Video Editing with Davinci Resolve 17 - From Beginner to YouTuber | Mostafa Nassar | Skillshare

Video Editing with Davinci Resolve 17 - From Beginner to YouTuber

Mostafa Nassar, One step at a time

Video Editing with Davinci Resolve 17 - From Beginner to YouTuber

Mostafa Nassar, One step at a time

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18 Lessons (2h 12m)
    • 1. General Introduction

      1:18
    • 2. Course Intro

      1:27
    • 3. Essential Quality Of Life Tips

      2:04
    • 4. Creating Your Project

      1:37
    • 5. Using The Cut Tab

      11:52
    • 6. Using The Edit Tab

      8:03
    • 7. Refining Your A Cut

      20:02
    • 8. Edit Tab Overview

      6:30
    • 9. Image B Roll

      9:46
    • 10. Ken Burns Effect

      6:32
    • 11. Using Video B Roll

      17:01
    • 12. Adding Sound Effects

      8:23
    • 13. Adding Music

      6:42
    • 14. Color Tab

      11:09
    • 15. Audio Adjustment

      3:37
    • 16. Fusion (Optional Bonus)

      13:52
    • 17. Exporting Project

      0:59
    • 18. Course Outro

      0:42
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About This Class

If you wanted to get started in the Youtube world, this course should be a good starting point, as I will be sharing my entire work flow from start to finish, we will go through about how to work on your main video and adding it to the timeline and how to add B-Roll.

We will go further by refining our A-Cut by getting rid of all mistakes and pauses. The course also covers how to add B-Roll Full Screen Images and videos, and how to spice up video production value by adding sound effects and music. All the little touches that makes a video stand out.

Since Davinci is a fantastic for the color grading, I also go through how I color correct and grade my videos

This Course was filmed in Dec 2020 using Davinci Resolve 17, I am always looking for ways to be more efficient, and some better ways to add new effects to improve my work flow.

Thank you so much for watching and please send me back some links and videos to your projects and please leave a comment below and let me know if you have any questions.

Meet Your Teacher

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Mostafa Nassar

One step at a time

Teacher

Hello, I'm Mostafa. an Engineer and artist based in Toronto Canada. I believe in do what you love mentality, that I am slowly basing my life towards sharing art and creativity to whoever is around me.

Have been using digital media for 15+ years and I want to build a community of like minded people to be able to grow together and help each other go through our shortcomings. Whatever you do, just follow your dreams and start creating now ! There is no better time to start than the present.

One Step At a Time.

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Transcripts

1. General Introduction: Hello, my name is Mustafa and I'm an engineer, an artist based in Toronto, Canada on the side and make videos related to the creative process, art, and investments. So I myself taught editor and been editing for more than 40 years. Learning this way made me pick up habits that hindered my creative process and make editing a very daunting experience. When I started, I wish I was introduced to a class like this one, as it would have made me more productive and turn out more videos. So in this course, I will show you step-by-step on how I edit one of my videos. Step one, we're going to take your arrow and put it into your timeline. Step two, we're going to improve your arrow and take out all the imperfections. Step three, we're gonna go through the virile and how to input images and videos. Step four, add effects and improve how your images and video look. Step five, we're gonna go through color grading and how we can actually make your own rather than buying. Let's step six, Export and upload on YouTube. So I really hope you enjoy this course as much as I enjoyed making it. If you have any questions, please leave me a comment or send me a direct email. My youtube channel would be linked to my profile. And I would love to connect with you. 2. Course Intro: Hello and welcome to my venture is of course, I'm gonna take you step-by-step on how I make my own videos. And I'm going to go through all of my techniques, tips and tricks, and quality of life improvements that can help you become a better editor. But before we start, I want to go and give you some insight about what the eventual result is and why it stands out. Currently, there are three major programs on the market right now. Adobe Premier Pro, Final Cut and the Benji individually started to come up as the outlier at everyone started to switch to the dangers of is free. It has the leading standard for color management and color correction. And it has LinkedIn After Effects, which is called fusion. And it has all of these stuff free of charge for anyone to download. So it makes it a very desirable option. And the one thing that takes it a much higher is that they are using something called the node system. And the nervous system is the industry standard for professional filmmaking or all the other software used, the layer system. So if you learn the node system, you are on par of the high-end tab-pane editors in the industry. So why not learn that if you can write? So without further ado, let's go ahead and go ahead with the course. 3. Essential Quality Of Life Tips : So the first section we're going to start with is something that I find very essential. Before you start any of the programs, you're going to have a project. So when you go and select a new product, this is how it's going to look like. So you can have a very blank page. You're going to have everything in there and might look intimidating. But before you start, make sure to go through your options. Make sure that your settings are set to your frame rate that you want. Because when you start doing your timeline, you cannot change your frame rate. The industry standard if you're in North America, the frame rates are 24 frames per second. And what I currently have, um, when I run this project as an HD product ten ADP, you can have an option to change it to 4K if you'd like. But for this project, I'm running it as 1920 by 1080. So the first thing you wanna do when you launch the venture resolve is to enable the lifesaving option. I really hate to be working on a program or a project. And after a few hours of work in, I lose everything. So the way you enter or get that RSA is to go to the vendors of preferences and go through user. And then projects save and load, make sure that the lifesaving tick is on. And click Save. And this will be probably the most, the most helpful tip that you ever get. Because sometimes when you edit, when you put a lot of videos on top and you have a lot of graphics open on. Your computer might crash and you don't want to lose all of your work. So this is probably the most essential thing to do before you start any project. 4. Creating Your Project: So when you start a venture resolve, you're gonna get a screen that says projects. So you want to start a new project. And once you launch the project, you can import your media files in them. So if you haven't found yourself, if you already have a project that you want to work with, you can import it. But if he didn't, just go and film yourself and come back. So there are two ways to import the files to your projects. You can go from the media storage on the left side, or you can just drag and drop the files that you want. So in this case, I'm just going to drag and drop these in here. Is going to ask you if you want to change the frame rates. Don't change because you already set it up when you started the project. If you do change it, it will change it to whatever setting you had on the camera. So let's say if you've if you record it that a 120 frames per second, if you want it to do some slow mode, it will change your project into a 120 frames per second. So you can't really use a slow motion feature. But if you kept it at 24 frames per second, you can get that a 120 frames and get it to be a 20% file. So that way you can get this buttery smooth slow motion in your video. So basically that's how you import into your project. 5. Using The Cut Tab: So now that you import into your files that you want to work with, you can have a lot of tabs at the bottom. So they have cut, edit, fusion, color, fair life, and deliver. The first step that you want to work with is cut. And cut is probably the best way you can use to go into a file. And you can have in an L points in the project where you can just import it down to your TOR timeline. Before we do that, there is a shortcut that I wanna go into. So if you go to the ventures of keyboard customization and go to the edit, the append to the end of timeline is setup to be shift 12. I want you to change it to E or the E. It will prompt you to overwrite that on another file or another command. Override it because this, this button who's going to speed up your process so much when you use editing. So, so let's say this is the phone that I want to work with. If you're a new artist, doesn't have that actually increasing productivity. In this video, we'll talk how having a habit, a growth mind, murky soul. Okay, so basically what I wanna do is I want to select an endpoint. So I by default is set up as an I. So we need press I set up a different end point. And then let's say I want to select ion here. If you are an artist, doesn't have that actually Creek Park. And I press Space to stop. And you can press the stop button. Bed space is the shortcut to stop. So you can just have your thumb on this face to go in and out. So now I want to end this clip. So I'm going to press OK. And now I can see that this is the highlighted clip. You can do two things. You can either drag the main clip down. And now we can play it here, or you can press E. And E is going to be your Shortcut. What I'm trying to teach you on this course is you want to use the shortcuts as much as you can. Because if you keep moving your mouse around, you're gonna lose time. And every time wasted is time, you can spend doing something else. So, so to speed up this process, we're just gonna go through all of the eclipse. Okay, so this is not the one I wanna use. Take multiple takes. This video we're going to discuss. Or an artist increase your productivity increases go. And if you notice, I clap my hands because that means that this state I didn't like. So when I cut my hand and give me like a reference, I'm like, Okay, so I actually did another take. And so if that's the case, I'm going to put my input. So I pressed on. In this video we're gonna talk about how k. So now I press island listed in this picture, we're going to discuss habit party harms your productivity and it broke his skill. I think I like this once I press o and proceed. So now if you play the whole clip, you're an artist, doesn't happen that creek park. In this video, we're going to discuss a habit part of your productivity. That's very good. So now I'm going to double-click on the main clip that I want to see if I wanted to add anymore audio. So I'm going to press i again. Hi, my name is we've got a DVD or artificial problem. And I'm going to talk about how having ever really take my life ending my arms loop. So personal and proceed. But if you don't know what it is, basically, instead of having enough, you're using a stylus to you that here know what the right program. Internet to pencil and paper, or even oil in media. So it really is revolutionary. Don't have Bessie, Danny Bessie stood. They don't have to have a busy studio. Come onto your program down one step. And I notice I messed up and didn't press I. So I know where I want it to be sought in this orbit and drag up. But yeah, so that's in case if you mess up, you can always or you can just move your head and press I or you want it and I will just change it for you. Then proceed down. Now moving back to where I want to press i The real question, does it help you? Hey, as e? And what I'm doing in this process is I'm trying to reduce and eliminate as much of the an's and pauses between each day. So that way, like if you have, if you're taking your clip, let's say for 15 minutes and talk about something. You stop for a bit. So your trying, when you edit, you try and pick all of these down at a minimum because it's not very flattering when you're talking and having a lot of pauses. A lot. It doesn't seem very professional, but especially when you are viewing it on Youtube or any other media. So, so for this one, I'm going to go back. I will just use the mouse and Microsoft. And what I found other cycle Photoshop, I decided to give it a try. And this is how my article at postcard. So when I did that, I had the intention to put some of my older artwork when I started. So I'm going to show you later on in the course how you can add other Bureau materials such as pictures, videos to improve and raise your production value of your video. Or else go like in diversity. But when I started using the tablet, this is how my r star really, really bad piece from when I was probably MOOC in us. Having a stylus really seen the pay stub here. So I'm just going to go back to having a stylish. But having a stylus, really having a stylus helped me realize that. Okay, so because I took it, I know that it has air movement towards the next footnote. So Apple status added a stylus real-world application off the brush. So it your, your starting problem. It can come from a background. Okay. So on this type, I did mess up a few times and I'm gonna show you later on how can you pick out any imperfections that, or any mumbling and stuttering to make it seem more natural, mimics the real-world application on the brain. So if your, if your starting problem using that, using that in a digital media, how fruitful quickly. But if you're starting out, say point to that world without going over bending stuff. So put in there. Now. Better. Make sure when you start your, your clip that your cursor is at the beginning. So by under perfect apple, you will go up if you go on the Internet. No. So there are so many different pepper brand. Okay. So we're gonna start with this one. There are so many different ever grant. And notice I took that I did screw up a lot in this section. So I'm going to put this in now, but I'm going to show you what I've done to try and get this looks smooth. Go back. This was the highest. Back then this must be. And I'm pretty much kind of fogged out and my brain kind of blanks. And I couldn't I couldn't come up with the word. But what I've done here, I kept my posture the same, I kept my head the same and everything. When I do a cut, it doesn't seem that I can move my head so far on my head or my body position so far. And to go back, frame-by-frame, you can press the persons. So the right cursor moves one frame to the right. The left cursor moves one frame to the left. And if you press shift and the right or left, it move by 1 second. In that case is 24 frames. So we're gonna do that for this premium. But then this will be, I think I'm going to put this here and here. Hey, that's the end of this clip. And for the less than, I'm going to show you a different way to add the files to your timeline. So we explored the cut. So next we're going to explore the edit. 6. Using The Edit Tab: So the edit tab is the original space on the vendor's off where you can actually do some cuts and do your changes. So this is pretty much where you're going to spend your whole time. Because if he noticed like how this looks, you have the audio and video or and it gives you more flexibility to add transitions, effects, and filters, and all other stuff that you can do. The only thing is that they have done is they made the cut very, very user friendly and easier to deal with. What the computer is not very heavy. And they, you will notice that when you work on the cut, everything seems faster and smoother. But because this is the most intuitive way to work, you will find a lot of tutorials talking about the edit. And you will not find anyone talking about because the cut was just introduced on the vendors of 16. And that's not long ago from taking this. So let me show you how you can edit on the Edit tab. So I just drag and drop clip. And we're using the same way. Instead, we're not selecting would in and out. So IN0 and parsing E. Now we're just going to play ahead and use the Cut tool and do it the old school way where you get, you have to get like the film and you have to cut your and trim your your clips and then merge them together, almost like take-home thing at it per se. So we're just going to do that way. Inherited going to have the toast. So this is the selection mode, or you can select. This one is a trim edit mode, but you can get that when you get to the edge of your clip and you can drag. And same thing with this one is the, it's more dynamic. But honestly you will not use those as much. The only one that you're going to use is the blade tool, which is b. So the one thing the one thing I the other thing that I used the habit. Okay. The other thing you can notice now that it's very, it's, it's a little bit different and it's a little bit time-consuming to edit in this, in this MOOC. But we're just gonna do it for the sake of this tutorial. And the one thing to help is to try and get your audio waveform. Because currently the auto waveform is clicked. So to get that, you can click on this button and then do the audio full waveform. And then changed your audio height. And now you get to see your audio. And this will help you find out all of the areas where you actually need to trim. So all of the pauses. And if I'm doing like a clap, clap my hands, I can see, oh, there is a big surge or wave form. So in here I know that I want to stop. So you have two options, either to trim in here and delete. Or move your clip and or you can do something, something else. If you select shift and bracket, by selecting is going to automatically move everything before your cursor, is going to delete everything before the cursor. So you only do that if you're at the edges of your quit. If you do that in the beginning, the middle, and do the other cursor, you lost your whole clip. But don't worry about that. He didn't really lose it percent. You can drag it back and get your whole Could where it was before. So and or we can just press the Undo button and you've got it back. So don't, don't panic. Ok, so let's keep going with this. The one thing I the other thing that I think the other thing that I used, and instead of just relying on the Photoshop filters now on my penny picnics on oppose any pogo into a pain, which I've actually demonstrated in this video. And I have done the same gesture here. So I'm going to add another video. I'm gonna show how to add that. So right now, I'm just going to move it, move my cursor lipid. I can use my shift, move on second and cut. If you want to move your timeline, you can use the bar at the bottom to move, or you can press your middle mouse button on anywhere on the, on the timeline in drag. So you'll see me do this a lot. So if you see that the note that I press the mouse button and drag. So for this one, I'm going to delete. So there are two ways to delete. You can either right click and delete. Right delete selected a or you can just click the backspace button and it's up. But let's say you wanted to move the clip and merge it to hear. If you drag it, you pretty much have to drive every other clip. And that's, that's not efficient. So the one way to do it is you can just select the gap and press backspace. And backspace is gonna move everything from the cursor onward back to, back to where you wanted to merge. Follows what I've actually demonstrated in this paper. Okay? So I want to remind myself that I want to add another B-roll in here. So what I'm gonna do is I'm going to try and change the clip color to orange. So if I right-click, do click color and turned into orange. So now I change it to orange. And now I know that, hey, this one requires a bureau and I'm gonna do that in the cut session when we go back and try and add the roles for the other clips. And so bottom line, just to end the video now. So if you ask me yet does happen. If you ask them again, because if you ask them, do you think? Okay, now here though, if he asked me, OK, so what I'm gonna do, I'm gonna press Shift bracket because I know this is where I want it. Then I'm co-chair backspace and now we're back. So he asked me, I would definitely recommend you first path. It will throw your workflow and help you grow as a cell. That was not where I wanted. So I deleted that. He asked me. So he asked me again. So he asked me. So do I have it in your art courses? You just have to put down. Okay, so in here, I move couple k. And now that the video ended, I can just drag. And that's pretty much how you edit on the editor. 7. Refining Your A Cut: So now that you've done your rough draft and we're gonna go ahead and refine it even more. So this is where most of your work is gonna be, where you go in and find out if there's any cuts that you need to do, if there is any EMS that you need to remove. And this will be your major part of editing. So, so when you start off, you're gonna go do key can do two ways. You can do it in the cut. And we used edit on the last clip to show you how different it is and you can make up your decision if you want to use the first method or a second method. So if you're a new artist, doesn't happen, actually increased poverty. So I'm just gonna say I started with. So when you start, the vineyard result is going to look like that. In every time, even if it is going to move your timeline. My personal preference is I like it to be kind of a free playhead. So I can just move the play head and I can move the play head and the timeline independent of each other. In this video, we're going to discuss it, hadn't. So in this so if you wanna cut, you can either press the cut button or you can press Control and backslide. Ok. So now I have a cut. So you can either prospect's space or you can just press Control X, which is going to move it. So now video content is. So I might have to cut again. So you can either press cut or you can just click here and move it back. That's another way to do it, pungent and you see now it sounds better. We're going to discuss it. Had more Cabot party artists through your productivity and improve your skill. And notice there is a big pause in both. So I'm just going to do this on one side and do that on the other side. But notice when you do that, you actually extend the other clip. So if that's the case, you can, you can do it this way. You have to click the pep and do it. If you don't select the clip is going to automatically dragged the other click this link to it and extended. So it's up to your preference. This is almost like a hack that you can speed up your work if you know exactly what worried what you wanna do. So is the tunnel. Hi, hi, I said hi twice. So in this case you can do the same thing, either cut or do it, cut or drag, or you can press shift left bracket and do it. But when you do that, you get. Again, you can select the gap and press backspace, and now everything is very bad to get. Hi. Hi. Hi. Hi. Okay. So let's just do that. I'm just going to cut and delete. Hi, my name is. And I'm going to talk about how having a averaged really changed my life and improve my art school. But if you don't know what it is, basically, I don't want to have basically in my clips, I'm going to remove that, space, it. And it's a habit that I'm trying to stop, basically. Kay, so this control x is some abnormal. You're using, how to use it here. And with the right program, you can turn that off. I did have a stutter K, so I can just have that controllers and go to Exxon. Okay, so I wanted to be a little bit to a pencil. And again, notice that the little bit of a head bug that I don't like. So it's going to remove that or even oil paint media. So so I don't like this area, so I'm using do that cut. So okay, there we go. One thing also really pressed the up and down button. So the up and down button are going to move from cut to cut. So he see the cursor. This is, I'm pressing the down button and now I'm going to press the Up button is going to move this. Great. Okay. So we're back to, let me take you back O, M to X or even oil medium. So it moves, so it's really good. You see how I, I closed my eyes and there. You can either try and play around with it and try and get a better and better TOT. Or sometimes you can go around and have something called the smooth. So the smooth cut from the Benji is you can just go to where the cut is. In play around with the parameters. The opinion that it just render a little bit here. It really and what it does, it tries to smooth both. But in my case, it just makes me look a little bit weird. So I'm not going to probably manganese it. But if you have to perfectly align clips with the same head bulb and you just want to remove some of that bucket Bob or something. This could work, but I am don't really don't recommend you use it because it doesn't look as good as it seemed only in very select moments. You want to use that, so I don't recommend over-using this feature. It really, so I would just use the for the sake of the tutorial, but I'm not going to use it. It's really so it read. I'm just going to try and move my eye to where I slightly open, like it really. So this one looks a lot better. You don't need to have a any message. They don't. So I didn't screw up near f is they don't have the habit Missy, any message good. So you don't so from so cut. You don't want that. So I did stay so in pair or even oil gains medium, it really is revolutionary. So you don't have to have a busy studio. He'd Oh, and they didn't have a cleft thing, so I don't need that container. So cut and delete three. You don't have to have a they don't have to have a Missy studio you just adding to launch your program is going to outline. The real question is, does it actually help you cope? I do have that thing where I'm breathing, so I didn't want to have that. So so I'm just going to cut the real question is end in here. Maybe just cut down a little bit the real questions because it actually help you go. Let me take you back when I first starting. There is a little bit of pause in there. So I'm just gonna reduce that way back. Okay, so for this one, I want to change my color to Orange. Is this where I'm going to add some pictures go like in university. But when I started using what, this is how my art started from in here, I'm going to do another cut and I'm gonna change the color to a line color. So now I know that I have two different ones. This is how my art and I'm certainly hoping really rapid pace compared to when I was. You probably won't come off. Having a stylus mimics the real-world application of the product. So if you're, if you're starting problem, it's been your app. Okay, so in this second step, get your aggregate. Hey, if you're starting problem, if I'm coming from a painting, I did say if twice removed that. I'm coming from a painting prep route using that, using that using that cut, using that and using that in a bit held media. How can you bind outbreak on the planet? So here, cut. How can you mine? And I needed something k. So we can play around with this one. I wanted to say instead that was I wanted to say that had pressure sensitivity. That had up. Okay, there we go. So let's try that. Had a lot of preferences, is 120. So at that time this was it, this one the highest step. And this was a, this one B. Okay. The typical cookie. So this is what I am saying. This cut is 100 varied. And this is the other second time it is one of the l. So at that time is one of the highest neck and back then this was the intuition. Okay, so I did ahead at twice. So let me just remove that and listen to it again. So at that time leptin. So at that time let them back then this will be v. So at that time lag, okay, I might want to use that then. It is a continuous clip. And I don't want to have a lot of jump cuts. So I'm just going to clean these two pressure that then this would be into us. And also I have the same panel. Look, I'm looking down. So this one gives me a little bit of better flow. But let me show you how this would look if I decide that this vector is rendered. Usually with whenever you put anything individually or any other program editing software, when you drop in, effect, give it a few seconds to load. Otherwise it will not look very smooth. It will just jitter ones. Captain. That then this is just getting down like this. But this doesn't work for this. And because my hand was going out of the frame and now I'm holding that clip, so I'm just not going to use it that then this will be here or here. Okay? And I'm just going to cut this one here. Are just track it back. Then this will be, so this one is at very better version of the cut rather than adding all of this stuff. And you'll find that most of the time when you try and find this perfect frame to do a jump cut. It's a lot better than trying to add any effects. And it's very acceptable for you to, to have the jump cut if you do that in the professional world, it's not going to fly. That then this would be a premium read or the write competitor. And this grand horrible. Okay, I have a very big puzzle. So cut. And this rant. I said part of starting. So I want to pet this lean startup artist. And this one I had, I believe it. So I had I had, I believe and I'm not gonna say believe ahead of it. And I wanted to sound more competent. So I'm using a move that and this one, I had 240 premises because having that wouldn't happen because having a high end. So I'm planning to have, you're going to make this clip as two-color. So I want to have like almost a transition picture in there because it's a question. So in here I'm just going to have a blank page on that. Does have a S having a heart ethnic does having a high-end tablet, tablet equal? Yes, I'm going to have that as a screen and I'm going to use my voice as if it was a voiceover. I think my opinion I don't think so. Just move that. My my opinion it might not just one mine my opinion is no. It doesn't map. My opinion is no, it doesn't matter. And I think I don't want to have my opinion. So I'm just going to stay just gonna keep on going. I think it sounds better. It doesn't matter. Gravity. Gravity. Yeah, so I see that I am moving in here, so I'm just gonna try and do pet. So that way, this one, it doesn't matter how expensive it is going to have a marker on it. That is K cut has a delete to that is, if I have a marker on it or not, it matter how. But the only thing that I think will make a difference, one thing that I wanted to remove the, I think that it would make a big difference. The only thing that makes a difference in the wrong area on f is just the, the, the, this was a movement. Is just see how that sounds. Well, especially if we have a big monitor, you'll feel more natural and educate them extensively. As undoes the structure of the sentence makes sense. I feel that I think I, I value that more than having a better picture or a better flow for at least the visual, because the message is more important to me. At least that's my priority. As six by eight demonstrated o and k here. So let me just, so number of finding this video I just wanted to show here in this section and big gap, that's base. Do I think have a tablet you prove your art. It just happened with that. Do I have in the book your art courses, you just have to put down, you need to put up that habit, the typography for your art. Of course, you need to put out. You could put some pepper. Put some effort, and time to learn how it works, and you will find your art better. Mood that day. I'll see you next time. Let's just go to the Edit tab and I'll show you how one edge to the next part, I'll see that psi. So basically I just click the Cocteau and do the select. So you just have to rinse and repeat for all of that in, that's how you cut in the edit. But this completely up to you, whether you want to use the edit or cut. In my opinion, using the cut them is way more efficient to four-year arrow. That's it for this section. See you the next one. 8. Edit Tab Overview: So now that you have, you're a cut on your timeline. Time to go into the edit section and walk you through everything on that page. So to start with this, you select any random click. On the right hand corner, there is an Inspector tab. This Inspector tab allows you to do some changes to your video. The way that the position, your angle, you're zoomed. So let's say you wanted to do a zoom in to get better framing. We want to move your position. Can rotate. You can do your pitch and yeah, and even can crop. So this one is very effective if you wanted to do, let's say, repurpose some of your videos to Instagram or tech talk or Facebook so you can make it into a square. Or if you wanted to do some infographics on say, on the left side so you can move the position and add, let's say your, your iPhone screen in here and scroll. So he can, he can do so many things with this with the Inspector tab. The one thing that I can use, two is the volume. So let's say you accidentally have a volume that is too low. You can increase the volume. And you can notice in here that the volume is changing or it can just change the volume in here on the clip itself. So you have the option to do at least a volume on this, on this section. But the most important one is the video. Or you can just do stuff. You can do keyframes where let's say I wanted to do a dynamic zoom. So let's say I'm going to start my clip from here. And at the end, I wanted to look a little zoom. So I'm just gonna do a zoom to 1.2. So now when you play, it's just going to zoom in. And that's why I think this is very powerful than any of the other programs because it allows you to do dynamic changes on the Edit tab without doing any plugins, are installing any third party programs. So that way you can have full control of what you want to do with your clips. But more on that transformation and keyframes later. But for now, we're just going to go through the media pole. This is basically all the cliffs that you have. Effects library is all the effects, the transitions. So let's say if I wanted to do a blurred dissolve, I can just go into anywhere and download that and just drag and drop some effort just to give it a few seconds to render. Any could put their ego and I'm not going to keep it. And they have a bunch of other transitions. So let's just try one of them. So let's say that the pen up one, R sub f, And you need to get more tests on bed. But we're not going to keep it for now. The next thing is you open effects and filters. I, honestly I don't use much of those effects is really four. You're going to notice when you try and use some of these, that it doesn't not work with the free version. But some of them, but you can play around and see like this chromatic aberration removal. It only is good for the individual results studio. So for the free version is just going to have this watermark. But I honestly haven't had any problem within the free version. You only reason you probably want to upgrade your divinity result if you have a raw video camera or if you bought one of their Da Vinci black magic cinema cameras, then you can unlock the vineyards of full potential because they have codecs that work very well in the law that will make your workflow very fast. And it will allow you to do color grading like almost like cinema grade. So for normal use and YouTube and using an iPhone camera or a normal mirrorless camera, using the free version of the vineyard resolve, you will not feel that you're hindered yourself by not purchasing the full at full price. But that's about that. The one thing that you're going to use a lot is the Titles tab in the toolbox. This is where you can add. Let's say I wanted to add, pick this one. You need to put some, put some pepper. And so this led to load a new p Notice here that gets blue and red. Usually went completely loads is going to go into a continuous blue. So low. You need to put some effort and time to learn how it works. And so that's how you can add sample text. And also you can add some audio effects. So and we'll go through that later on. But bottom line is, this is pretty much what you need to know about the Edit tab inspector and effects library. And this will take you along, I think 90% of all the uses that you need on this page. 9. Image B Roll: So now that you edited your arrow and got all the cuts out in, pretty much ready to go. One way to elevate your production value is by adding Bureau. And you can add different kinds. So you can add pictures, videos, or transition. So for this section we're just going to focus on adding pictures. And I have some pictures that I had taken from before. So I'm going to add those to my library. So I'm going to just drag into the media pole. And now I have all the pictures that I wanted. So he can just drag and drop the pictures. And it will just going to show. And for the purpose of this video, was talking about how am I oh, pictures will look like when I was making him on Microsoft Paint. So thank you back when I merge them. So you can just add the pictures like that and you can call it done. But if you wanted to add a little bit of life to a deacon, add some movement or transition. So the way you can get the transition done is you can just go in here or you can do something very simple like having the picture kind of appear. So let's just move this a little bit and let me take it back. And I wanted to show as soon as they say back. So let me take the picture and if you zoom in, you can see a little bit to different tabs in there. And this tab is almost like a dissolve feature. So each of the numbers is a frame. So I selected that hem framed, so I wanted to appear in a timeframe period. So that's how it's gonna look like back when I when I first started. Okay. So but I don't like how it looks in here, that it's it almost feel like it's very cheap. So what I can do is I can zoom in. When I first started. And on top of that, I can add a key frame to make it moving. But I'm going to show you that in the next section. So for the time being, I'm just going to add all the pictures that I wanted. When I first started, I would just moving a mouse and Microsoft. And when I found out there is something called Photoshop, I decided to go there. Okay, so now I'm talking about Photoshop. And I wanna make a note that if I keep walking on the sound waves, I get confused. So one way to make a marker is to press M. And M is going to add a marker where you want it to be. So this market is going to be, you can double click and call, Hey, this is where I talk about Photoshop. So I'm just going to do something here. So. For all these pictures, I'm just gonna zoom in a little bit just to make it look okay. Okay. But I want all these pictures to fit right in the folder for shop. So what I can do is I can just select the beginning and press shift. So let's say I want each picture to be two seconds, so I'll press shift, right, right two times. So now this is going to be two seconds. Same thing here. Two times. Two seconds. I had two seconds, kay, and actually have room for one more. So I will just drag and drop one more. Actually, this was one of my favorite ones. But for this one I kinda wanted to be the N. So now that I played, I decided to give it to this 100 bit zooming. And now I'm going to go to the pictures that I use Photoshop with. So you can see like how improve, how much improvement I had when I switch from Photoshop. Ok. And this is how my article, I personally, that was way back when I was in university. But when I started using a tablet, this is how my art style, and this is how one k. So basically in here, I already marked it that this is where I started using a tablet, but back then I was still using the mouse. So I wanted to demonstrate that I switched to code it up. So just keep it consistent. So every two seconds. And for this one, we can just add it analytics. So we can just add a microsecond per each. Keep it this way. So now this one I can this two men lightly and move it. Here we go. This one and zoom in this way. And that one university center a little bit, so just do it this way. But when I started using a tablet, this is how my art, this is how my art. And I wanted to show that, hey, this is where it started to look. So I'm just going to increase one more second in here and make a transition from this art to the other art that I wanted to show. So I'm just going to select some of the ones that I 1A demonstrate came and just drag and drop. And for the sake of historical accuracy and move the pictures that I've done them. So it kinda shows a little bit of progression. And I decided when I was probably MOOC and out, having a stylus mimics the real-world application of the brush. So if you're coming from a painting Krakow, using that in a difficult media will help you improve so quickly. But starting out, I think it's a very, so I wanted to do when you have when you start your starting out, I want to end all of my all of my pictures there. So I'm gonna try and squeeze all my pictures in here. So let's say three seconds for each. If I have room for more pictures, I can just add more. I think I will. Actually, it's exactly so I need to decide which ones do I need to show? I think I'm just going to remove this move that at this point back here. And that we be a little bit accurate zoo where I want to solve it. And I started cooking really. Okay, so I'm just going to zoom in and this will be the basic how you wanted to add pictures to your timeline. And in the next lesson, I'm going to show you how you can add life to a static picture. So state. 10. Ken Burns Effect: Now that you have all of your images on the timeline, I'll show you how to make him look alive. Basically. Let's just take this picture for example, U1 and the Ken Burns effect moves in the picture. So almost feels like you're holding a camera lens inside the picture frame and in moving with it. So the way you want to do that is very, very simple. So select your clip that you wanna do. In this case, it's an image and make sure you're at the start of your image. And in the Inspector tab, go to the position where you can move and click that keyframe button. What the keyframe does, it has a memory of where you start. Let's say you start from 0 and i1 and move it to, let's say position a 100 in two seconds. So it's going to do a calculation from one to a 100 in two seconds. And it will just keep moving 1-2-3 until a 100. And so let's just try that. So this is a three seconds, right? And I want to move my position. Why to go down. Okay. Let's just keep it down here. So if that's the case, that I already moved it, just kinda move coming from a painting. So that's how it's done, looked at how the pressure. And you can play around with that if you want it faster or slower by increasing your duration or the position. So in that case, I think this one looks very, very, very fast. So I'm just going to go back. So if I'm coming from a pig. So, and here's, here's also a thing. If you've already done your and say I want to go back to 500. And so if you're coming from a painting, when you do that is not going to change your position because you already have the keyframe, 800, but I move it to 500. So 500 is not gonna work. You only way is to reset everything and do it again. Otherwise it just what is going to do is, is integral from 0 to 800. And then you've already changed only the last frame to 500 to 800 and then go back to 500. And that's not the effect you want. So let's just go to repeat that again. So click on the keyframe and then go to the final, which is this one. And I actually just want it to be up to the five the four hundred fifty. Five hundred five fifty. Can make up my mind. Okay. So so now it looks a little bit smoother. So we're just going to repeat this process for all of them. And that's basically how you do it. It's very simple. And I think it's very, very effective. For this one. I don't want to put this looks like a heart. You can do that effect with zooming in and out. So let's say for example, I want to zoom out of this one. So I'm just gonna do my effect on here. And at the end, I'm just going to zoom out slowly. So compared to when I was probably want them. But now I'm at this problem whether the background is not transparent. So what I can do is I can go to my generator on the effect library and add a solid color. So what I can do is I can move this up like as it fits on layer and put a solid color right underneath. But keep in mind when he put the solid color like this is going to delete everything you have in there. So that's not what we want. So to get that done, basically just drag-and-drop on top. Move it, trim it to where you want, and then drag and drop almost like Lego pieces. And now when you go, is gonna look like this. And the default is black anyway. So compared to when I was lost, having a stylus mimics a real-world application. And for this one, I actually want to add a Zoom Out Effect as well. So I'm just gonna do this. And at the end, I'm just going to zoom out a little bit. And we're just gonna do the same thing. But since we already have this in here and I'm just going to copy and paste it. So now assembled for the breath. Coming from a painting. Using that in a difficult media or how people so quickly. But you just gonna notice that the zooming in and out could be a little jarring. So I might just stop this. So you can come in. Or I can just add a little bit of position movement just to make it so basically there is no, nothing standing stones on how you do this. It just they have to go in with your intuition and see which one price, what you need to. You can come in from a painting using that in a difficult media. And that's basically how you do the converse effect. See you. 11. Using Video B Roll: Now that we added the Bureau for the pictures, let me show you how I add Bureau for video. I wanted to add a little bit more spices. So I did go and take some bureau of my tablet. So just going to add it to my library. So just kind of go through my video library. And so I took some videos and pictures. I'm just going to add everything in there and see which one. Alright? But I think I want to do this one. So just going to add it to my library, just drag and drop. And I have them in there. So I, My name is Mustafa. But if you don't want to have it, okay. I want to edit it. If you don't know what a tablet is, if you don't know what to tell. Okay. And I'm just using this to nudge. And now I'm just going to add a marker to nowhere I want to add it. And yeah, just going to drag and drop. So what you can do is you can just go in there and just double-click in play. Okay? It's almost splay doing the i and o, so the input and output, the cut. But this is almost like the worst version of it. But the good thing is like this. Say, I drag and drop this clip in here, right? And I want to do some edits on the sides. So pickles when inspector, if you double-click on any of the eclipse on your board, you can have a separate window so you can edit on it. So that way you can see I'm like, hey, maybe I want to edit the colors here or maybe I see something that I want to improve or are you gonna do a refinement of your starting and ending points? So for this one, for example, because there was some music in the background, I don't want to use the music, so I move it up 11 layer for the video. And when you do that, it does the same thing with the video, with the audio. Sorry. So what I can do is I can mute the tracks, everything on YouTube. So if I put all of my bureau on the second track, I'm not going to hear any audio. So this strike. So right now I don't hear any of the audio from my bureau, but for the purposes of this, I'm just going to use all tracks because I shot this in a 120 frames and I'm going to show you how to. Change. Any footage to flow slow motion. Well, let me rephrase that. Not any footage if he shot it in intention of slow motion. So if you shoot in 24 frames, you cannot do slow motion unless you add a plugin or do something that looks unnatural. But if you shot something with the intention of slow motion and Condor 20 frames or 60 frames or 30 frames. You can slow it down in your post. You can slow it down in your timeline, and that will make it look very natural. So for example, this slip, hey, you see I have a lot of shaking in their sum does not fit in here. And the good thing is, even if you mute everything on your on your on your fund line, when you double-click on the clip, you have more refinement because now it plays the clip regardless of anything on there tonight. So so I'd like that this part is more in focus. So what I can do is I can press I and it moves him. So I just want to move a little bit further and press i and then play a little bit. Now's our focus. Oh, so now when I do that on the clip, it automatically changed the clip length to R1. So now that it's, I can't really selected. So in this section, I can just go zoom in and zoom out. So I can just go back in there and play. What I like to keep. Usually I like to keep my bureau clips are on a second or 2 second, 1, I don't want it to be too long, especially whenever video. So for this one, I'm just going to show you how to do slow motion. So right-click on the clip. Clip speed. Because I know this was shot at 2120 frames. I want to change it to 24 frames. So that will be a calculation which is going to be 20%. So 20%. And I want to say maintain timing change. So it's gonna maintain the time. So it's going to be the same. That is going to just move very slow. So I want this to be two seconds, so I'm just going to drag it to two seconds. Now it's two seconds. So let's select another clip. This bed. But there was one that I really like. Okay. I think that's the one. So I'm just going to drag it in there. And just to be very quick. So I'm just gonna go to seconds, then drag it back. And I see the area where I wanted to be in focus. So it's basically this one. So I can either do it the same way where I do it in here or I can just do in press shift, left bracket where I wanted to be. And left shift, right bracket. Right. And I wanted to give two seconds either this or that up. So I'll just enough for a market to know where to stop. Right-click. And I changed it to slow motion. You can see it in here and just drag it. So now it's in slow motion. Let me listen to you that are here. And what the right program. Hey, so I wanted to know program. So this is where I want to end some just have gotten marker. So I could potentially to put two more clips that I can, I can display around. So just gonna do that again. See what I want my in and out in an onset of pair Obama out because I'm going to cut it anyways. So I'm just going to do 20 frames in boom, boom, two seconds here. Okay? So now that I have an extra, so maybe I can add another question. So let's see what can I do here? Oh, this is a top view, so that's at that in that it's accidentally when insert is going to go there. Click speed, change it neck, and just gonna do two seconds and just see how that looks good. Okay. So I either have an option to keep it snappy taught like that, or I can add a transition here on the right. And then I kind of look how this one looks. So now that we edit this bureau, I'm gonna go ahead and add another bureau at the end. For this one does have a hot Harold. Hi, fantastic. Okay, and this is the section when we wanted to put the question. So how hard eta3 equal better? Okay, so let us put it down. So in the toolbox and the title section, we can see and select which one we want to use. I tend to like this one. So this is horizontal line reveal. So let's just see how this one, sorry. And this just zoom in a little bit. Is having a height equal better property. It doesn't have it. Go select and go through the spectrum. And this is where you can change it. So sample up her. So. This will have o equal better parking. I don't like how this looks in the best part is you can change your spacing. Okay, so now is the spacing, what I can do is I can add another frame to that and make it smaller. But I wanted to do something, this one to k. And for this one, we can use the kinda burn effect and edit that there. They just see. Okay, so just moved it there. So now let's see how that's going to let it loop. Now let's play it. Having a heart attack, equal, better party. It looks very snappy. I like it. So this is keeping with that happening because how I notice something in there. Yeah. See that. So maybe you can just move this one back. So I'm just going to go in and remove that. I just want to remove this one, put it back in. And I noticed that this, these two are not starting the same lengths. So that way we're just gonna move these by one frame so they all start. So where the cut is, is where I want the color to be. Having a high empathic, equal, better part of duty. It doesn't matter how expensive, okay, and now we're good. Here. I wanted to as something that the other thing that I haven't. Okay. So now because I'm talking about editing photos, I can either put another video editing photos or I can just add this. So i did case, I did a video where I am. The other thing that I use, this one, but I didn't choose this in slow motion, so I can't slow down. The other thing that I haven't edited on. But for the sake of this video, let me show you how it's going to look. You just don't know. The other thing that I see, how choppy you this and and that's, that's a bad look. You don't want to ever have that in your videos. The other thing that is the pilot port is editing on. And instead of just relying on ochre, because norm z equal to L up part, you just do this one. Now part of my painting called debit credit in this video. Do I think now that this is done, I can just find theorem is one. Which I will do. I think I don't like how this so I'm just going to do that in the now. But the thing is I have any pole booking which are demonstrated in this. So I actually have another video that I wanted to put that. So if that's the case, I will grab the video that I had in mind. And this video is, is quite long because this was another biggie data. That way it can be purpose both. So that's the case. I just want to pretty much cues to second N equal to again, we have demonstrated in the any portal, which have demonstrated in this video. Okay, so if that's the case, it will move. This here. Is the other thing that I, okay, so this one actually starts perfectly. The one thing I can do is because I had this mimic in my hand that I wanted to gesture that the video's gonna be here. So I can just go into and select my video called The inspector in, zoom out and move it around where I want the value of K. So now we have actually done it. But now I want to show that you say end this here and move that, that any grouping would have actually demonstrated in this video. Okay. Do I think having your R, f, k. So I think this covers the Bureau for video. And I'll take you on to see how we can add some effects on the next one. 12. Adding Sound Effects: So now that you've added to enroll and be royalty or video, some to work on. The most central thing about the video is your sound effects and music. If you add them, you video defined, but if you want to elevate it even more, you should add some sound effects and music. So you have different sources to get music. He can Google stuff, but most of the time with very high friction and claim copyrights, it's way better to use something as copyright free. So the one thing I recommend is epidemic music. And if you sign up with my code, you can get the first month three. So let me take you to epidemic sounds. And epidemic sounds is not just about music, it has also sound effects which I used in all of my projects. So you can go in and say we wanted to get I wanted to get the pop sound. So we can just go and serve. Yeah, I think this one sounds better. Spars. Okay. So let's just add the mouth up. Download. And that's downloaded. And I wanted to add something for when I had the screen show up and I was talking about those having a tablet improve your productivity. So I wanted to have something like this. Say if something like that. I think this is good. So I'm going to download that. Will download this one too. I still don't have a clear idea of how I want to use them, but just going to download those for now. K And then I'm going to open them in my folder and just move into my library. Going to make a new folder. I've already done that and call it sound effects. So the pub, I know where I'm going to use it. And these two distortion is gonna see. Okay, so I have them right here. So the way you do it, you don't want to drag them on your so. Say you have this. When you drag it, even on top of the video, is going to move to where the video location is. So we want to move it to where its way on the edge of the video players. So video layers or argue there, sorry, you have audio 123. So you want your effect to be second to last of everything. That's my workflow anyways. And I like to keep the music as last because I don't want it to keeping clipped by other videos or any other effects. So for this one, let's just say, so this one is the pop sound, so just want to move it in here. So I'm just going to move it in here. So now when I play this is going to show that the government did in this paper. Perfect. Actually, I kinda wanna make it when I'm having that gesture. Exactly. So let just move this here and move it there. So now this integral, perfect. So that's how you add one of the effects. So let's go back to the other. And I wanted, which is this one? This one, I'm still not very sure how I want to do it as having a heart attack. Yeah. So for this one, I think it's just to allow so I'm just gonna go a little bit. Having to add minus eight as having a high-end tablet equals actually that's, that's pretty good. It's very subtle, but you don't want something that's going to irritate your ears. It's just a small hint that something happened on the screen. For these ones, I wanted to add a wish kind of effects. So misty. Okay. So let's just do this one. And this one. Okay, So now that I have these two, download it, it's going to move him back to my holder and driving them to okay. And let's zoom in a little bit. I wanted to use this one more. So I'm just going to move this one over here. And one thing to keep keep in mind is to keep your snapping on. So my snapping what I mean. So if you turn this off, your when you drag, the clip is not going to automatically snap. But if I turn it on, it's gonna snap automatic and see what I'm trying to move is just going to have that little bit of resistance. Kate telling you, hey, by the way, this is the beginning of a quip or this is where the cursor is. So it helps you with frame to frame placements. So let's say for this one. But if you normally want a tablet is some laughs. I'm just in a decrease in here. But if you normally want a tablet, you're something they're using US dollar to use it here. So actually, I think it's one sounds better. It just like it just held him like, hey, there's something epic coming up. Are you going to use it here? And what the right programs, you can turn that ten. And for this one, we're just going to move that in here. And I want us to be very, very subtle because it's not really epic. Let me take you back whenever smart, I will just come out. And it's just that subtlety that can make you, I'm like, hey, there's something going on in the back. Something has changed. So that is how you add sound effects here, timeframe. Next, I'm going to show you how to download music. 13. Adding Music: So now that you downloaded and added your sound effects and to look for music. And this one is really up to your preference. He likes something poppy and you want to move to the beat. Then look for something that sits that suits your needs. For mine are like something that's more relaxed and just to kind of build up to where I want it to be. So let's go back to epidemic sounds and look for something that this looks something with the genre, something more electronic. And this say something goes lay back. And let these mysterious, let's see. That's not it. And you'll notice that most of the time, the most amount of time you take two, the editing is finding the right music. Funding art music really takes a lot of research and a lot of time. So if you go and you're just browsing around and find attract that you like. I suggest just download it and keep it in your library so you don't have to go back and search for it again. And that way you're going to improve your productivity and have that right at your fingertips when you work on your next project. But for the sake of this one, I am just going to go through that process and show you how it's done. I kind of like this and it has a little bit of buildup. So I'm going to try and match that build up too. And I'm talking about the tablets, which is in a download, download full mix. And once that w1, which is going to move that to my folder, just gonna make a new one called Music, Music k. And I'm just dragging. And you can either drag it here or you can just drag it straight to your timeline. But I recommend drag it into your library first. Because sometimes when you put it in the timeline, you might override something. And then going back, it might be a little bit too late. So I'm trying to add another audio. So you can either try and drag it down or you can just go in and say right-click, Add track stereo. And it's just going to be there. And that's a little bit easier than trying to do what I was doing. So here a new artist doesn't have that creative part, the p. So in this video. Discuss it. Hadn't been avid gardener harvests. Your productivity and improved museum. Hi, my name is Mustafa. Artist is wrong and I'm going to talk about how. So I kinda wanted to have this start, this speed to start with this one. And I'm willing to sacrifice a little bit of sand in the beginning because I'm planning on adding another effect in my logos and whatnot. You're used to using theater. And it was the right programs like that a lot. So let's go ahead. And so that is our first in. Sometimes you might add to two clips to extend it. Or if you want to use the same clip and kind of merged together with a third party program is completely up to you. But what I'm gonna do for this one, for the sake of this tutorial is m, which is going to be parallel. So I'm just going to play a little bit with the volume. And what I found is somewhere between minus 1926 is very acceptable for a background music pipelining. But if you don't know what it is, you're using us Alice to. And I think I'm like that one. So what you can do is he can drag it again or you can just copy and then go here and paste it again. And we can do is you can just move this one back on and move this one a little bit further in play it. But we need trend data. Try and keep it where you have a big cut coming. So just do it this way. So that way it's not very intos premium brands or the white competitive and this grandpa or outward us for a starving artist. So it's kinda blends in. It's not very noticeable. And if you're actually listening to to what I was just focused on the track, you will notice it. But if you're not completely notice on that, we can actually do something even more, or we can blend both into each other. So you can do is so you can add another track. And if you move this in here and go back a little bit and make him kind of blend in together. So that way it is less, notify them Whitehall Padlet and this bread groundwater or a starving artist. And now it's very blended and you don't need to worry about adding another track, has a different tempo and you just can keep going with your video now so you have a compatible with your art Martinez and you need to put some pepper and time to learn how it works. And in no time you will find your art you better. I said, and I think that's, that's it for, for adding music. 14. Color Tab: You finished an added all your music, sound effects, everything is ready. Time to go into the color grading, and that's where individualism really shines. There. Color grading is on par with, I would say, almost like Lightroom with Adobe. It's very intuitive, has everything on the same screen. And you can just go in and play and come up with a look that you really like. You can add lots if you'd like. There's a section in here, and you can add some other effects, but we're not going to go through that advanced. And over here you can find all you're primarily the primary wheels, the color wheels, and you're gonna find your log wheels. We're going to go through and color grade one of these clips. And I'm going to show you how, if you like, if you've already done and finished calibrating, how can you copy and paste that grade onto all of your clips. So the one thing I want you to get at is too, on this side, you can change into so many different things. Victor scope waveform. I find for a beginner to use the waveform because it will show you exactly where you are, clippings are at, where the colors are, maybe oversaturated, under saturated. And the way the waveform works is this is your whole canvas or this is your picture. Right here you can see this is a silhouette of my hoodie. So it's a little bit gray. And basically this is kinda mimics your image. And right here is a little bit of color because this is where the light is and everything else is dark because this side is dark. So this is how you can look into it. So what you want is to try and expose correctly for your, for your skin tones. And because I've already exploded in the camera, it looks, it looks okay. But if you want, you can play around with all of these colors and increasing, decreasing. But for this sake, let's just take a step back before you do anything. The way the vinci resolve works is a little bit different than any other program. That's for the consumer base anyways, the other programs use layers. And the way it works is kind of similar to the edit where you have, let's say your picture. And then you add a layer of colour grade. You add layer filters and so forth. But this one works as nodes. And the way it works is that you have the picture and then he added net for node, you do a little bit of change and then you add another node, and that's a little bit of a change. And then you can kind of do this snowball effect where you do a change after change, after change, and then you can do to nodes in parallel, but that's a way to advance. We're just gonna go through a basic color correction. And the way I'm going to explain it to you. I'm going to explain as if you're doing it has layers. And when you are comfortable and already mastered a way to do a basic color collection, you can go ahead and explore other options of color grading. So the way we're gonna do it is you see or note in here. And then we're gonna do add a serial node. So the Sierra nodes is going to go on the right. But if you do it this way, is going to almost feel like molarities. So you can just keep adding layers. And that's how basically that's how I explain it to myself that and it made it easier for me to go into this new, new style of color correction. So I usually like to keep the first layer or the first node untouched. So that way I can always come back to it. And if I wanted to delete or redo all of my color grading, I can just go ahead on the other notes and believed them or adjust them. So I keep the first node untouched. And then the second node I play around with, I try and get my offset in the primary log wheel to try and get my exposure corrected, at least for skin tones. So that and play around with the curves. And the way you want to see how before and after each press Control and D. So Control D, we'll show you, we'll turn off one of the nodes and turn it back on. So that's how it's gonna look. Okay. So now that I have this one to where I want it, now I'm going to go to the next node. And the next node, I'm just gonna do a little bit very basic color correction. I usually like to add a little bit of red shadow because I have I had a really flat light and it was making my skin look very pale. So I add a tiny bit of shadow in there. And the highlights slightly red, not much. And for the temperature and give it a little bit of warmth. And for the tint, I give it a little bit of red, just a tiny bit. And now if you look, I'm selecting both nodes. I'm zooming in with my middle mouse. And this is how it looks like. I think it looks a little bit better. And what I'd like to do, I'm going to add another note. You can either do a right-click, Add Node cereal, or you can select a note and press Alt S. And S is going to add another node, two series next to the one you select it. So what I'd like to do is I go into the curves. And next to the curve you'll find a lot of different selections. So this one is your hue. I'd like to add a little bit changed my heel limit, usually by three. And what that does, it gives me a little bit of an orange tenth, which is very natural horror or skin tones. And I just go in each of these tabs and add a little bit, just a tiny, tiny touch of saturation. Zoom in a little bit with the luma keys and some saturation. And I don't really like this one because see how it really just as a flat white colour to the image. So I don't really like, like using this one at all. And that's basically, that's basically how it looks. But just for demonstration, let me say I'm going to add another note. And let's say for example, I wanted to add a little bit of shadow, right? And I'm going to play a little bit with my color wheel and do a little bit as a lift at blew the gamma, I'm going to change it to blue. And then the game, I'm going to get it a little bit warm. Right now. I'm just going to yellow and the offset, I'm just gonna give it slightly, slightly. But if you see now it looks very, very strong. Lets say, I want to reduce the effect of that node. Instead of going back and playing with the numbers, I just go into this one, the key. So the key output is one, that means a 100%. So I can drag to where I think it's fits. But for the sake, I'm just going to put 0.5, which is 50%. So I think this works very, very reasonable. One other thing you can do is if you actually bought some lens, you can just do your basic color correction. And let's say you're adding another note, go down to your left and slap a lot on it. So for that case, I'm just going to go to another one. I've already created a lot from my previous work, and I call it the Hugo that you go left. So that's one look. Or I actually did the there's a lot that I called Mustapha, let me find it. Yep. Templates. There we go. And that's just the look. But I kind of like the look that have done. It's a little bit more purple and it makes it looks way better on the skin. And that one. So I'm just going to be n. So now that I've already got the look that I want, let's say I want to copy that to all of the other clips. So I'm just going to select this clip for example. And I'm gonna go on the clip that I want to add the lot or to copy the lot from right-click. And at tenth grade, what offender is gonna do? Just going to add all of the nodes. After your note that you have on the on the screen. If you select Apply node, apply grade is going to apply. Everything is going to do a complete copy paste. So let's say you've done extra stuff rather than just color. You've done some stabilization, you added some blur, you edit some changes, is going to copy all of that. But with the grade, it just hopping down all of the color correction and the color changes. So it's really up to you and your project, but that's basically how you can copy great from one clinic to another. 15. Audio Adjustment: So now that you have your video done, your color gradient is complete. The added your music and sound effects. It's time to go and check if your sound's actually adequate. So let's go to fair lights and go and see how your audio output looks like. If you noticed the play, Hamlet actually increased, its almost going to 0 and that's not really get you. What you want is your audio to always look between minus 4.56. So by doing that, you can always go down in reduce the decibels. So that's one way to do it. Or you can add in a limiter. So by adding that, he can do. Michelle. So you go to the library and you can add a limiter. And what you want is to decrease it and play it and see how that can work. Doesn't have the ArcPy will get Rs. And you can see from here that it's actually clicking down some of the stuff that, that's going higher. And seeing here, it used to be going to 0 and now it's almost at minus four. So you can play around with that until we find a setting that works for your video. And once you have that done, you can either just mimic that for all of them or you can just copy. And when you select the other one, can just right-click and Paste attributes. So when you paste attributes, you can just select everything and apply. And that will automatically do everything had to have a party. And now will do everything that you already mimicked. So using the limiter against using the volume delimiter is more of I think it's more of a organic way to get down or your audio levels to something that's acceptable for video. Because it has this algorithm that clips the high, but it doesn't click the hole, the hole audio so few lowered the volume. The whole wave form is going to shrink. But we need to use a limiter. It'll only clip the higher bits that are high on the decibel level, and it will keep everything else the same. So that way you can retain your information and data in your audio. And I think this is the best way to limit, and I edit your audio in fair life. 16. Fusion (Optional Bonus): So if you've made it this far, congratulations, you actually edited their first video. But if you want to spice it up a little, I have some extra bits that you will find very interesting. So we're going to add a little bit us, like we're going to elevate it even more. I'm going to add a little bit of global and some transition. So stay tuned for this one. Artist doesn't have the backing. Okay? So now that the basic thing is complete, I want to add something extra. So I'm just going to select everything here. And I just want to move it lightly. I wanted to add a little bit to flare. So I am going to add my logo. So by doing that, I'm just going to go to so I have these logos that I want to add two. Okay? Okay. So I want to add a transition like a glitch transition. So there are two ways to do that. So you can either go to your library and try and digital glitch. But if you add that, OK, so let's try that. So you can add that quickie here. Right? Okay. So that's one way to do it. But the way this glitch did was it actually applied the whole bridge double-click. And that's something we don't want to do. We just want to apply to a little bit of the frame. So I wanted to have kind of a transition. So what I'm gonna do is I'm gonna go ten frames, ten frames from here. And ten frankly. And apply that difficult on both of these clips. I accidentally cut it. So I'm just going to go into that. And now when we play that part, look how that looks. And he's going to do a transition like that. That's one way to do it. But what I'd like to go is I'd like to go in fusion and do that transition myself. So what I've done is I have a library of transitions that I create a collecting for the past years. And I'm going to show you how to create one or how to use the ones that I'm going to supply in the library so you can use it yourself. So first of all, I'm just going to go down to a 0.5. zoom. So now I have my put this in here allowing a loop like that. And that's how this whole thing is. The way this transition works is I have to create a new clip. And then I take that clip into fusion. So I almost like exported to After Effects and play around with it and then put it back. But because diffusion is baked in, I can just click, right-click, select these two, and then call it new fusion clip. And now I can just click on that and go to fusion. And I have everything down there. For this tutorial I'm not gonna go through in choosing phis fusion is a whole different animal, but I'm just going to show you, if you download a fusion settings, how can you import that? You're, you're, how can you import that into your timeline Flex library and my Effects library have. When I have my effects, I put down how many frames before and after. So let's say for this glitch setting, I have ten frames before and timeframes after. So I just can take that in going here, drag and drop. And the way it works is you have media in and media out. So if I take this out, There is nothing. But basically you have to have an input and output. And in-between, you go and say, you stopped to the grocery store, you go buy some some milk or something or whatever, right? So that's how it works. You just go instead of going directly home, you're going to stop at the store, get the glitch effect, and now you're good. So now when you play tunnel looks like this. Okay? So now when we play back that it render C, it looks way better than the normal effect in. I'm going to supply all of these effects in a separate folder. So for this one, I wanted to use a different effect. So this one is a 15 frames. For the first 125 frames per second one. So I'm just going to be 123456789101112131415. Do that. And this one is 25 grams. So I already know that 1 second is 24 frames. And then I add one frame that's 25, so that will be it. And now this one, I'm gonna do a new fusion clip. Go to Fusion. Go to my effects, drag and drop. And just connect. So you can connect it this way. Or if you press shift and select, you can just move it in between and now it's locked. And now this effect is different glitch. I don't want to keep all the same. So now when you play it, Let it render. While this one renders, I'm gonna do the same thing to keep the transition very smooth. So for this one, I'm gonna use my 10-15 123456. Okay, so that's that. And and now we have just put L, That's the huge input. Go into fusion, drag and drop. Okay, so now we're good. So now let's go back in plate. This is wait for it to render. So that's how I want it to look. But now I am missing the sound effects. So we can just go back to epidemic sounds and just say, or we can just look for glitch. Alright. I like that. Normal, this one, T2. And I'm just going to download a different Glitch to see them. And I like that a lot. Ok. So now that we downloaded all of our X, we're just gonna do the same thing as before. Drag-and-drop, play around with the sound levels and just put it in. I'm just gonna put it into our timeframe. K. So I'm back at sound effects, put that in there. I like to keep all of the libraries in the same folder so I can always come back and find them. And now that I have all my glitches in here, I'm just gonna go and ode23 is all of my effects. So I don't have to be confused in play around and see which ones we think this might be a little bit too much. And you just start with this one is going to decrease to a decimal. Okay, actually the effects started my bit. So it's just move this one here. And this one is getting to this part. That's kind of that's kinda need somebody's going to decrease it a little bit more. And synapse. Ok, so now I put it at minus 1304. But the one thing I didn't like is how this one was not matter. So I have to, I want to get this a little bit. A smooth transition path. Okay? And that's pretty much how we can add a very specific effect fusion. And now we are ready to export. 17. Exporting Project: So if you made it this far, congratulations, you actually finished analytic and even added some fusion splash into your video. I honestly recommend that. If you're not very comfortable with fusion, you can skip the last, the last piece. But for everything else, you're ready in Good to go on the web. So when you go into the deliver step, you have a lot of different options. And today we're just going to deliver it on YouTube. So I'm just gonna call it Mustapha project P1. And I already have a location set. You can create, browse a and edit anywhere. And now just add to render your place because I tried to export it before and then press render. And that's it. Now, once that is complete, you can just upload it and it's on the web. 18. Course Outro: So if you made it this far, congratulations, you actually concluded the course. I hope you enjoyed it as much as I enjoyed making it. So in this course we gone through how to add your arrow, edit it, and remove all the imperfections at bureau. Full images and video at some slow-motion effects, at some fusion effects, sound design, and music. And we also gone through how I do my color grading process. So I really hope you enjoyed it, and I hope it motivated you to go out and start shooting and editing. And now time to go and see on the outside.