DaVinci Resolve: 15 Tips from a Pro Colorist | Fred Trevino | Skillshare
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DaVinci Resolve: 15 Tips from a Pro Colorist

teacher avatar Fred Trevino, Colorist & Top Teacher

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Intro

      1:10

    • 2.

      Tip #1 Contrast Pivot

      1:36

    • 3.

      Tip #2 Midtone Detail

      1:48

    • 4.

      Tip #3 HDR Exposure

      2:05

    • 5.

      Tip #4 HDR Saturation

      1:01

    • 6.

      Tip #5 HDR Light

      2:34

    • 7.

      Tip #6 HDR Highlight

      1:18

    • 8.

      Tip #7 HDR Black Offset

      2:00

    • 9.

      Tip #8 Power Grades

      2:19

    • 10.

      Tip #9 Power Bins

      2:13

    • 11.

      Tip #10 Cut Page

      2:00

    • 12.

      Tip #11 Cloud Workflow

      3:36

    • 13.

      Tip #12 Audio Presets

      1:46

    • 14.

      Tip #13 Output Blanking

      1:20

    • 15.

      Tip #14 Split Tool

      1:12

    • 16.

      Tip #15 Voice Isolation

      2:29

    • 17.

      Final Thoughts

      0:39

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About This Class

In this quick 30 min class I give you 15 Top time-tested tips used by professionals in DaVinci Resolve. This class is for everyone, whether you're an experienced filmmaker or a beginner, you'll find great use with all of these insider tips. 

This class is for anyone wanting to learn new tools in Resolve to make their grades better and their editing much more efficient. In this class we'll cover:

  • Contrast Pivot
  • HDR Tools
  • HDR Exposure
  • HDR Lights
  • HDR Black Offset
  • Power Bins
  • Power Grades
  • Cut Page
  • Voice Isolation
  • and much more!

After this class you'll have the confidence and knowledge to jump into your next project and efficiently start creating using Da Vinci Resolve!

About Your Teacher

Fred Trevino is a colorist with over 15 years experience.  He's graded over 60 feature films and hundreds of projects for high end clients such as HBO, Versace, ESPN, Under Armour and more. His narrative color work has screened at well known film festivals like Sundance, Cannes, and Slamdance. His goal is to use the experience and skills he's developed over his career to accelerate your learning in the field of color.

Meet Your Teacher

Teacher Profile Image

Fred Trevino

Colorist & Top Teacher

Top Teacher


Fred Trevino is a colorist at Beambox Studio and Top Teacher at Skillshare who has been grading projects for small, medium and large corporate clients, as well as filmmakers from all over the globe. He's graded over 50 feature films along with hundreds of music videos, short films, documentaries, commercials, web spots and more.

Some past corporate clients include HBO, ESPN, Shiseido, Under Armour, Sundance Channel, Tru TV, and Pepsi.

He's worked with countless talented DPs and directors and his color work has screened at several highly esteemed festivals such as Sundance, Cannes, and Slamdance. Along with grading he enjoys doing street photography in New York City where he lives.

As a first class he recommends Introduction with a Pro Colorist and then getting a... See full profile

Level: Beginner

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Transcripts

1. Intro: In this class I'm going to cover 15 lifesaving time saving tips for Da Vinci resolve that are going to make your life way easier. These will save you tons of time and will make you much more efficient. So I promise you, whether you're a professional filmmaker, colorist editor, or an absolute beginner, I promise you probably don't know most of these tips. I'm Fred Trevino and I've been a professional colorist for bean box studio. I've graded over 15 feature length films and I've worked on hundreds of short form projects for companies like HBO, ESPN Under Armor, just to name a few. So in the past 15 years, I've learned a lot about working efficiently quickly. Now these are just 15 unrelated pseudo random tips. But they are tips that I definitely wanted to let you know because they are tips that really you only use in the real world. They're kind of tough to squeeze into your typical class. So I'm just going to lay them all out here for you. Pick and choose what you want. But these are tips that I use every single day on every single project. So with that being said, let's jump right in. 2. Tip #1 Contrast Pivot: Okay, so tip number one for Da Vinci resolve is using the contrast pivot tool in the color window. So I'm sure you understand what contrast is, but for those of you that don't, contrast is basically what gives your image a little bit of pop, a little bit of depth. On a technical side, it's really just stretching the darkest dark in your image to the brightest bright. That normally means nothing to most people. But just know that when you increase contrast, you give a little pop to your image. Your image has a little bit more depth. And high contrast is good, or low contrast is good depending on the look you're going for. And then pivot really. And I'm not going to make this a super technical class, it's going to go into the weeds in regards to the technical side of what things do, but just think of pivot is like fine tuning the contrast. Anytime I adjust the contrast, 99.9% of the time, I also adjust the pivot. Contrast is kind of a broad adjustment of the contrast and then pivot is a fine tuning adjustment of the contrast. So really the tip in this one is the pivot tool, because most people do adjust contrast. But the pivot tool is really where you can separate something looking normal or more on the level of a professional colorist. So if you haven't played with pivot yet or the combo of contrast pivot which go together, I would highly recommend jumping on that right away. And in your next video, use those tools. Okay, and so now let's jump over to the next tool where I'm going to let you know what midtone details do. 3. Tip #2 Midtone Detail: Okay, now tip number two and that is using mid tone detail. Basically what midtone detail does, it can help sharpen the midtone detail in your image or soften the mid tone detail in your image. It's called midtone detail because in an image you have shadows, midtones, and highlights. And most of your image, for the most part, is in the mid tones. Those are usually things like faces and the brighter things in an image, Shadows are obviously the shadows. For example, this window here would be the highlights. My face and me, my jacket. More mid tones. Sometimes you need to sharpen your image just a little bit. But you don't want to use the sharpened tool because then it looks too over sharpened. Or sometimes you want to soften something. Like if you're doing a beauty grade or a beauty video, or if you just don't want to show off actors, every pore and every pimple on their face. You can lower the midtone detail to soften it a little bit and it look natural and organic. Or if you want something to look a little bit more sharp but in a more natural way, more like you're using a sharper lens and not just like you're increasing the sharpness in the image, that's where you would use the midtone detail. Again, use this tool, I think you'll love it. In most cases, I use it to soften an image in beauty grades or I use it to sharpen an image. This maybe just a little bit out of focus. If the cinematographer got a shot a little bit soft, I'll use the midtone detail just to sharpen it up. Just a touch, again, very useful tool. Okay, now let's jump over to the next lesson where I will start talking about the HDR tools. 4. Tip #3 HDR Exposure: Okay, tip number three is where we'll start talking about the HDR tools. The HDR tools are some of my favorite individion resolve when people ask how do you get a cinematic look, Really that's a very good basic place to start. The HDR tools are very misunderstood. But in a nutshell, just know this HDR to your footage doesn't have to be HDR footage. You don't have to shoot an HDR footage. It doesn't really have to be connected to HDR TV's and all of that stuff. Just know that HDR tools will give a more natural, organic optical quality adjustment to your images, basically. What does that mean? When you use them, it'll seem more like you did those adjustments in camera versus in post production, which can tend to look a little artificial, a little too much like you slapped the filter on footage. Hdr tools are great for organic, natural optical quality adjustments. Okay? And so the first one that we're going to talk about is the exposure tool. So whenever I adjust exposure, for the most part, I use the HDR tools and I use the exposure adjustment in the HDR tools. Because again, for those of you that don't know what exposure is, exposure is basically making your image brighter or darker. Okay. Did you shoot it very bright or did you shoot it very dark? And if you want to make your image brighter, you increase the exposure. If you want to make your image darker, you decrease the exposure. The difference between this and using it in the normal primary tools is that this will just look more natural. It's that simple. Again, not going deep dive into the technical side of things, but there's a time and a place for the primary exposure adjustment. But if you want something to just be more organic and naturally brighter in the way it looks, then I would say use the HDR tools to make your image brighter or darker. Okay, now in the next lesson we're going to stay with HDR tools and cover saturation. So I'll see you there. 5. Tip #4 HDR Saturation: Okay, so tip number four, HDR saturation. Same idea as the exposure tool when you want to make something more saturated or less saturated. I would recommend using the HDR tools because it's just a more natural, organic looking saturation level. If you raise the exposure in the typical primary tools, things will just tend to get very bright, very kind of electric, very video looking, and saturation. And things can look over saturated very quickly. Raising the saturation tool in the HDR tools is a much more subtle subdued, prettier way of increasing the saturation. So I would say always play with the HDR tools and raise and lower the saturation. So we're staying on the theme of the HDR tools. The next three tools are HDR tools. Let's jump over to the next one, which is not as known as something like exposure or saturation. And that is the light adjustment in the HDR tools. So let's jump right over to the next lesson. 6. Tip #5 HDR Light: Okay, so tip number five, HDR tool light. So and every image, as I mentioned before, you have the shadows, which is the darker part of the image. You have the mid tones, which is the middle. Stuff like my face, my jacket, things like that. Then you have the highlights. And then there's a place between the midtones and the highlights. I am a midtone, my face is mid tones. This window is a highlight. And then something in between that are known as light. The lights, okay, easily confused with just a light in the room. This high light here, that's being created by this window here, that would be considered a light part of an image. In the HDR tools, you can isolate very specific parts of your image and raise that or lower that for video. Typically, you are lowering something also because video tends to have very bright highlights that give it a very video kind of look. Again, If you want to go with a more cinematic look, you will usually tend to lower the high lights, okay? Otherwise known as high light compression, which is again, a technical term for just making things look a little softer, smoother, for example, if you had an image and you thought someone's face was a little too bright, or someone's skin tone was a little too bright, or maybe a white shirt or something was a little too bright. You could simply adjust the lights in the HDR tools and it would bring down only that tiny little bit of the image. Most people, if they make such a fine tune adjustment, will use the key tool. Which means you have to key the image. It's a lot more work and can be a lot messier. You can create a lot of digital noise, and it's just a harder tool to use. But the HDR tools are great at locking in on very specific parts of the image. And not only is it easier and faster to use, but the results tend to be much better and look much more natural and much more organic. Use the HDR light tool, and I think your images will look a little bit more cinematic and you'll save a lot of time in the grade. In the next tool, we're going to cover highlights or again, things like this bright window right here, I'll see you there. 7. Tip #6 HDR Highlight: Okay, we are moving fast through these tips. Tip number six is adjusting the highlights using the HDR tool. This has a very common use, which is basically something that happens all the time, especially with beginner cinematographers, filmmaker shooters. And that is when windows are very blown out, way too bright, overexposed, or something is very overexposed. One of the most common errors when you're a beginner cinematographer, if you use the HDR tools and the high light adjustments, it will bring down just the absolute brightest parts of the image. You can use the HDR tools to bring something down like that, and it will only target that very bright part of the image, creating a very smooth, kind of misty, organic natural film like prettier highlight adjustment than just dropping it down and making it darker. Really, a lot of these recent tips are using the HDR tools more which are, again, very misunderstood. But I'm showing you the most common tools to use, which will save you the most time, and they are the most commonly used in an image. Okay, so the next one is going to be the opposite of the highlights, and it's called black offset. I will see you there. 8. Tip #7 HDR Black Offset: Now in this lesson, I'm covering tip number seven and that is the black offset. As the name says, you adjust the blacks, the darkest parts of the image. In this image here, it would probably be something like my hair or any shadows in the background, but most likely my hair. If you have a dark image at night, you're adjusting a lot more than if you were shooting see on a bright white sands beach in Mexico somewhere. So just know that the black offset is again a film like natural, more organic, optical quality adjustment. And as far as a look is concerned, creating a look for a film or a project black offsets, you see them all the time because they tend to create a push or pull look when it comes to film. For those of you that know 35 millimeter actual physical film, you can create looks that mimic a push or pull in the film processing. If you don't know what that means, don't worry about it. Just understand that you can use it to raise the black, the very blackest blacks or shadows in your image. Or lower them to create a very pretty natural film like look. Most people will raise the black offset and that gives you a very popular look. A lot of people don't know how to do that. There's a lot of ways to do that. But black offsite is probably the easiest, fastest, and more natural looking way of doing it. Okay. So that was the last HDR tool. If you use all of those combined together, the light, the black offset, the saturation, the exposure, all those that I've showed you earlier, I think you will take your projects and they will just have that extra thing about them that will make them look a little bit more cinematic. Now we're going to move away to something that's a little bit more of an efficiency tool and that is working with power grades. So I'll see you in the next lesson. 9. Tip #8 Power Grades: Okay, so we're about halfway done with this class and number eight is working with power grades. So power grades are a grade that you save across all your projects in Divinci resolve so that you can use that same grade anytime, anywhere on any project, so they're saved in divini resolve as a whole, not in a specific project you're working on. So they're most commonly used to re, use looks or notrees, things like that. And they're most commonly used in studio situations. For example, I tend to use power grades in something like this. A class I shoot in the similar, the same environment all the time, same lighting set up, nothing changes, really. Why Reinvent the wheel every single time and regrade this every single time when I can save a power grade. And no matter what class I'm doing, whether it's now or five years from now, I can simply apply that power grade. And it applies the same adjustments for this lighting set up for this lighting situation. If you are someone who say has shoots a lot of corporate videos, a lot of interviews, if you shoot in a studio, or maybe if you're shooting five different people in the same space on the same day, at the same time, It might be good to just do one power grade and apply that to everyone else rather than having to regrade and reinvent the wheel over and over and over again. How do you create a power grade? You simply grade a project. For example, I have a grade for say, this type of interview set up. You have a tab to the left and division resolve. It says power grades. You simply right click on the viewer, there's an option, the save still. If you save it in the power grade bin, then that grade will be saved universally for all divienture, resolve projects and then when the next project comes along, you simply paste that grade to it. Make your small tweaks, small adjustments that you need to for whatever subtle differences are in that new project, and then you're done. It can go from taking 15 to 20 minutes or more to just taking two or 3 minutes. Power grades are super useful. 10. Tip #9 Power Bins: Okay, so now in this lesson is similar to power grades. Power grades are more for colorist and copying looks. But we also have something in Davinci resolve that are called Power bins. These are a little bit more for editors and editing and making things much more efficient. So what are power bins? Anyone who edits regularly will understand that if you edit regularly, you have very similar B roll that you use on every project. You have, you know, titles, graphics, a lot of stuff that you re use over and over again on whether you do classes like this or whether you do Youtube videos or whether you shoot corporate videos and apply very similar stuff. A lot of editing work can be very repetitive work and power bins are so that you can save media universally across Davinci resolve for all projects. So for example, let's say you have the same B role that use for a lot of your videos or you have the same music folder, the same titles and graphics that you import for all of your projects. Rather than doing that over and over and over again for every project, which from experience you may know can get annoying and sometimes you forget where things are. Well, if you create a power bin and then import all of your B roll, all of your music titles, graphics, things that you use regularly into that power bin. That footage that media will be on every project that you create. It's there for everything and so that saves you the time of having to re, import everything, reorganize everything for every single project. And what you'll usually have to do is only import your KM or your B M. And then all the other stuff like B roll will always be in every project. And the way you do that is simply going into the top menu there, clicking on the three little dots and then turning on power bins. And then they'll show up on the left side. And then whatever you put there, you can create new bins, organize things, put stuff in there, and then that'll be in every project. This is one of my favorite things to do. It saved me so much time and it makes my editing workflow much faster and much more efficient. Okay, so now we're going to stick with the theme of efficiency, and in the next lesson I'm going to discuss the cut page. So I'll see you there. 11. Tip #10 Cut Page: Okay, so tip number ten is really a tip, not on a specific tool like I've been doing, but it's really just about learning to use the cut page. I do have a class on the cut page, so if you're interested check that out. But to put it simply the cut page is something that ventris off created. It's an editing page just like the edit page adventure resolve and I know it's confusing. You have the edit page, you have the cut page. No one knows what the differences are. But think of cut page as something designed for speed efficiency for small screens like laptops. And it's honestly a page that I use all of the time because I like to edit quickly, efficiently. The edit tool has every bell and whistle, anything you could need under the sun and sometimes you don't need all that stuff. The way I like to compare the two is the edit page is like using Photoshop and the cut page is like using light room. Sometimes you just need those very basic tools to do a basic quick edit, A first cut, a rough cut, a second cut. And then when you get down to the very nitty gritty polishing, you jump over to the edit page. Especially if you edit on a laptop, you see more, you have only the tools you need. So I would say again, if you want to edit much faster, much more efficiently, get familiar with the cut page, check out my class. And I promise that once you start using the cut page, you'll rarely jump over to the edit page unless you absolutely need to. Big tip, very unknown tip. Most people are still using the edit page because it's the most familiar to them. But I promise if you just spend a few hours getting familiar with the cut page, you will absolutely love it. So in the next lesson, I'm going to go a little bit over the Cloud workflow, which is a little known workflow that again, you know, all these tips will save you hours and hours of time and work and wasted energy. And I'll give you a little tip on using the Cloud workflow. 12. Tip #11 Cloud Workflow: Okay, so tip number 11 is to please use a Cloud workflow. Again, this is another one of those tools that once you start using it, you wonder how you ever worked without it beforehand. This one's a little bit more complex, but I'll try to simplify it. And again, I do have a class on the cloud workflow which I very highly recommend you taking. But to understand the cloud workflow, let me give you a scenario. Okay, so let's say you have a Macbook and you also have a desktop computer. And maybe you have an ipad and you work with multiple people. You maybe have a director, a cinematographer, or even if you do everything yourself. Similar to me, I make all of these classes. I shoot, edit, color grade, Sound. I do it all myself. What the cloud workflow does, it allows you to shoot on any camera at the highest quality, no matter how you shoot. Let's say you have a red camera and you shoot in everything in 12 K raw, okay? But you may be we just want to go out somewhere to a coffee shop or you're traveling and you want to edit. Well, we all know that you can't really edit this raw red footage because it's massive. You need terabytes of storage. Your computer may not be fast enough. A lot of laptops aren't fast enough and if they are, you have to change the quality setting to like a quarter or a half, things like that, you know, things like that. Anyone who's worked with any sort of four K even, you know, I know a lot of people who don't shoot in four K because it's too big and their computer can't handle it. So you can shoot in this mega giant format, ten K, 100 K, Whatever you bring it into Davinci resolve, you don't have to lift the finger. Da Vinci will automatically create high quality proxies that will work on your system that will play back smoothly easily. And you can take that laptop, you can take even the ipad, you know, You can edit on a plane, you can edit on a coffee shop. You can just, you know, work at home so that you can just work easily and you don't have to worry about changing the quality and things playing back slowly and having all this hard drive space that you're taking up. So a cloud workflow creates proxies of all your footage, it throws it up on the cloud and it syncs your timeline? Yes, your timeline, Everything that you're editing, your first cut, your second cut, your titles, your music, all that stuff. It puts it on the cloud, but it basically takes you from a place where you're holding yourself back from shooting in four K or shooting in eight K or shooting at full quality because there's too much storage space. Computer can't handle it and you can work with proxies and you can work on multiple devices and you can also share those timelines. So if you have a friend who's helping you edit and they have resolved, you can then share that timeline. And they'll see on their computer. They can give notes, they can collaborate, you can chat in Devin resolve itself, or if you're working with an editor, they can edit there and you can see what they're doing on your computer. It's really collaborative workflows and efficient workflows so that file size is not an issue anymore and you can work anytime, any place with anyone and share any project. I think it's one of those workflows that just completely changes how you work, how you do things. And it's a much more modern collaborative workflow. Especially in a world like today where so many people are working remote and you want to share good high quality files across the planet or across town. 13. Tip #12 Audio Presets: Okay, here we are, rounding out the end tip number 12. And that is again similar to power bins, power Windows, and that is to have audio presets. So for those of you who are doing some audio editing, even if it's basic audio editing, for example, in my situation I can talk into a camera and I use this Lobelia right here. I can do screen recordings where I have another microphone and then I also have a shotgun mic. So three different environments, three different microphones. But I shoot in very similar situations. For example, in this studio, sit up here again, why reinvent the wheel every single time when I can do EQ, and applying my audio filters and audio adjustments to my microphones one time. And then you can save those settings. In the Fair Light tab, for example, I use maybe a vocal filter all, or a background filter or a noise reduction filter a lot. And so rather than redoing those settings every single time I do them once, I name them after the microphone, for example. Maybe it might be this lavalier. And then anytime I shoot anything I just simply go to my preset drop down filter, select that, and then my audio is adjusted. I might make small adjustments depending on the situation, but it cuts out 99% of the work have audio presets, whether you have one microphone or ten microphones, and it saves you a lot of time. Okay, the next lesson is a little bit of a weird one, but it solves a problem that I see a lot of editors make when they're working with resolve. And that's something called output blanking. If you don't know what that is, let's jump to the next lesson and we'll find out. 14. Tip #13 Output Blanking: Tip number 13 is going to go for output blanking. This is a very short one and it's basically a thing where I see editors all the time. Usually if they're coming from premiere, they want to have a 235 Matt or 239 Matt on their movie and they put a matt across the entire timeline, even if it's a three hour movie and they black out the top, the bottom to make a 235 looking aspect ratio. Even if they're editing in Davinci resolve and they moved over to Davinci resolve from premiere or final cut, they do the same thing. It's a waste of time. It's a waste of space and it's a waste of two time lines that create these black bars across the whole movie. There's a way to very easily do this in Davinci resolve and that's called output blanking. If you go into the settings at the very top, when you're on the edit page, you can simply go in there, go to output blanking, and turn on whatever aspect ratio you want. 2, 3, 5, 2, 3, 9, 1, 8, 5, 1, 7, 8, 4, 3. And that will simply apply those black bars across the entire film, or you can turn them off If you need to turn them off, that's the tip. Very easy. Save yourself time. Don't drop in a giant map bar across the entire three hour movie. There you go. Output blanking will save you time and make your life a little bit easier. 15. Tip #14 Split Tool: Okay, now in this lesson, tip number 14, and we're back to color, and this is for people who want to match multiple shots. I would say a great tool to use is the split tool. What does the split tool do? It simply shows you at the same time, two shots, four shots, however many shots you want to see. It shows them to you at the very same time on the screen, in the viewer, so that you can then make adjustments and make sure that all of those shots are matching. You can switch from shot to shot and make small tweaks and make adjustments to make sure everything matches perfectly. It's much easier than toggling on one shot, jumping to another shot that's 3 minutes down or ten clips down. And then you have to toggle back and forth and you're not sure if they match or playing back. You can simply split tool, select your items, view them all, and make adjustments right there in one place. Saves you a lot of time and it will make your grades much more accurate. Okay, so now on to the last tip, voice isolation. It's like a magical AI tool. So let's jump over so you can see how the voice isolation tool works. 16. Tip #15 Voice Isolation: Okay, so last tip, this one involves audio. We all know about AI. We all know how amazing it is, how scary, good it is, and the voice isolation tool is a perfect example for that. It almost makes it to the point where you don't even need a microphone anymore. You don't need to know anything about audio because you can record the worst audio for the most part. And I'm not saying you should do that, but you can record the worst audio. And the voice isolation tool uses AI to isolate only your voice, a human voice, and just bring down everything else around you. So rather than talking about it, let me show you really quickly what it can do. Okay, so here I am standing in front of probably one of the worst places that you can shoot for audio. And that is right next to a busy loud road. You can hear this is what it sounds like without the voice isolation feature, and this is what it sounds like with the voice isolation feature. As you can see, it's way, way, way better. And again, here it is without the voice isolation feature. And here it is with the voice isolation feature on. And here it is with the voice isolation feature turned on to 50% here it is, to 100% here it is completely off. You can see there's even a helicopter on. Here it is. With it on. Again, as you can see, it makes a huge difference. I would definitely recommend it. You can see with that that the voice isolation tool is amazing at cleaning background noise. But please don't use this as a crutch And stop using a microphone and buy the cheapest microphone. And forget everything you know about recording good audio. This is really meant more for recording good audio, recording professional audio, and just kind of sweetening your audio a little bit more, helping it out, or if you're just in a situation like say a siren or a dog is barking, or there's some hum that came out of nowhere to remove that. But the voice isolation tool is a lifesaver and it can take even your iphone microphone and make it sound much closer to a professional microphone. Okay, so there you go, the voice isolation tool. So now let's jump over to the final lesson. 17. Final Thoughts: Okay, so you watched all 15 tips. Thank you so much for watching. I bet you got a lot out of this and you learned a lot of new little tips and tricks. And I will say definitely check out my other classes, especially the cloud, work flow, the cut page, all that kind of stuff. Also check out my Youtube channel here for kind of additional videos all related to my classes, color, grading and Davinci resolve. Or if you want a one on one lesson with me about Davinci resolve, you can do that now by simply going into the one on one lessons. I love meeting my students. See what you guys have to say, what you think, what questions you have again. Thank you so much for watching and I will see you all later.