Transcripts
1. Course Introduction: Hello everyone. My name is Adam. I'm a professional video editor and designer from Casablanca. And this course, I will share with you ten tips to make your color grading workflow ten times faster and eventual results 16. That means for each table, you're going to be onetime more faster. And now when it comes to calibrate intervention resolved as the go-to program, a lot of people talk about Premier Pro, but if not the same thing, okay? So as far as I know, there are only two video editing software used in Hollywood. One is Avid Media Composer. It's used for video editing. And the second one as the venture resolve, useful colored gray then now I'm not saying that's Premiere Pro is not grades. Premier Pro is an amazing program and you can install some amazing extensions like magic bullets, for example, where you can create an amazing film loops with just one click. But that's not enough to qualify you as someone who knows what they're doing. Ok, so understand the basics first, understand the venture result, and then if I want to play with extensions, then go ahead. So I like to think of it this way. When we talk about photo retouching, Photoshop, what we talk about Global Design, Illustrator, animation, after-effects, 3D. We have Mayas 3D and we have Cinema 4D, Paraguay then the vendor results. Okay, that's how I see things. Now, here's what you're going to learn in this course. So we're gonna start by Brown treads. Pamela showed you how to conform like a pro the fastest and the cleanest way to conform. Then we're going to talk about vector or six vector. I'm going to show you how to use the vector scope to the fullness, of course. Then will talk about color space transform, remote weights, shared nodes, and all that amazing stuff that you're going to need an actual real-world projects. So that was pretty much it for the introduction and see you inside the course.
2. Project Files: Okay, so as usual, you can download the files from here to practice the tips and tricks from the course. And of course, if you want to follow along, and of course I couldn't upload all the videos I'm using in the course, but I did upload the most important ones. So the first one is a shots from area Alexa camera. The second one is a video from a stock website. The third one is a shot from red Helium camera, and the last one is a video from Adobe stock footage. Now these videos that I have provided are the most important ones. Okay guys.
3. Conforming like a Pro: Most people use the venture resolve as a finishing tool, which means just for color grading. And most of the editing, which cuts the transitions, the audio and everything else will be done. Another software, you know, something like Premiere Pro, Sony Vegas or Avid Media Composer. And I want to show you how to make the perfect round trip. So there are two ways to make round trips for the venture resolve. The first ways, cold all row, roundtrip. And that's basically when you go ahead exports reference files and you export an XML. And the second method that I recommend you to use and that's most pro, video editors use. It's called Bacon blade. And I want to show you how to make the perfect bacon blade. Now the new way to make bacon blade is that we have a timeline like this. And we will go ahead and click on a sequence control m, and then just export everything. Ok. Now, I don't recommend exporting everything that you have here to the venture is all for color grading because not everything will translate smoothly, okay, transitions won't translate smoothly. Effects and everything else will translate smoothly. What's I recommend you to do is duplicate the sequence. Let me give it another, another color. For example, yellow. And then I want you to get rid of the audio we don't need, it's the titles and even the transition. Remove attributes, okay? Okay, we just want a clean file with a roles and be roles. Now with the second or the duplicated sequence elected control m. And then for the exports at not going to be the same thing as exports on a reference file. You want to export in a high resolution. You need your file to be 4K. You exporting 4K, you needed two K, you exporting to K, six K you get it's, so let's say for example, I want to exports. And for cake, as this footage was shot using the array Alexa camera in 4K. I'm going to choose it's right here. No need to export the audio. And then just export everything. Okay? Once it's done, what you're gonna do is again go to File Export and then export the EDL. Okay, this is the same thing as exports in XML. I can uncheck include audio levels. Uncheck include transitions. And then just click OK. All right, so this is the name of my EDL. Once it's all good, I'm going to click Save. As. Close everything and then go back to the danger resolve. Okay. You $0.01 of injury resolve. I'm gonna go ahead and creates a new bin. And let's call it Da Vinci to premiere, for example. And then undermine you, Ben. I'm gonna go ahead and look for my files, imports media. Now here is the file that I exported from Premier, and this is the EDL. So I'm gonna open this. Once I have my footage here, I'm gonna go back to master. Right-click here. Okay, under this panel, then timelines and then imports and then pre conformed EDL. And now this is my EDL that I exported from Premier Pro. I'm going to click on open timeline name OK. Choose the folder, okay. And then here we have everything with the cuts. Now, this is not a very hard cuts or complicated. Ok, cool. Now I can go to my color tab. And now I will just give it a quick color gray them. So I can show you how you can re-exported in Premier Pro. Speed up the process a little bit. If you want to learn this process, you can just take my ultimate calibrating fresh course. Okay? Okay guys, so one more thing I forgot to do here is that's I forgot to change the resolution on my timeline. Here we go. Save. Okay, and then just do the same thing basically as, you know, as we did earlier. So I'll give it a name, go reading books. And we've got our location. And here's the solution. I would go okay, or ultra HD to render queue. And there's during the rain. Once back in Premier Pro, I can go ahead and delete the duplicated sequence. And then with my main sequence selected, I'm going to right-click here an ATRAC. And then what I can do is bring the file that we exported from the venture resolve. This one. Then I can just put it on top of this shot that we had. And Premier Pro. So just let me fix everything here. Okay, looks good. Need to be deleted like this. I'll just delete this thing. Discipline right here. I'm gonna fix it little bit like this. And here we go. So you can see everything looks perfect and everything looks conform. Now right here, for example, we can see that we had a transition here, and we don't have a transition on this file that we just exported from the venture result. So we can just use the main clip as a reference and add any other transitions or effects that were added previously on the clip. And here we have it. The guys, here we have it's just like that.
4. Bake and Blade with RAW file: Hello everyone and welcome back to this video. So this is part 2 of conforming Like a Pro. And I want to show you how you can make bacon blade with a row file, okay, straights out from the camera. And the previous bacon blade video, I received some messages about how I should not converts an area like suffered switch to an MP4 because you lose a lot of quality in the process, a lot of information that you can use in calibrating. So what you need to understand you guys dads, I wasn't working with a roll file. I was working with a row foods edge, which means ungraded footage. Okay. Do file would look something like this. Okay, so I'm just selecting the same thing, the same file. So it's gonna look something like this, okay, You can just tell from the project's panel here that this color, okay, the label here is quite different from the outer color. Okay. Reason being is that I had to decrease the quality of the footage so I can upload it and you guys can download it. Okay. So I didn't want to upload the entire row for its edge because let me show you once then. You can see that the size of this plan is almost 10 gig, which is too much, just silane bacon late, okay, with the main focus here is not called gray then it's bacon blade. So what if it was a raw footage, then what are the best settings to export That's without losing any quality. Okay, So this is why we gonna do in this video you guys. So first thing first, I'm going to go ahead and just creates a new timeline just quick or a new sequence. So right here I'm choosing the area because we're working with area like sample footage. And then I'm choosing this one right here. It's NADP 23 frames a second. Then just okay. And then I want to put my footage in here. I'm gonna go ahead and click on Change sequence settings. So this clip was shot in 24 hours or 23 femtoseconds. Same thing. So chance sequence settings and just zoom in like this. So now what are the best settings to export a role file, arrow Alexa file without losing any information or quality from the clip. So first I'm going to go ahead and click on Control or Command plus m two exports. So what you wanna do here guys, is that you want to switch from the 8.264 and before codec to the ProRes. Okay, so I'm gonna go ahead and look for programs here. And I'm going to choose Apple ProRes, MSF, op1 a, okay, this one right here. And then presets, I'm going to click here and you can see that you have quite some presets to choose from. So the two choices are two obvious choices that we have here is Apple ProRes 422 HQ. And then we have the Apple ProRes 4, 4, 4, 4 x cubed. So the best preset that you need to choose is the Apple ProRes 444 executed. Okay, this one is way better than 42 to HQ because this one was created especially for the color grading workflow and VAX or flow, okay? It was created by Apple, is officially too ports without losing any information from the clamp, okay, inequality. So you want to go ahead and choose this one right here. Apple ProRes 4, 4, 4 x q. And even Apple said that this was their best exports codec. Okay, guys. And then you just go ahead and then, you know, exports, you're a fan. It's going to take some time of course, but you have to read. And now let's go back to the Vinci Resolve. Okay, guys. So once I know Vinci Resolve, you finished the color grade and then you want to use the same export settings that you use in Adobe Premiere Pro. So you choose ProRes from here, and then you choose a same sedans. But if you are on Windows, there are no ProRes that you can choose from up here, okay? They don't have, as in the Vinci resolve for Windows users, which means they're going to have to choose an equivalent of data. So what is the equivalence end of injury is Alt on Windows. So of course, make sure you have custom here. Scroll down on the formats. Make sure you have this formats right here, okay? Max, if 0 a, then codec choose D and XHR. Type the annex, HR HQ. Hey guys. And then of course you can choose a resolution, so ADP or four k ultra HD, whatever you need. Make sure the audio is rides, the location is rise, and then you just exports is basically the equivalent of ProRes and the Vinci resolve for Windows users. Okay guys, so that was pretty much all about doing the bacon blade method with a row file.
5. Color Balance: Hello there, lovely creative people. And this film, I'm going to show you two method to white balance your shots prior to your calibration process. So the first method is to convert your log into a rec 709. So I'm gonna create a serial node. Go to lots. And then I want to find area like CELAC, see 2X 709 because this thing was found using an aerial exit camera. I'm going to bring this thing or lots and put it on my second note. Now this method is used a lot by professionals. I don't use it a lot. I don't like it, but people seem to like it. And now I'm gonna go back to my first note. Here. I will try and balance these colors, the RGB colors, using the offsets, contrast and pivots. But before that, make sure under waveform you have RGB selected right here. Now I'm going to go to the offsets and just move it slightly so I can bring those colors back. Or bring those colors together. With doubts. Get in like some sort of a blue tint on my shot. Ok, so around here is good. And now what I'm gonna do is add some contrast and decrease the pivots. Just like this. Okay guys, so this is the first method. I'm going to go ahead and command y to save a version. Now, I will resets every fan and show you the method that I use. Now, the second method and one that I personally prefer is to select my second note. And instead of adding or hexagonal nine, I'm just going to increase the saturation to something around 80. Now, the saturation, sometimes I put its seven Tish, sometimes a dish. Sometimes I put it to 100 is depends on the color grading, workflow and it depends on a lot of things. So in this case I'm just going to leave it right here, around 80%. Then I'm gonna go back to my node number one and adjust the colors using the offsets. And contrast and pivots. Same thing. So I'm just moving slightly and carefully. Alright, here we go around here. Now the same thing, I'm going to add some contrast. Decrease the pivots. That's more contrast. Maybe you go. Now, if I click here and I'll split screen, I can see my two versions. Okay. So we have the one right here on the left were direct 79. And we have this one using saturation instead of work seven or nine. So I don't know guys, which one you prefer. I would personally go with this one with the saturation as that of the 709? You know, I'm just to be honest with you guys, but I'm not sure. So here's the thing. I'm not say News interact 79 is wrong. It just a matter of preferences. If you wanna go with their worksite an online, it's totally fine. It's May looks awesome to you for me, I prefer the one with desaturation. That just me guys. Okay. Because I feel like I have more control when I use saturation, then when I use direct 79. Okay. And on both of these shots you can see that there is some sort of a green tents. And that's totally fine because when you shoot with area like say you get that green tents on your footage, maybe it's maybe it's something thereby defaults. I don't know why, but it's just something I thought you may want to keep in mind. So this is just the starting point, guys. I'm just showing you two ways to store your footage. Okay? This is not the final grade, of course. This is just the starting point to launch your calibration process. And yeah, that was pretty much all guys. So I just wanted to show you what's up. Yeah. So let just say my thing. You know, once you start with this, then it's hard to stop. Anyway. That's pretty much all. And see you on the next one.
6. Six Vector: So let's say for example, you want to have that black and white footage with one or two axons colors popping out from that black and white footage. Now, the traditional way would be to select the qualifier and then key out the colors I you need. And then do a lot of adjustment in here. And then sometimes it may work and sometimes it may not work. But with this tip that's I'm about to show you, it's only gonna take few clicks. So what I can do is add a new note. Now as you can see here, I already did some color correction on this footage. So this is how it was before. This before, this is after. And now with my news serial node selected, I'm gonna go ahead to RGB mixer and then check monochromatic. Okay guys, I can add a serial node before. And they may be the black and whites. Lot to this one. I can adjust its opacity right here. And maybe a little bits of the master gain like this. Now check this, I will right-click on the node with the RGB mixer at node and then add layer node. I can uncheck this slots for now. And here we go. And then now I can go to color presets and then choose any color from here, okay? And these are called vectors or six vector. And then let's say for example, I want to read. You can see what's it did. Okay? So everything else here as black and whites by the strawberries keeps their red color. Okay guys, now if I select on a qualifier, we can make some small adjustments in here, but it won't be necessary. Sometimes it is, but sometimes it is not. And I can put back my black and white layer and see if I like it or not. See which one is better. Now depending on the field and look, you can either remove the nine, note, remove the lots, or you can keep it and then just adjusted under the key K. Okay, Just like this. I like it like this. And of course I can do the same. Click on this 11 note. And then add node and then add another layer node. And then this time let's say for example, I want to select the blue color. Okay, now we can see did selects the blue colors available on the shots. If I zoom in to my nodes, like here, you can see the selection. So it did selects the blueberries and a little bit of this area because it's considered to be blue. Now if I don't like this, I can tweak it's here. But I liked the shot as it is and I'm gonna leave it like this. And you can see the difference in colors. Look here. It looks all washed out. And here it looks very attractive, I think. Anyway, guys, LET try another clip. I'm going to add a new cereal node. No need to make any correction for this one is because for the RGB mixer, monochromatic. Okay, maybe some had more black like this. And then just do the same thing. Right-clicking here, add node, node, and then let's go to color, color presets and another one. And let's say for this one, I want to suit, looks good. Okay, so I hope you liked this technique. I like it a lot because I love, I love these looks like sensitive movies. And yeah, that was pretty much all of you for the next one.
7. Vectorscope: And this movie, we're going to talk about scopes. And precisely I'm going to focus on a victor scopes. But before that, I wanna go to histogram real quick and show you how I use the histogram to achieve a clean, crisp whites look. So you can see here that's my shot has a clean whites. By clean whites, I mean, if you play this shots or this scene on a vivid monitor, the white is not going to come out as a highlights, is going to look as clean as possible and crisp, Of course. Now you can achieve that thin, you can achieve that clean whites by keeping your colors around 80 and the histogram. Okay. And just, you know, after you do the corrections and all that stuff, it can adjust the gains to keep your colors like this, okay? Now we can see how everything here is well balanced on there. That's 80 line. So histogram helps you get that clean, crisp whites in your images. Now let's move to the star of the show, which is the victory scope. Now if you keep staring at the victory scope, you can see that we have some sort of square here. And we have red, magenta, blue, cyan, and green and yellow. Now if you remember that scene from x McKenna, when the guy assault cancer the robots and red room. You can achieve that look using the victors scope. And we're gonna go ahead and try and recreate that look using the victor scope. And what we're trying to do is this white Stroke. We wanted to start from the middle and go writes in a straight line to the red, inside the red square right here. And we want that line to be clean, thin as possible, and white as possible. Now, I'm going to create a new node and star making the necessary adjustments so I can get that look and you can see how I do it. Now. Quick disclaimer, guys, it's not going to look as clean as and the movie because the environments and the light in, It's helping us right here. But I'm gonna do my best to get that vibrance red color into my shots. So I'm gonna start by adjusting the gain. And here's the thing, guys. I'm not even gonna look to my image. I'm going to keep my eyes on the scopes. Are on the victory scope until I get that whites clean line on my victory scope. So I'm just in my color wheels right here. Let me bring the shadows a little bit too green, right here in the middle. Okay? Now I'm gonna switch to the waveforms for a second. And then just bring them down a little bit. I mean, bringing them down a lot, not just little bits. Will my good though so much. So about this. Sometimes you go, look, go. And he would go around here. I will go back now to my Victor scope. Still adjust in the game. Like first. Let it go. Okay, I'm going to add some contrast. I'm gonna switch through waveforms for a second and then just bring this then found little bits. The master gain around here. Now let's go back to the victor scope. And you can see that we get in there a, I will add a new note. I'm going to switch to number two down here. At some temperature. At some sense. We're getting closer guys. Now I'll go to my RGB mixer. Then. I will fix things here. I can see that I'm looking for that's vibrance, vibrant red. Okay, now I will add a new node. And then just tried to adjust the bottom of this line. So it's going to hit the middle. Thank you that I went to far. Maybe just to move. And the thing to like foos and VS, I think I'm going to keep it like this. It looks good. One more thing I can try is that's, I'll take my node number nine. Well I click, add a layer note. And then maybe we can, you know, add some more shadows too. It's okay. I'm just saying I don't know. Let's go back here to number nine and then just deploying the reds little bit down. Goes on so much down. Like this. It looks good. We're going to have to be very careful with this thing here to just answer something here Manual. So 0.80. Okay, looks good. Okay guys, this is how you do it. So as you can see right here, this thing, it looks very red, looks very vibrance and clean. It looks very good. All of this, thanks to our victory scope. So we went from here. Okay, look at this two here. So achieved, that's one color. Look to our footage. And it doesn't look clean and vibrancy and everything. Not as good as the one in x McCain about two, you know, it is what it is. Ok guys. So that was my tips about scopes, especially victory scope, histogram, and see you on the next one.
8. Color Space Transform: For this next tip, I'm not sure it's available in the free version of the venture resolved, but I know it's available and the paid version of the venture resolve. And I'm guessing if you work in professionally as a colorist and you've been working for at least two years, you must have a paid version of the venture resolve anyway. So this shots we have right here was shot using the red Helium camera. In red, white gamuts RGB kinda space in log 3G Gamma. Okay? And let's say for any reason you don't like to work in red-white gametes, RGB color space. And you want to change it to the area like cyclists base. So I want to show you how you can do this using the color Transform effects. So I'm gonna click on Open effects and look for colors based transform. Okay, and then you can click and put it on your node. Now as I said earlier, the inputs color space for this one is red, white gammas RGB. So it look for it. Here we go. Worldwide gametes RGB inputs. Gamma is log 3G ten. Maybe go read to lock 3G ten. Don't worry about this now. And we want to change it to area Alexa in every log C output gamma. Now you can see there is, if I toggle this thing on and off, you can see there's some funny thing on her lips, a funny color. So we're going to come over here to tone mapping, and we're gonna change this to luminous mapping. It is going to bring the luminous, as you can see right here under the scopes. And then we're going to, I'm over here to gametes map in and change saturation mapping and it will remove the red lips. Dislike this. Now if I toggle on and off, before and after. Okay, you can see the difference. Once I'm done with it, I can close it and then just resize my UI. Add a new cereal note. And this is a good habits to keep in mind if you're transforming color spaces from a camera to another, is that once you change the color space, you can right-click on the second node and then go for lots, CLF, and then look for neon suppression. Okay, that's we'll remove all the extra shadows and highlights and anything that we really don't need. So I fights, I go on and off. You can see these scopes changing. Maybe you can't see the difference on the footage, but you can definitely see the difference on the Scopes. Once we finish, selects both. Right-click creates compound mode. Okay? And now if you want, you can add a serial note and then apply the area licks Eric seven or nine. But you're going to have to adjust its little bits. Okay. And once you apply direct 709, your base grade, you can then from here, you know, launcher color gradient process since our Justin stuff accordingly. Now I'm gonna delete direct 709 because I don't start my colleague gradings use indirect 79. I could do is manually. And now let's say for example, dads, you want to save this transformation that we did, this color space transformation, because you don't want to repeat it over and over again. So to do is I'm gonna come over here to gallery. Ok, and then click on power great grips tail. And the good thing is that cells, they live and the database, which means even if I open a new project, I can still access the cell. Let me show you what I'm talking about. So if I click here and then go to another projects, I can go to Palo grades and I have my cell right here. Okay. And I can just right-click and then apply grade. And here we have is. Okay guys. Now let me go back to my other projects. And yeah, that was the tip. That's I wanted to show you guys. Okay. So if you're wondering how I did grade this footage, here's how I did with the red, white gametes color space or the area like cell. I wasn't really going after a specific look. I was just experiments and for the course. And yeah, here we go.
9. Remote Grades: So this tip I'm about to show you is really, really helpful. So as you can see here, I have this scene and I already went ahead and applied some color correction. And if I go to clip or clips, you can see right here the I have similar scenes from the same source clip, okay? Now if I want to apply the same color correction, I can of course, grabbing cell, which I already did. It's right here. And then I can go ahead and select my clips, hold shift and selects all similar clips, and then apply the cell, but a few working with hundreds or let's say 1000 footage. It's can add up guys, okay. You cannot select all of them. And sometimes you may get confused because you see this clip looks exactly like this one, but they are not from the same source. Slip. Okay. They're not the same thing. Now, the tip here is, I'm gonna go back to my graded or corrected clip, right-click, and then use remotes grades. Now, it's going to go ahead and select all the scenes from the same source footage and put that red thing beneath it. It looks like two squares. Okay, that's means it selected all similar scenes. Now, I can close this and then come over here to my cell and then just click with my middle mouse button. And if I go back to the clips, you can see that everything changed. Okay? All the scenes with the red thing, they all changed. If you don't have a middle mouse button, you can just right-click and then apply. Great. Now I'm gonna do the same thing for the other clip. Click on its right-click. Use remotes creates. Now you can see that red thing beneath the scene. Then I'm gonna go ahead and do the same thing. Now here's the thing. What if, okay, for any XY reason, you decide that's all the scenes are grades by, you wanna go ahead and just apply adjustment to a specific scene, okay? Because now if I apply adjustments to any of these scenes, automatically all the other ones. But let's say I just wanna affects one specific scene without such in the outer ones. So what you can do here, for example, is that once you select the clip, okay, you can go ahead and click on command y to create a version. Ok, and now as you can see, all that red stuff has gone under the clips. And then you can add a serial node. Apply any adjustments that you want. Just make it really blue so you can see the difference where we go. And now if I go back to the other clips, you can see that's it's only affected the clip that I selected. Okay, so this one is affected. But if I jump to the other similar seen, it remains the same. Ok. So hopefully that was helpful and see you on the next one.
10. Active Play Heads : So this next step I'm about show you guys, comes really in handy in case you want to jump between specific shots quickly, okay, it's either to check if the shots are matching or to check the luminaire is the saturation or overall just to check if everything is okay before you render. Instead of clicking each sign on clips and then selects in a shot and enclosing clubs and then doing this over and over again. The alternative here is you can come over here to the venture resolve and then go for keyboard customization. And then right here you can play head butts first, you need to select All Commands. And then play head. And then right here you have active play head. You can see that we have playhead a, b, c, d. And now we can map them to a specific shortcuts. Okay, so for me it's going to be control long. So control number one, control number two. And show number three, number four. And then if I want to resist my play head control number five, once you finish, save. And now let's say I want to jump between this scene, for example, images, the timeline as well. So you can see what Cohen on. So I can move the play head. And here's the trick. Don't click on Control one because it's not going to do anything, okay? What you need to do is click uncontrolled number two, don't like conventional number one, and it's going to add playhead a. Here it is. Now I can move the beam to the other shot that I want, for example, this one. And then move the play head, whatever I, wherever I want. And then control number three is going to add B. And then move here. Control number four, it's going to add C. And finally the last one, I'm not gonna do anything, or you just leave your play head here. Now if I close the timeline and the clips, and I click on control one, you can see how it's moving quickly. Okay? If I bring back the Eclipse, you can see what going on. You know, believe me guys, this tip is really, really helpful when it's needed. Okay. When you need to move quickly between two shots or one shots at this, that can really help you.
11. Shared Node: Okay guys, so this next step is called shared node and shared, nobody would usually use it when, for example, you calibrate the projects on the client is not happy. You know, they want to make a roof. I mean, they're happy, but they still want to make a revision. So you can use a shared node to apply revision real quick to the entire scenes. Now let me show you how to do it. So for example, I have my clips here all ungraded. The first thing I'll do is right-click on this node and then unlock the note. I can then click on gallery. And then I would right-click on the node and then save as a shared node. Once you have shared right here on this blue icon or sign icon, you can right-click on the clip and then grab on ungraded cell, just like this. Now, I'm gonna go back to clips, selects all of them, go to power grades and apply this color correction I already did earlier. Alright, cool. Now, let's say that this is the color grey die we show to the clients and they want to make a revision is say for example, cool it off. You know, make it a little bit cool. Something like this. I don't like to temperature here or whatever. So what you can do, and this case is instead of selecting each clip and then applying the revision, or instead of creating in use till. What you can do is right-click here on this cell that we grew up there earlier from the shared node. And then click on Append node graph. And so we'll add shared node here. Okay? And as you can see here, it's locked for any x, y reason. Now if I unlock this and apply a correction, I mean, revision Suez denotes a clear off as they wanted. Okay, Now this look will automatically apply to all the other clips. You see. If I jump here, you can see the shared node is here. Same thing here. Okay? Same thing here. And here. And yes, of course you can select any scene and then select the shared note and apply the adjustment as well affects all the other scenes automatically. Okay guys.
12. Neighbor Clips: Okay, now for this next tip, it's quite easy, okay, is basically when you have finished everything and you just wanted, say, assign a look before you wrap everything up. So it's cold neighboring clips. And basically how it works is that you click right here on this icon, okay, what it says split-screen. And then right here under version, you choose a neighbor clips, okay, and basically it does what it says. It just, you can just click on the clip and it's rural showed the neighboring clip, the ones before and the ones after. Now as you can see here, if you are working on a small monitor like me, I'm on a laptop, you know, you're going to have a problem chicken everything because it's so smile when you open a Krebs and everything just it gets small. So what you can do is go to workspace view mode. Okay, and then full-page viewer like this. Then if I open clips and do this, you know, I can take a final look. So every Fin before I exports the thing. Okay guys.
13. Shortcuts and Customization: So of course guys, in any program, if you want to be fast, you wanna get the shortcuts, right? Okay? So in this lecture, by the way, this is the final lecture. And I'm not going to show you all the shortcuts available, but I will just show you the most common ones. The ones that I use here, just Andy colored tab. So that's how we denote, okay, of course the most common one is old. Okay, that's created serial note. Then if you want to create a node before, there's gonna be shifts as, you know, maybe you want to apply some mothers action film grain, whatever. And then we have olds L. If you want to create a layer node, holds p if you want to create a parallel node. And then all o, if you want to create an outside note, let choose another clip. This one. Now if I click on shifts D, it's going to bypass all the category than I did right here. But look again, I'll shift D, it's comes back. Okay? If I take this node and then make it the radish node ever exist here. And if I want to disable just this specific node, instead of clicking or shift D, I will click on Control D. And as you can see here, this will only affects node number five. Now let's go to another clip. For example, this one. And let's say that's, I want to match this shots to my previous scene. I can go to lots of sorry, I can go to gallery and then sail. Click on it. And then I can click on command control w and is going to split this green between the cell, ok. And the shots that I want to match it to. And of course you can adjust it however you want. Okay. And then make your adjustments. Okay, guys. And of course the last one I want to show you is command control or Option plus w. And this one is gonna do the split screen. This one right here, not the image width. And then for example, you can choose, you know, stuff law as we did before, like maybe you want to choose neighbor clips. We can choose selected lots versions, whatever that you want to choose. Okay guys. Now finally, of course we didn't talk about all the shortcuts available in their injury resolves bots instead of me providing you cheat sheets of shortcuts, you can just come over here to the venture resolve keyboard customization. And then you're going to find everything here, man, all the shortcuts available and of injury resolve. Your gonna find them here and you can also customize them. For example, let's say the Truman hearing the venture resolve is B, the shortcut is before the blade tool and I am used to the shortcuts C and Premier Pro. I continued to see and then save it. Next time I click on See. You're gonna give me the blade mode. Okay. So yeah, that was pretty much all for this one. Thank you so much. And we're done with the course guys. We're done. Congratulations.
Adam Chraibi, Designer and animator
