Da Vinci Resolve: Switch from Premiere Pro for Faster Editing and Powerful Color Grading!

1. Class Trailer: I was editing a TV commercial on Premiere Pro in my small London flat, and it crashed again. The same day the overprice subscription came out of my account and I thought to myself, I really need to find a different solution. As any filmmaker would know half your time is spent in YETI. Normally at about 2:00 AM in the morning with a pints of coffee. Whether it is doing captions and Instagram Reels or making your own shorts of documentary. There's always a need for efficient and enjoyable editing, but that's often easier said than done. I've used Premiere Pro for a number of years as a freelance filmmaker. But a couple of pain points began to creep up and up over and over again. Pain points such as not really having the ability to control or really understand the color grading workflow, the endless crashes that I would face on my computer, the subscription-based model of paying for Premiere Pro. The problem was that I was so stuck in a system I've been using for years. The idea of having to learn a new piece of software for something that I can already do seemed like it just wasn't worth the hustle. But the joke was on me because ever since I fully made that switch, life has just been so much easier, and more enjoyable when it comes to post-production. I've been using DaVinci Resolve solely for the past two years now. Whatever it has been that I've thrown a resolve, it has handled it so easily and I've actually come away enjoying having edited rather than bashing my head against a wall. You might feel like how I felt before I moved on to DaVinci Resolve. What this course is, a pain free guide on how to do that. Rather than doing a step by step of everything resolve can do, this class is all about the features that you are going to want to use, and need to use on a daily basis when working as a filmmaker. Should be able to get you to editing as fast, if not faster than you already do in Premiere Pro or Final Cut within a day. Will go over cutting, adding transitions, titles, mixing audio, editing MultiCam, writing captions, as well as going through resolves auto caption feature, which is amazing. Editing from a transcription, and creating social media aspect ratios. But more than that, you'll be able to color grade to a level and a consistency that you just haven't been able to at least I wasn't able to in Premiere Pro. Will cover color correction, matching camera's working with raw footage, using and building lots, masking and tracking using a color checker, and a whole bunch of other cool tricks and things you can do in the color page. We can actually learn how to repeatedly build a unique look that we want, rather than stumbling on a look that we can never repeat again. Of course, I'll show you how to export a variety of formats. You can take all of these lessons and apply them to any footage so much so that you can do this course with your own footage. But if you'd rather use some of my footage so you can copy along exactly and do what I'm doing then there is some footage available that you can download and use that in this course. Either jump in right now, get your feet wet and start looking at how you can make your life easier and more enjoyable. Or put a day aside, set aside a quiet Sunday in the diary, set a reminder buy yourself your own pints of coffee, and by the Monday, you will be able to edit as fast, if not faster than you currently do, as well as color grade to a level you never have before. I can't wait to see you in class and see some of your color grades and edit if you want to share them with me in the projects of this course. I will see you in the first lesson. 2. Download Da Vinci Resolve: Welcome to the cabin. First thing we're going to do is download DaVinci Resolve. Now, unlike Adobe, where you have a whole suite and it's on a subscription Cloud basis, what I love about Resolve is it has one, an excellent free version, and two, if you want to buy the full package, which I have, then you can do that with a one-off fee. You pay for it once, and then you get every upgrade automatically. In terms of value for money, it doesn't take long until you've out paid your subscription to Adobe, especially if you also have other subscriptions like Lightroom, maybe that you don't really use that much. To do this is super easy. You're going to just google DaVinci Resolve and then when you get to the DaVinci Resolve homepage, you will see two clear options, free download now or buy online now for $295. What I will say is you can do about 80% of what I'm going to show you, if not all of it, using the free version. If you want to just try out, just get the free version and then down the line when you need, buy the full version. If you're wondering what the main differences are, the full version gives you a couple of different export options, a couple of different effects like film grain, and it also gives you some different codecs I don't believe can be used through the lite version, the free version. But by and large, you can do most things in the free version. The one caveat is that if you are shooting on the A7S3, or the FX3, their top codec, I'm not confident works on the free ones. So I can't guarantee. But what I've done is provided you some footage that you can use in the free version. My suggestion is use the free version for this lesson and then, like I say, when you want, upgrade to the paid version. Really obviously click on the link and then choose the one that you want. Now, just get the non-Beta versions, just get the stable version, so DaVinci Resolve 18, or if you do just want to pay for it straight away then DaVinci Resolve Studio 18. The Beta versions, depends when you're watching this course, there may be new Beta versions, different things. On the whole, it's better to wait until it's gone through that testing and it's been deemed stable enough that it's no longer Beta. Right now, currently, at the time of making this course, the Beta 18.5 allows you to do something called relighting. But again, that is a studio-only version. My suggestion, this is the one you want, DaVinci Resolve 18, and then depending on your system, just go ahead and download it. I will just click on that for now, then just fill in your details and register and download. Once you've downloaded it, I'm sure you know how in your computer to open it up. If at some point that you do decide you want to download or purchase the full version, then there's a few steps that you'll have to do, so you can't just add an activation key to the free version. That's not quite how it works. The first thing you'll need to do, which I will show you how to do in an upcoming video, is to backup your database where all your projects are stored. Then you would need to uninstall the free version, go back to this page and install the studio version and that's because the time that you add your activation key happens within that opening downloading situation, so that's the way you would do that. But as I've said, it's not important for this class. We can just go with the free version. Once you've done that, open it up, you might have to search, it might not be in your task bar. I recommend putting it in your task bar, depending on how fast the machine is, changes how long it would take to open up and then we'll get to the database, which I will talk about in the next video. 3. The Database: How to Find and Store Projects Within Resolve: The first thing that you will notice that is different with Resolve is unlike Premiere, where you create and store your projects within your main folder structure, in Resolve, it has its own folder structure. Initially, I was like, this is a bit dumb, and now I think it's brilliant. Just took me a while to get used to not having them all linked within the individual projects folder within my own hard drives, but you can do that. So I'll show you how to do that later on as well. Yours might not look quite like this because you won't have any projects yet, but essentially what this is, is a place to store every project you're working on, and you can add folders. So if you right-click and hit new folder, then you will get a chance to create a folder. Let's just say you want to have a commercials folder, then you can click in there and then create a new project. Now before we do that and we actually get stuck into using Resolve, when you want to update your software, so Da Vinci Resolve puts out a lot of updates, which is great, it is worthwhile backing up your database. Now I've never had a database go wrong on me, so it's a safety precaution more than anything. But to do this, then you would click on the eye where it says details, and then hit backup. That gives you the option to back up that database somewhere on your machine. Just make sure that you don't delete it before updating and making sure everything's working well. Should something go wrong, it's really easy to restore that backup, so you come up to this button here that says restore, and then you would go and find it and choose it. Now, like I said, I've never had that be an issue, so it shouldn't matter too much. Once you get used to this way of working, you will prefer it, I guarantee it. But if you do want to save your projects to the file itself, to the folder itself of whatever project you're working on, and that's actually a really good thing to do at the end of the project, as a kind of archive, if you're going to store away that hard drive somewhere, so you have everything in the same place, then that is really easy. To go back, you can just use these breadcrumbs here and just go back to that page. So I'm going to click on the projects that I have created for this course, and you will see it is currently empty. What I would do though, if I wanted to save this as a project, is I would come up to file export project, and then I can save that as exactly the same as you would save a Premiere file. Really easy. But also if you're working with different NLEs, different editors, and you want to save it as an XML, perhaps on EDL file, then you have to have something in the timeline. So for now, I'm just going to drag some things in, and I'll just put one clip in there. Then file, export, and you can see I could do current frame as still, what I'm going to do is hit timeline, and then here I can choose how I want to save that, so XML here, that's probably the one you want. So what we're going to do now is over the next few videos, I'm first going to get you familiar with the layout. Then we're going to create some shortcuts that are going to save you so much time, and please do not skip this step. I didn't do this for the first like three months of having Resolve, and I was like, why is Resolve so slow? Because I was being an idiot. So we're going to do that, and then we're going to import the footage. So first off, let's learn the layout of Resolve. 4. Workspace Overview: Let's take a little look at the layout and we'll get really stuck into each page individually throughout the course. But for now we're just going to take a look at the overview. Effectively, in Premiere, you have everything in one page and you can change the workspace, but it's all contained there which is fine, but I've always found that a little bit muddy. Whereas what we do in Resolve is we have a separate page or tab for every different aspects of your workflow in terms of post-production. Personally, I think this is brilliant and it helps you stay focused on one area at a time. I know in Premiere I used to get sidetracked by adding quick adjustment grades here or there, and then before I knew it, the whole thing was a mess. in Resolve, I'm going to show you the media page, edit, color, fairlights briefly, and deliver. Cut, it's another way of editing, but the edit page is so similar to Premiere Pro. It's really nice and easy to quickly learn your way around and you can do everything in edit that you need to do. Cut doesn't offer too many advantages in terms of the initial stages. If down the line you want to learn it, then you can, but I never use it. Everything I want to do, I can do in the edit page and it works great. Then Fusion is almost like a mini title After Effects thing. To do that would be a whole course in itself. We're not going to look at Fusion. If you are really good and use After Effects a lot, then my suggestion would be obviously keep working in there, export things and bring it into Resolve. Unfortunately, the dynamic link thing doesn't work across platform as far as I'm aware. But if you're interested, then down the line here, take a look at Fusion and things it can do. But we're going to start off by understanding just the other pages. The first one is the media page. This is where we bring in all of our footage. In the next video, we're going to import some footage and I'm going to show you a few cool things you can do on that area. Then we have the edit page, which as I said, is very similar to Premiere Pro. This is where you'll spend a good 50 percent of your time just getting things how you want them. The layout's very similar. We have our timeline down the bottom, we have our folder structures over here on the left. Then we have our source video and our timeline video. Then over here on the right, we have, if I dragged one clip and you will see what I'm talking about. Let's just bring in a file from here. Over here on the right, then you get your transform options. You want to scale things up or down, crop, all of that you can do from this page. What's nice is you can do very quick flip. I actually find that really useful. You also can make audio changes in the edit page. I actually do this a lot, much more than using the dedicated audio page just because the work I'm doing doesn't require me to do a big audio work at the end. Most of those times, I'll be passing it onto a sound designer anyway, but we'll get into using these in one of the next videos. Then just something to be mindful of, that if you can't see something, it's because you have to have these not grayed out basically. Don't panic. If I ever talk about something and you can't see it on your page, look up the top, it's probably there. I always have my mixer on, I always have the inspector there, and my media pool here. The effects, I'm hit or miss. It depends if I want them there or not. Then we have the most exciting page, I'm sure you all agree, it's the color page. We're going to get really into this in the second half of this course. Effectively, first-off same thing, be aware if you can't see something, click up the top and it will turn up. But what we have, the way it works is you can create your same folder layout over here using these buttons up here. That can just make it feel nice and familiar. Then you can also drag things around if you want to bit more realistic. Let's say you want to just grade but a bit more room. But all of your grade will be created over here using the nodes. This is a node. This is way better than Premiere Pro for color grading. It is not in the same category. This is so powerful, so well organized, so intuitive. Once you've understood the loose concept, you will really enjoy using it. We're going to get really into this later on. Then down here, we have different scopes that are really useful for grading, very similar to what you'll find on a camera monitor. Let's get back to waveform, my personal favorite. Then down the bottom, we have our different tools for making these color changes, whether that's color wheels, curves, doing power windows, which is like a mask. We have many different options here that we can use, which is great. Fairlight is our audio page. We have our main audio editing timeline here with our reference video over here. Then you'll notice as I scrub through that we have the track levels in the top left and then we have the masters on the right. Anytime you add a new track, let's just add stereo track there, it will add it there. Then any changes that we'll look at later, such as adding effects are done here or EQ. We can pop that out and start making changes here. We'll come to that later as well. Then we have our deliver page, which is effectively the same as the Premiere Export pop out. I guess it's similar to Media Encoder actually, where we can make all of our changes in terms of formats, codecs, and then check our timeline. We can do little selections of what we actually want to export and if we're going to do the entire timeline or just the range. We have Subtitle options there and our Audio options here, choosing where we're saving it here. Then let's say you wanted to export, the final render queue is on the right. It's a really nice workflow. It's a really lovely layout. What we're going to do now is import some footage. You can either download the footage that I provided or use your own footage for this course. I don't mind which, if you want to use your own footage, that's probably easier and more personal. But if you want to use the footage I've got so you can go ahead and copy it exactly the same, then you're also welcomed to do that. Download any footage you need, find any footage you need, and also find one complete film that you have finished. Wherever you have an exported film, find that and then in the next video, we'll bring it all in. 5. Importing Footage, Timelines, and Films: The birds have just started chirping away. Sounds coming out. Pretty nice. Hope it doesn't bother you though. We're going to start importing some footage. There's two main ways we can do this. I'm also going to show you how to import a film that you can then very quickly cut up, which is really useful if you are going to be more of a colorist than an editor. I'll also show you how to bring in another timeline, which is great if you're working with XML is from Premiere to Resolve. First off, let's start with the media page. Very easily, you can go through your media storage and find the folder you're looking for. If you can't see this, then remember, you might have to click these buttons here. You can go ahead and I'm going to come down and find Skillshare. Then if I click here, all of these photage turns up here, then anything I want to bring into the project, I bring down here. If I wanted to bring in all of this B-roll, I can drag the folder in here and happy to change the frame rate, it doesn't bother me, and then it comes here. Now, the problem with this is that then when I come to the edit, you will see I just have all the footage here. It's not organized. If I then wanted to organize it, so right-clicking, hitting New been, hitting video or whatever I was calling it, I could do this. That is one way I could do it. But it's a little bit long, a little bit boring. You could also bring it straight down here on the left, and then you keep that folder structure. Then when I come to the Edit page, I have that folder structure in place. It's a really small thing, but it makes a big difference. Now, my personal way of doing it is because I'm lazy, I don't do that. I have the squeakiest chair. I'm so sorry. What I do is in my documents folder, my finder, whatever you want to call it, I find the folder I'm after and I drag it straight into the Master tab on the Edit page. That way, I have it all there. It's really nice and easy. If I go back to media, it will still show up there. It's just a matter of preference. If you want to do it here, you can, if you want to do in the Edit page, you can. Now, something that is cool is if you want to bring in a film, so this little film here I shot on a tiny pocket camera, Sony RX100, something like that, years ago, talking like very early versions. What you can do is do Scene Cut Detect. You find it up here, right-click the film and hit "Scene Cut Detect". This will bring up this pop-up here. What you want to do is come down to auto scene detect and let it do its thing. Once it's done that, add cuts to media pool. Then cross out of that. You see what I now have is all those individual shots. If I then come to the edit page and they're all still highlighted, which is very nice, if I drag that onto the timeline, if I just go between them, zoom in there, you can see it's absolutely nailed it. I now have a film that is re-cut for me. I made a short film and we shot it in B-roll thinking how has the color is going to want this as much information as possible. They wanted a 444 ProRes one film, one file version. Actually, that's pretty standard, it turns out. If you're going to be grading and editing your own work, then it's really easy for you to shoot whatever format you want, RAW or ProRes or H265 and then grade each clip individually. But if you are wanting to do coloring work for other people who let's say they haven't used Resolve or they just want to send you one film because it's easiest, much less heavy in terms of file size, sending one film versus all the raw footage, if you do this, then when you come to the color tab, if I just click on Clips, I now can work on these clips individually. I can go in, whatever change here, doesn't change anything either side. Obviously, I wouldn't do that. The thing to be aware is if you have fades in your film, it does struggle with that. It tends to treat each new shift in exposure as a new clip. If you want to do this, my suggestion is you ask who's ever sending you that film, can you send it without the fades, and then we will add the fades in Resolve. That just streamlines that problem. What I'm going to do now is I'm actually going to right-click "New Bin" and I'm going to call this If We Should Stumble, cut and then just click all of these apart from the timeline and drag that over there. That is something worth mentioning is I like to, in the edit page, create a timeline bin. If I'm doing lots of different cuts or vertical, horizontal, 30-second, three-minute, I keep them all in there. If you want to duplicate a timeline, you can right-click and hit "Duplicate Timeline", and then you have two versions, or you can just go Create New Timeline or Control N in my case. That's importing footage. But what if you want to import an XML? What you want to do is in the edit page in your timeline folder if you have one, is right-click timeline's import XML, EDF, yadi yada, and find it there. Then you should be able to work with it in the timeline. I don't really have any reason to do that anymore. I tend to be exporting XMLs rather than importing XMLs. But there might be something, let's say you're in the middle of a project and you want to do that, then great. I personally would suggest finish anything you're currently working on a Premiere, start anything new in Resolve that way is a little bit easier rather than trying to cross platform your projects. The next video is the final setup video before we actually start editing some things. We're going to look at creating some shortcuts. Do not skip this stage. You will absolutely regret it. Trust me on this one. 6. Do NOT skip: Keyboard Shortcuts: You may want to buy one of those fancy color grading machines or a Speed Editor device, but they're money and you might not need it. But if you don't set up shortcuts on your keyboard, it will just feel like a real difficult, long process where you regret moving from Premiere because you know the shortcuts and Premiere. Let's just set up a couple of really key shortcuts. Now, this is super easy. Come to DaVinci, Resolve at the top, keyboard customization. Here, you have different shortcuts you can add to different things in each different page. The first thing to do to help you off is come up to the top and go to whatever editing software you've come from. If you come from Premiere Pro, set it as Premiere Pro, and then in theory, all of the shortcuts will have carried across. I find it a little hit and miss and there are some ones that I actually wanted to change anyway, so I'm going to just show you some really good ones to add or change however you want. Let's start in the edit page because that's the more useful one. If you want to make a change to any particular page, you come here then you make the key stroke here. If, for instance, let's just say I wanted fit a fill to be N, I could do that, and then if I come to nodes, I've labeled selected nodes as N as well. You can have the same shortcuts for different things in each individual page. The most useful one I will suggest is if you come to view, I believe it is, and then down to zoom or you can just search zoom is what it we'll probably have is plus and minus, but a lot of keyboards like mine, to hit "Plus", you have to hit "Shift" and that's really annoying. I've actually changed my zoom in and zoom out to the plus and minus keys on my keyboard. If like these two here, but without needing to hit this shift. It's actually equals and hyphen or underscore, whichever one that is. Anything like that we can move you need to have two hands to do one function, perfect. As one, I definitely recommend hovering. Another is enable slash disabled. I'm just going to search for it. Let's have a look. Enable. Clip. It's in clip. Enabled between timeline and clip are different things. You want to enable a whole video track, whatever, great, but you can do that in so many other ways. If you want to enable a clip, I find this really useful sometimes just to be quicker. I have it as one. Because one being my hand is naturally resting there. The Number 1 anyway on my keyboard. I can very quickly just hit "1" and it will enable it. If I just show you that, if I just come over here, hit "1", that is no longer enabled. I could do a whole bunch and do one. That has its time and place and I've ended up using that all the time. That is one I would definitely recommend. I would change razor to whatever you want. IUC, really nice and easy because I think cut, so it's there again by my hand. Then transitions is a really good one to have as well as Control D for add your default transition or Control Shift D for your audio only. If you wanted to add a dissolve really quickly, just going to do that so that you actually have something to dissolve between. Get it on the middle, press Control D. Or if I did Control Shift D or the only really great because we all know that you should be dissolving crosses over in your audio. I hope we all know that. Then the main ones I use in the edit page, which you might find different commands or different things you want to do, come under timeline, or under edit, or under clip, so just go through and find the ones that you like. Snapping is a good one to add. I mean if I put S, then it will tell me it's already assigned something else. I'm going to hit "Yes", and then I'm going to get rid of it on toggle slip because I never use that one. Let's say I wanted to do Control Shift G and then that should now have saved. If I go back and find it and I don't want it, I could just hit that little cross there and it's gone. The other one to make is in the color page, and I mentioned this earlier. If you come to nodes, there's a few here that are good to get familiar with or adjust to what you want. The first one is label selected node. You might want to use L to think label. I use N to think name. Then the two other ones that are really useful to be aware of is add serial node and add cereal before current. I use Alt S and Shift S. If you set these two up along with the name, then everything else we can just do right clicking, but they're really quick and easy. When I'm calibrating later on, you'll see I use them quite a bit. The other one is, if you come to View, and then up the top bypass color and fusion, and I have it selected as Shift E, put it wherever you want, but you want to put the same as me, put Shift E. I'm going to show you in a minute what this does. There's that one and the other one. In fact, the other one is probably on the color page still, would be Control D, which is enabled disabled selected nodes. In your color, make sure you have the labeled selected nodes, enabled disabled selected nodes, and add serial node, add zero before current. Make sure you have them labeled something, assigned something that you know. Then in View, bypass all grades, Shift D. What this does, if I come here, let's say I made a whole bunch of changes, separate nodes. I'm just spit balling here. Then if I do Control D, I can view them just individually. Or if I do Shift E, I can do a before and after, which is the same as this button up here. It's just nice having a shortcut. Now we've done that, we're good to start editing. If you haven't, now's the time to import all your footage. You might find the footage that I provided, maybe there's a little bit less than what's here because I just dragged everything in and I'll be a bit more selective with the ones that I share with you. But get it all into your edit page, whether you do it directly in here or through the media tab. Once you've done that, we'll start editing. 7. Editing: Using the core tools: With any luck you are basically where I am now. There's two, three things that we should just be aware of. If you want to just crack on editing, then you can very easily just drag something into the timeline. If your timeline isn't set up to match the footage, it will pop up with a match. Do you want to match your timeline to match the footage? I just always say yes because that's often what I want. But you can create a new timeline and then in here, you get the option to use project settings. If you untick that, then you can come in and you can change the different things that you might be wanting to do. Let's say you are actually going to use vertical resolution. That's a nice little tick box they've added there. Must be new actually. Then everything else I think you can leave the same. The color space, don't worry about. I'm going to show you another way of managing color space later on, but be aware that is something I will show you later on. This is another way of doing it, but we don't need to worry about that now. If I hit "Create", then I've got my vertical timeline. If I will drag that in, I'm now ready for socials. Then if you want to rename your timeline, just slowly click it once and twice and then you can name it. That's cool. Now you can, let's say I went into ursa, do right-click, create new timeline using selected pin and let's call this one ursa timeline. Hit "Create" and it will drag in everything or you can Control A, untick the timeline and drag everything in. Do it like that. I don't tend to do that though because then it puts your timeline at the same folder as your footage. So I tend to do timeline, timeline, create new timeline. Then I'll name it. Let's call it edit lesson. There is one thing where you can find, not even realizing that you're actually editing in a HD timeline when you want to edit in a 4K timeline or something of that nature. What you might want to do is come up to file project settings and set your project as, let's go with ultra HD, but then still have your timeline settings. If I do use project settings, If I untick that and do HD and then scale entire image to fit. These are different options on how it's going to control putting that footage in. I'm going to do, yes, scale entire image to fit. Hit "Okay". Then if I drag in this clip here, what I now have is a 4K clip in a 1080p timeline. Let's say I want to edit in this space when I come to export and deliver this, if I come to the timeline settings and then I hit "Use Project Settings", it's now a 4K timeline. Just be mindful because if you're, let's say using stock footage that is 720p and you're like, I can get away with this, this goes up all right. Forgetting that you're only in a HD timeline, and then when you want to export it in a 4K timeline, then it comes out as tiny. It's all these different managements of your resolution and timelines to be aware of. I tend to just do this, I nine out of ten edit in a HD timeline and then if I want to export as a 4K, which I don't necessarily often want to do. I'm quite happy exporting in HD for a lot of things. The last commercial I directed for TV, I had to deliver it in 720 interlaced, which is pretty heartbreaking. I'm not going to lie. There is this choice to be made. Let's learn how we edit here. It is very similar to Premiere. If I click on, let's say this shot here, this is playing over here and another shortcut if you didn't have this set up or if it doesn't automatically do it, is I for in and then O for out. Then I can drag it down onto the timeline and depending where I drag it will affect where it sits or you can drag just the video in or just the audio in. Now you can also right-click over here, add tracks. I might decide, I actually want to add three audio tracks and I want to add them above the first audio track here. Then maybe one video track below the first video track. Then I would get this. I now have three audio tracks to work with ahead of the synced audio for this clip. It's a niche thing I want to do, but you might want to do it. Now if I scrub through, you can see that this is the timeline preview, this is the source preview. Again, super similar to Premiere. You can always drag things around if you want to resize things and remembering, you can create space or reduce space using these different extra tabs up here. Over here on the left, just to go through this a little bit more detail, we have the disabled video track, or we can hit one now that we've set that up and it will do the same for both the video and audio. We can lock a tract individually, or we can hit "Shift Lock" and it will lock the whole video or the whole audio. You can go in and you can rename this, so you might call it interview track. I never do this, but you may be more organized than I am. Then this final one, auto track selector. This effectively turns off you cutting that track in the same way. If you set your razor up as C, when you hit C, it will now only cut the ones that have this auto track selected. If I turn this back on, you'll see I now have a cutting across both the video and the audio. I never really use this to be honest. It's just something to be mindful of for that's what that does. Then you have your different timelines here that you can scroll between or drag and move around. Then we have all our different ways of cutting up here. First off, we have our zoom in and out. We can do this over here like that or if you've set up your plus and minus key like I have, then that's really easy. These are like zoom presets, they're something I've never ever used. Here we have markers and flags. Markers are really useful. If you have nothing selected, then it will put it on the timeline and you can change the color if you want to be organized for some reason. Then you can just move these around and overlay them if you want and delete them that way. Or if you have a clip selected and put a marker down, it will put it in the clip. Just depends what you want to do and why you're doing it. Then just come up here and clear all. The flags, I never use. I don't quite know what they do, so I wouldn't worry about it. Here we have lock the position, so that means you won't be able to actually move anything in the timeline. This is more useful to just be aware of in case you've accidentally selected it and you're like, why can't I move anything? Just get rid of that one and you can move again. This will allow you to move just one thing without moving the other. That can be quite useful actually in some occasions. You can also do this though if you right-click and then de-select link or if you want to relink them, right-click, link. You can link anything. I could link these two together and now if I click one, it clicks them both. Then if I just Control Z enough times, then it goes back to being unlinked. Snapping really useful. I'm sure you know what this does. If you don't have it turned on, then doesn't snap. If I have this turned on, then it will just snap towards the end or start or anything. I use that all the time. I tend to, when I'm editing, just drag things in and just go about it a bit more organically. If you like these buttons or you want to use their shortcuts which you might have to hit function or control or something for, because they use the F keys. But what these do, let's find another clip. [APPLAUSE] Let's do a little in and out, maybe make that a little bit smaller. If I do inserts, then it chops up that original clip and places the one I want right in the middle so you don't lose anything, but you have broken that clip up. The next one is overwrites. This one literally just places it over the top. If you were just in the early stages and you're just like, oh, I've got enough of that clip I want to just throw this one in there, overwrite, great. Now I could just maybe delete this bit here. Then if you want to delete any spaces, by the way, click on that space between the tracks to the light gray, hit "Delete", job done. But the last one is actually quite useful. I'm just going to drag this one out. What replace clip does? Let's say you have an edit already quite tightly locked and you want to just replace one section without having to disrupt the edit. Then if you hit Replace, it will not affect the length of your timeline, but it will take what it can from that source and put it into that place on the timeline instead. That's really good because then you can go over and use the trim mode to place that exactly where you may want it. This trim mode, you have to be careful that you are in the top half of the video where you have the brackets like this, not like this. Because if we have this, then you're moving the whole clip like that. If you have in the top half though, you can move that placement of the clip to where you want it. I use this one a lot. I really like this one. Then if I just hit the selection tool and that will disappear, so I'm back to normal. Then we have our blade which you can have your blade if you prefer. I prefer to just use C because it's quicker. The last one is a dynamic trims that I personally wouldn't worry about it. It's not a very useful tool in my experience so don't bother. The final thing on this tab bar is this timeline view option. This is a master way of deciding how your whole project looks, rather than going in and dragging things up and down one-by-one. If you just wanted to get everything back to the same, it would do it like that. Then we also have different ways of seeing how that timeline looks. That's just preference. Whatever you really prefer doesn't really matter. The other final things to be aware of on the edit page is the Effects tool over here. This is where you will find things like text that you can drag in and you drag that in and any changes you want to make will come up over in the Inspector. You might want to call it crochet. You can change out of Open Sans. Let's just put it in a papyrus. Getting a little Ryan Gosling through back there. Change the color for whatever reason you want it this color. You have some other presets already here and you also have this text with a plus. This is four, unlike this one which is just your generic text, this one with a little fusion thing here is telling you that it can do different effects. Let's us change that color, make it a bit more visible for us. What's going to be visible? There we go. It's one of those boys is visible. We'll deal with that. What you can do is, these are your keyframes over here and you can change how something is written on. You might start over here like this. Have a keyframe there, drag it over here, and then have your keyframe there. Then now it will write it on. That's one thing you can do. Or you could just go through and pick one of these ones that already have some animation naturally built in, which they're really nice. Have a play, have a little look. Then the other useful ones are in generators, solid color. That's obviously great for many many different things. You can click on the Color type in the hex code if you want for brand colors and then if you want to place that underneath something, so you might decide, okay, I want to crop half of this image and have my solid color underneath because be aware if you have it on top, it covered the whole thing, and then you could put on some text here. Now obviously this growing text is on the opposite side to what we might want. To change that you come over into this back to tool again and come to First of alignment, I might want to put it on the right, but then we can go to Settings and reposition this where we want it. I'm just going to drag that over there a little bit. Let me see what else we've got knocked down around over here. Now you can see this E is cut off. What might you going to do is click on this "Anchor "and then I get that E back. Then I'm going to actually bring even more that way. Now I have a very unattractive scrolling title. You might be able to see that because it's so dark. Let's just put in black. Beautiful. Let's delete them and get back to here. Other things that we can do that are useful to know is, again, as I think I showed you earlier, is if you want to do transitions like cross Dissolve. If it's the end of the clips, then you won't have anything to do with. Whereas if I hit Trim clip, it will cut off both of those n bits to give me that dissolves space. It'd be like that. I'm just going to get back to there. Or you could come over to Video Transitions and pick a different one. You might want, let's just delete that. Put this on here. Lovely. Great. The last few bits I'm going to cover it in this lesson are just some extra useful thing to be aware of. The first one is if your media is missing. Let's say CO40. If I was to delete that, then now it will come up as a missing link. I mean, it's still playing there but you can see here that it's no longer linked. Quite lucky that so playing there. That's unusual. We want to re-link it, then the easiest thing to do because you might have a whole bunch missing and not know where it is in your folder, is right-click and go find a media pool, and then it will find it for you over here. Then right-click and re-link selected clips. Lastly, let's just take a quick look at keyframing. The first thing to do is you're going to have to change something. Let's look at the video first. Let's say I want to zoom in and zoom out. As soon as I've added that different zoom effect there, it's given me this keyframe option here. If I were to go to the beginning of the clip, and then let's put this back to one or near, if I click on this button, it creates a keyframe. If I then drag halfway along and I zoom in a bit more, it creates a new keyframe. If I also did this on position, so I tweaked it ever so slightly, you can see how it's given me a new line but depending on what I want to work on, I have a different color thing to do. Then I can literally drag this around if I want. I prefer to control it from all up here. I feel it's a little bit more accurate. But if you prefer to do things within this, you can select this button here and that will give you a keyframe to work with. Some amount of preference and then just do that and it goes away. It's [LAUGHTER], I mean, that's giving us a very weird kind of handshake look, not too much of a fan of that. I'm just going to go ahead and reset all of that. Then I'm going to give it just a nice, gentle, easy Zoom. I've hit a keyframe up there. It's giving me this option here. I don't even have to open it to look at it and now I know I've created a little zoom. You can tell my camera work with stellar when doing this bit. In fact, if I wanted to make this an introductory shots, you can add a cross dissolve at the beginning, Control D, and then drag that out if you want it longer. Or you can even drag these small little marks up here and they'll do the same thing. But keyframing audio is a lot more useful. Because as you'll be aware of when you are deciding your audio levels, often you'll want to adjust things on the fly a little bit. Viruses study a very very quick, something like that. Let's say you have a music coming in or whatever. That's an option. That is your rundown of the edit page and getting you through everything that you could probably want a need to know to just get straight from Premiere Pro into Resolve. There's nothing in there that you shouldn't already be comfortable with doing in Premiere and now you know how to do it in Resolve. In the next lesson, we're going to look at captions, very useful for social. 8. Auto Captions, Writing Captions, and Transcribing: First off, I'm going to show you how to do the automatic captions, which is currently only available in DaVinci Resolve 18.5 beta. You can either go and download that and try it, or if you're happy, just to wait until that version has become stable, and then you just wait until then. Great. Then I will show you how to do it manually, which is obviously more annoying but doesn't require you downloading and installing a beta version of software. I've dragged in a clip from the C200 here. You will have this clip exactly. If you have borrowed my footage, be aware that if you scrub through it, you will hear the sound of timecode, which I will explain in the next video what that is, if you don't know. How to use timecode is actually a really cool thing. I will explain that. But for now, just solo the first track, once you've soloed that first track, you won't hear that timecode sound, which you will thank me for. What we're going to do is we're going to come up to timeline and hit "Create subtitles from audio". Here, we have our options into how it's going to look. Take x Netflix subtitle, default. Let's try Netflix and the max characters per line. This is useful if you are going between different formats that say a vertical. You want to keep it nice and short, or you want a bit more longer. Let's try 30 just to see what that looks like and hit create. What this is going to do, is automatically, it's going to analyze the audio from the clip and turn it into captions for us, and then place it in the video, depending how you feel about AI. This is really useful. We can then scrub through here. If you want to make changes, if you want to make a blanket change to the whole thing, let's say the style, the color. Then in our subtitle, if you click up here and its newly formed subtitle track. Where you have the track option you can make changes that will affect everything. You might want to pick a different font. You might want, let's go something crazy. Let's go for that. Let's put it in yellow. That feels like a very YouTubey vibe. Now, that affects the whole thing. But if you want to make a change to one specific caption, let's say, it's got something wrong. Let's pretend that rather than Mike, I actually meant to my mate Mike, so I can go in and I can make that change in the caption rather than track in caption that changes there. If you want to customize that particular one, you want to stand out, then you could go in and you could make that change. Now, when I play, you will see that one single caption has been affected. I'm just going to put that back so we don't have that. That is a massive time-saver, is really quick, it works really easily. You can then disable or enable that track. Something you want to be aware of though, is when you come to export your films, you want to make sure that you come down to export subtitle. If you don't have that text, it won't work, and then you have the options. Do you want to export it as a separate file? Normally an SRT, in which you can then upload to different like Facebook or YouTube or whatever. Or do you want to burn it into the video? Clients in my experience, will always want this. You may find you have to export the same video, once ticked on, once ticked off, and then you will get that back. But it's easy to forget because in the delivery page it doesn't hide it when you don't have this ticked. Just be mindful that is something you have to do. Now the other thing we can do, and this doesn't happen in the timeline. This happens over here in the media pool, is let's say I was going to use this clip, but I wanted a transcript. What I can do is come up to this button here and transcribe audio. What that is now going to do is turn everything I've said into a document of words, that then I can play and it will go through it. But I can go through, and I can go, okay, this bit here, this is what I want to talk about. I'm going to find that, I'm going to highlight that section. Then it's going to automatically select the in and out for me, or I say actually this bit's really interesting and let's drag in all of this. Now I can drag that section in and then I can skip past all the mistakes that I've made. Maybe pick a different section here. Drag that in, then you can edit from the transcription. Really cool tool is coming now. Now let me show you how to do this yourself manually. To add your own manual subtitles above your highest video track, right-click and do add subtitle track. Now you can do, right-click, add subtitle, and then you can go in and make those changes up here. Whatever I'm saying here, let's have a quick listen. Okay, so I have a mic. [NOISE] I have that caption added here. Now to be very careful, don't hit customized caption, and then make the changes there, because that will only affect this one caption. Then if you had another caption, which if you're wondering how I did that, I hold Alt and then drag and it creates a new one that I can then change. I could say hello, and I've got two different captions. If you want to change how they all appear, you come to the track tab. Now if I change that to blue teal, it will do it to all of them. Then you can just drag and adjust where you want these to go. It really is as simple as that. That's captions and that's just a really cool tool that is coming into da Vinci more and more loving to see that. What I want to show you now is how to use timecode and multi-cam to work in a different environment. Let's say you're using two cameras to speed up your workflow in that way. Then we'll look a little bit more at the audio before we get really stuck into the color grading, which I'm sure is probably why you want to move to resolve anyway, maybe have a play with the captions, and then when you're ready, move on to the next lesson. 9. Editing: Multicam and Using Timecode: Before we get into this lesson, the first thing you need to do is drag in this clip here, and this clip here, which you will find in the URSA C200 folders into their own folder. They have to be in the same folder and make it that there's nothing else in there, make it the multicam folder. I'm sure many of you are familiar with multicam and timecode. But for those of you who aren't, multicam is basically just multiple cameras. That's nice and easy. Timecode is a little bit more complex. Every device has an internal clock that counts upwards, but their clocks are all different. They're all starting at different times, ending at different times. Some drift, is as if like the beats, the metronome, it's like a batch is going flat and it slows down. Traditionally, when we were going to sync up visuals and audio, we would use a clapper board and we still do. But one of the easy ways now is to sync up the timecodes. Both devices, your camera and your sound mixer, or two cameras or anything of the sort. We will align their clocks to run parallel. They start at the same point and they end at the same point. Even if one of the devices cuts, both the clocks are still running, so they will join and always match up. Big cinema cameras like my URSA Mini Pro here or my sound mixer here. They have dedicated inputs for a timecode device. In my case, I use tentacles sinks. What these do is they sync up to my phone and then on my phone I can send out a signal to both boxes. Both those boxes have the same timecode and those boxes send it out to their devices, so the camera and the sand mixer. But it's quite a high-end feature and not every device can. On other devices, such as the Canon C200, which I have here. What we have to do is use one of the audio tracks to create that timecode and it sounds horrible because that audio track turns into this robotic metal sound. If you don't know what it is, is not pleasant. If you're handing off footage to an editor, make sure that they're aware and that they know that you've done that. If it's you, then just you know what's coming. But when we're inside resolve, we have to tell resolve, don't use the timecode that has come in through the camera. Use the timecode that has come in through the audio track. In this example with the clips that I've given you, the URSA Mini Pro, that timecode was automatically put in straight from the device. No problems. When I hit record, this was the starting timecode, and when I ended, that was the end timecode. That's a horrible frame to freeze on. Whereas the C200 for me to get this timecode correct, which is here, I have to right-click. On the media page, I right-click and go update timecode from audio track. Now, that will tell it, I'm going to use that really nasty sounding audio track to create this time code. Now both these clips are very aligned. You can see the start and end are very similar time, which means that I'm in the right ballpark. What I can do now, either here or in the edit page is select both of these. Right-click and do create new multicam clip using selected clips. I'm going to just show you in the edit page as well. Here I'm going to right-click both of them. Do create new multi-camera clip using selected clips and then here I'm going to name it Skillshare Multicam. The frame rate is 24, that's what I shot both of these up. Make sure that you have the angle sink set timecode. Now if you don't have timecode devices, you can still do it with sound and it will do a pretty good job, as long as your sound quality is good and clear. We have timecode and then do detect clips from the same camera. Always is good practice to have that selected. I'm going to hit Create, and that creates this and now I have my multicam clip. What we're going to do now is right-click and do open and timeline. Then now I have it nice and synced up, really, super easy. Then I can just go ahead and using our shortcuts media, I could disable the top track and then think actually there, I want to have a section enable that and then now I have that synced up nice and easy. That's how I prefer to do it. The other option is to do it straight from here. If I was to drag this in. The other way that we can edit is we change this window from source to multicam. Then now when I play through, if I just click on the other one, it will change to the other angle and then I can click back and it's now done that in the timeline. If you're very intuitive and you're guru in those things I said, really lovely way of doing it. But you will notice a problem is that the audio is swapping between the two. To avoid this, what we need to do is we're going to just undo all of that. What we're going to do is in the audio. We're going to right-click and do switch multicam clip angle to two. Because I know that the audio of Camera 2 is better and to just make sure. You're here, if you're on the same clip, you'll hear the multicam the timecode going. We don't want that timecode. We're going to do right-click an open-end timeline just for a minute and in this Camera 2 track, we are going to go to clip attributes. Here I can choose what audio track I'm using. I'm going to just select all of these to Camera 1 or you could change this to mono, and there you go. Now it should, if I then go back to the multicam, that's the timeline. Here we go. Now I have the clean audio without the timecode, and I have the Camera A video over the top. I hope you're staying with me. What we're going to do now is make sure this is selected to multicam, can get back to the beginning. I'm going to select video only and then now as I go through, if I change back, you will see that I've kept the clean audio, but I have swapped the video. This is how we do multicam. The steps we've done is first off, we have told Da Vinci Resolve to use the time code from the audio on the C200 because it needs to recognize that as the correct timecode. Then we've created a multicam timeline, selected clips. We could do that in either edit or the media page and then you can either do as we've done here and edit using the multicam selection. Just making sure that we are opening this up as a inner timeline so we can then change the clip attributes or we're just opening in the timeline. Anyway, I'm just going to edit it from here, but same again, you will need to right-click change the clip attributes to get rid of that timecode track. If you're also doing it this way, then you will need to mute the other audio track because we don't want that. There are two ways of doing multi-cam. You might not need more multi-cam, but it's good to have that in the locker if and when you do need it. Now we've done that, we're going to move on to the exciting bit. We're going to start looking at the color page. What I would like you to do is once you've had a play with multi-cam, you feel confident you are going to create a new timeline. A little recap of things we've done. I'm going to call this color timeline and then here you're going to drag what ever footage you would like. You can drive all of it in or something that you own in. Drag the footage in and then I'll start showing you how to color grade. 10. Color Grading: Exposure and Contrast: We're on to the fun bit now, so color grading. What we're going to do is show you how to change things at a time. Rather than talking you through the color wheels and then the curves and then this and that. I'm going to show you how to change exposure in a few ways and how to change saturation in a few ways. But before I do that, there are two things I want to walk you through. The first one being the scopes, as these are super useful. If you can't see your scopes at all, then it may be that you have the keyframes tab selected. You just need to make sure you have scopes on. here you have different ways of measuring your information, knowing where your exposure is, where your color distribution is. The main ones that you're going to probably use, will be waveform, which controls your overall exposure or it shows your overexposure. You can't do anything in here, but whatever you change over this side will be reflected over here in the scopes. The other one is Vector Scope. This is a way of showing you how your color is being pulled apart. If I just boost up the saturation and you can see there where it began to grow. If I change the hue, you notice how it flips around and goes in different directions. You might not have the line indicator that I have a mine, and if you don't is because you need to select it on this little toggle here. You come down to show skin tone indicator. But we're going to start with waveform. That's the one we're going to focus on. The other key bit is your nodes. Your nodes are the foundation of color, grading and resolve. Unlike Premiere where you do all messily and one thing, Amazon is all about creating a sequence of order and having that ability to go back and be able to just work on one thing at a time. To move a node, you can just drag it and put it around. Or if you have loads of nodes, I'm just going to quickly create a whole bunch, and you want to drag everything, and if you click on the scroll, on your mouse, drag, then you can move around that way. You can also very quickly tidy things up. Let's say you had, for whatever reason, done something obscenely unattractive. If you right-click on the gray space and do cleanup node graph, it will give you some form of organization. Then to reset, just right-click, reset all grades and nodes. Let's start off by looking at exposure and contrast. What I'm going to do is I'm going to label this node. You can either right-click and do node label or you can use that shortcut. In my case n. I'm going to name this exposure. Now, we have a few ways of controlling exposure. The first one being the color wheels. The primary color wheels not to be confused with the log wheels as the log wheels are more fine tune. But actually, that's not necessarily a good thing all the time. We want to start with working with the left Gamma Gain, which is similar to shadow mids and highlights but not quite. Gain is like the volume of brightness, I guess. The Gamma we can control the overall middle area, and lift does extend it down the lower end. We're going to start off by just looking at how we can push and pull this image here, just by working on these different things and you can see how it changes the contrast of the image and it's a really nice way of doing it. You also have this contrast tab up here, which just pushes and pulls it out either way. Then what you can also do is change the pivot, which basically moves the whole thing up and down is changing on what point is that contrast really setting us the middle? That's how you can do it using color wheels. I know that's been quick, but it's very easy, intuitive way of working. The other way, if I just reset this, is to come up to this curves tab here. This will open up this here. You might already have this loaded in. This is your curves which many of you will be familiar with and feel probably more comfortable with for some of you, where you can start to create a bit more of a non-linear type of contrast. You can also choose just the individual channels. You could work on just the red and then just the green. Not that, that's what we're focusing on this node, but you understand what I'm getting at. I'm going to reset that. My personal preference is to actually use the color wheels. I tend to try and find the mid tones so you can see when I scan over her face, I'm getting those little wheels telling me that the midtones are sitting in actually quite a good place, between 30-40. I'm happy with where my exposure is. I just want to work on that contrast. I'm going to start just by pushing that contrast up a little bit and then I'm going to pull the lift down and raise the gain up. The offset, which is basically the whole thing, I'm going to pull that down a little bit. Now I quite like where this is sitting, but something I want to do is bring that black a little bit closer to zero, closer to a proper true black. This is when I will go to a log wheel and then in the shadow, because it really does just work that very low range, I'll bring it down to list. Just touching. There we go. If you want to do full screen for me, that is Control F, try it on yours might be Alt F. If not, go into your shortcuts and change that something that you like makes it so much easier. That's my exposure. I'm going to leave it at that for now. I might actually just raise the lift little bit. We have our first node, exposure. What we're going to do now is hit Alt S and create a new node, and then we're going to start looking at saturation. 11. Color Grading: Secrets of Saturation: Saturation. First step, label. A few ways we can do saturation and a few special moves we can do. The first way is super obvious, we just boost that saturation as high as we want and you can see there how it is a bit too much is saturating the whole thing. That is one way we can do saturation. You can put that back to 50. The next one is color boost. What this means is rather than raising the whole thing up as it is, it will try to match the desaturated bits to the saturated bits first and then increase everything. If I do that I tend to prefer how this one looks. It gives you a little bit more of a natural feel. You can use them in tandem and get the look you want. Now, at this point you might want to do a little before and after. That's where Control D comes in really handy. Making sure I have my notes selected, Control D. I can do a little before and after. Now, it's very subtle saturation I've done, maybe I'll boost it up a bit more. Great, lovely. There is a few other ways though, so what we could also do if I just reset that one, you could push these wheels to where you want them. You can straightaway start giving it some grade. I tend not to like to do this just yet and that is because with color grading it is best to do a color correction before we start pushing and changing the colors specifically where we want them. I don't necessarily recommend doing that one. What we can do though is in these curves here, in this mini tab, we have these other options through here. What these do is allow us to select a hue and work within that hue. I might say this green I want to make brighter. I'm going to come to Hue versus Sats. Select the hue and if you don't have that option there, it's just this little button here and then you should be able to grab it. Let's try that again. Then I can boost or pull that saturation up or down. You could also and again, this is not what I would do at this stage but whilst we're here, hue versus hue if you did the same thing you would be able to change the hue of what you're working. You might do at this point just to give it a more natural standard true to life color first. Let's leave it there for now. I wish my plants look that healthy. But of course you can delete these just by right-clicking on anything that you selected and if you wanted to boost the whole saturation you just lift it up like that. Then you can start to get it to where you want. Maybe you decide, I don't quite like this color here being so bright so I'm going to select that, bring it down, but then notice how it starts to affect her skin as well. There's always a balance and a trade-off when it comes to working in the saturation and the balance of the image. They're the main ways I would do it. There is one extra way though that not too many people do that is worth being aware of because it's quite a powerful way of doing it. If you right-click and come to color space and choose HSV, this is taking it out of a standard RGB space and putting it into hue saturation value space. But if we come down to channels and turn off H, hue Channel 1 and then come down to channels and turn off V, Channel 3. Now you see we only have Channel 2 selected. For this node, all we are doing is changing saturation. No matter what I do it will only affect saturation. Whereas before in this exposure though, if I change the Gamma it will change the exposure. If I come now into this node and change the Gamma, it changes the saturation of the Gamma. I can do that on these other ones as well. You have to be careful because it can break the image very quickly but you can also get a richer, more fine saturation. I'm going to just boost the highlights up a little bit, knock the saturation off the lift down a bit. If I full screen you can see where it has started to break apart a little bit. Just make sure if you do that you make it obvious to yourself. I would actually change this personally to HSV saturation. What we're going to look at now is how to actually start to process your color and we're going to first off, understand color management as in the way we set up our system to go into different computers and TVs and things and make sure it looks okay on all of them. Then we're going to look at doing what we've just done but a little bit better in terms of a color balance as well to get a standard color correction and then we're going to look at grades. We're actually going to design some cool looks ourselves. What we need to do is create five nodes, 1, 2, 3, 4, 5. Then in the middle of three you're going to put exposure and saturation as we've just done and then color balance and you're going to leave 105 blank and I'll explain why in the next video. 12. Color Grading: Color Space & Color Balance: You may be familiar with Rec. 709 labs. Basically, Rec. 709 is a color space that a lot of things use. Although it is moving a lot more towards P3, DCP3, I want to say, I might got that wrong, I'll leave the exact phrasing up here. Because Apple devices use them or beginning to if not historically and cinemas use them. But Rec. 709 is more like TVs and it's a lot closer to the sRGB that a lot of laptops use. We're going to for now work with the Rec. 709 space. But what we have to do is tell resolve what camera have we shot this on? What are we bringing in? Then what do we want it to go out as? I'm going to make all our changes in the middle. I like to think of this as a sandwich. We work on the filling, we make the sandwich unique and beautiful with how we fill it, but we are choosing what bread we are putting on either side. We're going to come up to Effects and come down to Color Space transform. Bear in mind, if you search is the American spelling, C-O-L-O-R, and we're going to drag it onto the first and the last node. If you're using the shots here, then I can tell you exactly what it was filmed on. We're going to put that in the input color space. This was shot on a Ursa Mini Pro 4.6K in Gen 5. What we're going to choose, and it's a little bit annoying we have to do this, but we're going to choose Blackmagic Design 4.6K film Gen 3. The input Gamma, we will come down to Blackmagic Design film Gen 5. That's automatically doing like a Rec. 709 thing, but this is just the first bit of bread. We want to tell it almost like the butter. What are we putting in-between what we've shot and what's going to come out the other side, and we want to do all of that in DaVinci Wide Gamut and DaVinci Intermediate. Now, I know you're thinking that looks flat and horrible bandwidth. In the last node, in fact, what you can do is you can copy this and paste it and then hit "Swap", and now you have DaVinci Wide Gamut of the top of DaVinci Intermediate input Gamma, and then we want to choose Rec. 709 because that's where we're going out. What we have is what we shot on and then what we're going to work in, we're going to work in DaVinci's color management. Now the end we're saying, what have we worked in and what are we going out as? We're going out as Rec. 709 and then Gamma 2.4, that is pretty standard, pretty normal. If you put those things, by-and-large, you will be fine. Then if I just do a little before and after, you can see very quickly I've got a nice basic Rec. 709 look. What's nice about Resolve is it's all two-way. If you make a change, you might say, oh, I've put that on and it's made it really crunchy. Well, now in the exposure, we can bring all that information back using that Contrast tab, we don't lose anything. Any change you make you can bring back in a different node and it's not compounding the effect, it's just reducing it. Now we've set up our proper sandwich, our color management. We can now do our color balance. That is what these three nodes here are for. It's really good practice to have your color correction and get it looking mutual, get it looking nice before then doing more nodes that become your color grade. The reason for this is let's say you did something like monstrous and you go, I really wish I hadn't done that, you can just get rid of that and then you'll still have everything all ready in a good place because you're not affecting these nodes here. Let's have a little look at these nodes again. Let's get our exposure back to where we had it beforehand. I'm going to, as I did last time, bring the shadow down. I'm going to actually raise the Gamma a little bit, and the gain, yeah, I'm just going to creep up over so slightly. We have our exposure. In the saturation I'm going to boost the color boost a little bit, maybe it's about there, and now I get to color balance. This is where we create the neutral look. Before you start going orange and teal or whatever look you want, get it to a neutral place. The easiest way to do this is using the offset wheel and what you're looking for is color separation. For instance, if you'd shot at the wrong white balance, your image might come out looking like that. We want to try and get that color separation so the black looks black, greens look green, white looks white, that's the purpose of this. This is like bi eye and you can use the scopes here, you can tell if I do that. You're like, well, there's a lot more red in that image so you could dial that red back down, try and bring the blue up and you'd get close. You can do it that way. Or if you find it easier, just pull it round until you feel that you have it in a place that you are happy is quite neutral. I'm going to do it before and after. Even if you prefer the look before, you go, I look nice and warm before, get it to that neutral place first. To me, the walls look a little bit more natural, she looks a little bit more natural. I would say maybe there's a tiny bit too much blue in this image perhaps, maybe I just have a society try knocking that down. Happy. Cool. Now we can get onto the grade. 13. Color Grading: Grade Faster: We're about to move on to the grade. What I would like to do though is before we do that, is almost save what we've done here so we can always go back to it. This is super easy. If you right-click and you grab still, then it will pop up here in the gallery. You might not have Gallery, so you might have to click "Gallery", and then you have this here. Now if I went on to a different shot, I could drag this on and it gets me pretty much to where I want to be. Bear in mind if you shot in a different location, a different thing, you might have to do a different color balance or tweak the exposure and saturation. But it's a handy way of, let's say I made a whole bunch of changes here, and if I have really mess this up, I can just reset all of them, drag that on, back to the color corrected neutral place. Then in here, you can create folders, so you might want to add a still album and just call this Color correct. Then if I drag that in here, there we have it. We're about to use this tool a lot, this frame dragon and use, so we can replicate other grades. Because it's great to build your own look, but it's really handy to have some reference to go from and Resolve makes that super easy for us. What we need to do is find a Google image, or if you use Short Deck, grab something from Short Deck, you want to find an image and then bring it into the timeline. Let me demonstrate. I'm going to quickly save a new folder in the edit called References and then earlier today I found this shot from Ex Machina. I'm going to drag that into the timeline, anywhere, it doesn't really matter where, and then in the color page, when I come back, when it's down here so you can click through and find it. In fact, let's create a new folder and call this References and drag it in there. Now I have this here. If you want, you can then go and delete it again from your timeline. You will still have it up there in the frame. Do that and then we will start creating a grade. 14. Color Grading: Grade like a Pro: Hopefully now you have found something that you like and whether you're using your own footage or this footage, our goal is to turn our footage to match at least the tone and quality and feel of the other shots. First, lets give these one's a little label as well. You can call this whatever you want. I'm now going to create a new node and drag it down and it's going to be our grade. I'm going to call this G exposure. You can go ahead and just start creating your look. You might just decide you want a crunchy low look and messing around with the colors till you get something that suits you. We're not going to do that. We're going to try and replicate this look here. It's green tint, very moody, low-level look. The way we do this as you can see, they're quite different. Is make sure in your gallery that you have the image selected, and then up here you're going to click on Image Wipe. Now you can literally just drag this across and you can do a little before and after, just off and on or you can have it there. You can still make changes. I can still go in and do all of this and then will affect only my image but we can still see that other one. You can also change if this is going up or down or diagonal, really up to you. Let's start with that. Let's go with that to begin with. Then now if I change the shot that I'm working in, I am still seeing the one that I want to upfront. The first thing we should look at is the levels. How does the exposure and the contrast differ? What's really handy is if you look down in the scope, you can see as I swipe, it changes what information it's telling me. I can look at this image and see that the highest part is less than 70 whereas the mids, her face, are kind of sitting probably around this area here, around the 40 area. I'm going to try and replicate that with our grade here. Let's bring this across like that. What I'm seeing here is that my mids are probably a little bit high but then what will no doubt happen is when I bring the mids down, I can push the gain back up a bit. Let's have a look. Bring the mids down to about there and push the gain back, mids down again. Also my shadow is getting crushed quite a bit, so I'm going to just lift that. I'm going to bring the Gamma down a bit. Maybe, again down the touch. I do feel like there's a bit more contrast in the image than I'm getting because just the way the light has fallen. I'm actually going to boost that Gamma up a little bit, and again, up a bit and then just bring the offset down. It's like the whole thing. Try and keep some of that contrast. I would say that's sitting pretty similar in terms of bearing in mind that these are different shooting locations, different cameras, whole bunch of differences. I would say the exposure and the contrast is similar. If we do before and after, that's where we were before, that's where we are after. You can see it's very subtle and not much change at all. But that change is there. Now I'm going to try to match the color going on here. Looking at this image, we can see there's quite a bit of green going on in the highlights. If I scroll this a bit more, there's definitely a lot of green, like a yellowy green hue over her skin and somewhere in the highlights. I'm going to first off then trying just skew this in the skin tone. Then push the offset the opposite way just to try and keep a bit of contrast. Because if you look at the shot from X MacIntyre, It's not like there's a green wash. We still have color separation, color detail. Whatever change I make in one of these wheels, I'm going to try and balance a little bit in another way just to try and keep that separation. That's already looking not too dissimilar. One of the issues we have though, is just in terms like the background. Whilst the face is a good level, I would say their background feels a lot darker than ours. I might come back to fine-tuning the color. I'm just going to label this G color. But I'm going to create a new node and in here, I'm going to do a window. You come to this circle here and then you can choose your shape. This is a gradient or I'm going to choose a circle as it's more appropriate here. Then these are your feather options. I'm going to bring this over here like this. Now, if I make a change, let's say I change the offset, it's affecting the center of the circle. But if I press that button there, it changes it so it's affecting the outside. Just going to try and soften that off a little bit. Then now to not see that anymore, I'm going to select a different one and I'm going to wipe across again, make sure that's selected. If I do it before and after here, yes, it's a bit heavy, but it's getting closer to that color, that level, that quality of exposure in the overall image. I would say it's actually looking pretty good. My highlights maybe a little bit too blue rather than yellow, so I'm going to see if I can just go back. Well, let's first off label that vignette. Go back here and try and just balance that highlights, make it a little bit more yellow. Fine margins. Now a little fun facts about Resolve. What you can see here is we have some nice bars on top and bottom. In Resolve, we can come to Timeline, Output Blanking, 2.35 and boom. We now have 2.35 Timeline. I believe there's might be ever so slightly further. Let's try 2.39. There we go, 2.39. That carries across into your edit timeline as well. It's not just in your grade. Cool. I'm just going to find tune that vignette just a touch just to make it not quite so in your face. Where is it? Feather that out a little bit more and maybe just try that. I'm going to come to the Edit page, I'm going to click on that and now we can see side by side. One we have in the source timeline, the other we have in the project timeline. Personally, I don't think that's too bad. I would buy that being in the same film, in the same realm. That's the helpful part of using references to get the look that you want, because otherwise we can fall back into our preferred habits rather than actually looking at maybe new looks, new grades. It's all about trying to match the exposure, match the colors, match the vibe whilst bearing in mind, how far can you actually take your footage. It's about finding the quality and the tone, not just breaking your image to make it look identical to theirs. 15. Color Grading: Tracking and Parallel Nodes: Now I want to show you one of my favorite things to do on a different shot. This is what I like to do to lead the eye of the audience to where I want them to look. Yes, in this shot is pretty obvious as there's only one face to look at, but in other shots or if you just want to lead the eye somewhere, is a nice way of doing it. I've just copied that last grade across onto this shot. It doesn't match up quite as well, but it doesn't matter for what I'm about to show you, if anything, it helps. I want to lead the eye a little bit more to the face here. What I want to do is rather than create another serial node, I'm going to right click on this vignette and I'm going to add node at parallel. This means is basically working at the same time as this one, but I like to use it mostly just to organize my power windows into one place. Any of these are power window. I'm going to draw it over the face. Maybe feather it a little bit. I'm going to work on increasing the exposure contrast and maybe the saturation just to really draw out that face a little bit more. I might actually do it just in the Gamma and again, bring the lift down. The color, just because it's a different shot, I'm going to try and bring it away from that green a little bit more of a realistic color there. Now if I click on something else, we don't see that vignette. If I do before and after, that's before, that's after. Very easily I've managed to capture back that color difference, that color separation, and I've just given a little bit more life to the face. But obviously film is not a photo. I mean, yes, it's not maybe much in this shot, but in a shot where someone is moving a lot. Maybe let's just copy that across into this one. We want to move with the face and probably isn't the best example, but what we do is we drag this cursor to the start of the timeline, and then we come across to this tracker. It looks like a target, next to the Windows. Now we have the option to track in terms of pan-tilt-zoom rotate perspective 3D. I personally like to leave pan and tilt on, and if someone's moving towards the camera or away from the camera, then I will have zoom on. Otherwise, I'm going to turn it off. Rotate depends and perspective, I nearly always turn off. That means that by and large, if someone moves bends down out of frame for a moment, it won't warp it too much. Then we just hit this Play button and it will drive forward. The resolve tracker is incredible. You could do whatever you want within the circle. If we wanted to maybe soften the look a little bit. If I went to soften and sharpen, and then I just tweak that ever so slightly, you can see how it's a very subtle change, but you can make it as subtle or not subtle, as you want really, you could really [LAUGHTER] make it a very pixelated look. Now if I do a little before and after, that's where we started, that's where we got to. It's a subtle thing that a lot of filmmakers won't bother doing, but it will make your work, your shot stand out or the people in it stand out. I definitely recommend putting in that extra time to do one of these. 16. Color Grading: Luts, NR, Grain, and Other Tools: We're going to take a look in a bit you probably been waiting for, which is LUTs. How do we use LUTs within this workflow with [inaudible]. Where do we even find them or upload them? Up here, you have a LUTs tab. These are whole bunch of LUTs that I've installed, I've created, I've found, and there will be some that resolve automatically comes with, but then there are also some you can upload yourself. For me, I love this Luts as my hands down favorite LUT for Blackmagic cameras, but I think they do for other cameras as well because it just gives such a nice natural look to work with. I drag it straight onto the image. This is a good lesson to be aware of with LUTs. When you buy a LUTs it should be for that camera. If you buy a LUT design for S-Log3 on a Sony, that takes it into a Rec. 709 space, but you try putting it on a completely different camera, it may work, it may look nice, but it might not, and it might also do really weird things. You should really try to have the LUTs for the camera. Now, this is effectively a Blackmagic to early LUTs, which is taking it into a 709 space to make it look like an RE camera. I think it does a pretty good job. You can almost treat this as your final end node. Then in front of it, do your look. I can easily see there's a bit too much green, and if I look over here, it is popping around maybe a little bit higher than I would have expected in a largely wooden space. In this second one, I'm going to do colors. I might do green. I'm just going to try and dial back some of that green in the offset. Maybe we're going a bit far. You can very easily see now I've done that it seems obvious. You go, look at how much skin detail we've gotten back. Now, I'm going to go into here and do my saturation. I'm going to first do the color boost just to see where we land. Doesn't look too bad. In fact, I'm going to just label this a LUT. Then over here, I'm going to do my exposure. I'm going to do this in S-curves today. Let's do a little top end and then bring that lower end down a bit. I feel like I might have lifted that little too high there. Maybe let's just try. Cool. Now using shift E, I'm going to do a whole before and after. Nice. I would say that's a pretty big difference. That's taken me like no time at all. But looking at this image, I think I might actually want to push the, let's the wood, maybe a slightly different color. I'm going to come after that. I'm going to label this wood. In here, I'm going to come to hue vs hue, select it, and just see what colors I have to work with. There's always a limit to how far you can push these things. I was going to do very subtle increase towards the red. Then in the saturation I'm going to do the same thing, I'm going to grab that. I'm going to bring it down at such. Then we're going to raise a saturation of the whole thing. Find where my balance is. If I do before and after and this glass, you can barely see it but it is happening. Then I'm also going to demonstrate another tool here. This one is the color warper and you can change how many points you have but I'm going to leave it as six. Here, I can grab something, so let's say I want to grab my jumper, my shirt, I don't want to be a slightly different color. I can now pull it around. If I bring it into the sensor, I'm basically stripping that saturation out. If I push it away, I'm pumping it back in and you can see how it affects the color as I go round. I'm just going to reset that. Let's try that again. This is a little bit more of greeny blue, you can see what happens with the skin. In fact, let us look at the retracroscope. You can see that, the difference that I've made. Now I'm beginning to give it a bit more of a look, maybe not the nicest look, but a look. Just to emphasize how closely we can control separate things, we're now going to focus on these back windows. I'm going to create a new node. I'm going to call this windows, in fact, I'm going to just label this skin. This one is a fun one. We're going to go to the qualifier. I'm going to qualify that window here. Now if you select this highlight option, it will show you what areas you are highlighting. Then you can try and fine tune it using these different tabs over here. It's done pretty good job to be fair. Let's try that. Now, if I try bringing the offset down, I would affect just that on my eyes. Obviously, I'm being very over-the-top here, but you can see how much control you do have. I'm going to reset that because that looks terrible. What I'm actually going to do is just bring the gain to a bit more of a blue. Maybe I'll do the gamma as well. I might knock the saturation up a bit. Again, not the best look, but my point is to show you the tools and then you can apply them in the right situation. That is one way of selecting the area and working with it. But you can see how that noise begins to break apart there. You might be able to soften it a little bit, is possibly easier said than done. But what we can do is noise reduction. This I do believe is a studio version only thing, so you might not be able to do this. But I'm going to after the LUTs. This is the way I like to do it. I'm going to put two nodes. The first node, entity noise reduction, I have neat video which I'm sure you're used to, you can bring that in here and use that or magic bullet. But just to show you the inbuilt one. It's not particularly great if I'm being honest, it can be very heavy handed depending on what you're using it for, changes how much of an issue that is. It doesn't really look like it's doing too much though. It's doing something. You can see how it's affecting my face as well. A way you can hide it is to also use grain, which I think is another studio or anything. These two bits, depending how far you push your footage, changes if you really even need these. You can always add film overlays in the edit anyway, in your free version, you don't necessarily need them. But if you just have a little tweak or try the different presets, let's go for 35 mil. If you do the grain first and then the noise reduction, what you're doing is basically trying to reduce the artifacts you've just added. Whereas if you do the noise reduction first, you are trying to clean up the artifacts that have come about in the image, and the grain you're adding on top because this works in a linear way. The grain on top is trying to then add texture and hide some of that noise reduction. That's why you should always do it that way, noise reduction then grain. I'll just do a little full-screen. You can see there is a lot going on there. If I maybe just for argument's sake just boost up this grain strength, maybe I'd have to be a little bit more subtle with my window changes. Try and find the bands where it feels natural with the grain as well. Then if you want, you can always increase that grain, and let's say the shadows where there's nothing really happening, and maybe fine tune it, drop it down in the middle of the highlights. That's how you can use LUTs and then a couple of other tools in there as well. But if you want to create your own LUT. Let's say this look here that we created. What I do, in the clips timeline is I right-click and do generate LUTs 33 Point Cube LUT, and then save that wherever you want. If you want this to show up in here, there's two things you have to do. One, you have to come up to LUTs, right-click and do refresh. But it still won't show anything because you have to save any LUTs that you want to see and resolve in the root folder within the DaVinci Resolve file structure where the application is saved. The easiest way to do that is to right-click Open File Locations and then copy wherever you've downloaded your LUT or created your LUT and save it here. Let's do that then. Let's do a generate LUTs 33 Cube. Save this on the desktop for now. We'll call it green hue LUTs and then we will find that. Then I'm going to save that in, let's save it here. Now, if I do a refresh, it should turn up here, green hue. Then if I was to get this back to where I was, drag that in, then there we go. Then drag this onto any footage, and I have that style going for me, so if I do that, cool. Just try on this one as well. Nice. What I consider quite interesting look, if you want that green sickly look. Perfect. The last thing I'm going to show you in the color page before we look at exporting is raw. How to work with Blackmagic raw footage in resolve. 17. Color Grading: Raw and the Lum vs Sat Tool: Blackmagic RAW has so much power, it's really, really great. If you use a Blackmagic camera, then you should try this at some point. What you need to do though, is in the Camera Raw, until you change this to clip, you don't really have any control. There is effectively no raw data there in terms of for you to manipulate. But when you put it to clip, then you have all the power in the world. I'm going to first off, drag that last onto a node. Then I can make any changes I want in here. I'm not using up any nodes, I'm just getting it to where I feel it's better. Maybe I've got my white balance belong, and perhaps I showed it at 6,000. Well, doesn't matter, does it? I can bring that back down and maybe I want to re-introduce a bit of magenta away from that green a little bit. Then also I'm getting a lot of something going on here. Perhaps that saturation I should actually do in the node instead. Let's try that. Let's try bringing the color boost up. Just get the green out of that Gamma a little bit. What have I done in that? I've done saturation. Then let's do blue shirts, some blue is popping. Let's get that right down. That is also popping a bit. Exhibiting that's a gray. I'm quite surprised. That's another way that you can work with MSO is using the rule options there. Then if at any point you want to send it back, just hit "Reset", and it'll take you back to where you were. Or you can go to Projects, and it will take you back to that inability to edit anything. One final tool over here I'd like to share with you, is the sat versus sat. This basically allows you to focus the saturation on different parts of the image a little bit easier. Perhaps, I want to just work on this bit. It's going to bring that saturation down a bit. Then if I come into lum versus sat, now I can affect the shadows versus the highlights. If I were to do this, I'm stripping away all the saturation from my highlights but leaving them in the shadows. Equally, if I went in the other way, I'm stripping away all of the saturation from the shadows, but leaving it in the highlights. You would never want to do that necessarily, but you can have some fun trying to find a balance with where you want different levels of things to sit. Maybe finding where different parts of your image are saturated or need saturation. For instance, the mids maybe need a little bit more to pop out a bit, then perhaps that highlight is a bit too heavy. If that was before and after, it's quite subtle, but it definitely draws the eye to the face a bit more. Because I've now put the color in me versus the background. I've done that with lum versus sat and sat versus sat. 18. Color Grading: Matching Cameras and Color Checker: When it comes to matching cameras I would do this the same way that I matched to a reference image. To give you an example, I just going to throw on this lot for now on the back magic shop and I'm going to throw in the same lot onto the C200, which is only eight bits. It's a very different codec but they actually match up pretty similar. If I just grab it still and then walk between them, you can see that actually they are very similar, which is lovely and quite surprising. I would then just go ahead and, maybe let's for now just bump up the saturation on both and see what that leaves us. Sometimes you don't really get a flavor for things until the saturation is in there. I was grabbing another style of this, maybe not where my face is sticking so stupid. Think what I would do in this case, [LAUGHTER] is I see they look really similar. That goes to show you the benefit of getting it right in camera. Set your white balance correct and everything and then it will match up nice and easy. Perhaps I would, though, maybe just add a bit more on the mid tones in the C200, it looks a little bit brighter. I might just bring it down a bit which is nicely effects in the background as well. I do think it has a bit more magenta in it on the C200 perhaps just in the hot end in the shadow. This is bringing that down a touch. But actually in the mids looks like it's a bit more present. It's not quite that much. To be honest, [LAUGHTER] I would buy that as being the same camera, no question. If you, though, do use color checkers for different things then let me show you. I'm not going to match these cameras via the color checker because I don't use color checkers, to be honest. Maybe I says something I should learn a bit more about. But if you use color checkers and want to know how to use them in resolve then you would come to color checker over here and then drag it onto the appropriate corners. A really important thing is making sure that when you come here to color match, make sure you have the right color checker selected because these have different patterns. You may have an X color checker, it's going to look very different to a spider checker. Then you can go ahead and change whatever your source gamma was if you show up black magic or C200. Let's just do it now just for some like, I'm just going to do it at the same node for a minute. Let's just hit "Match" and then I'm just left all of that on auto. Now if you wanted to use your vector scope to check out the different colors then you need to make sure you have Show 2x enabled if you really want to make it a bit easier to see because what you will probably do is create a square mask over the appropriate channel, wherever your ones are in your color checker. There, if I do on and off. Sorry for something. There we go. That's that one. Then you can see a little bit more easily where they need to go. You can see that overall it looks like the yellow is not quite right so I would come to hue versus hue and then maybe start having a little play getting the magenta bit more to where it needs to be, the blue bit more to where it needs to be, and so on and so forth. I'm actually aware that the spider checkers yellow is not correct, I don't believe. If I rotate it, you'll see it goes to quite a strong yellow. But let's have a look. That is technically correct in terms of a neutral color. Then from here you might go on and then start creating your look, going back to the more usual form of grading. That's how you use color checkers and that's how you can match cameras and that's the way I like to do it. There you go. 19. Delivery: Audio & Export: When it comes to audio, as I've mentioned before, I prefer to do all within the edit page, and really the only edit changes I'm making are the levels which I might do here or up here, through keyframe just to get how that level I want it to be. The EQ I might do here as well, but you don't get as much control, whereas if you go into the Fairlight page, then over here, if you double-click EQ, you have up to six bands that you can work with. Now you can work on EQing it however you so choose. I'm sure you have your own ways of EQing. What you have is the ability to change the type of change you're making. Is it a slope or is it a knee thing? If I use this type, then with the frequency, I can move left and right. But again, I can move up and down. In the Q Factor, I can change the intensity of that gradient, how precise is it being. You can also add effects. You might want to add a high pass or a limiter, perhaps you might use our compressor. Let's do the compressor. If you hit "Play", then you'll get a live representation of how that's looking, and then you can go through and make any changes that you want to make. If you don't understand what Compressor is, then it's worth taking some time to look that up. But this is a way that you can do that. Then if you want to hear it like a preview off and on, just move that little toggle there left to right, or you can choose different presets. This is only got the one it seems. But different effects will have different presets that you can use. I think the EQ has got quite a few actually. You've got Air or if you come here, you might have like Dialogue Male. But what about exporting? Let's say we've edited a video, we've got our little edit together where something like this. You can either do a selection with I and O if you only want to export a certain bit. Or if you don't do that, I have G set up as as the clear in and out point. If you want to do that, then look up clear in and out points on the shortcut keyboard. Then in the deliver page, again, same thing, you could set your in and out points here if you'd prefer, or you could just not have them. You will always have it present, but it would either be the whole timeline or selection of the timeline, and that changes how much you're exporting. A thing that resolved yesterday, I believe it's fixed it now. If sometimes if you did a selection and then you went through, added your render selection, did Render All, it would then not render this selection. It would actually, this would jump back to the beginning and you'd get a whole thing done, a whole timeline. Don't think that's a problem anymore, just be mindful of it. Also be aware that if you've forgotten that you've chucked in a lotus Bedford is down at the end of your timeline. If you've got Entire Timeline selected, you're going to export that whole thing, even if there's a five-minute empty space and then the one random clip here. What we have then is the file name and location, pretty self-explanatory. Then we have our video and audio controls. We've got a few different options. The ones we're likely to use would be MP4 as H265 or H264 or what I tend to use is QuickTime more often than not and export things as uncompressed, which will export it as a nice high of 10 bit version. But for YouTube videos or quick, easy to share videos, I will go for MP4s. What you want to be aware of is, if you're finding your video footage is coming out not quite as clean in the export as you want, you might want to increase this number here, this restrict to and set it to 90,000 or anything like that. Otherwise, everything should be pretty self-explanatory in terms of the key things as to what you need resolution framework. Most things you can just leave as they are. I can't imagine there's much here that you really want to change. But do be mindful that if you want to export subtitles, you do need to select that as an option, and over in audio with the codec, it will often be set to AAC. I will sometimes change that to Linear PCM and then change the bit depth. If you find your audio is exporting and sounding a bit distorted, this is probably why because you have your bit depth set too low, 32 sounds amazing, 24 normally always sounds fine. Then when you have your export settings how you want them, you hit "Add to Render Queue", and if you already have something there, you get the option to rename or replace. I'm going to replace that, get rid of that one, and then do render all. Let's rename. I'm just going to name it two for now. If you have two and you want to render one, you can do render one. But if you want to render it all, then just highlight all of them, hit "Render All", and it will go through and export everything there for you. This even works if you want to, let's say you did that as a render, and then did that as a render, you would get those two separate things. It will do one then the other, that selection would move, which is really handy, especially if you're doing multiple exports of different formats or different sections of a longer piece of content. 20. Giveaway: As a thank you for watching this class, which I hope you've enjoyed, on one of my YouTube channels, there is a link to a producing template built in notion that I created, which I use for all my client work or my commercials and my own narrative projects. If you use this code on the screen below, then you will get 60 percent off. I really hope that helps and I really hope you've enjoyed watching this and feel like you can move into resolve with a lot less fear now. If you want to leave a review and share this with other filmmakers or different Skillshare creatives out there, I'd really appreciate that. I'm always happy to have a discussion here on Skillshare or anywhere really. Thank you so much for watching and until next time. See you soon.