an output to the preview windows up here, the left view and the right view. So if I left click over here for a text three D on the left few. That means that the text three D note is going to preview up here in the left of you so we could do something like in some texture. So under style text, I'm going to call it title tutorial, and you can see that the text now appears in three D space. So next I might want to take the fund and change that to one I prefer. So, Babies. Illinois is a pretty good title fund. And now to take this three D text and get it to the media out, we're going to need a couple more notes. So a minimum you will need a render three D note, which will take this three D space and out put it to a image frame that can be sent to the media out essentially. So if I connect the vendor three teach both the text three D note and the media out node, we can see that the text from the three D space is now essentially a two D frame that can be rendered in your video, and we can also see exactly how the text is fitting the output frame. So with this size and this amount of characters, we can see that it's actually getting cut off on the left and right sides. So that's something we might want to fix in a minute here. Now, if you want any additional elements for your three D title, then you're going to need at a minimum emerged. Three D notes. So if I have the text three D notes selected and I go up to the toolbar and click merged three D don't put it merged. Three D Note between the three D render and the three D text. So emerge allows you to basically combine multiple notes into one, which is important because you can only have one import for the Render three D, but you can have many inputs for a merge three D. So if I want to add a shape to this three d composition, I can click on Shaped three D with merged three D selected, and that will add in a shape note so we can see on the final media out now that there's a what looks like a box. But really, that's just a flat plane at the moment. And both of three D text and the shape now make it to the final media output. At this point, what we might want to do is take the three D merge note and have that show in the left of you instead of text. Three D. So if we click on the left view button, there now will be able to see both the three D title and the plane in three D space in the three D viewer. We can move around in three D space if you hold down all and then use the middle mouse button pressing down on that, you can rotate around and see everything in the three D view space. If you just press down Middle mouse button without holding ought down. Then you can panned the view, basically going up, down, left and right with the camera there, And if we left quick on the individual objects in this three d space, you'll be able to select and edit them individually. Notice that whenever you select it in the three d space viewer that it also selects it in the notes down below and also opens up the inspector on the right so that you can add it individual settings. So one way that you can actually adjust the settings such as the position of these three D objects, is to simply select them. And then in the three D space viewer, you can click on these arrows in order to adjust their position. So if I click on the blue area here for a Z position, I can drag this title backwards. Things the in terms of three D space. The title is now behind the shape object. Likewise, we could take the shape object and do the same thing, moving that behind the title or in front of it so that positioning will development if we want an object to hide behind another object temporarily like with you in this tutorial. So next I'm going to take this three d shape, and I'm gonna go over to the inspector and change the type of shape we're dealing with here . So I'm gonna take the plane and turn it into a tourist something a little bit more interesting. It's basically a doughnut shape, and I'm going to rotate this so that we can see the whole of this doughnut tourists. And I could do that over here on the third tab for the three D shape we conceive rotation here, so I'm going to want to do is the rotation of 90 degrees and then a Y rotation of 90 degrees and then also a exhortation of 90 degrees. So by doing that, the doughnut is now front facing the camera, and we can see that the title is hiding behind it here. So this is one way you could basically have ah three D shape kind of mask the title behind behind the object. If we look closely at the final output frame, we can see that the tourists is not fully covering the frame at the corner, so we might want to increase the scale as well, so I'll do that here to a point which would basically make this center hole as biggest. We want it to be now with these three D shapes. If they just plain white, that's pretty boring. You can go over to the material tab over here, and you can set defuse color, which is the main color of a three D object, and you can set speculative color as well, which will be the highlight color if you choose to add any lights to the same. So I could also set that Teoh red. But because there's no lights in the scene, you can't get any of that three d lighting. It's the next. If we actually want to add some lighting to our scene, I'm going Teoh first select Merge three ds sour note. So I'm going to do ad tool three D light. And from here we'll start with an ambient light, which will like everything up in the scene equally. And then we want to connect that to the emerged three D as well. Now nothing's going to change because we don't have lighting enabled currently. So to enable lighting, click on the Vendor three D and check lighting here, depending on if you need them. Shadows may also be worth checking later on, so this ambient light is now controlling basically all the lighting in the final out court and a second and look very interesting because ambient light hits everything evenly, so I think of it. More is like a starting place for the lights, just to add a little bit of lighting to everything so that everything is visible next week and click on Merge three D again, right click and add in another light. This time we'll do a directional light, so this is a light that will light things up with a direction or an angle. So if we position it above our scene and slope it down at a 45 degree angle, that'll make it look like light is coming from above, kind of like a son. For this to actually apply, we still need to connect it to merge three D. So I'm going Teoh link that in there, and what you'll notice is that once we have this light and the scene, it makes the tourists look a lot more interesting, because now the object is not being lit up evenly across all points on the tourist. So now the tourists will look a little bit more interesting because not every part of the tourists is being hit with the same amount of light so we can see the parts which aren't receiving much light, and the parts that are receiving a lot of light kind of in the center outer edge. That's closest to the light. Now we could also move around in the three D space and move this directional light up and then rotate it downwards towards Thebes. Orestes, but with an angle. And next I'm going to rotate it on the X axis here. So by rotating it up and down on the X access we can control which parts of the tourists received the most light. So I'll leave it there right now with a negative 7.8 degrees. One other issue we might notice is that the text is very unreadable behind the tourists simply because the text is too close to the tourists or the Texas two big. Whichever way you want to describe it, we can't read all of the text so I can select the text three D object and then go over to the transform tab in the inspector where we can decrease the Z value towards further and further back. And two of the text is actually readable. I'm also going to want to zoom in on the media out ports so that it looks a little bit more to scale. And one minor is, she might be able to tell is that the text is anchored above the point where the text is positioned. If we want the text actually position itself vertically centered on that point, then we can go over to the text tap and click on the middle vertical anchor. So this will mean that the text is actually centered vertically, which will make it easier to position exactly where we want it. The center of the screen. Okay, so one more thing that we can do with our three D shapes and our custom titles is to go to templates and the effects library and to actually add in a shader. So with these sh aiders, we can take the three object and basically give it a skin off a material which will be much more complicated and interesting. Then just having simple defuse and speculate colors. So, for instance, I can take this three D shape and I can apply something like a chrome checker plate. Do that object. So I dropped the Crume checker plate Shader into the notes editor and I'm going to connect it to the back side of the shaped three D. So what you will notice now happens is that the three D tourists almost turns into something like a metallic tire, and the overall look of it is much more interesting. Now. Note that when you have these shade er's added on, it will take a lot longer to vendor, so you may want to temporarily disable or disconnect. Ah, your shade er's while you're just kind of playing around so that everything renders faster . But in the final product, we can leave this shader on to make it look more interesting. So what we might want to do now is give the title a little bit of animation. So one thing we can kind of have it do is have the text get larger as the title clip progresses so we can have it start at a tiny size such as zero, and then have an increase to its default size of one over the 1st 20 frames. So, with frame Tony selected over here in the preview timeline, I'm going to click on the diamond and exercise to set a key frame, and I'll go to the beginning, and I'll change this size to zero. So that will create another key frame at frame zero, and the size will now increase from 0 to 1 over. There is 20 frames, so we can see if I kind of scrub the timeline here that that title taxed actually grows bigger. So if we a play here, you'll notice that the Render three D tries to create the images for this effect. It's obviously going to take a little longer, especially because we have the three D material applied to the shape. So once again, you can disable that if you want things to generate a little faster here. But the idea here is, once it's rendered properly, we can have a title grow in size as it pops onto the screen. We could also add another shape onto. We could also add another shape onto our composition, an animate that so with Merche three D selected all add yet another shaped three d. So with this shape three d, I'll change it into something more like a sphere, and we could go over to the translation tab to move these fear behind the tourists. The reposition it right of and they're almost looks like an eyeball. And just like with the tourists, we can apply another shader on top of that. So something like a marble skin could be cool. So I'll add that to the nodes. Editor dragged that onto the three D shape and see how it looks there. Note that when you do add the shade er's to a three D shape that the material is now being controlled by those shade er's. So if you want to change the color, you have to go over to the Shakers themselves. So with this marble shader, I can change the color of the marble by changing the diffuse in the speculator color on this shader s. So, for instance, if we want something like a blue marble, I simply need to change the color to kind of more of a blue. And we can also change the speculum color, which in this case is that a little reflection of light that you see in the center there, of course, where that appears is based on wear. Your lights are as well and maybe to make it a little bit more reflective, I can increase the glancing strength on the object and possibly the intensity as well. Okay, so now we can take this object. Eso go back to the shape three D note and we can animate it. So there's a few ways we could do this, I think because it's a three d shape, it would be cool if it was rotating. So I'm gonna go to frame zero most that key frames for the X Y Z rotations clicking on this diamond so that they turned red. And then at frame 120 we're going to want it to have rotated two or three times so increments of 360 degrees. So you could be a 3 67 20 or 1084 or three revolutions, and we can play to kind of see how that's rotating. So so if we voted on the Z axis, it's rotating counter clockwise. Then we could also have this marble move out of the way after the 1st 20 frames or so of the animation and come back on to cover it up at the end of the title animation. So with the three D shape selected in order to make it move offscreen. I'm gonna go to frame zero and 120 set X translation with a key frame that's actually frame 124 in this composition. By the way, the number of frames If you want to increase or decrease that, you can go over to the added tab and increase the length of your fusion composition if you need a longer title. So anyway, we have There was key frame set. So now I'm gonna go toe frame 20 where I wanted to be moved out of the way and I'm going to translate it. Something like negative looks like maybe two or negative three units and the three d space to make sure it's out of the way when this title starts next, I'm going to go to frame 100 I'm going to set the value to the same exposition. So negative three there And ah, that's gonna mean that over these 80 frames, it's not gonna move at all. It's just gonna be rotating there in three D space. But at the last 20 or 24 frames, I wanted to move again, so I'm gonna make sure that at Frame 124 that it has its exposition of zero so that it's once again covering the title. So for right now, I'll remove the shade Er's by double clicking on the line, and I'll hit play to see how this animation looks more or less the frame zero hit play and see how the animations going to kind of look for us as it still rendering some of the frames. It may be kind of slow here, so I know that from, um, 20 to 100 it's not really doing anything. So I'll just jump up there in the timeline and continue rendering this frames and thesis fear should come back on hiding the title. You may want that title to do something else like zoom out or decrease its size at the end there so that its animating as well. But this is kind of what it looks like right now, so let's actually take the three D title. And at Frame 100 we'll have it start decreasing its size. So at 300 we wanted to be full size and then at frame 120 let's make it zero so that will make it animate from full size to know, size or completely invisible over those 20 frames. And now I think we can add the's Shader is back on and take a look at how it looks. Note that when your animation is actually playing back after you render your video or you completely let it free vendor all these frames and your timeline that it will play back much faster, depending on how faster computer is. It'll take a while for the three D render to actually spit out all of the frames because it actually asked to vendor every single frame for each of the objects in the scene. Okay, so anyway, once you have a fusion composition that you are satisfied with, I imagine that you probably want to take it, and we use it at some point in the future. So what you can do is select all of your notes here and go up to the file menu and do an export fusion composition. So any time you want to recreate this fusion composition, you simply need to create a new blank fusion composition in your timeline and then import your old fusion composition file it'll be a dot com file back into a future projects. So for here, I'll create a new composition, and I call this tutorial track, and I and I note that the final type is dot com position. So now, anytime I want to bring this animation over into another clip, I can simply drop effusion composition into the timeline. Go over to the fusion tab with the new clip selected and do file import fusion composition and select it from wherever we have it saved on our computer so you can see just like that . It's been instantly recreated with all the same notes and the same settings into our project. So that's gonna be it for this video on the basics of creating your own completely custom three D title effects in the DaVinci Resolve. Fusion Editor. I've been Chris, Thanks for watching, and I will see you guys in my future. DaVinci Resolve 16 Content 17. Make Fire and Smoke Effect with Particles: Hello, everybody. Christer. And in this video, I'm gonna be showing you guys how to create a fire and smoke effect inside of DaVinci Resolve 16. Using the particle system. The end result is going to look something like this, where you can take any area of your screen at fire to it and then at the top of your fire, it's going to transition off into a smoky black color, giving you both fire and smoke at the same time. So with this image selected, I'm going to go over to the fusion tab of Divinci Result. That's the 4th 1 now over from the left. So on the fusion tab, we need to set up a few notes and order to get the effect we were looking for. So to start things off, we are absolutely going to need a particle emitter. You can find that on the shortcuts bar right above the Note editor, so I'll add that to the bottom left there, and we'll leave that alone for right now. Next, I'm going to do right click and go to the ad tool menu and particles where we will find let's see directional force and we're also going to want particles and turbulence. And then finally, we're also going to want to add a particle vendor which we can also find on the shortcut. Smart. So I'm going to tie all of these together. So the particle emitter feeds into the directional force which feeds into the tribulations which feeds into the particle vendor. And now we need to combine that with the initial media input eso that the particle vendor and the media import both feet into the output. So we get the image and the particles in the same image. So I'm going to right click, add tool, composite and merge. So I want this media end to go to merge and I want that particle vendor to go to merge. And then I want the merge to go to the media output. So with that said up, we should be able to have the protocols appear on screen with all of these forces in a turbulence which is kind of make it have a wavy affected, like it's in the wind, all tied together in one single system. Most likely right now, it's gonna be really hard to see the particles, even if you scrub through the timeline because by default it generates the particles as little points on the screen, which are almost invisible. So I'm gonna click on particle emitter and over in the Inspector We want to go to the third tap here for style, and we're gonna want to change the style from point to block. So blobs are kind of like points but more of, ah, circle. Like if you do a paint brush in Photoshop. And what's important about that is that you can control the size. So in the size controls, I'm going to start by bumping the size of these blobs way up. So what were in the sights? Controls? I'm also gonna increase the size variance to make it a little bit interesting. So this will make it so that some of the blob spots will be bigger than others. So we may also want to add in some size to velocity here. So if we increase this, it'll make it so that the faster particles are bigger and that made everything gigantic. So I'm probably want to lower down the base size and see how that looks can probably go quite a bit smaller than that as well. And obviously these settings will have to play around with quite a bit in order to get exactly as we want. So actually, now that I think about it, let's just make the particles get smaller over the lifespan. I think that's easy to understand. So at the end of the life is on the right. So if you want it to get smaller than take the my end and pull that down and then make it bigger at the start of the life span doing that, we're gonna need to increase the size again. So let's move on to color controls. So we're gonna want to set a base color and then color over life. So these were kind of multiply together to get the exact color that it looks like at any point. But we're gonna want to start with something like an orange or a bright, vivid yellow. So let's set it or into right now, color variants. We may want some of that later to which will just make it so that one responds the particles. They have a little bit of varying color, but let's do color over life cause that is important here. So I'm gonna click at the end of color over life, and I'm gonna change the color there to Black, which means that the end of the lifespan it's gonna have that black smoke. And at the start, we're probably looking more at are bad color. So let's set it something like that for now and then in the middle. I also added 1/3 point where I had it kind of shift towards an orange, and I think that worked out pretty well. So we'll try that there for now. Next, let's go over to the next top of the particle emitter where we can change the region on which the particles responding from. So right now it's set to a sphere, and you can see that in this circle where the particles air coming out of. But I'm going to change that to a busier because what we can do with this pipe, it is create a curve that goes around the southern side of the viper. And then all of the particles can come up from that which will work much better than a circle in this case. So I'm going Teoh, create a few points in here. You can see that these are directed lines. But we can make it a curve by dragging on these curve handles. And I'm gonna try to match it to correspond with the fire pit edges. So next we need to create a curve over here on the right. And obviously you can see that the fire is going the wrong direction so we can change that quite easily as well. If you go over to the control stab, there's velocity down here. Actually, you know what? All of the velocity that exists right now is coming from the P directional force. So I'm actually going to go over to you a particle directional force, which is the second note here, left click on it and change the direction from negative 90 to 90. So by doing that, it's going to make the velocity. You go up. So now it can kind of look like fire at a little bit more. Um, but obviously that's way too much strength. And probably the particles air lasting too long as well. Let's change the life span of the particles first. So I'm particle emitter. I'm going to change the lifespan on the controls, and I'm going to set that to 30. By doing that, we can actually see some of those black particles up there. How? It's orange in the middle and right at the bottom. And next, we need to dramatically decrease this directional force. So what this force is doing is making it accelerate all of the particles as they go through their life span in the upwards direction. So towards this guy on, I'm gonna change that to, like, 0.1 way, way lower. The reason for actually having this forces it's an acceleration rather than a flat velocity . So it will increase over time for the particles rather than the particles moving at exactly the same speed. Always. So next I'm going back over to Particle and Mitter, and we're gonna set some default velocity. If we actually hit play in the timeline, you can see you know, you got the turbulence going side to side. Ah, but maybe this fire is of way too tame for you as it stands right now. So I'll set a little bit of, uh, just default flat philosophy and the upwards direction. So 0.1 and remember to make the angle 90 as well. So it's going upwards. OK, 0.1 may have been too much. You're so let's traces 0.5 That's probably about right. Maybe 0.4 It's all up to you on how huge of our fire you're trying to generate s so we can leave that there next we're gonna want to add in Sembler. So it's not so obvious that these air little dots that responding on the screen also increasing the number of dots so that it could be a lot thicker and looked more like actual fire and then to also add it below because fires obviously generate a lot of light. So you kind of want some glow lighting. So let's change the number of emitted particles from 10 to rebound 50 here, and that should fill up the area where you have the fire by a lot. Next, we actually want to go over to the particle vendor note, and we can add some two D Blur and two D galo. So I'm gonna add a little bit of blur here, but not too much. Something like 0.5 right now. And the glow we're gonna pump that up Quite a bet. So something around 0.50 point four seems pretty good. The fires currently too red for my taste. So I'm actually gonna go back over to the color of the particle emitter. And let's shift this towards more like a yellow will also change the color over life controls and maybe make that kind of like a yellowy orange by default. Ah, that's looking a little bit nicer. And maybe it gets a little bit more bad over time. Not that much, though. So if we make that very bright, that looks decent. Okay, so I'm gonna hit play in the timeline and just kind of see how this looks right now. Probably needs more variation in the movement, I would say so. Let's go to the controls of the particle emitter and at some velocity variants. So because I want this to always be in the upwards direction to some degree, I'm not gonna make the velocity variance higher than then the default velocity. So I make this Is there a 0.3? That'll mean that the velocity will be somewhere between 0.1 End 0.7 Arbitrary number as it initial response. So let's play that back and see how that looks now. Okay, so that's not too bad there. It's kind of obvious that it's spawning from this curve down here at the bottom. So to make it a little less obvious with these bond point is I'm going Teoh, add just a tad of position variants. When the particles spawn, it won't always be at the same spot. Also, I noticed I accidentally completed the curve here. I meant this actually be only three points down there, but I guess you can believe it. Is it over as well? It is set to best year, right? Okay. Yeah. Yeah, it is, um, so you can connect all those points together for kind of a circle. Originally, I intended it to just spawn from here, Kind of like a curve, but it going all the way around doesn't actually look bad either, so I'll just leave it there for right now. Uh, let's sit, play and take a look in. That kind of needs a little bit more thickness at the start, so we can either ADM. Or emission particles, or we can increase the size. Let's try increasing this size at the start. I make it a little bit thicker. Okay? Also, gonna micro just the handles here on the busier curve. And I don't want them to get that small over time, so I'm gonna increase this ice a little bit. I think what we need is some more blur. So I'm going back over to particle vendor here, and I'm gonna add a little bit more blurring. Yeah, that looks a little bit nicer. So another thing we can do is go over to the turbulence note here and adjust the values so we might want a little bit more turbulence on the X axis. And I'm thinking that over the duration of the effect, I want the wind, Teoh affect it more as the particles reach the sky. So I'm actually gonna make the strength over the life favor at the end of its life span, as the smoke gets a little bit more exposed to the air directly rather than being close to the ground. And I'm gonna lower the strength at the start. Um, let's see here. Okay, so let's play that back and see how that goes. So with the Tribune's favoring the end of life span, you can see that they kind of waves further over to the left and to the right. As time goes on, I think I want to make that even more dramatic, so I'll increase the strength of a life towards the end. And possibly I'll increase the strength just in general. And that's giving it a little bit of a nice wave there. Que eso When these particles responding, I do want a little bit more to appear down here towards the bottom of the pipe it rather than being at the top. Let's just go ahead and we create the curve again. I'm going todo Let's quit their I left click in the middle and left click on the right, an ongoing Teoh adjust the right handle and they left handle with and if you accidentally closed the loop, just hit Control Z there, and we gotta take this handle and track it down there as well. Okay, and let's get those middle points a little bit more acute. Yeah, and just play around with the handles a little bit until you get it to the shape you want it to be, Um, but yeah, that's looking a little bit better. It's filling up the fire pit more than it was before Soviet space. Now it's actually pretty close to a fire effect. So let's see. Is there anything else you might want? I think I want a little bit more life span where the color is black, so the smoke particles last a little longer. So we can do that by going back over to the color tab of the particle emitter, go down to color over life controls, and we're going to left Click somewhere in between the middle point and the right hand point to make another point in between. And for that, in between point, I'm going to make it black. So this would basically meat mean that there is a period of time where it's just basically pure black. We might make it more like a gray, though for right now that might drag that over a swell just in these points to the color looks right and maybe increase the life span. Maybe not. Actually, let's go ahead and hit play and see how that looks okay. Yeah, I think that's not bad at all. Let's go to the edit tab and kind of have it render. So this is how we have it. In the new version, you could clean up a little bit more around the edges of the fire place, making sure that particles won't spawn where they're not supposed to. But compared to the original, Okay, I think when things missing, having a bit of Alfa would be pretty cool here because fire isn't totally solid. It should probably be a bit see through. So I'm gonna go over to the color tab one more time. And, uh, in color, we can take the color control and set the outfit is something lower than one point. Oh, and the shirt allow you to be able to see through the fire. They want to take the color over life controls and also reduce some of their Alfa, especially towards the end. So just drop that down a bit and see how that turns out. Does that look better? Yeah, I think you can kind of see the grass just a tad behind the fire. Now on. I think that actually looks pretty cool. So obviously this new fire is less bad than the original one. But really, you can have your color burn whatever color you want. So actually, ah, the position variant seems to be causing more harm than good. So I'm just gonna drop that down to zero there. And by having a position variance of zero, the particles should not be able to spawn below this line at all. And because I moved the lying closer to the edge of this inner circle of the fireplace, that's actually a good thing. We just want to make sure that the line gets really close to the edge of the fireplace. Aside from that, that that looks pretty good. I think maybe on the left side, we want to drag that over just a bit and is the right side good? I think the right side is good. So there you go. Original fire effect and the current fire effect. I will say one difference here is that there might be a little less tribulations here. So if you want it to be especially wavy and your effect like this mixture, you add in some X direction tributes there. So if you want it to be a little bit, wave yer with your effect. Even if that's not that realistic, Make sure you just add in a little bit more X tribulations and you should be good to go. So that's gonna be it for this video on how to create a fire and smoke effect inside of DaVinci results 16. I hope you found this tutorial helpful. I think Chris and I will see you guys in my future. Divinci results 16 content 18. Put Moving Text on the Side of an Object : Hello, everybody. Chris here and in this video, I'm going to be showing you guys how you convey right text on the side of the building even in moving shot, using a combination of three D text tools and the plan or tracker note. So in order to use these fancy three D effects, we should go over to the fusion tab. Make sure that you already have a clip dropped onto the timeline that you want to add it from. So on the fusion top. You're going to see two notes by default for your clip, media and and media out. So media end is going to be the base clip that you are trying to edit and the media out is the final output. So in between there, we need to add in ah bunch of nodes in order to generate the effect of having three D taxed track on the side of the building. So the first thing we're going to need to do is to use a plan, our tracker, in order to find what position the building is at any given frame during the split. So if I right click on the line between media and the media out. And then I go to add tool tracking and playing our tracker. It will add in a planner tracker between media in and media out. At the very minimum, you need media in defeat into Pineau tracker to uses the data, since the trekker needs to be able to see the building in a sense, in order to track across the screen next, we need to zoom in, find whatever building you want. Like your your shop might just have the side of one building, or it might be a city view like this. So I'm going to use this midsized skyscraper over here and while having the planner tractor notes selected in media out. We have access to these pen tools in order to create this shape that we are trying to track . So the shape is obviously going to be the back tango are roughly of this building, So I'm going to select the area I'm gonna put the text on. So that's gonna be this blue box here, So I'm gonna left click to set one point. You notice that there are busier, curved handles. If you need to make these points curve but because this is a rectangle shape, I'm not gonna bother with that. So I'm gonna left click to kind of set the edge of the blue over here. I'm going to go down here said another point. Go to the left, set one more point. And then up here, I'm going to close the loop by clicking on the first survey, a play you be able to see in this shot that, for the most part, is a very simple movement, just the drone going down in the sky. So the main thing we want to track here is just the translation of the building. As it moves in a justice position, you can adjust the motion type if you need to track more than that. But the more complicated your motion type is, um, can I would say, the more Arab prone it is. So if you do a simple translation, you're more likely to get consistently good results the first time. If you need rotation or scale of things like that, you can bump up the motion type, but you may have to, um, but you may have to play around with it a little bit more in order to get good looking final results. So for now, I'm gonna change the motion. Type two translation. Since this is a really simple movement Next if you are referencing. But I created this box for the tracker on frame zero. If you created it on a different frame, then you should go to that frame and set the reference time to that frame. It's but it's already set to frame several big people. So I really need to do at this point is go to the reference times a row frame and track to the end. So that's gonna be creating a key frame for every frame here, and hopefully this box should be able to stay relatively centered on this building. So let's go ahead and hit track to end, and you can see that using computer magic, it's able to stay on top of that box. So this is going to create the data we need to feed into the three D text note to adjust its position across time. If you notice that anything weird happens at the end or the start of your tracking, and that could happen for reasons like it already fading to black four phases Southern jump cut What you can do If the ending frames that kind of bad is, you can use the trim to end tool to remove some of the bad data. So if you do that, it will remove the key frames that come after this point. Which means after hitting frame 3 19 here, it's just going to stay in that position for the last eight frames. That might be preferable if you notice that there's some random jump. Another case where that happens is if the object actually leaves the screen. You might want to trim the ends, keep friends there, but overall, this is looking pretty good. If I play it back one more time, it stays on top of things. So the next thing we need to do is create a plane or transform. You could do that with one button click. You just need to hit, create plan or transforming the inspector. And then this is going to actually be the data that we used in conjunction with the three D Tex note. So we need to create a three D text here, but so I can click that on the shortcut bar and anything that is a three D generated effect needs to be connected to a three d vendor so it can be rendered out to the two D. That video actually is with the Render three D. No. Now we want to connect that to the plane to transform the planet, transform war, just that rendered result. And then we need to combine this with the original media clip. So I'm gonna right click add Tool Composite merge. And this is important. We need to connect either the media and or the planet tracker to the merge. The planet tracker isn't actually needed once you have got the plane or transform notes. So I just disconnected there. And the media and note importantly, needs to be the 1st 1 that connected Emerge note. Um, what whichever is the orange one is going to be the for this in the back layer. So the text needs to layer on top of the video because we wanted to show in front of the video. So this should be the green connector here. And then with these two connected and the merge, we need to feed that final media out. That's how a note set up. So the next thing we need to do is edit the three D text. So I'm going to open that up as the left preview window up here and, ah, let's go ahead and write some people, Texan, I'll call Hello here. So the next thing we're going to want to do is to roughly center this text on the plane or tracker area. So we've gotta move this text over there and we can do that in the three d tax preview window by using this transformed gizmo. So I'm goingto bring that over there and I will move it up as well. Okay, so obviously the text is too big right now, but I want to make sure that the tracking is actually working. So let's go ahead and hit play to make sure that the text is roughly moving with the building as well, which it should because the pineau transformed notice adjusting it. Okay. And it seems to be because although the buildings and moving up the l there is still kind of being aligned with the bomb of that building, So that seems to be a good sign. Their next we can go ahead and lowered the size so I'll go over to the layout tab here and we'll take the size and scale it way down to something like 0.1. I suppose maybe 0.1 Fife and then is just the transform a little bit more in the three D preview window. Okay, and let's hit play and see if it's still good. Okay, that's good. It's still staying centered. And that section of the building you notice it's not dropping down or it's not raising up because it's moving in the same fashion that the building is. So that's exactly what we're looking for next. If we want, we can make these text characters vertical. That might make more sense on a vertical building like this. So I'm gonna take the direction and make it top down and just the transform one more time. So if we want to make the text appeared top down instead of left to fight, we could change the direction and make that top down here. I also found it works pretty well if you just manually do it with the text so we can create new lines for the text characters here by typing it like this and then moving it down here , whichever you prefer. So if we want to make the text of vertical now for a vertical building, you can do it by changing the direction from automatic to top down and with the text will need to be center it on the building, Of course. Okay, so when the text is made vertical like this, you may still want to lower the size down a little bit. Note that if you go to crazily far, you might get some clippings to just be a little careful about that. So size, uh, 0.11 may work here, and I could move it up here with the building. If you make your text too small, though, it does give you a little bit of clipping. So it seems like the limit is about 0.8 there. So not sure if there's a way to work around that. So if you are trying to make really, really tiny text on your video, you may want to limit it to a few characters. If you made it so small anyway, it would be impossible to see to begin with. So I'm gonna bump that up a little bit more. And maybe we limited to a few characters so we could say E l l maybe like the company name . And then increase the size back up a bit, reposition it and bump the size up a little more. So it's still actually shows there. Okay, so at this point, we're pretty much done. So we consume back out, play it and make sure that the text characters air tracking across time so we can go back to frame zero, play it back and make sure that the text is staying on the building like should, and it seems to be tracking pretty well, so, at a very basic level, that'll do it. You'll notice at the end that the text won't fade with the original video clips, so if you want it to fade out there, you have to make an adjustment in the notes in order to lower the text capacity to lower with that so we can play it back one more time and make sure that the text is staying up there on the building like it's supposed to. And at a very basic level that seems to be working. So, for instance, if you wanted to use Asian characters rather than English, you could either change the font or install a language pack on your computer. So this isn't actually typing in Japanese. I mean those maybe Japanese characters. But really, this is just a dingbat sponte, so it is completely meaningless. Alternatively, you could add in a language back to your computer and just type in a different language from the beginning. So if we want this year, we can take it, scale it down. We could see that this font doesn't have the same clipping as the other one did, which is good Now. What I was finding with this particular fund was that a better way of controlling the direction I've been using top down was actually to make this automatic and then use enter to create lines for each character in the text. And then we can increase the line spacing to get them to be as far spread apart as we need them to be. Recent threw them on the building and maybe lowered the size down of it as well. Okay, that looks pretty good there, and Now we've changed the characters there. Maybe if we want three different characters, we can just take the text there and take it. E l o looks a bit cooler. So finally, to make the text stand out, you may want to add in some lighting effects, so one you can add in is light race. So you can do that using notes as well. So I'm going to right click. Actually, I'll have the plane or transform selected right click on the line, and then I'll add tool and go to effect and race. And because we had it selected like that, it pops right in there between transform and merge. You can see that light rays are admitting from the text on the side of the building. So it Kanye looks like someone actually put lights up there. And with this weekend, control the direction we want these light rays to go so they will be this transform adjuster. We can move this to control the position with the light rays are coming from. Maybe we can descend to them on the building. So now we can go ahead and hit, play and see the video playback with the lighting effect on their note that we don't really need to adjust the position of the race, transform the center point for the light because as the light sources change their position , the Rays will be generated based on the position relative to this source point. That creates a pretty fun effect for us. We can ramp it up if we want, so if we want more weight, we can do that. Control the decay. But if you want it to be more concise, less short, like Shorter Raise, and we could ramp up the exposure if we want the effects to be way over kill. But I think would be better to make it a little bit more normal. So we just leave that as an exposure of one point out. So in a nutshell, that's how we can take an object in a moving shot, add text to it and make sure that that text tracks the object across time. So it actually looks a lot more like the Texas actually retching on that object. So I've been Chris, thanks for watching and also you guys in my future. Divinci results 16 content 19. Animated Neon Title Effect DaVinci Resolve 16 Tutoria: Hello, everybody, Christer. And in this video, I want to show you guys how we can create a neon title effect inside DaVinci Resolve 16 1st I'm going to start by dragging a clip from my media pool into the timeline to serve as the background for my title sequence. So just take that and put it right and there. And then you have either the option of creating a title from scratch, using the fusion composition, what you can find in the effects library under toolbox and then effects. Or we can start with a template fusion title and go ahead and edit from there. Since I really haven't shown editing a fusion title that's already pre existing much before , I'll go ahead and show you how to take an existing Pinal and edit it into the neon effect. So end effusion titles. I'm gonna go down and find one I like. In this case, I'm a pretty big fan of the title three line Drops, so I'm gonna take this and put it into the timeline Soviet play. Now we have our default title. You can see that I has three layers of tax that different colors doesn't really have a neon fun. So first, let's deal with the extremely vibrant background. One way that we can make the background last stand out is to lower its capacity down to darken it. But I haven't even better idea. So we're going to toolbox and open effects and scroll down to resolve effects style eyes and add Evan yet to our main video clip. So to add the vignette effect to our main video clip, we need to just drag it and drop it onto the video track one. We have that clip. You'll notice that a default then yet gets put on there. The corners of our preview should look darker as the Vigna effect takes everything out of the center and darkens more and more as it gets to the edge of our video. So if we want to change that vignette effect, we can go over to the open effects tab of the inspector for our purposes Here. Leaving operating mode as basic is probably fine, but if you need or want to you mess around with more advanced settings, you can change it to advanced mode there, so let's go ahead and modify the size that, and more for ism and the softness until we get a result that we like. So I was finding that lowering the size off the been yet basically shrinking the size, which will actually show through in the center there and then increasing the softness and increasing the anamorphic ism gave me a look that I was quite comfortable with. Depending on your base video quit. You may find that this is dark enough for you, or you may need to make the settings a little bit more dramatic. Note that you can always lower the capacity down a little bit in the main video clip if you need to. Right now, we're gonna leave this alone, change the font and then add a neon glow effect. So if we click on our title, you notice that some of the fusion settings are exposed to us inside of the edit tab inspectors so we can change things like the font or the text that is being written inside of each of the text boxes. But I'd like to show a little bit more in this video about how you would do that on the fusion tap. So if we go over to the fusion tab. That's the one in the middle there at the bottom as long as we have the title clip selected . So in this case, it was video track to then there should be a title group that you can add it from, in this case title three line drop. If we actually double click on that, you'll see that there was not one but eight notes in that group. So this is all of the stuff that is combined in order to create e based title effect. So the first thing that we're going to change on the fusion tab for each of these text elements is going to be the fun. So with top text selected as a node, we can see in the inspector that we have the ability to customize the font. So we want to change this to any fund that we choose. So I have a few funds that I pulled up from different dot com that are completely free BP neon and then also the neon fun. We're going to be using both of those in this video. So for the top element, I'm gonna change it to BP neon, and we can edit the tax there's going to display here. So in this place output Chris's tutorials here as the top line. Also, click on these second text element and in this case will change the font from Open Sands to neon. Note that that's a totally separate font from BP Neon up there and will change the text from Center headline, too Neon title effect for the bottom line. We will change the text to eventually resolve 16 and the fund will be BP Neon. So one thing you'll probably notice here if we play back this effect as it is, is that because of changing the font, the text kind of overlaps with each other's. So in this case, we're gonna want the white text to move up a little bit in the blue text to move down a little bit. So if we take any of these effects and go over to the second tap here for layout, you'll see that there are Ford and Back arrows for key frames for those sex tidal effects. And that's how you actually get the movement where fades in and slides out onto the screen for each of those specs figure. That's probably why they added, these three transform offsets so the three transform offset notes, text, top text offset, transformed to and transform. Three don't have key friends, so we can actually modify the position there without worrying about accidentally adding another key frame and throwing the whole animation off. So on offset is just Teoh just everything across the board by a little bit of positioning. So, in this case, with top text offset selected, I can either use these gizmos in order to move it up and to the right, if I need to, or I can just in the inspector manually adjust those values. It's the same either way. It's just what you prefer. So I'm gonna bump that up to about a 0.5 25 up from a 0.5 center double click on that to expand it, and then I'm going to lower that down by a little bit. So now if I play the effect one more time, you'll see that the three text elements are offset properly from each other, and it looks better cause they're not overlapping. Okay, so next I want to add a glow effect in between our original title group and the media out. And we're also gonna want to combine that glow effect with the original out port so that it wild port roseate glow effect based on these nodes, but also the original title. So the title will show on top, and then they'll be a glow effect behind it. So in order to do that, we need two more notes. We're going to need to add another merge note, which allows you to combine different notes into one, and then we need a glow note. So to add the merge note, weaken right click do add tool and then in composite, we have merge, and I'm gonna cut this connection here and make the merge the final connection to media out . And then we need to right click, go to actual and then blur and choose glow. And now we need to take out title animation and connected to both merged three and Tikolo and then blow off didn't emerge. Three. So the title animation to merge so that will get output as normal. But then we split that off into glow and then glow feeds back and emerge so By doing that, we get both effects and one. And if I bring up the original title animation on the left here and then media out on the right, you can see the effect that this glow ads making it look a lot more like these in young letters or actually let up. So with the glow note, we can adjust this glow to be as strong as we want it to be. So I was finding that the best filter to get the effect I was looking for was to change from Bass Gogean to blend. And then we can pump this glow way up to somewhere about 9.25 or 9.3 and adjust the glow size in order to get a nice, vibrant, glowing effect on all of our text characters. So let's see right around 25 for the glow size and 0.92 for the glow seems to work pretty well. If we go back to the Edit tab now and play it back, we can see that it looks pretty good overall, but it's still a little bright in the background, and that's just because the particular clip I was using was especially vivid. So at this point, we can either try to make the vignette more dramatic or we could lower down the opacity. Just a tad said that it's darker in the background. So for the sake of readability for our neon title there, I'm gonna lower this down a bit. Teoh something like 70% opacity. And now we can play it back and make sure that the title is quite readable. That looks pretty good there. And one thing we can actually do if we want to have the clip keep playing after the title effect is done, it's actually at a key frame to the opacity. So with the clip selected at the point in time where we want to turn it back to 100% full capacity basically, as in the original clip, we can hit the opacity button there, and then we can go to a new point in time after the title is done at a new value for the capacity. Since we already set one key frame, the 2nd 1 will be added automatically as soon as we put in a new value, and now we can have the video fade back in after the title is done. So hitting, playing the A pass city kind of fades back in suddenly so likewise. We can actually do the same thing with the vignette effect, fading out the vignette effect and letting the video look as it did in the original clip. So if we go to where the first key frame was set for the opacity by hitting the left era with the main clip selected on, we go over to open effects, we can set a key frame for global blend. It's can think of the global blend here as the percentage of fading out the effects. So if you have a 1.0 global blend, that means that nothing is going to see through and the effect is effectively gonna be ignored. So now if we go to the video tab hit next to get the key frame for the opacity, when it's 100% and we turned the global blend from 0 to 100 you'll notice that at this point in time, the vignette effect is now not affecting the video in any way whatsoever. So now if we play back the fade with both the vignette effect blend and the opacity returning to normal and you'll get something like this, which is a nice way of fading back into your video. They're playing it back from the beginning. That's the just of how you get a simple neon text effect with glow inside of DaVinci Resolve 16. So I hope you guys learned a few things about editing titles in the Fusion tab of Results 16. That's gonna be it for this video. I've been Chris and I'll see you guys in my future video content. 20. How to Turn Green Screen into Replacement Background: Hello, everybody, Christer. And in this video, I'm going to be showing you guys how we can take a green screen video and replace the background in Vinci Resolve using a Delta Keir and the fusion tap. So the whole point of having the green screen is that we are able to keep these objects in the shot even while it's moving. But anything that is green will be replaced with the background, obviously, and best way to remove the green part is going to be about it here, too. Target. There was green areas so over on the fusion have were able to add a doctor here and between our media in and our media out so that the final output will have this background removed. And then we can add in a second media input to become the new background that replaces this green area on the fusion tab. The first know that we're going to need deport right after media and is the adopted here. So we right click on the line. We can go down to add tool and then match. And Matt, you'll have different types of tears. But the one we want is doctor here. So assuming you right quick down the line, that should be immediately added, as in between connection between media and and media out. That's what we want for right now. So we need to select a background color, which is going to be keyed out in this video secrets. If you have a perfect green screen than it will be really simple, you'll simply need to go over and select the green color. I be using the eyedropper tool or manually selecting a green that is approximately what you have in the background. And then all of that green will be replaced by transparence. If your green screen is a little bit off, maybe it has a little bit of shadows here, and there are variation and colors. But then they will be settings on the following cabs that you can play around with a little bit in order to make sure that it's selecting the green, none of the object and having as little over border in between them as possible. So you want to avoid having like a green ej showing, but it was obviously green screened out, so here probably do Teoh, a non ideal color selection, we can see that there's a little bit of a brown border here on the edge between this rock and what's outside of it. So one setting I could play around with there would be the threshold so I could increase the low threshold in order to remove some of that ground bordering and have it looked more like just the object is on top of things. But in order to make sure that we have a perfectly matching color, selection there could get as good of the results is possible. I'm going to use the eyedropper tool here. So to use the I drop or you need to press and hold on this and you will get this eyedropper , would you just drag on to where you want it to filter out? And you'll notice that as you go around the screen selecting colors, it will show you exactly how it's gonna look after you select that color. So I will drop it on there and grab exactly the green of the background we can see. This is a little bit of border still on this rock, and maybe over here as well. So still going back to the mat tab and adding a little bit of loath special should be able to take care of that white border around the edges. So now to make sure that it looks good at this point, I'm going to go back to frame zero and play this clip for a few seconds. Know how none of the green shows through? That's what we're looking for. Ideally, now we can add in our background media. So if we click on media pool in the top left of the fusion tab, any files you brought in to be videos in this project, you contract and and it will become media too. So I'm gonna take this forced video and pull that in as media to show you what that looks like. Oh, what a preview. And the left side here by clicking on the dot and making that white. So now we just need to merge these two together. So the background is going to be this video, which means that needs to be the Yellow connector. The 1st 1 to go into the merge note and following that will be the original video clip, the media end, which will go on top of that. So I'm going to right click add tool, go to composite and choose the merge note. Now we need media two to go in first. No, that's the yellow connector. And the doctor here will be the second note. So now those should be emerged on top of each other. If I show that on the right view and this merge note can go to the final media out, which will be what shows in the final video. But if I go back to frame zero and hit play now, we can see that the green screen has been successfully replaced with the forced background , the boxes still spending there. So this is, ah, composition off, two different shots. And if we go back over to the edit tab will be able to see that these changes are reflected across the project. And this is what you would get with your final video export. So that's the just of how you do a Delta key green screen inside of DaVinci Results 16 replacing the background with a completely new one. So that's gonna be it for this video. I've been Chris. Thanks for watching, and I'll see you in my future video content 21. Add Effects to Multiple Clips with One Adjustment Clip: Hello, everybody, Chris Here and in this video, I want to show you guys how you can apply visual effects or modifications to several video clips at the same time using what's called an adjustment flip layer. So you can think of a new adjustment clip layer as a list of effects that you want to apply on top of whatever the underlying based video is. So if I put an adjustment clip layer onto video track to, and I make changes to that adjustment clip rather than adjusting the adjustment clip player itself, it's going to take the video from Video Track one and put that through a series of filters in order to get the final result. The advantage of using the adjustment clip layer is that you're able to apply those effects to one or more clips at the same time by only making the changes once. In addition, the adjustment clip does not have to exist at the start and end points. Boy those clips. So you could also have the adjustment clip say, go from the start of our timeline to only halfway through the second cut. So because of those reasons, adjustment clips become a flexible way of changing the looks of multiple clips at the same time, rather than applying the effects to every clip manually. So to find the adjustment clip player, we need to go over to the effects library and in the tool box. There is a category over here called effects, so we drag the adjustment clip onto the timeline by default. It's going to be five seconds. You can position it wherever you want, and you're welcome to expand the adjustment clip layer to as long as you need. So in this case, I want this adjustment quit player to apply to all three of the clips in the timeline. So I'm going to make sure that the right edge of it lines up with the end of the right clip . So now if we expand the timeline a bit, you can see that the adjustment clip is there for the entire duration off our video. But you wouldn't necessarily have to make it that long. You could just have it be the 1st 2 clips if you wanted to, or something in the middle. So with the adjustment clip, you can add it things. And so, with the adjustment clip your able to edit settings in the inspector pretty much in the same way you would with a normal clip. So if you wanted to say, zoom in all of the eclipse at the same time, you could do that by increasing the zoom. And now, if we go to the second clip, you can see that it zoomed in and third clip as well. So any property that you can modify in the adjustment clip is going to apply to all of the underlying clips evenly. However, if you want to make things a little more interesting, you can go over onto the fusion tap and edit the nodes off your adjustment clip layer. So if you haven't used fusion before, what nodes allow you to do infusion is to take individual settings, connect them to each other in order to generate complicated effects. You can also just add one note in between media and media out, which would be closest to applying something like instagram filter to your video. But because you can link multiple notes for more complicated set ups, you can do a lot more into bench yourself than you would on a simple mobile app. But right now, let's try showing off something by having one note go and between media and in media out. So let's right, click and add tool, and we'll go down to something like Resolve, effects, color. And if we do chromatic adaptation, we could shift the temperature of all of the clips underlying the adjustment clip towards a surgeon direction. So if I wanted to make all of the clips appear hot in their color temperature, I can do that really easily year. So what I'm gonna do is I'm gonna connect media in two chromatic adaptation as the import data that's feeding into this effect. And to do that, I'm just left clicking and dragging a aero line out of it and putting that where it needs to go. So now media and feeds into chromatic adaptation. So now all we would need to do for pretty simple effect would be to change the target illumination from a luminant type standard elimination over to color temperature. So when we do this, we can adjust the kelvin degrees of our video clips by shifting it either over to the left to make the video appear hotter. kind of like if you were looking at the sun, or you can make it look colder by shifting it over to the right, something like an Arctic feel. So because we're working on the adjustment clip in the fusion tap, we actually have access to all of the frames that are sitting on top of the underlying video so we can look at all three of the clips and how they would appear just by navigating on this timeline. And we can adjust the Calvin temperature until we get it to where we want it to be, so to have it be really cold, we can leave it over here as 27,000 degrees Calvin um, where we might decide we go the other direction, so pumping it down to about 3000 degrees govern. And now that simple change. The color feel is a lot more like a film that was shot on Mars. Read the Earth. And so the main thing I want you guys to take away from this video. It's just that you can use the adjustment clip when you want to make changes to multiple clips in more or less the same way that you can adjust a single quick. So if I was to click on clips and go to one of the bottom clips like the video one track here, the first clip, you can see that any of the other normal clips in the video still have access to the node editor. And you gonna play the same effects manually to each clip and the video. So what you might actually want to do is do a combination where if you're sure that effect should be on all of your clips or a few of them, then you can leave that as an adjustment clip layer. And then, if you want to just apply something specific to one clip, then you can just select that clip and add and the effect you might want for that particular one. So, for instance, just something really quick here you could add in a blur, and all we need to do is make sure that the media in connects into that and to media out. And now our video clip has a glow. And now if we click over on the adjustment clip, play over here, you can see that the second and third clips don't have that glow, but the 1st 1 clearly does severely. What it all comes down to is to what scope do you want to use? An effective. Do you want to be used it a lot than adjustment clips become a good tool. And one more thing I can point out here is that you can actually cut up your adjustment clip into several parts so you could have the effect apply to the first clip in the third clip, but not necessarily the one in the middle. And that could be another trick if you want the same effect. But they're in different points in the video, so that's gonna be just about it for this quick tutorial on adjustment clips. I just wanted to show you guys how you can save some time by having one effect applied to multiple clips in your video at whatever times you need them. So I hope that helps you guys help there. I've been Chris, thanks for watching, and I'll see you guys in my future video content 22. How to Replace Sky with a New Background Video: below everybody, Christer. And in this video, I want to show you guys how in DaVinci Resolve 16 weekend replaced the background of a sky shot and change it to something dramatic or fantastic. ALS, such as this meteor shower that I've added in, is the background to this other completely unrelated clip. So in order to this is going to need to video clips, your original shot that you want to replace the skyline with and this guy shot that you want to actually fill in the background. If you don't have your own, I'd recommend trying a site like video dot pixels dot com or a picks obey if you are looking for free clips of skies that you could use to replace. So let's go ahead and start by creating a new timeline. So I'm going up to file new and new timeline, and we are going to call this tutorial timeline and for this effect, I'm going to grab in the same two clips that I was using in that preview you saw. So we have this shot of a guy who's just kind of sitting looking over the city, and I'm putting this on video track, too. So this is our main shot. And the idea is we want to filter out this background and then put in another shot behind it. So wherever the background is filtered out, that is going to be where the new shot comes in and replaces it. So then I have this other clip from Exel's videos, and I'm gonna drop that into the video track one. So whenever I hide video check one, you'll be able to see that meteor shower in the background. But you can see that the video frame sizing of the meteor shower clip isn't the same, so I'm actually going to need to scale that up and adjust its position. So I'm going to make it something like Zoom 1.4 and ah, move it upwards as well, so that when we filter out the sky, it can cover the full shot. I don't need to worry about the little bit at the bottom here, because that's how being covered up by the city line anyway. So next we need to go over to the color tab with our video track to clip selected, and we're going to need to start selecting part of it to filter out. So on the color tab, we have a little window over here on the right called nodes. We're going to need to create an Alfa output so that we can control what the final video Alfa is going to look like based on what part of the screen we're looking at. So I'm gonna add that by doing right, click add Alfa output and then I'm gonna drag the blue rectangle over to that new blue circle to create the Alfa output. Now, with this little eyedropper tool which you confined in the qualifier tab at the bottom, make sure that you have the picker selected by default, we can select part of the screen to filter out. So I want to select the color that we want to filter out and basically removed from the shot so that the background can come in. And I'm gonna think that somewhere around this, uh, Orrin G purple in the center there, So when we do that, you may notice that that color and the color is very close to it are actually the only colors left in the shot, so we can invert that in this election range of the qualifier by hitting this little invert bottom, and that will give us more like what we want. So it's like opening of rift in the sky, and we just need to add to that until we get roughly what we're looking for. So to add more to this selection, change to the eyedropper tool with the plus signs still in the qualifying tab at the bottom and click around on your screen, trying to filter out more of your sky. Now, obviously, doing it this way is only really going to work if this guy looks considerably different from the majority of your shot. So if part of your video you want to keep isn't part of the background and accidentally gets filtered out by these color selections, one thing you'll be able to do and I'll show you in a minute issues a power window to mask over the section that you want to keep completely. But for now, just try to get as much of the background selected as possible. It doesn't need to be perfect, so just like how you can mask part of your video if you want to force it, to be kept. You can also use power windows to force part of your shot to be removed. So up here in the corner, you can see how it becomes a little bit harder to select so we can keep selecting as long as there's no issues down here below. Let's just say that for right now that we couldn't select more of this purple without accidentally selecting other parts of the video screen. What we can do is go over to the power Windows tab and add a little window up here to filter that out. So I'm going to use the pin tool to draw kind of exactly the shape I want. And I just kind of left click and draw a shape of sorts around that area. Okay, And now I think we need to click this button over here to make it remove that part. Rather than removing everything outside of that part. Eso doing that, you'll get a perfect removal of the corner. Okay, Now, we also need to remove more of this red. So I'm going to start making a couple clicks here. So I get roughly what I'm looking for. I so once again. If you have any small areas like down here, where you get a little bit of struggling color, you can remove that again by using the pen tool. So just kind of drawing around the area. And this will be really easy when there's no movement in the shot. So you can just kind of filter that out as well with that button there. So overall it looks pretty good here. But there's still one little bit in here that's still kind of showing because it has a darker color that almost looks black. So if I start removing this, it's probably going to start miss stripping the edges of the guy here. But we can work through that. So I'm just going to go all the way here and add in the color selections here. You can control Z if it gets a little too extreme. The idea is to try to remove as much of this color without affecting the black of great colors on the side. But pretty much regardless of how hard we try, we're going to get a little bit of fuzziness so we can kind of feel this beckon is to go over to the tap to of Matt Venison to qualify. Or so it's in this bottom right hand section over here defaults toe, one that we want to go over to to. So I'm gonna be using grow and circle shape. And if we increase the radius, what you'll notice is that some of that color will get filled back in, so you can try to play around a bit with the radius and the iterations to have it re grow in part of the areas that will remove. You can also go back over to the first tab of Matt Fitness to help reduce the edginess here a little bit. So we can going to smooth out the edges here by adding in some D noise and then to get rid of this color edge that's kind of showing around these different sections. Weaken dragged the clean black, setting up a bit until those edges kind of disappear again, and then the final edge is kind of more uniform in its color. Also, you contrite, clean white. If you're dealing with really bright colors instead of really dark ones here and now, we should play through the video clip to see if it looks good at all areas. Um, that, like the movement of the camera, doesn't affect things too much. We can see that there's a little bit of an issue over there. So I'm actually gonna posit there and ah, possibly expand this little power window we set up. We could either do that or we could add to the qualifier one more time. We just have to keep an eye on this guy's movement to make sure that this doesn't cut any of it out, because obviously we want him to keep his hand. So let's finish playing through the rest of the quip. So there's this part where the hand goes up. So we may want to adjust the window right there just a bit. Um, and I'll try adding to the qualifier to see if we can kind ah, filter this out a little better and see how that affects the rest of the clip. Okay, so I think in this case, it actually worked out really well to just add a bit more selection range because there was purple colors Don't really show up anywhere else. So now if we go back over to my ad attack. We can see that with a bit of a bigger window and see how it looks. So one more thing we can do if you want to make it a full silhouette with your original shot and then the background is the only thing that really has color is that we can lower the color curves on our base shots. So with the color curves, I can just take all of the color, which is this white line here, and drag it down as low as we want. So if we make it all the way at the bottom of flatline, you basically get Pierre black outlines of whatever shapes were in the original shot. So with this kind of night theme that could look pretty cool. That's basically all there is to doing a basic sky background replacement inside of DaVinci Resolve 16. I hope that when you try it out for yourself, you'll be able to get some pretty decent results. I from Chris. Thanks for watching and also you guys in my future video content 23. Day To Night Conversion: Hello, everybody. Chris here and in this video, I want to show you guys how we can do a date tonight. Conversion inside of DaVinci Resolve 16 4 Video. So following these steps, the end result is going to look something like what you see on screen, starting from an original video clip like this where it's clearly Mawr morning to mid day. So let's get started by creating a new timeline, Call this timeline date tonight tutorial. And now I'm going to re add in the original video clip to my timeline here. So in order to achieve the result you saw, we're going to need a little bit of a combination of the fusion Tab Teoh. Add in hot spotlights and the color tab for doing color grading, darkening certain areas. So in the final shot, we're going to want to make this guy even darker than the ground is going to be, emphasizing that there's not a lot of light coming from the sky during night time so we can actually start by making the sky darker with respect to the best of the shot. By creating another corrector note over here on the right side of the color tap. So I'm going to right click add node, curve, vector. And I'm going to take the import clip to create this corrector note. So in the top corrector note, we're going to apply color grading to everything in the shot And then for certain regions, namely the sky and the ocean area, we're going to be applying another color correction, but only to those areas. And then we're gonna fuse both of those clips together so we can actually do the fusion right now by doing right, click add and a parallel mixer. So I'm going to break the connection there with the output. And I'm gonna feed both of these corrector note inputs into this parallel mixer, and then the parallel mixer will create the final out port. So pretty simple nodes set up there. So let's take this bottom corrector note and let's create a power window in order to make the sky area darker. So I'm going to use the curve selection, so I'm just going to left click to set the first point. I want to create our area and and then go across the screen to find another good point for a pen selection. Then I'm going to make this go beyond the scope of the screen by putting an anchor point above it and one on the left as well, and then be connecting it back down on the original anchor point. So now with this window selection, any changes reapply to this note are only going to basically apply to the sky. Um, also, I'm gonna want to add some softness year on. I'll do this in advance so that any changes that we make kind of covering around this border won't be such a hard edge. It'll seem like it smoothly transitions the color, and it'll look a lot better next. For starters, I'll just go over to the color curves over here and the curves for the color. I will just kind of drop that down. For starters, okay? And the reason we're not seeing anything here is I currently have the bypass on, so I'm gonna hit shifty to make it so that there's no bypass and we can actually see the changes were making. So just what kind of lowering this down here? We can darken the sky without darkening the beach, and you'll notice that There's a little bit of softness on the edge there. So if I drop that softness back down to zero, we get a very hard edge, which looks terrible. So I would definitely recommend having a softness, probably somewhere between five and 10. And for now, we can just keep it simple and leave it there. Next, I'm gonna go over to the top corrector note where plying changes to everything and I'm gonna mess around with the color of its. So let's start by going to the color curves over here. And I'm going to start by lowering the top end, basically darkening everything in the shot. And then I want to unlinked the different colors of red, green and blue by clicking on this link over here and go to the rat and drop that down a za much as you want. And with that, the green as well. And what this will make happen is that the shot will look bluer because we're de emphasizing the greens and events and the shop, so we can also add a little bit more blue and purple to our image by adjusting the gain. So I'm going to take the gain and increase it slightly in the kind of violet color range. So just a tad there since obviously when you have night time, it's going to have war, blues and purples and its color. And I think at this point, this sky is probably dark enough. But the bottom isn't so I want to lower the overall shot even more so I'm going to take this overall color and lower that down. I'm also going to lower the blue, take the bad, drop that down further and the green drop that down further, pretty much until you think that this beach area looks good enough. Obviously, we may want to even lower these down a little bit further than that. So as dark as you want to make it, just make sure that you greens in your bats are lower than the other colors. So now the sky is way to dark compared to the beach area, that section. So I'm gonna go back over to that note in the bottom that's correcting the sky, and I'm gonna raise all of those colors up a bit. So right around there looks more appropriate. So at this point, it might be fun to add in some moonlight and one of the corners so we can do that by going over to the Fusion tab and in the fusion tab we're going to want Take this media in and put a light between media and the media out So we can do that by going up to the effects library in the top left hand corner, going down to tools and then effect. And you'll see hot spot as an option here So we can left Click the hot spot, which will create a hot spotlight on our image. And we can drag that over to one of the corners, such as over there, and then we need to play around with the settings a little bit. So for starters, I'm going to lower the primary strength way down here so that that center area where the lights coming from doesn't seem like it's one single point so much since the moon isn't actually in the shot and will increase the hot spot size so that the area where the light is actually going to affect his larger and I'm also wanted to change this aspect angles, so this should be in the direction that the light is going to go. So I'm making it kind of downwards towards this person like a 36.5 degree angle and then increasing the aspect you can kind of see how you can send out a way off light that brightens up some of the other areas in the shot. So I could make this quite large something like negative four. Have you ever want to see how this effect is looking in the final result? You can just go over to the color tab C so you can see that this light brightens up this area and they're a little bit. If you wanted to be stronger, you can increase the primary strength again. You don't actually have to have the center area on the shot. You can actually take this and move it completely off the shot if you want. As long as you're aspect angle is gonna be angling the light down here into your shot so we can take a look at how that affects it back on the color tab if you want. You can also add in secondary strength for the lighting. If you want it to reflect around and you're seeing a little bit, but I would not make the secondary size or strength to dramatic there. This is a little bit so I think that looks pretty decent for our purposes there. So I'm gonna go back over to the color tab and you can see how this lighting that's coming from up there kind of emphasises parts of our seen in a cool way, adding a little bit of a glow to the center area here. And then the secondary light affects the bottom right hand corner as well. That's just one way we can make our nighttime scene look a little bit more interesting. So we can it shifty to see the original shifty Teoh under the bypass and go back to the end result. And we can see if it looks dark enough for us. Okay, so I think one area we could make it look a little better is to lower the lines down on the window so that it's covering a little bit more of that ocean area. So I'm gonna drag that down kind of so that it's more on the beach and then the smoothing should be able to help take care of the rest. Okay, So one more thing we might want to do with the shot is lower the saturation down a little bit. So I'm gonna go over to the saturation versus saturation curve here. It's the last one on the list, and I'm just gonna pull the overall saturation down just a tad for all levels. And I'm gonna be keeping it roughly and even decrease all the way across the board there just to kind of emphasize the lack of flighting and the environment. Okay, So, overall, that's the just of how you could do a day night shift inside up. Divinci results. So you have your original shot in the daylight and in your final result with the nighttime shot. 24. How to Accurately Change Color of Moving Objects: Hello, everybody. Christer. And in this video, I want to show you guys how we can precisely change the color of an object inside of a video shot, even if the area around the object shares a very similar color or if the object moves around a little bit during your shots, such as with this sign. So in order to make the color adjustment modification will need to do everything on the color tab. So I have unchanged copy of the clip over here on the right. With that selected, I'll jump into the color tab. Okay, so the first thing that we're going to want to do with the shot is to use the qualifier tool in its picker mode to do a rough selection on the text that we're trying to change here. So I'm gonna left click on that and any other object that would be the same way. What you should expect is that the object will show up more on the nodes area over here on the right, you may get part of the screen that you didn't want to select in the qualifiers selection. What I was finding works even better than the base H s out. Qualifier selection, though, is when the colors are really similar like this. If you go over to the RGB color selection and then you do the qualify one more time on it, then you get a better end result. You can see that just by selecting their the text shows more in the notes, which is what we want. But because we're only selecting based on a color range here, the brown that the background of the sign has won't be selected as much. Sir, you may get better results of use RGB instead of hs l for the qualifier. Okay, Next, we can use some combination of the color wheels. Over here are the color curves which is the far left tab on the color tab in order to adjust the color that is going to be showing up here. So if you offset the color, you'll notice that it can change to pretty much any color you want, So the offset wheel is a good option there. Okay, so with the color changed using the offset wheel, you'll notice that other areas would share the same color on the screen are also being selected here. So what we want to do in order to filter all of that out, is to use a power window so the power window will limit the area of the screen. But to actually be affected a key for this color change effect. So the power window is the 3rd 1 over from the left. I personally like to use the pen curve selector because that allows you to precisely pick the points at which you want to be inside the window. So if you shape is a little bit different than just a simple circle or a square, then using the pin tool can allow you to get more control over it, cause you could just left click and select the points at which you want to control. So I'm gonna go all the way around this text title. If you want it even more precision you could do to power Windows one for the top title and one for the bottom title. So you know what? Let's actually go ahead and do that. I will hide at that first selection and I'll just create two more one for each of these words. So just kind of drawing a box around that, modifying the position of the points, making sure that everything inside the text is actually inside that our window. And then I will add one more down here and then that looks pretty good. The advantage here is that now anything in between these two areas, such as this sign part, won't get any of the color selection period because it's not even in the power window area . Okay, so now that already looks pretty good. But the problem is, if that object moves at all during your shot, which usually it wouldn't video, then the power windows may go off center from where the text is actually, So what you need to do is track those power windows across time. So with the power windows selected, go over to the tracker tool, and you need to track forward and track in reverse so that any changes in the position of the object theme or or the shops we'll be tracked in the power window will automatically move its position so that it's always on top of those text elements. So I'm gonna track forward here, and you'll notice that when she resolves automatically calculating looking at the position of where the more is we need to do it for the shops Power window as well as you can see. But using the tracker, the power window is always able to keep on top of your object. So now I'm gonna go back over to that original key frame, and I'm gonna track in reverse. If if you originally set up the power window at the first frame of your shot, then you'd only need to track Ford. But because I chose a point in the middle of the shot I need to track in reverse to now. So let's go ahead and do that. And now if I have play, it should look good for the more of word. And we just need to repeat the steps one more time for the shops text. So now I need to repeat it for the shop selector. What I'll do is I'll go to the first frame here and all just the power window before we hit the tracker so that it can track the areas from the first frame forward. And then we don't need to click a track and reverse after we do track Ford just make sure that the characters or the object is completely within that area, and then we can go ahead and hit track. Ford. Okay, and that should pretty much be it. So back over on the other tab, I'm going to fit the video to the screen. I'm gonna hit, play and take a look at the result we're getting here. So as you can see, we were able to change the color off the text on the sign, even though it's moving across time without changing the color of anything else and the shot, even the very similarly colored signed brown background. So So that's how you can do precise color change in DaVinci resolve 16. Even when there are similarly colored objects and the shot or even when your object is moving across time. So I hope that this video has been helpful for you guys. I've been Chris, Thanks for watching, and I wish you guys in my future. DaVinci resolve content 25. Light Rays OpenFX Effect: Hello, everybody closer. And in this video, I want to show you guys the light rays, specht. And then she was off 16 and a few ways that you can add it to your video in order to get some interesting lighting results without having too much effort on your part. So you'll be able to find the light rays effect if you go over to the effects library in open effects. Light rays is listed in here so you can attach it to any video clip in your timeline. And if we apply in this way, what will happen is that anything that is above a certain threshold, which has a bright spot on the screen usually if you're talking about a night scene that would be buildings emitting light. Then it will take those bright spots and out port light rays in a certain direction. So once we've added on the open effects to the clip, I can go over to the open effects tab on the inspector, and we could see that we have a bunch of settings to play around with you. So the first important setting would be the source threshold. So depending on how bright areas are on the screen. There gonna be a barber below a certain threshold if is above the threshold in terms of brightness than it is going to omit the lightweight. So if I want to have more of the clip actually emitting light race, then one way I can control that is to lower this setting down. So if I drag this down to a very low source special, you can see the even the buildings that have relatively dark red lights will now. So admitting light race. And if I drag this backup than only the brightest of the buildings will actually admit any of these extra light rays. Of course. Note that if I turn off the light rays, you can see that in this scene many of the buildings kind of already have some light rays to begin with. So don't be confused with what we're adding on on top of that to what was in the original shot. Next up for the position, you can choose where the light rays should be emitting from. In this case, the X Y position is talking about a ratio across the screen, so exposition of 0.5 means halfway in the center of the screen, Ex wise and a white position of 1.2 means that it is coming from above the screen in terms of pixels. This would be an extra 20% of the total height from top to bottom, and the actual source position would be somewhere up here. But we can control this direction. So, for instance, if I wanted all of the light rays to start from the center and then come out in all directions, then I can take the white position and set that to 0.5. And now you see that the ones that are above that center position in the clip, the ones that are above it, will actually angle there, light race up to the right up straight up. And the ones that are below that center point are still aiming their direction down. And I can drag on this value, and you can see how that actually adjusts it. Now you can note that these are actually animate herbal over time, so if I wanted to have a little fun here, I could actually set a key frame for this position and then choose another point in the video on actually lower the white position down to maybe somewhere below the actual video, 20% below it. And now, if I play it back, those light rays are going to kind of be going wild in their direction, as you can see there. So that's one cool trick that you can do it, that it might make even more sense if you had a moving shot and you wanted the direction of the race, too. Move with the shot as as a camera changed position. So as an alternative to having the Rays emit from a direction you can actually have off the res, admit at a certain angle. So if I be set these values back to the people and under the very directions category, we go from from a location to at an angle, you'll notice that now all of the's race are aiming in the same angle so I can drag this around and you can see that the light rays can go in whatever direction I want them to. The main difference here is that every single light ray will be emitting in the same direction, regardless up its position, so using at an angle can be helpful. If you need all of the light race to go at the same direction than under the appearance, we can control the size and shape of the light race that that are being admitted. So we might decide that these light rays aren't long enough so we could increase the length and this will increase all of the light race so we can get quite exaggerated with us. If we decide that we see these light rays and the too obvious there, we could increase the softness to have them blur out a little bit, which will kind of disperse the light in a wider range of area but making it less obvious that there was light rays are, in fact, a rate. However, if we go the opposite direction and make it a softness of zero than he's become more or less just straight lines at Brighton's now, if this is not visible enough for us, then we can increase the brightness as well. Of course, the brightness of each ray will depend on the original color that it is mating from, so it's always going to be corresponding with the original area where the lights coming. If we think that some of our light rays aren't quite visible enough, we can pump up the brightness on off the light race. So ah, the light rays will brighten. But this, of course, corresponds with how much, but this corresponds with the original light source. So if it was really tiny and kind of dark, it's still going to be dark relative to the brighter areas where the light race or mid income. And we can also manipulate the color of the light rays a bit. So if we wanted to have off the vase shift towards a certain hue of color, it wouldn't be too hard to adjust that here by picking a color. So when you use the light rays on a entire base clip, then that's obviously going to be emitting light from anything above the source special. But you may decide that you want to add a extra object on top of your video clip, and you want that objects to admit some light as well, such as artificially inserting a moon. But having the moon actually have some moonlight to make at least a little bit more realistic. So what we could do is add a PNG image on top of Arrow based video clip, such as this image of the moon, scale it down and position it where we might want a moon in the video and know what we could do is add on the light rays to this moon clip, just like before. You'll notice, though, that if this is a top clip, even if it's a PNG, that this actually becomes a full image clip now. So you're gonna want to change the composite mode from normal to something like add instead so that the black areas that have no light are still going to let everything else show through so that the bottom clip can still be in the final composition. However, if we only use one clip proposed the moon and the light rays effect and we try to change something like the opacity on the moon, then what you'll see is that by lowering the opacity actually lowers it on the entire video clip. So if you want to customize the visibility of the moon and the light rays independently of each other, what you could do is duplicate your moon clip one more time. So I'm gonna control C control V to copy and paste it and put it right above. And then now, if we go to open effects, there's a select output dropped down here. So rather than final image weaken, do light rays alone, What actually hide the moon as its light source, And then we take the bottom clip and we removed the light rays effect from that all together. So by doing this, we have a copy of the moon, which is emitting the light race. But if we try to hide the bottom moon, then you can see that the top moon is completely invisible except for the light race, because we said it to the light rays alone mode. So now we can independently control our moon that we actually want to be visible and the light rays moon. So at this point, we might decide. You know what? The original moon is too visible, so we might decide that the original moon is too visible, so we could lower some of the opacity on that. Make it a little bit see through we could change the composite mode. So something like hard light might be interesting, making those dark areas of the moon almost entirely impossible to see. Um, loss still showing the bright areas. And now we can be showed the light rays moon and start playing around with that, so we might want to control the direction they're in this case. I think it would be simpler to choose Ray directions at an angle, because then it's really easy to understand. We don't have to worry about what point it's emitting from just what angle we want the light rays of the moon to show at. And then we could lengthen these light rays bunch softened them out so that they're not so obvious and weaken bright in it as well, so that we get some moonlight shining on our seen. The only thing you have to keep in mind is that if you want to adjust the position of the moon, you'll want to adjust both of these moons so you can actually control both of their positions at the same time. If you do a control left click to select both positions and now we can move the light rays and the moon at the same time. Okay, So one more thing I want to talk about with light rays and venture yourself 16 is that you can actually use them on the color tab as well. So if you want a bit more control over, say what regions of thes screen will qualify for admitting light rays? Then you can actually take away your light rays effect from the edit tab, and we can move it over to the color tap so we can add light rays to a corrector note. So taking this original video clip from video track one, you can add in a open effects such as the light rays effect to any corrector note that you have set up in the co tablet have been She results 16. So, for instance, I can add in light rays here, just like we did before. But on the code tab, you have access to extra functions such as having power windows. So if I wanted to mask part of this screen away, maybe we don't want Tad extra light rays to all of these fireworks that, um, are coming from over there. Maybe we only want these buildings to emit light race so I could say, cut off part of the bottom of the screen by using a power window using the curve tool over here, I can easily draw the area, which I want Teoh emit light rays from, and then just close the loop by continuing with the pen tool. And now, to make it really obvious, all increase the brightness. So you can see that as I increase the brightness that the only areas which are getting these extra light rays that did not exist in the original clip are those that are in my selective region now. So imagine that you had a moving object somewhere in the screen, and that was the only thing you wanted to add light race to. Even though there were several bright objects on the screen. This would be really useful. And if you needed to track that object across the screen with power tool, making sure that the light rays were always in that area. Wherever that object is moving across the screen, you can use the power tool and track that objects movement in conjunction with the power window. Another way that we could do this would be to use to qualify a tool to select a certain color range, which will be allowed to emit light race. So, for instance, I could temporarily turn off the light rays clip and maybe I only want, like, let's say, the oranges to admit light race, not the whites, which are already bright, so I can increase this with as well to make it selected. A little bit more are our video, and you can see whatever you have qualified will show up here in this corrector note. And then I can add in the light race, and you can see that now only a few areas are actually getting the extra light rays as well . So using the color tab qualifier like this would be a little bit more of an advanced way rather than just having a source brightness threshold like you would on the color tab. Of course, luminous is basically the same as the source brightness threshold, but you can see that the qualified to on the color tab also allows you to choose saturation . Basically, ah, how vivid the colors are and the hue range, which colors themselves, should qualify for the final effect and incense on the color tab. You can break your original corrector note into multiple segments before you re combine them at the end. Ah, one thing you could do would be, let's say at in a splitter note to break your video into red, green and blue. So I added three more corrector notes here. So one for bad, one for green and one for blue. And then you can add your effect on any one of them. So maybe you only want the light rays effects to take part on the Red Channel so we can drag it onto their and leave it separated from the green and blue channels. And then we can be combined them with a combine er node. So right click add node. So van travade green to green and blue blue or our final video output. And now you can see kind of, interestingly, that the light rays is now only taking from the red in the video and that the light rays that get output are red themselves because we're only looking at reds on this red corrector note. So that's interesting as well. Didn't really know how that one would turn out. So as you can see using the color tab. You have more control over how you want to apply an open effects to your video clips because you can break things. Sent two notes. Do you have power windows and qualifiers and all those kind of cool tools? So in this video, I'm sure you guys three ways that you can take the light rays open effects and apply it to your video clips and eventual results. 16. So I hope you guys got something out of this. I've been Chris, Thanks for watching, and I'll see you guys in my future video content. 26. How to Turn Video Clip into Color Palette with DaVinci Resolve 16: Hello, everybody, Chris Here and in this video, I want to show you guys how we can extract color palette from a video inside of DaVinci Resolve 16 and to use that color palette in other programs. Such a scamp. So inside of DaVinci was off 16. There is an effect in the effects library top left hand corner. If you need to open that up, you go down to open effects filters and, under the result effects generate category. There is a tool called color palette, so for the clip you want to generate a color palette for you need to drag it onto the clip so you see four strips of colors at the bottom. The one on the top left over here is for the shadow colors. The middle one is for your mid range colors, and on the right are your highlight colors. And then the bottom bar is your main colors that take samples from each of those categories . So when you add the color palette effect, you're actually able to modify it a bit. So if you click on the clip and you go over to open effects and the inspector, you can change from display mode to shadow region, mid tone region or highlight region so that you can see which regions are actually qualifying under those categories. So when you do shadow region, you can see that the trees here and part of the lake are falling into the shadow threshold . So if you want to increase the range or decrease the range of what is considered a shadow in this video clip, then I can drag this part up and down until we get the value that we want. So next weekend, click on the display mode dropped down to mid tone region so that we can see the in between areas of this footage. And for this you'll be able to see both adjustments to the shadow threshold and the highlight threshold, since the mid tones will be whatever falls in between those two regions. So I could increase the highlight threshold if I wanted more of the clouds to be considered mid tones. Or it can lower this all the way down until there are no clouds whatsoever. Next, we can go to the highlight region and you'll be able to see what's considered highlights here. The brightest areas of our video sequence, and so we might decide that we want the whole sky to be considered a highlight threshold. It's really wherever you want to set those values. When you change the shadow threshold in the highlight special and we go back to the color palette, it's actually going to affect what colors show up here. So if I increase the highlight special, you'll see that this shifts around the colors that are being selected from our image to generate the color palette. And likewise, if I just the shadow special that is going to change the shadows in the mid tone colors. So I would think a good rule of thumb would be. You want to set the shadow threshold in the highlight threshold somewhere where you get a good color variation in all three of these categories. So if you notice that by making the settle threshold way too dark that there's not much color variation there, you could consider increasing the shuttle threshold and likewise, same idea for the mid tones and highlights. And so once we have this code palette generated on screen, unfortunately, that doesn't seem to be an export function that I'm aware of yet for directly grabbing these colors out. But what we can do is a work around is go over to the color tap, and then we take the frame for any frame that we want. Notice how the color palettes are adjusted on a frame by frame basis, so we grabbed the frame that we want to draw the color palette from. So let's just say there, for instance, and then we can right click on our image here and you grab still, which basically takes like a screenshot of our video clip there, with all of the effects layered on top of it, including the color palette generator. So we can now take this generated still do right click and export and bring it out as a J pack. So I'm going to save type, as Jay Pek will call it video color palette and export it. And now, on my desktop, we have that image with the color palette built into the image so we can take this now in any program like gimp or photo shop and start generating the color palette. So I'll go ahead and open gimp now, and so I'm going to be working on this image, so I'm just gonna drag it into gimp. And so now all we need to do is take the colors from over here and add them to a color palette inside of the palace editor. So forgive. Specifically, the palate editor is an open by default. You can find it under windows, duck boat dialogues, and then pallets and photo shopped. You would probably have a very similar tool. So to create a completely new color palette, I'll go over to the pallets tab here, and I will click the create a new palette, watching lakeside, seeing video palette and hit, Enter and weaken. Set the number of columns that we want over here, so I will do four columns, so that means that it will go for cross before it jumps down to the next row. But we could actually do eight columns, which might make even more sense. So each row is one color palette for the, um, for the shatters, for the mid tones, for the highlights and for the general color palette at the bottom. So now, using the color droplet tool over here and even site, we can select a color, which will immediately become a foreground color. And to add this to the palate, we simply drag this color over, and it will immediately be added to a space. So I do that for each color here and after a slightly tedious process, we will have a color palette. So we have the shadows done there, and now we just need to repeat process for mid tones and highlights, and that's how we do it. So, just like that, we now have a 32 color palette generated from one frame of our video, and we could use this to paint with an hour tool, a similar process for reply to photo shop or pinking tool. So that's pretty much other is, too, on how you can create a color palette inside of DaVinci results. Extract that out to a J. Peg image and use that to create your final color palette in programmes. Such a skimp. So I've been Chris. I hope this helps some of you guys out there and I will see you guys in my future video content 27. How to Create a Double Exposure Video Effect: Hello, everybody. Christopher. And in this video, I'm gonna be showing you guys how we can be create this double exposure effect inside of the Vinci Resolved 16. So the first part of creating a double exposure fact is going to be having a proper video put for the saddle. So when you're picking a clip out for double exposure, you usually want tap of a bright background, which is going to more last remaining the same in the final video shot and then the darker areas of your video. In this case, the woman's body would be filled with the information from the second video clip making it look like in this case, a swarm. Sharks is actually swimming around in the area of that. But so having a large contrast between the areas that you want, the exposure effects to not be in and the areas where you want it to be in, we'll make it a lot easier for you to get good results when you are doing this. So for this method on how to do double exposure and result, we need to go over to the color tab. Once we have our video put selected and the first thing we're going to need to do is to select the area which is going to be filled in with that exposure. So in this case, that's the woman's body, and we can easily select out the woman's body in this case by using ruminants and an HS out qualifier. So basically, I just need to bring the luminous down low enough so that the sky is completely un selected with this corrector note. So let's click under my edge there and drag it and and watch the corrector node in the top right hand corner. And you'll notice after we get about 62.5 that the corrector notice only selecting the woman's body now because this is a really easy shot, with pretty much already done with the qualifier tools. If you needed to go a little bit further with qualifying, you could try out a power window in order to draw shape around the person so that you can only select this area and filter out the best of the shop by default. So to combine with this corrector, no, we're going to bring in the clip that we want to double exposed with it as an external Matt . So I'm gonna screw up here and find my video file. So in this case, it is a sea of swarming sharks and fish and we're going to combine. These two notes were going to do that using a layer mixer. So I'm gonna right click, Add no layer mixer. In addition to this leader mixer, we're also gonna need Alfa Output. So the Alfa Output is gonna be receiving the information from this protector notes and just gonna connect those two right now. And when we do that, you'll see that everything that isn't in the qualifier selection is now completely filtered out. And I'm saying this now we can actually bring in the limits just a tad more so that I was Selection is better. And maybe we can add a little bit of softness on the edges as well, so it looks less harsh and let's just bring the and a bit more and then we get a pretty good selection. So now, for what video information is actually being output, we need to combine the mat node and the corrector note. So in this case, the mat node goes to the bottom so green to green. And then, for the corrector note that is going to feed into the top part of the layer mixer and the layer mixer goes to the final output. When we do this, it may take a second fort to update. But what you should get is something like this, where the person's body is now being replaced with BC. So if you have a black background and the vest is being replaced with your extra Matt note , that's good. You can now go back over to the Adit timeline, and we're going to want to take this clip and actually move it to the second track. So this is going to be our council, your information. And then we want to put the original clip with no modifications on the box. So I'm going to drag that into the bottom track here, proposed in the equal. And now what will happen is that off the black spaces from the top track will be filled in with the original video information. So now we pretty much have the effect. But we can go a step further than this and bring back a little bit of the detail in the woman's body by adding on 1/3 layer to the video timeline. So I'm gonna take the clip one more time from the media cool and put it into video track three. So here's the video clip. You put it in video Track three and now I'm gonna take the composite moat and change it from normal to something like Headlight. Ah, lot of these composite modes would actually work or similar results, but I was finding pin light to be pretty good. And if we now take it and lower, the opacity will be able to see the background layers more to as much as we'd like. So have I got down to say something like 25% there. It adds a little bit of the detail. You can see the outlines of the woman sweater, but you can also see the fish swimming in the backgrounds, so that's going to give us our final double exposure affected. Inside up Divinci results 16. I hope you guys learned a few tricks on this video. I've been Chris, thanks for watching, and I will see you guys in the future. Video content 28. Black and White Threshold Effect: Hello, everybody. Chris here and in this video, I want to show you guys how we can take a video quote and buy a threshold to it so that we have only two colors up on the screen. Everything either shifts towards black or ships towards white. So first port in equip on video timeline that you want to buy this back down and then move over to the colored habits one of the color wheel, third from the right at the bottom. When we're on this tabal going to need to take the clip import and separate it into two corrector notes. So we have the first corrector note up there, but default, which feeds into media out. But we need to right click and you add note and create a new protector. So this new corrector notice also going to receive the video import. So I'm going to drag and connect it there with a link like so. So next on one of these corrector notes, we need to qualify it with a luminous qualifier. So in the bottom left, I'm gonna make sure that we're on qualifier inside a HS. I'll mode and going to turn off hue and saturation because we only want to qualify it with ruminants. And I'm going to drag one side of the luminous qualifier over until I have a proper selection. So when you left click on the edge of this qualifier at the end and Dragon End Wards, you should notice that on the corrector note, part of the original video put will be selected, and part of it will not. So you're going to want to drag this over until you've met your threshold, so to speak, where you want everything to be one color. And then on the second corrector note, we're going to select everything else and make that the other color. In this case, one inside's gonna be black and the other is gonna be white so we can see that I was able to un select the sky for the most part, leaving that at a high of 62.7. So I'm going to copy this value and make it the low in the second corrector notes. So going down to correct or no to I'm going to copy in that 62.7 for the low, and what you'll see is that that is now selecting everything that the first note was not selected. So now, with each of these two notes, we can color ship that towards black or white. So in this case, let's leave the brighter side. The second corrector no color shifted towards appear white. And let's take the top note, which has the darker colors and shit that courts by. So with director no one selected, we can click on the Color Curves tab, and in order to make that part here black, you simply need to take the color curves with all of them linked together and drag him all the way down until we get a pure black. So by taking that might and note in bringing that zero, it allows no collar to go through in the final note. And what you'll see in that first director notice that everything that goes through is now a few black. But the second corrector note the way I was like him to make it here. White is to ramp up the contrast. So with the second note selected, go over to the Color Wheels tab, which looks like a circle with a dot inside of it. So on the color wheels tab, you'll see contrast has an option towards the bottom. We're going to take that from one and man all the way up to two. So now we have to correct your notes. One that has pure black and the second corrector know of which is almost pure white for everything else. Now we need to combine these two nodes with the layer mixer in order to make it the final output. So I'm going to right click here and add a note. I'm gonna choose layer Mixer. So in order to generate our final output, we need to connect these two correct on it. You need to correct. We need to connect these two corrector notes. And so I'm going to make one the top important and one the bottom import and this layer mixture is gonna connect that the final output, which is going to give you a result looking like this. Now we just need to do a little more work to get rid of the yellow spots. And then we're pretty much done here, so a really easy way we can take off the remaining color and just make it pure white is to go over to the RGB mixer and there's gonna be a check box you from monochrome. So just check that and every color should turn into a shade off white, which in this case, is essentially Pierre White. So at the end of these steps, what you get is all of the colors in your original shot have now moved to either black or white, depending on where they set inside of your threshold. And that gives you this really cool black and white national impact. So that's gonna be it for this video. I've been Chris. Thanks for watching, and I'll see you guys in my future video company. 29. Threshold Effect with Fusion Nodes: Hello, everybody. Chris here and in this video, I want to show you guys how we can create a two color black and white threshold on the fusion tab using notes in defense. The results. 16. So to do this, start with any clip you want and jump over to the fusion cab in the middle. So at the bottom here we have the media and the media out. We're going to need to add a total of five nodes in order to get this effect to work. So the 1st 1 we need is going to be an right click add tool and then do Matt and choose Loomer Kier after we get our key or settings right for one color. Whether that's black, white or whatever you want to change the color to, we're going to duplicate this. An inverted addition that the two Lou McKee years we're going to need to brightness contrast notes so we can find that in ad tool and go to color brightness contrast. So we need two of these one to adjust the color two white and one to adjust the color to black. So all right, click thes and renamed them I'll call the one on top Thebe for black contrast Note. And then the one on bottom I will call the W for white. So next I'm gonna connect the media into the Lumen Kier notes so we can see what it is allowing and not allowing to pass through. So on the loom, Akira, everything that you see allowed through here is going to be up for colorizing with one of these two brightness contrast notes. So what we'll do first is find the settings re like for what should turn into a white color , and they make a copy of the note and inverted and feed that into the black brightness contrast note so to control what is and isn't being keyed out, you can use the slider bar at the top if you click on the low ends. That's going to be the very bright areas that you're filtering out. And if you click on the high end of the slider, you can reduce the number of dark areas which are being filtered out by the limit here for me. I'm going to want to turn this guy completely black, so I'm going to want to make sure that still gets kita out and I'll drag this over to where I think it's pretty good. So I demand their looks good. You can still see the lighting effects going through the Keir. Most of the buildings, they're still visible. So I will feed this to the white brightness contrast note and put that in the right preview window for now. So with the white brightness contrast note in order to make the color here turned white, I believe how it was is we need to turn the gain up to five and then the saturation down to zero, which will make everything black and white. So next we need to take the Lumet here and duplicate it here and then just Teoh invert. So if I previewed this on the left side, nothing will show you because media and isn't feeding into that. So we need to bring media into the top Bloom Akira again. But as soon as I invert, you're going opposite of what was keyed out on the bottom note. So we feed this to the black brightness contrast which are pretty over here on the right, and then to turn this black, we just need to take the gain and turn that to zero. So now we can merge these two notes together for the final media out To do that right click add tool composite merge and feed the white brightness Note into the bottom and the black brightness note as Thebe Rinne line there. So now we take this and we put it to media out. And if we preview this on the right side now we can see that everything in the shot has been turned to either white or black. Once you have this set up your pretty much there. One thing you can do, though, if you want to make the threshold effect as powerful as possible and not have any of these in between kind of black kind of white areas. What you can do to eliminate those areas is to go to the loo, mark here on top for the black brightness contrast, and rent the gamma down to zero. So that will give you those incredibly hard edges. And at this point, everything is either Pierre white or peer black. So if you want that peer to color threshold where everything is either hard white are hard black. That's gonna be about as close as you can get it and eventually results. You may decide that you want to raise the Gamma a little bit more past that so that it's more blurred and that there is a little bit of in between. It's kind of up to you on exactly what you want. Okay, so just really quickly before we wrap up this video, I did decide I was going to increase the luminous range on the top half over here. So if you wanted to make a bit more of that street area than buildings, black rather than white think this adds a lot of cool more detail back into the shot. So that's how I'm gonna leave it for my final results. But that's pretty much gonna be it for how you can create the two color threshold effect inside of DaVinci resolve using fusion notes. So I've been Chris, I hope you found this video to be useful, and I will see you guys in my future video content 30. How to Blur Out a Face with Movement Tracking: Hello, everybody. Chris here and in this video, I'm going to show you guys how you can blur out of face and DaVinci results by using tracking techniques. So you see, in the background of this shot that there is a man walking kind of towards the camera. There's a bit of a natural blur, just due to the fact that the cameras focusing on the guy in the foreground and not the background, but in a way you can still kind of recognize that person's face. So I'm going to try to blur that out even more. Note that over time the guy's position changes over time as well, so you can't just really blew one space. You need to track the facial movement across time, but the best place to do this is gonna be over on the color tab of resolve 16. So click over there and you're going to want to pick a frame to track from. So in this case, I'm gonna go to the last frame of this video because that is where the person is the most clear. There will set up a power window to kind of mask and blur that area out and then track in reverse so that we can blur that person's face out over the entire shot so you can click on power windows over here in order to add a window. And I'm going to use the oval shaped tracking window because a person said this kind of answer make sense. So for the tracking window, the white line is the edge of your window. And then on top of that, with the thinner line and below that, the other thinner line is the softness edges. So having these extra lines on top and bottom of the main boundary will add a bit of softness to your tracking window. You may. It may not want that, depending on what kind of effect you're trying to generate with your tracking window. For now, I'll just leave them on their. The important thing is gonna make sure that person's face is fully blurred out. They'll make sure that the face is always inside of the inner self ness boundary, and we can position that over the person's head and click on one of these points in order to resize the tracking window. So I'll put it right there, larger than it needs to be for the person's head. Just resize it to where you think it's appropriate. And then what we need to do is add some blur that will only affect these tracking window areas. So to blur, go over on the tabs to over from the power window to the blue tab, and we need to increase the radius here of the blur. So from 50 we can just ramp that way up to something like 1.0, which should significantly blur out everything inside of that power window area. So now, if we scroll through the video, you'll notice that the Blur's they're all frames, but it doesn't actually move with the person yet, so we need to add and tracking. So going back to the last frame of this video wherever you're using as your tracking reference point, click over on the tracking time, which is between window and Blur, and now you're going to want to hit the track, reverse or track forward button, which will have the power window try to track this person's face, matching each frame to the frame before or in front of it, and seeing where the difference in position wise. So I'm gonna track reverse here with all of the settings checked. If you do run into any issues, sometimes turning off something like three D will make the tracking less complicated, but also can get you better results due to making the tracking simpler. So I'm gonna track in reverse here. So it looks like it didn't go quite right for me. There it may be because the tracking window is too large here. So go back to the reference frame, which once again, is the end of my video clip. And I'm actually gonna shrink this window down so that it knows we're trying to track the face. Making it something like that should be fine. We also trade turning off three D and seeing if that makes a difference. And now hit track reverse to redo the tracking and see if it works a little better here. And I would say that is a significant improvement. So that man we're trying to blow the face out of comes into view right around there after the foreground, man is no longer blocking him, and we can see that the power window is going to keep following him across time. And if we scripted the timeline, we can see that pretty much all of the frames. It's doing a very good job of actually tracking that man space. So that would be essentially always have to do with the simple clip like this. If you do run into the situation where on some frames, the tracking kind of falls out of space, you can goto a frame and actually manually just the position off the tracker or the size of it so you can drag it to where it needs to be. And then you can track again from that position so I could go to hear after adjusting it a little bit. And I can continue tracking in reverse from that point. And I could track in reverse or trek forward from that point, which will go ahead and make the adjustments as needed. So one more thing if after a certain point during the shot, you want to turn off the blur because it's no longer needed. The person has already left the shot. Ah, then you can use key frames which are in this box down here, in order to set that up so I'm gonna click on the Corrector ones diamond key frame to enable that for key framing. I'm gonna go to the first frame here, which already has a key frame. And I'm gonna click that choice to make sure that this is as a key frame. And what I mean by that is that the key frame has the corrector enabled. Here, I'm gonna go to where the person enters the shot right here. Click twice to set a key frame again as it's enabled. And actually at the story, I want that to be disabled. So going back to the first frame, I turned that off. So now the power window doesn't actually come into play until right around there on. Then. I just want to make sure that that power window is enabled for the rest of the shot, which it is. If you need to be enable or disable it, just click on the corrector enabler right there in the power window in order to V enable or disable at any point during your clip. Okay, so now we can also set key frames for the blur so that before the power window actually comes into play. It's completely disabled. And then when the power window comes into play, we enable the blur with the power windows so that it blurs out so that it still blows out the facial region. So at the point where the corrector note is enabled, I'm going to leave the key framing Diamond checked there so it should be read. And then I'm gonna take the radius and I'm just gonna set it once again. Teoh, basically whatever value 99 0.98. Whatever you had it set at, you just need to set the value one more time, and then that will automatically create a blurring key frame. So I believe that's under color corrector here. So you see the key frame for there and then because we want the blur effect to be enabled immediately, as in occurs over one frame, I'm gonna left on the keyboard to go one frame behind where the Blur key frame is set. And then I'm going to set the radius here to 0.5, which will immediately create that second color corrector key frame. It's enough ago between these two frames, you'll notice that the blur is enabled here and the shot, but it's not enabled the frame before that. So now if we play the video clip back from frame zero, that's going to be nobler or, you know, our window until it gets to that point where the person actually moves into the frame and it starts tracking. And then then after that point, the blur in the tracking take effect and the person's face is blurred out. So let's play that back here so you can see there's no blurrier. And then bam! The tracking windows enabled. The Blur is there. It tracks the person's face across time and then right after that point where the power window has enabled the blur kicks in, and it's tracking the person's face across time and the shot. So that's really the basics of how you can blur a person's face out, using power windows and tracking across time and any video shot. I hope you guys enjoyed this tutorial. I've been Chris, thanks for watching, and I'll see you guys in my future video content 31. Blanking Fill Effect to Edit Vertical Video Black Space: Hello, everybody, Chris here and then this video. I want to show you guys how we can fill in the sides of a vertical video or image, basically anything that doesn't have that perfect video. 16 by nine aspect ratio. You can fill in the sides with a blurred out copy of the original image. So, for instance, I have this bake instagram post I made the other day. It's an image that does not have that 16 by nine aspect ratio. So if we put it in a video where we want to use it as a thumbnail, it's going to have black space to the sides. One way to deal with this would be to put in a background image behind this instagram post . But another option is what's called a blinking feel effect so you can find the Blinking Phil effect in the FX library open effects, and we can scroll down and find it under the resolve effects stylized menu, so with blinking filled dragged that onto a timeline clip. So when we do that, you can see that the inner image has also been made the background for the sides that black space if we go over to open effects. We can customize this effect, assuming you want the blinking fill to fill the entire screen. Here, you're either going to be using zoom mode as stretched a timeline or zoom to timeline differences that stretched. The timeline is gonna be taking the original image and stretching it both horizontally and vertical. But then zoom to timeline is going to zoom in on the center point with the same aspect ratios. So the dog in the center can still be recognized as having the same with the height ratio in the background. But it does in the photo. In most cases, I probably prefer this is the zoo mode. So from there you can customize some of the other settings. Blend edges will take the hard edge here, and instead it will be more of a fade from the original image to the background rather than a hard cut off. So if I add in some blending edge, you see that gets that kind of soft brush effect so you can also control the amount of blur in the background. You can lower that down if you want the image to be very clear in the background. But in most cases, you'd want to leave that reasonably blurred out, so leaving it somewhere in the civil 0.6 to 0.7 range is good. And if you'd like to overly a certain color on top of the background to make it less recognizable, you can add in some fade amount. Here's so having a fade of white basically takes all of that and adds white on top of it, making it harder to recognize exactly what's in the background. You can, of course, change the color for that sector. Wanted it to fade with red who are something ridiculous. You can do that. There's also drop shadow options. So for the centerpiece here, if you want it to cast a shadow kind of ah three D effect than you can add, some shadow strengthen here. So if you would like the shadow to cast at an angle, you can add in some drop distance, which will start showing the drop shadow with the angle, and then you can customize the angle at which it's casting that shadow. But if you prefer to just be kind all the way around, then you can leave the drop distance at zero font, the shadow to be more of a hard edge line than decrease the blur. If you increase it, it's going to have more softness spread over a longer distance. So one more trick. I want to show you guys regarding this effect. You may notice that with this instagram post, that part of the edges of the image of being cut off as part of the effects if you want the original image or video clip to show fully on both sides than what you can actually do is Jack copy on top of the effect clip and then with the opacity, set it to something like 99 point in 99% so that it will replace the black with whatever's in the background. And by doing this, you still get the effect on the first layer. But you also get the full original image with no adjustments made to it on top of everything. So one more thing. If you want to actually take this effect and use it to generate a thumbnail for a YouTube video or something like that, then where you can actually do with any frame of this effect is go over to the color tab and right click on your clip over here, and then do grab still, right click on your still, which you will show up in the gallery. You can talk about that on and off in the top left hand corner and then right click it into export. So, for instance, I may want to export this to the desktop as a J. Peg image, and I could call this instagram some new. And just like that, you can generate a thumbnail from an image using the blinking feel effect as well, so it did not show. That's pretty much all there is to editing vertical footage or an image that does not have that perfect video 16 by nine aspect ratio by adding in a blinking feel blur effect in DaVinci Resolve. 16. So I've been Chris. I hope you guys enjoyed the tutorial, and I was so you guys in my future video content 32. Logo or Image Particle Dissolve Effect: Hello, everybody, Christer. And in this video, I want to show you guys how we can take a logo or image inside yourself and have it dissolved into a 1,000,000 partners. So the first thing that we're going to need to do to be great this effect is to go into the effects library and drag a fusion composition onto the time I So you find this in effects library, toolbox effects and infusion composition. The reason we do this, rather than dragging a image directly under the timeline, is that sometimes the image won't have the same pixel resolution as your video, and therefore you can run into issues like having the sites cut away. But if we bring in a fusion composition quipped, than it will always match the whole size of your screen. But you can still be sized the image inside of diffusion cap. So over on the fusion tab, we're gonna want to drag the image. We want to dissolve from El Media Pool onto the nodes area, so if you don't already have it open, you can open the corn Captain corner and then find the image ing in the year pool. If you don't already have a pair. Drag it into the new people. Come somewhere on your computer into, But you can also drag any image from your computer straight into the notes section of The Vinci Result, and it will automatically added to both the media pool and create a media end note for you . Fusion composition. So let's make sure that the images there by left clicking on the preview circle and then media out will be our right three. So next what we're going to need to do is create a image particle emitter. So with media in selected, so I'm going to right click go to add tool particles and then fine particle image emitter here left, click the add it and drag the media in to the particle image emitter. And then with the particle image emitter, I'll click up here to add a protocol vendor. Note that's necessary. Decor can connect your media out so I'll connect particle render to media out, which should give us some kind of particle preview over on the right side. Now you'll notice your that the image I brought in is actually too large or the screen. So what? I'm going to add Is that transformed? No. Between n and particle image, admit er in order to control the initial size of the look. So I'm going to right click on the line right after the year end pill to Abdul and then down that transform, we're going to juice a transform. No. So, inside of the inspector, with this transform notes selected, we can control the size and the positioning off the image. So I'm just gonna take the sizer and lower it down till the end result. Blogger. There is quite a bit smaller Anakin, more less fit on the screen. Now, you also notice that the particles here are really tiny and we'd like to have the effect start with shape initially intact and very visible. So I'm gonna go over to particle image of middle here and find the style tab, and I'm gonna change the style from point to blob. By doing this, we can have control over the size of those particles, and I'm going to ramp that way up until we can pretty much see the entire DaVinci Resolve logo as it originally was. I'll just put it at the max size of 0.5. So that takes our logo and has essentially pull reforms there at the start of our practice . And now we need to apply some forces to those particles over time in order to get that dissolve look. So if you want to keep things simple and the particle image emitter, you can go over to the control section, which is the far left one, and go down to velocity, and you just need to give it a velocity, some velocity variants so that the particles don't move at the same rate. And you may also want to change the angle C by default. If you have velocity, the particles are gonna be pushed to the light, but you may prefer for them to be towards the camera and step. You could also have it at a diagonal angle kind of whatever you like. So let's start by increasing the velocity of it and add some velocity variance and taking a look at how this looks. We can also play it back in the timeline, of course, since it needs to render in real time, it may go kind of slowly while you're doing this, depending on how fast to computers after it's got the chance to cash the vendor. It will play back a lot faster so they can give you a really basic looking effect there. But you may want to make it a little bit more interesting so we can add in a little bit of angle variants, a little bit of angles, e variance, and that will make the particles go off in slightly different directions from each other. And like so, if you'd like, you can also add in a directional force notes so that I right click here and you add tool and go down the particles and directional force. We can have it accelerate the particles. Any direction over time. Kind of like having wind on the scene. Do you may want this. We may not want this. You'll notice that acne directional force node selected. We can see the direction that the course is aiming at with this line here, and we can track that amount to control the angle. So So with that directional force, it might look a little bit more like this so you can see over time the particles actually changing their direction. So that's just one other way. You can kind of modify the affected made it a little bit more interesting, but for now, I'm actually going to remove that directional force note, and we're going to aim the angle towards the camera and step. Remove your directional force, noted Gavin. Nobody and then click back on particle image of bitter. We're going to take the angle here and make it negative 90 degrees. So which it? Somebody basically just rotating the main direction that it's going to be aiming our effects towards. In this case, it's changing it from the right to towards the camera, so you could also make it 90 degrees. Wanted to make it away from the family, for instance. So now, if we go back to frame zero and play our effect, we get this really cool. Dissolve off the logo into a 1,000,000 different solid particles, so the sense of being really need a fact that you can play around with, and there's a lot of ways you can customize it. For instance, just by changing the velocity, the velocity, variants or the angle, you can make it look like a completely different one more thing that you may want to customize is the life span off your particles. If you stick with the default lifespan, which you confined under the particle image emitter node, then the life span is gonna be set to 100. And that means that after frame 100 that all of the particles are just gonna disappear. So if you need the effects to go on longer than 100 brains, then you should increase the life span. So I'm gonna rent that way up so that it will basically go as long as it needs to. And what you can do to make sure that all of these particles stop rendering as soon as they have left the screen is to go over to the particle, render and click on the first cab. Over here, the controls note there's a check box called kill particles that need the view so critical is that are never gonna be entered the screen. This will help save your GP use and processing time, because all of this particles that meet the screen are just gonna be destroyed immediately , which means less objects for your computer toe happen process. So it's a good idea to check this, if you're effect, is gonna be similar to mine. But that's a basic set of how you can dissolve an image or logo inside adventuring zone using particle image emitters. So I can Chris, thanks for watching and also you guys in the future video content. 33. Creating a Snowfall Particle Effect: I think this year, and in this video I'm going to join you guys. How we can create snow, all particle packed inside the results. 16. So for this effect, going to require total or video layers, the first layer is going to be our base video, which both of the snow effect layers will be showing on top. Then on video track two, we're going to have the first layer snow, which will fill in the background only, and we can get started on adding at that to our video track to by going to the effects library and then go to toolbox X fusion composition and will drop on the fusion composition template onto the timeline. I'm also going to expand it for the duration of the however long we want to create the snowfall packed court on video track three, we're going to have a copy of the same clip from video track one. So I'm gonna help you this just with control C control the and drag up to video track. They know that you do not need to copy the audio tracks, so feel free to to meet that if you need, and then I'm video track for which will create later. We're going to have another layer of snow that will show all across the video, and the snow picks will be larger. But these snowflakes will also show in front of the person's face. So by having a lot of snow fall behind the person and only a few in front of the person as it gets closer to the camera, it will give you a more realistic look. Because the amount of snow between the camera and the person's face is, there's nowhere near as much as the amount of snow between became a and the background. So next let's go ahead and create. There's no effect on video track, too. So go over to the fusion tab and in the clip section where you can open in the pop up, make sure you have video track to selected for that fusion composition. At the start, you should see nothing but a media out note, and to create this effect, we're going to need a particle emitter. We're also going to need a particle vendor between the particle emitter and particle vendor . I'm also going to add in a particle turbulence which you can find in the right click add tool menu. So the tribulations allows us to add in some randomness to the direction that particle's air going as the time progresses and video which will make it look a lot more like when this happened. Some impact on Snopes, the next weaken. Take particle vendor and connected to media out clicking on the particle emitter note and looking in the preview window paternity out. We should be able to see some particles already inside, but we want these particles to spawn in a way where it covers the entire shot. So I'm going to quit somewhere on the bring where I get this white selector and drag outwards to increase the size of this emitter, I'm going to want it to be significantly bigger than the entire shot action next. Because I know I'm going to want the particles the last longer than 100 frames. I'm gonna increase the lifespan to take care of that for later. If you're okay with some of the snowflakes disappearing mid shot by increasing the lifespan , we're going to keep snowflakes from randomly disappearing in the middle of the shot. This way, only whether actually disappear is if they completely leave the stream by increasing the lifespan to the duration off the entire sequence or longer. We ensure that the snowflakes won't disappear unless they go off of the screen entirely, which is probably what we want. If you go to the style tab of the better, you can choose if you want the style to be point or blob. I think either of those worked pretty well for the background snowflakes up. Alternatively, if you're OK with it being a little bit more processor intensive, you can go to brush. And then from brush, we can select an option such as one of these flakes. Well, unless you're going to be increasing the size of these dramatically, it's actually gonna be very hard to see the shape of those backgrounds snow place. So you might as well just use point or blob as your style here for creating the background belts. So if they're going to be small enough, you might as well just use point or blob, have lower, detailed background snowflakes, but that will vendor much faster. So with blob, I'm going to go to the size controls with that style and I'm going to increase the size quite a bit. You're gonna want size variants so that not all this snow plates look exactly the same. And on the controls tab, which is the left, we're going to want to increase the number and the number of variants as well to add some randomness. So if we go to frame zero on hit playing now, you'll see that the snowflakes look quite flashy. The only reason that moving around is because of the turbulence, so you can see how the Tribune's kind of makes it go invented directions across time. But we actually want to add in some base velocity as well, which is going to be downwards since it's falling from the sky, of course. So in controls we got onto the velocity section and I'm gonna add in a velocity or the background snow and velocity variance as well so that they call at slightly random speeds Next, in order to make sure that they're going down and not to divide, it will need to customize the angle there. So I think what we want is 90 degrees or so actually negative 90 degrees. So now, either going downwards and step to the right and we'll, of course, wants a mangled variance there since it's not go straight down. So about 33 degrees I found works pretty well. So we can also see that the velocity is going way too fast as well. So I'm gonna lower that down now, coming in about half as well as the velocity variance and maybe even more so than that. So just drag it until you get a number where the snow is falling slow enough for your purposes is actually lowering it down to about 0.27 Seems to be about the right number for me. If you feel that the numbers are too strong on your turbulence, you can go to that effect and cut this drink. Thou used to a lower number as well. So the higher the strength is more tribbles, you're gonna get across that access. So if you want something to shake a lot from laughter in adding X strength for cause that happened. So the reverse also holds true. So we can lower the tribulations by just tab or all three axes and that's it right here. So that's actually looking pretty good overall. So now if we go back over to the Adit Tab and Disabled video track three temporarily, I will be able to see the fusion composition layering on top of the original video. So this is what we've got so far off the a lot of tiny snowflakes in the background. But there's a problem that all of these snow picks also show in front of the woman's face. So that's a problem for us, because obviously they shouldn't be as much snow right up close to the camera as they should be in the background. We also need more variety in the size of snow. So let's go back and customize fusion track to a little bit more. We'll take the protocol emitter, go back over the style, and I'm gonna increase the size, and they're also gonna increase the size variants on these snowflakes. Some background snow looks a little bit different, so with that, you have some really tiny, hard to see snowflakes, and you also have some that are a little bit bigger. But what we really need to do next is to hide these tiny background snippets from the woman's body. So we're going to do that on video track. There, you cite. I'm gonna be enabled video track, and we're gonna go over to the color taps that we can use a our window and track the women's movement across the shot and power window will cover all of the snow that's occurring on video track to so in the color tab we can add in this power will know pretty easily I'm going to do it with the busier curve tool. So go tooting power windows tool. It looks like the circle there. And then click on the one that looks like him. I'm gonna get some of the extra things we don't need out of the way. And then I'm gonna draw my shape. So roughly we want the outline of this. Burke Hope so. I'm gonna start right above the top here and keep adding points for this pen tool until we get the shape of the woman's body. So just gonna go around there doesn't have to be exact, but it has been more time with obviously that'll make it look a little better. And once they have the shape there, I might add a little bit of softness on the outer edges. So in the softness area, some of the background effect will show through just a tap. But everything on the any area will be heading, completes the next. I'm gonna go over to the next half year called Tracker and stoning at the Frame, which we drew the shape or for the power window. We want to trek forward and track backwards. This is actually ideal if you did it at frame zero instead. So than you only after track boards. But it's not a big deal. We can start from this point in the middle of our clip, but before we start tracking, I'm going to turn off three d here because it's unnecessary for our current purposes, and I'm going to track forward. So what you should see is that the shape follows person. We can make some adjustments to the size afterwards. Going to bite if I am here with shape isn't quite large enough to cover the bottom parts as well. We can expand the size of these points and kind of drag them down as well. So to do that, I'm going Teoh, check the Kiefer ring diamond or correct, or one on the few dreams section. And I'm going to drag these coins downwards, this one over to the left of it, and this one down there. So that should set a key frame in your timeline. There. You can see that in the tracker. If we hit play, we'll see how the shape itself adjusted. So between those two key frames, now, we need to do the same thing right around here. So the corrector one is still queued up for G cream animation so we can just slide these points down once again. And now if I school through the timeline in the tracker window, we can see that the shape of the power window it should be sufficient to make sure that off this part can be masked out later. So I'm gonna go back to the original point which accept the power window and track to the start now. So this is the button that looks like a backward sign. It struck reverse. So same thing. But you're cruising the direction now, so we take that to the start. Looks like we'll need one. Keep bringing in there now. Set a key frame. Just interesting. This one a little bit and I will go to Ukraine zero and dragons bottom corns down. Maybe this one time, A little bit as well. This one over here and that we can be there. So I'm gonna hit, play one more time and make sure that the power window there's a good job of selecting this region where the woman is moving at all points in time. That's looking pretty good so far. So next I'm gonna open up the notes section so that I can see the corrector note. So in this little corrector note, what you're actually saying is the video information After all of this color tap direction has gone through, you can see that the parts of the background have basically been filtered out. And what's gonna go through is only the person's body and the work hope. But in order to make sure that the Alfa information goes through and the final shot, we need to right click and add an Alfa output note and connects the Alfa Channel from this protector note to the output. When we do that, you should see the snow it back from video layer to comes back and immediately. But now you only see it in the areas where video Track three has a transparent background due to the king of power windows. You can see that back on the edit tab will fit the video to the screen and hit play. And across time, um, that person's body moves, but the snow stays in the background, and that is exactly what we want. And now, to complete the effect, we need a foreground snow layer. So to make things quicker and generating that foreground snow earlier, I'm going to copy the fusion composition from video track, too. And we're just gonna put that on top video track for so now. Our video has four layers. The original video clip, the background snow, the four grand selection of the woman's body and then the final foreground snow, which will create right now. So going over to the color tab, click on clips and make sure that we're now working on video track for so you'll see the veep or I'm going to take the particle emitter here and I'm going to go over to the style tab and we're gonna change the style now from lob to brush. So this time we are going to use one of the flake brushes. You can find one of these lakes. There are many lakes and just choose the one you like. You can always zoom in to see what those plates look like. And we're gonna answer increase the size of the snow books. So I want them to be quite visible on the camera. So something like 0.35 with a high sighs variants as well. And if I spoke to the first few friends, something you'll notice is that it actually takes a second to start snowing. So one setting we're gonna change on both snow layers is actually on particle vendor. We want to create, generate some of the brains. So I'm gonna take this to you something like 25 frames. And that means that effect is basically going to start at frame 23 instead of frame zero. So by doing that, a lot of this no, we're already exist before the shot actually starts taking place. We're also gonna want to turn down the number of snowflakes dramatically. There should be more snow in the background than they should be in the foreground, so I'm going to go to Emitter and take the number way down. Also, the number of variants way down. Probably much more significantly. So something like 12 of three of the number on something a little less than that with the number of Aron's. So we can kind of hit play and see about the how that would look. Note that these full brush snowflakes take a lot more GPU in order to vendor as you can see and honestly, that's still too many self like. So I'm gonna take the number even lower, somewhere below one, with the number of variants about 0.2. And if I go take a look at some of the screams, it's looking a little better. Um, let's make it 0.6 of the number and zero point chief the number variants before I forget. Let's go back to video track, too. So clips video object to and let's add pre generate frames for that render as well. So something like 2023 creams and back to video check for we're going to want to take the velocity here and increase it for the foreground snowflakes so that they go past the screen faster than the background. Snow quits. So let's increase the velocity here and the velocity variance private. And if we go, take a look at the at a tab on play it back. It should start to come together by this point said, we can see that we have the court ground snowflakes, which are a bit large at the moment, and we have the background snowflakes as well. The foreground snowflakes show everywhere, but the background snowflakes only show in the back, so just do a little bit of playing up before we call it good here. I think that the foreground snowflake should have a little bit extra size variants. So let's go ahead and change that once more on the fusion tab. So in your track or selected particle emitter and I'm going to go just I have an increased in size variance here, possibly slightly lowering down the base size. So let's go with a size around point to in so experience of around 43. Now, back on the at a temp, one more thing we could add will be some blur to the foreground. Snow picks is something really minor, like a 1.0, should be OK. They're okay. So there's one final touch for this. I would argue that the snowflakes are way too vivid in the shot. So one way we can have it blend together a little bit better with the underlying layers is to change its composite mode and the ETA tap so or video check for. I'm going to take the composite moved from normal, and I'm gonna ship that to either luminosity or overly. So with luminosity, it'll blend together something like this, and overly will be something a little bit more like that. And I like with the overlay composite mode that you can actually see through a little bit of background some of the color shows through as well, and I think that gives it a little bit more reveals to feel cases. Just a few more things clean up ongoing. Also increase the number of snowflakes in the background, but maybe increased their size a little bit. So back on fusion Howard have to. That's increased the size sighs, variance on control. Let's decreased the number and the number of variants, and at the end for this shot, you can see that it fades to white. So at that point, I think I also want your fade out all the snow effects. So starting at roughly frame where the original put fades to white, I'm going to pull out the white tab on the video track, both video trek to. And so if you do that, it play. The snow should paid out as the screen based white. So if we do that and go ahead and hit play after it pre vendors, we should be able to see that the snowflakes paid out along with the shot, So that gives us our final result. Hopefully, you guys think it looks pretty good. We could go a step further in advance, and directional forces and things like that if we wanted to make things just had more realistic. But that's pretty much the idea how you generate a snow effect inside of yourself. 16. So I've been Chris, I hope you guys enjoyed this spoil and also you guys in 34. How to Import 2D Animations: Hello, everybody, Christer. And in this video, I want to show you guys how we can import a two D animation sequence into DaVinci Resolve 16 so that we could use it for a title sequences and the like inside of a fusion composition. So one example I've gone ahead and done is brought in a Pixar character, which is just going to be a series of Sprite images and loaded that into our fusion compositions. So by now it looks something like this, where our characters able to walk onto the screen with one animation idol with another animation and then walk off the screen with 1/3 animation. And you might notice I have this split into separate fusion composition clips. So when you have multiple animations that you want to use, I found two decent ways in order to do that. One is toe have separate fusion compositions where in each one you define the exact frames that you want to use for that animation, whether it's a loop or not, and the other option is to from the start have the correct sequence of images loaded into divinci results so that you only need to use one fusion composition, other words already having the exact animation you want to occur and DaVinci resolve created before you loaded in. So though you can see here that I included both the animation and the title that flies onto the screen in the same fusion composition I would recommend in practice, you actually separate them in two separate clips so that they can be edited individually and moved around as you need them. So if you want to load in an animation to a fusion composition, open up your effects library and bring a fusion composition to the timeline. By default, this will be five seconds in duration. So now you can click on the fusion composition and go over to the fusion page of DaVinci Resolve. And you should have nothing but a media out here. So if you look at my media for you can see that I've already gone ahead and imported an animation as one item inside of the media pool. So let me go over to the list view so you can kind of see that when you import a series of images that all have the same name and they're numbered. So in this case animation girl underscore 0 to 15 that be combined into one media pool item . So basically, what we're looking at here is a series of 16 frames that is our animation. And when we bring this into our fusion composition, weaken define which frames we want to actually use when it's playing back as thieve video effect. Another way would be to have each of your animation clip separated into their own individual frame groups. So, for instance, we could have animation girl right and then underscore 033 and then that would be a walking right animation. So if we look at my desktop in the folder, where have all of these animation frames? You can see that for this girl there is a walk down walk, laughed, walk right and walk up animation. So in this particular case, they're not separated into their own animations. So better option. If you wanted to use this kind of thing and Vince resolve would be two separate each animation into their own frame groups. So here you can see, I've brought in animation girl, right? 123 and four. So if you group them like this, they'll never be any confusion for what the animation is, and you won't have to define which frames you want out of the animation group, because each group is one action or animation. So in the media pool, I'm gonna go back to thumbnail Melt, and then I'm going to drag these four frames into the media pools. So when I do that, it creates one image group we can see going into the list view again. We have animation girl, right? 01304 So now I can show you the advantage. If you don't have your animations grouped into their own individual actions, then when you add it as immediate in, you'll have to define which frames you actually want to use for the video clip you're trying to create. Now, if I take the media and I can feed that to media out here and what you'll notice if I play through the frames and I'm gonna check loop here so that we can see it on repeat is that it's going to cycle through every single frame in that group so you can see here. It's doing all of the animations at once, and that's probably not going to be what you want. Now, if instead of importing Sprite actions like walking or attacking you were importing an actual full animation already created, then this would be fine. You would just import all the frames from another program like Adobe animate and load that into Divinci result like this. And then if it needs to play back in that exact sequence, you're good. But in this case, we might want to use only one of these actions, such as move right. So you can see here if I go through the frames that move right, starts at frame eight and goes from nine from 10 from 11 and then stops at 12. So I need to use the trim function over here for media and to cut away the frames that aren't moved. Right? So that would be everything after frame 12 here and everything before eight. So actually, the out should be set to 11 and then you can see the account for the frames that are actually being included. Here is four. So Egypt, there was animations have foreign. That should be correct. And we contest this now by going back to frame zero hitting space and watching the loop. So that does technically work. But it would have been much easier if we had just pulled in animation girl right over here , which already has the exact frames that we want. And we don't have to mess around with trim. So I could just feed that into media out here, go back to frame zero hit loop so that it cycles and then go ahead and hit space and we're already done. We don't need to do any trimming. So more than likely, if you're importing an animation from Pixar s Sprite or Adobe animate, then you probably don't have one frame off actions for every frame of video that's going to be occurring we can do. To get it to its proper speed is to add in a time speed note so we can find that by right clicking, going Teoh, add tool, miscellaneous and time speed. So now we just need to move this time speed note between the media and in the media out so that we can adjust the speed at which the frames of being fed to the media out so you can obviously see the speed function here. If we want to slow the rate down, so let's say 1/4 speed, then we can do 0.25 and then it should be four times slower. So let's go back to frames over and hit space, and what you'll notice is that by default, there's a little bit of ah, ghosting effect or a blend for the interpellation mode, so that can be a desirable effect. I think it does look sort of cool. But if you just wanted to play the exact image, um, for that frame rather than kind of ghosting the previous frames, then you can change the interpolation mode from blend to nearest. And then that will be playing the animation only with the exact frame that the video is currently on. So if you hit space now, we have a normal walk cycle animation here. And one thing you may notice every so often that when you are testing the playback of your animation in the fusion tab that sometimes it'll skipper frame every now and then. Um, that's partially due to result, kind of being slow in the processing, so if you want to make sure it's OK, Then you can go over to the edit tab and play it back for part of the animation, where this blue line up here at the top, indicating that it's completely pre rendered. And it should playback correctly so you can see here that the animations actually find, even though it may have given you the indication that it was a little off before. So one more thing, I want to point out is that when you're working with low resolution Pixar or similar low vis Revolution files, that you may notice that when you go over to the edit mode, textually view your video that it starts to look quite bad. Unlike the original image, usually in programs like resolve or Unity, this is due to how it processes the image and adds filtering on top of it. So if you're working specifically with ah, low resolution Pixar image, then it's probably a good idea to take refuge in composition and for the media in actually feed that into a three D image plane before modifying it with time, speed and media out. And when you have it on a plane, you can change the settings of that image plane in order to make it look better in the final output. Also, instead of the final media out being thesis eyes of the original media end, it will actually be the size of the video frame. So the media out will actually look more like the frame of the final video. So if we want to add a image plane, we can right click dio, add tool, go to three D and then image plane. Whenever we have a three d note, we're going to need to render that with a three D vendor. So I'm gonna click render three D over here on the toolbar and then with render three d, we're gonna want to feed that into the media out. So now for the data that's feeding into image plane, I believe we can just take the time speed and put that in there. And now we need to scroll out so that we can see the full frame because we're no longer looking at a 32 picks. Hold by 48 picks so frame. But we're looking at the final video output, which is 1920 pixels by 1080 and you can see that the image has basically been scaled up to that size. If you go to the edit mode, you can see that it is a lot cleaner now. So, generally speaking, I would think that you would not want a Pixar character like this to be taking up that much of your screen. So an easy fix if you want it to be shrunken down for your purposes, is you can go into the image plane, and you can take the scale over here on the transform temp and shrink it down. So I'm gonna make it a scale of, let's say, 0.25 So moving on you can have this character actually move across the screen rather than just being an animation loop by adjusting the transform of the image plane or any other location where you may want to adjust that transform. So what we can do to start is pick a frame where we want the character to be in the middle of the screen like it is now, and out of key frames for X Y Z translation. So now everyone the character to walk onto the screen, we go back to frame zero and just the Translation X, which automatically set a new key frame. Um, and then between frame zero and 30 it's gonna walk onto the screen, kind of like so now. After that, we'd still have an animation loop here. So what we can do on the Edit tab is to go to the frame where the character has stopped completely after moving onto the screen. So that would be somewhere around this frame here and then to use the slice tool with Be in order to cut the fusion composition into two parts, and I can click on the second part of the fusion composition, come in here and change the media into a new animation. So what I'll do here is go back to the folder with all of the frames for this character, and I'll just bring in Imation Girl Frame 00 which is just the character standing straight looking down. And then I'll drag that into the fusion composition notes as a new media in Oh, cut out the old ones and I'll put the new one connected to time speed and leaving everything else the same. So now if we go and play through this fusion composition. We have the first part. Sonography have played back on the Edit tab, the first part as the character moving onto the screen. And then after that, the character just stands there, and now we might want the character to walk off the screen as well. So I'm gonna pick arbitrary point in time, used the slice tool with B again and cut that Inter new fusion composition clip. So now we'll go into this last part of the fusion composition and load in a another animation. Or in this case, I guess we just want the character to move right again. So I'll bring back this animation, put that into the bottom, cut the media in three out for the facing down animation and feed this into time speed. So right now, it doesn't seem to be reading it. So let's try that one more time and make sure girl over here feed that into time. Speed. Okay, so the reason that the animation isn't playing is we need to actually set the global and out for the media and on make sure that the frames listed here are actually included on the frames that we're trying to play. Um, so that needs to go up to 119. At least now the reason it's starting from Frame 87 instead of zero is because we made a cut from the original fusion composition. So it was still expected to have earlier frames. But those aren't being shown in the final timeline. And as far as the fusion composition clip is concerned, we cut away the frames that come before 87. So technically, this should be fine, but I just keep an eye on that global an out. So now if we go back to frame 87 here and play space through the loop here, it should be playing properly. Now we just need to set a transform Animation said that the character can actually walk off the screen during these last 30 frames or so. So I'm gonna go to frame 87 here and on the transform tab of the image plane. Note where you need to set ex translation. Why translation and see translation toe have key frames by checking the diamond and now on frame 1 19 will have the character be fully offscreen, and you may not see the character move up here in the preview window. If you have read notes down here below I'm see may need actually hit play in order for the animation to re vendor up here. But the position that we're gonna want for the final X translation is gonna be way off the screen. So I'm gonna make it something like 1.7. Okay, So if you're global in out is set properly and you hit play and seems to be working, all right. And note that with these nodes down here, the time speed image plane render three D and media out that those should not be read if they are bad than it may not be currently rendering the actual animation properly up there . So what you could do is try changing a setting real quick, like interpellation mode to flow and then back to nearest in order to get it to re trigger rendering the animation up here on, just make sure that it is actually playing through, right. So hopefully we should have something like this where we have the walking animation going and it looks smooth. But in order to make the character move offscreen again. We're going to need to go Teoh frame 87 enable the X translation at the bare minimum for key framing and then go to the final frame where we actually want to set our value. And we're gonna take the X and move that off the screen once again. If it's not immediately rendering this and the preview, then check down below. Some of you nodes may have not rendered yet, so it might just have the character stuck in the middle, even though we're moving the character off screen here. So I'm gonna move the value to something like 1.75 in order to mirror how it was that frame zero in the negative direction for the first fusion composition clip. So now the character should be able to walk off the screen is the idea here, so that should be occurring. And if all is gone well so far, then we can go over to our edit mode and watch the whole animation. So three technically separate fusion composition clips. But the only real difference is that we change the animation out on each of these clips, though each of them have the same note composition. So let's go ahead and hit play here. I know it may have been there 100% smoothly and the timeline playback, especially if the blue bar for pre vending isn't there yet. But you can hit play. Give it a couple shots. You should be able to basically get an idea of how it will look when you finally deliver your project to a MP four dot move project when you render it. So the basic idea is there. The character walks onto the screen, looks at the camera for a couple seconds and then walks off the screen. So really simple. But yet we should have the basic idea Here in place. The character walks on the screen, looks the camera for a couple seconds, walks off the screen. Ah, you could basically use this with any animation. As long as you can turn that animation into a series of PNG images, you should be able to import them into DaVinci Resolve straight up. And, ah, if you need them to look good, try feeding the media in into an image plane like we didn't this tutorial. So that's pretty much going to be it for loading in an external animation into DaVinci Resolve. Pixar or not. So I think, Chris, thanks for watching, and I'll see you guys in my future video content. 35. Noise Reduction & Dialog Processor Audio Effects: Hello, everybody, Chris Hearing and this video. I want to show you guys the noise reduction in dialogue, processor effects and Benji Resolve 16 for the fair light tab. That's audio editing, so these air two effects you can add to your audio clips. But what? That's a recorded voice over the original audio of your clip, Or even you can apply it to a sound effect or whatever you need to to generally improve the audio quality by doing things like removing background noise. Removing some of this sounds with the di essere, which is part of the dialogue processor. Before I show you guys that I do want to point out that you can actually use these effects not only when you add them to the audio clip, but also if you're going to queue up any of your audio mixer tracks for recording, you can add them as an effect over here. So with audio mixer, you can see I have your track one and as effects and then a plus spotting. If you click on that, you can add in any of these effects to filter out your audio and improve it when you're recording it. life. So if I want a noise reduction so that it gets less background noise while in recording, you can add that in there before you queue up a track for recording. And now, putting that aside, I just want to show off the dialogue processor and noise reduction with the rest of the video. So before we get to that, I want to show you guys the audio clip I recorded before we add the processor and and that's intentionally terrible. There's a lot of background noise and that sort of thing, So let's go ahead and hit play here. So in this scene we have a mountain shot with a bunch of force trees and oh, look, the sun is popping out over the horizon just before sunset or sacks on rice. Who knows? That's a bono, so you can hear that there's a lot of people talking in the background in a staticky white background noise, and that is obviously not going to sound very good, so we can add a noise reduction to take care of a good chunk of that. When we add noise reduction to the clip, you notice this FX symbol pop up if it wasn't there already, indicating that there's an audio effect on the track and the simple way to use this tool to put it an auto speech mode. If you're trying to filter out the audio in most cases, you're just going to try to be getting rid of the background noise while someone is speaking. So auto speech mode will work perfect for that. And now, when we go back to the start of the audio and we try playing, you'll notice that this noise reduction graph will automatically adjust itself as it tries to listen to the audio. And here, the person speaking, finding the right levels at these different frequencies to filter out the background noise . So I'll play it back again with this noise reduction effect added on. So in this scene we have a mountain shot with a bunch of force trees and oh, look, the sun is popping out over the horizon just before sunset or a Saxon rice. Okay, so you can see how the background noises a lot less evident. It's still there a little bit, so it's important when you actually recording your audio for meal that you try to do it in a quieter, controlled environment so that the background noise is minimal to begin with. But if you need to, you can play around with the settings at the bottom. So, for instance, we could bump up the threshold, and you can also do it live. So I'll try tweaking the settings here a little bit. What plays back and see if we can get it to sound a little bit better. So in this scene we have a mountain shot with a bunch of force trees and oh, look, the sun is popping out over the horizon just before sunset or a Saxon rice. Who knows? That's about all so well. That's not too bad. Let's at in the dialogue processor now. So when we have the dialect processor, you'll notice that this is not one but actually six effects. Most of these effects you can add individually if you want over on the left. When we open up the dialect processor, you can see that includes not one but six effects here that you can talk on and off individually. If you find that any of these effects actually make it worse, not better. You'll notice that a couple of these, like the DS and the compressor, are also available. This individual effects over in the fair light effects library or, of course, with third party plug ins such as the Reaper compressor. So before we play it back, one thing I would recommend is that if you know that this speaker is male taco it from female here on the Excite to mail because obviously it's a male speaker. So let's play it back from the start now one more time. So in this scene we have a mountain shot with a bunch of force trees and oh, look, the sun is popping out over the horizon just before sunset or a Saxon rice. Who knows that's about no. I played around with it a little bit, and I figure that the frequency and the D bumble is too high. It actually removes a lot of the depth of the sounds. So while it's playing, I'll take this d rumble setting and taco it down and you'll see the difference. So let's play it back. So in this scene we have a mountain shot with a bunch of force trees and oh, look, the sun is popping out over the horizon just before sunset. You can see once I drop it down to about 65 70 it sounds a little better. So with these, you just kind of need to play around with them a little bit. So let's fight back one more time with both the dialect processor and the noise reduction on. So in this scene we have a mountain shot with a bunch of force trees and oh, look, the sun is popping out over the horizon just before sunset or a Saxon rice Who knows? That's about all. And now, just for comparison, let's take both of those effects off and show the original, and you can hopefully see how including these may improve the audio, so it's no audio effects. So in this scene we have a mountain shot with a bunch of force trees and oh, look, the sun is popping out over the horizon just before sunset or a Saxon rice. Who knows? That's a bono. So there you go. That's the basic idea of how you can add in audio effects, namely the noise reduction in dialogue processor on two clips played around with the settings and try to get yourself to have a better sounding audio. But of course, once again, if you want good audio, it's best to have a decent recording environment from the start that doesn't have a lot of thes background noises to begin with. Hopefully, this gives you an idea of how you can add in these effects to improve your audio, whether it was recorded good or bad and how you can actually use these effects while you're recording by adding them in as an effect over in the mixer before you queue up your tracks for recording and record in the audio timeline. So that's gonna be it for this quick video on audio effects and ventures off 16. I've been Chris, thanks for watching and also you guys in my future video content. 36. Audio Mixing Basic Tutorial: Hello, everybody, Chris here and in this video, I want to talk to you guys a little bit about simple audio mixing inside of DaVinci Resolve 16. So you'll notice that I already have my timeline set up in the fair light tab. That's the second from the right. You can see over here that this audio interfaces is only for editing audio. The only visual indicator we get is the little preview window on the top, right? So in my timeline, there's four audio tracks and you'll notice that I've separated them into four different categories. So in Audio one, I have the original audio from the clips that brought into the timeline in this case, though, because these air stock footage clips they don't actually have any audio an audio track to . I'm using this for voiceovers or basically narration that I've recorded in DaVinci Resolve on Audio Track three. We have sound effects, and then in Audio Track four, we have music. So said from the obvious fact that this allows you to have overlapping sounds on your different audio tracks. It's a it's a good idea to separate your different types of sounds to their own tracks so that you can customize things based on what kind of audio you dealing with. So if you have, for instance, audio track to set up for all of your voice overs, you may want in the mixer to add in a audio effects, such as barely effects and then noise reduction. So this will remove the background noise from voiceovers that you may have record, which would be really useful for any unedited raw narration. But you might not want that in the music track because that might actually remove some of the sound from the music. So with the noise reduction added into the mixture for audio track to, we can go ahead and play this back and you'll be able to see that it will go ahead and do some noise reduction. So here we have an amazing sunset occurring in the depths of Norway, where it is really cold. As you can see, there's a lot of snow, not many people out there and its rally really cold. Okay, so hopefully if you are watching them, so if you were watching the noise reduction window, you would have noticed that as time goes by and automatically adjust the curve for the noise reduction, figuring out what frequencies are just background noise and which ones are me actually speaking. So that could be one really useful tool you can include. So aside from that, you can see that each individual audio track has their own set of tools that you can customize for each one, such as an equalizer. To emphasize that de emphasize different frequencies. Dynamics controls If you want to set up a noise gate to cut off low sounds or compressor to reduce some of the high end sounds that are above a certain threshold to reduce how loud they are in compared with your threshold and then the pan tools. If you want one of your audio tracks to be emphasized on your left speakers or you're right speakers or your front or your back speakers if your project is dealing with surround sound , and then you can see that each track also has its own slider bar for increasing or decreasing audio volume all across the track, so that could be useful if you are doing all of your voice overs at the same volume. But maybe you do multiple takes and you don't want to click on the bar that appears in each audio track to increase or decrease the audio manually. But you'd rather increase that in the mixer, but then you'd rather increased the audio on all clips that are inside of that audio track to so one of the things I left intentionally unedited before starting this video was that the audio volume across the audio tracks all right, not set up very well. You can see if I expand audio check. Fourth at the audio of the music is actually quite loud for Audio Track three. There's a few sound effects over here. We have some beeps, and then over on the right, there's just a girl saying, while a bunch of times and the voiceover audio is also quite quiet compared to the music now of when it comes to music tracks, I would say that in many cases you will need to edit it on a track by track basis, but because you only you're going to include a handful of music tracks in your project. Anyway, it's very easy to actually just go ahead and modify this when you only have a few clips. So if I click on this bar and bring it down a few decibels, then the music won't be so blaring when we're actually trying to play the audio for the sound effects in Audio Track three. It's kind of a similar story. Sound effects pulled from different sources. They're going to be recorded at different volumes. So once again, you're probably going to want to zoom in on each of these audio effects and edit them manually so you can increase the volume by clicking on the bar and bringing it up. Maybe we also want to do that for the well sound effect. So zooming in. If you want to select more than one clip at a time, I can hold control down to select all three of these and then in the Inspector. I can actually increase the quick volume here as well. So if we bump this up, say, five or seven decibels, that's probably good enough for all three of these audio clips. So if you have the same out of you clip duplicated, that can be a useful way to edit that as an alternative. You can make your edits before you duplicate it and copy it to different parts of the timeline. Now, as far as narration, voiceover goes, if you're using the same microphone across the entire track, then there's a good chance it's going to be roughly the same sound. But for the voiceover narration, I want to make sure that that's going to be increasing the sound all the way across the track. If you using the same microphone with the same speaker than it should theoretically be the same sound, so increasing the volume in the mixer instead is going to work out just fine. So now if we go ahead and actually play back this video from the start, we should see that the sound levels should be much better than they were before. So let's go ahead and hit play. So here we have an amazing sunset occurring in the depths of Norway, where it is really cold. As you can see, there's a lot of snow, not many people out there and its rally really cold. Okay, so in terms of audio levels, that was actually pretty good. So one more thing that I would probably modify is the as the music is going to fade out for a news broadcast or something similar. Okay, so one more thing I would change about the audio and these clips is that as the music is coming to an end and we're switching over to the video for a news broadcast, Justus an example. I would want the music to fade out a little bit more. So if you grab on these notches on the top right hand corner, then you can actually pull this out to the left for a fade out effect. So as far as you poor, it's going to start out 100% of its current volume, and it will reach zero by the time it gets to the end of the clip There. You can also do this at the start of your audio clips for a fade in. So if I go ahead and play this back, that should have really easy, nice fade out effect. So here we have made so one more thing we can add to audio Track two is the dialogue processor, which exists, and Vinci results 16 and up. So if we go over to audio track to, I want this to process the dialogue trek. Obviously, I'm going to hit the plus sign for effects. Go to fairly effects dialogue processor be and the settings I've been liking to use is changing excite from female to male, obviously, and then decreasing the rumble from 115 to around 70. I found that having the D rumble set to a higher setting with the microphone and using actually caused it to have a war sounding quality rather than better. So lowering a frequency down can actually kind of de emphasize in effect and make it not interfere with the good audio that you want to keep. So now, with that dialect processor added onto audio tech to, we can go ahead and play it one more time. So here we have an amazing sunset occurring in the depths of Norway, where it is really cold. As you can see, there's a lot of snow, not many people out there and its rally really cold so overly. This video is giving you guys a couple ideas of how you can control and edit your audio across different tracks inside of the fair light tab of defensive resolve 16. I wanted to keep it short and simple with this video. So that's gonna be it from Chris. Thanks for watching. And I'll see you guys in my future video content. 37. How to Record Audio Voice Overs: Hello, everybody. Christer. And in this video, I want to show you guys how you can record audio inside of DaVinci. Resolve using one of your microphone. So if you're not already on the bare light tab, go ahead and move over to there. So if you're looking at the bottom of the screen, the fare like tab is the one with the music notes second from the right. So click on that. You may, of course, see some of your audio tracks that already exist in your timeline. So in the event that you have audio checks that already have data and you do not want to overwrite that you can right click below your audio tracks and you add track and you probably gonna want stereo so it's two channel audio, and doing that will give you a brand new audio track to record on. I like to separate my different audio channels based on detective information. It is so out of your track. One will usually be the original source audio from the video, and I might have audio to for voice over narrations, audio 34 side effects and maybe audio four for music. So on and so forth. So in order to take this audio track to and queued up for recording, we need to add a input device. So over on the mixer, which you can open up in the top right. If it's not already open, you will see under the audio check name. There is a section for import by default, it will say no input, so we need to click on that and select a microphone. So in order for you to add the input device, it's obviously going to need to be connected to your computer already, whether that's using a USB. But once it's connected to your computer, try for set up all that stuff you can go to import and then choose import from the drop down menu, and that will bring up this patch import output. So the idea here is that with your audio imports that air nobody connected to your computer , you want to patch that to a specific output channel. So, for instance, I'm using a USB headset here so I can take my microphone device here, and I can patch that Teoh audio left and audio right now, depending on the complexity of your set up. You may have multiple input devices showing up over here, and you can link those up with which effort audio channels you need to. But here, with this very simple set up, I'm using one microphone to be both the audio left channel and the audio right channel. So I'm gonna go ahead and patch that. So if we have her over track input now, you should see which audio input device the USB microphone. It's set to be the new audio input device. So with that, we can close it, and we should see the name of that microphone show up here for input as well. So once you have your input device, I would say in many cases you may want to add in a noise reduction effects. So if you click on the effects, you can do fair light effects and go down to noise reduction here and with noise reduction , you can put it an auto speech mode, and what this will do is while you're actually recording it, will in real time removes some of the background noise as it writes that audio information to your audio track. So by doing this what's recording? You don't need to worry about it later. If you also want to add in any other audio effects, you're welcome to do that. V s T plug ins are also an option. If you have any of those installed, the next thing I'm going to do is mute the project right below the video preview window here. Because while we're recording, I don't actually want to hear the audio playing back. If you want to hear the audio like you have headphones on and you want to be able to hear everything, then you can leave this un muted. But in this case, I don't want to hear the audio eyes. I'm recording it because I find that pretty distracting. So once the projects muted, I'm gonna go down to where it says out of your two down here and hit the are for recording . You should immediately see audio bars appear so as long as you don't find your audio peaking at zero, you should be okay. I might actually lower this down a bit. I'm gonna take this slider bar and I'm gonna lower it down. Probably till when my audio on average reaches about negative. 10. Generally around here, I find to be a pretty decent audio level to record at as long as it doesn't peek at zero, though you shouldn't lose any audio information, and you can always adjust it later on if you need it to be more or less quiet. So once we hit the record button, it's going to start recording audio until we hit Stop. So if I want to start recording, I can simply hit record here. Wow, what an amazing night sky to look at. It's definitely not a time lapse or anything like that. This guy definitely rotates that fast in real life. So you should have been able to see that while I was recording it was writing into a new audio clip and it's Red wants recording. But once you hit stop, it turns green like normal audio clips, and you can expand it a bit in order to see the audio information. So now, before I un mute the project to hear it back, I'm gonna unq you the audio track to for recording and we can meet the project now hit play . And here are our audio recording again. Wow, what an amazing night sky to look at. It's definitely not a time lapse or anything like that. This guy definitely rotates that fast in real life. So, of course, if you want to do multiple takes, you can always delete the old information, wiki the timeline and then try again. So that's gonna be for this quick video on the basics of doing audio recording Inside of DaVinci Resolve and another video. I want to get more into automatic dialogue replacement, and this tool that you can use would allow you to set up specific timings for, ah, line that a character in your video might say So. For instance, you can cue up a line from 0 to 5 seconds where someone needs to say an intro to the video , and you can have the recording automatically start and stop at those in an outpoints. But putting that aside for now, that's the basics of how you Adam I've thrown in for. Eventually resolved. You don't for recording and record some audio to your timeline that you can use in your video all from within. DaVinci results 16. So I think Chris, I hope this video and audio recording has helped you guys out a little bit, and I will see you guys in my future video content 38. Automatic Dialog Replacement (ADR) - Recording Audio Takes and Using the Best: Hello, everybody, Christer. And in this video, I want to show you guys how we can set up automatic dialogue replacement inside of DaVinci Resolve. 16. So what automatic dialogue replacement does is your able to set up Q lines Basically words or phrases that should be spoken at a certain time during your video between a certain time frame Such a 05 seconds and you're able to have multiple takes of that same line and using 80 are. You can specify which character in the video is supposed to speak that line. Do multiple takes of the same line and then select the final take that you like from the list of the ones you have recorded. So essentially, it's amore controlled way of doing voiceover recording inside of DaVinci Resolve 16. So in order to use automatic dialogue replacement, you need to go over to the fair light tab and resolve. That's the one with the music note at the bottom, and then you need to open up the 80 our panel. You can find that at the top left next to index and sound library, and you'll get this three tabbed window that pops up so Before you start recording, you're going to want to customize your settings and the set up tab. You're going to want to selective accord track from your list of audio tracks, if you'd like. You're welcome to add a brand new one by right clicking in the audio timeline in doing ad track, and then you can choose the mode that's relevant to you. If you want to hear a beep indicating that recording has started, then you're going to want a second audio track and to leave beep to endpoint checked down here. That's completely optional, though, so you only need to leave that there if you actually want it. And we'll need to add in at least one character to the video. So we're gonna add new here. You may actually have real characters, any video, or you might just have a narrator. You could give this any name you want. It's only for your reference so that you know who is speaking are for a given que if you'd like four second of your video to play before it reaches the recording point, you can do that by adding a number of seconds here for Preval and you can do the same for post roll if you want it to keep playing after it reaches the end recording point. You can also talk account in if you wanted to go 321 before the recording starts, which can be pretty useful, and you can customize these settings a little more if you want. At a minimum, though, just make sure you have one character set up and then we can go over to the list. Okay, so aside from playing around with the settings over here and adding in your characters, what we need to do is we need to add a import microphone to the audio mixer, and, if we want a beep to play back at the start of a recording, will need another audio track, and we need to connect that toothy beep system output. So let's start by adding in an audio microphone so we can actually recorders. So in the audio mixer, which you can open in the top right, if it's not open, nobody go to input. And then when it says no import for audio, check one or whichever audio track you want to add the microphone to do input, and then you want to select audio inputs, and then you want to choose audio inputs from the left and then track import from the right . If it's not already in those modes, select your microphone and then patch it to the correct track import channels. So in this case, I need to take microphone USB import and put it to your audio track one l and R channels. So I'm going to patch it there. And now I can close this. If you want to add the beeps into audio track to, you can do that by going to know Import. And then she's input from the menu from Source Select System Generator and then choose beeps and then patch that to the correct audio track. So in this case, it's audio two for me, and now we can close that. Okay, so now we can go over to the list tab of 80 are, and we can start setting up cues. So wherever you have your timeline, cursor positioned is going to be the default start time for your cue, and it will add five seconds to that for the duration of the queue. So if I was to go to eight seconds here or eight seconds, five frames, whatever. And I hit new Q. Then you'll see that this Q will now go from eight seconds. Five frames to 13 seconds. Five frames. Of course, we can change this if we need to increase it, decrease the duration so I could make it one second less by changing that from 13 seconds to trough seconds and the large text at a area we can add in the line that the character is supposed to speak, which will also show on screen what we're recording. So that's kind of handy. It's like subtitles before you've actually recorded the video. So all put in something simple here, like this is a sample, 80 are recording. You'll notice that all of this information updates down here below in a list of your accused that you have set up so from character. I'm going to set it as narrator as well. And that's where you would set up a Q on the list tab. If you wanna have more of recordings, then you simply need to create more accused for whatever duration you want to set it for. So when you have it, you set up. You can go over to the record time, sir. Prior to recording our cue, we're going to want to queue up our audio track for recording, So I'm going to collect the R button on audio Track one so that it's cute for recording. So while you have your audio track cute for recording, you'll be able to hear everything that goes through that microphone. If you want to mute the audio, you can do that by just muting your timeline over here. Don't hit the mute button on the audio track, though, because that will prevent it from actually recording any audio. Of course, if you do decide to meet it, that will also mute beeps so it comes down to whether you or anyone else needs to hear back what's being recorded while it's being recorded. But putting that aside if you've at least hit the R button on your audio track for recording will be able to go ahead and start recording a Q now. So to do that, we need to select the queue so you can see the Q number will pop up here. When we left click on that and it will also reflect up here we can see the line that's going to be recorded and the preview window here, which we can prop open with this button here if we need to expand that and have a bigger viewer and then we simply need to hit the record button on our cue. So I'm gonna hit that here, and you can see it immediately starts recording. And in our audio track, we have the audio recorded there. So if we want to hear that back, we should un que the audio track for recording. And then we can hit play in our timeline to hear that. So I'm gonna hit that here, and you can see it immediately starts recording. But in order to time the line properly, I'm going to want to add in a couple of seconds pre roll here. So three seconds before the audio starts recording and I can go over to record now. And if we want to take another take, we simply need to select the queue again and then hit record. But I'm going to re cue the audio check for recording here and there we go. So 321 Hello, everybody. Because now well, that was a terrible take. Okay, so that one was obviously really bad. Let's go ahead and record it again with the 3 to 1 free role. This is a sample. 80 are recording, Okay. And obviously that one was a lot better. Let's just take one more so that I can show you how to select the takes from your cues. So you can basically decide which one's the best one. Okay, this one is intentionally, a bit bad. Okay, so we have four takes Now. I'm gonna thank you. The trek for recording a mute, the timeline so we can hear audio clips being played back and not put the viewer back in the main window. So now we have four takes. We can choose from for what actually becomes the final audio. So let's play each of the takes. But before that, I'm going to get rid of the pre roll temporarily so that it will just start playing from when the take actually occurs. And let's go ahead and hit play. So I'm gonna hit that here, and you can see it immediately starts recording. So that take obviously has nothing to do with the dialogue that was actually supposed to be written here. So I'm gonna give it a one star over here, you convey each of the takes how you want. That's just an indicator of how good the take was compared to what you actually want. The final result to be so basically for your own personal reference. So let's try take two now. Hello, everybody. Well, that was a terrible take. Yep. That was a terrible take. Okay, one star. And what do you take three here? This is a sample 80 yard recording. Okay, so that take actually had the dialogue that was supposed to be sad there. So I'm gonna give it five stars and let's play the 4th 1 here as well. Okay, this one is intentionally, a bit bad. Okay, so I said it was a bit bad. I'll give it two stars. So the idea here is that we want to take take three and use it as our final audio. Well, you may have noticed is that even though this is one point in time for the timeline and we're only using one audio track for the 80 are recording that it was actually able to play four audio clips on top of each other. And that's because when you're using a TR, it writes it to the track using layered audio. So if you want to view and edit your layered audio, you should go up to timeline at the top menu and choose layered audio editing, which is usually not toggled by default. And then you should also go up to the view menu and choose audio track layers. When you do that, you can actually see the different layers of audio that have been laid on top of each other . Of course, only one of them will actually play back in your final video, but you can see that the other takes are nested beneath it, so it makes it easy to swap them around if we want to do that. So I'm going to expand this audio track way down so that I can kind of see the audio waves it a little better. These air, organized from the most recent take toothy at least recent takes, So if we want to take take three and swap that with take four, then we can bring this one up to the top, simply dragging and dropping it. And now take three is the one that's actually at the top. So if I hit play again thistles a sample, 80 yard recording, then we have now taken the third take and made it the active one that we can include in our final video export. So automatic dialogue replacement is a really handy way of controlling your voice overs when you want lines to be spoken at a certain time, you want to take multiple takes of those lines and be able to select a final take. And you also have a few tools, such as having a pre roll on a count and to make recording those lines a little bit smoother. So that's gonna be it for this video on a T. R and DaVinci resolve 16. I hope you guys got something out of this. I've been Chris. Thanks for watching, and I'll see you guys in my future video content 39. Audio Effects to an Entire Audio Track: Hello, everybody. Chris here and in this video, I want to show you guys how you can apply audio effect in DaVinci Resolve 16 to an entire audio track rather than applying it to audio clips individually. So this could end up being an obvious timesaver for you. If you want every clip on a track toe have the same set of effects. So when you're in DaVinci Resolve 16 you have your audio clips or recordings cued up on a audio track. The first thing I would recommend you do is make sure that only audio clips where you want that effect to apply to, such as noise reduction actually exist on that track. So if you have something like sound effects pulled from online and actual voice over recordings on the same track and might be a good idea to separate them if, for instance, your only trying to do noise reduction on your voice overs, which may have some background noise, the next thing you're gonna need to do is to go over to the fair light tap. So in results 16 that is the one with the music no on bottom, representing audio editing and audio effects. So if you go over to that tab, you should see an interface where you only have out of your tracks in the timeline. Assuming your effects library is open on the left, you'll see the library of audio effects from here. But rather than dropping a audio effect onto a single clip like this, where you have her over and get the white border around it, what you're gonna want to do is add it to the mixer 40 the audio track where that effect should apply. If you don't have the mixer open already, then click it in the top right hand corner and then they'll be a menu option called effects . Here, and for each audio track, you should see a plus sign. So plus, obviously representing to add new audio effects to that track. So in this case, audio check to is where I have my voiceovers so we can play it back and you can hear it without the audio effects. This is the first test recording. This is the second recording, but if you listen closely, you should be able to hear some background noise there. So let's add a noise reduction to that audiotex. So I'm going to click on the plus go to fail light effects if you want to use built in effects or V S. T. If you want to use some external plug ins that you've installed as VSD format So I'm gonna go to fair light effects and noise reduction here. And when you do that, you should get a pop up window for the controls for that specific audio effect. This case, I'm going to go toe auto speech mode so that it can just pick up on the voice sounds and try to filter out the rest. I'm gonna hit the experts in to close this effect. And now if we go back to the start and we play it back, this noise reduction effect should apply to all of the audio clips on audio check to pretty much in Rio time. So let's go ahead and play it back one more time. This is the first test recording. This is the second recording, So just with that one step were able to remove some of the humming background noise. And of course, we can add multiple effects if we wanted. So if you wanted to add in para light effects and then the dialogue processor. So by adding in the dialogue processor, we could have all of these audio effects or whichever ones we want to include. Apply on that audio track now because I have a male voice. It's a good idea. Teoh changed from the default to male voice over so that the audio effects are optimized for a male voice. And now we can close that. Go back to the start and play it one more time. This is the first test recording. This is the second recording, and of course, if you don't like some of the effects that are included in the dialogue process, or you can just open it back up over here in the mixer, uh, clicking on the settings icon and then ta go off or adjust the settings on the effects that you want to include or don't want to include. So that's pretty much the idea of how you apply audio affects to all clips along an audio track that's obviously going to be a lot more time effective than going to effects library and then fair light effects and customizing it for every single audio clip. In some cases, you'll still want to do it on a clip by clip basis if you have some special needs for that audio clip. But if you're doing something like voiceovers, this is a really handy trick, and I hope it helps you guys out while you're editing your videos. So I've been Chris. Thanks for watching, and I will see you guys in my future. DaVinci Resolve 16 content. 40. Exporting & Importing Timelines and Fusion Titles: Hello, everybody. Christer. And in this video, I wanted to talk to you guys about how to export and import timelines from one Divinci results 16 project into another one so that you could basically have all the same work and one project be imported into another. So the basic idea of how you do a timeline export is that you go up to the file menu and you're going to be working with export A F comma, xml dot, dot, dot and the other project you're gonna be doing import timeline and then import a f e d l x amount dot, dot dot those of the formats that you can export a timeline to. So when we click export the A F XML, it's going to give us this export timeline dialect window, and we're going to want to choose a safe type here at the bottom. So this quite a few different safe types you can export your timeline to the one that I got . The best results in is dot xml not final cut pro X M l, which is thes 1.3 to 1.8 version ones down here. But the just blink XML because when you choose the final cut pro XML formats and you're importing into a defense the result project, it will unnecessarily change some of your video transitions that might not exist in final Cut Pro into Another Default Transition. Eso When we're exporting Teoh a DaVinci Resolve project. I find that for that reason, XML, it's better with a F format. I found that it wasn't really including the video transitions as well and with video. For some reason, it would only import the video track one in the timeline, ignoring video tracks two through five and so on, so that just flat XML, I found, was the best format for me. I'm going to change the name of this two tutorial, the XML, and I'll just save that on the desktop so it will take a second here to go ahead and actually export that file. The one issue that we might run into is that we'll find that when we import the timeline to a new project. It doesn't include the fusion title in that new imported timeline. So a work around for that is that we can export effusion, composition or effusion. Title one in the same to a fusion composition settings file and then import that into our new project. So with this fusion title selected, I'm gonna go over to the fusion tap. That's the middle one at the bottom and I'm going to select all of these notes. This is actually one group, so I can easily select that just by selecting thes two notes and then that includes everything inside of the group. So we want to select thes and then right click on one of the notes and do settings and then save ass. So we saved this to a file on the desktop so we can say this tutorial, fusion, import dot setting or whatever we want to call it hits safe. And now this file can be brought into a new fusion composition in any other project, we want to use it. So now that we have the timeline exported and the fusion composition title exported, I'm going to go over to a new project. So I will just hit new project here. I guess I won't bother to save the other one because I don't want to make any changes. Okay, so now we're in a brand new project with brand new timeline and we want to import that dot xml file. So I'm going up to file and then import timeline import A f e d l xml dot dot dot You can select one of those files from anywhere on my computer way may happen to have it stored, So I'm gonna select this tutorial XML file and hit open. Now, when you import a timeline into a new project, it will give you this window where you can set some of the settings as you want them to import into your new project. So, for instance, if you want to rename the timeline, you can do that, so just call it import at it at the bottom here. It might make sense to change the mixed rate format from final cut pro to resolve if all you're using his resolve. And you can also change the timeline resolution if you want to do that. But when you're ready, you can go ahead and hit. OK here. So if in the original timeline you had a fusion title, it's probably going to see that the clip was not found, so I'm simply going to hit no here because we already know that. And we're importing that title using a fusion composition. So if everything else goes well, you shouldn't see any dramatic errors here. This is just referring to the fusion title that couldn't that couldn't export with the timeline. So I'm gonna hit close here and we can see that the timeline has the clips, all of the video tracks, the transitions that we had in the original project pretty much everything else going to the end of that video as long as we still have the original source clips, of course. So now we need to be create this fusion title really quickly by importing the settings file . So to do that, we can go up to the effects library and dio to a box effects fusion composition. So I'm going to drop that into the timeline conveniently on the original title. I had the default five second duration, so I don't need to play around with that at all. I simply need to click on the fusion composition now, go over to the fusion tab. Now I need to drag and drop that settings file into this notes area. So let me find it on my desktop. Here. It's tutorial fusion import, so I'm gonna drop that in. And as we can see, we have extra media out now, so I'm just gonna delete the one we don't need. And this title should have all of the same settings, including the text that we put on the title. And now, if we click on this group over here, we should be able to see that the settings that we had set in the old timeline for that title have imported successfully into this project. So if we go over to the edit tab now, we can see that that title is there and the same way it was before. So I'm simply going to drag this over the missing clip indicator and just have that completely replaced the original reference with this new fusion composition in our project . Certify it play. We can see that the title and the transitions were perfectly exactly how we had them in the original timeline. So I've been Chris. I hope that this tutorial on out of export and import your timelines and two other projects including with the fusion titles, has been helpful for you guys. Thanks for watching. And I'll see you guys in my future video content 41. How to Upload Directly to YouTube from DaVinci Resolve 16: Hello, everybody. Chris here and in this video, I want to show you guys how in the latest version of DaVinci Resolve Version 16 you're actually able to upload your videos directly from inside of DaVinci. Resolve to YouTube or, if you prefer video as well. So in order to have automatic up loads upon rendering your video, you first have to connect you to bend the results software to YouTube account. So to do that, we go up to the DaVinci Resolve menu and look for preferences. Under that, there'll be a new tab in this version called Internet Accounts on Internet accounts. You can lock in to YouTube to upload to YouTube and lock into your vimeo account to upload of EMU. So we'll do YouTube here. So we want to click the sign and button, which will pop open a authentication window, and from here, we need to put in the email adjust associated with our YouTube account. So for me, that's going to be Krista tutorials, YouTube or whitey at gmail dot com. Click to continue. And of course, you need to authenticate with a password, so I'll do that here and then. Of course, if your account has two factor authentication, which is a good idea. Then you need to put in your token code for that. So let's do that here. And then you can select your YouTube account from the list that you have in many. Um, so I'm going to select here for my YouTube account, and I want to hit allow. So this will allow DaVinci resolve to get basic information about your Google account and to manage your YouTube videos in the sense of uploading them to your channel. So I'm gonna it allow here. You should see the page name associated with your Google plus account there. So I'm gonna go ahead and hit Save now that we're authenticated. Now, let's just say, for instance, that this video happened. The timeline is completely edited and ready for a delivery so I can go ahead and render it on the deliver tab. When we go to the deliver tap. We don't want to do a normal custom settings vendor, but we inside want to click over on the YouTube option so we can make that 7 20 p 1080 p, or if you're recording your videos and four K resolution. You can go even higher than that. So this will give you a good tree set for a YouTube video. Most of these options you can just choose whatever you normally use. So if you do quick time dot move, that's fine. If you do MP four files, that's fine. You can mess around with that A little bit. Specifically relevant to your YouTube channel will be the privacy setting. So on your YouTube channel, you can have videos that get uploaded, default to publish state, or you can have it be set to private. So depending on what your default is, you may actually want to shift this from default to private. If you'd rather the video show up privately, only accessible to you the first time you upload it. So I'd probably recommend that and then later go onto YouTube Channel and then publish it. Once you've added all of the descriptions and titles and all that jazz, make sure that upload directly to YouTube is checked down here at the bottom, or it will not upload to your channel when you are done with the vendor. After all that, you basically just need to act to render queue. Start the vendor and it will export a file to your computer. And once this process is done, you should be able to check your YouTube channel. The video may take a few minutes to process, but once that's done, you video should be uploaded straight onto YouTube channel. So that's gonna be it for this video on how you can do YouTube uploads straight from within . DaVinci resolve Han rendering your video. I hope that this video helps. Um, you guys out there, my friend Chris, thanks for watching and also you guys in my future video content. 42. Export Video Still as Thumbnail JPG: Hello, everybody, Chris here and in this video, I want to show you guys how you can take your resolve. Videos and Teoh export the single frame as an image that you can use as a thumbnail for YouTube videos or for similar purposes. So the idea is, we're taking a single frame of the video, and we're turning that into a J. Peck image. And where we're going to do this is over on the color tab, so I'm going to go there now. It's the one with the little color wheel. Third from the right here, you're going to want to make sure that your clips window is open. So click on clips on the top right hand if it's not already open and you're going to want to make sure that you are on the top most video track. So on video track to I have a title and you can see that while I have video director selected that we can see both the title and the background footage. But if I go click on video track one, we only see the background footage, so that's when you need to click on the top. Most tracks you can see the top most title and everything that goes below it as well. So making sure that you, on the top most video track, you need to go and find the frame of your video where you want to take it. Thumbnail from I'm pretty much going just like the frame where the title is on screen but hasn't started painting out yet. So for me, that's here, right around one second and nine or 10 frames and two generators. Still, which is just a single frame of the video. You need to right click on the preview window and shoes grab still do. When you have these stills in your media gallery, you can take them an export them anywhere on your computer that you want so I can right click on this still and choose export. When you do that, you're going to get a standard file Explorer pop up window, and we're going to need to set a file name and a safe type for this file so we don't want it to be a dot d p x file. Or rather, we wanted to export the stars either a J. Paige image or a PNG image unless you need Alfred Channel in your image. For some reason, J. Peg is going to give you a small file size, so I'm going to choose to export as Jay Pek and I just need to give this name so I will call this thumbnail example, not J. Peg Export, and I've rechecked the desktop. We have two files that have been exported here the dot J peg pile and this dot G R X file, which includes information about these still. But we can actually just completely discount that right now, because all we care about is having the thumbnail so we can open up the dot JPEG image to see that it is exported Exactly how we want. It looks like the frame of the video from DaVinci Resolve, which is what we expect. So now you can take this JPEG image and upload it when you're prompted to on sites like YouTube or a thumbnail. Or you can take it into gimp, do a little bit more editing to it, such as adding a logo to it. And that's really all there is to it for extracting a thumbnail JPEG image from DaVinci Resolve 16 straight from within the APP. So I've been Chris, I hope you found this basic tutorial helpful. And I wish you guys in my future video content.