Video Editing with DaVinci Resolve 16/17: from beginner to professional | Wayne Sables | Skillshare

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Video Editing with DaVinci Resolve 16/17: from beginner to professional

teacher avatar Wayne Sables, Filmmaker | Projection Mapper | Teacher

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

Watch this class and thousands more

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

Lessons in This Class

50 Lessons (3h 6m)
    • 1. Introduction and what we will learn

      2:36
    • 2. Downloading Davinci Resolve

      1:49
    • 3. Understanding the Media Page

      4:44
    • 4. What is the Cut Page?

      10:04
    • 5. What is the Edit Page?

      15:08
    • 6. Exploring the Colour Page

      7:51
    • 7. The Colour Page additional feaures

      6:01
    • 8. The Fairlight Page using audio

      5:23
    • 9. The Fusion Page why use it?

      4:51
    • 10. Export your film using the Deliver page

      6:31
    • 11. The Menu

      3:23
    • 12. Reconnecting your Media

      1:09
    • 13. How to add titles

      2:33
    • 14. Using the Blur Effect

      1:46
    • 15. Adding Adjustment layers

      3:10
    • 16. Using Fades and Overlays

      3:12
    • 17. Using the Right Click

      4:43
    • 18. Crop your footage

      2:04
    • 19. Stabilising your footage

      1:54
    • 20. Highlighting an area in Fusion

      2:39
    • 21. How to adjust your clips speed

      3:00
    • 22. Transparent text with image

      1:47
    • 23. Using Creative Effects

      4:37
    • 24. Using More Creative Effects

      2:17
    • 25. Adding overlays to enhance a clip

      1:10
    • 26. Creating a Countdown timer

      3:50
    • 27. Recording Audio in Fairlight DaVinci Resolve

      1:42
    • 28. How to Green Screen using Chroma Key

      5:29
    • 29. How to Green Screen using Delta Key

      2:28
    • 30. Masking your footage

      2:32
    • 31. Mask Tracking your footage

      2:55
    • 32. How to import an XML file

      1:44
    • 33. Making Moving Masks in your clips

      4:19
    • 34. Changing Audio from Mono to Stereo

      1:19
    • 35. Make your footage look like VHS

      3:46
    • 36. Colour Grading Raw Footage

      2:19
    • 37. What is the Colour Picker

      2:07
    • 38. How to Change Colours

      2:16
    • 39. How to add Subtitles

      2:35
    • 40. How to Multicam edit

      4:12
    • 41. What is auto detect scene cut

      2:41
    • 42. Recording a Podcast in DaVinci Resolve

      9:11
    • 43. How to Batch Export

      1:33
    • 44. Exporting an Alpha Channel

      2:58
    • 45. DaVinci 17 colour warper

      1:47
    • 46. Apply a colour grade to all

      1:55
    • 47. Export in portrait mode

      2:48
    • 48. Editing a Dance Film a real world example

      2:08
    • 49. Editing and exporting a Dance Film

      12:38
    • 50. Final thoughts

      0:44
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About This Class

In this DaVinci Resolve (MAC and PC) editing course you will go from beginner to professional. Throughout the course you will learn about all the pages inside of the editing program with real practical examples and my personal tips and tricks to take you from a novice to expert. Not only will you be able to edit your own cinematic masterpiece you will also learn green screen effects, masking effects and lots more along the way. 

I will continually be updating the class with new techniques too.

As you progress through the course I will continually update with new tasks to help you improve on your editing skills. I hope you enjoy the course and I look forward to seeing what you create.

Meet Your Teacher

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Wayne Sables

Filmmaker | Projection Mapper | Teacher

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Transcripts

1. Introduction and what we will learn : Welcome to video editing in DaVinci Resolve from beginner to professional minds were in tables. And I've been a filmmaker for about 15 years. I used to work in Adobe Premiere Pro and I moved to divinity resolving 20-20 and I will never go back. Hi, absolutely love it. I think you're really going to love it too. In this course, we're gonna go from downloading the software right through to editing your own film. We're going to look at a cook page and it page color grading, audio editing, green screening, you name it, we're gonna look at it. I'm really pleased you've joined me on this course. I'm really excited that you're here. Here's a quick film that I made in Divinity resolve. And once that's finished, we'll come back and we'll start editing. And also this information and this reference sequences. 2. Downloading Davinci Resolve: The first thing we're going to do is search Devyn to resolve in our Web browser accent. So I just click the 1st 1 that comes up. Andi instantly takes me to the download page, so I'm going to click Download. This moves me down the webpage on instantly. I get two options on the left. I get Divinci Resolve 16 on different versions from Mac Windows and Linux on. Then I get David to resolve Studio 16. I'm working after studio version, which is the paid version, but you guys download the free version. It's phenomenal for this course. It will be absolutely adequate. I've already pre downloaded this, so I'm just going to click Install. This may take a little bit of time, depending on the specifications for your computer, and I just speed this up a little bit here. Great. So that's ready to install, for All I do is I take my icon and I double click that on. That gives me to the install a page so I just go through the permissions, click, agree on and put my password in, and that's now preparing to install again, depending on what compute you have this may take a few minutes. So grab yourself a coffee or a drink and get ready to enjoy one of the best editors on the market for free. And it's just finishing off the insult now. Fabulist. The installation was successful. Excellent. So I just closed this down and he asked me to move it to the bin. So I just said yes, because I don't need be installed anymore. I'm just get rid of this on. Guys were ready, Thio added in DaVinci resolve. 3. Understanding the Media Page : in this next series of sessions, we're going to look at the tabs at the bottom of Divinci results. We have media could edit fusion color Fairlie deliver. Today we're working in the media tab. So the first thing we're going to do is we're going to check our preferences so we quickly divinci resolve on click Preferences. Great. So the first thing I'm going to look at is my media stories. So I have selected this to be in my movies Holder. I can add media storage or remove it or change that, that the memory and GPU. So my system is 16 gigs. It's a standard Mac book. Pro DaVinci Resolve is available on PC as well. So I was checking my settings here. Excellent. So editing, so miney starting at one hour so I can change that to zero. Just gonna leave mine at one for now so I could check the number of video tracks audio tracks have. Smart bitch. My timeline, which I'm going to select, and that automatically puts all my timelines in one place. I can change the frames I want as a default. In my timeline, I can look at the color space. I could look at the fair lights up, which we're going to get into in another tutorial. I can check my playback settings control panel on my meta data. So that's if I get stuck. I can always nip into my preferences. Okay? In the top left corner, I've got access to all of my hard drive. So here is where my media is located. So I'm just going down the folder and I can see all of these here, and I'm going to pick one or coming to pick this one. So to import this media, the recorder different ways, I can do this. So one of the my preferred ways is just to excuse me. One of my preferred ways is to double click it, and I can check in the media here and again. I've still got access to it in this left column, and I just drag that down into the master been section and that creates a been with all the median. I like to use bins because if I could different takes in different shots, I can collect all that information. Just delete out the other way. I can play everything in a viewer before I imported and I've got mine in a list view. So if you look at the top of where my media is, the list of you is in white, so that means that is selected. I could also go to a thumbnail view here, and I see all my media that way again. It's really about user preference. Whatever you prefer. I can arrange my media by certain factors like real name. I can show individual frames. I can select all of my media and directing in that way. But that doesn't put it in a bill. It just drags it all in. So delete that again. Drag My been in cause I prefer to it. But I could also command I or control I to bring that in to DaVinci resolve. If I want to again, that doesn't create Benzie just puts it all in one big folder. I can annotate my footage so I could be working through this and quick annotate and I go actually sleep. Teoh, put something in this section here. Just delete that again. Show you I could change the lines. I have so much functionality and the golden rule with this is again about you guys playing just trains to found clicking things. You can always come and Zet and go backwards. So let me just like some footage here. So to show you that that is in a been on its own and that lives in the master down here. I've got my timelines. I put my master power. But when I've got a set of transitions in there and I'm gonna talk about this later in another session for you, this one is just really an overview of the media page. Great. So that's how you import media into DaVinci resolve. Let's have a look. What else? We grow up here. So in my file system, I've got on a whole host of different options so I can export XML If I want. I can import ex emails. I can import subtitles. I can import valve that I just click import or command eyes. I said earlier I could just locate my immediate this way and then I can just select that, and it will bring that in, or I can drag it across. So as you can see, there's lots of ways to bring media into giving to resolve. There's no right or wrong way. Just find a way that works for you. And I'll see you in the next session where we're looking at the cut tab. 4. What is the Cut Page?: in today's session, we're going to look at the cook page. The cook page is mostly used when you want to roof courts of your footage before you take it into the edit in part and create your final look. Let's have a look around and see what we have. If I click the immediate up in the top left corner, what you'll notice is all of my media has appeared. So this is preloaded media I've already imported in. If I click that I would get is really handy preview window with audio scoped at the bottom . Look there. So I play through that I can see where my audio is. That's really, really handy when I want to start doing roof courts, and I got my play functionality, forwards and backwards features in my player there, and I can loop the video as well, so it just plays continuously so I can see whether is I can trim my clip with the handles at the side, so I just pulled them in or out. Just a trim. Let's just have a look. We also have a sink being I don't have anything sink at the moment we have that we have a transition's been so I can put transitions into my foot ish. I could almost create a completed edit. I can add titles, and we'll do that later. I can also add effects to my footage again, giving me a really comprehensive first stage editing process here. All right, let's have a play with it and see what we can come up with. So I just imported my footage into the timeline, literally by Dragon and dropping again. There are multiple ways in which we can put footage into a timeline. I just prefer to drag and drop. Okay, She's pulled this across here so you could see I got this space here and that's because I've got mine set to start at one within my timer. And I just go into my premises to find that so I can change that. But I do need to restart of injuries. Old for that change to come into effect. As you can see, there looks, I just click that 20 We won't notice any difference yet, but we will notice a difference in the next session when we work in the edit tap. Let's go back to our main window. So I just import some footage and I'm not to wear out what footed I'm importing just yet. And as you can see, that change hasn't taken effect because I do need to restart different resolved before today section doesn't make a difference. So I can split my clips with these little handed toolbar at the side. If you just have a look down the left side, I've got six or eight little things there. And if I hover over them, it tells me what they are. So can you see those there? So if I just slip my clip and click split clip, it instantly splits my clip where the play it is so we could have a voice over late, we can add audio only we can use snap here, which is a really 100 feature four clips to snap to one another. We can at multi track, we can unm you tracks become lock the track, which means becoming any changes to it. It really is almost like a full editing suite. This cut page, so I just really just this clip here. I drink it right from the media browser there and literally it snaps straight to it. I know colleagues that work primarily in the court page two entire films before they take it to the edit page just to do a really quick finish off. It really is amazing the power of this page. So I'm just looking at a couple of extra clips now. Now, these clips in up, playing back incredibly smoothly because I shot them at 48 frames per second and, as we know, 48 frames a second slow motion and his double the frame rate of 24 Friends, which is standard cinematic film. But it's also doubled the bit Ray and double the file size, so my laptop is struggling to play back at the moment. But that's not too much of an issue. Okay, so let's just look what we have here so I can perform certain actions so I can do a rip over. Atwood's literally overwrites the clip that I'm on a above at the moment I could do close ups if I click this, it instantly gives me a close up of that shot so it does the work for me. Get rid of these. There we go. And again it's over, written the clip below So away we go so I can place it on top, which literally just place it on top of the other clip. Really useful, really useful tools. These are for when I want to make really quick at its or try things out so I could do source over right, which literally overwrites the source of where this is different. It doesn't go over the clip that I'm currently at. I have another coat there to dissolve and have a smoke, also, their transitions that I can add straight into a track. So this is really interesting. So if I click tools, I have some really useful tools at my disposal so I can crop. I can transform. I can add basic effects, which is lens blurs and lens flares and so on and so forth. So for these to be operational, I need to click my clip and then I can just all of my sentence here so I can play with all of this and you'll see all of this happens within this play viewer. All of this functionality here and we're gonna export these kind of functionalities in the edit page anyway, but really useful to know they're in here title. So let's just poor title it quickly. This drug in over the top moved across on that literally places the Tatchell over the top there and again. I've got four functionality to edit that and change, and we'll just trim this clip down so it fits across. There we go. So that title is now on top of that first clip and you can see I've got a little Marco indicated to tell me where it and so I could. Also, I don't know the one they look kind instead. There we go, and it snaps it across. So it's a different kind of title just to give you a really quick example that there's lots of different pre made title templates in here. I can add different effects. I could add a box blur. I'm sad onto that clipping. You'll see it blows that clip, which is I love box blows for titles and things. Anyway, just get rid of that lens blues lots and lots of different effects in there, which really, really useful. And oh, this Grady, um, pop won't work because I've shot this in log format because I'm going to show you cook the color grading tub later on. We're going to use that. One's made a little bit of in effect when I put D hes on their look. Cool palette is fantastic. This gives you the color part of all the colors in your clip and is really brilliant for making stills. If you're creating look books or you want to show your client that kind of color palette that you're working with, I use this all the time. What else we have? You could see we have lens flares. There we go and I can edit base and I could change this. And I can also edit the title secrets that could change the fonts, the style of the size or from this little media box edit tool down here have a whole array of different types of funds play with the color spectrum of the color wheel, and it takes immediate effect on the streets of them. Rough here, pull out the way and you can see it's instantly effective. That top title. Okay, so just check out time line there, so we got clips in on different levels, yet they are work fabulous and they play smooth. We've got our cuts in. We can add our effects again. Beauty won't wear because he's log footage. So I do need to edit that before that will take effect. Get a little f X appear on your clip so you can see that that clip has an effect on it. This is a really useful one sharp. And so, if you're shooting, put it in its slightly soft, you can sharpen the footage to make it pop a little bit. I would always put a shopping on adjustment layer and again, I'm gonna show you how to do that in there. Edit page. I complain with my different functions in here so I can play with the perspective. I can play with the size I can go side to side open down, left to right. Except I could flip the image I could go upside down. All affected the clip that I've got selected, which it has a red band all the way around. It really, really useful, right? That's a super quick introduction to the cook paid. I could go on for hours about this, but I think the best way for you to learn. The got page is for you to dive in, try some things out. Experiment. Get familiar with it, guys. Thank you so much. And I'll see you in the next session where we're gonna look at the Eddie page. 5. What is the Edit Page?: in this session. We're going to take a look at the edit page. Now, this is quite comprehensive this page, so we will just scratch the surface. But let's dive in and see what we've got here. I'm just going to own select my media poor first, so I can show you the interface. Okay, so in the top, we have our viewer. So this is where we view all of our footage. At the bottom, we have our timelines. This is where we're gonna place out footage. We have video one on audio on which we can rename Should we want to? At the bottom of the view, we have a set of controls. So we have our select A mold, our trim, which is t r dynamic remote. And if we hover over them, you'll see it comes up and tell you what it is, and it gives you a short cook. So, for example, blade is big snap. It is end, for example, And these air really useful. So you'll start using these a lot as you progress in your editing journey. So markers a really useful because you can mark bits of your time that you want to come back to afterwards and then you can give them specific names or comments. Well, here we have our volume. So we contend William Donald could turn the volume up, for example, we can loop our clip. We could mark in a mark out also have looping here and a set of basic controls. Here we have some more options where we can transform crop dynamic, zoom overlay cetera, But again, I'll talk about those here. We have our different timeline options. So if we click these, we get different versions of the time. So this one, I can see all of my time lines open. I use this. Have a lot, and I find it really useful down here. We can have our audio way from showing we can increase the height and size of our tracks. This is all really customization for you. You'll find your own way of edited in your own preference. Over here we have our mixer, but have a look Nothing to select cause there's no clips in there. So down here we have the mixer appears in the bottom. Are meta data nothing to inspect? We don't have anything. If I just click some media so I just go here where my bins are and I'm just gonna click iPhone. Let's have a look. They we go. So that opens up another window, Cuz I got to viewers now. So one is my source footage on one is my output footage, which is the one that is currently black. So let me select some footage here, okay? Yeah. And if I just market in and an out point so as I and oh, I just drag that in if I drag it straight from the viewer, I direct the audio and the video in together. And you see, I've got my different timeline options. It's just have a look. Now this is interesting. I shot this in 48 frames. So slow motion. So there's no audio attached to it. Isn't showing me an audio away form? I like to have a little bit of a visual when I look at my timeline. So I like to see the clip make a little bit bigger so I can see it. So I'm working off a laptop which is a 15 in So for me, the bigger the view of the better and I got my slider, and that's playing my source. Click there. You'll also notice on the right of that is my out booklet. So this these two icons Aiken import video only and audio only. Let's have a look to my mix off on there is, and that's all my audio so I can increase the audio and have basic settings there. Meta data. So nothing to selects was select that clip, and it gives me all the meta data for that clip. So the meta data is the data about the data tells me the size tells me the channels tells me the time code bit depth. It tells me how many frames per second tells me when I shot this footage in the Inspector. This is interesting. So this gives me a lot more functionality so I can increase the zoom of the click. There we go. I can increase the position I can. Also, if I use transform, I can stretch the clip to suit. So transform is different to zoom. That's how else we have here. I can change the position of my clip, so if I'm having clipping clip or I have an extra large trip, but I want to read framing. I can do some crazy rotation Should I want to. I can change the pitch and I could change the your just like we did in the cook page. I can also flip and flop it. I can crop my clip and I have all of these up in uneasy DoubleClick cropping. I can crop the clip to sue again. If I've got picture in picture, I want to crop around something. I can also access Cropper from here as well. And I can do it manually with my mouse. I use both. To be honest, it depends on the workflow. I'm working in his 10 off there dynamic zoom we have Stabilization is a really fantastic one toe have inside of the edit panel so I can stabilize my footage if it's a little bit wobbly. So what I'm going to I'm going to put a little bit out here with my B for blade just so it doesn't take too long to Renda. So to select that clip and stabilize and as you can see that that clip has been stabilized lovely from this sure, I can also increase this movement in the strength. And so so here we have re time and scaling so I can do different formats within my re time and my scaling option, and we were going to these in a later tutorial through a different method. I also have lens correction here. So if have shot on a certain things I can analyze again, let me select a small portion of my clip to speed up the workflow in my analyze. It's analyzing that clip, and it will correct any distortions within an ICANN. As you can see, make manual adjustments, which is great if you want to create a certain type of look, turn that off. And here with our competent mode, I have different options. I'm going to show you this later because this works really well when you place a clip on top of the other. I also have audio controls, and again, I don't have any audio attach this clip, so I'm not going to go into too much detail on this, But we will use this feature later on when we start editing footage together. So that's the inspector, Okay, And again, I have my controls down here like I have in my source. I'm here. It names its I can name what my clips are and I concert by specific things that just file name. I can also have a list view, but because my data is Sterritt from the camera doesn't tell me anything in terms of what? The Clippers. So I like to have a viewer. I could select certain bins, all of my bins. I can select what I want to see so I could have your pain preview there and have to been selected so I can see multiple source footed turn the tougher now. So I have lots of options in there. I can also change the clip that I'm working on, so that's a different clip now. So I'm just looking at that, and that's not playing in my retirement so I can work on this and then bring it directly in to the timeline. Just go back there. I can just buy these icons. I could just bring in videos if I drag that and it just brings video in some no older with that, and it's like a pancake system, so it just overlays it straight away. Let's go back to our inspector and our composite monuments. Have a look at some of these. Can you see how the overlays the footage? And there's different types? Some work better than others. Let's go have a look down here. I quite like the overlay, but I'm not sure if work on this clip, it's quite dark. Drop the capacity in minutes and the capacity is the amount of that clip you see. So if it's 100 you see all of it. If it's temp sent, you see 10% of it. Oh, there you go. You can see. Now it's starting to overlay, although playing back a little bit jumpy, really interesting and really useful to experiment with this, to create some nice effects, all directly within the editor. So we have in our power bins we have our transition's been So I've added some in here, and I'm going to talk about these later on. We'll use some of these specific presets in our color page. We also have smart been So I have my timelines in a smart but if you remember, I selected that in a previous session I could switch between town lines. I'm working on So Timeline one is actually the dance film to this footage, which we're going to work on together. Edit Page is the edit page to this tutorial. So this is where I'm showing you have this edit page works. We also have an effects library so we can add effects directly to our edit. So we have some very basic ones, such as blur, dissolve and crossed his old, for example. And at the side there's a little star. If you sell like that, adds it to a favor. It's been so you can get them and access them really quickly and easy without having to search through your entire media been or your entire effects library. We have audio transitions. We have titles, um, basic titles and also something called fusion titles, which are much more animated. Let's stick a title in there and you can see the pancake system overlays it, and I still have the same privileges with my inspectors. So if I click the inspector, I still get a set of parameters I can work with. I can add color Barton. We've all seen these when we're watching films, especially if you're delivering it to a client. I could add a Grady and overlay to create interesting looks if I just name this. I just changed the way this looks on, and I in my competent more, I added, as we saw earlier, it creates really interesting effects and again have a play with these. The best way to learn all of this stuff is just a tray and play with it and see what it does. And then you'll start figuring out how it will work for you. Another version of the boss there have a noise grade and again, I could play with all of this. This has a lot more complex options, but again, all I would say to you is, click it, Have a look. Have a play with it, see what you come up with. You can always delete it if it doesn't work for you, and I'm not going to go through all of these because there are lots of options and adjustment clip is great. So if you want to put your effects on an adjustment clip, it just smooths out your workflow, and it doesn't become to process a heavy on your actual clips, and you still have the original source clips to work with so they won't be so. She can always turn the adjustment layer off, work on your clip, turn it back on. If it has your effects on again, it's about maximizing and speeding of your work, for we have lots of open FX here. I use these quite a lot depending on what kind of Eddie I'm making, and we're going to use some of these. So a great is great if you're needed to align something, for example, And again, you know, I have an open FX tab pop up in my inspector, and I can play with all of the parameters in there. Now that's directly on my clips. I'm just gonna 10 off for now, there's absolutely loads of effects in here, and you're gonna have so much from trying them out on playing with them. And if I'm honest, some of these have absolutely saved my bacon when I've got it slightly wrong when I've been filming and I've been able to add some effects to make the footage look super great when it wasn't that great in the first place. And again, you know, I'm just adding a film going here and I can select different types of grains, and I can select the overlay and so on and so forth because I've shot this in log. It's not having a huge amount effect. I shoot a lot in long, and I'm going to talk about this in the cooler page tutorial. Just close that down and again within here we have lots of audio effects, so the fare like Page at the Bottom you'll notice, is designed for audio. And I'm actually recording this tutorial in the fare like Page. Right now, however, I very rarely use it. I'm mostly used my effect inside my eight tap. It's so powerful his defense resolve that sometimes you'll find you'll only use two or three of the taps. I can check my Eddie Index. I could see where I'm up. I can also import a sound library. I haven't connected the sound library yet, but if I have it would live there. I could change the viewer. I can close it down to give myself more real estate etcetera, so let's just have a look. A couple more So the three dots here I can change my viewers so I can show my mark overlays off time code overlays Really useful if I'm working to time coded footage next to that, I've got a little colored icon, as you can see next two minutes. So let's have a quick look at that. So that means I could turn any effects on or off. So if I have effects on my clip, turned them off track and work on a quick turn the back home so I can see the effects. So this is a very simple Onda quick overview to the edit page individual resolved. There is so much more that I could show you. But I'm aware time is limited on what we don't want to do. We spend all our time looking at how it works and no actually get in to using the software . Guys, thank you so much for being with me today and I will see you in the next session. 6. Exploring the Colour Page : in the session. We're going to look at the cold tap now. There's a lot to cover within this tab, so it's going to be a two part session. So this is part one. Okay, let's dive in and let's start learning the interface. Firstly, I'm just going to come back over to the editor because they've prepared a couple of clips that are different formats for us to work on. It's gonna trim this one for now and just bring all these closer together. So there's a range of clips here from raw clips to dot malls, and we're gonna look at how the color tab trees each one. So, first of all, at the bottom of each clip, I can see what type of clip it is, whether it's a raw clip or a pro GREss clip or a hate 6 to 4 clip, for example, on when I click those taps those or what I will be working on. So let's just have a look at the interface here. So at the top, I have my gallery, while I have not created any. Still, you can create cooler grade created still and then apply those toe over clips. I have some looks here which are look up tables on. We'll discuss those on will. Try some of these out. You can see as I dragged my mouth over one of the looked, it applies that look to my footage. This is really, really useful if you want to emulate a certain kind of look or a certain kind of camera stock. As you can see down here, they're a different templates. So I have film looks. I have D C eyes. I can replicate the look off a Panasonic or a red camera. For example, I could do Rex 709 which is a standard color look in film. The possibilities really are endless, and again we'll look at these in more detail when we start color grading footage together. Read Again is a particular favourite on a very popular camera. When creating cinema films, we can replicate some of those looks. As you can see, I could spend the whole session looking at these and showing you what they do. But I'm not going to do that. I'm going to move on, OK, I can also add some of them to my favorites panel for ease of use later. If I click the media pool, you notice all of my media is available to me there. And this tab is available in every pain within DaVinci resolve. I can also click my timeline and look what happens underneath my clips. My timeline appears or disappears. I personally like to have the time I met because I could see what timeline the clips around . It's gonna close that down there. I have some basic, functional done. Here's I commute my clips. I can use qualifiers or power windows just removal, for example. And again, we're going to go into these in a little bit more detailed during some of the other sessions. Remember, this is a beginner's guide, so we won't go into everything. But we'll go into enough to get you started over here. We have what I call nodes, so note how you're gonna edit all of your footage and I'm going to show you these later and how you create new nodes and have a great in pointing out points and Alfa channels and all of those things which it the minute might sound alien, but I promise you'll know what they are By the end of the course, I can hide those notes or have them appear. I can hide over my clips if I just want more real estate to work. Um, I can also arrange my clips. I can have selected clips I can have already pre graded, which there are often on in here for obvious reasons, because we haven't graded any yet. If I just move over to the open FX tab and you can see I've got all the effects functions available built to me that I have in the Edit tab, I could go toe lightbox and again I get a much more comprehensive full real estate view, and I've got core controls for each clip. So if I just want to work on the colors specifically, maybe I'm working off a small laptop. That's a great addition to the color panel. So down here we have our timeline, which I've discussed, and I could see which video tracks everything is on. Let's have a look where we have down here. Okay, so here the 1st 1 is my camera raw. So if I have shot raw, I get all the data that I can manipulate here. Now this clip selected is a hate 624 That's not Ross. Let me click a roar clip. There we go. You'll notice the's tabs become available. So if I go down here and I select clip and again, all these times become open and available to me. So one of the advantages of shooting raw is that I can then edit them imposed production. If I have not quite got it right, let's have a look at some of them here about that cloudy side, it changes the image. If I clear daytime again, it gives me slightly different. You could see the color temperature to the right in the middle. Panel changes as I select these we go back to as shot, and I'm just gonna have a look at some of the other presets within Divinci resolves vassal video that instantly gives me a video look. So it's kind of like a look up table, but it's built in within the software. Rex seven or nine is very similar to video subtle differences. I personally like rec seven on them and I use that all what I can change my I s O. So if I shot it at 400 which I did. I can increase the brightness because I can highlight recovery, and I can add the look that I had pre installed on the camera because I shot in raw. I have much more functionality and many, many more options to play with when I'm editing footage. But don't worry if you're not shooting raw, because there's some really great tools for you to edit your footage. Even if you don't have all of this space to work with, I can also explore a frame within this. So if I want this particular look, I can export that and apply that to other clips. Just move over to a clip here that's not raw. There we go. So this is a hates. This was shot on my iPhone, and it's a hate to 64 If I go to color match now, I don't have this color matching pad. So normally, if I had this, I would hold this up in front of the camera and then I could match the whites perfectly. But again, I don't have that. So that's of no use that, but let me go to the next one across. So this is the color wheel and the prime a tap. So I've got four color wheels here where my left my gamut might gain on my offset. And those affect the clips in different ways, which we will look at later. But if I just go down and across here, you see, I just pull us across. What? What happens again when you're color grading and when we're color getting together, we won't be this extreme. But you you get an example and I can change the contrast there. No se, maybe I've gone too far in the top of this panel next to where it says primary wheels. I can click this and it resets back to my original data. Okay, so look at this. This a If I click this button, this is an automatic color correction. So DaVinci, resolve, work, sound What's in there? And it gives me what it thinks is the best. Look, I like this a lot, and I actually use it quite a lot because it's very, very clever. And it's very good giving you a really solid great that you can then slightly adjust. Just reset that note there. Great. Okay. So part two will move on and will continue looking at color correcting 7. The Colour Page additional feaures: Okay, let's look at Part two of the color page. So last time we were here we were down at the bottom corner, looking at the color wheels. Let's move on. So as we know this is the color wheel on. I conflict between my primary wheels, my primary bars, Andi, my log. All these effect eclipse in style, different ways which we'll discuss later. If I go across, I can look at my red output green out, put on my blue output I could also make my clip monochrome so black and white If I move across This is where we would do any noise reduction so far. Clip is 11 grain neural A bit noisy if you have the free version if you won't have this tough so we won't spend too much time in it. Next one, of course, is where I have my curves This where I can just the low and the high contrast curves here. If I move across, I got my hubris issue. Que vous is saturation. Hubris is luminant luminess. This is saturation and saturation, vicious saturation. Again, That's a lot of information, but we will go through those later. I could look at my qualifier, so let's have a quick look. If I just picked my qualifier in, Select the yellow, it highlights that section of my image. Just don't do that. And again, I have the same. Moving across here is where I have my power windows, so accurate, different power windows. If I'm doing masks or I want to call a great a specific area of an image and again we will look at these. Here's a really quick example pulled out there, and I just can you see in my node? It starts to affect it, but we will start adding nodes when we're doing power windows. Later. Just I can add an Alfa Channel there and again. We will do that when we're doing green screen Edit, in which I will show you during the course of this program. Moving across is our trackers, so we can track objects for steady, smooth motion. We can stabilize footage pretty soon. It's what we do in the edit page. We have our blue are sharpened controls, so if you look, I can go across and look at different aspects of my blur sharpening and miss moving across . We have our node key, and we're not going to work in this because this is a little bit more advanced than this course on the next one, which is our sizing with this again affect the size of the image where working in and we know how to do all this because our Eddie and our cook paid will have this feature. And again, I've got a few more options in the color page. But you know, and you understand what that does, and I can't select three because I don't have any three D images or any three D footage in my content. So that's unchecked. Let's move across to the right, and we have our key frame timeline here. But if I go up here for my information, it will give me information on the clip that I have selected very similar to the information panel in the edit tab. So give me my time. Cold maturation gives me the size and the resolution of the footage, the real name. If I've got one. How many frames, How many friends per second, the Kodak or this really useful information We might want to know when we're editing or color grading footage. Andi, let me click my scopes. Now, scopes are really interesting. And I would recommend that you work with in scopes when you're cooler. Grady on. We have different versions. So we have. Ah, depending which one of the taps we select at the moment I've got the parading you can see from different clips. It affects them differently. So if you have noise at the bottom, that generally is the dark colors and blacks on at the top is white. And generally we want to get a broad range across our spectrum when we're color grating. That's also relative because it depends on the look that you want to do you want from the slightly darker than you might go to the bottom. There are different types of wave forms and vector scopes, depending how you like to work. I am personally, they used away form of the history. Graham, just keep looking. And if I go across here, I got some more options with them. Depending on the color space. I'm working in Aiken extrude that and have as a separate window to If I'm working on Jewell screens, I can have. This is a separate when Don't give me all of my scopes there. Put that back and then down in the bottom here, I just have a couple more options in terms of my video scopes, which we're not really going to delve into, cause they're not that relevant for this tutorial on down the bottom. I've got my home bottom, which means I can go back to an open any project, and I have this in every window on. I also have my gear icon, which is mice project settings. Again, I can access this from any one of the pages and the tabs within DaVinci Resolve Council that on in the far left corner I have the version of the venture resolve I'm working on, which in this case, is the Venturi's off 16. Now I am aware this is a whistle stop tour of the color panel and interface. Don't worry. We're going to be using in a little bit more detail when we start color grading some footage that either I'm going to collect or you're going to act independently on will kill a great them. Along with this course, guys have a wonderful day, and I'll see you in the next session 8. The Fairlight Page using audio: Welcome to today's session where we're going to look at the fair ly page. First of all, let's just look in the top left corner. We see we have our very familiar media pool effects library, index, sound library, and a new one which is ADI, and it's got a little microphone. So that's my recording tab. Okay. So we can see what we've already prerecorded. We can check our setup. We can also look it as a list format. We're not going to delve too much into that today because this is about giving you an overview. If we move over to the top, we see we have all of our sliders. And then we go to the top panel, we have our mixes. If I turn that off you, So we've got more real estate so we can see we have our timeline which we know from our other tabs we have are very familiar. Play stop, rewind buttons that we know all about. We also have an added Record button here. And we have a slightly different selection of DNAs. We have our raised two, etcetera. We have our control room, and we have our mixer, which we've just put back and I'll mix it directly relates to the tracks we have in our timeline. So as you can see, I've got a1, so I audio one. I've also got master one, a master. So anything I do with audio one doesn't affect any other clip of event. Audio just affects audio track one must affects all of them. So here I can select an impulse, or right now is my input. I've got my microphone connected because I'm talking through fair ly doing this tutorial, so I collect that and I click patch at the bottom. And that just tells me that my impulse is also connected to my output, which is my track. Then I select the r, which means I can record inside of this time. I, if I select the S that solos that time. And so if I have lots and lots of audio and different timelines, I can press S. What you've just seen is the noise reduction. So I can go to my filters, add noise reduction or I can add an EQ, have lots and lots of filters to choose from. And now again, only affects the track in which I've got it on. So if I just wanted to affect audio track one, I do it in the audio track one mixer is play about with that. Just get rid of that, closed that down. Okay, I can add more or I can go down here, double click, I get my EQ and I could play with my EQ. I'd just go across and just drop them off for a little bit. And link number two and little bit. There we go. And again, only affecting clip, audio clip one. Below there. I've got my dynamics so I can play with all my dynamics in here. And I do encourage you to have a play and test this out for yourself. Underneath that, I've got my pants so I can play with the way my audio comes from MI speak system. If I click the plus, again, a lot more options for effects that I might want to add. And it's worth noting here that these effects options are also available in the edit page. And if you're a beginner or you're new to the vinci resolve, which this course is aimed at. I would suggest you possibly learn these tools inside it, the edit, because that tab will become much more familiar and this can be quite daunting. Sometimes. I've just added the clip on audio to, and you'll notice in my mix it, I have Oreo to appear so I can just affect that clip. I'm now working in a master which will affect all the tracks in my timeline. Comes out down there. Okay, wonderful. So that's there and I get a couple of view options. If I click the three dots at the top of that panel, as you know from previous workshops, just closed my I can get my metadata there. So that's the metadata from my clip again, you know this from other panels. That's the same across all the pages inside of DaVinci Resolve anyway. Close that down. I get my inspected, which we're very familiar with. This time. This is a reference in the audio clip cassettes surrounded in red. If I quit the video clip, be inspected, changes to replicate the video clip Inspector. Okay. This go back there. Again. I could just looking down at all of these options I can play with, and that moves my mixer across to the left. So I've still got both views that I can work with. If I'm doing some complex audio mixing bubble's gonna closing inspector. And I'm just going to open my meters. So close my mix it down, opened my meters. And that gives me a video preview. If I click the bottom square there, that preview pop style, this is perfect. If I've got two screens, I can have my preview on, on a separate screen. Or if I'm recording audio like I'm doing right now. Or even if I'm just editing audio for a film, sometimes it's nice if you got small attract like I have just to have a bigger view of what your editing watch your watch individuals, et cetera. Guys, thank you so much for joining this workshop, and I'll see you in the next one. 9. The Fusion Page why use it?: In this session, we are going to look at the fusion tab. Now we won't spend too much time it is during this course because this is more advanced than beginnings. But let's have a look at what we have. So we have asked that the media pool have effects library, our clips, and then in addition, we have nodes. Okay? Turn these off for a moment. Show it to see what we've got going off here. So here if we didn't have enough, we just have our view and it tells us information around that and just click the node by console. I can see my nose here. So median in is the start of my clips, so that is the input. And that is connected to median app, which is the output various line. If I break that connection, what we've got here, so we have our input, but we have no output because it's not connected. And when I reconnected, boom, they go, it's connected. And it has an apple attached to it. Okay? So the way this works is you add things into your nodes. So here we have our toolbar. Again, this gives us different things. We can look at my work on this. We have another kind of toolbar down the bottom, which is the one that we're most are going to use. So for example, if I wanted to add a title, I just drag and drop it on the line and add text on the knee. And if you notice it as text underneath my medium one, and then it gives me a merge node. So there's a text and here's the text was just type something in. So I'm just going to type text. And I can increase the size of an eye and I can change the font should I want to. Let's have a look at the different options around here. Just do the check canopy. You know, I can change the cause and I could change lots of different things in perspective. And ammonoids Have a look what we've got here. We've got characters in there. So I have a lot more functionality with my texts in the fusion tap that I do in the Edit tab, which are pre-built, compensates this. I have much more control over every, every individual aspect. But this is a really simple one to show you. I mean, fusion is absolutely amazing. Employee can do. And the effects and the graphics that you can bring into fusion, often nominal. And the results you get out are just crazy. So let's have a look, another one just so you get the idea of how this works. A chance phone in there. So you see very quickly, starts to build up and become really complex really quickly. So this transform is affecting everything. That's because it is after the texts in the merge item break these here. Remember one side, break them, then they signal to each other so they're not talking to each other. So I'm just going to move stuff around. And you can see really quickly, it can get really complex. And you have to be on top of this workflow and you have to be organized in terms of what you want to do. Later on in this session, I'll do a series of fusion workshops, but I'll wait till you finish the course so it comes a little bit later. Okay, so we'll just move that around. And this will affect things slightly differently now. And one of the things I find about fusion, it doesn't always work the most logical way, so it doesn't always work the way you think it worked. She takes a little bit of time to wrap your head around it. It is definitely worth persevering and trying things in fusion. Because John, like everything, the more you, the more you will read it, the more confident and comfortable you get and ammonia things you find. And I can show my spine or my keyframes which appear in the window down here. I also have my metadata and Osama Inspector tab metadata in respect to death familiar across all of and the pages that we work in. So this is a really, really quick overview. An example you can use fusion for, and again, is so powerful that you can use it for virtually all of your special effects needs. You can add camera mode and you can add 3D cameras. See I've added a camera debit is not wanting to connect. So like I said, Eric, fusion doesn't always work the way used in keywords. And yeah, this is a typical view diffusion tab. Guys have a wonderful day and I'll see you in the next session. 10. Export your film using the Deliver page: So in this session, let's have a look at the delivery page. So you've created your film. It's a masterpiece and you're ready to send it out and gave to the world. But what format do you select? Well, this is what this page is exactly four. Let's have a look at what we have and then you can work out what's best for you in terms of your expert. So if we just go to the top, we have our Render Settings here, and then we have a whole host of options down here. So I'm currently on the custom. So the first thing I want to do is select my filename so I know what my film is going to be code. I'm just going to call this dense bone because we've been working on this. And I click browse and I select where I want my media. So I'm just going to pop up in the dense foam folder. And that would then send any experts that in below it in the render one, I want to clay single clip which selects all of them. If I click individual clip, it selects each individual clip and renders them separately. I can also look my audio and I've got Export Audio checked. And I can also look at the file, but let's go back to video for now. Keep looking there. I can select the formats I want. So I'm going to use QuickTime and the codec ham for me, HX twofold. Good enough. It's going to make sure that Everything's check. My resolution is 1920 by 1080. I can change that if I want to. And I've got all of these options here. So I'll keep the same quality Akhenaten has automatic or I can restrict the bit rate, which I'm going to restrict it to a 1000 kilobits per second. In my Advanced Settings, I'm just going to leave this alone. I don't think you really touched this one, to be honest. Underneath that, however, we have a subtitle setting and this is really useful if you create subtitle. So I just check the box so it's enabled. Great. And now I just decide which type of subtitles I want. So I can have a separate file burn into video, or I can have an embedded caption. It's turned off knocks that don't have any subtitles for this as of yet. So just scroll back up wells we have. So here I have a YouTube preset ciphertext pair. If I click the little arrow, I can change those settings. And that gives me a perfect formatting for YouTube. So I don't really need it took tenet in. I can also upload directly to YouTube if I have my YouTube account connected with divinity resolve, same across Vimeo. And again, I got the same options. And I can select this option if I want to upload my filters video and it will save time on Vimeo send reconfiguring everything to make it adaptable for that platform. Moving across, we have progress and progress Master. So progress is a codec emitted by Apple and is generally quite standard codec for video in terms of its compression rates. And I'm not gonna go into too much detail. But again, I've got all of these options progress for two to high-quality H.264 master, which usually is a dogma of codec or MP4, correct? Hate six to five, which is a newer one. Imf is interesting. Just look here so I can click Netflix. So if I'm making a film and it's gonna go and Netflix for example. It gives me all of the settings ready to go straight tube and upload to Netflix. If I'm using other editing programs, I can select which one it is. So Final Cut Pro X in this case, or Premiere Pro XML and Xbox an XML file or progress, or I can just export the audio only. So lots and lots of options. So for me I use Vimeo Siamese twins like the Vimeo option. And we are happy with my codec. Just check the custom audio we have is exactly the same. So you can see it's exactly the same system regardless of which one you are using. My app attract is my main one. And I don't need to render one Jack per channel. Just checking the Iranian the whole thing there. Yep. Oh, that looks good. Now moving across, if I click tape, I don't have a tape deck collected, but I can export this predicted tape. But again, it gives me a warning because I don't have it selected. I'm just going to click OK. I can also export and look at the eclipse. I can, as we said earlier, can explore individual clips or I can just see them. I don't need to see them because I mean, they deliver page. So that's great. Here. I can export the entire timeline or I can do in and out points. So say I wanted to export a small section of my film, maybe just for reference or to show somebody something specific, I can export just that little section on the timeline. Okay, so now I've selected what I want to explore and the format I want to explore. All I do is I click at TRND queue. So I click this here. And that moves across to the right-hand side. And that is job one, very to be rendered and its timeline one in the project alone and it's gonna go to my destination, I said in the left-hand panel and I just click start render. So that then is rendering now. And I'll just speed the soap. Fantastic. Let's have a look at the finished film. We will love cannot similarly mod during the sessions, but guys for now have a great day and I'll see you in the next one. 11. The Menu: I'm just going to do a really quick session on the menu within individual results are at the moment I'm in the edit page, but it's the same across all pages. Okay, so let's just click that event to resolve title so I can check my keyboard customization. So I can go in here and I can, if I'm coming up with from another editor, I can have a, so it's like Adobe Premiere Pro or Final Cut Pro, etcetera. I can also add my own customization in here. I've already done this, are closed that down. If I go back to that same setting, I can check for updates, charges click Danielle, give me an update. Let's have a look. No, I'm on the current version, so that's good. Again, back in that, I can also edit my preferences. And we've discussed this in one of the earlier sessions, so we don't need to go into that tomb on the file. I've got a whole host of options so I can do a new timeline, start a new project. And there's so many things I can say my project and so on. I'm not gonna go into them all. You can do that yourself under the Edit tab. Again, lots and lots of options I can undo, redo, check the history of my edit, which is really, really useful. And I can do code repo curves, I can copy, I can duplicate the current timeline. Again, lots and lots of options within here. So if you get stuck, do have a look in there. I can do multicast M. If I had a multicast sequence setter, which I don't in the trim excuse me, in the trim mode, again, lots of options. And I can do normal edits. I can trim the clip and it gives me it gives me the little short because at the side and I can nudge one frame forward, one frame backwards. In the timeline, again, I can add transitions. And I got all the shortcuts and the keyboard shortcuts to enable you, enable me to make my work workflow much quicker and much faster than having to continually click and drag my master around. I can also do something called output blanking, which is brilliant. So I can change my timeline to something more cinematic like U235, 0.1, for example. In clip, this is all about the eclipse itself. I can create a new compound clip. I could do a new fusion clip and I can do a new via effects connect clip. I can also change the duration which we spoke about. Again, I've got more and more to come, options in their grade AP courses, not multi cam sequence. And my mock, again, really related to the clip second mark in my account and so on. In my view to I can view any stills I've made. I can change the RGB values. I can switch to whether it's left IRI tie. If I've got a 3D sequence, I've got all my playback options in there. And you can have a look around and I can reverse the play, play forward, et cetera. I can have a fusion tab here, and I can import fusion clips. I've got a tab with my node and so on. And they're a fair light tap, a workspace so I can change my workspace around if I'm not happy with the one, I can have a jewel screening, five go to monitors, can have a cinema view. And then if I get stuck, I'd really handy Help section. So that's the menu. Indifferent to resolve. Guys, have a great day and I'll see you in the next session. 12. Reconnecting your Media : in this session. We're going to look at how you reconnect media once it gets disconnected. As you can see, all of my media is offline on this convey incredibly frustrating if you're working to a deadline or you're trying to finish a project. But don't worry, there is a really easy solution on a really quick and simple fix. So the first thing we're going to do is want to select all of our media and then right click re link selected clips so this wouldn't take me out of here. I find where my media is located. Andi in this project and I just click open on that. Reconnects all of the media's. If I click to another folder, let's just have a check of that Yet all selected except one clip. Let's have a look. What's going on here? Right click reveal in Media Media unavailable so that clip doesn't exist anymore. So I'm just gonna delete that and they go all of your media re selected. I'm ready to start editing guys. I'll see you in the next session 13. How to add titles: In this, in this session, we're going to look at titles. So how do we create titles individually resolved, OK, well, there's a couple of different ways, but the way I like to do is first of all, impose some footage. So I'll just bring this into here. So this is some footage I shot of my iPhone using the moment lens. So I'm just gonna make this black and white. So poked my color and click monochrome and go back to Edit Page. Great. Okay, so my clips a little bit long. Select, fade in at the front and the end. And I'm just going to go to my Effects library and I've already got a title savings My Favorites by clicking the little star aside. But let's just have a look at the different options. We have to have all of these effects options, fusion titles or standard Domestic, standard wanting just fades in gray Gutman inspector and goes my video and actually got my text. And I'm just gonna change the font is scaled up a little bit. I do like big titles. Yeah, great. Okay, so that's how you add a title, but let's make a little bit more fancy. Sorry, my composite mode. I'm just going to try a few options out too. If I click extrude, it takes the elements of the image behind it increases almost is 3D looking title, which I like. It's extensive, fills my clip. Gray particularly good when the clip pens o everywhere else we have. Again, lots of options are so huge because it's taken, the cause is made, it disappears. Let's get rid of that crazy white. The screen isn't doing anything because there's not a lot of information for a multiply again, is it multiplies is taken as a way. So as you can see, this is on non-destructive. So we just go back antenna off. So we've got a color clip again. As I was saying, this is non-destructive. So it can do is you can try things. You can go back using Command Z or Control Z. Guys have a Play, try some stuff out and see what works for you. Thank you so much for today and I'll see you in the next session. 14. Using the Blur Effect: In today's session, we're going to be looking at Blows. So I've already imported my footage into my edit timeline. Okay, so let's have a look what we have in here. And so if I go to my Effects library and I scroll down to Open Fx, i get all of these resolve affects, blurbs, they just have a look at some of them do. So this is a directional blur and appears nothing's happened. So I go to my inspector and I get an open FX tab so I can just adjust the blushed and there. I can adjust the angle. If I click replicate, it replicates the pixels so it goes edge to edge on my screen. Just leave out some of the others through a mosaic bird. This is great for blurring people's faces out so you could put a mask on the simpler somebody's face. And again, let's just look at the strength difference. Also great. If you want to create a desired block effect, such as Minecraft or something like that. And I can merge between my original and the blurry as well to lessen the strength. A Gaussian Blur Papa on there. And I use blows a lot when I'm doing title. So I might do a title sequence over a blur, so it makes the title stand down. And again, I just replicate it that and I always find Gaussian blur is a much smoother blur than the rest. Leave that there for one moment. And that is how you use blurs within DaVinci Resolve. Guys, have a great day and I'll see you in the next session. 15. Adding Adjustment layers: In this session, we are going to look at adjustment layers, how they work, and how you can add effects. So I am just looking into my Effects library, a whole host of effects. I can use my clip right inside the Editing tab. And I'm just freaking devotees, I'm just looking for the shop and say I'm going to add a sharpened to this. So first I find my adjustment layer clip. I've got saved in My Favorites, and there it is. So I just drag this in and I place this on top of my clip. Remember how clips like pancake Mozi goes on top and whatever is on top is visible now as a transparent clip. So it doesn't affect the image of the clip below it. So let me find my sharper, which I also have saved as a favorites, I'm just rejected on, and it's very sort of have a quick look at the clip. He might not have noticed every attendee off their ego. And Andrea is quite subtle, but it gives it a nice crisp, sharpness 2D image. That's because I shot on a black magic pocket cinema camera. And they tend to be quite soft in my open affects my inspector. I also have more features to play with around my Adjustment layer and the sharpening effect. So let's just have a look at some mu. Let's add a lens versus if I add this directly to the adjustment layer. There you go, you see, I can adjust these similar what we have in here. Double-click, there. We go. Just the default. There's quite a few options in here. Ooh, silica, anamorphic harmony chemicals in the Star Wars films where this effect is used. And I can adjust the string and I can adjust the position. And let me just pull up there. So adjustment layers are a great way to add effects to your clip without affecting the speed or the authenticity of the original clip. I could always turn these effects of If my timeline starts to get little bit lucky because it is an adjustment by if the effect is on the clip, I have to go to each clip and turn every effect of this is just more efficient. Just playing with this is to see what else we've got. Yep, color palette. There we go. So if I stick a color palette on there, I've discussed this before. Co-pilot shows me all of the colors with the present with him, my clip. So just have a look where if I play that you'll see those closer changing. Now you wouldn't have coal-powered on the final if you are going to send is still to a client, does really great effect to use, guys. Thank you so much and I'll see you in the next one. 16. Using Fades and Overlays: In this session, we're going to look at fade in, fade out and overlays. So let's just select some footage here. I've already color-coded this one to bring in and you notice as orange, because I right-clicked the image and I've changed the clip coef. This is a really useful way to organize your footage. So I'll just change that to blue. So that's my bottom layer. And this is quite harsh. So there's no fade in, fade out. It literally starts and stops. Okay. She's trim that down a little bit. Just grab the edges then a little handler pages you can see and I'll just pull back into where I want him and it turns green. So you know, I've got via just selected. Okay, so let's just play it out. So it starts and goes all the way through the clip, and it abruptly stops. So if I just drag my mouse to the end of my clip, you'll notice these two white dots appear, so I'll just grab them with my mouse and I pull them across the way. So if I just say about opposite side at the top of the clip, I pull it across about a second. And that gives me a fade in. And as it goes across my clip, a fade out. So fading is, take them off again so you can see. Right then, let's pick another clip so that's fade in, fade out. Let's look overlays. So I'm just gonna pick There we go as clip I voted pre-selected. So I'm just gonna drag that in. And I just want the clip itself, not the audio of I didn't select it. There we go, drag it across. And in this instance, oranges my top clip. So again, like I said before, is like a pancake laser wherever is on top is what's visible. But this time if I go to my inspector and my composite mode and I click the layout hierarchy, I've got a whole host of options here, and I'm just going to select a few. So you can see is if I slept exclusion, you can see the places my clip on top of the one underneath and I can see both that way. So just There we go, play over again. And I've just added a fade out of that top tip so it's less harsh. Which can increase the scale a little bit. Move that around. I love using this effect when I'm editing. So let's have a look at a couple different one. See what we have here. Ooh, that's an interesting one. And I could do to try and play with different effects. See what you come up with, see what works for you. And that is how you add clips with overlays on top. Guys, thank you so much. Have a great day and I'll see you in the next session. 17. Using the Right Click: In this session, we are going to look at the right-click feature when you're in the timeline, in the edit profile. And let me just make this bigger. Okay, this is a clip I've selected and I'm just going to right-click and we get all of these lovely options. Let's have a look at a few of them. So I can duplicate frames. I can get some clip attributes so I can change all of this. I can change my resolution. I can change my Pixel aspect ratio. I can change my audience. This is a mono tracks. If I go here and I click stereo, and I go to embed to channel one so it replicates the same channel. I can change my time codes and I can rename it. So it's just rename this. Here, we'll just call it test clip. And look at my clip is renamed the Andes change the formats. If you look at my viewer, it's changed the form. I'm just going to change this back actually because that's not the aspect ratio and which I shop is clip. So go here and I just go to anamorphic. There we go. And that looks a lot better because that is exactly why I show the resolution of this clip. And it is actually a slow motion clip. So there we go. Fabulous. Okay, so let's right-click again and we'll have a look. I can find my media and the media pool, for example, if I've got lots of clips and I need to search when I have to do some edits. I can clear the caches and then I can change the color, which we know how to do. I can normalize audio levels. This is really, really useful. So if I'm working with a lot of audio, if I click that, I can change my audio levels. And I can do this with one clip or all of the clips if I've got them selected and I got different options. So there, and I'll click that there. Now that didn't change very much because it was very close to minus three decibels. Anyway. Where else do we have in here? We know about real-time controls and cleared because we've done a lesson on that. Moving up, we can select, Delete, selected click, we can ripple edit, we can do a paste attributions, et cetera. We can create a new BFS clip. Ready-to-wear confusion, but we're not gonna do that for now. And let's just go back to our right-click and go. But we can create a new fusion clip. And we know it's a fusion clip because it has a little stars in the cone and it says fusion clip one. Let's go back. New compound clip. This is really interesting. So when I click this, I get a dialog to change. So I'm just gonna leave it as compound clip one. It tells me it's a compound. What does that actually mean? So a compound clip is a container, so it can contain lots and lots of files in one package. But again, it's not showing me anything. If I right-click and I go to opening timeline, that will open a new tab. And here's my original clip, which still is still a fusion clip. But again, it hasn't done anything. So if I just impose some more footage here, there we go and are just drag some of those in. Fabulous. And if I just select those and put them on the timeline now, and I'll just arrange them so they're above my original. So I'll just speed this up here. So as you can see, it can get really messy when you've got lots of clips on top of each. So just to highlight the point, I'm going to put some of these clips out and just delete sexual them so you can see exactly how compound clips work. And these great if you've got lots and lots of logos and you need them to be displayed on one page. For example, we have lots of assets stacked on top of each other. And you don't want to mess all your timeline up. And we just adjust these a little bit more announcer. It's just a little bit neater when I play this back to show you. Exelon is Pola in there. And I'm not doing this with any thought or considerations to have eclipse look, I'm just sticking them on top of each other for you to have a look at in a moment. Okay, so that's a good representation. Just mute all of the audio tracks. And if I go back to my timeline 17, which would be the time and I'm working on and my compound clip is still there, but let's have a play and I see what happens. So it switches between those clips, but on my timeline is represented as one clip and I can make that longer or shorter depending. So that's really useful when you're doing lots of maintenance on your time and you don't want too many assets, guys. Thank you so much. Have a great day and I will see you in the next session. 18. Crop your footage: In this session, we're going to look at cropping. So I've just imported some footage into my timeline. So this is some footage I've shot off another close harmony, which is smartphone filmmaking. So I'll put one on top of the other and it acts like a pancake. So the woman is on top is the one that was visible as you can see here. So what we wanna do is we want to crop it. So if I go over here and now scroll down, you can see that doesn't give me an option for crop, but if I go to this one, I get transform, crop, dynamic zoom and others. Select Crop, and I'll just pull my handles across there. This is a really quick way to get a corrupt. There are other ways I'm gonna show you that in a moment. That's a really quick way to get a picture in picture each not ideal because it does absolutely cropped the picture. And if I go back to Transformer movies, I've moved the whole crop, the, okay, so let's just get rid of that and let's try the other way. So if I go to my inspector, so I'm just going to scroll down and click cropping. They go. And you'll notice I get a little bit more fine functionality. So I can use this slider equally. I can go across to the numbers inside them across. Let me just slide this across to roughly in the middle. I'm just going to smooth the edges. So that's one of the best things about it in this way as you go a little bit more fine control over what you do. So smooth that says Have a look at that. Great. Ok, well I can also do with this is if I go all the way to the edge or, but either way you can see that I get a lot more of a smoothness palette that I don't know why you'd wanna go all the way to the left because you get blob. But I can get some interesting effects and then cosine transforms like the day my viewer. I can then move that around. Guys, this has been a really quick introduction to crop in hope is useful and I'll see you in the next session. 19. Stabilising your footage: Hello and welcome to back to this tutorial where we are going to look at stabilizing footage. So here's some footage I've just filmed on my phone just to show you exactly how we're going to do this. As you can see, it's a little bit wobbly and it moves around quite a bit when I'm focusing on the TV. So the first thing we do is we select our Inspector tab in the top right corner. So I select that and I'll just scroll down. And the little tab called stabilize, I double-click that. And as you can see, I'm just gonna camera like that. Let's have a look. So here we go, this click stabilize. And there we have a quick look at how that turned out. So he's done some really weird warping there. So not a problem, not a problem. Let's go unlock camera and this is really stabilized that as Have a look. Yes. So it's a little bit better, it's a little bit smoother and it's not what the top corner of that TV. So that's one way. Ok, let's just get rid of ten hours, do another way. So you've done all your film and that's called gradient. You realize there's a clip that is a little bit off. If I go down here and it would go and I go to my window and I go down, I can click stabilize there. I've just click Window again. Let me just go back and click stabilized. There we go stabilized. And I could do their perspective. I can do the singularity, I could do chance farmers used to transform, stabilized that they're excellent. Let's have a quick look at that. Yeah, definitely much smoother, much nicer. So that's a really quick session on stabilizing footage. Guys. Thank you and I'll see you in the next session. 20. Highlighting an area in Fusion: In this session, we're going to look at how you highlight a portion of your image with individual results. So I've got my clip here. So let's just have a quick look. So it's a very standard simple clip. I'll just pull this in a little bit so it's not as long. Great. So all we're gonna do is we're going to create a little object to highlight souvenir. So I'm just going to publish the fusion tab. And what we have here, we have our median in which is our starting important. Then we have our meeting AB, which is our outputs are final image. So what we need to do now is the first thing is we click outside of that six not selected and grab a background is pulled up into the middle there. And if I click the background with a little dot, you'll see it gives me the background image day. If I click back to the median in, it gives me the start of my image just something to know. So I'm just gonna change the curve is so we can see it's a bit more visible and just have a look then click. I can see, you can see they go. So what background is in fact yellow. Okay, so we're gonna do now is we're going to add a ellipse tool. So we'll just click that and we'll bring the n. So that's now a both and I'm just going to drag that to my back-end. So attached to my background with the little square at the right, salvage, drag that across and you'll see that it's affected my background. Just go back to my input, Christina. Okay, so I click my rectangle and I'm just going to uncheck the solid and just give it a little bit of an edge shown. That should be good enough. And you can see the circle is that if I grab the center of it, I can move it around, like grab the edge. I could just pull over into the size I want it to be. So I'm just gonna pull that in and I'm just going to drag that to bear. Ok, so we can't actually see anything yet because our median is connected to our media. So what we need to do is we need to put a merging, so just grab the merger, pull back in there. So what we need to do is we need to merge our ellipse and background in with our media. So I just grabbed a little square, oops, excuse me, rebel square and pull that in. And as you can see, that's now merged within that clip. So it's there. If I go back to my edit page, it will appear there. Now my image appears to be the largest wanting to do some work. So the image I'm actually working on is the same in my fusion, but that's not this workshop really. So let's just have a look at, okay. Yep, I just need to do some work on my image. Not an issue because he doesn't detract from the fact that we're creating effects or we're creating boxes or circles around things defy an instructional video like this. And I want to highlight some thing. That's how you do it. Guys have a great day and I'll see you in the next session. 21. How to adjust your clips speed: In this session, we're going to look at speed adjustment. So if I right click my clip and we'll just have a look. We've got lots of different options and we're going to look at these in more detail later. But for now I'm just going to change the color of my clip. So I'm just going to pick line there. So let's change the color. I right-click again, and I'm gonna go to real-time control or command R. So just click that and that gives me this whole setup options here. So down there I click, click next to the 100% and I get all of this control for January speeds so I can change it eight times the 800% speed. I can click that. I can also go the opposite way and I can slow modes. I can go 50% the speed. And it tells me that the bottom of the clip, I can also go down here and I can create a freeze-frame. So that's given me a freeze frame there is played out so you can see freeze. And again, a really useful effective, I want the action to freeze on screen or I'm doing a title sequence, for example, is go back there and I can rewind my clip so I can go forwards or backwards with it. I can also speed RAM. So that's that. So let's play with this and let's create some speed points. I'm going to add a point at which gives me a little marker there. And I'm going to move my play head across a little bit and I'll do the same here. So this speed point markers means is these are effective if I drag this across because it's in red, is only affecting the proportion of the clip between those two speed point. Really, really cool. So it just blows up, speeded up. So this is really useful if I'm working at a longer clip like I am now. And I just want to split a proportion of, again, maybe for a fight scene or chasing, create a really cool effect. But it's quite harsh. So I'm gonna right-click again and I'm gonna go to real-time curve, and that gives me this at the bottom. So I click down here. And I'm just gonna make sure that real-time curve at the bottom is selected and just pull that down. And you can see that's really harsh. It's a straight line. So all I'm gonna do is I'm going to click that little keyframe there. So is highlighted. And I'm going to click the curve and it's instantly given a curve. And if I just pull the handles across, you'll see it just smooth that curve out to the other one. And that's their smooth that transition from normal speed to fast speed. Really, really useful, again, for lots and lots of different options when you're working individually resolved, I have to say this is probably one of my favorite effects and I use it all the time. Awesome guys. I know you're going to have lots of fun with this effect and I can't wait to see the results. Have a great day and I'll see you in the next session. 22. Transparent text with image: In this session, we're going to look at different way in which you can have an image or a film transparent under your text. So I've got this image here which is a drone image by took of some decline in. So I'm just going to trim this back because we don't want all of that movement grades. I'm just going to pop this on a top-level entrepreneur. Get rid of it for now and I'm going to look for some tags. I'll go to my text down to text plus, and I'll just bring it underneath and I'll extend that so it's the same as the clip. And I'm just going to click that and I'll type some text here. So I'll just put intro text to get us started. And I'm going to change the font. Now you'll know if you've worked in DaVinci Resolve, there are 1001 funds. So I'm just going to quickly scroll and find one here. The grace you want something that's really bold. So I'll get this. I'm just gonna make this a little bit bigger. So let's fill the screen because we really want to see that image pop through. Great, so I'm going to turn my image back on now. So you'll notice because da Vinci is a layering system, wherever it is on top is what is going to be seen. So I need to go back to my image, go to composite mode, slide down and find where is it. Multiply. There we go. And instantly it's multiplied by intersects into a mask. So you can see the image go through. So I'm just going to create in and out points, they're brilliant. So what I can also do here because I can't quite see my image underneath. So I'll just pause that and let me select my image. There we go. Go to my transform tool. I can move my image around because everything around the text is a black mask. There's my climate. If your image is of sufficient quality, you can increase that. They go, that looks pretty good. So that's a really quick simple way, how you can put your image only your text. 23. Using Creative Effects: In this session, we're going to do something a little bit different. We're going to look at the creative effects in the effects library within the Edit tab. Okay, so I've already imported a clip onto my timeline, which is a pan. I'm just going to put an adjustment layer on. And we know all about adjustment layers, don't. We? Just make sure there's no fade in and fade out on this clip so we get the full effect and I'm just going to look down at my favorites because I've already created some favorites for this and I'm just going to pop this one on. Fantastic. So this is a pencil effect and look way it's done is made it look like a sketch if I just play with the parameters a little bit so I lengthen, strengthen the stroke and I just move this slide is a cross and again, get a feeling for yourself as to kind of what you like and what really works for you. So for me, this is looking pretty good. It's gonna play a little bit more. Yep, give a little bit more of a pencil effect in the sky change direction a little bit fantastic. That's really interesting. Creative effect when you're editing footage. And I can blend across the two. Fab and I've got all these key frames as well that I can use. I can key frame these effects that come in and go over the duration of the clip, for example, and have a look. Now it's struggling to playback because my MacBook is gain rather tired, bless it. Okay, let's try a new effect. Let's have a look here it is in my media poll. Okay, let me pull another clip in here. Here we go. Here's a chandelier. Let's pull this in my endpoint and my output and don't ask me why film The chandelier, you know, it's like when you're in the moment film in. Okay, so there's my clip and I'm gonna go to my Effects library that's Have a look, stylize them. Oh, this is interesting. Tilt shift blur. So this gives you the effect of depth of field. So you can blur the background and the foreground in different ways. And to get a sense that there's a little bit more to the image in there actually is a color image, but have a look at the bottom and the chandelier is now in the tilt shift, blow a range. And I can change these around, so that's on blurred. Now that's a really pronounced line as you can see what I'm doing and just fade that in a little bit there. Yeah, that's working pretty good. Fabulous. Key. You can play with these sliders forever. And if you're anything like me, you know, you're always finding new things in new little tips and tricks that you didn't know existed just by clicking through. Great. So I'm just going to change this to, oh, I'll just do a triangle actually. And just increase the strength a little bit. So you can see that she's down in the bottom country, just draws your eye intellect chandelier, a little bit more, mass spec, another clip, and we'll have another one of the creative effects via Alice. Pick this dough. It's not the best clip in the world, but I'll highlight the point that we're trying to make. So we'll just pop out on the timeline. And again, different ways we can do that. I clicked and dragged the inner Back to my effects and a watercolor. So if I just pop it on there and instantly look, it makes it look like a watercolor. So we lose a lot of detail like you wouldn't want to call out. So I can invert that gradient bad, but I don't want to do that. And I can just smooth that out. So we can we lose a little bit more of the detail in there. So that's another effect. And I can have that effect, the RGB colors within there, which is probably not the best one to choose for this, to be honest, let's get rid of that and let's click edge detect as always a really good one. So edge detected exactly what it says on the tomake detects the edges you're seeing. Now that's quite harsh and you might not want to talk a harsh. Let's just have a play here. Gos make it look a little bit more palatable when you're working in this and not so harsh. Azure, There we go. Look at this. If I turn the edge mask overlay on, wait, do I get my original clip? But it really defines the edges. So look at the light in the windows as a really great effects I love is I use this quite a lot, guys, as a really quick example of some creative effects. I will do some more. Thank you for this session and have a great day. 24. Using More Creative Effects : In this session, we are going to look at creative effects part two. So first of all, what we're going to do, we're just going to import the clips. So I've brought this clip in here, which is a slow motion clip shot on my phone of me on my bike. Okay, so what we're going to do it, which is an important adjustment layer above our clip. So the reason we do adjustment layers, because it means we can put lots of effects and I'll clip without slowing down the clip itself. So the next thing we're gonna do is we're gonna put stylize on. And that can be found in open fx in the effects library. Now instantly it gives me one called Candy, which is straight on there. So I'm not going to have a look at a couple of different ones. Okay, yeah, so that's an interesting one. And what this does by putting the effect on the adjustment clip, it means that you get the same effect, but you don't affect the clip itself. So it's kind of a similar idea when you're creating notes, when your color grading, you still get the same effect, but you're not affecting the actual clip. So I'm just going to have a quick look through some different effects and sigma I like, and then we'll export it will have a proper look. But what I like about this, this effect is that there's lots of different parameters. And it almost makes your film like animation and a really interesting stylized look, heads probably why it's called stylized, I imagine. Okay, so already I'm working off a MacBook Pro 16 gig of RAM and it started to slow down. And that's within adjustment clip. So just have a quick look at see some of the other ones in here. Okay. I think actually I think I quite like this one. And I'm just gonna have a look at the parameters yet. I'm gonna keep that as standards. So I'm just going to publish my deliver page. I'm just gonna call this test. There we go, and I'll export that and I'll just speed this up. Excellent. And we'll just import that straight in again and we'll have a quick look. So this is the stylize effect. So it almost makes my film like a painting, doesn't it? Wonderful guys. Thank you so much for today in this session, and I'll see you in the next one. 25. Adding overlays to enhance a clip: So here's a quick follow-up tutorial for the creative effects. So we're going to create this effect that you can see on screen right now. And it's a very simple effect and I think you'll agree at a really interesting dynamic. Now use this effect sparingly because it can become overused and overworked. But let's have a look. Let's see how we do it. And then we'll, we'll, we'll help you kinda effect. So first thing I'm going to use this clip, so this will be my top clip and as we know, this will be my bottom clip. As we know, dominion resolved uses a pancake system, so if it's on top, is visible and it hides everything. So we're just gonna go to the inspector window. And we're gonna go down here and we're gonna go look at multiply, wherever is it, devotees. So click multiplying and instantly that creates a really interesting visual effect. So what I'm gonna do is I'm going to increase the size of that top clip and just pull that across their ego. So very quickly we've created a really interesting dynamic effects or the bond click was shot at 50 frames and the top 25 guys Hope you have a good day and I'll see you in the next session. 26. Creating a Countdown timer: In this session, we're going to learn how to create a simple count downtime. So the first thing we're going to do is we're going to bring some text in. But notice we're bringing the text in, the little plus icon. That's a fusion text. Okay, so that's all my time. I'm gonna go to my inspect to a payload. And I'm just going to type in here. And I'm gonna just go right-click down here first. I'm just going to set time code. So I click that and that gives me a time code there. So this will form the basis of our countdown timer. So as you can see, correlates to what is happening. Tamar is on the screen. So let's just go your hand. These are the second one we want. So we're just going to write on and get rid of all of that stuff. There. There we go, and we go backwards to get rid of the frames there. So there we go. So that's my second. So it's going to increase that a little bit. Move across roughly into the centre. Now that I'll start adding up though. So it's working with the timeline and it's cantaloupe were going to correct that, so don't worry about that for now. The first thing we're going to do is we're just going to change the look of it if I go into this one. And I just have a quick play about here with the different color palette that's have a Luke. Luke, that's the background that changed. Let's just keep going down and you can see I've got all these parameters here. Just move across. I can change the characters and I can add a rotation. I can change the size, the width, the x value, y value, zed, value, etcetera. Move across to this one. We've got some special elements. So I'm just going to play with some different options here just so you can see well, what they do. So that adds a gradient over there with just that. And again, just playing around, just getting a nice lobe just for my countdown timer here. I'm not too sure about that. Let me go back to solid. They're excellent. And again, to have a play about for yourself and see what you can come up with. So that's definitely counting. So I need to do now is I right-click, create a new compound clip. We're going to call this timer. Excellent is we've got a timer and all I'm gonna do here is I'm going to reverse the time. So I want the compound clip. I right-click again, and I'm gonna go to my real type controls. All command are there. Just click down and I'm going to do is reverse it. So let's have a look. And there you go. That is a simple countdown timer. So this is great. If you're a crane, a film, or it has a holding screen, or you want something with a live event, for example, open that compound clip in my timeline. Remember I can't edit the timeline. So open that compound clip in my timeline. Remember, I can't edit the compound clip. I can only edit the timeline. Okay, so I'm just gonna move that OPE. And I'm just gonna go over here and we're going to bring some backgrounds. And so this isn't backgrounds I'd be working on for a friend of mine Show. And as you can see across there, as you can see, we can create some really interesting effects. Just to width countdown timer. So it's not just the time on a black background. It becomes almost like an animated sting in its own right. So again, this could be the beginning of a film or if you're doing a live show or a live performance, it could be at the beginning of the live performance to say genome, we're going live in 1098, etcetera. Okay guys, I hope you've enjoyed it and I'll see you in the next session. 27. Recording Audio in Fairlight DaVinci Resolve: in this session, we're going to look at how to record audio directly into Divinci result using the fair light tap. In fact, I'm actually doing it right now. Okay, so the first thing we're going to do is we need to select an input over here. My mixer. I select my import. So here is my video track there. See, I select that when I click input. So I have a microphone selected. So I select those two and I click patch That creates my import audio on maps it to my output destination, which is my track. So I just close that down. The next thing I want to do is add in effect, so I just go to the effects on I click noise reduction fair light noise reduction on what I'm going to do here is you have all of this functionality, but I'm going to do is I was gonna have a school. I'm gonna keep his default on. I'm gonna click the auto speech mode. So this will detect any strange noises as I'm talking like I am right now. Recording on it will fill to those out. Okay, here in my in the top right corner. I'm going to click the meters and just extend that view so I can see exactly what it is that I am doing. A voice over over. I'm gonna click the record button, but first of all, and it could be our on my audio track that tells the audio that I wanted to record to this track. All I do now is I clicked my record. Putin on. There you go. We are recording in fair light using the record feature. It's simple is that guys have a wonderful day and I'll see you in the next session. 28. How to Green Screen using Chroma Key: Hello everybody. In this session, we are going to be looking at green screening in fusion using the chroma key. So I've opened up a project and I've got some green screen footage here. And I've got some green screen footage that I shut off my iPhone. Let's just have a quick look. So that's the result we're aiming for. Okay, so let's just have a look at the source voltage. And again, I shot some my iPhone for my iPhone filmmaking course. So you'll notice I have this clip on video two of my timeline because I need to put a clip underneath there once I've got rid of the green screen effect and I will put my asked him marching logo underneath. I'm actually going to bring this up one extra clip because I'm going to put a second video clip underneath to show you how you can lay a green-screen footage. Okay. So I just popped my assay Martin logger on the need and you'll see nothing shows through yet because my green screen is still there. Right? So let's just mute audio tracks. Fabulous, lashes popping. Move that up there, and then let's just pop into fusion. Perfect. So again, I have my median in which is my source fatigue, and my median out, which is my output fatigue, which is here. So I'm gonna click meeting in. I'm gonna spacebar and shift and brings me this little selection to him and I'm just gonna click KIA Gray and I have all these different career options and I'll let you play with most of them yourselves. I'm just gonna click chroma key and just add that and that add a node in the middle of edge, drag that across so you can see there it is. A mine Specter has popped open with the information that I need. Okay. It's just have a quick look at this. So I've got several options here. So I can split colors, interact, filters on a, I can play with various settings. And so what we're gonna do here is as my color range as well, the I'm time. Second chance I just click across there. Just double check the color. Yeah, that's fine as fine. Think about Chrome. So I click with my mouse and I just click and drag and it starts to get rid of all of that green screen there. Again, you'll notice that the table still has some green on it because there was green. Oh, let's go back to our edit page and we can see that that green over spill is very, very clear in our image. So I'm just going to put a clip underneath this so you can see what I'm thinking in terms of layering clips. Okay, there we go. So we can have our different layers because our asked him Martin layer also has an alpha channel on less and it's going to nip over to the color page here for a moment and see if I can just bring this down a little bit. So I'm just going to play where am I looking at my color picker and pick that color. So now because I've got my color picker, that's the color range that we are going to be affecting in our colour panel. And I've got these options down here, as you can say, but we're not going to play too much with those. I'll let you experiment and see where you get to when you're in the color tab yourself. Okay, so that's the color range where working in, go back to my color wheel. And if I just pull my contrast a little bit, you'll see that it's just affecting that part of the image. Now isn't getting rid of it completely. So I'm just going to have a plagues If, if I go to the extreme blue UCI blue on the car there. So a lot of this is by I, so I'm just going to jump over to there and it's still there. So what I'm gonna do here is just increase this imagery is less prevalence. I'm never gonna get rid of it. And this moves. So it almost now acts as a border. So you can use these things to your advantage in terms of the way you create your look or your image. Now obviously, I wouldn't have an image of me filming in the background. But that's just to illustrate. You can add multiple images and video TO green screen effects. I'm just going to animate that little bit just by keyframe and drop back down. So the outcome in. So let's have a quick look. So we've got the car moving in and the SMOC moving down. Wonderful. And that's the original. And this is the new version. So I'm just going to have a quick play again because I've still got a little bit of green spill of S. If I go here to my curves and I just pulled this curve up and down a little bit of consciousness looking better already. So I'm just going to check my green scopes as my green scope. So let me just move this and there we go. So just dropped back down there to get rid of that green spill off. Fabulous. That's looking better already. Grades is subtle, but it looks much, much better. Thank you so much for taking this workshop guys. And I look forward to seeing you in the next one where we're going to look at different type of green screening. 29. How to Green Screen using Delta Key: In this session, we're going to look at a new way to do green screen individually resolved and the fusion tab. So I've loaded my footage up here, so I brought a green screen clipping that I shot on my iPhone for my smartphone filmmaking course. Okay, over here is the end result. So you notice the green screen has completely gone. Excellent. So here's my original clip. So all I'm going to do is I'm just going to pop over to the inspector and just increase the size of a little bit. Great. And I'm gonna go to the fusion tab. And I'm just gonna select my median intricacy, my source clip and I click shift in space bar, was the meeting clip selected. And that brings me this job and I just click the key of i1. So I'm just going to click here and delta care. And so all I'm gonna do here is I'm going to select the picker on the right panel and drag that across. And you'll notice instantly wherever that picks up disappears and I just let go of the mouse. Now it's taken the Greenway but is also taken some of the table away because there was green spill off. So we're just going to correct that in the color tab. So just click over to the color tab. And all I'm gonna do is go to myoclonus and just increase the contrast. And that just increases it and gets rid of that spill off there. So what we're going to announce, but just copy this Aston Martin logo and our Papa underneath and trim that to suit. And as you'll see, instantly, the green screen is gone and the Aston Martin logo is in the background. So that's a really quick way to use delta qi green screen with Da Vinci resolve. You could also do it with a different color because the color picker picks of the color I'm going to do now is I'm going to just put a clip behind it just so you can see. We have this code down of that. This one will do. So I just go to select an endpoint for that and I'll just drag that across. Excellent. So you also notice that I have, still have my lines of my table showing through. And in the next session, I'll show you how to mask this out. Guys. Thank you for today's session. I hope you have a wonderful day and I'll see you in the next session. 30. Masking your footage : In this session, we're going to look at masking inside of the color page. So by now you've already done the green screen sessions and we've realized we have a line across the middle to the bottom of our screen. So this is the footage here that I created in the previous tutorial. And here's that line that we are going to get rid of. So if I just quickly pop over which the diffusion tab, you'll see, there we go. We've got rid of all of the green, but this black line is semi-transparent and is still appears. So what we're going to do is we're going to get rid of this by masking. So if I go to the color page and I'm going to create a new node. So I right-click and I can go down here and add a serial note there. So that gives me another note to work in. Then I need to add an alpha channel, which I've already done. So I can right click out of that and click add alpha output, which is here. And I just drag that across and connect that. So alpha channel, there we go. Okay, so that gives me this really weird thing, but we're gonna get rid of it. So it's not an issue anyway. Okay, so I go to this here, my window, and I'm just gonna click the pen tool. And all I'm gonna do, close these down so I've got a little bit more space to see. I'm just going to mask out my TA. So I'll speed this section or because you don't need to see me masking out the car. And this is just a really rough job, so I'm just going to have a look. So yep, that's definitely gone. You can see slightly there's a black line above the carbonic acid. A little bit more clear, clearer once we put it over the imagery is just there. So not an issue. Just jump back into my color tab and all I'm gonna do is I'm just going to adjust. This is bigger and I'm just going to adjust these in to get rid of that black line. Again. Let's speed this clip up and I'll see you on the other side. And they have a virtually perfect. Now if I wanted to be uber pedantic, there's a little bit here that I could go back in and adjust, but I've effectively gotten rid of that horrible band in the middle and my car is now cutouts, guys, thank you so much for today's session. I hope you have a great day and I'll see you in the next one. 31. Mask Tracking your footage: In this session, we are going to be look at mask tracking. Ok. So I've shot some footage on my phone and I just imported it into the timeline and I'm now in my color tab. So the first thing we're going to do is we're going to create a new node. So we'll just click inside my node there. And here we go. Add serial node. There we go. So this is where we're going to apply our mask. So I click here and I'm just gonna click the square musculature just position now and just adjust the edges. You could use the pen tool, but it's just as easy. And if it's a simple shape like this, just to use the pre-built shape masks. Okay, yeah, so I'll just do it really rough financial, You get the idea. So there we go. So make them at the beginning of the clip and I just go over to the tracker window and I click Play. And it's as simple as that. So look all these wonderful OE tracking points that are repairing and it's just tracking the footage. And that's a pretty good job, a slightly out to little bit. So I'm just going to readjust. And in the top corner, just pull it in a little bit. Okay. And again, I'm just doing this really rough and I'm just going to click it backwards. So the wonderful thing about this tracking is you can check forwards and backwards. So even if you're in the middle of a clip and you are so eager to track, just, we're just not there. You're so eager to track. You can check forwards or backwards. Jim, back to the edit page and I'm just going to import some footage here. So there's the track. Obviously, I haven't put anything underneath it, so I'm just going to import something here. There we go. Find some footage allocation in this folder here, and I'll just select this one. It doesn't matter what it is for now. Yet Bell do. Okay. So that's the So I'm just going to bring that underneath. So if I'm going to I've created a mass on it, put it underneath, I just trimmed out there. So now let's have a quick look. So obviously it's not appeared yet. So I go back to my color tab and what I need to do is I need to create an alpha output. So I right-click add alpha output, and there it is, o. And at the end of my mouse part, let me just move my finger. Do that again. There we go. So that's created an out for output. And what it's done is created the upper around the Master, I go back to my window and I just invert that. There we go. Let's have a quick look in the Edit page. And voila, my mask is inside my TV. It's almost like I'm watching my TV. Guys. Thank you. Vote today that's been creating mask tracking. And I'll see you in the next session. 32. How to import an XML file: So in this section we're going to look at how you import an XML file. So XML files or contain a father has all the audio and video information contained within a folder structure. So the way we're gonna do this is we're gonna go to menu. I'm going to import file. But first thing if you import value of c, you can import the media from an exile, but we don't want that. We want to import a time line. So if I import this and I've got one setup here as you can see, with the XML sample again. So I click, so that contains all of my audio and all of my footage. So I'm gonna click that there and I'm just going to impala and watch what happens. So I get this pop up now with a set of information. So I'm gonna turn to resolve for the former and keep everything checked, this checked and just click map. So it creates a new tagline called sync sequence. And as you can see, all my footage is there. But that's the audio from the clip. If I scroll down, you'll see it sync all my other Oreo. So all this audio that was recorded separately, it sinks underneath that files. If I disclose to go up here and this mu that track there, a mu that track there. Now what I've got is I've got my video clip linked to my audio, people together and as you can see, all of my assets that do that now acts as a different session, but you now have to change clip attributes. Guys, have a good day and I'll see you in the next session. 33. Making Moving Masks in your clips: Hi guys. Today we're going to look at mask, particularly movie mask. So this is what we're gonna do. Have a look, it's quite quick. They go show and sharp, but that's what we're gonna do. Okay, so first of all, I need some footage. And the way this works is I need footage where an object moves across the whole screen. So it could be a travelling person which works really well. Are you could be moving your camera against the ball odd for example. So here's the fatigue m is going to trim this down so we get the right length of shots. So that looks about right. I need to put that on line Video line number two over the footage that I want to mask over. So I'm just going to video stabilize this a little bit just to make it a little bit cleaner and easier. Fabulous. Okay, so next thing we need to do is just make this a little bit longer. We go, zoom in a little bit and just pull it across. And don't worry about the little check with his hood. Oh, we're gonna mass came out anyway. Ok, brilliant. So first of all, I go to my page and I select the clip that I'm going to mask, and I right-click in the node and create an alpha output and then just drag it across. So that now has an out for output. Then I go to my muscular window and go back to the middle of my clip. There we go and just click the Pen tool. So I'm just gonna create a mask around the shape of this chap. But what I want you to do is make the mass bigger than the screen size. It'll become apparent in a moment. It you saved, you're juicing it later on. So here we go and make him my mask. And the reason I've made my mass bigger than my screen sizes, because this mass is going to travel across the width of the screen. So all I've done is I've just inverted my master. Everything inside the mask is transparent with my alpha channel. So all I'm gonna do. So all I'm gonna do is I'm going to move my image, cross a copper frames and mass insufficient introducing my keyframes, click my corrector. That gives me the starting keyframe. Then all I do is I move my image across a couple of frames, and I just move my mask to suit it and move it across a couple more frames and put my mask to Sue and so on and so forth so I can adjust my key points as we go. And I'm just doing this really rough. I will have to go back and make it a little bit smoother in a moment. But I just want you to get the idea to ECOSOC trying this yourselves and you can start creating your own really awesome masks. So because I started in the middle of my clip, I also have to go backwards and do that at the end of my clip. So let's just scroll backwards. You can see my mask is moving and that's the point where my mask stops. So obviously I move my mass spec, find my point. There we go and again and again until all of my masked object as left the screen. So he is traveling across the screen or wherever my objectives again, whether it's a moving camera going to pass a static object, this will still work the same. Okay, so that looks like he's across. Let's just increase the softness a little bit, just to unsharpened those edges. Let's have a quick look. Okay, and it's like an OK. So as you can see, that mass comes off quite a little bit there. So let's just go back to my color page. You zoom in a little bit and let's just refine this a little bit more. And I'll just speed that. Oh, okay. Yep, that looks pretty good. I'm just gonna give this clip a little bit of a colour grade because that's shot in log. I'm gonna do a really quick one just so we get a sense of a bit of code there, so it's not too dark and so on. And this is the beauty of shooting logs. I can increase all the settings in post-production. Okay, let's just have a quick look. Now. That looks pretty good to me. So guys, that is how you create moving masks individually resolve. Please do try this. Send me what you've got. I'd love to see it. And guys, I'll see you in the next session. 34. Changing Audio from Mono to Stereo: In this session, we are going to look at turning mono stereo into audio. The first thing I'm going to do with this track, cakes is quiet. Quiet is I'm going to normalize it. So all I need to do here is I right-click the track slideUp and I click normalized, and then I get a set of options. So I can do the sample peak program, which is what I'm going to stick with or I've got other options and I'm going to keep it at minus six decibels. So that's my audio normalized and that's a really good thing to do when you're trying to get a level of all your audience. Okay, the next thing to do then is just pull this down so you can see it. Right click and go to clip attributes and you'll see that it's mono and it's an embedded channel ones. If I click that and click Stellarium and just make sure that is embedded channel one got left channel and the right channel there. And they go, that clip is now stereo. So that's a really good way to change from 10 to stereo in a clip. Now what if I've got lots of clips? So in my media bin, I deselect all the clicks, right-click clip attributes, and I do the same again. So I go to my mono settings here, stereo embedded channel one and click okay, and that is how you turn a mono channel into stereo channel. 35. Make your footage look like VHS: In this lesson, we're going to look at how you make your footage book like oh, VHS. So for the purpose of this session, I am using some green screen footage. You don't need to use green screen footage when you do this. This is just a products have been working on at the moment. So it's the footage I've got to hand. Okay, so the first thing we're going to do is we're gonna go over to our Open effects. I'm just gonna go down and I'm just looking for let me see if I can see. It's right down at the bottom, I'm sure. And it's an analog plug-in. There we go look analog footage on the resolve FX textures on there. Then I go over down here again and I'm just going to look at what else is on the Nope, absolute squared. That's just what I want for now and we're going to pop over to NIH inspected, opened the effects and you see all of my parameters are here. So the first time we got to do is increase the vignetting and the VGA aspect and play around with these settings here. So again, this is just a system where you can play around, you've got full control and you can find a really works for you. So I'm just going through them now so you can see what they all do and you can see the real-time effects that, that's having. So obviously, I don't want to make that transparent because I'm working with green-screen footage. But we'll keep loci will keep playing. And as you can see, what's happening there is my own delay footage is coming through. That won't happen if you don't have green-screen footage. I'm just going to keep playing with the settings here, this moving these open down just to make sure that I've got the I want to guess it. Look, if I turn that off, you can see already it's making a difference. And sometimes when we do this, it's hard to see that there's a difference being made. And what I'm gonna do now is because mine is absolutely affecting the footage. I'm going to do it as an adjustment layer. So I'm going to bring that open affects clip down then analogue damage equipment or Papa on there. I'm just gonna get rid of it from my underlayer. So this way affects all of my footage because if I just put it on my green screen footage, what you'll notice is it only affects the sun. So it's also really, really good practice to do these effects on adjustment by as anyway, because that means you can affect your whole timeline and not have to do this every time. One of the annoying things about Open FXS is you can't just copy the finished effect across very easily. So if you do a 100 and adjustment layer, you can do it once and effects everything. Okay, back to our inspector window. And I'm just playing around with these diodes across here just to make sure I've got the footage you can see I've got a little bit of camera shake in there. There is absolutely a plugin here called VHS. What I would do personally is I use this part of the program, but also use the other ones as well. Just to give you a little bit more grain and a little bit more texture when you're creating your VF x effects. And as you can see, I'm just pulling these two extreme so you can see how it's affecting and splicing individual clip. Oh, I think that looks pretty good. I don't know. If you're like me, you remember having a VHS in the machine to watch a film. But this looks pretty realistic if I turn it on and I can see exactly what's going on here. It's amazing to think how we cope with this nowadays. Okay, everybody, that's it for this, making your footage of like VHS session. If there's any other lessons you'd like me to do, let me know. Otherwise, have a great day and I'll see you all very soon. 36. Colour Grading Raw Footage : In this session, we're going to look at color grading raw footage. So basically what that means is if you show your footage in a row format from your camera and you're using divinities of there's a really simple way to get really quick catalogs Lama through your rushes to get out to your client or maybe just so you can see what it looks like. Ok, so let's go down to the bottom of the color tab here. And if you click this little camera icon and it says camera row, you'll notice I've got all of these options, but they're all great apps. If I just click Clip, challenging to say, and I go down and I can click highlight recovery and I can apply the I filmed in. Now already. That looks pretty good, but let me show you what the options. So if I click here, I can go up and I could choose rec 709, which is a very popular color palette to work with. And I can adjust my exposure and the tint and the color range. But what happens if I want more options? So my gamma controls, for example, which is still grayed out over here. And I'll get to that in a moment. But as you can see with this, I've still got functionality to play with, so I can jump over to the color wheel and so on. But if I go to rec 700 and again I go up and I click black magic custom design because I shot on a black magic, you'll notice that the gamma controls now are on grade. So I can play with all of these controls and create a really simple look before I dive deep into color grading where I create 0 nodes, et cetera. So that's a really simple way to get a really good quick color profile from your camera using raw footage. Once I've done that, I can then start to refine my image and start to gaze, looking how I want it to look, and really create an interesting, stylized look for me depending on the type and the style and the genre of film I'm creating. This is a documentary about drag kings and queens that I'm currently making. That's why I'm using this footage and I will do for two or three tutorials for you. Okay guys. I hope that's been useful. Have a great day and I will see you in the next session. 37. What is the Colour Picker: In this session, we're going to look at the color picker inside of the color grading tab. Okay, so I have my footage here, which is an interview. So I'm gonna go down here and I'm just going to check the white balance. So you'll notice there's a couple of different color picker. So the one in the bottom corner there, the white balance. If you just drag that across your footage, you'll see different y values. So that's what one color picker. So we're just going to pop up back there because I don't need that one. So also we're going to go up, I can auto color, but we're not gonna do that. So first I created a serial node, which is option s If you're on a Mac. So created a serial No, because we don't want to affect the actual original. And all I've done is I've clicked auto color. So that gives me an auto color. I've created a new the serial note for my next color grade. So it's an I click the color picker. And what I'm gonna do is I'm gonna select a color I want to enhance. I'm going to select this hair here and you'll notice that gives me the tonal hue, saturation, luminance range. So watch what happens now. Okay, so I'm just gonna adjust the contrast and I'll do this quite harshly so you can see, so is only affecting the color in that color range of that hue saturation and that luminance when I adjust the parameters. That's why we use a separate serial node because we can always go back. So if I don't like what this is, I can delete this node and I haven't undergone lots and lots of work when your color gradient, for example. And again, I've got all of this functionality across the board. So as long as that serial node is selected and you can see selected because it's got a red square around a, I can play around with my color grading tools inside of the color tunnel. And it's non-destructive in that sense. So it's really useful and it's good practice to create different nodes for different parts of your color grading sequence. Okay guys, I hope that's been useful and I will see you in the next session. 38. How to Change Colours: In this session, we're going to look at how you can change a specific color inside of the color tab bars show doing your editing of your films. Ok, so I've got this interview set up here, and you'll notice I've just created a new cereal. Nope, if I hover over the node, you'll notice no color correction. So that's telling me nothing has been added. So I've got my raw footage there. So I'm just going to come down here, go to my clip, and I'm just going to give that a quick look there so you can see that's given a very simple color graded look. Okay, so that's great. So what I'm gonna do now is I've created a new cereal note for my next bar. And this chair here, I'm just going to make this a little bit more just as an example so you can see how you can change the color. So I've got my picker and I've selected that colonial notice in my note here, everything's great out, Bob, that color. So let's just have a look. There you go. Obviously that's an incredibly extreme example. And I'm just gonna play around with these hedges. So you can see now you'll notice if I go really strong, her cheeks and started to change color as well. That's because there is some red inside of her. So inside of her makeup and with a life is a little bit of red over spilling their boat. What you've, I think you'll find really interesting is I don't just have to change or boost the red color, I can change it. So you've just seen, I've changed that quality green. So again, with a little bit of practice in a little bit of fine tuning, you can really enhance these colors and really play with different effects. And as you progress on, you can really start to get really interesting cinematic looks, for example, like the sin city look way so black and white. And they just highlighted the read. In fact, I might do a Sin City tutorial at a later date to accompany this color picker one. Okay guys, I'm gonna keep playing with this, but I hope that's been really useful and I hope you guys get to understand how this works and I'd love to see what you guys create, so please do, share it with me. Otherwise, have a wonderful day and I'll see you in the next session. 39. How to add Subtitles: In this session, we're going to look at how you add subtitles individually resolved. Ok, so the first thing we're going to do is we need some footage. I'm just going to use a tutorial clip from one of the previous sessions that you will have done. So I have my footage and all I'm gonna do is I'm going to, I have a subtitles and already selected in my favorites. But if I go to my Effects library and I go to my titles page in Vasco, scroll right down to the bottom. You will see the I have subtitle. Subtitle. So all I do is I tracked by in OOP, today's excuse me. It doesn't seem to want to add. Let me just try that again. We count. There we go. Okay, so let me just move that across. And that is really simply how you add a subtitle. However, you can adjust that and you can change that to your liking. So I'm just going to write subtitles. Go here. Excellent. So we have that and I'm just going to click Add new, go to the end, add new. And I'm just going to add a new subtitle here, so I'll just put another subtitle here. Fabulous. Okay, so that's how we add subtitles. And one goes into next and you can extend them cuz you get the same handles. But if I go to Tracks style, I can change the font very simply by selecting that. I can change the color. So it's cumulative. Options. Have nice blue there. There we go. And what else do we have? An ice block. There is click OK. There we put it back to why? Because we can see that for the purposes of this tutorial. Okay. I can adjust the size of my subtitle. Actually the line spacing, all the functionality I have when I'm adding all the titles. The other thing I can do down here is I can transformers, I can move that up and down. I can also shadow when I can also change the stroke. So look how effects as I go up and down a slide it and then I can add it back on. Now, I like to add a background into my status, just makes it pop from the actual video. And I'll do this really quick so you can see and you can create that. So it's semi-transparent as well, so you still see the clip behind it. So like guys is, are you really quickly add subtitles individually, resolve. Have a wonderful day, and I'll see you in the next session. 40. How to Multicam edit: In this tutorial, we are going to account multi-camera editing. So the first thing I need to do is you need to pull all of my clips into DaVinci Resolve. So I have three clips here and buy half an audio track. What I've done is I've also setup a multi-camera folder, so is much easier to find all of my footage. Great. So once you've imported your footage, but we need to do is just check all the frame rates and settings are the same. So first I'll check my audio. So this is a 57 Miniclip and it's a linear PCM. Great. And an unchecked my first clip which is called little darlings R12 camera 103. So that works and it's bro file and it's 4K is over. The next one, little darlings run to camera 203, and the next one, little darling is 123 or three and all the settings lineup, so that's great. So what I'm gonna do now is I select them all right-click and I go create multi-camera sequence. And I'm just going to name this. Let's just have a look here across the column multi-camera. So I'm going to start mine 00. It starts by default. I'm going to check my Oreo sink points. I'm going to go for the in. And so the angle I'm going to go for is metadata camera because I liked your karmas books, have a plague. Click OK, and my multichannel Eddie is there so you can see it's moved microbes into divisional folder except one which and I'm having issues with the sink point on bus, so I need to investigate that. But for the purpose of this tutorial will leave the hour. So I drag my multi-camera sequence into my timeline. So there I go to my viewer and I go down and click multi-camera. That's really important so you can see all of your angles. I'm going to play my film and all I'm going to do is switch between camera angles. So I'm going to speed this process o to so you can see, so I'm going to skip opened down a film so you can see those codes happen in real time. So I'm clicking here. So I shut. Bro, So it's a 57 minutes show. And each one of my clips is a 135 gig. So it's quite a hefty file. So my computer is sugar in a little bit exam just working off a laptop. But you can see it's coping quite well with everything considering its huge files. And obviously I had three clips. So I need to investigate by that third clip hasn't sing. And because I use the endpoint is saying, I've got a funny feeling that the input isn't set. That's not too much of a problem because I can go and do that afterwards. Okay, so let's just have a look at this clip over here. So say I have my editor over here, and I'm not a 100% happy with that. So I might want to come back into that later. So I'm just gonna check right now, everything is very shallow space. I'm just going to change the color of that clip where within their West clip core devotees. So I've just mounted so I can come back later and just play with that clip because I know it's there, but what I'm gonna do now is I'm just gonna do a really quick row edit just to show you, you can change the edits without having to go back and in your, in your timeline and click everything. So all I do is hover my mouse over and just drag it across to the side. And that gives me a robot. So I've got so full functionality in my timeline as I would if I was editing a non-motor cam clip for example. Alright guys, I'm just going to simply made this really small for some reasons. Let me just make this a little bit bigger so we can see this. Increase my time on. And I'll just click here and I'll go. 41. What is auto detect scene cut: In this episode we're going to cut the auto seen detect feature. So imagine you've already got a finished film. So I'm going to do is I'm going to bring a finished film here into da Vinci result and say I need to do some additional edits because I've just got this film given to me. It was an absolute pain to go through and to cut it all up individually. So we have an auto seen detects. So all I do is I import my film file is located that bring the end. Then I right click on that and seen detection. And I just clicked that auto Cinco and analyze my film and they'll go through it. And I'll highlight where it thinks all the costs could be. Now disclaimer, this isn't perfect, so it does miss some. So I would recommend that you go through them and double-check them. So for example, if I just move this across here, you can see that's definitely a coat. And it's got a couple more down there. That's definitely CO and we'll just move across the n-ary things. Does it cause it didn't quite work out that that mask transition was. So I can find that then I just click Add or I can delete codes by. I'm going to add my go through yet another things, but it's not shows it's given me a low points. I'm just gonna go through that and at that. Great. And as you can see already, even though you are having to go through the scenes is much quicker and having to each scene individually. So just going through that, we're just checking. And again, I would go through all of it and just check to make sure that the costs of s. So I've used my promotion of film here. So there are some fancy editing. Chinese is not quite found all those is much better on straight coast and fade cups for example. But again, it's worked out quite well, is giving me an indication of where things are. So once I've completed my assessment and I've gone through and I've double checked and I've added any other necessary costs in there. I just click Add Media IPO. And I'll change the frame rate. You see different frame rates. So I've just done not close this down, so they will go and all of my scenes are there. So all I do is I just select them all. And right-click and create new town and using selecting quips. And I'll just give it a name, has a test. There we go. And all of my scenes of a hold that's been really useful guys. Have a wonderful day and I will see you in the next session. 42. Recording a Podcast in DaVinci Resolve: In this session, we're going to edit a podcast using Da Vinci result. So the first idea is I import my audio. Now I've recorded my protest on two microphones. So one for myself and one for the person I'm interviewing. So I should have two tracks. Now that means that each person's voice is on the podcast twice. So one of my microphone, one on their microphone. So what I need to do is I need to cut my microphone out some just finding the audio right now. Great. Nicki, see this very clearly on the wave, on the differences between the microphone. So obviously one of them has got less waveforms in them and the other one is got most of the one with less waveform is myself. So I'm just going to color-code B's. So blue for my subjects. And what course shopping for me. Great, and yellow for me. So that way it just makes it a little bit easier. So I know who's who and who's wall. X ends up plays really well. So I'm just mu the undisturbed check mine. Just the beginning of because I made a bit of a mistake there anyway. So just do my basic trimming in my Edit Page. Yep, that's wonderful. Ok, let's do poverty fell by brings. I'm just going to adjust these may these biggest I can actually see where it is. I'm doing an all I'm doing is I'm just dragging the handles at the bottom and just making the wave forms a little bit bigger just so I can see them. So the first thing I'm going to do is I'm just going to make sure I've got all of my effects and everything I needs. I was gonna go to my audio, one of my audio to, and I'm just going to add my effects on there. So that's it. De-noise. First of all, just to make sure that any background noise is taken out there. Now I've used plug-in de-noise from isotope, but actually the 1 billion DaVinci Resolve is phenomenal and I switch between the two, To be honest. Okay, so I'm just checking my levels here, right? So all I'm gonna do is I'm just going to start cutting through my audio to cook me out of the room microphone and my subject out of the room micron. So by that I mean, cook me out of their microphone and then I have my microphone. So I'll just speed the subnet. And as you can see, all I'm doing is I'm going through it and undoes, cutscene the audio and under scrutiny at the base. So when you're working with audio is quite a long process and it takes time. So you've really got to listen to what impact you make sure you put the right points and whatnot. But I'm telling you this, you know, all of this. Okay. So I'm just working through a trimming, chopping. As we need. There we go. And you'll notice a keep jumping back into the edit page. That's because I'm looking at my track and it's telling me that it's a stereo. Track one is linked to track too. But on track one is quiet, quiet on my subject. So all I've done is I've come back to the edit page and I've linked track two to track too attractive, check one. So we're using the loud audio. So when I normalize that, I'm getting sound both speakers and not just one speaker. Now I have said no, had that issue be focused normally, track one is the one that has the decent audio level and we link of that. So I must have got something wrong in my settings on my microphone, but actually dead easy to resolve, that easy to fix. And as you can see within here, I've also got my master's settings the I'm playing with as well. Okay. So let me speed this up again. And all I'm doing is I'm just going back and it's double-checking everything, making sure I'm trimming the Eclipse so there's no dead space, so there's no additional noises in the background. Or there's no overlap really under smoothing the edges in sums, adding little curve just to smooth those transitions energy can save, doesn't instantly stopped that. It just kind of fades and fades back-in. So just tighten and every theorem, great. So that looks pretty good. Just double checking. So now all I'm gonna do is I'm just going to check my master and just make sure that my master, which affects all of my tracks, remember, so all of them in the timeline. My master track effects, all of those. And what I should say is I've also put an EQ on each channel. There we go. So I've just gone and I've just playing and just listening. And I'm just moving these key markets just so it gets a slightly fuller sound. On Ajahn Chah just feels a little bit less Daddy, This is a little bit more rounded, a piece of audio. And I'm doing on each individual track, I could do on the master track, but I'm just doing on each individual one. For now. Sounds really good. What I'll do is I'll give you a sample at the end of this tutorial so you can hear, You can hear the podcast. And what I've done in terms of the audio. So all we need to do now is we need to export it. So I got my deliver tap and I just named my podcast, which and I want it to be audio only search for to the Audio tab. And I name it as whatever the name is, so minus called dazzle podcasts. Now normally you export this is adopt by file. I'm gonna export as an MP focus. I want to do some visuals with it later because I'm also a digital artist. I want to make some digital artwork out of the audio, but normally you would export it as a Galois. So here we go. Just change my export folder and we go and all we do is that scenarios ready? Click my audio. Here. We got m by default is Quick Time. And again, you would change it to wealth unless you want it to be a video file, for example, which in this case I do. But unless you do, then do it as an audio file, an unlikely Expo. And it's exploiting and our podcast is ready to publish. So I've got a free app called anchor, where I'm going to publish my podcast. So I'm just going to jump over into that app and really quickly show you how to use it. If you are new to podcasting, you don't have a platform. You want a podcast on ANC is really good and it's free. Okay, great. So I've just open anchor on my iPad. You can get this obviously on the web, on your, your laptop and so on. But first of all, I do is I open it and I have this interface with niche. It has meditate. It gives me a little space for my podcasting and I get all these options down the side. So I'm going to quickly do this. I'm going to type in some sounds. Start my podcast. And I've gone cold West, which is not in S. I got my interludes. And if I just type in the sound by I1 grade US debt and all I do is I click the add Bird. And that then plays my sound. Excellent, which you can't hear right now. Obviously baptize my sound. And then what I'm gonna do is my favorite jam ILO folder. Oh, actually I can record this with friends as well so I can set my freshman, we can record a podcast series up. I'm gonna go to my sound library, which I've imported some audio and at the bottom is my pocket subjects don't, so I just put plus, I click the n. I can also add background music. I can edit and the audio itself so I can change the length of the audio and I can probe is out so I can almost Eddie in this app as well, but I prefer to edit my order individualism as we know, hence this tutorial. And once that's done, I can play, just make sure that everything's working as it should. I'm missed anything. I won't mistake in anyway because I would have edited all of this inside of trenches of I can edit the Odeo. So I'll just click this button. The audio. It takes a little bit of time obviously, but I'm not gonna do that today. So get rid of that. Then all I do at the bottom, if I'm happy with it, I click publish. And that's it. You're, you, you put your if blurb in and your podcast is published to the world guys IQ for today's session. I'm really glad you're here doing this with me and hopefully I'll see you in the next one. Welcome to the decimal mental health covaried 19 podcast with me when stables. Today we're talking to Clinton and how Clinton has minuses, mental health, German lockdown. 43. How to Batch Export : Hello everybody. In this tutorial we're going to look at how you can batch Expo your footage. So if you have lots of different timelines that you want to export all together like I have here. So I've got a series of timeline for a dance participation workshop I've been filming. So I want to export all of these ones instead of duty individually, what I do is I go to my deliver page, add them all to the render queue, select the top one, and then I'm gonna go down individually and select them all so they're all highlighted. You'll notice there's a wide border around each one, so let me just go down. So there are about 16 of these, which is why it would be a real pain to do each one individually so that all selected and I click Start render. That will now render all of them. So it won't just printed the first one and stop. It will render everyone in sequence. So I can go grab a coffee, go get a sandwich, do whatever it is that I'm doing while this does its job. So I'm just going to hang phi here just a moment to show this then render so you can see exactly what I mean. So you know that this actually works. The tutorial. Now as you can see, my timeline is going across vast rendering server 8485 and so on. So nearly finished. So there we go and render and watch this as if by magic is going to start the second render straightaway. Okay, guys, hope has been useful and I'll see you in the next session. 44. Exporting an Alpha Channel: In this session, we're going to look at have you explore an alpha channel individually result. So I've got this animated logo here. We're going to use for a project where we're projection mapping. And I need this on an alpha channel, so it's got a plaque background as you can see. So it's quite tricky with it. Vinci resolve working in an alpha channel. But let's figure that out now. We'll go through it and I'll show you how to do it. Okay, let's work out how we exploit this with an alpha channel. So we know I have my logo here and I need this amine alpha channel as I've just mentioned. Ok, so let me go to my deliver page here and what I need to make sure I select so I've already pre, don't they? So I've got my logo alphabet. I've selected GoPro since reform and RGB 16-bit. So there is there as my export settings, 24 frames, but no alpha channel. So I need to go here and select individual clip. Now watch what happens in a moment when I scroll down. The reason we select individual cliff is DaVinci Resolve alone time with an alpha channel. So let's go down. There is look expo alpha, sorry slight that I can also change the alpha mode. I'm going to go straight. I can change the quality and I'm just gonna go from medium for the purposes of this tutorial. There we go and listen to change my location where I'm going to export it. Just drop on my desktop at TRND queue. And you'll notice it's put lots of zeros on the end of my name is I don't know, I just arbitrarily honest. But it's a good way for us to find the anyway, cuz we just looked for lots of zeros. So that's export in now. So I'm gonna throw, and something really interesting happens when you explore an alpha channel from DaVinci Resolve. So just find a ego and logo, alpha 000, etc.. But it doesn't give me a preview, but just look at the file size on 400 megabytes as a 30-second clip, but as definitely gone Alpha channel, I can assure you, let's try a different way to explore alphas. I'm just going to find my snow. There we go. I got some snow. The I've animated that. I want to overlay over some footage. So what I'm gonna do is I'm going to make a compound clip because economics, but one individual time, remember, so we'll name that snow. There we go. So there's my compound clip. I go back to my deliver page. Just change that to snow alpha so I know exactly what it is. Of course it'll have zeros on the end, so I'll find it quite quick. Go down here and I'm just going to go to the DNA and HR 10-bit individual clip. And there I can then export with my alpha channel. Okay guys, I think has been really useful. Have a great day and hopefully I'll see you in the next session. 45. DaVinci 17 colour warper: Hello everybody. So those have moved to the Vinci 17. I'm doing a series of tutorials with the improvements. I'm not gonna do a separate cost because you've already paid for the course and lots of things are the same. There's a few different tweaks. Okay, let's move on. So we're in the color page and I've got my images here. So I've just selected this which is Blackmagic RAW or as you can see. And I've already adjusted my clip settings, so let me undo them so you can see what the log books like. So I'm just going to reconnect all of these and put my lot on it there. So I just give me a base level to work with. So what I'm gonna do is I'm going to make it a little bit brighter in the sky. So I'm going to create a Serial Node And we're gonna go to my HDI here, and I'm gonna go to global and just make that a little bit colder for everything. So that's in HDR, so that's a new feature individually 17, right then let's keep moving forward and we'll do the next thing. So look at this tab here. It's called a color walkers. So whenever I get my eyedropper watch, what happens when I drag down. It instantly changes in the color warpath. This is fantastic guys. It's an absolute game changer. So I am just want to affect everything in this color scheme. So if I just go back now and I just move that ever so slightly. And I'm just adjusting the blues. Fabulous. I'm just going to go over here and look at the shadows over here in the black. So I'm just going to do the same with the shadows. And as you can see in the color Walker at the bottom, it corresponds with that point on there. So let me just get this black jumper. And you can't go crazy guys. You can't go to vote because it will destroy everything. But this is fantastic for little tweaks and he absolutely improves your workflow. Have a go, and I'll see you guys in the next session with more of days. 46. Apply a colour grade to all: Hi everybody. In this session we're going to look at how you can apply a color grade to multiple clips. So you'll notice on this color gray timeline, I got lots of clips there at the same. So this is an interview that I've cooked between, so it's different focal lens to the subject. Now this would be a mega job. In fact, color grade every one of these. But don't worry, there's a really great way. So the first thing to do is get your raw data where you want it. So I'm just gonna put mine at Rec 709. Now that's quite warm. So I'm gonna do a super quick color grade just to emphasize what it is that we're doing today. So I'm playing with the hashtag curve. So this is in the updated Da Vinci 17. Okay, and again, I'm just gonna be really quick. I'm not going to be too specific about what this actually is. Obviously, if I was doing this to deliver to my client, I would take a little bit more time, but the purpose of this is to show you this technique in this tutorial so you can use it within your work. Okay, Brilliant. So that's looks all right, so what we're gonna do next is we're going to select all of our clips. Let me turn this off. We're going to select all of our clips that are shot in the same vein. So all of these, and then it will reapply all of the settings, ill even apply the rural settings to what we're gonna do here. Okay, so let me just go across and select all of these clips. So just select all of these, great. So I go to my first color graded clip, and I'm going to click, right-click and select Apply Grade. So what that will do is that well applied the grade to all of those clips I've selected. And as I mentioned earlier, it even changes the camera raw data for you. Okay guys, I hope that helps and I hope you have a wonderful day and I'll see you in the next session. 47. Export in portrait mode: In this session, I'm going to show you how to create a 1080 by 1920 timeline ready for social media, so for example, for Instagram. So you'll see this video here is 16 by nine, so it's filmed in HD widescreen. So what we're gonna do is we're gonna go over to the cook page. And we're just going to pop up over here at the top of our viewer. And you'll notice there's a little drop-down menu. And we'll click that and we'll change that to portray 1080 by 1920. So that's given us our canvas. So I need to do now is increased the size of my clip so it fills the entire space. Now what you'll notice is I have to do this with every clip in my timeline. So that is a little bit annoying, but I promise you it is absolutely worth doing. So. I'm just going to go through all of my clips and just increase the zoom on them so that they fit within this new speed, the video up here, because you do, you know how to do this now you don't need to watch me. Do we owe? Once I've done that, I'm going to go to smart reference and just click reframe. So what de Vinci we'll do now is it will work all of that town and it will reframe every clip I've missed one here. So let me increase that and just read it as processing. And actually I'm going to delete this clip, so let me delete that. Okay, so just do a check in there or reframed and that's pretty good. Apart from one clip here, the hands go out and I want the hands in the center of my frame. So I just need to isolate which clip that is because I've got a stack there. So just double-check. It's not that one. So let me go to the one below. It's not that one. And of course it's the bottom one. So let me just double check. Yeah. And I'll just go down there. And what I'm gonna do is I'm just gonna move that across into the center. Go back to Smart Reframe instead of auto, I'm going to go to a reference point and click reframe. So what that will do is that we'll see the hand as a reference point, and it will keep those in the center of the screen so it won't drift off or go out to the eyeline, for example. Okay, so that's done. Let's just have a really quick check yet That's wonderful. Now you'll notice this is quite a tricky timeline to work because there's lots of overlays and it handles it really, really well. So I'm just going to double-check that in my edit page up. So I go to my deliver page and I just type you want my films call to this is compound dance, which is a dance company that I'm working with. And I add to my Render Queue and I render that out. So I'll just speed this up now. And once that's rendered, you're ready to share your film on Instagram or Twitter stories or LinkedIn stories wherever it is that you use in terms of social media. Okay, guys, hope this has helped and I'll see you in the next session. 48. Editing a Dance Film a real world example: In this session, we're going to look at. So all I've done is I've just speed this up using a real time curve. And there is a real-time curve tutorial in this series which you can check out for yourself. But basically this is my version, one where R create a draft edit my film, exported, have a locate, See how it flows, see what's working, what's not working. Then I will then go back into the ID star a little bit more of the finer adjustment and adding effects. And we really, really developing the flow and just making sure that it starts to work as a dance film. And then we'll go into the color tab, which we will do together as part of this course. And as you are going to develop and learn during your editing experience, you'll find that a lot of editing is looking at clips, putting them together, trying things out, making sure that there's a rhythm and a narrative emerging throughout that thinking. You've got a Joseph, et cetera. Excellent. I think we're almost there with this Rothko. Let's have a look, see wherever. And in the next session, we'll look at some effects and the fine edit. Right. 49. Editing and exporting a Dance Film: Hello everybody and welcome to this editing a dance film part too. So I know you've already seen this timeline. So this was version one. So what I am going to do is I'm going to edit it into version two. Usually for me, that's mostly about making fine adjustments, changing a few clips or potentially adding a few effects in stabilizing some clips, et cetera. So I'm not quite happy with this clip. So I'm going to look at an alternative clip and I'm just going to change that around. So what I'm really looking at doing is trying to create a flow and a narrative with this film. So normally I shoot film anaerobic biofilm. So I've got a good sense of what kind of footage I want to put in heat by shot this film a couple of weeks ago and it's been a little while since I've looked at it. So we're just going to have a quick look through some fatigue, maybe see if anything jumps out and pop it in and then have a look, see if it fits between the clip before and after it. I'm just going to speed this up here. And what I'm doing with these clips is I'm just trying different ones. I'm trying different combinations, making sure that it fits with the one before and the one after. Maybe just tripping them up to tighten those edits a little bit. And what I'm also going to do is I'm also going to try a couple of clip overlay. So what's where one clip goes on top of the of the clip, as I know, you know, because you've done the overlay session if you've already got to this point in the tutorial series. So let us just have a quick look at what that would like if I overlaid it. Clip. Here we go and I'm just going to add a crop. Yeah, that looks pretty good. It looks interesting and in a sense of depth within my footage. And I'm just going to move that across because that is it follows on from the clip this afternoon. So I don't want him jumping across the screen, but why do want him to be in the same position? So he might go from a faded background to being at the foreground of the shots. You just watch that back there and hatreds. And now obviously that's a sharp curve. So I'm going to have to pull that clipper crushes polar in there. What happened? So that's gonna go to black. And what I don't want is my, my viewer to see that coastline. So I'm just gonna pull across there. So just moving that. So that's a much smoother transition there. So we'll leave that for now and I'll keep going. I'll keep trying new, new combinations and move in the clips in and out. Because I shot this for k And I'm delivering at 1080 P, I have a 1080 timeline here. So I have the option to zoom my footage in four times the size without losing any quality. And that's really one of the main advantages when you're shooting in 4K and delivered at ten ATP. I show all of my footage at 4K. But the downside to doing that is you have to have lots of hard drives. So you have to have lots of storage space. So if you're thinking of starting a career in film or you already work in film and you're moving to a different editor, genome. Think about building the cost of a hard drive or the cost of storage into your price really. Because what you don't want to do is you don't want to film all this footage in beautiful 4K and then be out of pocket when you're having to spend by an extra hard drives. Alright, great. I'm going to speed this up again here. And then we'll jump back in, in a minute when we're ready to Jupiter the color page. So I think this edit is pretty much where I want it to be. Do know the fine tuning and I've done the stabilizing of cameras and things. So I'm going to jump into the edit page and then I'm just going to do a new the primary grade on this. And then we'll see see how it's looking and where we're at with that. Now I've already done a little bit of a grade because I shot this in row and you'll see this in a minute. There's lots of things I can do this really quick. That gives me really interested in logs and really interesting kind of color palettes and color ranges when I'm in the color gradient profile. So I am just making sure everything is as it should be worst in, and that's a really nice fade-out. Jupiter, the colour panel. Okay, so you quite familiar with this panel here because you didn't recall a panel workshop, but I'm just gonna turn these off to shake C. So because I shop row, I am able to go into my rural settings and I'm able to add looks. So what I'm doing, I'm missing my curves at the moment. I'm just adjusting the curves just to make sure I can just turn it increase, increase that space where Lai, So I'm in my row tab here and I've clicked clip, and that's given me lots of information around how I shot this, what we call a temperature is et cetera. So I shot this in black magic film looks, I'm just going to click. But my video and you can see instantly gives me really solid look. Rec 709 is very similar. So I'll just go through there and that's rec seminal unless a little bit dark for me actually. And so I'm just going to go back to the caller polymers. Have a quick look here. So I'm just, Ooh, that's a lit drop. Shadows down a little bit. It's a bit too much. So let's go back to our roles at energies. Get rid of break 709, back to black magic color profile. And then we'll take our Excedrin and back to our film preset and we'll add the load. So the reason I can add this load or lookup table is because I had this selected inside of my camera when I was editing. Because I haven't is a profile. I'm able to add it here in the editing program. So I'm just going to find a Justice. And a lot of color gradient really is using your scopes in the bottom corner. And you can see I have lots of black in my image. So that's reflective of my scope. And you can see when my dance moves, my wave forms in my scoped move as well. It's just going to check this clip out. It just looks a little bit warped. No. No, that's my camera where it looks absolutely fine. Okay. Let's just go back to our code. Okay, wonderful, as I was saying. So a lot of color gradient really is about kind of fine adjustments. So here I'm just going to adjust all of these green. I'm just lighten the green up so I take my picker or I am just going to create a new node. So you can see this, there's my new node. So I'm gonna take my pick a panel there and I'm just gonna click and you'll notice in a mini my greens and color spectrum highlighted. So if I just bring this soap, you'll notice each just those greens in anything we didn't ask space that is being brought up here. Now as I'm editing this, I'm realizing I'm making a fundamental mistake. I'm editing this in the adjustment clip, which I have over the top of all of my footage. Now my adjustment clip when I eddy current column I adjustment clip, that's obviously going to add this color profile to all of my clips. And I actually don't want to do that. So in a minute, I realize that I'm doing it and I'm gonna delete these. Well, let's just have a look again. So you can see a good example to see how the color picker works anyway. So I pick the color picker but watch what happens here because and it's on the adjustment is affecting all of the clip as well. And that's far too harsh for I1 Really. So again, with color grading, a lot of it is really about fine adjustments. So let me just speed this up and I'll get these nodes deleted and we'll keep moving forward with the colour grade MLK going through every clip. Okay, so I'm working off a 2017 MacBook Pro laptop and it only has 16 gig of RAM. And you can see it works really well with da Vinci. Results is not causing too many problems. And there's a lot of misconceptions. Individualism, processor heavy and I used to be true, it did used to be really processor heavy. But now it's a prosumer and editing software. The geyser black magic has really done a great job kind of overhaul in this and they're constantly updating as well. Okay, so all I'm doing is I'm just going through every clip and I'm just matching the colors, making sure the scopes look well, making sure that it's got the desired look that I want to have. And as you can see, I shot this from dusk into night to give it that really dark kind of color palette. And I wanted to do is really cold, so it's all blue. And then there's a blue dye and a yellow lights of the little bits of warm. So it's almost like there's a little bit of hope in this really cold dark period. I should know the, I shot this during the covaried pandemic. So maybe this is coming out in the way I was feeling about that whole pandemic and building that really dark period. So I'm looking at this clip now and I'm not convinced anymore. I'm not like he's the overlay clip is cutting off his face tumor. So I'm just going to delete it and it's going to bring that back. And America keeping quiet simple sometimes when you've got all these effects at hand, It's really easy to over-complicate into overdo it. So actually what I'm gonna do is I'm just gonna stick to a really simple shot. And I'm just going to leave it and I'm just gonna push my contrast on this show. Have a play. And again, most of your learning through this colour panel, it's just trying and doing things and experimenting and find in Lopes. And finally, color palettes that really, really work for you. Okay, one thing I do want to show you is down at the bottom of my cogwheels. You'll notice I've got a number one and number two. And I didn't show you number two in the colour panel tutorial because it felt like it was a bit too much information at a time. But if I click number two, I've got a set of other objects. So I got temperature tint, and MD, I got cooler booze, I got shadows and highlights. So this is a really good way if you are shooting in log just to boost your cause. And it gives you kind of a lot more, almost like technical. If you, if you push it too far, really highlighted, kinda drop my shadows and increase my highlight. So if you look at this clip specifically, I've dropped my shadows locker, the area on the right. So it's really kind of got rid of that detail and dropped it into shadows. Really useful little trick there and you can easily overlook it. Well, I have to say I'm pretty happy with the way this is looking. So I'm just going to finish this off and I'm going to send it to the deliver page so I can send it to my colleagues for a second opinion. And I would always recommend that when you are working on things and you've spent a lot of time new vantage in a lot of effort into it. You send it to the people just to kind of get a fresher painting, to get a fresh set of eyes. Cause sometimes we stop looking at things, don't we? And we stop seeing it for what it is and we kind of get rose tinted glasses. And actually a lot of the changes in this one, or because of feedback from version one from some of my friends. So I'm now in the delivery page and I'm just going to name it, and I'm just going to set my output. So I'm just going to want to show you this. So it's now just under four k. And if I click event queue, it's gonna give me a warning to tell me that the export setting is bigger than my timeline. So just pop up back to 1080 P and click Render. And I'll speed that render time of vague cuz it's gonna take some time because of all of the color grading and effects the I've got on there. And it's as easy as that color grading guys. So I hope that's been useful. I hope you've enjoyed editing a dense film with me. This film will be released in the next coming weeks. And once it is out there in the real world, I'll pop in this tutorial so you get to have a look at it and you get to say, thank you so much for the session guys. And I look forward to seeing you in the next one. 50. Final thoughts : Fantastic, well done guys. You've got to the end of the course. What I will say though, is this actually isn't the end. I'm going to keep updating this series of workshops with new tips and tricks. When I find them out, I'm going to record them, create low tutorial, pop him in this series so you can watch them. You can develop, you can keep pushing your practice forward. I just want to say a quick thank you so much for doing this because I really appreciate it. It means a lot to me that you've joined and I hope you've learned something. I'd love to connect with you in the future. Please do share your stuff. Please do send me stuff to comment and let's keep talking. Have a fantastic day guys.