Resolve 16.1 Video Editing New Features | Christopher Navarre | Skillshare

Resolve 16.1 Video Editing New Features

Christopher Navarre, Software Instructor

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4 Lessons (26m)
    • 1. Syncing Clips from Multiple Cameras with Sync Bin

      8:32
    • 2. Stop Motion Animation Effect

      3:42
    • 3. Detect if Clips are too Long or Short with Boring Detector

      3:42
    • 4. Make a Trailing Afterimage Effect

      10:03

About This Class

In this mini course, we'll take a look at the latest features released to DaVinci Resolve 16.1 in a fair amount of detail. Each video discusses what the feature does and how to use it in your own videos in a tutorial format.

If you're not already familiar, DaVinci Resolve 16.1 is a video editor with free and paid versions that has many powerful, professional grade features. It's cross platform so you can set it up on Windows, Mac, and Linux. The best place to pick it up is hereĀ https://www.blackmagicdesign.com/products/davinciresolve/

Credits for Assets Used (Creative Commons 4.0 BY)

Music from https://filmmusic.io
"Beauty Flow" by Kevin MacLeod (https://incompetech.com)
License: CC BY (http://creativecommons.org/licenses/by/4.0/)

Transcripts

1. Syncing Clips from Multiple Cameras with Sync Bin: Hello, everybody, Christer. And in this video, I want to show you guys the new sink been tool of DaVinci Resolve 16.1 and working with multiple times sink clips inside of Divinci results. So what I'm talking about is when you have multiple cameras rolling at the same time for the same scene, and you want to be able to switch between those cameras. But you want them to be synchronized together so that when you do a cup from one camera, it's the exact next moment or frame that you would experience when you switch to that second camera. And the way the DaVinci resolve handles this is that it will automatically synchronized your clips based on the time stamp of those recorded videos. So if it knows that a video was recorded at 6 p.m. And another video was recorded at six PM , it will automatically have those synchronized together. So after you've imported multiple clips of the same time and location to your media pool, if you click on one of those clips and you go over to the sink, Ben, what you will find in the cut tab of Venturi's Off 16 which is relatively new, then what you should see is all of the cameras lined up from top to bottom. So you see Kim and one and two here, but you can have many more cameras at the same time than that. And so while you have the sink been open, you'll have each of those clips lined up as camera 123 and so on and over on the right hand side in the preview window, you also be able to see the preview video for those different cameras. So if everything goes well out of the box than these clips would theoretically be synchronized well with each other. And so, if you want to check to see if your cameras are already synchronized with each other, you can hit, play and compare the frames side by side. In this case, you might be able to notice that my kim or two is a few frames off of Camera one, and we might need to go in and do a couple fixes for that. So if we need to add it, the synchronization for these clips, what we can do is go to the media pool, find one of the clips in the ST groups, so those would be the clips that were recorded at basically the same time. And we right click on one of those and open sink group. So when we do that, we'll get this sink clips, dialog window, and you can see all of the cameras that are being associate ID up here. In the preview window, you can see the currently selected camera over on the right. So if you want to switch between cameras, you just click on the camera on the left and also shows the preview for the right. And you can use this window to adjust the synchronization off your clips so you can see here this box for sync by automatically as timecode checked. So before you even went into this dialogue, Divinci result would have already tried to synchronize them together. But if you need to re synchronize them, you can go in here and hit the sink. But another way, if the time stamp isn't working, is you can have it synchronized by audio. So when you synchronize by audio, it will be using the spoken audio data inside of your video clips, and it will try to detect the speech and line the clips up accordingly, based on this speech in that video that it attacks, so you may get better results. If you were to click on that and then synchronize and then next to audio, you have two more options in and out. So the idea, according to the documentation, is that it will try to synchronize your clips based on the in point that you have set as a user. So if you went to the beginning of your video roughly and there was a moment of time that would be very easily recognizable across the shots, then you could set the endpoint at that point in time, such as a camera flash, and then try to synchronize based on that data. Likewise, this out option. So if you have something that would be very iconic and easily recognizable at the end of your clips that May Bork is a better synchronized point, then you can use a outpoint instead. So if none of those four options actually get your eclipse lined up perfectly, you can manually adjust the cameras until you get it right. So what you can do is find a point in time across eclipse that is really easy to recognize . Like right here. You can see the fingers touching this pain here on the table so I can switch between my cameras and try to find the point in time where on all of the cameras, the finger is touching the pen. So any of the tracks that I want to adjust I can click on them and drag them over a couple frames until they are in the right position. So it seems like in this case, camera one reaches the touching. The pin part before came or two does, so I could move camera one over a couple frames and try to get them sync up properly. If the cursor gets in the way due to snapping, you can move that, and then it should be easier to adjust on ah smaller kind of frame by frame basis. So now if we go to where Camera One is touching the pen right there and we switched to Camera two, we can see that it's a little bit closer to being sync up. And if we want to make sure that the manual synchronization is good, we can hit, play and watch both cameras at the same time, noticing that the movements should be roughly and sink. And I think that's not too bad right there. So we can go back here to where the finger gets touched and switch to Camera two. And it looks roughly right. We may have gone a couple frames too much with the top, so I'll try to snap that over with the cursor chul. And if we go back here, switch between the cameras. Okay, one frame before on the bottom. It's not touching one frame on camera one. It's not touching. And if we go Ford one frame, they both touching. So I think that is the right frame to synchronize them on. So we can it play. And I know it's kind of small, but you can see more or less that they're in sync right now. So if we want to save that synchronization, we just click the safe sync button in the bottom right. And now when we're using the sink Ben, the clip should be lined up and we should be able to take clips from either of the cameras , and they should be in more or less perfect sync. So if I go over to the sink, Ben, I can now click on one of these cameras to pull a shot from. So in this case, I'll start with camera to you can hit I and Otis and outpoints, so I'll set out point there. So for the duration of this clip, from there to there, I'm gonna pull that into the timeline by using these tools over here. So upend would be a decent option here and now we can select the camera that we want to switch to after that first clip, so I'll switch to Camera one now. And what you'll notice, if you look closely, is that the next clip is going to start exactly at the synchronized point where the first clip ended. So we leave the endpoint alone, and then we can go over here, set an outpoint and upend the next clip into the timeline. So now we can do camera to set a new outpoint for when we want the clip to stop appended to the timeline, switch back to camera. One hit code has set an outpoint upended the next clip into the timeline and so on and so forth. So by doing this, it makes it really easy to switch between two or more cameras while you're editing your video. So just keep going and do this till the end of the video, just kind of randomly to make it quick and then maybe one mawr and one final clip into the timeline. So now what we have here is we took the footage from both cameras, and we were able to switch between the cameras and a sink up manner without actually having that much effort. Once you have the clips inked up, you're able to switch to the cameras once the clips air synchronized together than any time you switch to the next camera should end up having go to perfect continuity between the shots. So let's switch to timeline view in the preview window there, and we could even go over to the edit taps so that it can make this window bigger. Let's get rid of all the fluff, and now, if we play it back from the start, you should see continuity between the shots. So let's go out and let it play there, and we can let it play one more time. The main point here is that the clips are roughly sync up with each other if you actually get the automated sinking and you get a perfect the first time. But that's even better than having to do a manual synchronization. And this would obviously be really handy if you had a real scene where you had maybe more than two cameras and they were from drastically different shots. But you still wanted them to be lined up for continuity sick. So that's pretty much going to be a basic introduction to the sink. Ben. Remember that if you want to use it, go over to the cut tab and use that form of editing with the sink. Been tools. And if you need to open up the sink clips window for re synchronizing the clips than find your clip in the media pool, right, click it and you open ST Group. And then that will get all the clips with the same time Stamp opened up in this style of where you can synchronize it, using timecode, audio in out or manually synchronizing it like I did. So that's pretty much gonna be it for this quick tutorial. And DaVinci resolve 16.1. I hope that you guys got something out of this. I've been Chris. Thanks for watching. And also you guys in my future video content. 2. Stop Motion Animation Effect: Hello, everybody. Chris Here in in this video, I want to show you guys the stop motion effect and DaVinci resolve 16.1. So this effect was just added, and what it allows you to achieve is basically the same look as an old style of animation called Stop motion. So if you don't familiar with stop motion, it's basically where you have a still image in front of the camera, and these might be an animate object, such as a Lego character. That's a really common example that people do it with, but you actually want to animate the character, and how you do it is that you take an image of it and one post, and then you take a break for second and you move it and adjust it into a new position and continue taking another shot. And you repeat that process until you have your animations. So it's a very time consuming process, and as a result, you probably don't do 30 frames for every second of video for rather just a few, and therefore the animation 10 select kind of junky. So to get that same kind of effect is insanely easy with Divinci result. In the newest version, we go over to the effects library, and we confined the stop motion effect inside of open effects and then stop motion. Once you've done that, you drag it onto your clip and we can hide the effects library here and now over. And the inspector in the open effects tab will see the settings for stop motion, so there's only two. The first is the main one, which is frame repeat. So for every frame of video, how many times do you want that frame to repeat? So by having a frame, repeat multiple times. It basically overrides the rial frames that are in front of that, and it gives it the very un smooth stop motion look. So with global blend, we basically determine how much of the original video should show through on this frame. Now, most effects actually have the global blend effect, and if you add any blend, it will look kind of like having the stop motion effect is a completely separate layer video that kind of rests on top of your original video. So let's go ahead and play it with frame. Repeat five and zero blend and you'll see how the actors move. But it looks very junkie, almost like they had been frozen in time for a few frames a second. And that's exactly what stop motion gives us a look, but kind of interesting. If we add in some global blend, then we can have a mix of those freeze frames and the original video where, of course, the person is walking normally. So we have a global blend of 500. We can get a interesting effect where we have the freeze frames on top, where the character will be stuck in place for a few frames underneath that the person will still be walking as normal in the full frames per second of the original recorded video. So if we hit play with some global blend added on, it kind of gives us a blurry look to it because there's an after image, and I think this kind of effect could be used for something like a dream sequence where you're trying to indicate that the person viewing might not be 100% aware of his surroundings or kind of seeing things in a not 100% accurate manner, but Aside from that, what we can adjust is how much of the stop motion effect we want. And the way we do that is, of course, adjusting the frame. Repeat. So if you want it to look much closer to the original video, then we dropped the frame. Repeat down so you can have every other frame be frozen by having a frame. Repeat of one. So if we hit play here, you can see it looks a little bit on smooth, but not too much. And we could also crank that all the way up to something like eight, where there's a lot of that stop motion going on. And, of course, if we don't want the global blend weaken, turn that off and then just have a peer stop motion effect. So that's pretty much all there is to this new effect that the added in in the most recent version 16.1. If you're interested in this kind of style or look, I'm sure this will be a really handy tool for you, since it's so easy to use. But 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 content 3. Detect if Clips are too Long or Short with Boring Detector: Hello, everybody, Christer and this video. I wanted to show you one of the new features that exist inside of resolve version 16.1. So over on the cut tab right now, which is the more lightweight, quick way of editing your videos when you're in a rush and there is a future over here called the Boring Detector. So this was just added, and what the boring detector does is tell us you when a clip that's in your timeline is either too long by default more than 45 seconds or two short five frames or less. So how it works is very simple. You just click over here on the boring detector and you can set you defaults for how long you want a boring club to be considered in and how long you want a jump cut to be considered. And the idea of what it's trying to avoid here is obviously having a clip go on for too long and possibly being less interesting to your viewer, and then for a jump cut, which is five frames or less, it may be too short for the average viewer to actually be able to tell what's going on in that cut, and therefore it's probably recommended that you extend the length of that clip. You can see that as soon as I clicked on analyzed timeline edits the A large percentage of the cuts that are inside of the timeline now have this light gray color hovering over them . So the areas which aren't being matched to the analyze tool we'll just have the default black background. But as soon as the video gets too long, it shows you that cut off point for where, maybe boring later on. So these cuts would only be recognized by the analyzed tool. If you were to take a different time from the same clips, I could do that by trimming a few seconds off here and now there's a different sections from the same source material, or or obviously to port a completely different clip in front of the 1st 1 Now, generally, I find accidentally making a clip. Five frames or last is pretty rare, so you can any to Gadi away for that. We could do that here by going to this cut, jumping a few frames back with the keyboard, and I'm going to hit the split clips tool here and also trim some data off from the left side. So now that there's a real cut between the clips and it is five frames your last, you can now see that it's indicated with a red color and the timeline so a lot more noticeable than the boring clips. Probably because having a jump cut this short would be more of a problem. It would be very noticeable in a pretty annoying way nine out of 10 times. So the idea now is that while you're working on your project, if you scrub through the timeline and you have the analyzed tool turned on, you'll be able to easily see some of these areas, which you should probably work on. It can also be handy when you're using the faster review button because it will go forward with things and fast forward. We'll be able to easily see these co discrepancies even when you using that mode. So if you do run into a Buoying clip or jump cut, you can just go ahead and pause it there and make the changes you need to. So in the dialog window, I find that the analyzed, but in itself is pretty pointless. What you can actually just do if you want to talk about on and off, basically having been to result, analyzing it or not analyzing it is just click on it and taco it when you need it or when you don't need it and you can go out and can't side of that dialogue because you really don't need it once you've set your custom times for what a boring clip or a jump cut should be considered. So that's pretty much it for the boring detector tool inside of the clip tab of DaVinci Resolve 16.1. I imagine it's most useful when you're working on a bit of a larger project and you have a lot of cuts between your videos. So it's possible that you may miss one or two that just goes on for too long or is just simply too short. 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 content 4. Make a Trailing Afterimage Effect: Hello, everybody. Christer. And in this video, I want to show you guys how we can add trails to an animation inside up DaVinci resolve 16.1. So you can apply this effect to basically anything you gonna add into your shot. That would be separate from the background image itself, such as a animated character or particle fire effects or that kind of thing. And it's not too hard to implement. And we would do this over on the fusion composition page. So first you So in order to create effusion composition effect from scratch, we're going to open up the effects library, go to effects and drop a fusion composition somewhere into our timeline. So I'm gonna go over here to where we have this blank fusion composition selected from the timeline with that left click and then go over to the fusion taps a really quickly I out on the base animation to the node section down here. And just so you know, the animation and bringing it is just a series of PNG images. PNG. So they're transparent. And if you bring in a group that's numbered like this into the media pool, then you can actually drag the animation. All is one item into your note editor, and then that could be your import animation. So with these images brought in as a note, we're going to want Teoh assign them to a image plane for display purposes. So I'm going to right click into your ad tool and go to three D image plane, feed the media and put into the image plane so that it has data to display. And then we're going to need to render that image plane out so that it can finally be connected back into the media output. So if we have this set up at this point and we go to frame zero through four, we should be able to see that animation very briefly. Now, In this case, it's a four frame animation, so it's only playing during the 1st 4 frames of this effect. If we want that to loop, we can click on the media in and check loop, and now it's going to loop for the entire duration off this effect. In this case, that's fine, since it's just a walk cycle animation. So now, after the vendor, a three d note We're going to want to apply the trails effect after that. So I'm gonna click on the line right in front of it, do add tool and then go down to effect and then trails. So when we do this, the character will have a trail behind it. So in this case, what you'll see is a bunch of the previous images getting cycle behind it. If we had movement, then it would actually leave a trail behind the character. And obviously we'll have to do some settings to make it look more like a trail rather than permanently leaving the image behind after a frame is complete. So one of the first things I'm gonna want to do is drink this character way down. So it's not taking up our entire video frame. You can see here the 1920 by 1080 pixels. Video shot is almost entirely just this Pixar character. So I'm gonna go to the image plane, go to the Transform Tab and scale it way down to something like 0.25 and that shrinks our character dramatically. Next, I want to set the initial position off our image plane over to the left said that the character can walk over to the right across a certain number of frames. So I'll just move this over here to about negative 1.67 It's off the screen and then I'll keep frame that I'll go to you about frame 60 so that it's faster than in the original. We're showing you guys at the start and I'll move it over to about positive 1.6 so that it goes from just off the left side of the screen all the way over to the right. And then I'm also going to take the vendor end time and I'm gonna change this. Teoh. I think we want 60 frames that maybe 59 one of those two. Okay, so let's go to frames. Everyone hit. Play now and see how that looks assumedly. It should end that frame 60 here and then cycle. Okay, that looks about right now. If we zoom in here, you can see that the trail that's getting left behind it's not only permanent, but it's also creating way too many copies of the character as she moves across the screen . And also we might argue that the walk cycle is moving a little bit fast. So the easy thing. First, if you want to slow down your animation, then you can right click in front of Media One and go to actual miscellaneous and then times speed. And with this note, you can slow down the speed of the animation that's playing so I could make that 0.5 and make it move at half speed. You're gonna want to change interpellation mode, Teoh nearest rather than blend, because if you have it on blend mode, then it will kind of create its own after image that's similar to trails. But in this video we're gonna be customizing it purely with trails so we don't want that time speed after image, and now we can start working on the trail itself. So over here on trails, we have a bunch of settings we can play around with. Let's start with the gain. So at Game 1.0, the image never goes away. But if we lowered this down to basically any value less than that, then what will happen is that after a certain amount of time, the image will fade away, which is probably going to be what you want. So if you're on a shorter trail with the lesson just behind it, then lower the gain down the lower, the closer to zero, you have the gain, the less of a trail you're going tohave. So it kind of depends on just what you want there. And now with that said, we can kind of clearly see what we got going on here. So I'm gonna zoom in a little more, and now we can just watch the trail and loop while we work on it. By the way, if you need to loop your video, then make sure you click on this loop budget over here and the timeline controls. So you might notice that the image that's trailing behind the girl is basically a perfect copy of the original strike, and it's very easy to tell what it was before. If you want to blur that out, you can change the blur size from zero to some value above that, and that'll make it a lot harder to tell exactly what the trailing image is. So that may or may not be a desirable effect for you. Two settings at bottom you can mess around with to adjust. The color and brightness of your trail is out for gain and burn in. So if you decrease the Alfa Gain kind of like so or you increase the burnin. Then I find that what is going to do is kind of overexpose your image. It's gonna get brighter or more colorful. You could use a combination of those two. Another option is to actually change the apply mode. So this is basically a color composite mode that we're talking about here, which you can do on base video clips when you have, like one video clip layered over another one, the color composite modes like screen and dissolve. You can think of this as the trail effect, being kind of an effect layered on top of your original animation. And then it gets applied with the color. Composite mode, like videos layered on top of each other can also have. So with modes like screen, it will kind of right to know the bottom image. You can use modes such as darkened if you want to have a black trail behind the character or, in this case, the character by default is actually completely black silhouette. In this case, if you want to bring the character back in, then you can check merge under so that the character itself will display as normal. But they'll still be that black trail following it behind. It's up to you if you wanted to be a shadow or a character that has a shadow trailing it. Another thing that we can do is to space out the positioning of these trailing sprites so we can do that with a X offsets. So if we make that a negative X offset, then each trailing Sprite is gonna be moved to the left of the previous one by an amount of the X offset. So the 1st 1 gets moved in this case, negative zero point 23 units, and then the next one would be double that and then three times that in four times that. Okay, so let's talk about a couple more options you have available to you for editing the trail. If you want to adjust the position of each trailing image with respect to each other, you can add in an X offset or a white offset. So if you want each image to move further to the left of the previous image, you can decrease the X offset. So by adding in the negative 0.31 value, you can see the trailing images are now way more to the left of each other than they were at zero. So likewise, you can do the same thing with why offset. If you want each character to be moving up, you can add why offset or doing each of the trailing images to go down? Then you can add in the white offset. And I suppose if you wanted to have fun, what you could do is over time you could animate this property. So is setting a bunch of key frames and then having it bob up and down Good, be kind of fun. Another option is to adjust the scale. So if you want the images that are behind to shrink as they fade behind your character, then lowered the scale from 1.0 to something beneath that and what you'll notice is that the trailing images get smaller and smaller as they start to fade out more and more. One last option here is vocation, so if you want the characters to rotate a certain angle from each other as they get more and more distant away from the original character than adding in a rotation will incrementally vote eight the characters. So the 1st 1 be 16.3 degrees here and then double that and then three times that and so on , and you'll get this kind of circular effect. Of course, that would be another property you could animate as well to get some fund results. Okay, so that's roughly the just of what you can do with the trails tool I'm going to is the final thing. I'm gonna change the apply mode over from normal to darken, and I'm gonna leave it as merge under because I want to use This is a fun effect. So I'm gonna take this clip over here and with our trails effect made, I'm going to apply it to the text that we were showing at the start of the video. And what will happen now is that the character won't be visible until she's walking over our trails, texture and then show appear as a black shadow. So I think this should give us an interesting video effect once we go ahead and export it and get everything as should be. So that's pretty much going to be it for this video on trails. Obviously, there's a lot of uses you could do with this kind of thing. So I hope that this tutorial was helpful for you guys. I've been Chris, thanks for watching and also you guys in my future video content.