Video Editing With Davinci Resolve 16 for Beginners | Adam Chraibi | Skillshare

Video Editing With Davinci Resolve 16 for Beginners

Adam Chraibi, Designer and animator

Video Editing With Davinci Resolve 16 for Beginners

Adam Chraibi, Designer and animator

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27 Lessons (2h 38m)
    • 1. Davinci Resolve 16 intro

    • 2. Download course files

    • 3. Most common beginner problems

    • 4. Download Davinci Resolve

    • 5. Project settings and overview of resolve

    • 6. The media tab

    • 7. Cut tab overview

    • 8. Making ins and outs in the cut tab with precision

    • 9. Smart editing tools

    • 10. Quick export settings

    • 11. Trim modes

    • 12. Overlay Edits

    • 13. Sync audio with video

    • 14. Mixing audio

    • 15. Working with transitions in Davinci resolve 16

    • 16. Adding effect in davinci resolve 1

    • 17. Adding texts

    • 18. Color tab overview

    • 19. Understanding nodes

    • 20. Tracing effects

    • 21. Cinematic look

    • 22. Viewing the clip

    • 23. Fairlight tab

    • 24. Fusion tab

    • 25. Chroma key

    • 26. Delta Keyer

    • 27. Deliver Tab

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About This Class

Hello lovely creative people, do you want to learn how to make professional edits in DaVinci Resolve 16?

If yes, trust me you will not find any better course than this one with all due humbleness.

My name is Adam Chraibi. I’m a professional video editor and designer, and now I spend the whole day sitting in front of my computer creating the best awesome courses YOU can find on the internet.

In this course you will learn all the video editing techniques that will take you from a beginner in DaVinci Resolve to an intermediate user of the program. The reason why I didn’t say expert because to be expert in anything it takes some practice that why you need to practice after finishing a course.

I will be focusing mostly on video editing and different editing tips and tricks which means I will not be wasting your time in fusion tab and fairlight audio tab because those are not the main focus of the course, we will only talk about those tabs briefly, and also because I really feel like Black magic should put in more effort in the fusion tab it’s not it strongest point.

Also, we’re not going to do color grading because I have already published the ultimate color grading crash course for beginners, but we will explain how nodes work and create a cinematic look for our short movie that we will create from a script that I wrote.

Now if you are ready to upgrade you video editing skills in Resolve this course is for you.

Enroll NOW

Meet Your Teacher

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Adam Chraibi

Designer and animator


Hello, I'm Adam Chraibi professional graphic designer and video editor based in Casablanca, Morocco with more than 5 years experience in freelance work.

I went to art school when I was a 15 years old where I studied the basics of drawing, shadows and light (Mangas style) and after that I went to law school where I got my bachelors degree in private Law.

But my love and passion for art and animation was bigger than the love for law, I wasn't feeling conformable studying it but it was too late I couldn't just drop off I told myself at least get the degree and then do something else.

So I switched my career into doing what I love and passionate about which is all the digital art stuff.That when I worked 2 years as social media manager and designer for an airline compan... See full profile

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1. Davinci Resolve 16 intro: Do you want to learn how to make professional video editing on one of the best video editing software out there. If yes, then you are in the right place, sir. Hello everyone. My name is Adam. I'm a professional video editor and designer from Casablanca, Morocco. And yes, that's where the movie Casablanca was filmed and that's where John breakthrough was found as well. But that totally for another story. But in this story, you will learn all it didn't tips and techniques and da Vinci resolve. That will take you from a beginner and intermediate user of the program. And the reason why I didn't say experts it just because you become experts in anything you have to practice. So once you practice, you will surely become an experts. Now, we're not going to just use tips and tricks and the vinci resolve. We also going to go ahead and build our short movie based on his craves debts, iRobot, we're gonna go ahead and synchronize audio with the video at some refactorings x, an old desktop to make it look professional. For diffusion seven affair lights were not going to be focusing too much on those because this is not the main focus of the course. But I will show you the basic work in fusion and the basics to work in fill light tap. We also gotta do two types of green screen, background, green screen and a phone green screen. We also not going to do collaboration because I already have the ultimate calibrating pressure also beginners. But I will show you how to work with nodes, have to trek effects and how to create that sending medical debts, everybody's talking about it. So if you're ready to upgrade your editing skills on the venture results with this says the only core day you're gonna need as a beginner with older humbleness. Ok guys, so see you inside. 2. Download course files: Before we start the course, you need to download the video so you can follow along. So click on Download domain files. You will be prompted Google Drive or you can download the file. You will have something like this. Course files, the venture result, songs, sound effects, streaming audio and videos. Ok. And now, as you can see here, we have quite a few videos. Some of them are premium videos that I downloaded from Adobe Stock and cost me a fortune. But also the sake of this course, like this video's right here. Some of them are just royalty-free videos that's I downloaded from the internet. You know, some free stuff. And the reason why I'm telling you this is that I don't know if with one of Adobe Stock, so I have 123456. All of those are premium videos. I don't know if you can use them on your YouTube channel if it's monetized, I don't want you guys to get a copyright strike. So I'm not sure that's why I'm telling you. But the outer ones that I didn't select here are are free. But I think it's okay to use them as portfolio on your venue, a counter site, whatever bots if it's monetized. I'm not sure. Okay. I'm really not sure. That's why I'm telling you guys, I don't want to be responsible for any copyright strikes. And the other one is delta qi or files. Now we're going to need this one once we going to do the green screen background removal. Ok guys, see you inside the course. 3. Most common beginner problems: And this movie, I want to talk about some problems that you will be facing as a beginner video editor. And one of them as downscale n and upscaling. Now here's the thing. If you shoot a movie in 4K or 8K, it's okay to downscale analyser resolution okay. At not going to affect the quality of the clip damage, the thickness, but it's going to be very, very small. So if you are exports in rendering for the Web, YouTube, Vimeo, whatever, you can downscale your 4K or 8K footage, it not a problem. But then again, if you need it to be 4K, it's must be shots in 4K. That's one. Now, if you should've video in full HD, which means ten ADP, and you want to upscale it to 4K. That not going to work because y, so for k, it's for time full HD. And then if your video is not shut in for k, then the venture is always going to go ahead and try to create those fake pixels and it's not gonna look that good. So upscaling is wrong, but down scaling is alright. One more thing I wanted to talk about is that when you import your video and eventual result from your phone or your camera, and then you try to play it in the venture result. The playback may be choppy allele bits, and that's totally fine because the media may not be optimized. So you can optimize the media either inside the immediate tab and immediate pool by right-clicking on the clip and choosing optimizing media. Or you can just render the clip and then we impulses in the venture resolved and then the playback will be smooth. Okay? So that was all the two main things that I wanted to talk about that you need to understand as a beginner. Now let's go ahead and start with the program. 4. Download Davinci Resolve: For those of you who don't have de Vinci results, 16 is told you can just open you favorites browser typing here with resolve, and then just click on the first result that appears. You will be prompted to their official website and you can click download. So on the left we have the free version. On the right we have the paid version. And down here we can choose your operating system. So there was no water mock into free Virgin and a free version is as good as a paid version. Okay? The only difference between the two is right here. The venture resolve neutral, aimed Jin features, multiuser collaboration, stereoscopic 3D Tools, level of a law, stuff you won't need rights away. So I'm gonna go ahead and choose my operating system, which is a windows. Go ahead and fill up those details. And then we're just her and download will also download. The installation is pretty much shorts forward. Okay. It pretty much does itself. We just go next next, next. It just like any other software that's your installed before. Okay, guys, that was it. See you on the next one. 5. Project settings and overview of resolve : Okay, now let's go ahead and open the intrafusal. So once it's open, you will have something like this, okay? Right here, we will only have one local database. I don't wanna talk into those right now if you'd just told him DaVinci Resolve, I Tolkien them in my color gradient course. And why here as you can see, I have pretty much no projects because I went ahead and deleted all the projects I've been working on before. So what you wanna do here is click on New Project. We're gonna give it a name, an old-fashioned shrink, the name of the shorts movie we're going to be creates and later creates. And so now I'm gonna go ahead and make this thing. Whose cream. So a quick overview of the program. You can see down here that we have seven taps, the media tab, the cup page, the edit page, your fusion tap, the color tab, the fail light tab, and the render tab. Okay, we're gonna go ahead and explain each one of those later. Now the most important here before you start working on any projects is to check on your sittings. Ok. Now if you go to the venture resolve preferences, media storage, you wanna make sure you have enough storage on your computer. So I'm using three storage locations and you can just add a storage by clicking on Add and True's in whatever you want from here and then selects folder. Okay. The next thing I wanted to talk about is Internet accounts. So for example, if you want to upload videos directly, so your YouTube channel, Vimeo or frame dots I owe you can just sign into your account from here. The other most important thing that you should pay attention to is to make sure you have projects back Ops chick, okay? You never know when the venture is always going to crash. Your projects may get corrupted if you're working on big projects. So you always want to have your backups check. You can set it up to perform backups every ten minutes or 15 minutes, whatever day you wants. Our command ten minutes. Then here you don't have to worry about those projects backup location, you just trues where those backups will be saved. So I have them right here under my C drive. Okay, once you've finished, you click on Save. And if we click on Project Settings right here, you don't have to worry about those, ok? What you need to know is that the timeline frame rates is 24 frames a second. What's once we import folders is gonna ask us if we want to change the product citizens, and you usually click on change. Okay, guys, council. Now let's go ahead and talk about the media tab and they're gonna be on the next lecture. 6. The media tab: Now let's talk about immediate tab. So an immediate step, you will only need it for very specific stuff. For example, let's say I want to act as a document directly inside of my computer. I can go ahead, for example, and click on my folder or my ex media storage. And I can find all my documents right here. So if I wants these Joker clip, I can click on it and it will give me all the information I need to know about the video right here under the Metadata tab. Okay, so make sure you have this thing checked. The next thing you would need it's for. And that I think is the most important feature inside the media tab is that's let's say someone I just present. Okay. Just pretend that someone is sending me the Joker clip and log or rho and the asking me to David's, okay, and my dreams, of course. So what I need to do is to make cuts to that clip that they will send me so I can calibrate each scene individually, but you can do is automatically inside the media tab using the cut detection scene. So if I right-click on the Joker folder, I can go ahead and click on scene cod detection. And it will show me all the cuts that the editors have done before sending me the clip. If I click on auto seen detects, you can see those green spikes. These are all the cuts that were made by the video editors. I'll give it some time. I'm going to speed up the video a little bit. Once it's finished, I can go ahead and click on Add cuts to media pool. And now you see it's asking me to do I want to change the project settings that we've talked about earlier. I'm gonna go ahead and click Change. And then just close the window. And now here I have all the code from the Joker scene when he kills Mirre. Your k, I can go to the Edit tab right now. Media pool. Click on the first clip, go all the way down, hold shift and click on the last clip, go back all the way up. And then just click and drag to the timeline. As you can see here, we have all the cuts. And now if I go to the color tab, I can go ahead. Click on Eclipse and start working on each clip individually. Okay guys. So this is what she need. Immediate tab for. Now I'm just going to delete everything because we don't need it now. Leads. Remove. Lead to those as well. Remove. Okay, now the last thing that you would need the mediates up forwards the clone tool. Now the clone tool is it say for example, we have your camera, you plug in your camera and you want to import your files from your camera. It's would've entry is all directly. Now experts in the field, they say that's you better clone your footage instead of copying. So you can just click on add a job, then just drop. I don't know your source folder here. Okay, I'm drops destination and then clone and its wheels TAR cloning the media from your camera into the venture is all. It's gonna take some time, but It's better than saving your known. That's what they say. Anyway, guys, that was was always pretty much all for the media tab. Next we'll talk about the page. 7. Cut tab overview: Okay guys, finally we are here and we are inside the cup page or the cut tab. Now the cut tab is the new thing. Those added into venture is off 16 or wasn't here in a previous version of injuries all 15. Let's take a quick look. Right here at 0 we have, we have this parts on the left with immediate pool synchronized band transitions. And this bars where we can import our media and we can access transitions and ticks and effects. We have this bars on arise when we can view our clip. This down here as the small timeline, and this are the bottom as the bigger timeline with thumbnails pictures or with thumbnails view. Now if I want to import my folders, I can click on here this icon, it says important media folder. If I have individual file, I can just click on Import media. Ok. And masters are if you want to add a new master or new Ben. So Ben aka means folder cannot talk more in details about BIM later. Now click on imports folder. And I hope you did download the files that I told you they are very important for the course. If you want to follow along. I'm a click on my folder and then just click on select folder. It's willing ports, everything inside that folder, change projects settings, of course, and access my videos. And here we have all the videos. These icons, you can change the view of this video. So now we have thumbnail view. We can change the timeline or lists, okay, depends on your preferences. I'm gonna keep Carbonell so I can see what's going on. Search bar if you want to search for any specific video, maybe you're working with thousands of videos. And you can see these icons right here. They have also very specific use. So now, for example, if we have this icon checked, its will display here on the monitor or the source view. What happened in the timeline. And since we don't have anything in a timeline, that's why everything here is blank. But look at this. If I double-click on this clip, it's real change automatically to source clip. Okay? And now we can view the clave die we selected. If I click on source tape, it will display all the videos that we have. Imports are the inside the folders. It doesn't matter where the video is located inside the folder. It will display all if you click on Source tape, okay guys. Now the next thing you want to do once you import everything is that you want to review everything before you start working, writes. And you cannot go ahead and play the video on by one because it's going to take forever. So what you can do is after you click on Source tape, you can click on fast review. Once your playhead, once you place your playhead right in the beginning. So if I click now on FES, review, it's well fest review the whole thing. Whole videos that we have impulse it. Ok. And now if I want to select a, if I wanted to stop, I can just click on space. But I highly advise that you viewed the whole thing. If you work in on a brand new projects. And I can just click here and drag true to timeline. I want to drag it for player two, the timeline. Okay? Now I can play it on a timeline view and it's real. Show me what's inside the timeline. Okay, so let's undo everything. And then live. Just bring this clip right here. The drone footage. So this play him, the red one is locked, as you can see here, and it's acting like a separator between the lives and the rights of the timeline. And if you want to unlucky, you can just click on luck playhead ad, you can move it. But I highly recommend you keep it locked, guys. Okay. Don't play with this man. On the right. We have upcoming clips and on beliefs. Is outgoing claims synchronized, been this one on the top? If I click on it, It's one display anything here because what it does it that's, it's ranges, clips depending on the camera hashtags. So for example, if I had if I had this drone footage shot from different angles, they will all appear here inside the camera to camera three, cameras six come around nine. Okay. And since we don't have data, we only have one footage. That's why nothing appears here. So don't pay attention to synchronized brain because we're not doing multi-camera edits. Next we have transitions. So if you want to add transition, I can just click on play. And then I can, for example, make it cuts click and oldest scissor icon. And I can add a transition, okay? So you can not add a transition if there is no cuts or if there is no difference clip next to each other. We're gonna talk more about transitions later, guys. Now, if I click Play, you can see the blurts transition. Ok. If I want to add titles, I can click on titles and for example, at one here, just bring it to this timeline. And if you click on it, you can click here on tools, click on text. Opening inspector. And of course we can change everything here. Let's type ocean. Choose a type face if you aren't. So I'm not going to do is go down, down, down and change the second title. Ocean view. Once you finished your just close the window. And here we have its alright, so now you can see these tools right here. They do different stuff. So for example, if I click on the clip this time and that's on the text, I can do different things. For example, if I click on the first one, I can transform or resize the video. I can crop if I want to. Okay. The audio, we're not gonna use it now. I can increase the speed of the clip. So you know, it was going to play faster. If I click on camera, I can do some lens distortion, Ollie's correction or stabilizer if the camera was shaky. So when as distortion and then just, you know, a nice distortion. I can do close up or dynamic zoom. So for example, I can increase the size of this rectangle. And then maybe I wanted to play from this part. So from this area, I'm going to look at it's here or reposition it's here and click on play. And it's, we'll focus on this area. Okay? See, that's the next thing is composite. So composites is basically if you're going to be using two clips. So if I select this clip and put it on top, like this, go to composites, change the blend mode, Color Dodge were absolutely selects, it will don selects the new clip, Color Dodge OR Color Burn. Maybe increase or decrease the opacity of the first clip. And you can see that something is going on here. So that was pretty much all when it comes to the overall overview of the cop page. Next, I want to show you how we can make ins and outs with precision. Inside the venture is all 16 and the cuts hub. 8. Making ins and outs in the cut tab with precision: And this movie I want to show you how we can make ins and outs with precision in the venture is all. So when you need the ins and outs is when you want to make a specific selection from a movie or clip that you have. I'm going to go ahead now and deletes everything, and then just go ahead and select another clip. And so the first technique to make ins and out is that once you select the clip, you can see right here that we have this toll kinda looking rectangle with only the strokes, okay? And then here we have some handles to handle lights. So if I drag those, I can make n and outs with precision. Ok, if I drag the one on the left, you can see that the left screen is moving. If I drag the one on the right's I'm sorry. If I drag this one is on the rights. The right screen is moving. And this one on the left. The left screen is moving, okay? And you can see the numbers that the frames, okay, plus 26 frames. And here you can see minus 12, minus 13, et cetera. Once you happy with the selection, you can just click and drag. Simple as that. So now I'm going to undo everything. Control commands, these are under DRY. You can make a selection is to click on these brackets. As you can see right here, we have levels of brackets, right brackets. And so the left brackets, I can click and drag to the right or to the left. And I can do the same thing with derives, brackets. Okay? Again, once you happy, click and drag. Okay guys. On the final technique to make a selection from the source view as to use the jaw controls. So the job controls is this thin line here that you can say we have a dots with some left and right arrows. You can drag it, you can click and drag, lift and rising is we'll move the play head. So once you have the click I four ends, you can then move and click oh, four outs, and then click on the clip and drag it right here. Now, we can also make ins and outs from the timeline down here, okay, from the big timeline by using these Mark Cane and mark out tools that we have here. So if I click more can you can see the thin That's appears like a bar. I can click on play, stop here and mark an outs. Okay? And now I can, for example, just double-click on any other clip. Make a selection like this. And then click on smart inserts for example, or place on top. It's lit try place on top. And it will place its rights where we did the Markin and mark outs. Okay. So that was pretty much all about ins and outs in the venture resolved inside the copy page. On the next movie we are going to be talking about the smarts editing tools and the cod page. 9. Smart editing tools: Okay, ladies and gentlemen, and now the next thing I wanna talk about in this movie are the smarts editor's right here. Okay, we have smart inserts, append. We pull overrides, close up, base on top source overwrites. Let's see how we can work with those. I can bring my clip here on a timeline again. Click Play. And let's say I decided to cuts here. So I'm gonna go ahead and click on Displays icon. Now we can see we have the splits between the two clips. I can move my play head backward. And you can see down that there is this arrow. And imagine that tells me, listen, something's going on here, nothing's going on. So this is basically acts like a guide. And it's telling you that if you use the smarts, inserts, its well, go ahead and place the clip that you choose automatically between these two clips. Okay? But keep in mind that if I move this playhead backward, the lots, it's will change the location to this one. That means if I click on smart inserts, it will add the clip before everything else. And Control Command Z to undo. That's why you make sure you keep the play head little bits near this smart Skype. Now if I double-click on this clip with my in and out selection already made smart inserts. You can see now it's added between the two clips. I can go ahead and delete when I don't need. And now let's talk about Append. Append, basically what it does is it goes ahead and add the clip. After everything you have in a timeline. That means its ads eclipse all the way to the end. So as you can see here, we have this clip of this woman selected. And without making any ins and outs, I can click on a panned and boom. All the way to the end. My brother. Go. Cool. Now let's talk about Ripple overwrites. So ripple overwrites what it does. It's wherever I place the play head, I can choose another clip. Click on it, and we will replace it. It's okay. Command, control Z to undo. Now let's talk about close up. Close up is very important and funny thing. It sort of acts like a B-roll to your a Roll footage. So B-roll is anything that you use to complements to complements the main footage, which is the arrow. And its works perfectly with the boring detectors. So I can click on a born detector and for example, I can enter a value here. It is longer than X seconds are boring. So for me, I would say maybe then 15 seconds are boring because we work in on a short movie. And we want to keep every clip, at least between 1015 and anything lesser than 5 second as a jump cuts. Okay? So unless you want to have jump cuts, you can leave this part alone. Now, I can click on Analyze. And right here it will highlights everything that it seems that it's deems to be boring. Now what I can do is double-click on the clip of the woman again, make a selection like this. And even though my playhead, it's here, I can click on close up. And it's we'll replace it. But look at this. It did replace it with a close up to make it more interesting and less boring. And the next one is placed on top. So place on top basically does the same thing as close up, but there is no close up. So if I double click again on the clip, I need to make my play head rights before the highlights. Okay. Make sure you have snapping check. That's why it's going to snap to the highlights. Then if I click on place on top. So we'll add it's here, but without a close up. Okay. The last one is source overview. It does the same thing. But actually let's say that this shot was, was, was shot from a different angle using another camera. Source view. We'll add the same shot but just from another angle. Ok, so that is all you need to know about the smallest editing tools, guys. 10. Quick export settings: Now finally, you need to export. So let's say you made your, it is, you finished everything all good. You can go ahead and exports writes in here, redounds going through the export tab. So if I click on this fan right here, I can choose the formats data I want to exports. If I want to export for Instagram, I'm gonna go ahead and choose square. If I want to export for a story, I'm going to go out and to spot. If I want to go ahead and exports ultra HD, I can just trues ultra HD. So ultra HD is not 4K. Ultra HD is, lays down 4K, maybe 3K or 2.5. k. Then once you're happy, you can click on Quick exports. And here you can directly exports to your YouTube or Vimeo. If you have your account log n, or you can just export MP4. Okay guys, and then just click on exporting is going to explore some thing. Alright, so now I think we've pretty much finished with the cop H. On the next lecture or movie, we will talk about it, it's page and where all the action is happening. 11. Trim modes: Okay, so let's go ahead and click on the edit tab. And as you can see here, the edits that we did previously on a car page are available and the edit tab, and that's a good thing. Now a quick overview of the UI right here. Inside the edit tab. As you can see, it's pretty much the same. So we have the media pool, we have the effects at its index. It shows the history of all the edits with its group previously and the handicap page. We have the sound library. So for example, if you have a folder located somewhere, you can find it here with sounds, of course. And then right here we have the Inspector or sodium spectra are basically anything that you touch on a timeline or click on the timeline as will be available in the inspector. It's we'll show you all its parameters, all its citizens, and you can adjust it here. Metadata gives you the information about the clip. And a mixer is to mix the audio, increasing the volumes, decrease in the volume. So okay, gonna explain those warring second. Now I can just do UI here. Now couple of things I want to talk about in the edit page, and then that's available in the copper age are different train modes and overlay it. It's, so let us start with different train modes. If I go to the timeline, you can see these icons on top of the timeline. Okay? We have dynamic trim and we have tremendous mode. Now trim edits modes will allow you to make different trim options. If I click on it and zoom to my timeline using also an option and middle mouse button on my keyboard. You can see that if I have it selected and I click in the middle of my clip, I can move the clip lifts or rights. And what it will do is if I move it to the right, it's going to go ahead and we store the clip before it's and trim deletes the clip after rates. Okay? And if I drag it to the left, is going to do the opposite. If I want to move the audio and the video, I can hold shift and click on the audio. And now I can click link using this icon. Now I can move them both. So it's deleting declared before. So it's deleting the clip after and restoring the clip before as you can see. Okay guys. The other tree method that you can use using the trim edits mode is rippled trim. So rippled trim, If I bring my cursor writes at the end of the clip, I can click and drag to the lifts. And it's we'll trim the clip while keeping the previous clip or the clip after rates attached or connect to rates. Whereas if I unselect the edit trim mode, and I want to do the same. It just not gonna work. Okay guys. The last one I want to show you is called Roll tramp. So we'll trim is, if I place my cursor between two clips, I can click in the middle. And for example, if I drag so the rights it's will deletes the clip after and restore the clade before. And if I drag to the left, it will restore the clip after and deletes the clip before. You guys. This one right here is called dynamic trim. And if I click on it, and I'll select the Edit tree mode. Now watch what happens. Dynamic trim, you can use it in combination of the JKL buttons on your keyboard. If I select my clip beach girls and click on j, you can see what I'm doing. If I wanted to stop, I can click on K. It's moving the clip to the lifts while deletes in the previous clip. Control Command Z to undo, if I click L is going to do the opposite. Okay? And if I wanted to stop, I can just click on k. And if I want this clip to follow, I can play all shifts selected and now click on L. So this clip is getting longer. It's restoring the carrots areas of the clip and it's deleted and the one after, and this one in the middle stays untouched. So that was pretty much all when it comes to different trim modes inside the edit page or the edit tab. Now let's go ahead and talk about the overlay it, it's. 12. Overlay Edits: So the next thing I want to talk about guys, is the overlay it, it's in. If I split my screen in two and call the media pool, you can see that we have two screens. This one on the right is going to display the timeline, and this one on the left, it's going to display what are the clip we select, okay, so for example, I can make a selection or an in and outs from this clip by clicking I and then drag it into small playhead and clicking, oh, and if I click and go over the other screen, you can see this menu that's pop ups. So the first one is inserts. And what insert does it. It's going to add the clip to the timeline where the playhead is located. So look at the playhead. And once I release, everything is plates and moved so it can make room for the new clip. We see. It does all that for you. So Control Command Z to undo. The next one is override. So keep an eye on the location of the playHead. If I click and drag. So overrides its covers up declared where the playhead was placed and it's replace it with the nuclear. Okay. So it can either cover up the whole thing or just parts of the clip, depending on the location of the playhead and depending of the length of the nucleus. And Joel commands these undo, click and drag. The next one is replaced. So basically this one is just gonna go ahead and replace the clip. There's like that. The other one is placed to fill out the location of the playhead. Basically did the same thing. Just like replace. Okay. The only difference is that it did in oh, sorry. It did increase the speed of the clip. So usually the clips are 100 and you can see that it did increase it to 121. So it did change the speed of the clip so it's CAN fits the specified length that we had earlier or before. Okay? And the icon, the speed icon right here is the proof guys. Okay, so Control Command Z to undo. Now the a21 is placed on top and it's just going to place the clip on top, whatever the play head is located. So if the playhead was located here and do place on top is going to place it just on top right here. Okay? It doesn't change the length or the duration of this order speed of the clip or anything. It just places on top depending on the location of the play head. The other one is place as nt or a pen that's end. You're going to place the clip after everything in a timeline just at the end. And the final one is ripple over, right? So ripple overwrite is gonna replace the clip. So look at the location of the playHead. If I click on, if I place it on Ripple overwrites it gonna replace it. Okay? So a triple overwrite does it does, it goes ahead and replaces the clip of phone length with the clip of another length. And then it goes ahead and Whipple's a timeline based on the difference between the two clips and duration. So just Command Z to undo. You can see that this clip is shorter and this clip is a bit longer. Look now what happens? Okay, you can, you can tell just by looking at the audio for this clip is diffident definitely longer than the previous one. We did replace it and ripple deletes the timeline so everything looks clean and on-time. Ok guys, so that was everything about D overlay Eretz, I can now go back to my normal view. Close the immediate poor. And of course here we have the markers, the flag. For example. If I click on the clip, I can add a flack. You don't see it here, but if I click on timeline view and increase the height of the video, you can see the flag. We have the markers, so we can mark the playhead and a timeline. Right here. We can try different zooming options or maybe even manually if you want. And this is what the volume. Okay, on the next lecture we're going to start building our clip and synchronizing the audio with the video. 13. Sync audio with video: And this movie, once we going to do is start building our short movie. Okay? So this is the script. So as you can see it not Hollywood caliber, but the goal here is that you be able to build something using any scripts and using any media that you have. Okay? So the first thing I'm gonna do is go to sound audio. And once I have my audio, which is an old-fashioned drink, I can just drag it to the timeline. Once you drag it, it's probably not going to look like this. It's more likely to look like this. Ok? So what you wanna do is, of course, after you click on timeline view option, changed the video view options. Okay? And make sure you have this thin audio waveform, selects it. And make sure you have non-risk certified waveform selected. Ok. Now I can zoom in a little bit, shrew my timeline using olds option and the middle mouse button on my keyboard, rolling it forward. And here we go, Lamisil, we can adjust more. Now, that looks better. So make sure you click on full waveform and Casey can not work with the normal one. And now let's start building our clip guys. Okay, just synchronizing audio and video. It tolls taught when I was walking by the beach. Cool. I'm gonna cuts here before I start talking again. So waveform means there is something going on either told music and when the line is like flats, there is no life, that's mean mutes, nothing is going on here. So before razor cuts in a to select, and I'll just drag it all the way back for the moments. Then go to video and look for the drone footage. They may make a selection. So I drag and 04 outs and then just grab the video and put it right on top of what's going on here. Let's adjust the timeline. And I forgot to go full screen. Of course I'm stupid Saudi about disguise. Now I can check what's going on. So maybe I can cut some bit of the audio B and cuts obsolete in casinos. So make sure when you want to cut, you're probably going to, you know, hits this line right here. So don't pay attention to it. Just make sure your cuts deletes. And the next thing I wanna do is add fade into the video and audio. So I, if I hover over my clip, I can grab those wife things that looked like a marker and then just drag them to the rights like this under the same thing here. Okay, let's check now. It tolls Todd when it was maybe more. Definitely more. It tolls taught when I was walking by the beach. So right when I finished saying beach, I want a physician, so go ahead and play along with a sound effects, okay, with the fake waveform sound effects. So if I come over here to sound effects, you can find wave. And I will just drag it here and also add a fade in the beach here. Then I can cuts this parts that I don't need. And you can clearly hear me breathe in. Invited beach. Okay, stop here before I start talking again. Cause the clip and cut the wave sound effects, deletes them both. And then here at a fade out to my sound effects. Okay? Now if you go to sound library and you go to sound library that is offered by the venture resolve. Once you have installed a fill light sound effects, you can find any, pretty much any sound effects right here. If I type, for example, wave, you can see that it gives me some results. I can listen to them if I click or double-click. So it's pretty decent if you want to use as your just hold its gravities and put it here, but I don't want to use it because I already have mine. Now does go back to media pool. At next before I start Tolkien, I saw her there and she was I still have there. When I go back to the video, find the clipper, the girls. Okay, now you see when I hover over the clip, I have on icon for the video, on icon for the audio. That's means this footage has both select and just grab the audio. So I can just grab the video and put it on top off the waveform. Like this. I saw her there and she was having fun with her friends. And I could tell right away Dao Fan and love. So when I say family love, I don't know why I'm not so kin I don't know why I'm keeping it quiet, so I'm just going to make a small cuts here. Okay. Rippled elites and a fan and love. So I went to talk to her, took number and we set up a date. What's a modal? And then just expand the clip to the play head and it will snap automatically because we have snapping checked. Ok. Also here I'm gonna make a small cuts because as you can see, there is nothing going on for quite some time. The waves are not there. So just got here. Then rippled elites to modal. She said, she said come and pick me up. Our psi went to pick her up. We went for coffee, had a small chat convince you went back home at a small chat. Coffee. I'm going to zoom in here, just see exactly what corner had a smoke. We went for case. So right here we went for a coffee. Zoom out, submits. Then I'm gonna go ahead and find the clip of the woman working. Okay. And I can n, and then just drag it here. And thin just snubbed just then again, sort of play head and add declared off the coffee right here. So let's play and see what's going on. Psi went to pick her up. We went for coffee, had a small chat, and then she went back home. She went back home. I'm going to cut the audio here. And then cut here selects rippled elite, please. Later that night when I was about to sleep, I had that weird. So you can already just bought a mistake, I'll say later that night when I was about to sleep. I should've said later that night for no sleep in cut to me. Anyways is not a problem. I know another gonna be, I know never going to be a writer. I'm always going to be in post-production. So let's go ahead and add the clip of the mass leap in. Yeah. I was as I say, we're dry here. Rapidly leads. And I can add the dream right now, which is driving a car and a weird universe, had that weird train. I was driving a car in a weird universe. The buildings. So right after I say the building, which is clearly indicated by this waveform. I can extend this clip a bits and then find the clip roads, buildings and products here. Whoops, sorry about that. So double-click on the buildings and then just select a video and put it here. The buildings were really told and everything was pink and blue. Kinda like cyber punk style world. I arrived. So I arrive right here. I'm going to shrink the clip a little bits and add the clip of The Guild dancing on a pool. That my equilibrium, my dreams. And I saw her dancing on the stage at it and understand what's Solar shows dancing on a stage, not on the pool. Let's go on. I so I feel so disappointed. Being that disappointed, I went I went before I say the bartender, I will go ahead and cuts the clip and delete selected, double-click on the clip of the guy is serving me a nice cocktail. I don't want to have ins and outs. I want to add the full clip. Just grab it and put it here into the bar, tender and ask it for an old fashion. That drink was so magical, eclipse Tad and at it's unintelligible COP. Okay, now we synchronize the eclipse. Next we going to go ahead and mix some music. 14. Mixing audio: Okay guys, mix into sounds. Now, the thing here is that you can do pretty much sound mixing just inside basic sound mixing, of course, just inside the edit tab. No need to go all the way to the fair lights. But said we're going to talk a little bit about the fail like later. So now, as you can see, we did a pretty good job synchronizing both. And I want to add now some background music. Okay, so just lay me first hear the beginning again with the sound effects and see how it goes. It all started when I was walking by the beach. Okay, so here I will increase the sound effects a little bit. Then go to songs. Hold this one and my dreams. And then drag it beneath everything and snap it to the play head, just like this. Alright. And also add a fade and effects. It's here everything again now it holds taught when I was walking by the beach, I saw her there and she was having fun with her friends and maybe I can give it a try. I saw her there and she was having fun with her friends and I could tell. Now, hold on. You probably think this is boring or annoying or whatever the f is, it's guys, this has video editing. Video editing is really such a hard, complicated stuff, man. You have to do something over and over again and listen over and over again to make sure it's again, it's perfect. Okay. So her there and she was having fun with her friends and I could tell right away that I fell in love. So I wanted to talk to her, took number and we set up a date. What's our modal? She said, come and pick me up. Our sias went to pick her up. Now, if I go to mixer, you can see right here that we have a1, a2, a3, and m1. So M1 just goes ahead and controls everything. Okay. And oh, do you want to in three are the videos that we have here. So the main audio where I'm speaking is A1 and use sound effects is a2. And the music as A3. And as you can see, these faders, D should be actually located the same level, ok, if you're never done somewhere before. So usually are normally it's will sound something like this. You saw today or issue was having fun with her friends and I could tell right away that often are low. So I wanted to talk to her, took number and we set up a date, which now you can see that the music is way stronger than my voice. Okay, that's so obvious. And it shouldn't be like this, it should act like a background music. So what you can do, of course, is just the faders inside to make sir. So first thing first, if I go ahead, for example, and increase this a1, which is my main Voice, narrates into story. I can increase it up to six. Okay? And you want to keep an eye on this fame. It's called the RMS root mean square. It should not increase our heads into 0 and I'm sulking. Otherwise, the audio will get distorts it. And also one more important thing if you're just starting in video editing is that if I right-click on my audio clip attributes, click on audio. You want to make sure you have format stereo and that's Mono. Ok. China, L2, L3, left-hand writes. All right guys, this is the first mistake that I did when I just started in video editing. And also my friend who was it isn't my videos for you to have the the same mistake. He didn't pay attention to this. We saw the audio was stereo by default, a was mono. Next, I can go to a3, which is the, the music, the romantic music in the background, and decreases here. Minus 15. Okay, the sound effects looks fine hormonally, Victoria, it is. Now let's click play a modal. She said, come and pick me up our work. Sias went to pick her up. We went for coffee, had a small chat, and then she went back home later that night when I was about to sleep, I had that weird true. I was driving a car in a weird universe, the buildings will really tall and everything was pink and blue. Kinda like cyber punk style. Okay guys, you saw these spikes. This audio spec is going up like this and it didn't have the 0. That's me. I'm doing a great job. Okay? Should not have the 0 guys keep this in mind that this is, I'm showing you the simple way to read an RMS. Ok. Just don't make it, just don't let it hits the 0. The next one is, if I click on audio and go to inspector, I can find a lot of stuff here that I can adjust. Ok. So usually i don't play with the clip equalizer. We're going to talk about this equalizer once we are in the fill lights. But that says you can increase the volume from here, the dB's of your audio bots we already did, it's here, so no need to do is from here as well. And what else I wanted to talk about? Yeah, this one clip which is very good. If you want to make your voice like all drawn, it can increases. So if I go ahead and put one here on sense and puts one on semitones, check this world. I arrived to that nonequilibrium. Oh sorry. It should be minus. Now, if you do, positive values is going to, is going to sound more like a, you know, like those small Tolkien rabbits. I forgot the name. How to do, how to go minus one here, minus one here, sorry guys, to make it slower. So a dot B and that is appointed, I went to the bartender or going to the board to under or script for old or newer minus2. And everything was pink and blue. Minus2. Kinda like cyber bunks tiled world. Saw her last and almost all. Okay guys. So this is if you want to do some funny YouTube videos, you know, with funny voices, you know, words ago, okay. If you increase it, as I said, it's going to sound like those Looney Tunes, whatever whatever the name is. Understand what's going on. So it is a constant, you know, that it's going to be very fun, you know, trying to make people nervous. Then you go back to normal was 0 or you just click on this resist stuff and it's where we said everything. Now we're back to normal being that is appointed. I went, alright, so that was pretty much all simple stuff that you need to know, that you need to know about the audio, basic, simple stuff. Now, on the next movie or lecture, we're gonna go ahead and add transitions, hands. 15. Working with transitions in Davinci resolve 16: Hello and welcome back, ladies and gentlemen, in this movie, I shall introduce you to transitions. So first thing first, I'm gonna go ahead and just mute the audio. Closing inspector, just stuff here a little bit. And call the effect library. Go to video transmission. And the best suited transition I think here because his dream and his, because we're telling a story and then we're going from a scene. So another, It's like he's selling his imagination. So a friend. So the best transition that I found, the awkward work is dipped to color the soul. So to our transition you just hold it and drag it writes in between the Eclipse. So we can't see stuff here because we need to zoom in a little bit to the timeline. So let me zoom in and look at this. We need to snip dues like this. All right, now let's go ahead and add a transition like this. And here we go. Writes someone either the same here to here, here to here first. Okay, so to work more freely, I can go ahead and change back to the normal stuff, just like this. Add another one here. So let's see what color and on to the coffee to sleep. So to the dream. Now, for the dream, we can try something different. Let's add for example, spiral whip. Okay? And now the building's same thing, spiral loop. And then let's go right back as the dip to color the soul. Now sometimes you won't be able to add transition between two clips like this, okay? The reason may be that you need to cut parts of the last clip, but if you don't want to cut it to just go ahead and add it on the next clip. No problem or senior. Ok, look at this plan and true position a, we go. And finally, Same thing here, you can see we can not add it in between, so I can edits on the next clip nor problem. Now, if I click on its transition and go to inspector, you can adjust the duration, the frame, Starr, Center, and on edit, whatever you want. You can even change the transition here, try different stuff. Can change the color. I'll only be to violet. Ok. Let's see now that's going to work. See dip to violet instead of tip to whites. And once you customize a transition like this, you can right-click on that transition. And then you can create transition presets. Give it an atom with a longer so we can remember it. Okay? Now if I go back to Effect library and scroll down to user, I can find my customized transition right here. This one we just created to dip to color dissolve atom. Alright guys, so this is how you work with transition and of injury is all 16. And here we have this. Here we have it, guys. Cool. Now that was it for the transitions. On the next clip, we're going to go ahead and start adding some effect to our videos. 16. Adding effect in davinci resolve 1: And this movie, we're going to go ahead and add difference video effects to clips that we judge to be boring, okay, to make them less boring, I'm gonna change the timeline view option again to this organelles so I can view what's going on as total scrolling over over again and the clips that I need to add video effect to, I'm going to mark them in color, change their color. So the woman working in definitly needs some effects. So right-click and then find clip color. And they may be low. The coffee drink because definitly boring. The guy sleepin needs a lots of adjustments up as it selects it the same color I want it to grow for Navy. The drive in to strip teasing two. And the last one, I believe it's like this, no problem. Now let's switch back to the normal view. And this star would delay. The delay d is going to be pretty much straightforward. I just need to zoom in a little bit and adjust the position of the Zoom in k like this. Now, this clip two needs some adjustments, so I'm gonna add some lens distortion to this one. Let me uncheck the snapping so I can move the play head freely. And just about here, I'm going to go down and find lens correction. Ok, and then I can click on these diamonds. Move the play head. Then distortion. Move the slider like this. Open the keyframes, maybe then just separates a bit more. Do you know the keyframes for slow animation? If you want to adjust the curves, it can do it here. But no need to do it, man, no need to complicate stuff. We can just elected presets, ok. For example, maybe smoothing things up, little bits, and that's it. So okay. So the next clip, the guy sleeping, now just clip needs a lot of adjustment because floss look at this. If I click play, the footage is so shaky and see how shaky the flood surges. And the second problem is that you can see the lights here. And I want it to look like at nights. I don't want it to look like a client this daylights. I want it sort of like at 19 is freely dark. So first thing first we need to do is to zoom in so that handsome gentlemen. By zooming, we also crop in the lights on the window. Juxtaposition. Like this photo which you see the footage is shaken horribly. Kool. And the next thing we can do is to stabilize the footage. So look for stabilization, stabilization, double-click, and then choose perspective, camera lock, stabilized and weights. So now as you can see it finished and the footage, if I click play, it's going to take quite some time surrender, but it's quite stabilized, not shaking out. It was believed me man. Next thing here, what do we drive in? So I want to add some slow motion here. And the thin about slow-motion you guys probably know or you don't know, is that to make the perfect slow motion, you need to shoot in higher frame rates then the timeline. So for example, you need to shoot in 60 frames a second, 120 frames per second. And then the playback and a timeline should be 24 frames a second or 25. But since maybe you can do it, and probably this footage here is shot at 25 frames a second. And I want to slow it down. What you need to do is right-click first. Go to Change clip speed. I can decrease its little bits. We run 70. Okay? So I always, when I finish something control commands to save, Control Command S to save, always made. One hand is always uncontrolled command CEO. Now the footage will play slower. Okay. Maybe just decree on my god. I keep saying decrease for increase in I don't know why. Okay. Maybe decrease speed even more. Just like this 50 was clearly. Now you can see it not smooth. Okay, it's a bit choppy. Now to seek lets us, ladies and gentlemen, the French secret sauce would be to go to retire and scaling. And we close those. And then read time process, you change it to optical flow and that should be enough, okay, that should be enough for it to play smoothly. So it now playing because it should render and I'm recording, doing all this stuff in the same time. Surrender is gonna take some time. And the next thing you can do to make it even smoother. You can add speed warp, okay, under motion estimation. So I'm not gonna do it because I'm recording on doing all this stuff. If I click on it, it's going to crash. And I don't want this tends to crash. But if you were working just on one flip, you can do optical flow and add speed warp. It's gonna look like a wish shots at 60 frames a second, okay? Because it's gonna create some fake pixel to compensate. The choppiness and clip. This clip, let's say for any x, y reason, I just need to play it's backward or reverse segments. I can right-click and find real-time controls. And as you can see here, we have this beautiful things that pop up. And I can click, I don't know if you can see 100 here and there is a down arrow. Down arrow. I can click on it. And there was a lot of things you can do. You can rewind by 50%, so 100%. But I wanna go ahead and whereas its reverse segments, now the arrows change direction to the opposite way. Okay? And if I right-click and go to Tange group speed can also freeze frame guys. Okay, I'm not gonna do it here, but but this is how you freeze frame. You just check freeze frame and change council and then close close this. Okay. Strip tease in I wanted to do some motion blur. Okay. Because when I saw her and my scripts, you know, I felt like shock, you know, things were starting to get blurry. I was really shocked. I was unexpected heroes to be doing this. I was expected inherits from Harvard or something like this. And just looking guys, anyway, I can go to the library and then look for stop-motion. Very Zeitz, stop-motion under open effects. I can look here for stop-motion. These are all effects. So stop motion is also available in the free version and it's not available in the venture results. 15, I think it's available only in the vintage resolve 16 points. One Archer anyway, it's not on the previous version. I'm Dmitry has over 15. And it'll, But the good thing is if you have the venture is all 16, you can get it for free as well. And these are all the effects inside the effect laboratory individually is all that's comes in by default. So stop motion, I'm going to add it here. Close this, and as you can see, nothing is going on really. It just make it shaggy. But then if I click on the clip goading inspector, click on Open effects. I can repeat frame, increase it to aids. Blend. Choose half of it's 0.5. And now look at this land motion. Yeah, I'm shot baby rat. Then. This is the last clip. It looks very good. Okay. Because I'm a guy who loves drink, loves cocktails and drinks, appreciate drinks. That's why I came up with this idea. Ok, now the clip is pretty much standing. Ok, if I had the boring detects or on its would say on it says bonding as Hal make something, do something. I can hold on. What can I do? Go to the inspector and then look for dynamic zoom. And so the composite transform. Anyway, I can do go to the dynamic zoom and then check this thing here. And now. With cameras like moving away from the drink, therefore making it less Boren. And I can finally add a fade outs. Okay. Just like this, like this man, this flood got it at the earlier, forgot to remove it. So if I click on it so I can just delete it by person, deletes on my keyboard. Ok. And then one more thing I wanted to do with the clip of the sleeping guy versus I think it's it was Olivia. Not only does the US was marine legacy. Lu marine. Marine blue. Navy blue. Marine isn't French blue MAO gloom. Aha, I think. I go to Effect Library and I want to add like a black colour to the entire frame, makes it look like it's really docket nights. So under effects library we can look for generators, solid color, but it's on top. On top, I said, make sure I have snapping on case NAEP here, please. Okay, this is good. Then just snap to that. Clip. Like this. Hey, now you cannot see a thing. So I'm gonna go ahead and change this color to a darker blue like this. Okay, and then I can change the composite mode is 0 going as a difference rather, okay? And then decrease the opacity again as I decrease attending, I set it right this time you decrease decrees the opacity like this. Alright, so just, so we're just trying to create that fake like look. Alright guys, we're pretty much done with adding effects. Hope you learned a lot and see you on the next bomb, where we will be adding text and more amazing stuff. 17. Adding texts: Okay, so in this lecture we're going to add some texts and a bit of animation at the beginning of the clip. So I'm gonna zoom in a bit to the timeline. And I'll go to media pool. Not speedy pool effect library titles. Fen under fusion titles I wanna look for fist one title Drell and put it right in the beginning. Like this. Now what I can do, it selects everything here. Hold shifts, selects the generator, and then just push them backwards like this. This is not the one I wanted to add, so deletes and I will add the title sensor reveal. It looks better. This poem. And here we go. I'll click on the title. And inside the inspector. I will change this to an old fashioned one. Old-fashioned drink. You guys, like this? I can change the size here. Decrease its little bits. Can change the type face if you want someone to leave it like it is. Here, maybe decrease more. Then I'm going to move a bit to the drone footage. And the thing is, I want to place this playhead to rights in the beginning of the footage. I come up with it. I want to add some crop in animation. Okay, so if I double-click on crop in, I can look for crop top and crop bottom. And I will change those to 540 because we work in on a 1080 P clip. So these are the rights values at some diamonds in here, some keyframes. They move a bits and change those back to 0. Ok? Opening the keyframes. Just maybe adjusted keyframes, little tunnel. Now and if I click Play, I called on c. K may be slower. Okay, cool. Okay, that'll boats rights. Can of course, just the curves for smoothness or for a smoother transition, I would usually just go and click on curve. Try one of those presets right here. Okay, the next thing I want to add another title, just o dot. Just after the eclipse finishes. Library. Find texts, put it here to make sure it is well centered. And I can add dynamic zoom to the texts if I go to video. Dynamics zoom in order just to make it less boring. Dynamics CRM, okay. And also after the texts, I want to add some scroll texts, just like in the movies. So select the scroll title alignments, Make sure it's center and you can start typing whatever you once. So I'm going to type an old-fashioned draining. Enter space, space, space, space, then production. Right? Ten. Of course it's means was bad rating. Tolerating. Thank you for watching. Thank you for watching. So want to thank you. Saw at the beginning, you can see it's going faster. We're going to adjust debts. Now we just pay attention to the size, gets smaller and just like the movies. Now, let's go ahead and just a bit smaller the audio right here. So the shortcuts for snapping is M on your keyboard. Okay, so if you want to undoes snapping, just click n. If I wanna do is just click em. So b2 cuts. And then I'm gonna move this. The rest of the music, right, with the scrolling, because I want to have some silencing here. And then what we can do again, Ginger option at some Fade Out to the audio. Like this. An add will do is transition crossfade minus 3db. Just like this. And I can click on it and creates a duration. Now let's here it's again. Alright, so it looks cool. So the next parts would be, let me just go back. When normal. The rest of the music, I'm gonna put it right below. Audio number three is that it's going to be audio number four. If I go to the mixer, you will see that we have now four faders, okay? This one, I want to back to normal, normal volume. That's why I put it on another audio timeline or sequence, whatever you wanna call it. Now I'm gonna go ahead, does scroll and now will increase its around here. Okay. And then just add more fate. And now it looks as slow as you see on TV. And then again, we're gonna do the same thing which is cut here. Fade outs. Where is the transition duration? And we're all good. Ok, we're all good. Now. I think we did everything we need to do. Okay, guys, we just made a god damn movie. I mean, a short movie, of course not. Okay, next thing we will jump to. We check the first one really quick. Really any mashing up. So the next thing we'll do is jump 2D, color tap guys, time for colors. 18. Color tab overview : Oh, rides the color tab. So that's what the venture is all of his famous for guys. This tab right here, the color tab. Now, as I said earlier, we're not gonna do color grading because I already have the old Tim. It's color grading crash course for beginners. But we surely gonna do cinematic looks on this one. And I will explain stuff I didn't explain and be calibrating Crash Course. So at first glance, the color grading or the color tab area and of injury results seem a bit busy. Ok. All this stuff here going on. And it's kinda looks scary, but don't worry. The good news is that you don't have to master everything here to make professional calibrating. The reason why they have so many options. It because they want to make it easy for people coming from different platforms. For example, let's say when I'm making a color correction, ok, I usually go ahead and use the color wheels. People come in from Photoshop or I don't know any other any other software they may go ahead and use, for example, temperature, okay, the temperature mid tones, whatever they use to make a color correction. Okay, this is the only reason why they went ahead and puts all of these things together in here. So when it comes to the uy is pretty much looks the same. We have gallery here, the lots, you can access them from here. The media pool. Okay. The timeline F1. And if you want to see is you don't need it. Right here, you can check. If you wanna see the nodes are low. We have open effects. All the effects available ended in to resolve. Lights books don't need to talk about it's not going to need it. Then we have clips, you know, to select the eclipse you're gonna be working on for the grade em. Then here we have the wheels. These are the master sliders and these are the victor scopes. Ok. I'm not going to assume the time would read indivisible victory scopes Now, I do does AND calibrating course. Let me just give you a brief introduction about Calgary vane. Okay? So this is, for example, the scopes. And you can see there's this shots as flat. It looks a bit, it looks like it's missing life. So we need to add a little bit of color corrections of s, Okay, and maybe some creative loop. So the first thing you're gonna need to make color correction is note. So the first notes, I usually leave it empty and I go ahead and we'll add a serial node. So right-click, then add node at serial. Or you can just click All option plus s. And as we'll add, it's automatically like this. So the second node we can, for example, do some adjustments, for example, basic color correction. So just to let you know color gradient as a two-step process. The first process is color correction and the second process is actually the creative look. We're just colored gray them. So color correction, you apply adjustment to the full image. And color grading. You go ahead and apply that creative looks. One color is going to be dominance and the shot. So let's go ahead and adjust the gains a little bit in a picture. And I wanna make sure I keep my eyes on the Scopes. I want this bikes to announce. Go over this line, 1024. So I wanted to be below this line, which means n, The second line right here decrees the shadows. Will same thing. I'm keeping my eyes here. I want this part to be rights before 0. Increase the gamma little bits. Just a little bit, keep it below 640. That's let lips good enough. Kinda leave it here. Okay, you see the difference already? Now then if I want to add a creative look, let's say I wanna make it look a bit more bluish. I've been just drag the gamma toward blue a little bit and just move it like this. And the shadow towards the yellow oscillator, this vector. Okay guys, now of course I go ahead and explain this in more details in my other course. Now just to give you a brief overview of the color grading process. On the next lecture, we are going to be explaining nodes. 19. Understanding nodes: Okay, I'm gonna go ahead now and deletes these nodes that I have here. So let's explain notes, guys. Okay? So nodes basically are just like layers. And inside the venture is all we have different type of nodes. If I right-click on my 01 node and go to Add Node, you can see that we have a bunch of them. We have serial node Cereal before parallel layer and outside. The good news is that as a beginner, you will not be needed. All of those are the most important ones that you're gonna be working with, our cereal and maybe at Cereal before an ad outside for the vignettes. That's all you're gonna need. The parallel, the parallel node and the layer node are only used if you're doing some high-level color grave m, For example, if you work in on a short movie or a movie or a music video van, and some cases you need to use these nodes. But unless you're working on some high caliber calibrating, you're not going to need the parallel and delay and node. Now what I'm gonna do is give you a brief introduction and explanation of these notes and what they do without spending too much time talking about everything you can achieve with these node. Okay, so just a brief introduction. So as I said, the first one is the serial node and the serial note. Our nodes that's are in order, okay, so your work in them in order. And the thing about the serial note is that when you add one, it's goes ahead and take all the information from the previous node. Okay? So for example, if I have my note to select it, and I select D qualifier, and I go ahead and selects the ocean applique on highlights so you can see the selection and then click on the qualifier with the plus sign and tried to make a more selection or try to refine the selection. We're back to this one and then just maybe play with the colors here. Anyway to just leave the selection like this. For now, we're going to spend too much time figuring these things out. Now, let's go ahead and let's make this stem. The ocean. Really read, No. Select what happened with Moses. Rate ocean like this. Now if I turn off the highlights so you can see that we have some Arabian here. Cool. Now, if I go back to the node number one, and then I change the color for this note, let's say I want to make, is the bluest ever. And I go back to node number two. We can see that as I lost my selection, okay, because this node cannot find the ocean. The ocean now is so blue. It cannot find it in the previous node element. And go ahead and delete this one and resists this one. Right-click and find resist node where we go. Now the opposite node two, this one serial node is the parallel node. Let's right-click and go for Add Node. Parallel, thin about parallel node. If I do the same thing like this. And I go all reddish on this one. Go back to the first node and go all blueish. It's, it's really not adjusting the ocean. Let me try to gamma C. I can still keep the red even though it's blue, but you can still see the red inside. Okay, it's not affecting this node. Why? Because as you can see here, it not taken its inputs or its data directly from node number one. It taken it's from the video itself. So you can see that even though node one is all blue, we can still keep derivates on Node three. I'm just gonna revisit snow to elites it. Music note grid. Now the other thing I wanted to talk about is where is its layer note? So layers actually on down. Let me just do this. I'm going to add a serial node and then add a layer. Layers. The basically do what they say. Okay? The layer one another just like Photoshop. Now, if I go ahead and make this one the reddish ever again, I don't know what I have, whether it this morning and then this one. Oh, sorry. And then the second one, the bluish ever. Now here's the thing you see. This one is read. Why don't you see right in here, even though this one and it's up. Can you tell smarts, boy? Can you tell? So the reason why is that? Because even though this one is on top for the vinci resolve, this one is in the bottom. Okay. This one is not on top, even though it looks on top. This one is actually reverse. This one is in the bottom, and this one is the one on top. Ok, so you won't see color until like change the color of the one on top. All right, now, if I go ahead for example and add a mask on the first node, which is this one. Again to show me what is going on. And the second node, which is this one right here. So add a mask and see what happens. You see that this is one way of using these notes. The other way, for example, of using these nodes is if you want to blend these colors. So I can select the first node and go to q0. And then this is the opacity individual resolve and then just decrease the opacity. And it will sort of blend the blue and the orange. You see that it was going toward orange? Because this one is beneath. If I did it here, I would see nothing because there is nothing beneath the orange layer. Ok, but the blue layer there is the orange layer beneath it, beneath its status. Crazy, crazy. Alright. So I think that was, it's about the node Slim is 0. We have here node serial parallel lives. Yeah, outside. So outside is very important guys for, for the vignettes, we say we want to add a vignettes. I can click on the window right here. Increase. It's at some darkness like this. You see now it's getting dark or either too much. Let me add something manual on all done. Robot to minus ten. Like this. I can just the softness of the mask or the vignettes. Now look at this. We have an inside vignettes, okay, so inside here is black and outside there is nothing. Now what I can do in the outside node is that I can add even black from the outside of the vignettes like this. Or maybe we can do some colors here. And then here, Wu Lu. Okay, so you get the idea. I mostly use the outside, not just for vineyards guys. That's it's just for vignettes. Nothing else. Okay, so I think that was a basic understanding of the notes. Now you know what's each node does and how to work with notes. If you don't understand anything, that's fine. Because as I said, if you're just starting, you would only need the serial note always plus S or Option plus s. And basically just add a note. Word can then add the node and work on it's okay guys. Now the next step I want to talk about the tracker and how to track effects inside the color tab in the venture is off. Mm-hm. 20. Tracing effects: Okay, let's talk about tracking inside the colored tab for the venture resolve 16. Lemmy selects another clip. Maybe this one of the women work in Montezuma. And so the way I zoom in inside the view is I scroll down with my mouse button, middle mouse button, and I zoom in. All right. Now let's say we want to blow her face, okay. And we want to track the averts her face because we don't want to show her face. Okay. And basically you can blur. You can use this tracking method to track any effects that you're using the venture results. So for example, you want to apply some effects from here. Just to her face may be soft and sharpen, maybe beauty may be something else. I don't know. You can use the same technique. And also, for example, if you want to learn a course plate number, you can use the same technique as well. It's useful to track all the effects and the intrafusal. Now the first thing we wanna do is go to Window. Ok, Adam S, We can add either a circle or mask or just, you know, draw over her face like this. You know, whatever you want. I want to add a mask, circular mask like this. Just adjust it. Now the next step would be to go to the trek in this one right here or tracker. Let's see the clip, okay, so it stars like the transition. The transition will give us the trouble that we can track Ormia. I think it's better as a trip from error. Because we have a clearer view. We have pixels. Before that we have this transition and we don't have a lot of pixels. So I'm not going to check it very well, and we need to have maximum pixels as possible. So right here is fine. Next is to make sure you check interactive mode. And right here I have cloud tracker. Don't use point tracker, just use Club tracker. Then click play. Track forward is going to follow her face. Stop Schrag and OK. Now if I go back, you can see that we have to keyframes. One here and you add a one here. Now if I go to blur, increase the radius, you can see what's going on and to face. You can't see the face of you women. If I click play. Here says move in and blurs follow interface. Can I need to put it on loop? Variable? Okay, guys, ever go? And of course, as I said, you can apply anything, anything to this and this will just track it. If I go ahead and use some weird color, it's only going to to fix this area. And if you want to reposition your footage inside the view, again, middle mouse button, so you need them atomos button. You just click this time, don't drag it forward or backward. You just click on the footage with the middle mouse button and you can reposition it. Now. That was all about the trucking. As you can see, pretty straight forward. You can also trace object, but I'm not going to do is in this course. You can check my YouTube channel. I will upload a video. I don't know why I wanna do is I just I just don't want to be discourse to be ten hours. Next then is applying cinematic looks. Okay guys. 21. Cinematic look: Now it's time for the We'll talk. Okay, cinematic looks, My brother, cinematic looks that looking at everybody's looking for, but yet people seem to be struggling orders. Okay, so let me just revisit the anode. Great. So the thing about cinematic look that, that people don't understand what's actually cinematic looks as cinematic looks is just, you know, make you look, look like it's, it's can play on a, on a cinema theatre that says Ben, you know. And when I go about creating cinematic looks, I applied the kiss principle. Keep it simple. I think. Keep it simple. Case principles, keep it simple. Keep it simple. I forgot the last S is some says it's for stupid. Some says it's for my friend. I don't know. Now, here's the rule of thumb when it comes to cinematic looks. You just need to desaturated the shadows. These saturates, the highlights, I do it as well. And apply, creates your cinematic look to your shot. Ok. Now in this case, we're creating the shorts movie and I want to make it look like it's a bit dramatic, so I need to be saturates the shot's little bits. Okay, so we're gonna do some color grading and no color correction. The only color correction I'm gonna do is on my flats, drone footage, because it's so flat, it's killing me. Let's apply cinematic look here. First. That's going on. And then what we'll do is visit node gradient gives okay? So the first node, I usually leave SMC. Habits of work. Let me just adjust a little bit of the highlights. Shadows again and I go out of the shadows like this. All right, looks perfect. Now I'm gonna go ahead and options. Go to curves, luminous versus saturation. Them. For this method, I'm just gonna discharge rates. The shadows like this to help. And the highlights like this. Just like this. Okay? This is how I go about cinematic looks case. Or in some cases, depending on the shot of course that I'm working on, I go ahead and click on wise, and then maybe I'm just targets in all the whites or just the whites and the shots. And click on black and then I'm just targets in the extreme blacks on the shot. But this is not what I'm looking for here. I'm looking for the extreme of the extreme. My friend bring everything down, brother. Just like this one around here. And then here. I can go further, man. Oh, yeah. Yes, please. Next step. Alright, so I'm doing this because I wanna go dramatic, dramatic feeling at serial nodes. And now I'm gonna go to, let's look for film looks. This one comes by default in the venture result guys, it's free to use. Ooh. Alright, let's see. We go towards one named Rick video. Well, they all look so cinematic history that I'm going to speed this up a little bit because I'm looking for one specific one I like a cat, can't seem to find it. Okay, after thinking a lot. So I think I'm gonna go with this one. Or I could just go to this one. So the first 1, first 1 is good through about, let's go with this one. I'm gonna go ahead and apply this loads right here. Okay? Now it's really look cinematic. And what I can do is again, go to q0 and decreases a little bit. Report it's around 600. Like this. Okay? The next step is to go to Timeline outputs, blanking and make its cinematic here. Having the thin on anything above two is fine. Above 2.0. select this. Okay guys. Now, I'm going to guess or remember this one. It's, let me highlight it like this so I can remember it. The next one is, let's go to Eclipse. And they were the same thing here. But this one, I'm not going to color correct sets because it's already colour corrects it. There's gonna apply curves, adjustments. And then boom, boom, boom. Like this. At a serial node. Then boom, like this. Key enclose this. 0.600, like this. Okay, it looks desaturated, looks dramatic. That's what I'm looking for. Now, instead of doing the same thing over and over again. With the shuts selected. I'm gonna go ahead and find the other shots like this. And then just with the shutter of the girls at the beach, I don't want to select the first one because the first one we did color correction. And so I don't want to copy the color correction adjustment as well. And I just want to copy the accessory that desaturation, the film look. So this one. So click on it and then hover over the girls and the beach. And then middle mouse button click on it. And it's real automatically apply that look to the other clip, okay. Gather the same thing here, so it's selects the guy sleepin. And this time we can just right-click on the girls inhibition, then apply grade. And it will do it to the guy speaker as well. I don't want to add it to the cartoonish looks. And I don't want to add it. True to women dancing in the pool because it's already looks like it's dark enough. I can do is apply some desaturation. Maybe we'll see about that. And I will apply it to the final clip. The bartender, the trialed this woman problem here, that we have too many lights, colors. Let's see what happens. You see, it's bad, it looks bad now. It just, you know, do some quick the saturation for this one. Curves. Don't undo a spring just a little bit like this. All the way down, please. Okay guys. We're done. We're done with this cinematic look to the last one. This is exactly the look I was looking for. Okay. And just desaturated traumatic loop. Here, maybe here we can do some adjustments to this increases little bit more. And then here, let's go back to key and then maybe just decrease its. So here you have to go again and see what's wrong and try to fix things, man, this is this is called a graven man. You know, it's all about looking at the image and just that feeling you get about it doesn't feel right, doesn't it feel rights maybe should add some more colors. Maybe it looks to 2D saturated, you know, leave it like this. Go back here, go back to the curves. And I think we're doing fine here. And here. Doing fine. Now. Check on the edit clips. Yeah, so color gradient guys, it's like a Pink Pong. You know. You're just stuff. As you read damage. I think this one looks fine because it's almost shut like that goes into B is, you know, you have the light coming from the windows or too much light coming from the window. And the I think it looks good. Mommy, look like this. Or maybe for this one too, I can just, you know, bring the curves little bits up because there is not too much lights come in. The previous the previous shots with the girls walk in, the sun was behind them. Okay. So that's why we had to really be saturates everything. But this one is fine. We can bring these, the saturation middle, the saturations up a little bit. Clip the shot. We didn't play anything. You know, we're going to play anything to this shot. I forgot. Ok. Apply. Look. Thank you. Initial, it looks fine because there's too much sunlight, so it looks, it looks fine. Maybe just loops. Increase. Look. Look at this waveform. The highlights are really cross entertained 23. So I'll go back to an empty node, the first one, and just decrease slimmer. All right, looks better. Let's see what the guy sleepin. Think what the guys sleeping, it doesn't matter, you know, just sleeping guy. Just give him a little bit of my x2 and I'll axis. Then maybe we can decrease its further. Just leave it like this, because if nights it doesn't matter and it creates a fake night look, so don't waste your money time. Don't waste too many efforts and time on is the only thing I can maybe adjust here is maybe increase the game the highlights little bit. That's it. That's all I can do. Cool. So I think we're pretty much done guys. Ok, I think we've pretty much done here. So Control Command S to save, I forgot to save. Let's bring it back to volume. And now let's go ahead and export everything and see how it's going to look. So I'm gonna go to exports, okay, and then choose the name, give it a name. I mean, old-fashioned. Browser location. Creating the Cloud Code is saved. Here we can choose the format, so it depends if you're on a Mac. So up here, you can see that we have some presets formats. So for you to, for Vimeo MP4 file because Pro Premier XML I VDD Pro Tools. Or you can choose the ones quick time wearing P4 here I think I'm just gonna go with MP4. Any frame. All good, make sure you check the audio as well. Stereo goods. And then just add to render queue. Now I'm going to start render and then we'll go back once it's rendered and see and watch the movie. 22. Viewing the clip: So the rendering is over, as you can see here. We can go right-click now on the file and then open the file location. And here is the file. Let's go ahead and watch our movie. Okay, I'm so I'm so stressed. I don't know if this movie's going to make it to Hollywood. I'm just kidding. Let's see how we did guys. Let's see how we did. It. Tolls taught when I was walking by the beach, I saw her there and she was having fun with their friends. And I could tell right away that I fell in love. So I went to talk to her, took number and we set up a date are modal. She said come and pick me up. Our sias went to pick her up. We went for coffee, had a small chat, and then she went back home later that night when I was about to sleep, I had that weird, true. I was driving a car in a weird universe. The buildings will really tall and everything was pink and blue. Kinda like cyber punk style world. I arrived to that myoglobin my dreams. And I saw her dancing on stage at it and understand what's going on. So I felt so disappointed be in data's appointed, I went to the bartender and ask it for Arnold fashion. That drink was so magical, eclipse Tad and at it's on tele walk-up. Alright, so those fine. There was good. And the rest is just the scrolling text. Okay. Probably thinking the scrolling sex is as long as the video itself. Oh, yes, that what do you do usually men, to just leave you there for 30 minutes looking at scrolling text. Anyway, that was good to I don't think Well, I'm going to play any adjustment to this. Of course, you can work on mono more and be more creative, but just for the sake of this course, because I know people won't finish it's in our scores. I think that was good enough. I don't know guys, let me know what you think in the comments. You know. I don't know why people don't leave me comments. You're so normally come on guys. Anyway, I think that was fine. I was shy. Next, we're going to go ahead and talk about fusion tab. See you on the next one. 23. Fairlight tab: So I decided to talk about fill lights I before I go ahead and talk about defusion tap because infusion tab, I will deletes everything that we built and work with new clips, okay, because you're going to do green screen. So let's go to the fill light tap and straightforward. You can see that it looks quite busy too. But don't let it scare you. I usually never, I usually always come here if my audio is noisy, but since I apply filters to my microphone for those reductions, so I usually don't work here. And the only reason I would come to the fill light tab is especially for Mozi reduction or if I'm using, for example, stereo fixer. Ok. That is because everything else here is pretty much available in, inside the edit SAP, for example, if I click on that clip and go to the inspector, we can find the same option you have in India. And the edit tab. If I go to the mixer, we have the same sound or Fe faders inside the edit tab so we can mix our sound. Let's me mu to the background music first by clicking on these M for mutes. And now let's go to the library. Okay, so for example, we want to apply those reductions of this even though there is no noise. Just to show you how you can collect and drag it on top of your clip. You will have this window and make sure you switch to auto Speech Mode, okay, they'll have its manual because you have to play with those smoothing outputting detection and says You're not an audio guy and I'm not so not your guy myself. I just put it on auto Speech Mode and it seems to work always perfectly. Okay guys. I was driving a car. And if you want to listen to noise Only you can just check this thing. Click play reforms. Now usually, as you heard, there is nothing, there is no noise. You know, there's not a lot of noise. But usually if you have a lot of noise, something noisy will display here, and it will only does enter diagnosed that it has been removed. You can try and maybe just play with DEA treshold bits if you have a lot of noise and smooth and you know, if you want to smooth things out, but that's it's okay that I wouldn't go ahead and play with those a lot. Right here. You can choose presets. So we have d rumble, rumble and hes, resist knows profile. You choose whatever you want to work with. Try different stuff and see what's best for you. Now, if I want to remove any fixed that's I have applied. I can right-click on the clip and go to remove attributes. Make sure half blogging is checked and click on apply, and it's, we'll remove the plug n. Now you can see the UI is pretty much the same as in the Edit tab. So we have immediate pool here we have the effects. The index will show the story of the edits that we've done. Sound library gives you want to find some, I don't know. Gun shoots, cigar, assemble. Does matter. Adr, we won't need this, you know, unless you're doing some voice over. Okay, I'm not gonna, I'm not gonna make a tutorial about this here in the course. Because as post-production, as a guy doing video editing and working in postproduction. Why would you use voiceover? Okay. I don't see the reason. May be able to. Maybe I'll put a tutorial on my youtube channel for this. What else here is important for us as video editors working in post-production. As I said, it just knows reduction and maybe, maybe the story is stereo, stereo fixer. So if I add stereo fixer, I can play with the left and right channels of audio. So maybe I want to increase the volume on the left channel of my audio and maybe decrease it. And do the same thing here. Okay guys, boom, boom. And remove attributes. Plugins apply. Now that's it. That's all you're going to need here. As I said, it's not a tablet you will use often. And yeah, that was all guys. Like. It's going out to diffusion tab. 24. Fusion tab: All rights are rights. Fusions have guys. Let's go ahead and delete our beautiful Award-winning shorts movie. The Leto's to-do's. Okay. Now I'm gonna go to the media pool. You know, always the first thing you do before going through diffusion tab is at a clip to your media pool. And the edit tab, tab at. And on the first this one is for green screen. We just add the normal video. Again. It's poacher, the ocean drone view. Okay, once it's here, we can move to diffusions up. Alright, so this is the scary fusions happen, guys. Alright, the scary fusions abducts everyone is scared, scared off. Okay, here's this Wu Gong. Add anyone. Anyway. So as you can see right here, UI looks pretty much the same distant What it says nodes, it's called the node graph. You can zoom in and out, holding Control Command and dragging the middle mouse button on your a mouse. So right here you can see we have different snowed separated by this line. So the first group right here is called the generators. This one is for the colors. This one is for transforming composites n. These are the masks and these are the particles. And finally, we have 3D here alone sits in the darkness. Cool. Now, here's my tip. Or for Kim, width diffusion tab. So a lot of people when you're just tolerate, what they do is that let say the one at the text. We'll go ahead and click on text here. And then let's say we want to add some scribble effects. They will go ahead and click on paints. Well, don't sorry about that. I should unselect the text. It will go ahead and click on paints. And now guess what? They have to note here. And they want to go ahead and try and figure out how to merge them with this, you know, how to combine them with immediate end, which is this one that we have here. And this is a very bad way of forecasting side diffusion tap, okay, even though, let's say go ahead and add the text between the media and in media outs, you know, by holding Shift and dragging until you see the cyan line. But then that takes, you can now go ahead and do the same thing for the paints one and other effects that you want to add it because you're going to get lost. Okay, so my way of working with notes inside diffusion tab is that's, I always click on immediate N, which is my clip. And then I apply. What are the effects? I want to use two weights or I wanted to apply it to where it's okay. For example, if I want to add text, I go ahead and click on immediate m and then plague on text. If I want to apply a color corrector, which is called a, this one, this icon right here. Again, I will click on media n and then click on color corrector. And it will do all the work and build the no tree automatically for me. Okay guys. So as you can see, we have two screens, one on the right and the data one on the left. I have problems with the rights and left. This note that immediate outs is displayed on the rights. Because you can see down to node we have black points and writes bonds. White bond says displayed on the right's. If I click on the black one, it's will display on the left. And if I click on the white one is will be deleted from the rights. Now I can select the immediate em and put it on the roof, lifts your ego. Or you can just click one onto your keyboard and it will do the same thing. Ok, 12 here. Now if I want to add my texts, I can go to text and type something potion. And if I want to play with the color corrector, I can click on it. Now you see here, which so it shows Ocean, but here it doesn't show anything because media out shows you what's his rendering and media and just shows you the clip. So under color, of course, as I said, I can go to mid tones, just in a bit to the blue. And you can see here it looks bluish. Then I can switch to shadows and drag to the right. I mean direct to the yellow for the text. Let's say I want to animate, it's just fix this here and this thing here. I can grab the play head, bring it all the way to the beginning. Here. Leningrad Bragg via drag the yellow one. Just wear the red one is. And then with my tics notes selected, what I can do is click on this diamonds right here where it says size. Then move the red playhead little bits, couple of frames, and then maybe increase the size like this. Okay? And now as you can see, I will have an animation. You see, we can play and I have an animation here. So you can see right here we have S pipeline and we have keyframes. So spline with my tics, selects it. If I click drag of this thin like this and click on texts, I will have the line of the animation. Okay, let me hold control and zoom out a little bit so we can have a nicer view. So this points down here and this points right here as the animation that we did. I can click and then drag selects both keys and then may be just smoothen. The curves are the line a little bit like this. You know. Now if I play, maybe I'll have something smarter. Just like this. So that the use of the spline is sort of like easing in an outs and after-effects. And the same thing with keyframes. If I click on keyframes and hide the ESP line, you can see right here we have texts. And if I assume N a lot, you can see the curve right here. And this will just allow you to adjust the position of the keyframes. So for example, I can bring them closer together and you can see it's moving here as well. Okay. So there we go. So don't worry about those keyframes and spine because animation in the venture is old, as, as I said earlier, it's a bits really complicated, okay, it's one of the job's back of the venture result. So I am just explaining you what these are good for. What you don't have to worry about them as a video editor working in post-production because most of the time you're not going to be doing animation in the venture is all I use. I use After Effects to animation and then I do round trips. But this is fine. I mean, if you're, if you're gonna do some basic stuff, basic animation, you can use these techniques, okay? I understand at first it may look scary and you don't understand what's going on in he wants back to Premier and all that stuff, but just give it some time. Okay. Cool. What else? So let's go ahead then. Let try to apply some huts to this ocean view. I can go to immediate pool, go to fusion tab. And I'm gonna go ahead and apply my huts in here. Just like this. Now, let's say I want to go ahead and link the media n with everything here. The way you do this, if you want to put a clip on top of a clip, is you want to come after all the nodes applied to the media M, a whole shifts and then just drag media to just before the media outs. Once you see the cyan release and it will build the merge node and everything else for you. So the merge node, what it does, it's sort of just combines everything together. And if we click on it, you can find stuff right here. And everything you adjust in the merge node will fix the media to the nucleus that you just added. Value increase. This is now I want this black background to disappear from my sites. But first let me just resize the hot by decreasing size of S like this. And now with the media to selected, which is the new hot, I can come over here to my composite and interests form nodes and look for channels, Boolean, Booleans with immediate to select it, click on it, it's okay like this. Now I have new stuff inside the Inspector which belongs to the channel Booleans. I will look for alpha, then look for lightness background. And it's, we'll remove it like this. Okay? Just like this. Now if I go back to the merge or we can add a, another node with this transform. And the Transform node will allow us to move the media to, to move the HUD and to duplicate it and to do all this crazy stuff. So click on media to, and I'm gonna look for transform and it is transformed to transform. Yeah, this is transform. So just keep in mind that you can also access all the notes and effects from Effect library here, open effects and then just look for a lot of stuff. Or you can just click on shifts plus space while clicking on a media to node. And it's, well, you know, you will have this window popping up and I can type transform, double-click, add as well be added automatically. Now we transform selected. I can even go ahead and resize it. Here in edge, I can look for rap and it will duplicate it. And we can adjust the position here, center pivots, you know, all of that crazy stuff. Okay guys. And if I zoom out now you can see that we went ahead and built a quite complicated node graph here, but it was all just basic stuff, you know, just clicking on a media and then adding effects and it goes ahead and build everything for you. So that was a basic introduction to the fusion tab. Okay, next we're going to do a green screen. 25. Chroma key: Okay guys, let's talk about green-screen. Now for green screen, I used to method the first one is chroma key and the other one is delta t. So chroma key I use whenever I'm working with something like this, as you can see in the footage video mockup where we have to remove the screen of a phone or laptop, whatever it is. I'm gonna put my clip on top like this. And just for fun, I will import car DB clip Wab. But here we go. I'm going to put a hold on. I'm not first double play can make a selection like it's behind the first clip. Then I'm gonna cuts and a little bit because we don't need the whole thing. And then it just work with this part. I'm going to click on the first clip and remember, we are doing chroma key. So go to the colored tap. Just suggest this. And here under the node graph, what you wanna do is right-click and then add alpha outputs. Now you can see where we have here we have this blue thing. Now we can connect the blue square to the blue alpha output. Next thing would be to choose the quantifier. Click on that green. Now everything is here on a phone is green and we lost pretty much all the footage. I'm going to click on highlights and then just try to refine that green. So you can see that we have, so maybe you have something like this. Make sure you click on black and whites. No, to remove the black, I can increase the whites. Okay. Make sure that this Fingers there's black. Regarding that's enough. I can increase the blur a little bit. Maybe the width of a green. So I can get the last part. Ok, now we have the perfect whites. I can go back to normal and then click on inverts this icon right here. So you can see we did a pretty good job. But we still have some problems with degree k, So I can increase little bits of the radius and R, the mats fineness. Maybe 23 will be increased a little bit of iteration. Now we start losing the green as you can see. And finally, I can go back to number one. In an odds ratio. Just drag it down. And as you can see, I think we lost all the green from the edges. If I click Play. Now we can go back to the edit tab. Select the clip, just zoom out a little bit, like rotated. Maybe you just like do we have here? There was too much. I'm just trying to adjust it to the phone. No need to do. I don't know why do we have green here consuming like this? So if I play you can see that it does not move. And that a good thing to use the chroma key if you don't want to use the the tracker. But then we have this green here. Let's go ahead and try to fix it. Let me go back to highlight what's going on. So yeah, we just need to just little bit of this saturation. And I think now it should be fine. And now if we play, you can see that we don't have this problem anymore. Okay guys. So small adjustment like this and trying to figure it out to solving problems can really help you with composited individually resolved. 26. Delta Keyer: Hello guys and welcome back to this movie. And this movie we gonna talk about the delta here. Now I have my footage here. I'm, I put it on a timeline. And you can find these files, of course, under the course description. So same thing I'm gonna do as we did earlier with the chroma key. And then just put the footage with the green screen on top and the background beneath it. Now I'm just going to adjust. The picture should be almost the same length as the video. Select that. Now, you're probably asking about the difference between the delta QR and the chroma key. Now, the delta here is way easier to use than the chroma key. But the thing is about the delta qi or is that you only use it when you have a green screen background, ok? If you're doing mockups or something like we did earlier, it's better to the chroma key, okay? Because if you do the delta here again, you're going to have to apply some trekking and it's gonna get even more difficult. Ok, so with immediate and selected, I'm gonna click on shifts plus space. And then just type in delta here. Click and then add. Here we go. And now we'll do this a key or node selected under the inspector, click on background color. Then this window will pop up, click on pigs green color. And then just simple, Er Qie out to screen. Click OK and down. Okay. And as you can see, it was removed. Let's switch back to single you. Now. One more adjustment you can do, of course, is that if you go to mats, you can grab the threshold from the lefts and then just drag it a little bit to the right. Okay? That's about all the adjustments. You're going to need. What the delta here. Now if we go back to the edit tab, you can see that we have our shot here. Now of course, if you were working for a real projects, we're gonna go ahead and have to match these colors, ok? But since we're not doing is I'm just going to keep it simple like this. And this is how you do a delta here. Quite simple. 27. Deliver Tab: Okay, so finally, we finish the course. That got, now here's the thing. If you want to export the projects as a PDF or XML, will be to work with on after we fix or Premiere Pro, you can do it here, okay, you just click on file and you can find exports, AF and XML, you click. And then you can choose any format that you want from here, you see you have all these formats that you can choose from. A lot of stuff. The only one that is not available here is dots DRP. And if you want to export dots, the RP, You have to choose the normal one explores projects. Next as the delivery tab. And the delivery tab is pretty much straightforward. There's nothing here to explain really. So you can see that you can choose custom exports. And you have lot of presets here. Youtube, Vimeo, H bonds drawn of 64, IMF, Final Cut Pro Premier XML. A FOR a vid, I've renewed Media Composer Pro Tools, and you can even export audio only. Okay, just type in the name of the file, choose a location. Or we can render a single clip or individual glib and individual clips if you have multiple cuts. And then you can just use from here. And an I'll range instead of entire timeline. Now here we have the clips. I can close this one, thin a lot else here. Okay, so I usually go either with custom or YouTube. Make sure you have exports video checked here. And make sure you have exports video check, okay? Sometimes those are not checked and you might export the video without audio or vice versa. File. This one, I never use it. Let's see here. So formats, I would usually go with MP4, codec, h points 264, encoder, native. What else yet? Resolution, Yeah, you can exports up to HK. Hk ultra HD. But I never I never exports AK. I would usually just go with the, you know, the wonder, that is least ultra HD x1, that is least done 4K. For example, full aperture. For example, you can choose this format's right here. This is 4K, full aperture if you want. But if the clip was not shuts in 4K or 8K, there is no need to expose in 4K or 8K guys. For the 8K ultra age, the, I'm not quite sure does exist in the free version. I think it's only existed in the studio version, but I have to confirm this. I'm not sure. But anyway, I went to exporting 8K unless I'm exporting for National Geographic or something, you know. So usually I would just go, You're not for YouTube for all uploading courses. I would just go with the normal 1080 P, whereas it's this one. Yeah, this 1920 by 1080 HD. Don't change the frame rates. And that's pretty much all day you're going to need. Once we finish with this, you just add surrender. Q. Would you like to represent angles infile? Hold on. I would just click cancel and then just change the name here, blah, blah, whatever at, and then just surrender and you weights. And then once it's finished, you right-click and open file. Okay guys, that's, it's above D exports tab. So I think we're pretty much done. That was a great snows Greece. There was nothing to say. Okay, the next thing you can do, I mean, after you digest this course, you can check the crash course for color grading for beginners. And yes guys, that's, that's pretty much all man.