Cut, Trim and Edit: Video Editing Essentials in DaVinci Resolve | Marcel Patillo | Skillshare
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Cut, Trim and Edit: Video Editing Essentials in DaVinci Resolve

teacher avatar Marcel Patillo, YouTuber, Filmmaker

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Introduction

      1:16

    • 2.

      Getting Started

      1:37

    • 3.

      Importing and Organizing Your Material

      5:14

    • 4.

      Exploring the Editing Page

      5:41

    • 5.

      Diving into Editing Basics

      12:44

    • 6.

      Advanced Editing

      16:05

    • 7.

      Final Thoughts

      0:35

    • 8.

      Bonus Lesson: Marcel's Edit

      0:52

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About This Class

Take your viewer on an engaging and captivating journey through your video content with the power of a quality edit. 

Marcel Patillo started his career as a filmmaker in the same way a lot of new filmmakers begin theirs. He bought a camera and scoured the internet for all of the information he could find. In the years since, Marcel has transformed his hobby into a full-time job and produced video content for brands like Lululemon and Crocs all while gaining almost 50K subscribers on his YouTube channel on modern filmmaking. Now an expert in post-production, Marcel is ready to share everything he knows about his favorite post-production software: DaVinci Resolve.

With years of experience using DaVinci Resolve to edit with emotion and keep his viewers engaged, Marcel will guide you through the creative process of cutting, trimming, and editing your video content. You’ll discover the most common tools you’ll use within the editing process along with Marcel’s tips and tricks to take your viewer on an enjoyable and captivating journey through your video. 

With Marcel by your side, you’ll:

  • Import and organize your content for a streamlined workflow
  • Explore the most common tools within the Editing page
  • Trim and arrange your video content
  • Discover how to add and adjust music  
  • Use advanced editing tools like dynamic zoom and speed ramping

Plus, you can download Marcel’s video and audio assets so that you can follow along within his edit or use his tips and techniques to make edits to your own content. 

Whether you are looking to post more engaging video content for social media or find work in the editing world, you’ll leave this class with a strong understanding of how to edit your videos within DaVinci Resolve all while determining your style as a video creator. 

A general understanding of DaVinci Resolve will be helpful while taking this class. You’ll need a computer and DaVinci Resolve to get started, but a mouse and a quiet place to work are recommended for a streamlined workflow. To continue learning more about post-production in DaVinci Resolve, explore Marcel’s full Video Editing Learning Path

Meet Your Teacher

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Marcel Patillo

YouTuber, Filmmaker

Teacher

When Marcel Patillo decides to do something, he dives headfirst in the deep end. After a decade working as a music producer he found himself behind a camera and has been in love with everything video production ever since. 


Shortly after Marcel's dive into video production he found himself working on campaigns for Lululemon, SteelFit, Crocs, TobyMac, and many more. Being completely self taught, he brings a unique look and perspective to all the brands and artists he works with. For the last several years Patillo has also been hosting a YouTube channel "The Modern Filmmaker," where he teaches coloring, editing, animating and audio mixing in Davinci Resolve. He says, “It has been great to see the Davinci Resolve community grow and to be able to help people along... See full profile

Level: Beginner

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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.