Transcripts
1. Introduction: For me, the editing process builds the entire
foundation of your video. It's really a chance to just be creative and think
outside the box. When you're on a roll
with a good edit, there's almost no better
feeling what is up. I'm Marcel Ptillo. I love directing, shooting,
editing, coloring. And I have a Youtube channel
called The Modern Filmmaker, where I teach my
favorite techniques and get to connect with other creatives from
around the world. Today's class is all
about editing in Da Vinci Resolve.
I love editing. There is so much you can do in just the editing process alone. It's almost like construction
and the foundation that you build determines the style of the video that
you're creating. I will guide you
through my creative process and we'll
go through how to create something
compelling to keep the viewer engaged
in your videos. Some of the key takeaways
of this class will be managing your media in a way that's easier to find
later on in your edit, as well as having a plan. And I'll show you guys
my personal plan. We'll also be walking through, trimming your clips
ahead of time. And lastly, editing
with emotion, because that's what
every video is about. It's about taking the viewer on a journey through emotion. So I hope you're excited
to deep dive into the wide world of editing and I'll see you all in
the next lessons.
2. Getting Started: So welcome to lesson to
Again, my name is Marcel. From the beginning
I've always loved doing it all,
especially the editing. It's almost weird to me
when I get hired just to shoot something and then hand my footage off to another editor. It's almost like a
fear of missing out. Like I'm missing
out on all the fun they're gonna have in
the editing process. Because to me, the
editing process actually is really fun. And the type of video
that we'll be working on today is one of my favorites. There wasn't any cool,
extravagant sets or crew, there wasn't any extra lighting. I contacted a photographer, he contacted a guy
with a cool car and we all just met
up and had fun. So let me quickly tell you what you'll need for this class. My setup is pretty simple. This computer monitor,
mouse keyboard, but Davinci resolve also
works great on just a laptop. I do plenty of projects just on my Mac Book Pro or
my Lenovo laptop. Make sure to work
in a space that you feel comfortable as well. Your office, your bedroom, the mall, a coffee shop, wherever you can clearly hear and see what you're
doing, we'll be fine. Just remember to be creative. Don't overthink things. Have
fun and enjoy the journey. Today's project, we'll be
putting together a simple edit, a brand awareness piece
for a car photographer. We'll be making something pretty intense out of some
pretty simple assets. You can use your own material
if you just want to follow our techniques and create an
original piece of your own, or if you don't
have any material, we'll provide all
the material for this project down below and
the resource tab at the end. Remember to share your project down below with
everyone else so we can see how different
creative decisions can lead to completely
different edit, as well as comment on
each other's work. So we can all grow
together as editors. Al right, finally we
get to have some fun, so make you're in a
good creative space, Have your media assets ready to go and I'll guide you through the creative process
and event you resolve without further ado. Let's jump in and start editing. I'll see you all in
the next lesson.
3. Importing and Organizing Your Material: So welcome to lesson three. We'll be importing and organizing our media
with Diventure Resolve. Now I've already got
Venture resolve open. This is the first
page that you'll always see when you
open venture resolve the project manager
and this is where all your previous
projects will be stored and where you'll
create new projects. So it always starts with
an untitled project. And you could right click and make new project
and add a title. But I'm just going
to go ahead and use this untitled project here. Click that and
open. And now we've just got a blank
Da Vinci resolve. We're in the cut tab now
we'll need to jump over to the media tab to start
importing our media. Now, just going over the UI, you have a preview
window here that you'll see when we start to
preview our media. You have your hard drives
over here to the left, and then down at the bottom
you have your media pool. The media pool is
actually accessible for most tabs in
Davinci resolve, so when you're in
fair light, you can jump over to the media pool. It'll be a smaller window where you can drag
in audio files. When you're in the Edit
tab, you have a media pool. And the Fusion tab, where
you can drag in clips or media assets like
pictures or graphics. So from here we'll use our hard drives to
bring in our media. And you can access
a different portion or a different location in your hard drives just by right clicking and
adding add new location. I've done this for my desktop
just so I can easily access my desktop and
this folder that I have for Skillshare
on my desktop, and that's already open here under Desktop in my hard drives. And I'll go to
Skillshare and then under Bronson where
all of our media is. I have our assets
for this project. And so a couple ways you
can import your media. You could just right click
and add into media pool, or you can select all of
these and right click and add folder and sub folders into
media pool create bins. Now if I just added the
folder into media pool, then it would just add the
assets from that folder, kind of making
things a little bit more cluttered and disorganized. But if I go down to
create bins now, it'll import everything with
their represented folders. That way later on in the future. If I need to grab the music, I can just come over
to the music folder, or if I need to
grab the footage, or if you have a project
that's a little bit more complex with sound
effects and graphics, you can have that
organized here. Now if someone just hands you a hard drive with a bunch of random media on it and you
need to organize it yourself, you could write click and hit new bin and that'll
create a new bin. Now one thing that you're seeing here is it just made
that bin under footage. So if I wanted to kind of keep
this all under the master, I need to make sure
that I have the master selected when I write
click and hit new bin. But if you do have footage and then within your
footage you have different cameras like you have black magic footage and you have Sony footage and cannon footage. Then under your footage tab, that's a good place to write
Click and hit New bin. And that way you
could label this Sony if you had some Sony footage. But for me this is all
black magic footage. I'm just going to
leave that one folder. I'm actually going to delete these last two folders and remove bins and now I just have our footage and music folder. Now from here I'm going to
go through and actually take a look at my footage
and trim the footage. Trimming your footage
is a great way to get familiarized with
the media that you have. Say if the shooter or
a producer just hands you a hard drive with a bunch of footage on it and you've
never seen it before, this could be a good way to go through and get familiarized with what's usable
within your footage bin. If I come through here, I can see that I haven't
really started my move yet, but belt there, I start my move so I can
hit eye on the keyboard, play through and then hit when I think that I won't use that clip
from there on out, just selecting the usable
portions of each clip. And I'll go to this shot and you can see I'm
positioning myself. And then I start my move. I'll hit here, press play on the keyboard just
sitting in the space bar. Then when I think I probably
won't use this clip anymore, I can stop and hit and that
can come to my next clip. Let's say this one down here, find where I see some
usable footage here. As I scrub through, I like when he pulls
his head down, looking at the camera,
I'm hit there, hit play, and then hit another cool thing is you have the metadata for each clip
on your right hand side. You can open and
close that using this metadata button
here at the top right. You also have an
inspector which you won't really need
in the media pool, but it's nice to know that it's there and in the metadata. That's another
cool and quick way to see what kind of footage
that you're working with. Again, if a producer or
director just hands you a bunch of footage and it's just from all types of
different cameras, you can kind of just
click on each clip and it'll tell you the properties Like this is black magic raw, so I know it's from a
black magic camera, it's 29.9 frames a second
and it's shot in six K. So if you did want to organize
your clips in a way where this is six footage and this is two K footage and
this is HD footage, you could easily look
at the metadata, see what footage is what. I'm just going to go
through here and trim the rest of my footage.
You do the same. You don't have to trim it
the exact way that I did. But it helps us to get
familiarized with the footage. And you can trim in a way where you're just picking
what you think the cool or usable
portion of that clip is. So I'm going to go
ahead and do that and I'll see you all
in the next lesson.
4. Exploring the Editing Page: Welcome to lesson
four where we're in the Edit tab of Davinci resolve. And in this lesson we'll
go over the general UI and some of the tools within the UI that we'll use
throughout our project. Within the edit tab, you
can see that we have access to our media pool still,
like I mentioned, where we have our footage
folder and then we have our music folder just to
keep us organized. And then we have our logo for our photographer that we'll
use at the end of our edit. And then right
underneath that we have our effects window
that has all of our effects like video transitions
and audio transitions. We have titles in
here, Generators, Effects, and Open Effects, which the open effects
take resources from the Fusion tab to really bring us some really cool tricks
that can enhance our videos. And then from there we
have some audio effects like any VST plugins you
might have installed. You can see I have quite a few. And then the built in fair light audio effects
which will also get into, and they can be very helpful. Right underneath that,
over to the right, we have our timeline space. Which we haven't
created a timeline yet, but there's a couple of
different ways we can do that, which we'll get into
in just a second. But above the timeline, we also have frequently used tools that you'll see will
be unlocked once we create a new timeline,
which will do that now. So there's two ways to
make a new timeline. You could just
drag in a piece of footage into your timeline. They'll create a
timeline for you, but I'm going to show you how to create a custom timeline, which could be more helpful depending on the kind of
project that you're working on. So within the media pool, if I click on Master and then right click
within the media pool, you can see that there's
a couple options here. And I'm going to go
to Timelines and then go to Create New timeline. So by default it'll just use the project settings to
create that timeline. In our project settings,
right now we're just ten DP, and I believe at 29.9
frames a second. But if you didn't want to use the project settings and you wanted to create your own
custom timeline settings, you can click off this
used Project Settings box. And that'll unlock a few more
additional details for you. You can see that we have format, which would be our
time line resolution. So for me I'm going
to start in 1080. Now, we can change this later. One thing that I like to do is sometimes I'll edit something fully in 1080 just to use
less computer resources. And then at the end, I'll
actually change that to four K and it'll kind of
scale everything up for us. If we have a certain
parameter set, you can see where it says missed matched resolutions
at the bottom. Make sure that's on scale, entire image to fit. And that way if you do change your timeline
resolution later on, like I said to four
K before we export, it'll scale
everything up for us. And we don't have to go
through clip by clip and re kind of format things
to the four K timeline. And then underneath
timeline resolution we have pixel aspect ratio. And then we have time
line frame rate. And I'm going to use 29.97 frames a second because that's what our footage was shot at. And then from there we can
go over to monitoring. And then we have
output and color, which we don't
need to change any of those parameters
at the moment. And we can just hit Create. Now we have our new
custom time line and you can see
that it's unlocked. Some of these tools here for us at the beginning of these tools. In the middle of the edit tab, we have our main
select tool that we can access by hitting
A on the keyboard. We have our trim tool, which we can access by hitting. We have our dynamic trim tool, which we can access by
hitting W on the keyboard. And we have our
Blade Tool, which we can access by hitting B. These are probably the most
common tools that we'll use. I do a lot of switching
between A and B as I trim and cut and
then select again. And then down here you also have snapping, which will snap. You can snap clips to each other or things will snap
to your cursor, which can be very useful, which we'll see
here in a second. And then we have
our link selection. And that's just
for when you have video and audio linked together. Which most of the time you
want to keep them linked. But just in case you
want to delink things, you can either right click on a clip and de link
the audio from the video or you can do that there with the overall
broad link tool. One thing I'm going to do before we move on is just bring in a piece of footage so we can go over some of the
properties to our right. Let me bring in the first piece of footage that we'll
use for this edit. If I double click on this and see it in the
preview window, there's a couple
things we can do. We'll either just
bring this all in, but we actually don't need
the audio for this clip. In the preview window,
with this previewed, you'll see these two icons at the bottom and this video clip, and then a wave form because
we could just bring in just the audio or we could
just bring in just the video. And that's exactly
what we want to do. Just bring in the video and now we have our video
in our timeline. And you've seen
some things become unlocked here on
the right hand side and this is our inspector. So two things we have here on the right hand
side is metadata. If we need to look
at the properties of the clip or we have inspector where we can do
things like zoom in and out. We can reposition our
clip however we'd like. We could rotate it if
things seem to be kind of slightly off level and
we want to level them. We have anchor pitch, yaw. We can flip clips up and
down and left to right. And then we have cropping, which you wouldn't imagine how much I've used
the cropping tool. When I first got to venture
resolve, I was like, that's kind of weird that they have these cropping properties. But it'll shock you
how much you actually end up using this and how convenient it is
to have it there. Then we have things like
that. Dynamic zoom, we have composite modes
that we can change here and opacity, we
have speed change. If we want to speed
up or slow down a clip or just freeze
a clip entirely, we have stabilization,
**** correction, re time and scaling. And then lastly in
the UI, the edit tab, we have the mixer, where you can see where your
audio levels are sitting. And you can even change the audio levels with
the fader here. So those are the things
that you really need to know about the UI
and the editing tab. And next we'll get
into the basics of editing in less than five.
I'll see you all there.
5. Diving into Editing Basics : Welcome to lesson five,
where I'll show you my creative process and we'll start building
out this edit. One of the first
places I like to start when building out an
edit is with the music. The music, to me can
really portray the vibe. And I'll often go through
track after track, after track, until I feel a song that really feels like the
video that I want to make. I try to have a plan when
coming into an edit as well. And it usually starts with the music, with our music track. If we just go down here to our music folder in the media pool and take a listen to this. My goal here is
to build slow and to create almost like a roller coaster of
we're coming up, we're coming up,
we're coming up, and now we're on a big drop. And you'll see that as we
go through this track, it builds down here. And then as it comes up here, and then as the beat drops, that's where we'll
get into more of the fast moving
motion of the edit. Love it. So I'm just
going to bring this in to our timeline by dragging this down to our audio track one. The first thing
we're going to do is actually shorten our
audio clip because I actually don't want
to start with it too, down in the energy. I want to start the music where it picks up energy
a little bit more. Maybe here, yeah, maybe
where that base comes in. I like to use the left and
right arrows to scrub through. It'll go frame by frame. If you just scrub with the
left and right arrows. And I can use this to tell
where that base hits. Boom. Right there.
So I can grab this, drag it in, and then move
this back to the beginning. Yep, that feels great. And then again, with using
the beat of the music, that's an easy way
to past our edit. So if I kind of count the
beats 123 right on three, I'll want to end this clip. So I'll click on the keyboard
to get our blade tool. I'll cut this there and then I'll hit a to go back
to our select tool. And I'll just scoot
this over to the side. The plan that I'm
thinking so far as I watch through the
clips as I trim them, is to start with a wide and
then as the edit goes on, you get closer and closer
to the photographer. Along the way we'll show some
fine detail of this custom. I think that's an M five BMW. I'm going to go back
to our footage bin and then search for a
close up of the car. Maybe we'll use the front bumper and this clip here and we've
already got it trimmed down. We don't have to
worry about trimming, we can just go to our icon, our video icon,
and drag this in. Then now 123. I'm going to skew this back where that
feels like the beat lands. And then again we
can one to boom, right in that beat, one to boom. And then I'll trim this back. And then I'll choose
the next portion of this far away angle
that we want to use. I'll trim this two,
maybe about where he motions his hand
through his hair. And then we'll move this
back to the beginning. Boom again on the beat. Thinking one to cut. Hit on the keyboard.
I'll trim this. Hit A again, then
slide this aside. And then we'll
choose another clip to lay down in the edit. We'll go with another close up. Maybe this one here. We tease the rim, we
won't really show it. We'll just tease it there. One to boom. I'm actually going to
set this down and then move the front end back. Now when using the trim tool, the trim tool can be super
convenient if I hit, and let's say I have this
clip exactly where I want it, timing wise, but it's not the section of the
clip that I want. You can use the trim tool to
keep the clip where it is, but scrub through to a
different section of that clip. I'll hit a again and
then we play on this. That's perfect. Then let me find another angle of
our photographer. Maybe as he takes that
step up to take a picture, I'll take the left, bring it in, and then slide this back
to the beginning Again, following the 12 cut, I'll use the B blade
tool to cut there. And then I can scoot this
aside, choosing another clip. From our footage pool. Let's see, this one, this one looks pretty good. This because we're
almost teasing the car as we're getting closer and closer
to the photographer, we'll bring back
the photographer and we'll choose another
portion of this clip. Maybe right here, where he brings his foot back
and takes his footing. I'm just going to watch this
back real fast to check. I like the flow so far. I actually want to scoot
this back already. I can already feel it.
Yeah, that's nice. You almost want to
play with the beat? I try my best not to, just for a second there. I was kind of sitting
on the same beat. It was kind of like a 12222,
which you could do that. But it's a little bit more spontaneous and a little bit more eye
catching and compelling. If you try to switch up
the beats a little bit, that's kind of what
I've done here with the one to cut one to one so you can kind
of switch it up to make it a little bit
more intriguing and kind of keep the viewer
guessing a little bit more. Yeah, I like that. Yeah, it's nice. I'm actually going to throw this back and slide this down. One cut. Yeah, slide this one
back as well. And now. Yeah, I love that. Yeah, Maybe I'll leave that
tail light shot a little longer. Yeah, I like that. And let me find another. Let's go let's go with this one here
because that's about where he is on the
car at the moment. Yeah, at this point I'm
going to start cutting a little quicker just to
build up with the music. And there's a few other
things that we're going to do when we get into
more advanced editing that's also going to
enhance the pacing and the intenseness of the edit. But in this section
I'm just going to start cutting things
a little faster. Instead of going from
slow to fast, slow, I'm going to keep
things a little quicker just because
as the beat rises, we kind of want the
edit to rise as well. Let me throw in this clip
of the exhaust and that refer I'll hit to make
an endpoint again. And then maybe just about there. I'll use our video icon to
just pull in the clip itself, make sure those are
lined up about here. Yeah, and let's watch this back just to
make sure that we're on our timing to 111 to cut to. Oh yeah, that feels great. And then we will jump back
to our far away clip. And let's see, Yeah, I really like this shot. Yeah, it's pretty epic. I love using lines and you know, you can really use those lines, especially when you're shooting
on a gimbal or something. You know to kind of
wrap around something. You're seeing that,
the symmetry here. Now of course, we'll
need to stabilize this, which we'll do in
the next lesson. But just the symmetry, I don't know, there's
just something so epic about it. I love it. Then we will go to a close up, because now we're
getting closer and closer to the photographer. Let me go up here to actually let me grab this
close up of the car, one more of this
four logo and Yeah, so we'll just kind of show
that quickly and then jump to the photographer six. Yeah, I love this shot and we're going to
leave that kind of a long I'm doing this
kind of knowing that I'm going to use an effect here that will kind of play
out as the shot goes on, once we get to the
advanced effects. And then we'll cut
on that beat there, and then I'll get a
really close shot. Let's see. Yeah, this one right here where it
kind of focuses in on him. Yeah, that's great. I'm
going to use the trim tool, so if you hit for
the trim and then I'll slide this back so he comes in focus
a little faster. Yeah, and then right
there on that kick. So I'll use the arrows again to identify exactly
where that kick is. Here it, right there, Boom. There's the kick. So I can hit B blade tool and
cut off that end. So one thing I do know
is I'm going to use this shot to enter
in when the beat drops and I'm actually going to end up speed
ramping that shot. In our next lesson, I'm going to go ahead
and lay out the rest of my clips just making
a baseline edit. And I encourage you
guys to do the same, find your own creative
process, find your style. It doesn't have to
be just like mine. You can do whatever
you would like. Like I said, there's
no right or wrong, there's just creativity.
So have fun. And then in the next
lesson, we'll get into some of the more
advanced techniques like the dynamic zoom and
stabilization and some speed ramping to really
bring this edit to life. I'll see you all in
the next lesson.
6. Advanced Editing: Welcome to lesson six. We are back in the Edit
tab of Venture Resolve. And we'll be going over
some advanced effects and techniques you could use for your edit to really enhance the flow and pacing
and intensity. And before we dive
into the edit, I wanted to show you
guys a few things. There's a lot of neat tools
built into the edit tab. A lot of them we
won't be using today, like these video transitions. One thing that's
really cool, a feature that I love about
venture resolves, it has a scrub over effect to, if I scrub over this clip, I can actually see what that
transition would look like. And so also with the titles, if I want to see what one of these animations
might look like, I can easily scrub
over and see how it'll animate in and out to see if it fits the style of my project. And same thing with the effects. If I come down here to, let's say this
binoculars effect, which is pretty funny
or the CTV effect, I can just scrub over
these and really easily see not only
the quality of these effects but
if they're going to fit the flow and the edit
that I'm working on. So to have these at the tip of your fingers to start
with is really amazing. And then if I were to
add one of these two, there are certain properties. Once I have this on a clip, I can come over to
effects under inspector. And now I have
certain properties like the glitch width
and the glitch height, and the chroma scale, which is great because even if I were to build
a glitch effect, it wouldn't have these built in tools for me to change
those parameters so easily. So that's a great
function to have. And same with open effects. If I jump over to the blurs,
we can look at these. And some of these I
use pretty frequently, like the mosaic blur
or the radial blur. I use this all the time. But today we're going
to get into a few of my favorite tools that I find myself using over
and over again. The stabilization,
the dynamic zoom, and just the overall key
framing of properties, as well as speed ramping. And speed ramping in itself
is kind of hidden in resolve. So pay close attention and
we're going to go through these first several
clips clip by clip and stabilize some of these add dynamic zoom to the clips
that we think we need it. And I'll kind of explain why I want to add the dynamic zoom. So let me just go through
and show the edit that we have so far, at
least the first half. Hi, my name is Bronson Claflin. I'm a national car photographer. I love cars because
they look good. Sound good. You can always
catch them in a good inch. So just like I explained
in the beginning, I kind of want to start with
a wide of the photographer, and then as it goes
through the first half of the video kind of get closer
and closer and closer, like really pulling you into
his world and his head. And so with this first clip, how we're going to kind of do that is first stabilizing
'cause this is slightly shaky. It's really not that bad,
it's barely even noticeable. But it's always good
to come through and stabilize even if
there's slight wobble. So if I come over here
to the stabilization under the inspector, I can stay on perspective
here and hit stabilize. And let's see, that looks good. Maybe I'll try similarity. Yeah, it looks even better. This one doesn't really need it. This next shot barely needs it. But I'm going to go
with the stabilization again and we'll hit stabilize and then back
with the first shot again. Like I said, I want to pull
people into the photographer. I'm going to do this
with the dynamic zoom. If we turn a L, a dynamic
zoom under inspector, the dynamic zoom can
either in on footage or pull out on footage with
its default settings. If I just get rid of this
fade here and we just look at what it's doing now, you can see that it's
pulling back and how we can take a look at
exactly what the parameters are of the dynamic zoom with this little drop down menu on the bottom left of
the preview window. If I hit this drop down
window and make sure that it's on dynamic zoom
with that selected, I can see that it's starting in this green square and it's
ending where the red is. Like I said, I want to push
into the photographer, so I'm just going to
swap this and press the swap button in dynamic
zoom to switch those. Now we're starting on the
outside with this screen square and we're zooming in
to the red square. Now if I go ahead
and play this back. Yeah, that looks really cool. It, I'm not only panting
across with my gimbal, but it seems like I'm racking
the zoom and sweeping, which is very cinematic thing to do because it's way easier
when you have a huge crew. One thing that I am
going to do is move our ending position over to the left to make sure that
our car stays in frame. Because if I play through this, you can see the car drift to the left as I drift
to the right. If I just click on
this red square and then pull this
over to the left, we can actually go to
the end of the shot. That way I can see where the middle of my square
is and I can just place the car right
there in the middle now. Yeah, that's nasty. Just for effect, because I love this detail in the bumper. I'm going to do a dynamic
zoom there as well. So I'm going to turn
on dynamic zoom. I'm going to swap the position because I want it
to go in as well. Give me a little
bit more focus on these little metal pillars
and then I'll pull this out. Because I don't want to
zoom that far that fast. I just want to be a
really slight push in. Yeah, just like
that. Just simple. And then I'm going
to do the same thing with this neck shot, continuing to kind of push
in towards the photographer. And one thing I've
noticed over time, the shakier the footage. Even if your footage
is slightly shaky, the dynamic zoom will make
that a lot more prominent. It'll make that shake
stand out even more. When using the dynamic zoom, I try to get the most stable
stabilization that I can. And we'll do it here as well. And maybe this time
we'll pull out kind of revealing more of this beautiful
symmetrical wide shot. Again, going to stabilization first stabilize natural
carpetographersh. I love that shot. I love the parallaxing of
these little bits right here and all the lights on
the ceiling as well as the symmetry
coming through here. There's something about a shot
like that, natural carpet. So again, going to dynamic zoom. We'll turn this on and set. Oh yeah, that's nasty
photographer and maybe I'll swap it just to
see if it's any cooler. Nashville car
photographer, it's still cool photograph
but I kind of like the pull back to reveal the
ceiling a little bit more. Is just six photographer. Nashville car photographer. Yeah. Nice. This shot's
pretty smooth but I'm going to stabilize
it just because I do see a little bit of shakiness. And maybe I'll do a
dynamic zoom as well. I mean, if you can't tell
I love dynamic zoom, we'll swap to kind of push
in towards the light. I'll bring up the
dynamic zoom properties and make the zoom a
little bit more subtle. I love, yeah, that is sick. But would you need to change to a different stabilization? Because, see, we're getting
a little bit of a warp here. I don't know if you notice it over on this
side of the screen. But if I play this back, getting a little bit of some
kind of weird warp. So I'll come in here and go to similarity and then
stabilize again. I love card. For some reason that looks a little awkward
to me. Let's try translation. I love card, I love. All right, I'm going to
go back to similarity, but then I'm going
to up the smooth. So let's see what
this looks like. Let's hit stabilize one
more time. I love car. Yeah, that looks great
because it look. And then with this one, of course we're getting
a little shake. So I'll stabilize cars
because it look good. And we will dynamic
zoom and swap. So this pushes in, I could just go up here
to the zoom under transform if I want this shot to be a little
closer than boom. Because like I said throughout these shots of the photographer, I want to seem like, okay, now we're nice and big wide. Now we're getting closer, Now we're getting closer. And now I want this to seem even closer because it look good. Sound Good. Because
it look good. Yeah, the shot looks great. Then as this beat drops is where we're going
to do a speed ramp, a quick speed ramp to fling
this camera up a lot more. How we're going to do
that is if we go to our zoom control and zoom in on this clip here of the
car sitting in this lot. What we'll do first is right click and go to
re time controls. And then we'll right
click again and time curve and
make a little big. Let's see, I'm going to
click this drop down menu. Go change speed, and then
we'll come down to maybe 400. And then I'll stretch
this back out. Oh yeah, Boom. Right
when that kick, I'm using the arrow keys again to identify where
the kick is hitting. Right at that point, we will
hit this key frame here. Then you see it's separated both of
these parts even though they're still
in the same clip. It's made a divider here. And then given us another option for a different time
on the other side, we can click this
drop down menu, go to Change Speed,
and then go to 100. And then we can drag that
out to the next clip. Then one last thing we can do, because right now if we do,
it's going to be pretty hard. We'll want to select our.in
the middle of our key frame. And then we'll hit this
ease button which will ease us in to that speed ramp. Oh yeah, I like that.
One thing I could do within the speed
ramping if I hold this handle at the top
and move this across. It will change the percentage
of speed based on how, what direction I'm moving this. But if I just undo that, if I move the bottom handle, it'll keep the same speeds. I'm actually going
to go further down this clip to where the car is more in the
center of the frame. Then I'm going to move
the top handle back, making our original, Whoops. Making our first portion of the clip a little
faster than 400. Now it's at, it looks like 6636. Then we can move this back out. Yeah, nice. I like that a lot. Yeah, that's great,
That's awesome. One last thing I
want to go over in this editing is just a little
bit of key framing, okay? Starting with this
clip, I'm going to come through here,
towards the middle. I want to like zoom
in to the camera. But with the dynamic zoom, it would do that from the
beginning to the end. I can't say, hey, do a dynamic zoom halfway
into the clip, but we can't key frame that. If I come to about here and then hit our keyframe button in our zoom properties
under the inspector, then I'll hit our right arrow
to go a few frames forward. Then I can zoom
in and it'll make a new key frame because
we're changing things then. Right now the camera
isn't exactly centered. We just need to change our
anchor point for that. If I move our anchor point, let's say the y and
the x to about here. Now when it starts
in the beginning, it knows to take the
shot full screen. This is the entire shot. But as I zoom in, zoom into that anchor point with our
first key frame selected, I'm going to right
click and hit Ease out. Then with our last
keyframe selected, I'm going to right
click and ease in. Yeah, love it. One thing I will do to
make it seem a little smoother is you can see
we have our eases here. I'm actually, this drop down is for our spline,
what they call a spin. This is the animation
in line form. If I select one of
these key frames, I can drag this out to make a slower and I can do the
same to the second one, giving us a slightly slower ease to be a little bit
more organic feeling. Yeah, before I move on with the rest of my
effects for this edit, I want to add a
little bit of a grade to this so I can at
least see what we've done so far and a
little bit more contrast in a full image rec seven oh nine because
right now we're in raw and this is just logarithmic
and it's flat and weird. The easiest way to do that in the edit tab is with
an adjustment layer. So you can come here
to the effects, and then at the top you'll
see adjustment layer. If I click this drop
down menu here, I can make this video
track a little smaller, giving us some more space to
work with in our timeline. Drag our adjustment layer in, then I'll elongate
this adjustment layer. Then from here, we can use an open effect called the
color space transform. There are several
ways to do this. I could go to the color
tab and add a lot as well like the specific black
magic lut for this camera. But another way to do this
without leaving the edit tab would be input color space in
the color space transform. This is black magic
raw, it's in five. I'm going to go to five film, I'm actually going to go
to Da Vinci wide gamut. Then I'm going to come
down in input gamma to black magic
design film in five. And you can see that
we have a slight grade here, but we're not done yet. It looks all out of whack. And then our output color space, we want to be Rex 709, Rex nine. Just typical, it's
what TV's what movies, what shows are all
in color space. Rex nine and then gamma could
also be Rex seven oh nine. Now we have somewhat
of a normal image. Let's play this
back just to see if we like the effects
that we have so far. Hi, my name is Bronson Claflin. I'm a national car photographer. I love cars look good. Yeah, Sound good. You can always catch them
in a good inch. Yeah, that's sick. I'm loving the pace that we've built
into this edit so far. So I'm going to go
ahead and finish out all the effects that I
want to use for my edit. And you guys definitely
do the same, play around with all the effects that seem intriguing to you. Try some different techniques with the stuff that
I showed you here. And then watch your
edit back a few times. And maybe tweak some things,
tighten some things up. Don't be afraid to
break the rules because don't forget,
there are no rules. There's no right
or wrong, there's just creativity and then export. And we'll see you
all in the next one.
7. Final Thoughts: Congratulations. So happy
that you made it to the end, and I hope you are feeling
a lot more comfortable with your editing and Davinci
resolve at this point. The edit tab and venti
resolve can seem like a lot. But I hope you've kind of realized that it's
a good bit of fun. And it's got some really
powerful tools within it that make it really easy
and exciting to edit in. Don't forget to share your project down below with
everyone else so we can all see how our different
edits turned out and comment on each other's work and grow as editors together. And as I said before,
there's no right or wrong, there's
just creativity. I'll see you all
in the next one.
8. Bonus Lesson: Marcel's Edit: Hi, my name is Bronson Claflin. I'm a Nashville
car photographer. I love cars because
they look good. Sound good and you can always
catch them in a good ankle. Find what, Pursue it
hard, keep creating.
Marcel Patillo, YouTuber, Filmmaker
