How to Edit a Video in Davinci Resolve 16 | Nick Carter | Skillshare

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How to Edit a Video in Davinci Resolve 16

teacher avatar Nick Carter, Videographer, Photographer and VFX

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

6 Lessons (54m)
    • 1. Introduction

      1:50
    • 2. Part 1 - Dissecting a Video

      2:26
    • 3. Part 2 - Editing the video (Part 1)

      15:03
    • 4. Part 3 - Editing the video (Part 2)

      12:53
    • 5. Part 4 - Colour Correction and Grading

      20:31
    • 6. Part 5 - Delivering for Final Render

      1:45
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About This Class

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In this class we will cover the fundamentals of editing a video inside of Davinci Resolve 16. Not only will we cover the technical aspects of achieving this in the software but also some of the more creative decisions behind why we are doing some of the edits.

We will cover the following topics:

  • Media Importing
  • Setting In and Out points
  • Piecing together a timeline
  • Applying thoughtful transitions
  • Audio fading
  • Title creation and edits
  • Color Correction
  • LUTs
  • Adjustment Layers
  • Delivering for Final Renders

This class will cover the basics, after following along you should feel comfortable jumping in with your own edits and be ready to tackle more advanced effects.

Remember: If you haven't watched my first class then make sure you do! Implied knowledge of Davinci Resolves interface is required to easily follow along to this class.

Meet Your Teacher

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Nick Carter

Videographer, Photographer and VFX

Teacher

Hey Guys! My name is Nick Carter,

Im a Videographer, Photographer and VFX Enthusiast who spends his time living between Australia and Canada. 

I started my Editing journey over 10 years ago trying to achieve simple VFX shots at home (Lightsaber Effects, Sky replacement... Basically every tutorial on VideoCoPilot). From developing my hobbyist skills at home to learning from Industry Professionals at AIE out of Melbourne Australia, my passion for Video Creation and VFX continued to grow.

Between working in the corporate world and creating content as a freelancer I slowly realised a gap in the Learning Market. Simple, easy to follow and straight to the point tutorials. So I took to teaching. Having found a voice that people seem to listen to, I focus ... See full profile

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Transcripts

1. Introduction: Hey, guys, welcome back to another DaVinci Resolve 16 video In today's class, we're going to edit a video from start to finish and go through a lot of the fundamentals off editing inside of Vinci. Result. With that out of the way, let's roll the video that we're going to be editing and then get into the lesson itself. Every everyone you can see if you close your eye, wait way. So as you can see, it's not a very fancy video, but it does not say contain a lot of the fundamentals, editing and all done within DaVinci resolve. 16. So let's jump into the software itself, dissect that video and then actually start putting it together ourselves. So sit back, relax, and hopefully you enjoy this class. 2. Part 1 - Dissecting a Video: our guys. So here we have the video inside DaVinci Resolve 16. It's self, and as you can see, you know, there's a few things we want to look at here. First civil is this adjustment clip on top. A new feature to Divinci results 16 and this is where we're going to be doing color grading No at color correction and color grading. So that is why that is there. Below that, we have our title right at the very end, as a separate layer. This is just a built in title with dementia resolve, and we've extended it a little bit just so that it lost on the screen a little bit longer and then blow that on our second video track, which really could probably be below it as well is all out video clips of different sizes. So if I zoom in here and see, we've got some transitions here, which is what that white bar there is, and you say it's a little bit of a dissolved we've got one over here is well and pretty much all these clips will have a transition applied to them. They're all very different, and their their first specific effects. And even here we have some blank space. And that's important to note is that you don't always have to have all your video clips together. Sometimes it's important to have just that little bit of, Ah, black pause. And there are reasons why we do that. We will get into that when we're actually editing the video itself. And below that, we have our music track. It's not the entire song that actually goes on a lot longer, but it's just the front section. And at the end here we've created just a little bit of a dip off so that it fades quite nicely with the rest the video as it'll fades out. So all in all, it is quite simple. If we go over to the color page just quickly, you can see that with the different clips selected. Some of them only have one note, while others, if I can find one, have a couple extra nodes. And that's just because the footage that we used in this video is all downloaded from pixels dot com. It's a free stock footage website where you can use all the pictures, videos and music on that site for free on. You can choose to donate to the creators if you wish and as such, because I just found this footage online, not all that matched up. And we had to sort of color correct some of it a little bit more than others. And we'll get into that when we're actually color correcting the footage. But this is the breakdown. This is more or less what we're going to create in this video. So let's start from scratch. We're going to go toe Project manager, new project, and we're just going to call this travel video. Starting from scratch, we're going to go create. 3. Part 2 - Editing the video (Part 1): All right, So let's start importing the footage to that. We're gonna go over to the media tab, but it's good to know you don't necessarily have to. You can right click in the media pool on any tab, individual resolve and go import media. However, for the sake of this video, we will go from the media tab. I'm going to navigate to the desktop and he I have this video here and I'm going to drag all the media in at once. And we're just going to go. Don't change, member. We spoke about this in the first class where it will change the frame rate off the project if these videos sort of differ from it. However, in this one, we're just gonna go don't change. So we're going to run a normal 10 80 p timeline now, normally, I would go through and color code this footage and have the B roll or these supplementary footage a different color to say the main story line. However, because of the way this video will be laid out, we're not going to need to do this because it's just a bunch of clips put together to form a story, and there's no sort of like overarching video that goes across the whole time one. So I don't really need to worry about that for now. And as you see here, we've got out video clip as well. Again. We're not gonna create bins in this video, either, for the exact same reason. So with the footage imported, we're going to go over to our edit page. And this is where the creative licensing comes into. When editing a video. A lot of people like toe work differently. Some like to pick their best clips and drag him along to the time one. Others like to work systematically and say, Grab that first clip, drag it on work with this one first and then dragged the next one on. So everyone's a little bit different in how they want to operate in this video, because we're sort of creating like a travel video. I'm going to show you the technique that I find works best for myself. But again, this is a journey of self discovery, something you need to figure out on your own. One thing to note is if we look at the metadata for these videos, we have a variety of different footage, so we got a four K clip there at 24 frames a second. Now we have one of 50 frames. Second is 10. 80 p. Another 10. 80 p. 50 frames a second, another four k at 24 frames a second. So if I drag a clip down onto the timeline, it's going to take these settings off whatever the first clip is. So what we're going to do is just gonna go right Click timeline, create new timeline and just gonna call this main because it's the main timeline. We're gonna leave the video tracks up to the audio tracks it too, and this is going to use the project settings by default. So a 10 80 p timeline It just saves us having to worry about different sizing and all that . When we're dragging 10 80 p clips onto a four K timeline, This just keeps it nice and organized. So what we're going to do is we're going to start sifting through the footage and what creating out time on separately, does also allow us to do is drag out audio dance. We're gonna drag out what you're tracked down straight away, all right, and again as we spoke in the first video. If the wave form doesn't appear, we can go to our timeline view options, turn on the weight forms here and just have it visually available for us, like so in a bit. Now, the reason I lay the audio track down first for this one is because we're gonna want to make some cuts to the beat off the song just so flows a little bit better. I don't tend to cut directly to songs, but it's nice to have a couple of beats he and there that do sort of float together. So the reason That's why we're dragging the audio on first so we can work with it from the get go. There's nothing worse than dragging Eclipse onto the timeline or cut up and then realizing that's not edited to the beat and you have to go through and make some weird changes. So that's why I dragged the audio first. So we're working with that in mind from the get go. The next part is to go through all these clips here, so if I double click on that, we can see in the source viewer and set what we call in and out points on the footage. We're going to do that for every single piece of footage because we don't need the whole thing. Right. So this piece of footage here, you see, it goes for quite a while. We don't really need it. So I'm going to go through and set in and out points. Now, you can do that a variety different ways. We have our buttons here for Mark in and we can move over and go mark out. Or we can use the shortcut key, I and oh, and this is universal through Mac and Windows, and that's what we're going to do. So we're gonna start to quit here, Hit I You see, It moves that point there, and then we're gonna go across and pretty much just before it dips. So about there were going to set. Um, I'm just gonna leave that clip that move to the next one, and I'm just double clicking on them to bring them into the source viewer. So again, you see, we've got a clip of the key going in the ignition, but then it sits there for quite a while. We don't really need that. So I'm going to find just before the key goes in, set my in point and I'm gonna go for a little bit key, goes in hand, goes away and I'm want labour there with hands, still less. We got a little bit of action and again to the next clip. We're just gonna keep doing this. So you say he I like the out of focus bit and then in focus, we're gonna take that, shifts in focus and then hovers for a little bit. But we don't need all this extra footage here because it's just a static shot off that close up. So it's good, just we have a little bit. And if I want to extend at any point, I can grab those little dots and extend the out point right to the next clip. So we're just gonna do this for all the clips here. So again, it's a long shot. We don't need the whole things we're just gonna go through and roughly chooses. So what we're gonna end up doing is probably cutting it a little bit more precisely when we have it down with the audio, but I'm just picking roughly what I want, and I might extend these clips of it later through editing. But it's good to get a baseline rather than having all these clips at their full length on the timeline, which can be a little bit intimidating. Oh, right. So with all of that done, what we can do now is select all the footage without the audio. And now, if we drag all of this as such to timeline, it's just going to drag the audio and the video that we've segregated so that in the mark in and out that we made onto the time one. So now we've got that there. We also have some audio that we don't want. So to do that, you can option click and drag or out on a Windows PC, and what that does is just isolate the audience. So if I click on this, it selects it together. But if I option click, I can select them individually, so we're gonna option or I'll click drag on the audio and delete it. So now if I play through, we have all the cuts that we've made announced Time to build a story. And again, I can't tell you how to edit the video because it's a creative process where I can give you the technical way that I'm going to do it. But in terms of creating the store, we could all come up with something different. It's on the turn off the video that I showed it. Start. What I wanted to do was show this sort of close up at the start. He are because I like the way that it sort of it inviting you in right is showing you a nice location. So that's why I started with that one. So we're gonna drag that one. We're gonna play it right to the start. And the first thing this is our first passed. So we're gonna drag them all in order first. So it plays and has a story, because that's the most important part. And then once we have that story down Pat, we're going to go through and correct this timing in the spacing in the length of the clips . All right, so that we asked second pass. So from there I felt that ironically, I wanted an extra clip And when we look at this quip up in the source view, you notice we have, like, this extra bit at the end there, which is similar, but it's a little bit different, right? The grounds a bit warmer. There's a river in there as well, so I'm actually going to grab this clip separately. So I'm going to keep my eye in a drag a little bit, get a bit of that water hit. Oh, and if I hover over this clip, I can actually drag down and bring it down as well. Now, if I had a clip that had audio so let's find a clip that's got audio. Here we go. If I hover over you notice we get this film strip and wave form. So if I grab the way form, it's only gonna bring the audio clip and vice versa if I click the filmstrip something to bring video down just so that you know All right, so now we've got those two clips there what I felt. And this is where Niazi. I'm starting to think that we could do something a little bit different. This is where the creative flair comes in. So I like this. It's very inviting. However, I think I want to start a bit smaller, a bit more intimate. So we're gonna get that really super close up shot he off the leaves or whatever you wanna call it. Almost like I don't know such an intimate shot. It's nice to start on that, I think. And then from there we can go into the forest, close up, kind of give you a little bit of context about what this is from, So I'm just re sizing and all this sort of stuff. So from there, now that we've sort of set the scene All right, we've invited you in. Now let's tell the story. So we've got a couple of shots of the car going through the forest and all this sort of stuff. So let's let's do the ignition thing first. So I think obviously we need the shop, but without the key. So let's get that shot first and then the shot with the key and we drag that down. Now you notice my clips are actually snapping, so they're clicking together. If you want to disable that, the short cut key is en or you can click this button here and again, you can hover over, and it will give you the short cut there anyway. All right, so now we've got out two clips he and sometimes turning. Snapping off is better because you can scrub through the clip, defied, snapping on it's just gonna scrub to the you know it's gonna snap severe pain. Then we got that key goes in the ignition, and the next thing we naturally want to see is the driving. So the traffic. So we're gonna go to the traffic one first, All right? And now we've got a couple of different clips. So we have a sort of a close up off a car driving down the road and then a far away shot now in the original. And it actually did these backwards. So I did the distant shots of this one. He I did first. And then I cut to the zoomed in shot. However, in this one, we're going to do it the other way around. I'll show you why in a second. So we're gonna move that there, and this is good because it now links the two right. We've got a shot of car, the trees, they're pretty similar. And remember, I got all this footage off of a stock video site and I just Googled them and, you know, I found them. And so we're trying to tell a story which footage we didn't get, which can be hard sometimes. All right, it's And then that goes into this clip. He then we're gonna do the next one. So we're just gonna chuck that down, We're gonna snap on, snap it in, and it goes to this from which is a distant shot and from the distance shot, we're gonna cut this loss one. He and I like this one because it kind of goes into the clouds. At the very end, we could extend that even a bit more, making going to the clouds a little bit like so. So there's our first parts, and if we play this through, I think the point that it's a good first pass, I think the pacing is the next thing we need to fix. And that's what we're gonna do now. So we're going to start extending clips and moving them around. And the first thing I want to do is this clip at the start, I think it could be longer. So we're just gonna grab all those gonna move him down and this is just trawling area. You'll notice that I'm going to go through it. I'm gonna hit the play button, and I'm just gonna keep playing until I think the timing's right. So this quick can go for quite a while. I actually like the full length of the clip. Maybe not maybe just a little bit. We're gonna go from that and we're gonna play around. So we're gonna play around, see if maybe a little polls is good. It's a little gap, actually. Don't want not so actually like that. Quite a bit will go through a nod, transitions a little bit later and again. This is all trial and error is going through and checking to see if the timing is right. So and also with the beats as well. So you can see I'm sort of matching it up a little bit with the way from Not that it's a very Bt song, but just seeing he would if I move this other way, can see a zoom in how the way forming dips and then goes up here so trying to start that on that sort of beat there it's a very small thing. But people notice it now with these two shots because they're in the same spot, actually like them next to each other, and what we can do is do like across his old between the two. So let's do that now. Let's actually drag a transition in, so to do transitions, you go to your effects library the top here and to video transitions. And then they're separated into different categories and to apply them they're quite quite easy, quick and drag. And it flies them down here at the default length. And then you get this little white bar. Now, just so you know, I'm zooming in and out using my manned and monos um, plus case, you can also do it from here. So now you've got your transition applied and you can play through and you notice it. It's a bit too quick, and we can tell that because you know, the song is relatively slow. The scene is slow, so we want to extend that transition. We can do that just by grabbing the handles like so and dragging. I think maybe just a little bit too slow, but it's not too bad. Maybe a little bit, Foster. Yeah, I like that. And like I said so astrologer And, you know, some playing, imposing, playing, imposing. I'm trying to get the timing right. And there are a lot of different other, you know, transitions here. Right now, we're just going to use the cross dissolve, but you play around with these and they give different effects. So it's good to, you know, experiment? Yes. From this clip, we go to the car, and I think because it's such a disconnect, I think we need a poor's. So this black screens, we're gonna grab these two clips here. We're gonna move more of our I'm gonna try and put them on this beat here, see if it's enough. We're gonna go there and just play this third 4. Part 3 - Editing the video (Part 2): We're actually going to also drag this one and close it on this big. I think that works quite well and with these because they're in the same spot, I think, and because of the music as well. Leaving it like that is fine. We don't need to put a transition, and that's key is knowing when not to use transitions. You want a a lot of travel videos now on transition. That's just carry throughout the entire video. And it's kind of annoying, right? Like it's This isn't a travel video. This is a transition video, and I know there are people out there that made a popular like Sam Colder and that and it's using those effects tastefully and not having zoom transitions, whip transitions left, right and centre. It's knowing how to tell the story. So the reason we have no transition here, but we got a bit of a pause is because these different locations we want a bit of a disconnect between the two scenes, but the colors remind us that they were in the same sort of area. The reason we have a dissolve he is because we are in the same area just a different point , and that's why it works so well because it shows like a passing of time. But we're in the same sort of seen, which is why it works well. The reason why we don't have a The reason why we don't have a transitional for this scene is because it just doesn't need one. Why would we put a We could put a dissolve in there, but it would just look tacky with changing camera angles. It's the exact same location. It just makes sense not to do it. Now is another reason why we're probably going to use another gap. So no transition is because the scene changes, which goes from a real tight shot of the key going ignition to a moving shot of traffic. And if we were to put those right next to each other like so and play it back, it's a little bit jarring, and that's just because it doesn't need a big gap. But it's just because we're going from such a close type, static shot toe, a moving shot that has a bit of action in it. So we want to, you know, disconnect those two there don't bring that, uh, that the We're just gonna fix that up on the bait. Make sure we get it right. So the bait is that that's and here we could probably Now, this is the tricky one, right? Because now we have such a big sort of difference of the shots. I could probably do something like that. Actually, that works pretty well. That's good again. Knowing when not to use transitions. Because if we did a cross dissolve, we could do one, and we could chuck it in and, you know, maybe one to a different one. They want to a smooth cut woodchuck that on. No, it's not gonna, like, smooth cut just because of the type. Wait and we could play through. Yeah. You look totally up to you. I personally don't like it. We're gonna shift them again. I kind of I like the gap. The gap, it gives because again, different shots. And then then we can play this one, and then we're going to on this beat. Here, do the close. Well, not the close up. Do this shot here. If we play this through and then because we got this Really? This is where the bait clearly kicks in. So what we're gonna do is resize this quick down and we're going to jump This lost one in, like, sword we could And again we could probably do. It may be a Let's do Ah, blood is all. Let's do something a bit different. Let's extend that a little bit. I actually don't like it. Let's do a different one. Let's do a cross dissolve. I don't like it. I think we're gonna leave it as a hard cut. Think it's a big cleanup. So if we play that back and then what we're gonna do is cut this song off so we're gonna get out, played to also just pressing B and we're going to good and the and A I'm gonna delete that . Now let's fade this music out. It's really quite easy. When you hover over tracks. You'll notice this little white dot in the corner there. What is going to drag that? What that's going to do is fade this out. So if I play starts to fade out and then you can get this circle here and you can control how the fade works depending on you know what sort of affect you going for, so that works like that. Next, we need to address a little bit of an issue you might have noticed while we've been cutting the footage together, and that's a different aspect. Ratios off the foot. And she noticed we got some black bars at the top there. That's because of the aspect ratio that was filmed in. But then we don't have any. He are. We got some there. It's a little bit all over the place, so let's fix that really quickly with an adjustment layer. And we can do that in the effects library by going down to effects adjustment clip. And this is new to the venture result. 16. An adjustment clip is just sort of like a blank lay up or yeah, blank layer blank clip. But all the attributes, whether that's a color correction or an effect that you apply to the adjustment clip, applies to everything beneath it. For example, if I extend this just to the end there, uh, and then we go to the inspector and I zoom in, right? So just on the inspector, up the top there on the adjustment and I zoomed in just on the adjustment layer. But what it's actually done is zooming in on everything beneath it. So you can see that this could be quite powerful, depending on how you want to use it for this, we're going to use it to crop in. So we go down, you can see we have cropping. If I double click on that, it's gonna bring outcrop options. And basically, what that does is bringing some black bars on the left, right, top bottom and then weaken soften them if we want to. So what we're going to do, he is to a top and bottom crop to sort of simulate that cinematic look. And I'm not gonna get the ratio is exactly correct, because why not? And sort of just gonna eyeball it. We're kind of gonna go like 1 23 Let's just go. 123 123 It's roughly around that don't quote me. And now we've applied those black bust every clip on what's up that's also covered the black bars that were on these clips over here because we've obviously extended them but applied them to everything else. Sometimes this can be a bit of Obama because what that will do is cut off, obviously the top and bottom of your footage. You have some vital information. They're like, Let's go to the key clip like we're all right, actually, but, you know, we may have accidentally cut that off, so sometimes you might need to go through. And if we want to click on that clip, and we can go to the position and adjust the position like so if we need to, because we've cropped the top and bottom, which is the y axes we can. We have a little bit of wiggle room there, depending on where we want to put that ignition. And so that's a good way to go through and adjust the clips like So So another benefit of using an adjustment clip is that we can do color grading on adjustment clips, and again it's going to apply it to everything below. That's handy because what we're actually going to do is color. Correct all the footage underneath to look as close to each other as we can now. These aren't raw files where you have full flexibility of the colors and lighting, but we're going to try to see this one supersaturated. This one's quite dull again, very saturated. So we want to go through and mainly the clips that play next to each other. We want them to feel coherent and similar and same like these ones were fine. But again, this one, it start that green doesn't quite match this green. So we want to go through and make it coherent. That's called color correcting. And so we're going to do that with all these layers, first on a clip by clip basis and then at the end, do at color grades. So sort of the mood that we want to set for the entire video. We're gonna apply that to the adjustment clip, which is going to apply to everything beneath it. So that's helpful that way. So let's just quickly do one last thing, which is add a title at the end. Maybe this is an intro to a travel video, So with the effects open, we could go to titles, and you see, there are a bunch of ones built in the fusion titles have effects, and you can tell that fusion by the lightning bolt everything that doesn't is just a basic effect so we can talk in Texas is gonna be very boring text. So what we're gonna do for this one is find a title rise. Let's just what about title horizontal One review and just drag it down into the timeline and you got to notice that these take a little bit while a little bit longer to play. There you go. And this little red line here. So this is the sort of like the buffa. It's buffering that clip into ran so casing the clip. So the blue is what's catch authority and the red is what's not in the longer it's there, the better we can actually extend this. If we hover over the end and we get this little this little buddy here, we could actually make that tied a little bit longer, maybe put it in the middle and play that third and then to adjust the parameters on the title. If we click on that, we got to the inspector again. The inspector is where everything is adjusted. You say we have upper text controls, lower text controls and then we also have the line color. Not sure why, That didn't be. So we got the line color as well, so we can go through and change. Had the line looks so we could make it like that. Maybe call this one my video and then change lower text to forest drive at night. This is just how to edit video. How to be creative. Cool. You can obviously go through and change everything you want. Bold italic. We can change the fun pool That doesn't look good at all. Look at that. That's a bit like not having much luck. E There we go. And we can check out the spacing as well. What about if we send this to my first video and there if we play this back, obviously, if you want, you can go through change the color. So maybe you don't like that one. We can go change it to like a hot pink. If you want to. Whatever floats your boat, we can do it. And all this sort of stuff in the Inspector applies to allow the titles in the effects drop down here or the fusion ones. And even in the top one here, just substandard titles. The variety of controls may differ depending on what the effect is. So obviously we have the ability to color the lion here. You might not get that on some of the other ones, but again, you know, try which one you want to use, which one suits the sort of type of video you're going to again, less can beam. Or a lot of people love doing big, punchy, Hollywood style effects on their titles. But sometimes the simplest ones are the best one that even this one's a little bit showboating. But that's just it. So now that we've cut the entire clip together, woodchuck, the couple of transitions on it, we have our fully edited clip. We just need to color. Great. We just need to color, correct and color great it, and then we're pretty much done. 5. Part 4 - Colour Correction and Grading: All right, so let's move on to the color grading now. I'm not a color, so I'm not going to try and get to technical. We're just gonna do what I do with my videos and let's see how we go. So when calibrating, it's important to have very high quality footage. If you don't, it's going to create artifacts, and it's just gonna make the footage look really bad. And this is why professional shoots are shot using a format called Raw. And it's like shooting photos in the sense that you have control of all your data after the fact of the white balance, exposure and all the colors could be manipulating post. These are not raw files. Therefore, we can only manipulate them so far without them being completely destroyed. That sounds really complicated, but what it really just means is that we need to find the clip that has sort of the worst looking colors. I guess you'd say or like the one that we know that we can't as much and use that as our basis, right? So this clip here, the last clip, this is the one in the weather. The saturation is just ridiculous. We're going to color, correct this clip first, get to a point that we consort of, say is acceptable. And then from that base, the colors in the rest of these clips off of that one. And the reason being is we don't want to use, say, this image he our as our basis for, say, the green colors in the rest of it. We don't want this one to set the tone because I know for a fact that I cannot bring the colors in this clip in line with it. Hopefully, that makes sense. So to start off with every grade that we to start off with when color correcting in color, grading individual resolve, we use what is called nodes, and we're just gonna look at the base node in this one, which is called a serial note. It's just an empty container, and basically what we want to do is for every adjustment we make, whether that's using color wheels, whether that's using curbs, we try to keep it one adjustment per node. That means that we can go through and sort of delete nodes if we make a mistake or controls under and all that sort of stuff. If we make a mistake rather than, say, having one node with all this information piled on top means it's harder to go back and do it. So what we're gonna do first travel with Scopes to get an idea of the exposure off the shot . And we're gonna do this with a combination off, eyeballing it in terms of in the viewer here and looking at the scopes as well. So right now have the way of form open. 1000 represents pure white. Zero represents pure black. And then everything in between is sort is everything in between. And as you see here, it's basically saying that there's not ah, whole lot of detail, There's not a whole lot of highlights and we can see that represented here. So we got a bit of highlights there, but the rest of it is a little bit muddy, and you can see there's a lot of green in the shot, so the first thing we're gonna want to do is balance it out, bring some brightness to the mid tones, and then maybe bring the highlights. Stand a little bit. We're going to do that with the color wheels and the color wheels here are lift gamma and gain, and they stand for basically, this is the shadows, said lift. The gamma is your mid tones. So the majority of color in your scene and then gain are the highlights. And the way they work is we have this whole dot in the middle. This controls the tint or the color, and then we have this well down the bottom that controls the intensity on. We can control the values down below here if we want to. And so that's what we're going to do it now. So we know that the highlights is quite high. So we're gonna bring the gain down a little bit and you can see it's doing that for the whole image. But we just want a little bit. Not a lot. We know we already have a lot of information in the shadows. We're gonna bring the shadows up as well, not too much. And then we're gonna bring the mid tones up because the midterms are the ones that just don't have as much brightness in terms. We're gonna bring them up quiet a bit and then with that you can see we brought the information out. So we've done that when they might play a little bit more. We don't want to do it too much because you can see it gets quite white. So we need to be pretty particular with how we're applying this color Great on at any time . If you want to see what you've done, command D on Mac and control D on Windows will disable the node and give you an idea of what we've done. So you can see because it's the top of file it is. It's quite hard to edit this one, so it just bored a bit more brightness into the mid tones. The next thing we want to do is bring down the saturation. So I'm gonna create and you know, to do that, we're gonna go color nodes and we're gonna go add cereal node and you can see there we have a short cut for its on a Mac. It's option s so it's going to Bolt s on PC. Gonna add a new note. I'm gonna bring the saturation down again. It's in their color wheels and it's in our section option down the bottom here. We're just gonna bring this saturated just a little bit. Not too much. So it was at 50. So we might just bring it down to 45 and again, we can just grab this and controlled the to turn it on and off. It's really subtle. Might actually bring it down to 40. There we go. And the next thing we're going to do is going to do a little bit of contrast. So we're going to with that selected at a new serial note with the short cut on. With that one selected, we're gonna go over 12 curbs. We're gonna grab a curb, and we're just going to create an S curve, which is commonly used at contrast in images. So basically, you bring the shadows down, bring the highlights up on what we're gonna do is lift the shadows just a little bit until we get something a little better. This has created a much better image. And if I turn that on and off, you can see the effect is much, much better might bring the shutters down a little bit. This is not undoing what we've done before, because if we go back to the first known we turn it off. This is what it would have bean. So it's still creating with sort of layering the effects on top of each other to create a usable image. And if we turn them all off, so if I select them all, that's what we started with. So it may seem like we're making small progress, but it all adds up in the end. Now, looking at this image, the last thing I want to do is sort of change the Hugh or the color off some of the green here, find some of its all right. But these bright bits here bits, two yellows. We're gonna create another node and under the curve scene, we're gonna go across. So if you remember in the first class, we showed that we have menus within menus in the color page, and we're gonna go across one to Hubert Hugh, which brings up thistle eyedropper so we can pick a color and whatever color it selects weaken, they have complete control over changing it. So we're gonna go through and try and pick one of these colors here. It isolates it here in the color and then I can go through and change it and you notice it's made a relatively large selection there. If I go something crazy, you can see everything has selected, and basically we're gonna go through and just sort of change it. So it's a little green up. So something like that, not a huge change. And then we're also going to and then with that selected, we're gonna create another one, and then we're going to go Huber saturation. So we're going to select the same roughly the same color again. We're just gonna bring the saturation down a little bit. Not too much, just a bit. So if I was to turn these last two curves off that we did, you see, it's a little bit of adjustment, and if we turn the 1st 1 off, you see it's just bringing it slightly down in line. So this image is a little bit more uniform in the way the color is distributed. And if I select all those notes that and turn them off, that's what we started with. And this is what we have now. Much more uniform image. It's probably the best we're going to get with this particular clip. It's a terrible clip, but it's a good example of how to sort of go through the colors. So we've gone through and we've made these adjustments. Now we need to go to the next clip, and because these clips play in unison with each other in terms of cutting, we need to make sure that that pretty similar this clip next wooden. Because these clips play next to each other, we want to make sure that the color is similar, so we need to look at what we have. So if we go here, the images pretty cool in terms of colossal, it's got a bit of, ah, colder cast to it. So blues and all that sort of stuff. This one's a little bit warmer, and that's pretty much the main change. So let's go through and fix this up now, looking at the scopes, same as before. Going to bring some mid turns up a little bit, not too much and highlights again could probably come up a bit. Now we're making this quite bright here. That's OK. The next we're going to add another node and do a little bit of contrast we're gonna drop that down, bring that up just like before again going through, always constantly turning on and off the nose just to see the effect that we're having. Make sure we're getting the effect we want. And then we're going to add another node and we're going to go back to the color wheels and he we're going to change the warmth off the clip. And this is so to do that, we want to go down to the bottom. You see, here we have a few things. Contrast, people, saturation, Hugh, lieutenants mix. But we also have one and two, and this changes the menus again in the first video. Like I said, there are so many different options. So as you can see on the second page, we have a few more options. So we've got temperature 10. We've got mid tone detail. Which kind of shopping is everything? Some softens everything. It's kind of a cool effect. We've also got color boost, which is sort of like saturation, but it's more a little different. And then we've got shadows, just different sliders for different things, to be honest. So what we're gonna do is with the temperature. If we drag it around, you can see we can create it, make it a little bit warmer. We could make it quite cool. We're gonna make this pretty pretty warm. We're gonna constantly go back on shift between the two. We just want to make sure that there similar. So what we can do now is now that we've changed the temperature, we made it pretty warm. Not super warm. Just a little bit. We're going to create a new node, and we're gonna actually change the tent. So the tent works on green and red values. So if we go to 100% in one direction is quite red. We go, the other directions quite green. We're going to use that to our favor. So we continue to a bit greener. And if we go between the clips here now, we're starting to get somewhere. But what we need to do now is maybe out of bitter orange into some of these trees. So we're gonna do another huge We're gonna add another node back to the curves I'm going to do. He vous you again. Just select one. We're gonna hopefully get a large selection there. Just add a little bit of a a little bit of an orange tinge to it, kind of Goethe back and forth between them. But I didn't do too much. What if we go here again? Small amount is probably better here, very subtle, and there it's close. It's almost acceptable. I think what we might do is just quickly at another node, and we might just add a bit of saturation. What do A color boost is what we might do and pump that up. Not a lot. Just a bit on and off, very subtle. And for there, we're gonna leave it like that. If I turned all of those off, that's what we started with. That's what we've got now, a vastly different clip. It's a bit closer than what we have there again during the best we can consider and we don't have raw footage. So it moving on to the next clip, so never going to the exact same things, we're gonna bring the shadows up a little bit again. We don't want pure blacks bring the highlights because we need highlights going really, really push that one and bring some mid time's up because that's faded. The image. We're gonna create another node back to the loomer curve. I'm going to bring a bit more contrast into this shot. New not as many points as you want to get the effect that you want constantly turning on and off to make sure there's not a whole lot more we need to do with this clip. I think it's pretty similar in terms of color. Maybe we might drop the color boost down a little bit and go down, maybe drop it a little and then at another node and you can see I'm just having nodes and we're going to go back to curves. Gonna change the hue just a little bit. Not a lot, Yeah, I think that's not too bad there, So the next gets a bit easy, so let's have a look at these two clips. These clips were filmed in the same car, the same lighting conditions, which is good. We can just do the same color correction for these, and we don't really need to do too much. So let's start with this. This clip here gonna move till it's in focus so I can play it through. All right, We're going to leave it. There were just gonna do what we're doing before, so we're gonna shadows up a little bit. Really. We don't really do too much. May bring the heights down a little bit, Not another noise. And we're gonna do a quick, quick bump. Contrast. Wouldn't drop that down up a little bit again. We don't need to do a whole lot to this once we turn that on and off. We haven't done too much, Mark. Actually free. Not down a bit more. Not too much. But the best part about this is because this clip is the same. We can just copy it. So to do that, all we need to do is select the ungrateful clip. So this one, he right, click on the graded. Clinton. You can tell because we got this little color around the number as opposed to this one right click and just go apply grade. And all that's going to do is apply everything that we did in this one. So everything in this no tree to this clip, you can see that we have another option there. Just under apply grade, which you say a pen grade, and what that would do is add it on if we done any effects in this one. So that's like So now this clip, Because of the way the clip is, it's relatively well exposed. I'm not gonna actually color correct this one. I don't think it really needs it. I think the everything else in that one's relatively flying is we don't have to touch that one. Now, we're gonna look at these clips and begin because they're shot in the same location. We can probably just do these always one. So we're going to into this one first cause it's a little bit better exposed, and then we're going to go to the second. We'll start with this one moved to the center on. We're just gonna start again with the color wheels and bring the shadows up a bit mid turns and then highlight at a node going to go through and at a contrast in, probably actually undo. We're gonna bring the gonna bring the shadows down just a little bit. And with this one slightly another nerd bring this saturation down a little bit. One more note and we're just going to do our curves. We're gonna change the hue of the green again. You notice what doing that, And I'm just not like we're not going to crazy just stuff of, like, something similar to what that is there. And if we go through So we highlight that and we see what we've actually done. We haven't done a whole lot. Sort of flattened the image a little bit changed the color of the green just a bit. But the best part is again with that selected right click apply grade. And we have Well, what I think is a okay looking quick doesn't look too bad. Probably leave it there. And now we have one more clip. Do color grade. What color correct. Get out terminology. Right, Which is this last one? He and it doesn't need a whole lot. To be honest, we can go through just raise the shadows just a little bit, maybe bring that little highlights spec down at our mandatory contrast in. I just do this because I like the look of it. Yeah, we're just gonna trains the temperature, I think probably should be enough. Changing the temperature gonna brings it more or less in line one. That looks pretty good. Now, if we turn that off and on, I haven't done too much. What we might do, actually, is with this curve. Bring it down. Yeah, Looks good. Cool. All right, So that's all the clips. Color corrected as best we can again. I'm not a colorist. I've just done the best that I can show you some of the tools that I use frequently. Lastly, we need to do our grade. So the mood, the tone we want to set for this clip, which is gonna be done on the adjustment clip. You can see he adjustment. Remember, this applies to everything beneath it. So we want to make sure it fits. So to do that, we're gonna add a lot. A lot is a look up table sort of file with information. Pretty much of everything. We were just adjusting before, and it can add a really cool moon tone to your footage. You can find them for free anywhere on the web. I'm just going to use some that I paid for. So I'm gonna go to the lot browser off the top here. And if you want to add lots you can. Actually, just if you open the lock browser up, right click, you go reveal in Finder and it will. I don't know why. It's great out now, but normally it's fine. So reveal and find out it's going to bring up the lot. Fold up some way on your hard drive and hundreds drag Lee folder that you've downloaded into this spot here and then right click refresh. And now it will appear just like my Peter MacKinnon. Lots have. So what we're gonna do is I got some Sam colder lots. And if I hope are over, I mean, just pick one. Just come pick Sam called a full close that down. And there you can see that it's applied this effect to everything, and it's pretty intense. OK, we don't need it to be that strong. So what we're going to actually do is find a point. Let's use this as our starting point and then with the adjustment clip selected, okay, we're going to go over to this icon down the bottom Here. This is a key are kind of works like the opacity off the layout. And if we drag the key output we dragged that around. You can see it changes the intensity off, and it's almost like turning it off and on. So we might go 0.4 so less than half its original value. And then we can go through and you say it's still if we're on this clip here. If I turn it on and off, it's still applying colors, turning on and off as we're watching the video. It's still applying colors to the shot, but they just know as intense and generally this is how I operate. So going back to the edit page. So now if I turn this adjustment clip on and off, you see that not only does it apply a bit of a look to it, but also gives us an eye cinematic crop. And like so, it's just really easy way to go through and color Great your foot it. Now these front ones are a little bit over saturated. Probably go back and fix him if we wanted to. General, it takes a little bit longer and again. This last clip is just terrible. I probably shouldn't downloaded it, but it's probably a good way to show you how hard it can be that color. Great footage sometimes. All right, Now that we've done that, we just need to deliver this and render it out as a full file. 6. Part 5 - Delivering for Final Render: All right, guys, in the last step to finishing off our video is heading on over to the deliver page. And he is where we're going to render it out so that we can upload it to the Internet or send it off to someone, whatever you want to do with it. So as we went through in the first class, here's a timeline. We can watch it through, make sure everything's OK. Assuming it is over to the left hand side, we're gonna want to stop playing around with some of the setting. So you're gonna wanna pick what suits, you know your needs. So if what leading to YouTube. You want to select YouTube where you can go through? Name it. Let's just assume for this video that you aren't uploading it to YouTube or vimeo. But you want to render out a high quality, high bit rate file Weaken GoPro, rez, master? Or would you go hate start to 64 Masters are totally up to you. Let's go programs master. Type it in. So my travel video, something gonna brows. So I'm gonna browse the desktop in a save it. We go through and just leave the settings as default. Generally, I don't really feel like changing, but you go through and do that. If you really, really, really want add to render queue that's going to sit in there and, you know, so you want to use your computer for the rest of the day. Go ahead, do whatever you need, do and then you could just go start. Render at a time where you don't need to do it and that will go through and render out of Maine. Fall. Ready for you to watch your heart's content anyway, guys, that's it for this class. Hopefully, you learned a little bit. By going through this sort of editing exercise, make sure you follow along with the project listed down below. Obviously, you can put these skills to practical use and stay tuned because we will be putting more classes up on the page very, very soon. Anyway, guys see late up