Transcripts
1. Introduction: I learned the Winter
resolve the hard way. When I started editing in the Winter Resolve
six years ago, I tried to figure out
everything on my own only to realize that there was a faster
and a better way to edit. I spent countless hours
watching YouTube tutorials. Some were helpful, but most of them were a complete
waste of time. Many of you might be in the same position I was when I started learning
the Winter Resolve. I truly wish I had access to something what you're
about to watch right now. And that's why I've created the Winter Resolve 19
master class to take you from a beginner to an advanced editor
in just a few hours. I've broken everything down in the simplest possible way to make it easy for
you to understand, and you can actually
edit with me because I provided all the rafles whatever I've used
during this class, it's all in the description, so we can literally edit together and learn
together this software. And why you should listen to
me, my name is Adi Singh. I'm a professional
videographer, photographer, and I'm also a YouTuber who just hit 100,000 just last week. And for all my professional use, whether it's a client work, making YouTube videos,
making courses like this, I'm using DawntiRsolve. So if you're ready to begin
your video editing journey, then let's get started.
2. Project Settings in DaVinci Resolve 19: So now it's time to
start editing on the Winter Result
19. So here we go. I'm editing on Mac, but if there are any difference in the settings
between Mac and Windows, I'll let you know
throughout the class. So my the winter
result is just there. So for the sake of this class, I'm using this section, the free version of
the winter result. And then later when I would
tell you the studio features, then I would switch to
the studio version. So if you change
your mind and if you want to switch
to studio later, then you can buy studio as well, because for me as
a professional, I think it's 100% worth it, but you can decide for yourself
by the end of this class. So yeah, let's start
the free version, so I will just click here, and the studio would work
the exact same way. Whatever I'm teaching
in the free version, it's also in the studio as well. So yeah, as soon as we start
the Adventure Resolve 19, this is the first page. So here, what you
should be doing. I also did the
Adventuresolve test. So yeah, all your recent
projects would be there, so you don't have to go in the computer to search for them. So how you start a
new project is you start by going here
to the new project. So let's start. And once I press on the new project
button, it starts. So I would do maybe Ant resolve 19 Test one. So, yeah, I would go create. And once I press Create, then this page pops up. If you're using resolve
for the first time, sometimes the outlet of the pages would be
very different. Sometimes you have open sometimes the Vinchi
opens this page, which is the media page or sometimes this
or sometimes this. So it really depends
on your system. So yeah, if we go here, if you checked my mouse here at the bottom of the screen,
this is the media tab. So if I just press here,
this should be the outlet. It doesn't matter if
you're using Windows or MAC. This is how it looks. So first and foremost thing, what we're going to start is
the most important part of editing in the meter resolve
is some project settings. The inti resolve already
has some presets, but I have tried them. I've edited with those
presets for years. But I think the preset, what I'm going to show you is probably the best and the
easiest to work with. So project settings. And it's also good to know
what project settings are so that when you want to change it in
future, you can change it. So if I go in the right
side here in the corner, there is a settings button, so if I click that, then
the project setting starts. The first thing is
master setting. So here in master setting, you have timeline resolution, which is 1920 by ten ATP. This is the high
definition resolution. And I would recommend to edit in this timeline resolution
because if you edit in, say, four K or eight K, eight K is not available
in the free version, but if you edit in four K, then that might make
your computer slow. So I would recommend to edit in the timeline
resolution, this, and even if your
footage is four K, you can edit in high definition, but export in four k, which
I'm going to teach you later. So if you want to make a
normal horizontal video, you choose this resolution. But if you are making a real
or a short form content, then you can use
vertical resolution. So this horizontal
size becomes vertical. But for the sake of this class, we are just using the
horizontal resolution, so we'll choose that. But there are all different
types of resolutions here. So yeah generally
just choose this one. And I wouldn't change
any of the setting and pixel aspect ratio,
leave it to square. This is the most important
part, timeline frame rate. You have to change it already in the beginning
before you import any clips because as soon as you import even a single clip
in the winter resolve, you cannot change the
timeline resolution. For example, if I import
it in the winter resolve, a clip of 60 frames per second. The Minty resolve would make the timeline frame rate
as 60 frames per second. But in general terms, if you are filming a normal pace video like
what is going on now, you don't want to do
crazy slow motion or so. Then I would recommend to go
with 23 or 976 or 24 or 25. So you also have
to check that what framerate your camera
has shot the video at. Sometimes you can choose 30, but it doesn't look
that cinematic. Like all the films and all the TV shows
and all the series, they are shot in 2023 0.976. And that's the frame rate what I'm filming this video as well. And that's the framerate
what I have filmed, the videos, what I'm going
to show you in the class. So if you are editing with me, then I would recommend
you to choose that. But if you are living
in Pal region, then you might have
different frame rightrk which is the 25
frames per second. So you have to really check what frameworks your camera
has shot the video at. So yeah, let's do 23.976. This you have to do every time. Yeah, so then
later, I would also show you how you can make it as a preset and make it as a default setting. So
I don't change this. I don't change any of these
settings every time I open the inter resolve because
I have a default preset. And then video monitoring,
I would leave it to that. There's the exact same frame
rate as what it is here. But if you chose 25 or 30, you have to change
it to 25 or 30. And I wouldn't change
anything here. In video monitoring. And here, if you see optimized
media and render cache. So one good part about editing
in the Vinci resolve is that even if your
computer Mac PC, whatever is not that strong, you can still edit
really high quality, or you can still edit big footage with converting
them in lower resolution. And once you have to export it, then you can export
in highest quality, which I'm going to tell later. Yeah, even if your footage is really taxing on the system, you can reduce the quality of the footage while
editing so that the playback of the footage is good when you are
editing in the software. So that's when proxy
media resolution comes. So what proxy media does is that I say original footage is in four K and it's super heavy footage and it's super difficult
to edit with, then with one press of a button, DaVinci would make proxy media. And those proxy media would
be a low resolution file. And then Dawnci would enable you to edit in
those proxy media. So it's like even if you
have a complicated footage, you are editing the
low resolution version of that footage while editing. So that's what proxy media is. So proxy media is
a low resolution of your high resolution footage. So there are some settings
that you have to change that what my proxy media would be according
to your system. So if you're using MAC, then you can keep this setting. But if you're using Windows, then you have to choose
different settings. So if DNxHR HQ, if you change it to
that format in Windows, then the proxy media runs
really, really smooth. So you have to also
change here as well, HQ HQ, so you have to change here as well if you're using Windows. But if I'm using Mac, then I would keep the
settings what I had before. But anyways, I wouldn't save it. I would just cancel it, so I
have my original settings. And enable background
cache after 5 seconds. So just leave it to 5 seconds. It's I think too advanced
to explain it now, but it would all make sense
later during our project. And here, after the proxy
media organization, now we go to the
working folders. So proxy media
generation location. So because all your
original footage and the complicated and the difficult to edit footage
is in one folder, you can choose a
different folder where Da Vinci would be
making a proxy media, and that folder I would recommend that location to
have the highest speed. So if you have a really fast SSD or even if your computer
speed is really fast, you should choose
that location as a proxy generation location because that's the footage
what we would be editing on. So for me, it's just there because I barely
use proxy media, but I'll show you
how to use so yeah, for me, the proxy media
location is here. You can just browse and choose any other location
in your computer. I would cancel that and
then cache file location. So while you were editing, DaVinci also makes a
lot of cache files. So that location you
can choose as well in an empty drive and make
sure that you have a lot of space there
because that also can be a problem that DaVinci
would stop making cache files. So yeah, always make sure
that wherever you put all these locations
of these folders, you have enough space. And then gallery still
location is for me, it's here. So yeah, you can choose any location you want
depending on you. Still locations there if you are exporting a lot of
stills from your videos, you know, like for thumbnail or just stills from
any of the clip, that's where the
vinci would save. And then frame interpolation,
I would just leave it here. So yeah, that was
the master settings. If nothing made sense, just copy my settings, and the more you would work on the vinci resolve, the
more it would make sense.
3. Color Management Settings: Color management is the
most important thing. So here, when you
open your Dawnci, the color management would
be completely different. So it would usually
be DaVinci YR GB. But I use DaVinci YrGB color
managed to make sure that whatever colors I'm putting on my footage on most
of the screens, those colors would be same. So this is Dawnci's Advanced
color managed option. So I would just keep
this as a setting, and then color processing mode. They must I think it would
have selected as DRR 709, but I will ask you
to go to custom. Then after the custom, then you do input color space, this, timeline color
space, Rec 709 Gamma 2.4, all these settings same. Here, if you are using Mac, then keep your
settings to Rec 709 A, but if you're using Windows, just do Rec seven
oh nine C. Yeah. So for Windows, re
79 seen for Mac, Rec seven oh nine A, very, very important.
I wouldn't move. I wouldn't do anything here, and then lookup tables or lots. So with this course, I have
also provided my own lots. You can either
upload it from here, but I think it's better
to talk about lots and other filters when we are
talking about color grading, which I'm really
excited to teach. But yeah, don't worry
about this section. I also wouldn't worry
about broadcast safe. I would leave it
the same. Lot of settings to keep in mind.
Next, you go to general. So here I wouldn't
change anything. I would just leave everything
how it is because, yeah, I have been editing for
years in the winter resolve, and I haven't even looked
here at once, so Nothing. I wouldn't change anything,
capture and playback. So here, what is
your video playback? So I would change it to 23.976 if it's not the same
playback frame rate as how we chose
in the beginning. Here I would keep the
exact same settings, and codec for me
is Apple Pros H Q. If you are using Windows, then it would be the setting, whatever the default setting is, just leave it to that
really leave it to that. And then save clips whenever you export the inch
resolve videos. Where are they
going to be saved? So this is the location for me. You can save it
wherever you want. So yeah, it's really up to you. I wouldn't change
anything after that. Then let's go subtitle
and transcription. I would leave it here
because you can also change these settings when you are
actually doing subtitles. Fairlight page, some
settings of Fairlight, I have never changed it,
so don't worry about it. Path path mapping, I
wouldn't change it. So I wouldn't worry about it. So now, once you have
changed all the settings, now it's time to
save these settings. So here, if you see
the three dots here, I would click here,
and if you see here, I have different
different settings. So what I would do
is that I would just go and save current
setting as a default preset. That's what I have been doing. So that's what you should press because I'm not pressing
it because I have made some changes for Windows computer, so
I wouldn't change it. So I would leave
my settings as it, but you should be doing set current setting as
default preset. So every time you open
the winter resolve, you don't even have to worry
about any of the settings. You just go straight to editing. But I think it's really
important to know these things, you know, when you're learning
it for the first time. So I would press that. But yeah, that was the project settings.
4. Preferences Settings: Now, another important
thing of editing in the winter resolve is some more settings that
you have to change. So if you just click here, the Winter Resolve,
you go to preferences, then another window opens. So here, the first
one memory and GPU. So the int resolve
uses the systems GPU. It's not too much
dependent on the RAM. So this is I hear it's asking that how much system memory you're
going to be using. So this is RAM memory. So I have just put
it to the fullest. So I'm using Max
MacBook Pro Max. So yeah, it works
pretty good on mine. And even if you have MO Pro, it's really going to work fine. And if you have Windows
with a good configuration, Dmchis software, which is not
super taxing on the system. When I switched to
the Vinci Resolve, I was editing on Windows, and it was just flawless. I switched from premiere, which was always crashing
on my Windows laptop, I think back in 2018. And then I switched to
DaVinci and I was like, Wow. Like, it's just so fast and
so smooth and never crashes. So yeah, leave these
settings as it is, and here I would just choose
Auto because then DaVinci would automatically choose
the GPU from my MacBook. So that's the setting here. Media storage here would
be all the exported files. Or if you want, you can
add another location. I'm not going to do it.
This, don't worry about it. Nothing. I have never changed nothing, so don't
worry about it. Audio plugins, I don't even
touch it, so don't worry. Control panels. No, don't worry. General. Here, if
you're a Mac user, one thing you should really keep in mind is to turn on this one. Automatically tag reek 79
scene clips as Reven nine A. I didn't do it when I
switched to MAC and every time when I would
export the videos, it would look really nice and colorful in the
winter resolve, but the main export would
be a bit more desaturated. The reason was that I
didn't take on this and automatically check
for updates if you want your the
Vinchi to be updated. So, I have done that. And yeah, those were
the few settings. In general, I haven't
connected it. Like, it's the
thing that you can directly export from the Vnchi and upload it already on YouTube or any other social
media platforms. I have not done it. I think I would prefer just
to manually upload. And then we go to Advance,
nothing in advance. So next, we go to user
on the right hand side. Here, if these things
are thick, good. If these things are
not thick, tick it. Just keep the same
settings as mine. Here's one thing is
really important. Load all times and
opting projects. I wouldn't do I wouldn't take it because that's really taxing on the system, save settings. Live save. So what's
also really good part about DaVinci resolve is that every time when
you are editing, DaVinci would automatically
just save every millisecond. So even if something happens
and your computer crashes, you would literally
have the live saved like few milliseconds
before it crashed, you know, in the software. So next time when you open it, it would really open
where you left it. So that's why live save
is really important. Project backups as well. So it keeps backing
up the project as you go and timeline
backups as well. So it keeps backing up
the timelines as well. And then you can choose here, perform backup every 10 minutes, or you can reduce it down. I have kept it 10 minutes because I think that
I don't really do crazy amount of changes in less than 10 minutes,
so I just put it ten. So yeah, daily I just keep
these settings the same, and then you can choose
the backup location. So my backup location
is quite simple. Here, movies, result
project backup. You can choose your backup wherever you want,
wherever you have space. Let's go to editing now. So start time code, I have put it to 000. I don't change any of this. Sometimes this time
code is 001 in the end, so put it to 000. Color, I don't change
anything here. Fair light, nothing,
playback settings. I don't do nothing. Here, also, I don't change anything. Metadata, nothing. So yeah, these were the few
settings that you should be changing in the
general settings as well. So I wouldn't save
it because I don't know if I change anything,
so I would do cancel. But, yeah, you can also
make another preset. So say preset, save
user preset or this or you can also I already
have a preset here. So once you have a preset, you can load it,
update it, export it. So yeah, now we are done
with some of the settings, the boring part of starting with any video
editing software, but it's also really
important at the same time.
5. DaVinci Resolve 19 Overview: So let's give you a little overview of
the winter resolves. So this is the opening page. Let's start with the media page. So what happens is that
the winter resolve is divided into few
different parts. So we have one, two, three, four we have seven
parts in total, and each part is like a different person expertising
in different subjects. Example, in media pool, where we are in media storage, this part is usually used to
organize all the media so as to import the media from your computer to
the winter reserve. The cut part, which I
don't really use it. It's there to just cut
and trim the footage, but you can do the exact
same thing in the edit part. So this is one of the
most important pages in the Winter resolve where you
would do most of the work. So this is the place
where you would lay the foundation
of entire video. So that's the Edit page. And next is the fusion page. So fusion is mostly to use
graphics and animation. I don't use it too much. I use it for very little
little things because, yeah, I think just to
edit a normal video, you don't really have to
be an expert in fusion, but there are certain things
what you can do in fusion, which I'm going to teach
you in this class. So yeah, that is for the
graphics and animation part, but you can also do a
lot of animations in the Edit page in
a super easy way. I'm going to teach you. Next one is my favorite
tab, the color grading tab. So we're going to be going super in depth in color grading. I'm going to make sure that
you become a really good color grader after
taking this course. And then next to after
the color grading, we have Fairlight page. So in this page, you kind of work on the audio
of your project. So yeah, this is also
really cool place. You can do so much, so many
cool things in Fairlight, and the last one is delivered. So here, you kind of change
all these expo settings. The project. So yeah,
that's really cool that the inch is divided into all these different
different things. So you kind of start
with importing, then you edit, then you do
some graphics animation, then you do color grading, then you do some sound tweaking, and then in the
end, you do Export. So first thing, what we're
going to be starting is with the media page. So yeah, that would be in
the next chapter. Let's go.
6. Media Page Overview: So the first page we're going to be talking about
is the media page. So this is how it looks,
and this is the page where you would be
importing all your videos. So I have also obviously provided you with
the video clips. And these videos would
be in the description. We have videos, graphics,
a lot of, like, audio and everything what I've taught in the
class, it's there. I have for Mac version and I have also for
Windows versions. They would be in a
completely different folder, so don't get confused. I have put the videos here in the inch resolve awhile folder. So of course, when
you would download, you would see a lot of
folders, more folders here, but I still have to
put the videos here, so I would start putting the videos as I'm
teaching the class. But anyways, this is my folder. So what you can do is that I know that
this folder is here, but I would go in the
software to import it. So media page overview, if you go, I'll just
make it full screen. So if you go up here, that shows some drives what
you have in your system. This is the media storage. So what happens is that
this is the playback area. So if you select any clip,
it's going to playback here. And if I go media storage, then it would generate
another window where you can see all the files on the computer, not
on the software. So these are the files
which would be on the computer and if you
drag it in the vinci, then they come here and they are the files which
are in the vinci. And if you press this arrow, then this whole section
becomes like this. And the section where the vinci videos are
they become small. But I just keep it go back here, so I just
keep it like this. And this is there's
a little sign here. So if you press this, the
folder section disappears, which is on your computer if
I press this out on again, the folder section appears. So you can also change the shape of change the
width of this window here. So yeah, and here you
see the playback, here are the audio. So if you play something, you would see the audiometers, metadata information
about the files. Inspector, all these stuff
you don't really need to see in media page. You would want to know about
this in the edit page. So I don't want to, you
know, confuse you too much. So let's just close it. So this is the media page, whatever it is now, this is
what is necessary for us. Let's import some clips. So my clips are in
current project. We have the winter is all 19, the winter is all awhil. So this would be your folder. So the winter is all awhils
and the first thing what I'm going to import is Sony log. You just click on this, and then you would have
a lot of videos, yeah. What you can do,
you can just import all these videos, drag it, and add clips from media
storage to get started, drag them all, put it here. Now these clips are in DaVinci. That's a
good way to do it. And then what you can
do is select these, all the clips, and then
you can make a new bin. So you can do Sony log, what was the folder here. You can see here
Sony flog folder. And then what you
can do is select everything and then you can
drag them to Sony flock. That's three, four steps. Yeah. So what I'm going to do is I'm going to do
everything in one click. So let's just delete it. So if I just click
that and press Backspace or the delete
button in Windows, then you just delete the folder. I want to not waste my time and copy
everything in one go. So earlier, I dragged
everything in the media story in this area. So all the
files were there. But now, what I'm going to do, I'm going to drag everything
here under the master. So if I drag everything here, Sony block folder, the
entire folder here, so under the master,
it already has a Sony lock with these clips. Yeah. What you can
also do is that if I want to drag all
of these files, I'll just do Command
Z or Control Z. I would select everything from the computer and bring
it under master. So if I bring it to the master, it has the exact same structure, folders as how it
is in my computer. So when you are
editing, you would have a lot of folders here as well. So you can choose everything. You can just drag and drop to master. So that's super easy. And I see that this voiceover you're going to do a
voice over as well. So I see that this
voiceover is outside. So what I'm going to
do, I want to put it in maybe let's make
another folder, extra so that I can put
all the extra stuff here. So I would go new Bin, and I would make extra. Yeah. So bins these are bins. So I would just drag the
voice over to extra, and now we are more organized. So this is the only
job of the media bin. And if you want to
know, watch anything. So what you can also
do that if you're a bit confused of what files are these and if
you want to just watch it directly
from the computer, and now let's start the most beautiful hike in Switzerland. You can watch it like that. And then if you know that, Okay, that's the
file I want to drag, you can drag it here or you
can also just open Sony log here and play it play from the files which
are imported at Navinci. And now let's start the most beautiful hike in Switzerland. Yeah. That is how you
can import files. And if I go on the right
hand side of the media bin, then you have, you
know, the toggle bar, you can zoom in zoom
out in the side. It's really handy when
you see the video, so then you can
increase the thumbnail, so you know which video is what. If they're really small, it's
a bit difficult to stell. Or you can also change
the clips structure. So you can also get
more information. So if some clips if they had a specific name
or specific time, you can already see it here. So this just gives
more information. You can also change it to list, or you can a, I just leave
it to the thumbnail view. I don't really use anything else than just importing
files in media. So yeah, that was
media tab for you. There are still a lot of things
what you can do in media, but all those things you
can also do in Edit tab.
7. Edit Page Introduction: So this is the media
page overview. Here, I would explain from this corner what's
going on here. And then I would also not explain a lot of things
already in the beginning, and they would all
make sense when I'm actually working on those
corners of the media pool. So yeah, don't freak
out. So here it goes. So here you can see
the media pool. You know, if I press
it, it disappears. So everything what you
see on the top bar, if you press them,
they disappear. If you press it on,
you see the why it's lit up, then
they appear again. So let's press on to Media Pool, and these are the
exact same videos. These are the exact same clips
that we uploaded before. And yeah, if you press
this arrow here, then the whole media
pool becomes bigger. It's really handy when
you have a lot of clips, you know, so that you can
just scroll through it. But for our project, we don't really have many clips, so let's just make it short. And again, you can just erase or resume the bin
list from here. Then FX Dawnci has a lot
of in built effects. We're going to be
using a lot of them. So effects are here,
then we have index. So this is I don't
really use it. You can just rack down the clips and get more information
about the clips. And then sound library. So I don't really use it. You have to upload the
sounds in the Vint resolve, which is not really needed now. So the most important
thing in this corner is the media pool and
the effect page. So let's make it small. Let's go back to the media pool. And of course, you can change
the size of the folders, you can change the view. You can make it as a list. If I go here, you can change
the dimensions of the clips. I just leave it in this view. So here, this is the playback. So if I put it here, then you see the playback, what is in the clips. It's still not the
playback on the timeline. It is just here. If
you see that, okay, this is the part I
want from the clip, you just drag it
to the timeline, but that we're
going to go later. Is the playback window, and as soon as you click here, you have the name of the
clip what is playing. So there are other
different clips which we have already played, so you can just choose
two different clips. You can choose the music, but let's just keep it on this clip. And then here you
would have fit. You can just zoom in, zoom out. If I go 200, it's
super zoomed in. So let's go fit. And here
is the project name, the project name what we gave. And if you go here, then it says high HQ. So this is the place where you can choose different
proxy media, which we're going to
talk about later. So, yeah, that's how
you choose Proxy media. And here I just leave to
show mark or overlays. I don't touch anything here. I barely choose
like these places, so don't worry about it.
And then quick export. So like here, if
you go down here, you can export with proper video really good settings here. But if you not quickly export, you can just press Quick Export, and it would export
in the predefined then resolve settings.
They are pretty good. But yeah, if you just want to export from
here, you can still do it, which I'm going
to teach as well, but let's export it properly.
So don't worry about that. And then mixer is where here, the audio would come because now there's no audio
in the timeline, so that's where
mixer is handy for. Metadata gives more
information about the clips. Inspector tab is also
really important, which we're going to
talk about that later. And here is just a
normal playhead. So it's play, pause, skip to the next clip, and if you loop the
entire clip, it's here. These are just a few things what you need to
be keeping in mind while editing in the Edit page because now I'm just
giving an overview, so that you don't
get overwhelmed. And yeah, later on, I would give you a detailed information about
all the places. And here is the main timeline. So whatever is happening
here, you do Quick Export, whatever you did here, that would be exported
as a final video. So we're going to
be doing a lot. Like this is literally the
building block of any video. So yeah, that was the
overview for the Edit page. And now we're going
to be talking about in detail about this
media pool section. And why is it important?
8. Power Bins and Smart Bins: So let's talk a little bit
about Media Pool because Media Pooh is not
just, you know, all the files what
you have imported in the Vingi you can also
pre save some files, which you can use
it again and again in any video project with
the help of power bends. I'll show you this is
really cool feature, which I learned I
think last year, and it just saves
me so much time. See if I go here,
you see three dots. And if I go show power
bins and show smart bins, then we have two new bins here. So this is called the bin. We have two new bins
here and there are some folders under these bins. So what I did was
this is power Bins, and then there's a
subfolder called master. And what master does is that. See, we didn't import
any of these files. We just imported the files
in the master here, right? So what can you import
in this master is few things or few elements which you're going to be
using in every video. I have some video effects,
some sound effects. So, you know, mouse
click sound effect. So I use these like some
arrow or some location icon, you know, a few moments later, Imog and camera shutter sound. So I use these sounds
when I'm editing, you know, whether it's my
client video or YouTube videos. I use these elements
a lot of time. So every time I don't have to search in my computer
and import it, I already imported
those sound effects and video clips already
in the power bin. So every time
whatever I'm editing, I can just put it
in the timeline. So I don't have to search.
That saves a lot of time. And then if you go to Smart Ben, so Smart Ben here, you don't do anything here,
the software does something. If you just want to search in all the video clips because now here we have video
clips in Sony log, we have video clips in drone. So if I just press video clips, that's going to show
me all the video clips from the drone folder and
also from Sony folder. So imagine if you
have 30 folders with 12 of them
have video clips, you can find any
video from here. So if you just press video
clips and then you can search with the file
name. In video clips. And if I just do audio only, then you have all the songs
with the voice over as well. So here DaVinci is working really smartly to separate the video
and the audio. And if there was any dialogue or if there is any, you know, other music or effect
that I can put as well. And if there is uncategorized. So there are some things or uncategorized because
I didn't categorize them. So that's why Daventi has
put them in these folders. To be honest, I don't
really use the smart bins, so I would discontinue. I would just take
it out from here. But if you want to
just play around it, just play with the smart bins. But I usually use the power bin because I think
it's really cool. And you know what
also is really cool. If you want to drag and
drop something here, in the Edit page, you can
directly do that, as well. For example, yeah, let's
just open Zurich folder, and let's just open stock. So these are some stock videos. I would open the Vinchi. I would just minimize it. And here, if I just want to import something directly from
my computer to the Vinchi, I don't have to go
to the Media Poo. I can just go here and I
can click Under Master. I'm not going to
click here because if I click here, all
the footage comes. So I'll do Command Z. I would go drag from here and
drop under the master. So then it comes as a folder. So you see, you don't have to do different extra steps
going in the media pool, but sometimes if I have
a really big project, I kind of organize them
in the media pool, and then I come
to the Edit page. But we don't really
need these videos, so I would just erase them. But yeah, you can also
import videos directly. I do that all the time when I am in the middle of the edit, and if I have to import
something quickly, I don't go to the media pool, I can just go track
directly here under master. Yeah, those were a few important
things in the media bin. That was a little
bit of overview of the Edit page and also
about the media bin. And now in the next section, we're going to be talking about working on the
timeline. So let's go.
9. Timeline Introduction: Now let's talk
about the timeline, which is one of the most important parts
in the edit page. So how do you use timeline and how do you import
things on the timeline? So say, for example,
if you go to Sony log, and let's just drag this clip. So how do you import
things on timeline? You just press it, drag
it on the timeline. So yeah, here is the clip. And as I import the
clip on the timeline, the playback goes here, and you see here
that the playback is showing the video from timeline. If you just scroll, you can see that you can change
the play duration. If I just go here, it goes here. And you can see that
there are two blocks. The first, the blue
block is for the video, and the green block, which has some waveforms
is for the audio. And as I go to the beginning
and if I press Space Bar, which is play, or you
can also play from here. And now let's start the most beautiful hike in Switzerland. Yeah. So yeah, that's
just the playback, and then the video stops. But if I would
have started here, let's say if I would
have so you can just drag and drop the
clips like that. There's some black
screen. And now let's start the most beautiful
hike in Switzerland. And then the video starts. If I would have left
this black screen here and if I would have
just do Quick Export, then in the final export, there would be a black
screen in the beginning. And then there would be a video. So whatever is on the timeline, that's how the final video
would be once you export it. So yeah, timeline that's why timeline is
really important. So let's just leave
the clip here. And now let's show you a little bit about what
the timeline is about. Like, what are the things
around the timeline? So if I go here on the left
side, timeline view option. So here you can make some
change in the settings, and that would help you to view the timeline
more clearly. So if I go here,
display stack timeline. So if I do that, and if you
have multiple timelines, then you can just
see timelines here. For example, oh, I have to
also show you one more thing. So as I just drag the clip
here, the timeline started. We never made the
timeline by ourselves. So I grab the clip from this
folder, Sony Vlog, yeah. So that's what DaVinci
always also does is that it would make the timeline
already in this folder. But in my opinion, it should be in the master. So what I would do is that
I would go to Sony Vlog. I would just drag this
timeline out here. So, you see, now the
timeline is here, but I want all the
timelines in a folder. So what I'm going to do No bin. So I would just do timelines, and then I would just
drag this timeline here, and then we can have
multiple timelines. If I want to rename it, let's do Test one, you
can do everything. If you do Test one, then
the name here also changes, and then you have timeline here. What we can also do is
that if I just right click and if I do
duplicate timeline, then I have the
timeline test copy. So here, I would tell you what is the importance of
duplicating timeline later. But yeah, you can just
make multiple timelines, and they all would
have the same folders, how you have organized.
Let's go to test one. And now that if we have two timelines here in
this entire project, you have two timelines here. And that is really handy later. I will tell you why
is it really handy? So you have different timelines. But for now, we
don't really need it the stack timeline
option because it's also taking a little
bit of space here, and space is really important because you want to
watch the video here, you want to put all the things here and still see
everything clearly. So let's just disable it. And then display subtitle
tracks you should turn it on. Display audio waveform. So you see these waveforms, they are called audio
waveforms, obviously. So if you just unclick it, then you have this green block. I think it's really
important because a lot of cuts we do is according
to the waveform. I'll show you later. And
then thumbnail view. So thumbnail view is at the view of the
video on the timeline. That's also really cool
part about DaVinci. So now I don't have
any thumbnail view, but if I go thumbnail, and if I make this track
a little bit bigger, you see, you can just drag and drop the size of the
track, you go up. So I drag and drop if I drag
it a little bit bigger, then you can actually see what footage like the
thumbnail of this video clip. So if you have multiple clips, you can already know that in that little blue box,
what clip is there. Because of course,
you cannot remember the file name for each clip. That's why it's
really important to have the thumbnail view. And if you do none, then
it's just a big blue block. So yeah, I do thumbnail. And then view background, I would do to check booard. I'll explain you
later what it means. And then fix playhead. I don't touch it. Display
nonreflective waveforms. So reflective nonreflective
is like this. So it's just that. And then
you see the waveforms. But I want to I don't know, I just like it, the reflective. So it's like there's
forms altogether. So I'm used to it, so I'll just cancel it. And then yeah, display
a waveform border. If you want to, you know, see
the border of the waveform, you can display that as well. I think it looks a bit
ugly, so I wouldn't do it. And here, you can change the
height of the video track, what I just did with One scroll. So yeah, you can
change the height of the This is really handy
when you really want to see, you know, the little
little details in the audio. So then
it's really handy. So I would just keep it here. And there are some shortcuts
which I would explain you later with which you can just do these things
without even going here. So don't worry about that. And then here we have Video one. So there are different tracks. The first track is Video one. You can also rename it,
you know, just keep it. If I do say main then it main and then audio track, you
can also rename it. So these are the main video, the main video and
then main audio. If I go here,
disable video track, then the video
track is disabled. And that is really handy. Later, I'll tell you
later, why is it handy. Same with the audio track, if you want to lock the track. So if I lock it, then
I cannot move it. So even if I press it,
I cannot move that. And that's also really
handy if you have edited something and if you're
sure that you're not going to do any changes
in the first track, then you can just
lock it so that you're not sort of moving
things by mistake. But we're not going to do that.
You can do the same thing for audio and you
can also do solo. So what happens with solo
is that if there are multiple music tracks
and if you just want to listen here, then
you can press solo. Or if you want to
mute the music track, you can press mute. So everything is just
really straightforward. And then if we go here, there are a few tools
that would be handy, which I'm going to talk later. But for now, the
important tool to see here is the zoom in
and Zoom out tool. So if you just see
this minus button, if I go, you know, if I just press it, you
can see that the tracks, what we put the video
and audio track, they become a bit smaller. You can also make them bigger by zooming in or you can
also just drag this. Yeah. So that's how you can increase or reduce the
size of the track. And there are three
view options. So you can do custom Zoom. This is the custom Zoom, which is now how
it is zoomed in. But if you go detail Zoom, so it kind of zooms
a little bit more, and here it gives
more detail view. But custom Zoom is where if you have a really
big timeline, and if all the things
are stacked until here, the zoom level would be here. But anyway, I never use I
have a lot of shortcuts, which I can show you later. And then here we have marker. So sometimes what I want to
do is that if you want to put a marker here that I
have to make changes or, you know, if I want to do
something specific later, I can just put a marker here, you know, and you can
just drag the marker. And you can double click
and rename the marker. So I just do rename. So you can rename the marker, change the color of the marker, you know, and what you can also do is that you can put
a marker on the clip. So if something is
important is happening here and if I have to
put a transition or if I have to put an effect, but I want to do it now,
I want to do it later, then I can put the
marker on the clip. So I select the clip. It's red now, and then
I put the marker, and now the marker
is on the clip. You don't see it clearly because they're
both blue colors. I'll make it white and now you see you see there's marker, and that's really handy
because you can do marker, you can put notes, especially if someone else is
editing your videos, you can put the marker
notes or also for yourself. So everywhere there is marker, you can just glance through it and you can see what
is going on there. To delete it, I would just press Delete button
or backspace. Yeah. After the marker, you can also flag some clips. So if you want to flag it, I can just select them
and just flag it. You can also change the color
that later if you're not sure that you have
to keep those clips in the software in
the final edit, you can just flag it now and
then rewatch them later and make up your mind that
do you really want to put them in the final edit? And once you flag it here, then it's also flagged
in the media pin. And then this is position log. So if I want to just
position lock you know, these tracks, together, that
position locks the track. And I would just disable it. So if I press it, you
see the red button here, which is not really needed now. This is a Link button. So if you go Link
selected section, this is also really important. I think this would be
already on in your software. So what happens is
that if you see here in the clip, if I zoom in, and if I change the size, you can also change the size of the track by pressing Shift
and scrolling the mouse. I go like that, and then I go in audio and I go like that. So here you see this
little link button. So which means that the video from this track is linked with
the audio from this track. And if I disable
the link and if I click on the video,
only video is selected. But if I enable the link, and if I click on the
video and the audio clip, which is linked to
this video file, they both get selected. And that's really
handy if you want to drag both video
and audio together. Because if I selected, I have to drag them one by one. And you see that because
they are linked with each other, if I go like that, then you can see that
the video is playing 11 milliseconds before
the audio plays, and you can see
there is red mark. So sometimes if you're sort
of moving things around, and if the video and the audio, they just move by mistake, you can see this red mark, and you can drag them down as long as the red
mark disappears. So you see now the audio
plays a bit later, so you can just drag
them like that. So yeah, that was a little bit of timeline in depth for you. In the next section,
we're going to actually start to
edit the clips.
10. Cut and Trim Clips: So here in this section, we're going to move forward and do some cutting and
trimming in the clips, and then later
we're going to add music transitions and
all that sort of stuff. So let's watch this audio, and I also want to
do something else. I'll just make it full screen. If you go here to mixer, I will just click that. So this bar comes here, and this bar is the audio bar. So let's just watch
this clip once. And now let's start the most beautiful hike in Switzerland. Yeah. So you see that
from the waveforms, if I just increase the size, shift, and scroll
up with a mouse. In the waveform, you can see. That's why waveforms are really important in the audio track. You can see that the main dialog is delivered from here to here, which also means that I only need that section
of this entire clip, so I might have to
delete the other part. How do you delete it? You see this tool here called blade. So I have chosen a shortcut C, but I think usually it's
X or some other shortcut. So as soon as you just
bring your mouse here, then you see what
is the shortcut, and then you can press
the same button. I would just click
here for the sake of distritola and then
the blade is selected. Earlier, you can see that the arrow was selected
here, which was red. Whatever is selected,
that would be red and the shortcut to get the
arrow back is V for me, but it can be different for you. But we're going to
talk about shortcuts later and it's really
interesting topic. So let's go cut this clip, so we're going to
choose the blade tool, nothing changes here with
the shape of the cursor, but as soon as I drag
the cursor on the clip, then the arrow
transforms into a blade. So if I want to just cut it,
I can just move the ring. So if I want to cut it, I
can just one click here, and now you can see the
separation between the part where my character is not talking and the part where
the character is talking. I can do the same thing here because as from the waveform, I can see that there's
no dialogue delivered, so that's unusable.
And now what do we do? We go back to the arrow, which is here, you select this, and why is it selecting
the audio and the video together is because our
link channel is selected. So now what I would do is that as soon as
this is selected, I would press backspace. The general setting
is backspace. But if I press backspace
in my computer, nothing happens
because I have chosen the delete button
from backspace to X, but your computer
would be backspace. So I would press backspace
in my computer X, and then I would go here, select this and press delete as well. And now you can see that
there's a little gap. So I would just drag the mouse. And bring it here. But there's another way to cut
or trim the clips. I'll just do Control C, turn off the blade. What you can do here is that you see, let's show you here. So if I go to the
end of the clip, you can see the cursor changing
into some other shape. I don't know how to
describe the shape. But if I just bring
it like this, then the clip is deleted. And same here, if
I go to the end, here, the clip is deleted, and now I would just drag it to the front of the
tiline and make sure that there's no black areas
now let's watch it again. Now, let's start the most
beautiful hike in Switzerland. So that was one way
to cut and trim the clips and put the desired
part in the timeline. There's another way. So
let's just delete it. So I would just select this
and press Delete button, which is Backspace,
in your case, I would go to the media Bin. So here, the media bin is
playing from the video itself. It's not playing from the
timeline. You can see here. It's the name of the video
clip. So let's watch it again. And now let's start the most beautiful hike in Switzerland. It's a little bit difficult here because now the audio
track is not there, but in some clips,
if it has nothing to do with the audio, you
can use this method. So let's just assume that this clip didn't have any audio. And now. So from here, if I want the clip to be on my
timeline from here, I would press I button. Insert. So you just
focus here what happens. If I press I, then there's
a little dot here, and this part looks like it's unselected and this part
looks like it's selected. So I'm pressing I. Fizzer. As soon as she stops
talking, I would press O. So yeah, there's INO, and you can already see that only this part of this
entire clip is selected. Now what I can do,
you can see here there's a little video icon and there's a little
waveform icon. So if I just want the
visuals from this clip, I can drag it on my timeline. So there might be a lot
of times that you just want the visuals from the video. But we want the audio as well. So I would go again and
drag the audio as well. But now you might think that, yeah, that's a bit
tedious process. You have to drag the video and audio. There's another way. I would double click on this
clip. The clip is here. If I want to drag
the entire clip, I would just drag
the entire clip from the media bind
to the timeline, and that would
only drag the pot, where we put the input
and the output point. So that's really cool.
So then we barely have to cut or do
anything in the software. Later on, I'm going to
show you how to use these techniques with shortcuts, but let's just stick
to the basics first. So that was the
first clip, yeah. So I want and you can see
that I'm also zooming in, so I just zoom and zoom out. So I want this clip
to end here so I can also just drag
this like here. Yeah. And now I want another clip. So let's go on the clip next
to it. And if I go play. If you look at our bags, you might be thinking
that we are going for an entire week of hiking. So as soon as I do
entire week of hiking, if I want to end
the video there, then I would just press O. So if I just laugh, I
would just press O. And here I didn't need to put
I because if you press O, then the system assumes
that everything before that was should be usable. So then I can just drag
this clip here and you can see from the waveform
that where I laugh, I want to cut the
video before that. If you look at our bags, you might be thinking
that we are going for an entire week of hiking. So here it looks like
I'm doing a funny laugh. So here I can just Cloe, I can just drag it like
that. A week of hiking. So yeah, that's how you can cut and trim any clips
in the timeline. And how this timeline
works is that? If I drag, say,
just a video file. So if I go, maybe just scroll down, maybe just this from this clip, if I just want the visuals, because I don't think
there was any dial here. So if I just want the visual, of course, I'm going to
drag the video clip. Video icon. So I would go here. And now, if I just put it
on top of the first clip, so here another
video track starts. So earlier, there
was no video track. And as soon as I
dragged the clip, another video track started. And how these timelines work is that whatever track
is on the top, that would be visible
in the final video. So I can show you. Let's
start from the beginning. And now let's start the most beautiful hike in Switzerland. If you look at our bags,
you might be thinking. So if I just need
this clip until here, I can, you know,
bring it like that. So whatever is on the top, if I have another clip, you know, I just drag it here. That clip, I can just cut it using shortcut. I'm
going to show you later. So that clip is visible. And you see, just by putting three clips
on top of each other, now I cannot really see what is going to come if
I put another clip, say here, then I
cannot really see. So what I can do is that
I can scroll it down, just hold it in the
middle and scroll down. So now we have all the
video tracks available. You see, we went to Video four but the audio tracks
are not available. So that's why I
would press Shift, reduce the size of
the audio, shift, reduce the size of the video until I can see the
little thumbnails. But if you have
more video tracks, then you can increase the size of this whole timeline panel. But then at the same
time, the main playback, that wouldn't be visible. So there's a little trade off, and that's why I
recommend people to at least edit on a 15
or 16 inch laptop or, you know, on a 27 inch
monitor of your PC or Mac. So yeah, you can change
the shape of everything. So here you can change the
shape of the timeline. You can increase the
size of this window. So yeah, everything is customizable in the
winter resolve. I would just keep it here because just for the
sake of this project, I also want the things to
look a little bit bigger. So now we are not putting
any audio tracks yet, yeah, I would just
keep the same shape. And I would delete everything, so just select these video files and press delete backspace.
I would press X. So yeah, that's how it works. So say, for example, this is the clip of, you
know, just us hiking. I would put all these clips, you know, so don't
worry about it. So if I just want the video to start from here,
so I would press I, the input point and
the video to end here, I would press because here I'm returning
back. I would press O. And now if I want to drag
the clip on the timeline, I can by mistake, drag it here. You see? So I can mistake drag the clip on the video
clips which were usable. So there's another way to drag the video clips. So just focus. I am dragging this
to the viewer here, and if I go overwrite,
then it overwrites. Yeah? If I replace, then it replaces the clip. But if I go here, oh, it's not really working
now because now the clip is so you see if
something is not working, so now I thought that, why is my timeline not showing? Because now the video
playhead is here, yeah. We need the timeline playhead. So I will just click on
the timeline and you see the timeline name
comes test copy one. So now let's just
drag this clip here. And now here what you can
do is if you go insert, it just gets insert
in between the clip. So the previous clip is there. And this new clip
came in between the other clips which
were already there. So what do we need to
do now is that we just drag this video clip
and put it pen to end. And what this would
do is that it would respectfully
just go in the end of wherever this whole sequence
was piking so you see? That's also a way
you can drag it. So if you want to drag more, you just drag it to here, append to the end
and everything, things starts to
come in the end. So there's also a lot of
people what also do is that they would first select in outpoint
of all the clips. And then later, they would
just drag directly here, and then things come
on the timeline. So there are really
multiple ways to edit and drag things
on the timeline. So, yeah, that's like
you really have to find your own way to
do all these things. So now we learned
how to drag and drop things on the timeline, you know, how to cut and trim the video clips and
the audio clips. In the next section,
I'm going to teach you how to make
things more easier, how to use shortcut. So let's
11. Editing With Shortcuts: I have opened the same
clip what we had before, and now we can edit with
shortcuts because it's going to save your life,
save so much time. You see this clip how it was. If I just select this and
if I just press one button, it already deletes
everything in front of it. If I go here, if I just
select one button, it already deletes
everything before it. How do I do it? Really
big, big secret. Go here on the left
side, top hand corner, Dave into resolve, go to
keyboard customization. So what DaVinci does is that it already has its own presets. They are like a mixture of two, three buttons every time, and one button is on
the left hand side, one button is completely
right hand side, so it doesn't make sense. So I have made my own preset, and that is, of course,
available with the scores. So I have put the preset link in the description and
you can load it. You can reload it, the preset. How do you load the same
preset in your computer? It's really important
because from now on, I'm going to be
talking everything in that language of the
preset, what I have said. So I have already
my preset here, Dawnis all on the score
Adi you can do it too. How do you do it? Go,
click the three dots here. And then if you go Import
preset, click here. And my preset would be
available in the resource file. So it would be a
dot TXT text file, so you have to open it. And once you open it, press, I'm not going to do it because I've already done it. Once you press Open, then that preset is loaded
in your computer. And just to double check
if it's loaded or not, if you click on A, it
should say Zoom out. If you click on S, it
should say Zoom in. And A and SA zoom out and
zoom in for the timeline. For example, if I keep pressing
A, it kind of zooms out. If I press S, it
kind of zooms in. Yeah. And not the media poll. If I go keyboard
customization and how I trimmed the left hand side from my clip was by pressing Q. So if I press Q, that is trimming at the
beginning of the clip. So trim start and it would delete everything
on the left side. If I press W, it would delete everything on the right side, which
is the trim end. So let's make this clip bigger. If I go here, if I just keep the timeline scroller
here and if I press Q, it's going to delete
everything on the left side. If I press W, it's going to delete
everything towards the end. Same with any clip if
I just drag and drop, I want clips to be
deleted from here, go Q. On the right side delete, go W. Save so much time, right? Now I'll show you
another coolest thing. So what happened with this clip was that I had to delete it. If I deleted it, it
still needs to go in the beginning because there's
a little black window here. So I want it to delete and
go this way, move this way. Yeah, pressing Control, how you can do it.
Another method. If you go here, if you
just keep the mouse here at this little
arrow button, it's going to show you trim edit mode and the shortcut
is B in our case. I'm not sure what is
in Da Vinci's case, so you can figure it out by scrolling if you haven't
updated my preset, but really do update the preset. I would
really recommend it. So trim edit mode if
I go just press B. Now what happens is that if I
just bring the cursor here, even if I move on the
timeline, the cursor is gone. Remember, this arrow was
there, that arrow is gone. Now we have this weird brackets. And now if I press Q, it goes already to the front. And here, if we
had another clip, for example, if we just had the arrow and
if we would press W, there would be a
little gap, right. And now if we are in the trim edit mode,
I would just do B. So you see, as
soon as I press B, now, the cursor changes
to the trim edit mode. And I have my timeline
scroller here. And if I just press W now,
it's deleting the part, but it's also bringing the
following clip close to it. So then I don't have to drag the other clip and
eliminate the black space. So that's so handy. Saves so much time. So yeah, these things you should
be doing as well. So I showed you the Q and W how to trim at the
beginning, trim at the end. And the Zoom in
zoom out was ANS. Yeah. Then remember
I was telling you that how you can drag this clip here and
then append at the end. I'll show you another easy way. Say, let's just go
on this clip here. There's just a clip
with just no dialogue. So say in this clip, I want
a section from here to here. So we had already a
shortcut for in point, so I would just press I. So I point has already started. You can still move the in
point if you haven't put at the right place by just
dragging the dot, you know, with the mouse, I
would leave it here, and I would go until this
point and maybe press O. So that's the outpoint, right? So earlier I told you to drag
here and then blah, blah. Now what you can do by this thing selected by
this clip selected, it's selected, you can
see the red botter. By this clip selected, press. So if I press, it's doing the exact same thing as
the apend at the end. So you see it saves
so much time. So with every clip, I can just do in out, and then you, it
goes to the end. Every clip, I can do in out
and you, it goes to the end. So even it doesn't matter
where my cursor is if I press, it would just go to the end. So those are the few things
what I use as a shortcut, and I have many
shortcuts as well, which I'm going to
discuss in the future. But I would really
recommend you to input my shortcut presets
because yeah, they're just really helpful.
12. Proxy Media: So as we are editing
all of this, I can also assume
that some of you might not have that
strong system, that strong computer or laptop. So how you can make
the materials all run faster and smoother. Let's go. So if you just go
all the way up here, there is an option
called playback. If I go on Playback, just tick use Optimized
media if available, and then you go to
Proxy handling. Yeah. If I go to Proxy
handling, I have three options. Disable all proxies, which means that Dawnci
wouldn't use any proxies. I would go prefer camera
originals, which I have now. If my computer is working fine, Dawnci would smartly
prefer camera originals. But if my computer is really
lagging and really slow, then I can just do
preferred proxies. Then Dawnci already starts making proxies in
the background. And yeah, I would be editing
here with the proxy files. But when I export it, then I'm exporting
the original files. So then the files are exported
in really high quality. So that was one way and it can also go here and you can change, the three options
are here as well. So I had the HQ which was
camera originals, prefer proxy. Try this method and see if this is going to
make things better. If not, then we have
one more solution. Go to playback and then go to timeline
playback resolution. So timeline resolution we already chose as
high definition, you can make it to half. So what happens is, I'm going to show you here, So if I just zoom in, maybe here on the yeah. Oh, wait, maybe on the face. Yeah. If I go playback and
if the timeline is full, the video looks a
little bit sharp. It's still looking blurry
because I've zoomed in so much, but this is the
original resolution. But if I go playback half, the video looks a bit low res, you know, and if I go quarter, then the video looks really bad. And if I just press Z or Z, then the video resumes
to the normal screen. So you see, that's
also another shortcut. But if I play now Switzerland
if you look at our bags, you might of course, the video is not looking good, but if your system is lagging, I would prefer to
choose this option or try between the
quarterly and half. Whatever works, just use that. And that would drastically change the speed
of your playback. But when you're exporting it, then you would be exporting
the original files. So don't worry that your
export would be like that. That's not the case, that your playback on the timeline,
that would be like that. So I would go back to the normal settings
because that's what working for me now. I'm not really doing any crazy
transitions and effects, but in future, in the coming sections, we
would be doing that. So this was just a little
heads up. So I would go here. Prefer camera originals
and playback, I would just go Timeline
Resolution full. And after the project is done, you can do Delete Render case, you can do select or all unused. It doesn't matter because once your project is
finished, it's all done. Yeah. And render case, you can also do SMAT so that DaVinci would give you
the best optimized speed. So let's go to Timeline
Resolution four. So yeah, that was a
quick break just to show you how we can
run DaVinci faster. And now let's move
to the next one.
13. Inspector Tab In-Depth Tutorial: So in this section,
we're going to be moving away from timeline. We would come back
to the timeline, but I want to also show you
something really important. So if I press just
select this clip, of course, it's selecting both. But if I just want to
select the audio video, I can just press unpress
the link and go here. So this clip, I'm just pressing S to zoom
in in the timeline. My this clip is selected. Now if you see on
the right side here, there's a whole another world. So I am in the inspector tab. So you can go to metadata, what I told before
that metadata gives the information about
the video type. So my video was shot in s265. It was 422, ten bit. And you can already see
that the frame rate was 23.976 frames per second. That's the same frame rate as
how we have chosen project, the class project frame rate. And the video was filmed in four k. You can
see from here, but our timeline is
in high definition. But when you export it, you can export in four k. So
that's not a problem. That was the information
about the clip. So sometimes if you're not sure, select the clip and
go to Metadata. You can also just select
here and go to metadata. You don't have to drag
them into the timeline. So whatever you select
is going to show you the information.
So let's go here. And if I scroll down, then
you see a little bit of information about the clip
which is not really needed. So now after the metadata, the mixer is here, I told
you on the left corner. You can also leave it there
or not leave it there, but mixer would
come handy later. Let's click off Metadata, or let's just go to Inspector. So here we have the same arrow. So if I want the inspector
to be in the full length, that's there, but I prefer this overview because I also
want to see the timeline. So inspector, there are some really obvious features
here what you can change. Zoom if you just go
you see the Zoom, always make sure the
clip is selected. You go zoom in and out, so X, you can zoom in. Zoom out. Yeah. And you see,
if I zoom out, I have this gray boer. I have this gray scale. We changed it in
the setting before. So if I go here to
timeline setting, I chose the viewer background
to the checkerboard. This is new feature in 19. Earlier, it used to be black, and sometimes if my
videos were, you know, like this, I wouldn't really pay attention because here it's
gray, here, it's black. So in some clips,
couldn't see it. And then I would export it, and then I would see later that, oh, no, the whole clip
had a black botter. So to avoid that, we have
the viewer background. You can do it to checkerboard. So then you can clearly
see that, okay, you need to make the clip
fit to the timeline. And how am I zooming out in this section is by just
scrolling on the mouse. Yeah. And if I just
zoom in all the way, and if I press
Command or Control, and then you scroll, then it
just scrolls up and down. Yeah. And if I press Command and Shift or
Control and Shift and, of course, scroll the mouse, then it's going to go
left and right like that. So let's go back
to original size. So here, I'm not increasing
the size of the clip. You see, the size of
the clip is 0.98. I'm just increasing the
view. Here, it's the same. I'm just increasing my view, not the Zoom feature
of the clip. And I zoomed out to here. You know, if I have
to restore it, I can double click on Zoom. Or if I have to restore all the settings back to the original settings
in transform page, then I go click this reset icon. So that's how you can
select Zoom in Zoom out. So say, for example, I need to zoom in a little
bit in this video. But then I also want to
see a little bit of sky. So then I go position Y, I can change the
position of the Y, I can change the
position of the X. So this is quite obvious. If you want to rotate it, sometimes the clips
are not aligned good, so you can also rotate it. But the problem is that you
can only if I just zoom out you can only you cannot rotate it now because now
you have this gray scale, and in the output, you would have this black
literal thing here. You can only rotate it when the clip is a
little bit zoomed in. And then anchor point is
the center of the clip. So if I zoom in now, it's zooming in towards the
wait. I'll just restore it. If I zoom in now,
if it's zooming in towards the center
of the clip, yeah. But if I change the
anchor point to this way, and now if I zoom in, then it's going to zoom into that side because I've changed the center
point of the clip. But I barely use anchor point. So yeah, don't worry about it. Now we have pitch and Yo.
This is really interesting. So if you want the clips
to be aligned like this or like this,
you can do it. It looks funny now,
but in some scenario, which I'm going to
show you later, pitch and Ya is
really, really handy. And Ya would be you
can either drag the value from here or drag here in between and
do it like that. And the flip is, of course, you can flip the clip. So now you can see the
alphabets are in reverse way. Or you can flip horizontally.
That was the flip. This is just basic
things what you can change in a clip,
which is really handy. Say, for example, if I did any changes in
transformation here, I don't want to delete them, but I don't want
to see them now, so I can just disable
the transform node here. The transform panel, I
can just disable it. And once I've done
all the changes, and if I have to
put the changes on, I can just enable it here. Same thing you can
do with cropping. So now there's nothing
under the cropping, just click once, and now
you have everything. So you can crop left, crop right, top down,
however you want it. And the softness is you see
how harsh the edges are now. If you increase the softness, then the crop is a
little bit soft. And then if I have to
reset the softness, I go here to reset button here. I want to reset. Cropping,
I go reset here. And then Dynamic Zoom. So let's go in the beginning. Dynamic Zoom that's where Dawn chi kind of slowly
zooms in an image. You don't have to do anything.
So if I just enable it, then let's see what happens. And now let's start the most beautiful hike in Switzerland. If you look at our bags. Oh, you don't really
see in this video. Maybe I can show I was
already zooming out, zooming in in the image, but
let's show you in this one. So here is just a static shot. I press Dynamic Zoom. So here you see it's
sort of zooming out. This was the original clip, and this is after. You can change to linear,
you can do ease in. So you see in the beginning, it was not zooming
out and it sort of eases in in the video. And you can also do swap. So it's like that and
then it zooms in later. So, yeah, that's what you
can do with Dynamic Zoom, composite. That's
really interesting. For example, so
if I go to Master here and if I go to Extra folder and if I
go to the Power Bins, and if I want to drag in
something, this all is included. If I want to drag something from the power Bins to our project, you can just drag them to extra. Yeah. And now, so see, I didn't have to go to the
computer and searching, where is this effect? So it's already
there in Power Bens. And that's the good
part about Power Bens. We go to Extra, and the film
burn transition is there. Film burn is, you know, you might have seen it that is just a clip like this where
this crazy film burns. So what I want to do, it has different
types of film burns. You see if I scroll
through the clip. I think this is a clip for
maybe 1 minute or 28 seconds or 33 seconds. But I maybe want from here, you see where the
little flash is coming. Until the flash ends. So I just did in and out and
here what I would do because I want this to be not
at the end of the clip. I want it to be here somewhere. So I would just manually
drag and drop it. So let's see what happens now. So as I told before,
whatever is on the top, that would be visible.
So let's see. So now we have this fire effect. But now what I want to do
is that I want this to be kind of blended in the
video, but still visible. Now it's blocking
the entire video. So that's where composite comes. So composite is like how
the clip which is on top of the original clip
would blend in. So now it's normal. If I go add, you
have some effect. If I go color, it's like
blending it with some color, if I color burn, you can
try all this effect. But the favorite
and most useful one if you scroll all
the way, the screen. And you can also change the
opacity if I go all the way, if I go 100, you can
change the opacity of the film burn
transition. Now let's look. So this is kind of a transition. So maybe what we can do, we can put it in between
these two clips. So let's see how does that look? Cofiking. Read. Read. So I can see that a little bit of audio from my
wife is in the way, so I can just drag
this clip to here, so now we wouldn't
hear the audio. Entire week of hiking. You see how nice it
looks? Go hiking. So that's where composite
comes in handy. Stabilization. I can show you another example of a
video with stabilization. Yeah, there is a bit
of shake because I have filmed it with
a really long lens. So I would just press I. So yeah, then I press
U, so it comes here. And here, what I'm going to do, select the clip and then
go to stabilization and just press stabilize and DaVinci would quickly do its
job and it stabilizes. So now you see if I toggle out, then DaVinci kind of also
crops in when stabilizing. Now all the jerks, what was happening,
that is not there. And if I want to make it
look like a tripod shot, then I can just
press camera lock and see what Dawnci does. Camera lock stabilized,
so now it crops in more because now Dawnci
let me show you. You see, it almost looks
like it's on a tripod. It's so cool like
this was before. Stabilization on But, mind you, this would only work when
there is not much movement. If you're shaking the
camera like crazy, then the camera lock
wouldn't work. So that's it. But sometimes what happens is that I can show you
better example. Let's take this clip. So I'm
just taking the clip out. Let's show you different
types of stabilization. So if I just stabilize it,
let's see what happens. The vinci crops in, you can also change
the features here. So sometimes you can do a
little bit of compromise. Sometimes if the
footage is too shaky, the vinci crops in a lot, then you have to do a bit
of compromise that you want to choose the cropping
ratio or stabilization. So you find a middle ground. So I just reduce the cropping
ratio and restabilize. It is a little bit smooth, but you see there's this
little weird jitters. Let's try to fix it with
a different method. So you can also change the
strength of the stabilization. So whatever you change and
smooth a little bit increase, you have to press
stabilize again. It looks like if I reduce the strength,
it was back to normal. So let's stabilize it again. Yeah, so it is
acting a bit weird. So what I would do if you go
to here mode perspective, let's go to similarity. And now let's see how
the stabilization is. So there are three
options in the Vinci to stabilize your footage according to what type of footage is. So I would really recommend if the first mode is not working, try different modes and see
which mode fits the best. Oh, this mode looks
really weird. Translation. Let's check the translation and
stabilize again. This is giving that warpy look. So I would just stick
to perspective, maybe cropping ratio
a little bit less, maybe smooth a little bit less. So yeah, that's how you
can use stabilization. So stabilization is the thing which is not the
best in DaVinci. The only thing, I've heard
that in final cut Pro, it's much better in premiere
pro, it's much better. So real time and scaling, I'm going to show you in the
coming section because it's a little bit complicated and it's not really applicable now. Later on, I would be editing
an entire sequence with you, so then I would be
doing real time and scaling and super scale, I'm assuming that this is for the pro version,
the studio version. So everything, what is
in the studio version, I would be teaching you
in the upcoming section. So yeah, that was it for the
inspector tab in the video. But let's do inspector
tab in the audio. So here you can
change the volume. And if I change the volume, you can see that something
is changing here. So if I just zoom in
in the audio track, if I change the
volume, you can see, Oh, this audio track
is selected, sorry. So you have to select the audio track where you
want to be changed. So you can see that if
I go all the way down, the graph is gone. If I go all the way up,
the graph is like that. And what you can also do
instead of changing from here, you can come to the
audio track here, and as soon as you go
to this white line, the cursor changes to
this up and down arrow. And if you just hold and
drag it up and down, you can see that you
can change the volume, and you can also see
the decibel numbers that how much decibel you
want to increase or reduce. So that's also really handy.
Let's move to the pen. So pan is you can pan the
audio on the left speaker, on the right speaker.
I don't really use it. This dialogue leveler,
I'm going to talk about this and equalizer
in the upcoming section. And there's a lot of
hidden features as well, but that's just for
the studio version. So yeah, that was the inspector
tab for audio and video.
14. Making A Sequence Part - 1: So now that we have
learned a thing or two about editing in
the winter resolve, now it's time to
make a sequence. So what do I mean by sequences that we're going to
put some nice videos, some audio from that
video, some voiceover, some music together to
make a little movie. Like, yeah, movie,
32nd or 42nd movie. And while doing
that, I would also explain you and
show you new tools, what you can implement
in your editing process. So here, what you can
do is that you would find all the footage for this sequence in the
Sony Vlog folder. And if I just click
back to Master, then you find in
drone folder as well. And you would also
find something nice, not nice, something extra
in the extra folder. And for music, we
are going to be using a music, music to use. That's the music we're
going to be using, but I've also provided
some other non copyrighted music
that you can use, so it's really up to you. So yeah, everything what we
going to be talking about, it's there in the media tab in the media folder if you
have imported everything. We're going to be starting
with the first clip, and the first clip is here. So as I told in and out, so what I usually do is that I just drag the clip on
the timeline, Zoom in. And as we already
discussed, it's there. So I would press B
for the this mode, the trim edit mode,
and then I press Q. So here, you know, the clip
goes away from the front, and I think the end
is already trim, so I would press W as well to
trim it a little bit more. And let's listen it. And now let's start the most beautiful hike in Switzerland. So this is just an intro. I'm just making a kind of an
intro for my YouTube video, and we would also
do maybe 10 seconds after that intro.
So yeah, let's go. Just as soon as she tells
that now let's be hike, I want music to come in. And the music, you see, now it's so annoying because I cannot go to the
other folders. I would just click here. So the folders are there. But then I also want to see two videos next to each other. So I would just increase
the size of this. You can also reduce the size of these thumbnails so
it's really up to you. We go to music, and I'm going to choose the music
music to use. And I would maybe put it here. I'm still in the trim edit mode, so I would go to V because I can see that my
cursor is gone, so I would press V. So let's go. And now let's start the most beautiful hike in Switzerland. So also good part about music track is that
you can already listen to the music here. You can see the wave forms here, and then according to that, you can bring it to the timeline. So what I usually do
is that I can see that there's a beat drop
here and it starts. There is something cool
starting from there. So you can also just click and
drag through the timeline. Timeline of the music. So I just clipped music to use, and music to use
is displayed here. So if I just go play, I want this music track
to be played from here, but I want to go a
bit more further. So what I would do is that
I would just press the in point from here and the outpoint
I'm not going to choose. So I would delete this what I've already brought to the timeline. And I can just drag this music
track in the second track. So now, it's only bringing the part what
is selected here. So let's click on the timeline
for the timeline view if I zoom in with S. Yeah, so the whole idea is that
I'm gonna be or wait. I would put the music
in the third track. So now we can reduce
the size of the music. I'll tell you later
why am I doing this. But yeah, let's just listen. And now let's start the most beautiful hike in Switzerland. So I want this music track
to be starting from here. So let's just bring it like
that and then go to here. Like in Switzerland. So now what's happening is that this music is coming a
little bit too abrupt. So what I'm going to do I just increase the track length here, and then you see this white
little dot kind of thing. So if you just drag it now the music comes
in a bit smoothly. Switzerland. And there is also a
little.in the middle, so you can change the L, you can go a bit more precise
of how the music comes in. So I want at least this
beat in the video. In Switzerland. So
I think this helps. Now, I personally think
that the loudness of the audio was okay, but the loudness of the
music is a bit too much. So I can reduce the
loudness of the music. So if I if we just scroll around because now you
cannot see this white line, but if you just
scroll around, you can see the cursor changing, and you can just grab that. So now the music is
at 0.00 decibels. So if I go maybe seven, you just have to hit and
tril. So let's go now. The most beautiful
hike in Switzerland. So that looks good. So that's
how you can insert music. And if you want to go
a bit more precise, if there was some
other person talking, you can have also faded out the audio track from
the main video. So now we're going to put
some drone shot here. So let's go to the drone folder, and I think I like this. I don't know which
part to select, so I just usually drag
it on the timeline. But I think it's
going really slow. So maybe I would
just grab from here, and then I just press on
the clip and press Q. So now what also happens
is that if I go to, you know, the trim mode, which is B, press B,
so this is selected. And now if I click Q, it goes that way. But if something is linked, if this audio is linked to the video, then
that's a problem. But if you just crop
it like that is fine. But I think the speed
of this clip is really slow, so I
would increase it. So how do you increase
the speed of the clip? First, I would go to the normal cursor mode by pressing V. You press right click,
change clip speed. And now you can do
maybe 300, I think. Slip With the audio track, I can already see that
there's a little beat here. I would cut the
clip at this beat. So I would just press W, so that's going to trim everything from the
right hand side. And then I would put
another drone shot. Maybe just this one. Maybe from here, It's
also a bit slow. So if I want to put the same speed from this
clip to the other clip, now we are moving
a little bit fast. But if I want to just
put the same speed from the first clip
to the next clip, I don't have to go right, click, change a speed, put 300 again. What I can do is that I
can do right click Copy. Yeah. And then if I go
right click here again, I can go paste attributes. Once I do paste attributes, you have these different
attributes from the first video. So everything what you
change in the first video, that can be changed in the second video if you
just do paste attributes. So if I go real time effects, that would change the
speed of the draw. So you see what I did
was paste attribute. But to make it easier,
what you can also do, you can do Command C on the first clip or
Control C in Windows. That is copy, and then you
go on the second clip and you press Option V
or Alt V on Windows, and then already the paste
attribute window opens up. So you see how easy
it is Control C, Command C, Alt V, Alt V on the other
clip, and here you go. So the speed of the clip comes in real
time effect category. But if you have to paste
any other attributes, say Zoom position that
you can do as well, we're going to do it in the
future video, so let's go. So why the clip trimmed out? Because there was not much room left because the clip
was a little bit small, so I want to make it
a little bit bigger. So here what I also want to do. So now I previously told you
about the clip attributes. Now I want to show
you another property. So whatever I'm teaching now, it might get a little
bit complicated. So I would really recommend you to rewatch it again and again. Now I want to show you a
little bit of keyframing. What is keyframing?
First of all, let me discuss about that. Keyframing is something
where you save the position of certain things or
certain properties of a video or an audio
at certain locations. For example, if I zoom
in this entire clip, it's going to zoom in
at all the places. But what I want to do is that I want the Zoom to be at
1.000 at this position, but towards the end of the clip, I want the Zoom to be 1.200. But if I go in the beginning, the beginning is also 1.200. So how do you fix that?
You do keyframing. Let's reset that. So how do you do key
framing is there is a diamond next to everything. Yeah. Zoom position, crop, everything you see, there
is a diamond next to it, so that all those
things can be keyframe. So if I just press this diamond, which means and if I just open a diamond
here under the clip, which means that we have
a keyframe set there. So the Zoom property of this clip at this
position is one. But if I go towards the end, then I want to change the
Zoom to maybe 1.1 ten. So now what's going to happen if I go to the beginning
to the end, the image would slowly zoom in, and you can also keep an
eye on the image here. And the zoom level there. So you can see that both
of them are changing. It's not that
subtle in the video because it just looks like the motion of the drone.
So that's really cool. You can also do it in
a lot of static shots. So I can show you again
with another video here. You know, we just walking. So it's like a tripod shot. I put the tripod there.
So I want the clip from here towards the end there. So I've selected in and out. Now I press, the clip
comes in the end. Press, the clip came in the end. So here I want to do copy
and paste properties. So I go Command C, which is the copy, and then I go Alt
or option V. But now I don't want to change the speed because I
don't want it to be 300. So I unselect real time. I just want the Zoom, you know, or if I had position or other things, then
I would do that. I just want the Zoom property to be copied from
the drawn shot. And then you go apply. Then I'll show you also one more
thing is happening here. You see, there is a slide Zoom, but if I press this diamond, the zoom is only until here. So this clip was
one, 1.002 here, but here it's at 1:10 because the timeline of this clip
was just until here, and it is copying the
same property until here. So what you can do is
that you can either elongate this diamond
until the end. So it's going to be the
Zoom wouldn't be subtle, but if you see the edges,
there is a bit of zoom. But I don't want the
clip to be that long, so I would just, you know, bring the diamond
here somewhere, and then I would just press W. So it's just going to chop off. But you see now the
link was not selected. That's why just the
video chopped up. So what I'm going
to do Control Z, I will select the link. So now the video and the
audio both gets chopped up. But the problem is now our music also gets
chopped up with the link. That's why I turned
it off. So that's the pros and cons of using
the link button here. I think it's really handy
if you are, you know, just trimming the clips without any music track or
something on the top. So now to fix this, what I would be doing is
that I would just select that the audio and
the video track, or if there was anything else to be chopped
up from the right, then I would press
W. Now, let's see. So by doing key framing, now what we also
did was we brought a little bit of movement
in a static frame. See how nice it looks. So you can leave the
diamond or take it out. It's really up to you. And let's put some other clip here. Maybe when she's pointing there. Oh, that. It's like if you
see you get the hotwee slap. There's the hot whe slap, so we walk So here I
don't want the audios. I just want the video.
I would just drag the video part, drag it here. I don't know if I
would want the zoom or maybe a little zoom. And here I would also
keyframe the position because I want the zoom to
be towards her. So the zoom and the
position are set here. But if I go here
and if I zoom in, it's zooming in more
towards the center, but I want to zoom
in towards her. So let's see how it looks. There is a little bit of
problem in stabilization, so let's try to fix it
with stabilization. Yeah, Stabilization is here, so I'll just press it and
let's see what happens. You see how smooth this looks. Yeah, that's how you can
also do some key framing.
15. Making A Sequence Part - 2: So now what I'm going to do is that we have some sequence
just put next to each other. Now I'm going to
introduce some voiceover. So voiceover was in
extras, I think. Yeah, extra voiceover. So there's also an
intro for my YouTube. So maybe I want the voice
over to start from here. I can just change the clip of the voiceover so that
I know that that's a different audio from
the camera clips. So you can also change the
color, you know, to anything. So I would go right, click, clip clip, color change. I would just go
Apricot always use this color for the
voiceover in any video. So now let's listen to it. Welcome to the Pre
techniques helps the up and self is.
Can it be your hiking? So I'm saying something
in the background, but I think the
music is too loud. So there is one way to reduce the music
just when I'm talking. So if I go zoom in and
if I just crawl over, I can see the arrow up and down. And here I would press Option. And click on this line and you can do alt and
click on this line. Here I would go option again, press the option first and
then click on this line. Now we have another
keyframe thing, and here we can
reduce the audio. Here our audio was -9.8 decibols and you can see
the graph going down. Here we can put it
to 21.23 decibols. Welcome to the breath taking Swiss Alps in the
Up and Sell region. Today we're hiking one
of the most beautiful. I found that this audio was
a little bit distracting, so I'm going to reduce
the volume of this audio. Welcome to the breath taking Swiss alps in the
up and sell region. Today we are hiking one of the most beautiful trails
to the SchufflerHt. So when I say SchufflerHt, then I want the drone
shot off the hot. Maybe I'll go here. And this drone shot looks
a little bit desaturated, but I'm going to
show you how to fix it in the color grading tab. So the breath taking switch
alps in the Upenzel region. Today we are hiking one of the most beautiful trails
to the Shuffler hut. We'll spend the night at the
hurt and hopefully enjoy the views of the AlternapTwers,
which is literal. So here I'm doing a little
gap of the lnuptw Alena. So I want to reduce the gap. So I would just cut
it, the zoom in all the way I can already see that there
was a little gap here. I just delete with X. You can also delete with X
instead of backspace and then drag it little bit forward.
Let's listen again. And hopefully enjoy the
views of the AltonapTwers, which is literally
right next to the hut. And because the hike is around. So as you can see, if
you see the waveform, if I just go shift up and down, sometimes it's a bit low, the graph and sometimes
it's a bit too high. How you can fix it is you
can do some key framing. We go option or Alt, press the mouse
button, option Alt, press the mouse
button, two dots here, optional, optional. If I just want to increase
the audio of this area, I have put four dots and then if you just drag it like that, then you can see that either the waveforms from this part is similar to the
waveforms here. The breathtaking switch helps
in the up andsil region. Maybe it's a bit too
loud. Let's go down. Alps in the up and sell region. Today, we are hiking one of the most beautiful
trails to this So here, the audio is still
going up and down. So there is a newly added
feature in the inch resolve, where the software
itself kind of brings the audio up or down
according to what you choose. So that eliminates
all these step, but that's not super accurate, but I'm still
going to show you. So if you go to dialogue, if you just click the
audio here, you know, the audio tab, and then the
audio end inspector opens up. You go to dialogue
leveler, you turn it on. And reduce loud dialogue. So we don't want to
reduce loud dialogue. We want to lift up
the softer ones. Yeah, and then we don't want to reduce the background noise
because there's none. And then output gain for this soft dialogue I want
to increase a little bit. So let's listen to it now and see if it actually is any good. If we are hiking one of the most beautiful trails
to the ShufflerHt, we'll spend the night at the
heart and hopefully enjoy the views of the Alton
uppTwers which is literally. Yeah, I don't think
it's doing much. Let's go optimize moderate
level, so let's try that. Today we are hiking one of the most beautiful trails
to the Shuffler hut. We'll spend the night at
the hut and hopefully enjoy the views of the
AlternapTwers, I can keep it. I can just delete these points and see if it did any good. Come to the
breathtaking Swiss alps in the up and sell region. Today we are hiking.
Or maybe we can do more left for low
levels. Let's try that. Come to the breath
taking Swiss Alps in the up and sell region. Today we are hiking one of
the most beautiful trails. It is doing like there is a
little really subtle change. Yeah, I'm going to try that. So what I want to do
is that I want to use the property from here
to there to the next clip. So I'm going to use
a dialogue leveler. I'll go Command C, Control C. Option are
all to be on this. So here, I can do all the audio
properties because we didn't really change
much in the first one, so it's going to be
the same property would be copied on
both the clips. Altona towers, which is
literally right next to the t. And because the hike is literally what
I'm saying is sold. So let's go see the Blade two, and then reduce it down. Which is literally
right next to the t. Sometimes it can take
time, and of course, it's not really perfect because
they just introduce this, the dialogue leveler, but
they are working on it. But sometimes what also happens with dialogue leveler is that the audio sometimes this just
disappears at some section. So you really have
to just try it out and see how you find it. So, yeah, that's how you can
add the voiceovers as well. So now we have three
levels of audio. The first level is
from the camera the second level is the voiceover and the
third level is the music. So this is how you can
make an entire section. And that's also the project of this class is what
I discussed before, that you can make a section from this voiceover and put
all the beautiful clips, or you can make a section from the clips what you already
have in your computer or, you know, with you. And edit them in the inter
result, put some nice music, put some nice transition, what I would show later, and put them in the project section. And if you have any questions, please put them down
in the discussion. And if you have any
questions about like really specific
editing questions or if you want to do a one
on one tutorial with me, then you can a go to my profile and book a
one on one session. Done that session with a
few people, and, yeah, it's like in 1 hour, it can just change their
entire editing game. So yeah, if you are interested
in booking a one on one, go check out my
profile at Skillshare. But yeah, let's continue this. So I want to show you
something else now. So if you go here, to Audio three and click here, click on the audio, as soon as I click here in
the inspector audio section, this window comes up. So here you can do the
dialogue leveler for the entire track because I selected the
Audio three track. Here you can do the dialogue
lever for everything, or you can just do
individual dialogue leveler. I would recommend to do the individual dialogue
leveler at the moment, but I want to show
you something else. There's a thing I
would just deselect it this thing called Ducker. So what Ducker does is that whatever we have
done here, you know, reduce the volume of the music when I'm
doing a voiceover. Apparently, Ducker can do it without you reducing the
volume. Let's try that out. If I go here, press Audio
three, go to Ducker. Which audio Docker
needs to focus on, which is the source
audio is the audio two because that's
where the voiceover is. You can change the docking
level and let's see if it reduces by itself
because now I deleted all the dots here. Let's see. Welcome to the
breathtaking Swizps India. Not really. Let's put
it down a bit more. Welcome to the breath
taking Switzer. It's a little bit subtle. I can do maybe just change
a little bit recovery time. You can play around
with these tools, and I think the rice time we should just go all the way low. Welcome to the Or maybe
just increase at rice time. Welcome to the Brit. So now it's not a bit subtle, but it's like already it's reducing super far
away from the clip. Welcome to the Brit
taking Switzer. So I think this setting looks
good, but yeah, it's like, these are some new
tools in the Vinci, and they're not that perfect, but they are getting
really better. So if you just just copy paste
this setting from Advance, that can reduce the
dialogue a little bit. Let's see, in the
end what happens. So as soon as I stop talking, then let's see if the music track volume also
goes up or not. You are in this area. It's working pretty
good. So yeah, if you want to try
that out, try it out, and if you're not
satisfied with it, I have already taught you
how to do it manually. So yeah, if you just
keep doing these clips, just adding them
together, that's how you can make a sequence. But now in the upcoming section, I'm going to show you a
bit more advanced method of editing where I would be introducing
transitions and texts and all that sort
of stuff. So let's
16. Video Transitions: Now we're going to be
exploring more of the effects statab because the winter
is always a software which has so many cool in built effects that
you don't need to be crazy animation experts. And then later on, I
would also give you some links from where you can download some really
cool cool effects, which you can put
in your projects, you know, to make your videos
just send out so much. So let's start with
the effects tab here on the left hand
corner on the top. So if I click that, I would have a lot of effects option here. So if I go in the toolbox, then there's a video transition. So transition is something where there is a transition when you move from
one clips to another. So most of the time, video
transition should be applied in between
two clips, wait. Something like here, you know, in between something like here. So that's where video
transition should be applied. So additive dissolve. And I would really recommend you to play around with this. So it's just like moving
from one clip to another, and you don't even have to bring the transition to the clips. If you just drag
on the transition as sort of move like that, it would already show you how the transition would look like. Let's blur dissolve. You see? So you don't
really have to drag and drop every time. Smooth cut. If I just drag and
drop smooth cut, and if I just zoom in, so here is the transition, yeah. And if you just go
here, the cursor changes into this icon, and you can change the
length of the transition. If you go like this, then the transition is a
little bit longer. Spend the night at the hurt and hopefully enjoy the views of the AltnuTwers
which is It's gonna lag a little bit because it's a little bit taxing
on the system. The night at the hurt and
hopefully enjoy the views of the AltnuTwersO you can
also make it really short. And hopefully enjoy the views
of the alternate. You see? So just with one click, you can already get a
really cool transition. And if you want to delete
it, just click it. So right now it's not selected, right now, it's selected,
and then you press Delete. So delete for me is X, and there are so many cool
transitions in resolve. So just try it out,
play around with that. I like some transitions
which are infusion, so there is some blog glitch. I use it. No, I don't use blog. I use camera shake.
So I use this a lot. So camera shake can go. So you see if you drag and drop anywhere else,
it's not going to work. If you have to drag and drop in the beginning and
end of some clips. Enjoy the views of the
Alternate the views of the. So now if it's not really
working smooth for you, you can switch to
the proxy files. So what I would do is just prefer proxies. That's
what you should do. Enjoy the views of
the AlternaTwer. So yeah. You can play
around with transitions. There's nothing crazy about that. There's nothing technical. I don't want to waste your time by trying each one of them. So yeah, those were transitions, and what you can also
do is that you can do two transitions on
the same click. For example, let's go here. And if I want to do the
camera shake, where was it? The camera shake transition. And if you want to put another
transition, let's say. So you see in some transitions, if this message comes, then which means that it's not allowed in the free version, which I'm using right now, but later I'll show you some cool effects in the paid one. So yeah. As soon as
you drag around it, the message already appears. Maybe I want to do
burnaway as well. But if I do burn away again, then the burn away
transition stays, but the other one disappears. So what is the
solution for that? Let's go to camera shake again. We'll spend the night.
There is something called a clip compounding. So what happens there is that. So there is a transition here and there are
two different clips. So I would select everything, and then I would right click
and go to new compound clip. So what compound
clip does is that, you can do a mixture of two
clips or any number of clips. And if you make them
a compound clip, I just do test test one, so then here there are still
two clips, one and two. But this whole clip
becomes one clip. This is telling the
software that I'm just one clip with two
different clips inside. So whatever settings you're
going to put on this now, it would act as if it's
just a single clip. So what we can do is that
can make another cut here because I think
this is the cut where we did cut the other parts. And then we can put
another transition. So if we just go the burn away, so there would be camera
shake and burn away at the same to the scufflerHt. We'll spend the night, see? So yeah, you can do again a transition and
again a transition. So, yeah, that's
the compound clip. And if I want to make this
entire sequence as one clip, you can do again compound clip. And compound clip is really
useful if you want to put one setting to
the entire videos. So, yeah, that's when
compound clip is used.
17. Text Animations: After the transitions,
we have some title. So DaVinci already has a lot of title samples which you can
just insert in your videos. And yeah, it just looks
like super animated titles. I think some of them are
also in studio version. These are the sample titles. But if you go to fusion titles, they would be a
little bit animated. So if you see this, you see, so dark box texts,
the text comes up. Clitch. Let's just try this one. And I'm just checking if
there is another interesting. But, yeah, you can just try out so many. There's
an elegant shadow. There's the newest addition.
There's a fade on. I think they use a lot of times like something
like this in movies. Just for the sake of this class, I would reasons beautiful trails You see now it's getting hiking
one hanging a little bit. So what I would do, I would
go here prefer proxies. And then what I would also do is time learn
resolution to half, and hopefully now
it shouldn't hap. Taking Swizlbs in the
Up and sell region. Divi hiking, one of the most beautiful
trails to still hanging? Via hiking, one of the
most beautiful trails. But I think it's fine. And here, what you can do, you can
change the text of the title. So if you go on the right hand side by
selecting the title, this is the digital glitch,
the name of the title. So you can change the text here. So we can do Da Vinci class. And you can change
the font as well. So it really depends
on what font you like. You can also change the color. You can change it to
extra bowl light. So it really depends on what font you have
in your system, and you can change the size. You can also change the
distance between the font. You can change the line spacing. If there are fonts in two lines, you can change the line spacing. There's a lot of
things you can do. And then here we
can do just test. So yeah, there's all these fonts are super customizable,
which are entitled. But sometimes if you just
want to use a normal title, this is a normal title option. I just a general title
looks like this. So if I just do say resolve 19, you can change the font like
what I discussed before. And of course, you can
change the colors. So these colors
options can come like this or like this or like this. So you have different
types of color option. I have chosen my favorite one. So if you go here,
or if you go here. We say, if I really
like this color, I can just drag and drop here. So next time you
don't have to search for those colors, you
can just click here. That's the color. So this is the color what I want, or this
is the color what I want. And of course, you
can use the size and the distance between the
font and what I told before, you can also keyframe
these fonts. So that's also really handy. Change the rotation angle. Yeah, change all the properties. And stroke is the
border of the phone CC. It becomes black stroke.
I don't really like it. But yeah, it's really up to you, I would just refresh it. Drop shadows, I really like. So this sort of brings a little bit of shadow
under the text. So you can go Y, the shadow would drop down. And if you go X, the shadow
would go, you know, this way. So you can put the shadow
in whatever angle you want. And you can change the
blurriness of this shadow. So if I go all the way here, the shadow is proper solid. If I go all the way
here, the shadow becomes a little bit more blur.
And then background. So if someone wants a
background behind the title, you can change the width. So width, you can change is this is the high to
how you can change. And then if you go to Y center, you can scroll it up. X, you don't need to. And then
you can reduce the width. By this, we can also add
backgrounds to the text. And you see the corner radius,
it's a little bit curve. You can make it more
curve or you can make it a proper rectangle. Center is how you can change the position of the background. And opacity is if you go 100, the blacks are super black. If you go zero, it's a bit low, so I would just maybe keep
it somewhere around 50. These are things you
can do with the text. I would also show you
how to animate the text. But yeah, yeah, this one
is a new feature as well. Sample CLC. We might end up doing a skiing. You can also put some video
transitions also on the text. I would go to video transition and you can put any
transition you want, but now it would
show for the video. But if I go here, the
elastic rubber and if I just put it on the title box. This is the sample title box. You see if I disable
the track, it's gone. We might end up doing a skin. We might end up doing a skin. So you see the elastic
rubber, it works like that, but if I reduce it, we might end up doing a ski. So there are some of
these effects that can work on the text as well. So if I do fall and bound we might end up doing a skinny
dip in the freezing. You see how cool it is that
is just there in Da vinci. Like back in the day, people
have to animate each step. So I really explore around
the video transitions. Whatever is available
in the free version, I think that's already
so much enough. You can do film strip, like all sort of crazy
animations, what you can do. And for the titles, the
important title was this text, and of course, you can try it out all these different
titles as well. All the titles they
have their own preset.
18. Generator Effects: Now let's talk about generators. So generators are something like generating another kind of
clip on top of the clip. So if I go ten steps, you can just drag and drop, and that would just
have this gray scale. You know, you can
already see here. So you don't even
have to click it, you just scroll the
mouse and that would already show in the
playhead what it is. The one I use it is
solid color sometimes. So I'll show you an example. So if I just move
this clip like that, and I just got the
solid color here. So now you don't
see any changes. Just increase, so now you
don't see any changes, but if I click this video file, and if I zoom out, then
there is a black background. But the original background
of this playhead is that. So the black background is
coming from the solid color. And as you can see, if I click the solid color, it is black. So you can change to
any color you want. So that's when solid
curve comes handy. You can also have
this as a background, you know, you can do gray scale, anything you can do
it as a background. You can also put these comic speed lines that
also looks really cool. Let's see how that goes. So yeah, these kind
of generators, you can put it behind
the video or text. So if this text, if it was here, the winter is all 19. If I drag down the paper, hopefully enjoy the views
of the AlternapTowers, which is literally
right next to the hot. So yeah, there are so
many ways to use these, and they also have
this new animations. You know, If you bring
it to the video, you can change everything
around the CL scene, we might. So you can change the text here. So let's do test so let's
do tests around the CLC. We might end up doing a skinny dip in the
freezing cold water. See how smooth it looks. Like, how cool is that?
I would just drag this. There are so many ways you can introduce texts in a video. These are all the
newest addition in the Winter resolve 19. It is one of the coolest
and non technical hikes. So if you just click here, then you can change the text. So let's do a. You can just put any text ABC. It's there. Then I go ABC again, then I go ABC again. It's one of the coolest
and non technical high. How cool is that
to animate that? Like, you just have
to drag and drop, and it's all free in
the winter resorb. Like, they're not earning
any money from this, and it's so crazy that they just provide
us this for free.
19. More Video Effects: So, yeah, generators
really cool to introduce some text or put some background
behind the video. Now let's go to effect. So this is also very similar to how we had the transitions. But all these effects you
can do on individual clips. So you cannot do in a gap
between two clips, the effects. So if I just select this clip, you go binoculars, you have
binoculars, CCTV comic book. Some of them might be also
for the paid version. So, yeah, it's just try it
out and see what is free. Voice co, video camera, watermark, so yeah, you
can do any of that. So yeah, efX is
also really handy. And then if you go OpeneX, what Openefx does is that this is also some
sort of animation, what you can do on an image. So if I go blur box, if I just drag it on the clip.
Let's see how that goes. The clip becomes a bit blur, but the crazy part is
you can also animate it. So you can animate it by increasing the blur
or by reducing the blur. So here, say, if I do some
key framing in the beginning, if the blur is a
little bit less, here the blur, if I want it to be zero.
Let's see how that. And here if the blur
I want to be 0.341, then slowly the blur would
be introduced in the video. Let's see how that
goes. It is one of the. And if you want to
delete the effect. So all these things in videos, you would have video property, but if you go to effects, you would have all the effects, whatever you have
put on the video. So you should really just
try all these effects. Like, you can also
draw some grid line. You can get color palettes, HSO Luma Kears, lens flare, you can get I think this
is in the paid version. Yeah, you can try all these
different open effects. I don't use it much, but if I really have to use it, I would just use the blur
or sometimes the Zoom blur. But yeah, really play on with
that because you wouldn't know what effects you need
until you really use them, then you're like, Oh, I can actually use
this effect somewhere. There is also some audio effects what we are not
going to use now, we would use all these
effects in the Fairlight tab. So whatever is in the Fairlight tab some
part of it is in here, but we're going to use
it in the Fairlight tab, so it makes more sense
because then we can talk about all the audio
tweaking at One go. So I wouldn't discuss
the audio effects now. So yeah, these were
few effects, few. A lot of effects what
you can use in DaVinci.
20. Adjustment Clips: Now let's show you what
was the adjustment clip. So adjustment clip is just a clip which you can
drag and drop on any clip. This is like a transparent clip. And if I do any changes
in this clip, say, if I do Zoom on the
adjustment clip, then the clip underneath
adjustment clip also zooms in. And then all the clips
under adjustment clips, they also zoom in. You see? They zoom here. If
I get rid of it, you see this was
before, this is after. So any change what
you want to do the adjustment clip
you can do it here. If you want to
crop from the top, like how the film bars, you can do it on
adjustment clip. That's what a lot of
people do as well. They do crop for the
entire timeline. We're not going to do that now. We're going to do
something else. Adjustment clip would also be really handy when we
are color grading, but we're going to
talk about that later. Now, let's talk about
something really important.
21. Magic Zoom Animation: Adjustment clip and why
I primarily use it. There is a thing
called Magic Zoom. So there's a YouTube. He also makes the Vint Resolve class. It's called Mr. Alex Stick, and he has made this really cool animation tools for free, which you can install
in the Winter Resolve. So I will put the link of these magic Animate
and magic Zoom three, and then you can
download it yourself, and then you can install
it in the Winchi. So if you download it, I think it comes in this folder. As soon as if I put the link, then you can go to the website. From there, I think you
have to put your email and then the link comes in
your email to download. And this would be like this, the file, whatever you download. So once you double click it, then it opens in resolve. So once you double click it, it's kind of
installing in Resolve. And then it comes here. So if you go to EffexTab,
that's where it is. Magic Animate and
magic Animate V three, free and magic Zoom V
three, that's here. So how does magic Zoom works? Let's take this clip. So if I want this clip to
be here as a duplicate, what I can do is that
click on this clip. If I press Option or Alt,
I just drag it here. And now I let go of mouse
clip and let go of Alt, so you have to keep pressing Alt and then drag
with the mouse. So if this clip is here, I would just mute the audio because we don't really
need the audio here. And I would reset everything. So everything what
we did in transform, I would just reset it because
I think we were zooming in. So what we going to do? I would also bring
an adjustment clip on top of the video clip here. And if you do magic Zoom, so how you do magic Zoom, just drag and drop to
the adjustment clip. See if I play the video clip, you can see that it's Zooms
in and then zooms out. Zooms in then zooms out. That is happening because
we put magic Zoom. So you see, you don't
have to do any animation. But now the craziness begins. If I click on the
adjustment clip and then I go to Effex here, what's going to happen
is that's going to open up tons of properties
of magic Zoom. So the Zoom type was
mirror. Why mirror? Because it zoomed in
and then zoomed out. If we want to zoom and hold,
this is how it would look. So now it's zooming and
holding at a place. But if I want to zoom it at a certain place, if
I want to zoom it, say over here, it is zooming kind of more
towards the center, but if I want to zoom in here, I want to do I have
to do something. So if I go at this
arrow down here, then I go to fusion overlay. So I did fusion overlay, and then I see this little box. So now, this little box shows that zoom in is
here at the center. But if you want to
zoom in there and if I change the Zoom
scale to say 70.78, so now the zoom would
be there. You see? I would just reset it and also bring it there to her face, and now let's zoom
in. So let's see. Guy, is really cool how
magic animate works. And you can do the other way, so you can do hold like
it's already zoomed in and then it zooms
out towards the end. You can also change the length
of the adjustment clip. So you can yeah put
it anywhere you want. So it's here, if I want to do the same
effect on the other clip, I can just press Option or
Alt and drag this here. So it makes a duplicate clip. Then I change it to the
length of the clip. Thing. I'm just playing with these the Zoom and hold
or Zoom and hold out. That was magic Zoom for you. So if I'm going to
delete this effect, I would go click on
the adjustment clip, and then you can see that
in the effects panel, I have just one effect. If you had put two effects, it would be listed
below as well. So if you want to delete
it, just delete that. So that's deleted.
22. Magic Animate Tool: So I want to show you
something else now. So I would go to titles, and then earlier we were
using this basic title, but now I want to show
you something else. So let's check on
this custom title, which is text plus, and
then I would go here, and I would just
reduce the size. And here, it says there is this three little stars and everything which
has three little stars, that is kind of like
a fusion tab thing. So fusion is usually
for animation. So everything which
has its three stars that has some
animation involved. So with this text plus
now there's no animation. But you can do a
lot of animation. That's what it means. So I would just leave it to custom title. And now if we want to
do some animation, we would go to EffX and
then magic Animate V three. Earlier we did magic
Zoom version three, now we have magic
Animate V three. So we just going to
drag and drop here. Now what happens, we go
to the Effects panel. I wouldn't touch anything here. I would go to Zoom controls. So here, what you can do is that now this text is
playing just normal. We're in this area. This
text is just normal. I will just mute this
video audio as well. Now this text is
just playing normal, but if I want to make it zoom
in and come in the screen, just press Zoom in.
How cool is that? The resting destination, I would keep it to super minimal. So let's see how does that look. Resting destination is
the size of the clip. Here what you can do, just
press. Here is zoom in. If you want to zoom out,
you can put the Zoom out and kind of zooms
out and goes away. That is a Zoom
control, so that you can put even on a
clip, I'm hoping. So if the magic animate
is on this clip, you can still zoom I have
never done on a clip. But yeah, you can zoom in on a clip. And then
it just zooms out. And what you can
also do with text or anything is that we did Zoom, and now it's whip, so
whips coming in in the screen and
whip out goes out. And then goes out. So that's
so cool that you can do these animations
and you can make this text a bit longer.
So it's really up to you. And then delay time, you can
increase it a little bit. So that sort of changes
the duration in which the text comes
and what time it comes. And whip average length was one, but if I want the whip to
be a bit more quicker, then I go animation
length in seconds. You see now it's a
little bit quicker. And then it goes until there, there there, and
then it whips out. So you see how cool is that, that with just one click, you can do all these stuff. I was looking to make a shadow
under the custom title, but there's no drop
shadow here in this text, like how we had in
the normal text. So what we can do is that if
we go to just toolbar and if you do drop drop shadow, nothing comes up
because then we have to search in in the entire folder. But DaVinci also has an option. So you see nothing comes out because it's in the
specific folder. It's in the specific
folder here, open fx. But there is also a
search option in DaVinci. This lens next to the lens, we have this arrow.
You click this arrow. And if you go all folder, so now whatever you type, the Vinci is going to
search in all the folders. So I would go drop shadow
here, it drops the shadow. You can reduce the blur like
how we were doing before. You can reduce the distance. And of course, you can
keyframe everything. Can keyframe the
shadow strength so it can be lighter in the
beginning, dark in the end. So yeah, you can do so
many things in DaVinci. And for some reason if it's
not working in your computer, please send me a screenshot. So you can send me a screenshot
in the discussion panel, or you can send me a
screenshot by just my email. I would also provide my
email with this class. So yeah, now let's move
to the next section.
23. Speed Ramp: We are almost coming towards
the end of the edit page. So for the free version, so I want to teach you one
more really cool effect, which I use a lot of time, especially with the drone shots. So you might have seen
some videos where, you know, the video goes
like this, this this, and then suddenly it speeds up, you know, and then it
kind of slows down again. And that's what we're
going to do here, or maybe I should choose this drone shot.
Is a bit longer. So yeah, I want to make it look like
here it plays normal, and then it goes fast forward, and then from here,
it slows down again. So for that, what we need to do is right click on this clip, and then you go to
real time controls. Once we have the real
time controls on, you can see these
arrows as 100% here. Now you need real time curve. So once you have the
real time curve, then you need a lot of
room in your timeline bar. Oh, what I want to do is
to speed up from here, and this effect is
called speed ramp. So what I'm going to do, I would at the hundred
percent here, there's an arrow so I
would just point down, and then here we have
add speed point. So you add a speed point and where I want the
speed to be normal, I would add another
speed point here. And now, what you can do. So this is the line
for the red line. This is the line for the speed. So here's normal speed at 100, here is normal speed at 100. Here is also at 100, but we want to increase it. So if you go quick,
quick, quick. So as you can see that now, it's not really going above here because there's the 300%. I think that's the
max what it shows. So if I reduce it
down to say 650, then I can see more of
what's going on here. So if I go reduce again, I would just reduce down
the height of this. So now if I just play It looks really, it
looks super weird. And I would also want this to
start a little bit earlier. So you can move the starting and ending point of the Zoom. So I can also adjust it here, and I want to speed
up a little bit more. So you can reduce this 1,200
down to say 304 to 4,000. So let's play again. So
it's going really slow, and suddenly it goes
crazy quick here. So I think I would also reduce, So now it looks a little
bit weird, like too abrupt. So here what we're going to do. If you see this dot white dot, you click on there, and
then you press here. So now it's making I'm
Zoom gonna zoom in. Now it's making a little S. So our main goal should,
this is the speed. So if here the speed was 100, suddenly, it's three,
six, four, 5%. But this S curve would
increase the speed gradually, it would sort of blend in
and make it more smooth. So I would make it more smooth. There, you know, the
more smooth the SS, the more smooth the
movement would look. But this is the one point. This is only the one side we have to make the other
side also smooth. Press the dot and
make an S here well. So I'm just sort of
bringing it together. So I would just reduce
the length of the S here. Yeah. And now let's watch it. So it goes slow, slow, slow. I think that is a
little bit too slow, so I would just increase it here and a little bit too slow. And here it goes quick. So maybe I would go
a little bit more. So you can also increase much, how far you can change
all these thing. And if I reduce the gap, then so you see? And here, you can introduce
some woosh sound effects. So Wooh sound effect, you're
going to find in master. So all these things,
whatever is here, I have put in a
power bin folder, so you can just
drag everything and put it here in your power bin. Yeah. So what you need to do is bring it and drag
it under master. And here I am looking for
Woosh ten and Woosh ten, you can put it here.
And now let's see. So we have so many cool
sound effects here as well. So really just play with them. And yeah, let's see
how you find it. So yeah, that was
speed ramping for you, and I would just click this
for it to have a normal view. So yeah, there's so
many things more to be taught in this section. But yeah, it's almost impossible to teach everything
in one class. But I think if you already
can edit what I've taught until now, it would be so cool.
24. Edit Page - Export Settings: So now if you just want to
export from the edit page, you know, if I just
bring them together, if I bring these clips together, and then if I
unmuted and unmuted, just change the
height of the things, you can already
export from here. How do you do that?
Quick Export? I would do at 264 Master, or if you export in
some YouTube format, you go YouTube and
just export it. So they ask you to sign in,
you don't need to sign in. If you go YouTube,
it shows 1 minute 47 second because here
it's 1 minute 47 seconds, so they are taking
until the end. So if I go Quick Export, YouTube, you go Export, and then it's going to
ask me where usually it already exports
here in this folder. So if we go safe, and now it's already exporting already
from the Edit tab. Usually, you have to go in the
Export tab here to export. Oh, yeah, that was a little bit of editing
in the Edit tab, and now we're done with
all the free features. In the next section,
I'm going to teach you what all features there
are in the paid version. But if you're really
not interested in buying a paid version
of the interes off, you can just skip to
the following chapter. So any chapter where I'm talking about something which is
of the studio version, I would write in the chapter heading studio in
Bracket, so you know. So yeah, let's move on
to the next section.
25. Voice Isolation(Studio Only): So here in this section, I'm going to show you
some of the features that is just available
in the studio version, and I use some of
them all the time. They have just saved
so much of my life. So. First one, as you can
hear this audio track. Maybe get rid of your stick
this first puff to MesmeR. We're going to Mesmer, by
the way. Did you tell that? So you can hear a lot of wind
noise in the background. So you can literally get rid
of all of that in one click. So here what we would do, click on the audio go as soon
as you click on the audio, now you have a lot of
different options as well, because now you're in
the studio version. The first thing what we would be doing is voice isolation. And if you go here now maybe
get rid of your sticks this first puff to miss Mr.
Face, everything is gone. But what I usually do is
that I would put it maybe about 15 so that it doesn't sound too damped. So
let's hear it now. Maybe get rid of your sticks
this first puff to Ms Mre? We're going to Mesmer, by
the way. Did you tell that? And this was before. Maybe you get rid of your
sticks this first puff. To Me how much wind noise was. Get rid of your sticks we
just reduce the voice out 50. So that was the first
effect what you can do.
26. Music Remixer(Studio Only): And the next one
is music remixer. So here what happens is that if there is a track with
music and everything, and if you just want
to hear the voice, then Dawnci can make you
hear just the voice, and you can, of
course, export it. So I have this
introduction video from my sculpture class, and it has a music running in the background where
I can show you. Today's crowded
YouTube landscape, just posting content
isn't enough. So, of course, you can see that there's a music in
the background, what we going to do we gonna go to music remixer, turn it on. Then we just want
to hear the voice. Yeah, so I would reduce
everything down. And then here, I would increase and maybe I
just mute it from here. And then hopefully I should be just hearing
my voice. So let's see. Today's crowded,
YouTube bland, skip. Just posting content isn't it. Crazy, right? Today's
crowded YouTube bland. If I turn this on,
you hear everything. Skip. Just posting content
isn't enough. What separates. And if I just mute everything, As video from the
captivating Wt is a story, the kind that keeps
the viewer Li Da inci is just muting everything and just your voice
is in the frame. So cool. So, yeah, that's what he can do with
music remixer as well. And then if I want to mute the voice and listen
to everything else, that is also
possible. Let's see. This just blows my
mind how crazy it is. I cannot I'm not saying
anything in the video. Just the music is playing. So if you find a
nice track online, but it has vocals, don't worry. Daminci can take
care of everything. And then one more
thing what we would be doing is what we can do, we just turn off everything.
27. Audio Transcription(Studio Only): So what we would do now is that we can transcribe the audio. So what transcribe tool
does is that if you want to say edit remember
the raw intro video file, if you want to edit that. So what he can do is that I
would keep my playhead here, then I would right
click on this, and then I would go to Audio
Transcription, transcribe, and then the Vinci
would do its magic, and it gives you the transcription
of the entire script. So even if there was a
three hour long video, the Vinci can give the transcription of
the entire script, and once you have
the transcription, he can do a lot of things. Here, if you want to just get rid of these gaps, these dots, you can just press your cross, and Danci would get
rid of all the dots. And now, if you got
rid of all the gaps, you would just press
Command A or Control A, and then you go insert. And as soon as you press insert, all the clips are here. So you can see here, of course, it's not perfect software, so there's a little bit
of gap in the beginning. As we can see here, it shows that Danci
eliminated, but never mind. But all these other cuts, DaVinci does it themselves. Boosting content isn't enough. What separates an
average video from see this was just a main clip
and then it all by itself. And here what we can also do is that I would
just delete it. I would go the
transcribe is gone, so you go audio transcription,
transcribe here again. And here you can also
do is that if you just want this line to be in the
timeline, you go insert. And then if you don't
want this line, if you just want this
line, you go again. And then insert. So you can literally edit according
to the script. So if you want somewhere here, you can go insert here. So you would only be copying
the things what you want. That's really handy if you have a three hour long podcast, I had it a lot of times because
sometimes I film events, and sometimes my client
would say that, Hey, when I talked about that pot, can you put that clip
in the after movie? I'm not going to
watch 4 hours video. My clients would think
that I'm going to watch 4 hours video, and I
can charge for that. What you can actually
do go here and search and say if my
client wanted to say that, hey, when we were
talking about YouTube, can you put those parts? So if I would just do YouTube
and then I would go search. Everywhere where I said
YouTube, it would be there. You can also toggle
with the arrows. If you have a three
hour long podcast and every time your client said
YouTube, you can just find. Even if there's 50 times, you can just go click and
then you can see that, Oh, is that the point
what my client meant? If this was the point,
what my client meant, I would just press this and I would just bring
it in the timeline. How cool is that? And sometimes if you have multiple speakers, Da Vinci can also detect that. I don't have multiple speakers here, and if you
want to, of course, increase the size of the tech, you want to do the
other way, the black and white,
you can do that. So it's really, really cool
the searching options. And what I also do now is that because I'm living
in the Netherlands, sometimes I have to edit
Dutch Dutch video content. So what I would do, I would copy the transcript
from the video, put it in Google trans translate it so that I know
what my client means. It happens sometimes that sometimes they're using
really complicated words, and I don't know the meaning
of those complicated words. I just know the basics. So then I can just
transcribe it, put it in Google Translate. Then I know exactly what
they're talking about. That's when the transcribe
tool is really handy. And also when you're
editing a podcast, it is just so so cool. What you can also
do is that you can do speaker detection in a video. So for that, what you need to do is you go right click
on audio transcription, and you can tick on
the speaker detection and then transcribe. And then DaVinci would show you Speaker one
and Speaker two. So I can see who is the
speaker one. I have to go. So speaker one, I
can also just change the name to Adi and Speaker two, I can do Nira. So if I just press Enter, then DaVinci knows that the speaker one Izadi and
speaker two is Mirror. And especially if
you're editing podcast, then you would know
that with speaker is talking what in
this entire list. You don't have to go
through the video, and if you just want
clips from one speaker, then you can just bring
it in the software. So those are things when you
can use a transcribe tool. And even, like, just
for this tool itself, I can pay for the full version. So that's really, really handy. It's transcribed too.
28. Retime Scaling(Studio Only): And one other thing,
what is there in the paid version of Da
Vinci is I'll show you. So you see this clip,
everything is really nice. But this portion I
don't want to use. This portion I want to
use, I would press I. But then I want to
make it for 5 seconds, but this clip is really short. And to make it longer, if I just sort of
increase the speed of the clip to reduce the speed
of the clips to say 25%, then the whole video
looks like this. You see how jittery
it looks, right? But the video goal goes longer. So what I would do now is that I did slow motion.
I reduce the speed. The video becomes jittery. If you have studio,
don't worry about it. We have real time and scaling. What you do here, go to
real time and scaling. Real time process, you
go to optical flow. Yeah. And then
motion estimation, you go to speed warp faster. If you have a really smart
or really strong computer, then you can go
speed warp better. But if I do speed warp faster, now we see our slow motion clip. It is still taxing on the
system, but let's see. See if I just play it
again, it would run smooth. You see how smooth is running, and this was before. You see? And you can also maybe do
frame blend and see now, framinbln is not working. We go optical flow, and if you want to do speed war better, what I usually do is that I do speed war faster when I
have to see the preview, and just before exporting, I do speed warp better. I wouldn't be able to play it because it's really
taxing on the system, but I can just export it. And in the main video, there you have really
good speed warp. So, yeah, it doesn't matter if you have filmed the
video in a normal pace, you can still slow it down. Let me show you another example. So you can still slow it down
with with the speed warm. If I make it really slow, say, maybe 20 and you see
how jittery it is now? I would go to optical
flow speed War faster, and let's hope that it works. And it becomes a proper
slow motion video. How crazy is that? And it's not even filmed in a
slow motion setting. So these things you can do
in DaVinci and of course, before exporting, you
do speed War better, and then you have the
best result possible. So these were the few
things what you can do in the Vinci reserve that would completely
transform the game.
29. Timeline Organisation: Now I want to show you
another feature of the timeline, stacked timeline. So if you go here
on left hand side, then you press stacked timeline. So here, we can see that we had different
different timelines. The first one is
here, test to here. If you go to timelines and
if we have the intro video, we open this, then there's
another timeline. You see? You have three timelines
next to each other, and what is the benefit
of this is that if I want to copy this clip
to the intro video, you just go Command
C or Control C, go to intro video and then
Command or Control V, and then you can copy the
videos to to the other folder. And then what you
can also do with timeline is you go to here, this plus button, and then you have timeline
underneath each other. So here, what you can also do, we can just choose, say, this was the intro video here, we can do test. So you see why this is great out because these timelines
are already open here, so I'll just close them. Intro video is open here. I would go to Test one copy, and then we have
two timelines here. And then if you want
to drag something, if I want to drag this clip, and whatever timeline
you click on, that's the video it would play. There's the video
from intro video. If I go here, there's the
video from test Copy one. And I can just drag this file. To my timeline here. And if I want to, it would just make a duplicate. If I want to drag all of this, it can just come in
my other timeline. It wouldn't move the
clip from that timeline. I would just make a duplicate.
So that's really handy. So that's when stack
timelines can also be used. And what is also really
handy in the winter is always to open multiple
projects at the same time. So here on the
right hand corner, we would go to project manager. As soon as this window opens, you can go right click and choose dynamic
project switching. So what it does
is that if I say, open this project of
my YouTube video, if I want a clip from this
project, say this clip. Then I go Command plus
copy or Control plus copy, and you can see an arrow here. So this arrow is for
different projects. This arrow is for
different timelines. In the shufflerHike project. But I just I did Command C from an completely
different project and I can paste that file in Winter
Resolve class project. So I can switch the project
to the Winter Resolve 19. We have a new project here, and I can put that
video in this timeline, I go Command V or
Control V. So how cool is that that you can do
dynamic project switching. So yeah, these are the
things what I learned after years of using
the Winter Resolve. And I think, yeah, you're really lucky that you can
already learn this now.
30. Make Boring Video Interesting - 1: This is a really special chapter because here I'm
also going to be editing one really boring
talking head video with you, and I'll show you how to make it interesting
and how to use all the effects
that we have used before and how to
implement that here. Now. So you would find
another folder in the raw video section called
intro because the video, what I'm going to edit
now is an intro video for my previous class, which was storytelling
for YouTube. So if you are someone who
wants to make YouTube video, I would highly recommend
to watch that class. Yeah. So let's start
with editing the intro. So I'll just go through some of the videos what it is there. So we have the
Intro two MP four, so that's the main video file. So I would drag and drop
it here in the timeline. So if you see here, what I also did was I have made another timeline
called intro video. So how do you make
a new timeline? Just right click
Create New timeline, and you can name whatever
the timeline is. So I have made a timeline
called intro video. So maybe I can drag and drop this timeline into
all the timelines, what we already have. So if you click it, then you have the intro
video timeline. So we'll go to the intro folder. So I would recommend
to just copy the same folders in
the Vint as well. And there are a lot of kind of graphics animations and a lot
of stock footage as well. And there's also a YouTube logo, and this is the song, what
we're going to be using. And you would see that
there's an intro Video two MP four and intro Video
two dot wave file. So what I usually do when I'm
filming these classes are that my camera is recording the audio with the lav
mic what I have here. But then the lav mic is
also recording internally, which is this audio clip. So the quality of the audio coming from the lav mic
is a little bit better, so I use that so here
what happens is that if I just drag this
video on the timeline, you can see that there is
a audio track on Audio O. But if I drag this another
audio underneath that, then you can see, hang on. Then you can see that where I'm talking here and
here is very different. So what we usually do with these scenarios
is that when we have two audio inputs and then you want to sync the audio
inputs together, then what do you do is that
you go select these both, then you right click, and then
you do auto aligned clips. So the software
would automatically align the clips together
with the audio. And here we select a waveform. And then you go sync, and
as soon as I would do sync, you can see that
these wavelengths here and these wavelengths here, they would kind of be synced together
underneath each other. So now, as you can
see, it's here, I'll just increase the
volume so you can see that. So in this case, what I would
do is that I would delete the audio from the camera
from this video clip. And then I would select both the video from the camera
and audio from the mic, the internal audio
because you see it's a wavefle then I
would link the clips. Now what happens is that if
I move this front and back, you can see that this
red error comes. If by mistake, if I
move it front and back, then you can tell
that then I would know that the audio and
the video clips has moved. That's why it's really
important to link the clips if you're using the audio from a third
party audio recorder. Here I would just
trim it, I'll press Q, I'll bring it in the front. Here what I would also
do it I'll just move it up just to make the
space more efficient. And here I can show
you one more thing. So if I click on the Wave file, and if I go to files here, then this audio
track is Monotrack. So what happens is
Monotrack is that there's no left and right
side in the audio. There's just one channel. So usually when we
are editing videos, we do stereo track because
that's the norm, what we use. So what you can do is that sometimes iPhone
also they do that they would just record the
audio from one channel, and if you play in the computer, then it sounds like
it's just coming from the right or it's
just coming from the left. That also can happen
with a lot of cameras. To make sure that that is
not the case with you, you go to audio configuration, you go to Custom and then
if you go to Custom, then the audio setting comes up. Then in format, you change
from mono to stereo. And then emitted channel for left and right
should be both one. So here you can see
that on left also, there is an audio and right
also, there is an audio. So if you play this on a
speaker or airpods or whatever, then you can hear the same
volume level in both. And now let's just play and see if the video is
actually sync or not. Today's crowded
YouTub blandscape posting content isn't enough. I today's crowded
YouTube landscape. I would also trim this
parts I would press B so that we are in the
trim mode and then Q, so it goes to the front. So what I'm going to do
trimming and cutting, it's a bit boring process. It would take a bit of time.
So I would just fast for it, and I would also
encourage you to trim it wherever you
think is necessary. You're not interested
in editing with me, that's also fine because
I would just show you how we would be
making this just talking, boring, head talking shot. Interesting. So
let's fast forward a few minutes after when I'm just done
chopping everything, what I think is not necessary, and it can be really handy
if you do it with me. So after chopping everything, this is what my clips look. It could be different
for you. And we are 50 seconds long
with this clip. But yeah, there are
a lot of things which I would teach
you in this section so that you can learn
how to make things interesting and we can also implement everything
what we have learned. So already in the first scene, I want there to be a
bit more movement. I want to capture
audience's attention. So what I would do here,
I would kind of zoom in and make a keyframe here. And then when we are at
the end of this clip, if I just go zoom in, then I want the zoom level to be one to be just a
normal zoom level. So let's see how this looks. In today's crowded
YouTube landscape, just put It almost looks like there is
someone zooming out. There is some sort of
movement in the camera. It's just not a
boring static shot. In today's crowded
YouTube landscape, just posting content
isn't enough. What separates an average video. So I can also see here that there's a little
bit of jump cut. So what jump cut means is that? Isn't Enough. What's separate? You see, there is a
little bit of cut in between these two scenes and
that looks a bit jarring. So what I do everywhere
on YouTube on my Instagram also for courses is that if there is
a little bit of jump cut, and if it's possible,
then I put some B roll. So here I would put a B roll of the YouTube upload scene here. So this is just a shot of, you know, someone
uploading the video. And that's what I'm saying, as well. Just posting. So when I'm saying posting, then you can show Upload
button for YouTube. Just posting content
isn't enough. What so what I can also do is that
bring this screen record with an animation. So what we can do
here is that we can go to effX and I really hope that you have downloaded
the magic animation effect. So here we go to EffXs. We go all the way
down, and then we go magic Animate V three free. So we can drag and drop
here on my animation. And once it's dragon
dropped, then I select this, the screen record, and I go to EffXs on the Inspector tab. If I'm going too quick,
then you can rewatch this. So we go to effX
in Inspector tab, magic animate, you can see here. If I just scroll down,
I want the whip. I want it to whip
in in the screen. So I will do whip
in, and let's see. Just posting content
isn't enough. Just posting content
isn't enough. What separates? So I also see there's a black screen
in the end after this. So before even the
black screen comes, I can just cut this clip and
just drag it over the card. Just posting content
isn't enough. What separates an average video. And here, what I can also do
is that when this comes in, posting content then I
can put a Wooh effect. And the Wooh effect you can find in go in media to put it in Power Bins because that's what I did in the beginning that all my effects
are in the Power Bins. So I would go to wooshes and I would just listen
to a few of them. Maybe just drag and
drop this here. So in this timeline, what I would ideally want to
do is that the video one, I can maybe mark here main talk. You don't have to
do it, but just for the sake of this
class, I would do it. And here I would do main audio. And here I would do
maybe sound effects. And the next audio track,
I would do the music. But yeah, let's here
I can do B roles. And I would just
reduce the volume of this because you can also see that the height of these graphs
should be this much. So if in the beginning, I can see that the Zooch
effect is already this high, so I would just lower
it down already. Just posting content. So I see that the Wooh already happens a little bit before. So now. Just posting
content? Isn't enough. What's? Just posting content? No. This looks fine. Posting content This woosh is not really going
hand in hand. Maybe this. Posting content? Oh, yeah, this fits much
better. Posting content. Posting content isn't enough. Posting content isn't enough. So posting content isn't
enough. Goes in sync. And what I can also do is
that when this screen comes, no, that's fine.
Posting content. Leave it like that.
Content isn't enough. What separates an average video from the captivating
wants is a story. The captivating one is a story. So when I see the story, then I want the magic Zoom. So to enable the magic Zoom, I need to go to effX
click EffX here, then put on an adjustment
clip somewhere here, and then I would scroll
all the way down, and then I do magic Zoom. And so now that magic Zoom is applied on
this adjustment layer, what I need to do I go on the right hand side
to the Inspector tab, go to effX and then
in the Zoom type, you do from mirror
to Zoom and hold. From the captivating
once is a story. The captivating once is a story. You see how smoothly it moves. And now here I want to
zoom in where I'm sitting. So here I will go and click the arrow and put
fusion overlay. And here wherever
this center line is, that's where the Zoom goes. So I would go and try to make the zoom at
my face. Let's see. From the captivating
wants is a story, the kind that keeps the
viewers hooked from start to finish. That
also looks nice. So I didn't do I wanted
to do Zoom and hold, but the mirror also looks nice. From the captivating
wants is a story, the kind that keeps the viewers hooked from start to
finish. My name is A. So when I say also
what you can do at the jump cuts is that you can see there's
another jump cush. My name is Adi Singh. So here, what you can do is that you
can just zoom in normally. So if I just zoom in, and now let's see how it looks. Finish. My name is
Atish, and welcome. It almost looks like the
Zoom was done intentional, but Zoom is I did
the Zoom effect just to eliminate the jarring effect between jumping from
one cliff to another. The storytelling for YouTube. I'm a YouTuber with over
nine cheaper with over 90. So when I say over 90 I'm gonna say over 96,000 subscribers. So then I go to
the intro folder, and then, there is an animation. I would delete the soundtrack
because we don't need it. There's an animation where
the counter goes to 96,000. 6,000 subscribers. And I've been making
YouTube videos for the last eight years. My name is Addison and welcome to storytelling
for YouTube. I'm a YouTube worker with
over 96,000 subscribers, and I've been making
YouTube videos for the last eight years. So when I say last eight years, then I want the Zoom in again. So maybe I can just copy
this adjustment clip. So what you need to do if
you want to copy something, click on that, press Option
or Alt and then drag it here. So it would make
another duplicate clip. And here I just want
to do Zoom and hold. So I click on this
adjustment, click, clip, then I go to EX, and
here from mirror, I will just do Zoom
Zoom and hold. And I would make
this a little bit shorter and see how it works. The last eight YouTube videos
for the last eight years. And I gained most
of my subscribers in the last year and a half. So here we have
another animation where I'm showing that I have, like, most of my subscribers
in the last year and a half. And I gained most
of my subscribers in the last year and a half. So what so here you can see that this
is just a static frame. So we need to do some animation, so, you know, so it looks
a bit more interesting. So here what I can
do if you check out my Inspector tab,
so I've clicked. I've selected the Whitey
subscriber graph. This is just a static
shot. I would zoom in. And then maybe I would
keep it in the center, and then I would keyframe everything or maybe just
keyframe the whole transfer. If you just press
here the keyframe, then everything is
keyframe, Zoom, position, rotation, angle, anchor point, pitch ya here what I would do, I would use Yos or not pitch. I would go like this. Yeah. And then, oh,
that's a bit too much. So I would go just
like this and then subscribers in the then when I would go towards the
end of the clip, then I would just make this
ya a bit more this way. And at the same time, I would also want the Zoom in. So here it's at 1:10. Perfect. So then I
would go to the end and then maybe Zoom in so that it looks like
there is more movement. It almost looks like a video rather than just a static frame. Gain most of my subscribers
in the last year and a half. So what did I change
to you? You see? So now it almost looks
like Gain most animation. So my subscribers in
the last year and half. What what did we do here basically was just
keyframed everything. And what keyframes
does is that it saves the position or the setting
at a particular frame. So you can do a setting
in the beginning, you can do a setting in the end, and then the footage would
move throughout how you have changed the setting throughout
the entire time period.
31. Make Boring Video Interesting - 2: Did I change during that time? Storytelling techniques. So, when I'm saying
storytelling techniques, I would just do that Zoom
in effect here like so. So if I'm going too fast, you can also just
pause the video, do it for yourself, and then resume the destitutorial again. Storytelling techniques.
In this class, I'll show you how
to go beyond just posting content
and start creating videos that truly resonates
with your audience. And by the end of this class, you'll have both
the knowledge and practical skills to elevate your content with storytelling. Making every video I also have this animation where the views are sort of going up and down. So in this animation,
I've already added, you know, the
twirling animation. So you don't really
have to do it, but, yeah, I also want to
use this somewhere. Posting content isn't enough. What separates an
average video from the. And you see if the green
sign is always there? Because because we used it here, you can just tap the
fusion overlay again, and the green sign is gone. A kind that keeps the viewers hooked
from start to finish. My name is Adsing and welcome to storytelling
for YouTube. I'm a YouTuber with over
96,000 subscribers, and I've been making
YouTube videos for the last eight years. And I gained most of my
subscriber when I say, again, most of my subscribers, I also want to do
another animation here. So we go to Master, and then we go to the film light overlay. So I would just
drag and drop here. And this is like a ray of light just
overlapping the screen. So this goes. Most
of my subscriber. Lights. But then I
want to blend it good, you know, so that what am I saying in the background,
that's also visible. So to do that, what you do you select the clip, and then you go to
Composite Mode, and from normal,
you go to screen. Most of my subscribers. So here, what happens
is that I'm moving from the talking shot
to this animation. And because of that
swipe transition, it looks a bit more
natural that after the swipe, the animation comes. Most of my subscribers
in the last year. And with this, I can also add
the Zoom, the Wooh effect. So I just copy this woosh from
A and then bring it here. In most of my subscriber
in most of my subscribers. You see how nice it
looks. It goes in a sin. In most of my subscribers in
the last year and a half. So what so here I
can put another one. From Master, there is a video called film
burn transition. So I would bring
it here. So I've already selected the in and out. It's a really long video. But once I have selected the in and out points in some
other video in power bins, then the in and out
points would be saved. You can see that there was
in and out points here. There's not in and
out points here. There's in and out point
in this one, you know, so all these settings
are saved if you have already all your
elements in the Power Bn. So what did I So what did I here I would do the composite
mode to screen again. So what did I change.
So what did I change? And here I would do
the click effect and click effect
what you can do. So you see everything,
what I'm using from there. That's also being copied in
my timeline here. So you see? So what I would do, I would
just grab these files with control or command
to select them all. And then I would just move
them to extra so that my bin is not really
cluttered here. So let's go to power bins, and I want some cliques,
camera shutter, maybe. So maybe just here this we can bring it here and maybe reduce the
volume a little bit. What did I change. So
what did I change? Oh, it's a bit still too
loud, so we go down. So what did I change? So what And it goes for a little bit long so I
can make it shorter. So what did I change
during that time? Storytelling techniques.
In this class, I'll show you how to go
beyond just posting con. So here I can maybe add some B rolls from
what you already had. So if you go to Sony Vlog, maybe add some nice
beautiful clips because the talking headshot
goes for really long. So. So it can be put some rolls, maybe here of a stalking. So it looks like, you
know, I'm telling a story. I'll show you how to go
beyond just posting content. Oh, maybe I can use
some other, this clip. So you see, if you
just select in and out points, it would
be always there. In this class, I'll
show you how to go beyond just posting content. Maybe from here. And in this class, I'll show you how to go beyond
just posting content and start creating videos that true To maybe hear
another nice shot. So I can just drag and
wrap the audio video file. Just posting content and start creating videos
that truly creating videos that P I just did in point. Videos that truly resonates
with your audience. And by the end of this class, you'll have both the
knowledge and practicals. So now you see that I'm in
a different folder, right? So I want to go
in a folder where this video file was because
I know that in that folder, there are more files
that I want to use. So here I am in
Master Sony Vlog, but I want to go in
the intro folder, so you don't have to
go all the way here. What you can also do is that you can just double
click on the Intro, and it would already show in Da Vinci that where this
intro two MP four file is. So here I want to copy this graph Knowledge and practical skills to elevate your content with storytelling. I want to comic from here. So it's like I'm showing
the storytelling graph so that I can also
show in the inform. Nledge and practical skills to elevate your content
with storytelling. Make picking every video not just watchable
but neverable. So if you're ready to tell your. So when I say, so if you're
ready to tell your story, then you can zoom in a let. Neverable. So if you're ready to tell your story, then
let's get started. So I think, yeah, those were the few things what I did that can make just this sitting and talking shot a little bit nicer. But what we want to do now is that add music to this video. So if we go to this music, you can also use
whatever music you want. So from the graph, I can
already see that it's a little bit low notes in the beginning and the
music picks up here. So maybe I'll just press
I and then press O here already and just drag the
music clip on track three. But then from the graph, I can already tell that
this music is really loud, so I would just reduce it
down and see how it fits. So I would just drag
it up. So you see, I took a short
portion of the music, but here I can just elongate it. Today's probably
YouTube landscape. In today's crowded, So I can already see if I zoom
in that from here, the music kind of picks up good. So let's just watch it again. In today's crowded YouTube
blandscape posting content. I think it's still
a little bit loud, so maybe we go to 22.96
decibols. Let's watch again. In today's crowded
YouTube landscape, just posting content
isn't enough. What separates an
average isn't enough. H isn't enough. What, Isn't enough. What's se I think
content isn't enough. What separates an average video from the captivating
ones is a story, the kind that keeps the viewers hooked
from start to finish. My name is Adisen and welcome to storytelling
for YouTube. I'm a YouTuber with over
96,000 subscribers, and I've been making
YouTube videos for the last eight years, and I gained most
of my subscribers in the last year and a half. So what did I change
during that time? Storytelling techniques. So when I say story
telling techniques, then I want to cut out the music because it's just a
bit more impactful. I storytelling techniques.
In this class. And here I see that the
music comes a bit abruptly, so I can just bring the music a bit more
towards the left, and then I would just let
the music kind of smoothen in and music let the music come in softly in the
picture. Telling techniques. In this class, I'll
show you how to go beyond just posting content and start creating videos that truly resonates
with your audience. And by the end of this class, you'll have both the
knowledge and practical. So here, when I say, by
the end of this class, you'll have blah, here I want
to do like a slow zoom in. So I would just go
to the last frame. I would make sure that the
zoom in is towards me. And here, if I go here, I can see that I did the change in the
second last frames, I'll put it towards the end. So this keyframe, what
we're doing here, you can also see
the keyframes here. So say, for example, if I wanted to kind of just zoom
out until here, I practical sin the zoom
out would stop here. So you can do that, as well. Pure audience. And by
the end of this class, you'll have both
the knowledge and practical skills to elevate your content with storytelling. Making every video not just
watchable but neverable. So if you're to tell your story, then let so here, the music would end abruptly, so I'm just gonna make
it a little bit softer. Taboo, but never boo. So if you're ready
to tell your story, then let's get started. So yeah. That was how I edited the intro video
for my previous class. So I hope that you got some
tips from it, and, of course, we use some examples
from previous lessons. That's how you can use
the effects what I thought before and make the
video more interesting. And now what I want to do, I want to go to
the Fairlight tab and teach you some of the
effects so that you can make the audio sound nicer
because now the audio is nice because we are still filming in the
controlled environment. And that's the
same technique I'm using to edit this
class as well. And that's why it's also
really important to keep all vocals or similar
kind of files in one row and the music
in one row because then you can if you have to put a setting on just
main audio row, then you can put the
setting on all the claps. Because if there was music here and the audio
was somewhere else, it would be so annoying to edit. And before we go there,
I also want to show you one more thing that you see
these audio levels here. Some is crowded.
YouTube landscape. Posting content isn't enough. WhatsEp? These are
the audio levels from you see the main audio, the video effects, and the
audio three is our music here. So I'll just make it music. So these are the audio levels from whatever music is playing. So here you can already see that none of the
audio is peaking, because if I would
have increased this music, it would
be a bit loud, so just a heads up, then you can see that
the audio level is super peaking and there
would be so much reds. It's godly. Beating. You see? It's super red. So you can also lower down
the volume from here. So now it wouldn't peak so
much. Let's play again. In today's crowded,
YouTube landscape. Just hosting, but then
this would reduce the volume of this entire track. But I don't want to do that. But that was just an example
to show you that if you are not sure if the audio is
peaking or not in a video, you can just follow
the graph here if something is in
uds all the time, that means that audio is
peaking and for some viewers, it wouldn't be that pleasant
to listen to those audios. So yeah, really be mindful of
these audio charts as well. Today's crowded
YouTube landscape, posting con see, it's
revolving around minus ten. Yeah. So, yeah, I hope
that this is clear to you. Now, let's move on to
the Fairlight tab, and we would be using
the same video as an example to enhance
the audio. So let's
32. Fairlight Page Introduction: So in this section,
I'm going to give you a brief introduction
to the Fairlight tab. To be honest, I don't
use it that much. Whatever I use it for,
I'm going to teach you because I feel like to make
a really good content, that's the only part
what is necessary. So let's go and click here. So here I will go
to the Fairlight. And if I click here, and
you can see here that just the music section is visible because this
tab is about audio. In today's crowded
YouTube landscape, you can also see the
YouTube playback. Oh. Here you would see
just the audio graphs. And the more you can see that there's audio
channel one, two, three with the
names what we gave, but you can have so many
audio channels so long. And here there is
another channel, which is the main controls and the loudness it would show, and it would also show how
loud it is or not loud it is. And then here we have
the video playback. And here, if you go on
the left hand side, you can see that is
just a representation of the audio timeline, so I can also make
it a little bit bigger by just dragging or I can just use Shift and scroll up or down to
zoom in or zoom out. And you can tie up just
see the audio tracks. And again, we have
timeline view options. So display full wave forms.
You can do that, as well. So yeah, it's literally
the same thing. And timeline, these are the few things which
we don't really use because we have already used the same things in
the main timeline. And the main reason
why we are here is to enhance the audio,
enhance my vocals. You can also see here
in the timeline that there's left channel and the right channel
from the audio. That's what we changed
in the beginning. There's also left and
right channel in the ooh. But if I just drag and
drop the wave file, which was here, and now
if I go to Fairlight, then you can see that
there's no two channels. There's just single channel. So once you go to Fairlight, then you can also
see that an audio should have two
channels, always. So I think we can
also just delete from here, I'll press X. If you haven't
downloaded in my Preset, you can just press backspace. So here, our main job is
to enhance the vocals, enhance the audio
quality of this track. So what we would do, we
would just select on the main audio and then
we would press solo. So solo what I told before
was that if I press solo, then I could only hear
the vocals in this track. All the other tracks
would be muted. So let's check that if it works. The YouTube landscape, posting content isn't
enough. What's CP? So, yeah, we can hear
our audio loud and clear and all the sound effects and the music is turned off. So first thing what we want to do to enhance the vocals is, if you go here, so A one
is audio channel one, which is what we are working on, you can see some things, e. So there is dynamics, there's equalizer, and
there are some effects. And next to effect,
there is a plus option. So what are we going to do? We just go press. Plus. And then the
first thing what we would be doing is we
go to restoration, and then we go to DSR. And what DSR does is that
whatever that there are S or his kind of
sounds in the video, it would kind of lower it down. In today's crowded
YouTube landscape, just posting content
isn't enough. What's So what you
can also do is that if you are not sure where
the E and the S are, you can just do this, and then the software would already
tell you where the Ss are. Separates an average video from the captivating ones is a story, the kind that keeps the viewers hooked
from start to finish. So I think that in my video, it's not that much
or I think because my mic setting is I put it in that way that the
says are not that high. So you can just drag and
see where you can just play the audio and then see at
what place should I put this? This is you can
increase the intensity. Here you can lower
the intensity, so you can see that at
what place you should be keeping this to let the
audio sound be better. Today's crowded
YouTube landscape, just posting content
isn't enough. What separates an average video from I would leave it to
here because honestly, I don't have a lot of s or so, but sometimes when I
film from my phone, then there is a lot
of kind of sounds. So then I really need
to reduce the SS. But I would just leave
it to here, DSR. And then the second thing,
what we would you can see that in the effects
list, DSR is added. And if I want to change it, I can click here. I just go one click
and then I can go back to this window where I can
change the DSR settings. So we want to add
another audio effect, and here we would
go to dynamics. And in dynamics, then we
go to Fairlight effects, and here we go to soft Clipper. And in soft Clipper window, we go from default
to soft drive. And then we don't
change anything. And what this does is that it gives a bit more
body to the audio. Let's listen it. In today's
crowded YouTube landscape, just posting content
isn't enough. This was after soft Clipper.
Let's hear it before. In today's crowded
YouTube landscape, just posting content
isn't enough. What separates an average
video from the It just gives a little bit of
boost to the voice. So I would leave it
here, soft drive. And next what we're going to be doing is we go to equalizer. So we double click on that. So then the equalizer opens. And then I already have here, the equalizer is Togolov. So here I already have a preset, but DaVinci also has a preset. But one of my preset
is skill share class. And that is really applicable
to the mic, what I'm using. But for every class, it would be something different. So to tackle that, what we can do is
that we can just go to the normal without equalizer mode and
see how everything sounds because you see
different different presets, Dawnci has different preset. I just had DGI MI
two and Skillshare, but different different preset, graph the equalizer,
graph changes. Yeah. So what we would do is that we will just
keep it to normal, just go reset it.
There's a reset key. And here, what happens is that
the first thing what we're going to do is that
all the higher volume, like all the damped volume
frequencies are kind of here. In today's crowded
YouTube landscape, just posting content
isn't enough. But we can already see that our audio is really
good in this range, but sometimes if the audio
is here in this area, then you can bring
this graph like this, and it would eliminate all the frequencies which
were not there. So you see now if I
bring the graph here, then you wouldn't see
anything popping up here. What separates an average video from the captivating ones? And if I just leave a
little bit room here, you can see that the graphs
are jumping off a story. The kind that keeps
the viewers hoped. But in general, what
we do is that we reduce this frequency
down to about 100 or so, and then I would
increase the two here. The two. What this
frequency does is that it increases it gives a bit
of base in the audio. Today's crowded YouTube
blandscape posting content. Did I see her before?
Isn't enough. In today's crowded
YouTube blands scape, posting content isn't enough. What? And then what we're going to do here is
that reduce down the mid tones so little What separates an average
video So here, what we would be doing is
that you go to band three, you leave these
settings same as it is. We change the factor. And then what we
would do, we would listen to the errors
in the video, and wherever the
audio is really bad, we pick up that point and reduce it down. I'll
show an example. Today's crowded
YouTube landscape, just posting content
isn't enough. What separates an average video from the captivating
ones is a story, the kind that keeps the viewer. So at this point, the
audio sound really weird, so I would just
reduce this point. First hoped from
start to finish. My name is Adsing and welcome to Story I would do
the same with here, so I would just select four. So we are in band four
and then Q factor, you would go all the
way in because what is Q factor is that if
I reduce like this, then it picks up all
the other frequencies. But if I increase the Q factor, then it would only pick
up some specific points. So let's listen ink for YouTube. I mean, YouTube were with
over 96,000 subscribers, and I've been making
YouTube videos for the last eight years. And I gain most So it
sounds really bad here, so I'm just going to
reduce this frequency. My subscribers in the
last year and a half. So what did I change during? And here I would
bring the Band six. So also make sure that if
the band six was like this, then this volume
would just go up. So we need to be sure that in
the band six and Band one, we select this shape. And then at five, I would just increase this a little bit. Let's hear the whole audio. In today's crowded
YouTube blandscape, just posting content
isn't enough. What separates What we would do, we would also reduce
the factor at four. In today's crowded
YouTube bland. This was after and
let's hear it before. Just posting content
isn't enough. What separates an average video from the captivating
ones is a story, the kind that keeps
the viewers hooked. So there is not much
change because the audio, what is coming out of the
mic is already really nice. But this gives a little
bit of extra depth to the video and your
audio is really bad, then you put the settings
and then you can see the changes in the video. So after the equalizer, now we have one more effect, which is left which is dynamics. So let's try that.
Here, I don't do much. I just follow the presets. So here, first thing, what
I do is that expander from start to And then I also
select the compressor. Finish. My name is Adiing and welcome and then I do gate
storytelling for YouTube. I mean, YouTube word in today's crowded
YouTube landscape, just posting content here
was before? Isn't enough. What separates an average video from the captivating
ones is a story, the kind that keeps the viewers hooked
from start to finish. My name is Adi Singh and Will. I think it sounds pretty good. So yeah, these are the
few settings what you can do to enhance the vocals
in Fairlight tab. And, of course, you can test out different settings as well, but I just use these settings, and I think that they
work really good for me. And yeah, you just need
these few settings to yeah, make your audio sound better. So that was a little bit of introduction for
the Fairlight tab.
33. Subtitles: So once we're done
with Fairlight, that was a brief introduction. I can also show you
how to add subtitles. So we select I point
and outpoint here. So I here, which would
select Inpoint and O here, which is select the outpoint. And then we go to timeline and create subtitles from audio. And then Window pops
up here with language, I would select English. And the maximum characters, what you want per line, I would just maybe do
30 if you're filming an Instagram shots
video and you just want one character per you know, if you want just
one word per frame, then you can do maybe
like two words. So Instagram would
just put two words. But now we want 30,
so let's just go. And Da vinci would make
the subtitle super quick. And here, what you can also
do is select the subtitle, then we go to track, and then here you
can change the font. And whatever font
you choose here, that would be applicable to all the subtitles throughout
this whole class. And you can also
choose just regular. What he can also do, you
can change the position. So I would just leave it here. You can do drop shadows. You can do all sort of effects, what you would usually do in a normal text in the subtitles. And sometimes you can
also do is that as I told that if you put one
setting on one block, the same setting copies
to all the subtitles. If you just want one word or
one line to be different, what you can do, for example, in this box, I go
click on this box, then I go to caption, and then I can do customized caption. And then what would happen is that whatever
changes you do here, that would be only applicable
to just these subtitle. Say, for example, if I want
to change the color to yellow, let's check it out. At the end of this
class, you'll have both the knowledge
and practical skills. So you see, now you have different different colors on
different different texts. So these things you
can do it as well. So I would just get rid of it. So yeah, those were
subtitles for you, and what you can also do
with subtitles is that we go to Track and if you
want to save these settings, then you can go here,
check out the three dots, click it, then you can
do Save Track as preset. So I have different tracks
for different work. So if I have to do the YouTube, these are our YouTube subtitles, so I can just go load preset
and then you don't have to change the font or change
the text size every time. You can just save
the preset here. So if I have the
reels for reels, I had different subtitles. For one of my clients, they have a different they
prefer a different subtitle. So yeah, everything
is customizable. I would just leave it to this. And yeah, that was
subtitles for you. And if you want to import a preset from your
favorite creator, you can just go import here, and that opens the
file in your computer.
34. Color Page Overview: So here we're going to be
starting the color grading and all the color grading
files you can find in this folder
color grading. So what I've done
is I've already imported one clip
in the timeline, but as you can see
here at the bottom, we are still in Edit page. So what do we need
to do is to go to the color tab. Let's go here. So in this section, I'm
going to be giving you an overview of what is in
the color tab because, yeah, for first timers, it can be, I think,
super overwhelming. Let's start from
the left hand side. So left hand side, it's kind of the similar structure how we had in the Edit page. We have some menus on the
top, so that's gallery. I'll explain you what
is this picture here. And then we have lots,
lots are the filters, what you use on the videos, to make them look nice. I have a list of lots, but I would also put in the description one of some
of my favorite t packs, and that also
includes my t pack. So I would be including two Lut packs where one is this
Rec seven oh nine. I think it has 20 filters
or lots, you can say. And if you just click
this, this menu comes out. I would be, putting the Rec seven oh nine
in the description, and then I would also
put the LCO lot pack that's my personal lot pack. So what happens is that
as soon as you just bring the mouse on these lots that already gives us a preview
of how the image would look. But we're going to be going
in detail about lots, how to use lots, how to
make your own lots later. So don't worry
about that. And if I want the menu here,
that comes here. And Da inci also
has a lot of lots. If you're filming
from an Apple phone, if you're filming
from a DGI camera, they all have a specific
lot in Da Vinci already. So you don't even have to
buy third party out pack. So that was a lot. And next
to a lot, we have media Pool. We don't really use
media Pool here, but there is a little bit of use of that, but I'll
explain to you later. So I just keep it to lots. Or sometimes if I want this
playback to look bigger, I just get rid of everything and then yeah, the playback is here. And if I want to resize
it, I'll just press Z. So then the playback
fits in the frame. And then the next
one is clips here. So clips, you can see. If I get rid of the clips, then
there's nothing here. But if I put the clips up,
there's one clip here. So, for example, if I had
multiple clips in the timeline, you know, just for
example, I drag three clips if I
go to color page. So then you can see that
there's three clips and you can also see the
thumbnail of the clip, so you know which clip is it. So when there's like 30, 40, hundred clips in your timeline, you can just scroll around
and go to specific clips. And you can also copy and
paste the settings on all the clips at once
or on a specific clips, you know, so I'll explain
you all that later, but that's clips for you. But usually, if I
have a small screen, if sometimes if I'm
editing on my laptop, or even on this 27 inch monitor, what I do usually is that I
just get rid of the clips, and this is how my windows looks because I want to
see the playback good because that's where
all the change is happening. This is what is the
structure of my timeline. And this, of course,
the zoom level. I'll explain to you
what these things are, what these options are. It's not really important now. Then here if you
do enhanced view, that gives you a
little bit more view of how the playback looks, but I'll just put
it, click it off, and then here we have
the cursor mode, here we have the hand moode. If we have the handmode
then you can move the entire node tree. Let's go back to cursor. So I just choose this one. And here there are
some options which is not really important when
it comes to color grading. But if I'm using them during the editing during
the color grading, I'll let you know why am I
using it and what it is. And then here we have, again, Quick Export, like how
we had in the Edit page. So you don't really have
to go to the Export page. You can just quick
Export from here. And this is the timeline view, so you can see that we have this clip here, we
have this clip here. So there are three clips. And if I show you
another timeline, then we had the timeline
here from our last project. So you can see the
entire timeline. But for me, it's
not really clear, like, yeah, where I am. I'm a bit lost when it
comes to the timeline here. So I would just go to our
myColor grading project. So yeah, that was the timeline, and here we have nodes. So I would just get
rid of the timeline because you can see the timeline is on now because it's white, and there's also timeline here. So I'll just get rid of
it. And here we have node. So nodes I'll explain
you what nodes are. That is the most important part when it comes to color grading. So that's how you can show
the node and same as effect. There's a lot of effects
how we had in the edit tab, all the effects were
on the right hand side in the inspector panel, and I'll show you the
most important one. Sometimes a lot of effects are also not in
the free version. So, yeah, if you're
using free version, there are a lot of things which you cannot do in color grading, but you can still
achieve a really good, really good film quality look. So don't worry about that.
But for studio users, I have a dedicated sections. I have a lot of
dedicated sections for studio users because there are some really crazy tools in Dawnci which no
other platform has, and I'm going to teach
you all that later. And like I use those
tools all the time, and also for free users, if you're really serious about video editing and colauting, I would really
recommend you to invest in buying the full version
of the Vinci resolve. It is just so, so good. But yeah, that was effect. So if I don't want the
effect, I'll just this. And then Light box is if
I had 100 clips here. So Lightbox gives me an overview of how my
entire project looks, how the colors are looking in all the clips because
they show this thumbnail. I'll get rid of Lightbox. So that was it. And then here we have something which
is not really useful. These two dots are
really useful. So one dot, if you see here, this dot is representing the node diagram
of just this clip. And this dot will be showing the node agram
of the entire timeline. So say, for example,
in my entire timeline, all the footage
looked a bit yellow, and if I want to correct
it by, you know, changing the white balance, I can just change the white
balance of the timeline so that that setting
is on all the clips. A lot of times my
middless camera has this really sharp look. So in the end when
I'm done editing, in the timeline view, I would just make one node, and then I would
reduce the sharpness, so it looks at, you know, bit kind of film like image. So if you want to put any
setting on the entire timeline, you go on this dot and make
your own note tree and yeah, put the settings
in the timeline. So I would go to the clips
now, you can also change here. Click. And then
this you can change the size of the node
because sometimes it's also it can get bit confusing
if you have like I think ten or 15 nodes
then it gets confusing. You want to really see
which node is doing what. So that's what you can
change here, the Zoom size. So yeah, that was
the top portion of the color page in
the Vinci resolve 19. Let's move here to
the bottom portion. So this is the most
important part color wheels, primary color wheels. You can see here
primary color wheels, is the most important
part of Da vinci. So let's start with this panel. So here what is happening is this would just
give me a bit of information about which
camera that shot at what is a color temperature if
you have studio version. So that's not really important. We don't do color
matching as well. That is two to advanced, so we really don't use it now. Have color wheels. This is the place where we have
primary color wheels. With these color wheels, you can change the exposure
of the overall image. So you can increase the
brightness, reduce just shadows, increase the blacks,
make it more contrast, less contrast, and all
that sort of stuff. And then you can also change
the look of the image. So for example, you might
have seen in movies like Joker or movies like Dune. I Joker, they have really
kind of cinematic, green, bluish look, teal
and orange kind of look. And in dune, you might have seen that they have this really cool, yellowish look on
the entire image that we can do with gain
Cam and lift color wheels. So that's when primary
color wheel is important. And then we have temperature, wide balance, all these things, I'm going to be going in depth
in the upcoming section. That was primary color wheels. Then we have HDR color wheels. We don't use it much, but we use it for something
really specific, which I'm going to
show you later. And then we have RGB mixer. So this is kind of the
same representation of how my primary color
V looks in this format. And then we have
some motion effects. Then we have noise reduction. I'm going to show you how to do noise reduction in
the winter resolve. So yeah, there are
some tools here, and then we have custom curves. So custom curves, we can
change the curves here. If you're doing
photo video editing, you have custom curves
in all the software. So that's where
custom curves are. I'll just reset it,
so just press this. We're going to be doing a lot
of things in custom curves, and you would see that
every time if I'm here, changing these menus. There are also a
lot of things here. So it's like kind of a sub menu. So we have primary color wheels, then we have this
representation of color wheels. Then we have log color wheels, which we don't really use much. If you were editing in premiere or other editing software, you might have seen
highlight mid tone shadows. But in DaVinci, we mostly use the gain
Gamma and color wheels. And then once we go
to the custom curves, there's also a lot of
different types of curves. There's Hue versus Hue, Hues a saturation Luminance was a saturation.
It's a lot of curves. You have to use some of these, but I would really go in depth of how to color grade
an image with the curve. So that's also my favorite part. So yeah, I would just go in depth about that, so
don't worry about it. And then we have color slide. So this is the latest
edition in the Vint 19, and, yeah, it's a
really cool tool. But yeah, I would
show you later. And then we have color
warper hue saturation. It's kind of like a
spider web thing. A lot of people use it. A
lot of people don't use it. So yeah, I don't really use it, so I wouldn't be going too
much in depth because I think that the tools what I have
already learned in DaVinci, that already gives
me such a cool look, all the desired look that I don't really feel
like I have to, you know, use more tools
to get the same output. So why would I make
my life complicated? And why not achieve the look
in the easiest possible way? So that's why I don't use it. Then we have qualifier tool, really cool tool, expenu
later. Then we have Windows. So, for example, if I
want to just choose this window and change the
size or so, that can be done. And then what happens with these windows is that
say, for example, if I choose a circle
and if I want to put an effect just in this area, then I can make a circle around it and put
that effect there. For example, if I want to
increase the brightness, I can just increase the
brightness in the area selected. So that's where Window
tool comes in handy. So I will just delete that and we going to be using that
in the upcoming section. So don't worry about it. Oh, I have to reset it.
Now it's all gone. Then we have the tracker window. I'm going to be showing you this as well in the
upcoming session. Then we have magic mask. The magic mask is only available
in the studio version, but it is really, really cool, really cool. But yeah, I would be explaining
it upcoming section. So we have a lot of
different options here. Let's go back to the
primary color wheels. And then next to
the color wheels, we have some kind
of colorful graphs. If you don't see this graph, then you go on the
right section. Sometimes you might
just have this, sometimes you might just
have the vectroscope. Yeah, there can be a lot
of different outlets in the winter result depending on what computer you're using,
what version you're using. So these things ad,
vectroscope, waveforms, they give us a lot of
information about the image, but I would go in
depth about them, and, you know, you can change the outlook of the waveform. If you just want Y, if you just want CVCR or RGB, you can change the
waveform structure. I usually keep it to parade because that gives me a good
information about the reds, the greens, and the
blues in the image. It sounds really complicated, but I'll go through
it in detail. Yeah, there are a lot of
tools in color grading page, but you don't need
to know all of them, but whatever you need to know, whatever tools are there,
they would just help you so much to make the colour
grading process super, super easy and super practical. And what else do we have?
We have some key framing, so you can also do key
framing in certain clips. So, for example, if you want certain number of
shadows at one point, then, for example, if the sun comes and you want to
reduce the shadows, you can do that as
well by keyframing. But I would explain
it in details later. So let's go back to scopes and then we have
more information about the clip, the start time, the end time, the resolution, if it's four K, and
then all the clips, what we're using is in ten Bit. Ten Bit is a more
advanced kind of clip, and in ten Bit clips, if some image is really dark, you can increase
the brightness of that image without the
image falling apart. Or sometimes if the
image is really bright. If it's super sunny and if you
film in the wrong setting, you can reduce the exposure
until some extent, if it's a ten bit image. In the camera in some
of the older cameras, there are usually images
which is eight bit, especially in the smartphones, but the new iPhones
or the new Samsung, they all film in ten Bit. So you can check the information of the footage what you have. Is if you see Kodak
here, is it 422, tenbtO is it four
to zero, tenbt? So, yeah, you can check the
information of the image. And by that, you know what
is the quality of image. Because a lot of times if
you are a video editor, and if you get all the footage from your client or some
other videographer, and if you want to know, you
know, what is a resolution, what is a color codec, the footage was shot at. You can get all the information
in info panel here. So yeah, that was the overview
of the color grading page. It is one of my favorite
pages in the int resolve, and we're going to be going in depth in this color grading. And I promise you that this
would be an easy journey. So don't worry about
that. So yeah, now let's get started with
proper color grading. So let's
35. Node Tree Introduction: Now the biggest
question of the mints users are what is a noeree? Because if you have heard about color
grading in the Vinci, you would know that note
tree is something really important and you
would have maybe seen a lot of expert
talking about notree. So yeah, let's discuss
about what is a note tree. You see, these little
blocks, you know, if I want to have another block, I can make another block, I can make all different structures. But this block
here is the input. So here, for example, my original footage is, you know, which looks like this. And then we do some setting, some changes in
color brightness, some crazy effects in the nodes. And then you see this line that is
connected to the output. And the output what it is, is what we are seeing here. Example, if I increase the gain, if I go to primary color wheels and if I increase the gain, you can see that the
brightness increase. It looks a bit ugly, but
just for the sake of example, the
brightness increased. So there was the original
clip which looked, if I just toggle this off, original clip looked like this, which is standing here. And in between, just imagine
there's a little filter. That filter changes the brightness of the
image like this. Then now we have information
from the original clip and the brightness and that
information is transferring through this line to
the output dot here. Yeah, I I just click on this, the output dot
disconnects and now I'm just seeing the input because this circuit
is not complete, I'll just two command Z. So, whatever we are seeing
here is the output playback. But if you want to watch
the original clip, then you have to
go to Media pool and then watch the clip. That's not the point
here. The point is that in the nodes, you do certain
changes in the image, and then you see
the final product. And then people also say something which is
called as node tree. So what node tree means is that? For example, I can dedicate each kind of setting
in a particular node. For example, this
node if this box, I'll just reset
it, so if you just right click on the
node, you go reset. If this box is just dedicated to changing the white
balance of the image, for example, if this image,
it looks a bit yellow. Yep. If this box is just to change the wide
balance of the image, then I wouldn't change
the exposure already. You can do it. I wouldn't change the exposure already
in this box. What I would do, I would
make another node. So how you make another node is that you go down to add node, and then you go add serial. And there's also a shortcut
for adding serial. So you can use a
shortcut as well. In Mac, it's option S, or in Windows, it's Alts. So we go add serial, and then you can
go, option Alts. You can make so many nodes. And in each node, you can
put certain information. But what happens is for example, if I have three nodes, if I
did white balance change, so how you can change
the white balance is by changing the temperature. So this image looks
a bit more yellow, I would move it to blue, you know, to make it look
a little bit neutral. And also maybe not
too much pink, a little bit more
on the green side. You can see that there
is a green and pink. There's blue and yellow. So the more you go left,
the more blue it becomes. So that's the rule of
adjusting the white balance. If the image looks yellowish, you bring more blue to the
image to make it look neutral. If the image looks
more greenish, bring more pink to the image to make it
look more neutral. So that's the rule. But yeah, here we change
the white balance, yeah. But now you want to see how my image looked
in the beginning. So how you can do it is that because this node is
active right now. And if I do Command
D or Control D, then that's going to
disable this node. So you see, now this node
looks like it's disabled. And this was how my
image looked before. And now it looks I think it looks a little
bit more bluish. So now my image looks
after white balance. Now what I'm going to do,
I'm going to label it. So I would just do WB, white balance
because, of course, now we remember because we
are just editing one clip. But if you have to
colgrd hundred clips and after the hundredth clip, each clip might have
different node structure, then you would be so
confused and you would be clicking on each node to
see what setting was. So here is a white balance. So now what happens
is that to this node, I'll just label the
node as exposure. So the name of this
node is exposure, yeah. So the input of this
node is this image. Okay? The input of this
node is not the image which was here because here we had the input image which
looked like this. Then we did some white balance. So now the image has changed. That's what this
exposure node is seeing. It's not seeing how my
image look initially. So you see the more
you keep editing, the information is changing. And for each node, they would have information altogether how it was
before that node. So that's why how you structure the node tree is also
really important. For example, you
cannot already put filters in the beginning because then what's
going to happen is that, I'll just give an example. I would go to lots here, don't do anything, just
watch it really carefully. So I'll go to Rec seven oh nine. Say, for example, if
I put this lot, yeah. And I would just get rid of it. So now the image looks nice. This is how it looked before,
this is how it looks after. So now, the information, what we have here is
already color graded, and there's already a lot of manipulations in the rock clip. So now, if I do the
change in white balance, that change in white
balance is not according to how my image
looked in the beginning. That change in white
balance I'm seeing is according to the
lot what I've put. So that's why it's
really important first to fix the wide
balance of an image, then to change the exposure
just to make the image look more neutral with
properly exposed. So that's color correction. So that's our first
job when we do color pading and that's how you should also structure the notary. Usually, I would just
reset it, reset this note. Usually what I do is that I would have white
balance exposure, then I would have
some final changes. Some final changes. So I would
have three notes before, and then I would do
sort of look like, what is the look of the image? Is it like, you know,
more cinematic or is it just more neutral looking
image, that kind of stuff? So, yeah, that's why no tree, well structured notetree
is really important. So as I told that
the information transfers from one
clip to another. And then once we have all
the information here, all the changes, what we did, then then we see the output
and the output is here, and whatever you export is
after all the color grading. So that is nodes for
you. So each node has little little information, and you can also structure the nodes in few different ways. For example, if I did
this look here, yeah. So what I usually do is that
I change some colors of red. I changed the color of the
sky to different color, I change the color of the grass. So what I usually do is that
I would go to add node. So earlier we were
adding node as serial. I would do it to parallel. So you see? I'll just make it a little bit small so
it's more clear to you. So here, what's going
to happen, is it? So you can just move everything. So here, what's going
to happen? Is it? Hang on. I know. So here, what would
happen is that usually, if there was a node if white balanced node
was before exposure, then the exposure is
seeing white balance. The white balanced node. Exposure is not seeing
the original footage. But if we have the
nodes in parallel, then the information
coming out after the third node is same
for here, here and here. It's not that they are
in front of each other. So that's why it's really important to also
do parallel nodes. So that all the information
is not that manipulated. For example, if I
have to do some look, you know, some changes in red, then it should be from here, not after I've already put some other blues
or some other creen. I know it's a little
bit complicated, but we're going to be doing
real life color grading, so it would all make sense. And then you have notes. I I add another node after this, so this is kind of it
merges everything, and then we have
another after this. And then here what you
can do is that you can do add node, just a serial node. And in this node, you
can also add node in another way is
add as a layer. And I would also teach you what is the difference between being in layer and being in parallel? Because here we did
add as parallel. You can see that all nodes are stacked on each other and
that's called parallel mixer. But here we have a layer, and I don't want to
explain anything now because it would
get really complicated. But yeah, it's just a bit
different than parallel, and it also makes your
life so much easier. So that is a notary,
it gives you different different
blocks, and in each block, you can put different
different settings, you know, and in the last block, if you want to just make the image more softer,
you can do that. So that's like that soft setting would be on the entire node. So for example, all
the information what I gathered here
that comes here, and then in the end,
you make it soft. Because if you
already make it soft, then the exposure can be
a little bit different. L can be a little bit different. So yeah, that is notary. It's a little bit complicated, but the more we color grade, the more it's going
to make sense. And if all of this goes to mess, what you can also do
is you go right click, you go reset all the grades and nodes and then you're
back with one node. So yeah, I hope
that node is clear. I'm sure that it's
not that clear as I am hoping it should be. But really, really trust me, as we go through the
process of color grading, it's all going to make sense. So that was Noetree or notes
for you in the winter 19. Now let's move on to
the next section.
36. White Balance: So here we are in
the winter of 19, talking about primary
color wheels. First, with any clip, what you should be
doing is that you should go to a master frame. So what is a master frame? A master frame is like the
ideal frame of the entire clip which you want to
color grade so that the entire clip looks also good. For example, if it's
a ten second clip, and if your subject is here is blur or here is
looking the other way, I want my subject to look straight so that I can see
the color of the face. I can see the shadows. I can see everything
in the masterframe. And according to that, I just hope that whatever changes
I've done in the master frame, that looks good in the
entire single clip. So yeah, for the master
frame of this clip, I would choose my
clip to be here. And then for the scopes, I would keep it to parade. If yours is waveform,
just change it to parade. I'll explain to you
why. So the first node, what I would do
is white balance. Sometimes even if you don't have the screen which is really
good color calibrated, if your screen gives a bit more yellow tone
or a bit more blue tone, you can check if the
white balance is accurate by looking
at the scopes. I'll give you an
example. Let's take an example of this clip. This clip obviously
looks a bit more bluish. So here, if I see the parade, I can see that the blues, there is a lot of blues
in the highlights. So highlights are the areas
which are the brightest. You see here, there's
a lot of blues. There's a little bit of reds. There's also a bit of greens because of all these
greens around here. They are also highlighted. So highlights are that part of the image, which
is the brightest. And the shadows or the blacks
are that part of the image, which lies here, which
is a bit more dark. So here, if you cannot
see these lines or if it's a looking
a bit weird, it might be RGB
in the beginning. You can change it to Y
RGB and then parade, if the opacity is a bit
less, can increase it. If the lines are a bit, not that lit up,
you can increase it and keep the settings
as how it is now. So this is the graph for red, blue, and green because that's
the three major colors. The mixture of those colors
is what makes the image. And then this white is
the overall exposure. So whenever we are doing
either white balance or changing the
exposure of the image, we can take this
parade as a reference. So to correct the white balance, what we do is we go in
primary color wheels. You can go through the
temperature and tint. So you can see that
there's a lot more blue, so I would go to the warm side. So if I go towards the right, you can see that
blue is going down. And I would go to a
point until my red, green, and blues are
on the same level. Sometimes it can be a
little bit up and down, but now it looks a
little bit more nicer. And if I see before and after, so to activate and
deactivate this node, you can go Command D or Control D. C, it was looking bluish. You can check that the parade was looking like this.
Now it looks like this. So first thing what we
do is white balance. So I would just nav
it white balance. But this was just an example. We have to edit this clip
because in this clip, the clip is looking
almost perfect. There's a little
bit too much blues. You can see that the blues and
greens are a bit too much. The reds are not much. So here, what we can
do is that maybe increase a little bit
of warmth in the image. So now you can see
that the reds are also going up and the
blue is coming down. I would just do
very little change. So for some of you, you might even not
notice the change. But if I go full
screen, full screen, you can go Command F,
then you go before, we can see really,
really minor change. But our main goal here is to get the image looking as
neutral as possible. So, here we have adjusted
the white balance, and yeah, once we have the
white balance set, then the image, at
least the color is looking a little bit neutral.
37. Color Wheels Exposure: Now our main goal is to adjust the exposure or
get the exposure, the look, how we want. For example, if you want to make a dramatic cinematic scene, then this image is
really well exposed. But in my opinion, I think that there is a
lot of darks here. You know, there's
a lot of shadows under her face because
this is a travel blog, and I want to be happy bright. And as I can see here, even in the main exposure, that there's a lot of
shadows in this area. You can see there's
a lot of reds and blues and greens
all peeking down. Our main goal usually is to bring the
image in this range. If it's too narrow,
I'll give an example. Let's say for this image, this image is shot in log. Yeah, I hope I'm
not going too fast. You can see the
parade in this image. This looks a bit more
desaturated here, and you can see
here as well that the parade is just this little. Our main goal should be to
expand the parade as much as possible but still
not go overboard. Still stay in the limit, because if you go
outside the limit, it becomes too bright
or too or too dark. But yeah, let's go we'll be corregorting this
image, as well. It's really special image, and it would be really
fun to corregate, but let's go to here. So let's go to our master frame. Let's just make
sure that you have the face of the subject visible. And now I would
add another node. So I would go Option
plus S or Alt plus S, and I would go exposure. And here, what I
would be doing is I would be increasing maybe the shadows a little bit
because I think it's too dark. So shadows are here. Go increase shadows.
There's four wheels here. One is offset. As I
told it increases the whole exposure of the
image. We don't want that. There's gain, gamma, and lift. Gain would be increasing the exposure of the
brighter areas. For example, if I
change the gain, you can see here that this area would get more exposed,
not this area. If I go bright bright bright, you can see that the first
thing which is peaking out is the clouds because they were already on the highlights area. You see the face is
looking really normal now, but everything else just
falls apart in the back. And then gamma is
increasing the mid tone. So Gama would be more increasing
the light in this area. So you see that it's also making the image a
bit more desaturated, but the clouds are not
peaking out now, you see? And the lift is just going to
increase all the dark area. So it wouldn't do anything here. But if you increase, you
see the window here, you see all the shadows
here on her face as well. So you can see that
lift is increasing. And as I change the lift, you can see that the whole
parade is lifted 0-0. In the beginning, it was like
this. It's still not bad. In some image, the lift is somewhere here when
it's really dark. So that you need to
really keep an eye on. If you have your own images, you can always see that
the image is really dark, all the lift would
be all the way here. So that's how the
lift is changing the parade if I reset in, and then if you go Gamma, Gama increases all the mid section. You see, it goes up. It's also increasing the lift. And if I go gain,
then you can see that all this would
just fall out. You see the blacks and the
lifts are still intact here. The only thing going
up is the brightness. These are still almost the
darkness is still here, not that much, but
it's still there. And if you go offset, that
increases the entire graph up. So, yeah, that's how you can use these tools to expose the image. Let's expose it
now. Pretty good. So I don't think I would be
needing too much exposure, but let's expose it according
to my subject space. So until now, we have
just the white balance. Exposure. Oh, we did
something in exposure. See if I go before and after, I can see because I did something in shadows,
I almost forgot. So let's reset it, and let's try to expose her face, well. So you see, if I
go here like that, who clouds are blowing up. So what I would do go increase
the shadows a little bit. Maybe increase the
lift very little. I don't think we need it.
And also the thing with increasing lift is that reduces the contrast in
the image because an image looks really
nice and poppy if it has, like, also good blacks
and good highlights. But that we're going to
take care of it later. I think the shadows
are a bit too much. So you can see before and after it's already
looking pretty decent, and would I do
anything with gain, if I go a little
bit up, you see, even if I go a little bit up, things are going out of control. So this thing is
already peaking here. You can see the clouds going up. So don't freak out,
just hang in there. I'm just checking
the subject's face. How good expose is it? Maybe reduce the
shadows a little bit. So now the subject is
looking really good, but you can see that the whole
clouds are falling apart. But we're going to take
care of that later. So in this image,
that was needed. We increase the gain
a little bit because overall image was still this is before was
still a bit dark, but then the clouds were there, so clouds are just blowing out. And we increase
the lift tiny bit because there was a
lot of shadows here. And then we increase the
shadow because if you didn't, then there would be a lot
of shadow under our face. There's a lot of shadows here. There's some shadows there. So now the image looks
a little bit bright, the clouds, we're going
to take care of it. So that's how you can
increase or reduce the exposure of an image. I can give you
another example Say, for example, this image. We did white balance here, right? This before or after. I would add another node, and then we have node
label exposure. This image would be a
little bit fun to expose because I don't think there would be something
peaking, but let's see. So here what you can see
is it's a lot of darks. You see a lot of blacks. These are all blacks
here, all darks. The on the top, the sky
here looks super exposed, but we still have some room for our exposure to go up to make
it look a bit more decent. So if we increase the gain, you see, we increase
it until it blows out. So if we go up up up, you can see that the image looks really bad here on this side. Also, you can see
here in the corner. So we would go just until the
top. So here's the thing. The main goal of us is to get
the most out of the image, and that's what we
are trying to do here without it falling apart. And now I still see
there's a bit of difference between the
blues and the reds. So what I would do, I would
increase the warmth again. And then go push
the exposure again. So that looks nice.
And what I would do, I would just scroll
down in the parade. And I can see that there's
a lot of shadows here. So I would increase the shadows and see if we can get
something out of it. So you see, because
it's a ten bit image, we can do all this. If it was a really
crappy footage from a 10-year-old smartphone,
we couldn't do all this. There would be so much grains. That's why it's also handy to
have a good quality image, and that's what
they advertise with new iPhones or new Samsung
that can film in four K, ten Bit or in four K Appleg. That's the thing what you can do with high quality footage. If it's shot in
really good light, you put a color grade,
it's really fine. But if the exposure
is not that great, then you can still do
a lot of settings. You can tweak the
settings without your audience knowing it
if it was in good quality. That's why cinema cameras are so expensive because
minus ten bit, sometimes cinema cameras
is 12 bit, 14 bit. And in that image, you
can literally light the entire image without
making it falling apart. So this is how it looks after exposure. What a difference. So here you can see that the
reds are still a bit low, but I don't think it really
matters because here you can see that all the
shadows has been lifted. So this shadow tool
is really magical. If I want to lift the lift, you can see that it's good, but it's also, you
see, if I go too much, it's kind of bringing
that grayish look, which I don't want. I still want the
audience to look like it was shot during sunset. So maybe I would actually bring the lift a little bit low. So still there is some
contrast left in the image. With Gamma, I don't
really use it much, but what we did in conclusion here was we increased again. I can see here that the gain is falling apart because of this. So I would go just a
little bit just here. So now it looks really fine. You don't see the image
falling apart here. Everything is looking
well exposed, and then we increase the shadows because this was how
it was looking before. We increase the shadows,
and then we actually reduce the lift because we still want to keep the
contrast in the image. You can also push
it a bit more down, but then it's going
to come back to the same place where we started. So I would just leave it here. So now what you can do, if you want to see that
before and after of the entire image,
you can go here. You see the colorful stars
and the circle can go close. So that was before,
this is after. Or with the shortcut,
what you can do, you can do option D or all T, and this was before,
and then this is after. So I always do when
I'm color grading, it's just so
satisfying to watch. So that was an example of
how you expose a dark image.
38. Color Boost Tool(Saturation): Here in this section,
I'm going to be teaching you how to increase the
saturation of an image. So you might be
thinking that I'm bringing different
different clips. So all these clips are provided in the color grading folders,
don't worry about that. You can just put them in
the timeline and just try these little experiments
with me because, yeah, I think it's really nice to
practice this on your own, as well so that you can get a hand of the inci resolve
and how everything works. So, yeah, let's if you
have this clip on, you can also just, cut upgrade
with me. So here we go. White balance, I don't think I need to change
any white balance, so I would just not
label white balance. Yeah, using shortcut. Exposure. And then if I have to do highlights,
then I do highlights. If not, then I don't. So
here I would do color boost. So wide balance, I
wouldn't change anything. I would maybe change
the exposure. So I just reduce the
lift because I think that there's still a bit
of contrast that can come. You can see that the
sky is falling out, but we're going to
take care of that. That's what we learned. So we go wide balance exposure, and then I have to put
another node here. And in this node, what
I can do if I go to clips and where was the sky? So if I had the sky thing here, what we did with the highlights, I can just copy these settings. So if I go Command
C or Control C, copied the settings in the node, and then I go to this image, what we are editing now, sky is blown out here. I would do Command or Control V, and the settings is pasted here. So yeah, you don't have
to do it again and again. You can also just copy
and paste setting from a particular note. Our main goal was, of course, first to check the
white balance, then to check the exposure, and let's do before and
after option D or all D, this before, this after, not really crazy changes. But then, in my opinion, this image looks a
little bit desaturated, all the grass and everything. So what I would do, I would
increase the saturation. And how do you increase
the saturation is not by the saturation because
if I increase it, you can also see that the image is getting a little
bit brighter. You see the clouds are already
popping out a little bit, and it just looks
not that natural. So I would just go Control Z. Control, Control Z? No. This was at 50. Let's do it 50. I would
go with color boost. What color boost does is that? It increases the
saturation of the image, but in a really gradual way. So if I go to about
not that much. I usually maybe just
keep it to ten or so. So let's just increase it. Of course, it's a lot. But
if you just reduce it down to say 11 or 14, then I go full screen
Command F or Control F. Now if you go
before and after, this can be the master frame. You can see the
color of the short. There's a little bit
of pop in the image. Also, the grass is a little
bit, you know, lively. If you want, you can
increase more. Maybe 23. Now it looks pretty decent. So you see with one
little color booth tab, you can just make the
image so different. And before and after
option D or D, this was before
the entire image. This is after. You
see, just with a little bit of tweaking,
we can do so much. In this image, we
don't really need to increase the saturation
because what's going to happen is the red
would blow out, yeah. What we can do to tackle
that is we go to option S, and here what we would be doing is remember the qualifier
tool, what I told you, we go to the
qualifier tool here, and then now what
we're going to do, we're going to select all
the reds in the image. So we go click on the red. Nothing happens because we
don't know what is selected. You can see then
in the node here, there is a little bit of red, but what I would be doing is I would just press
the highlight here. So here you can see
the reds in the image. And so here are the
range of the red. So if I increase the range, that's going to
select all the pinks, but there's no pink. Here, the red comes. Yeah. So I would maybe just
go from this range to this. And then for saturation, I wouldn't go this
all the way here. So if I see that now it's
also selecting the face, and I also don't
want it to select the inner jacket because
that's a different red. Maybe that's it. Or maybe I just keep it until you're as long as the
face is not chosen, and then with luminance, if I increase the whole thing, let's see how it looks. And if I reduce you
have to really play around and select the things what you really
desire to select. So I think I would
just choose the red. So if you scroll the
image all the way, then you can see that just
the reds are selected. So that's what you can
also do with qualifier. And then it's all going to
make sense. What am I doing? And then here what you can do
is that blur radius because now you can see that the
edges are really hard. So you can, you know, introduce a bit of blur on the edges. Also, in an outrage, you can introduce a bit of
blur on the in and out. If you see here, if
I go in and out, you can see the edge is
changing a little bit. I wouldn't do too much. Also with the blur, you see, if you do too much, then it's also affecting
the outer areas. I would maybe just stay here. And then I would just
press Z, normal size. And then what I would do now is I would reverse
the selection. So now everything is selected
is reds in the image. And if I reverse it, which is with invert, yeah. So then if I just go to here just to
see the face clearly. So what I'm going
to do after we have selected the reds in the
image, what I'm going to do, I would increase the
color saturation, and that would only do color boost in the areas
where it's needed. So you can see that
the grass is going up. The face just get
rid of the clip. The face color is changing, but the reds are not
going too crazy. So you see now the face
looks a bit more lively. It was a bit desaturated before. It looks a bit more lively. The jacket saturation is
the same how it was before. If I go before and after, there's literally no change. But if I go before and
after in the face, this was after this before you can see the change in
the color of the face. So that's how you
can do color boost, change the colors and increase the saturation
of the image. But if you're not
change a saturation of certain colors but still change the saturation of the image, then you can use qualifier tool. And you can use qualifier
tools for a lot of things. For example, if I want to increase the
brightness of the image, I can increase the brightness
of the entire image, but the red would remain intact. Same as if I want to reduce, make the image darker, the red still stays, but the whole image is changing. So that's when, yeah, qualifier
tool can be really handy, or if I want to change the
hues of the entire image, the red stays the same, and the whole image changes. So yeah, that was color boost. And of course, I have talked about why not to use saturation. Highlights, I don't
really use it because highlights has almost the
same function as gain. So highlight, I don't use it, saturation I don't use, Hues it's not really
needed because then yeah, it changes the color
of the entire image. I would just reduce
the highlight. Luma mix, I don't use it at all. But there's one tool what I use here quite often is
mid tones and details. So if I just zoom in in the
face of my subject, here. So you see that the
face looks a bit sharp because of the
digitalization of Mirrlees. Like, yeah, Mirrlees cameras, they have this weird sharpness, which I don't really like. So what I do is that I reduce down the
details of the image. See if I say let's go a
bit more extreme -36. So before and after, you
see this before and after. Let's see the entire image. Oh, I shouldn't select it
because the qualifier is there. Let's go to see
the entire image. This is before, this after. It's a little bit too soft. But I usually do it to 24. But this, you know,
making soft thing, I do it all the way in the end because we still
have a lot of things to do, and that's not the
priority at the moment. And then if you
do it in the end, then you can see that
how this softness fits on the entire image. So I would just reset node. So yeah, this is
what I do until now. So I usually start with
wide balance and exposure. Then if something is crazy highlighted, I
take care of that. Then we have color boost, but then we use here
qualified tools because this jacket
is already so red, and the other things
were not that saturated in the image. So that's why I use
this technique yeah, our main goal is just to
make the image looking nice. And once it looks nice, then we can start, you know, using some colors or yeah, changing some colors or
giving it a certain look. So, yeah, that's how you can make the image
a little bit poppy.
39. Qualifier Tool: Let's go back to our first image where the sky was blowing out. So you can see here that
the sky is falling apart. Here, what we can do is that
we can add another note, so we go option S or Alt S.
Here we can do is highlight. Highlights because these are the highlights and that's
what we have to take care of. So how do you take care of that? You can go to the
qualifier tool. This technique I use a lot. You can go to qualifier Tool. What qualifier
tool does is that? You can select a certain
part of the image, and then you can just
do some settings on that because now if I just change the
exposure of this image, the exposure of the
entire image goes down. I just want to change
the exposure of the sky. So we're going to come back
to the qualifier tool later. But here I want to
show you a technique. If you are in my situation where the sky is
just blowing out, but you still want the
subject to look nice, then you can use this technique. So you see this luminance here. Luminance is usually the
brightness of an image. So if I just drag this corner
thing towards the front, then what's going to happen is nothing because I need
to select this window. If you see go here,
this is a highlighter, and what it does is that
whatever you qualify here, it's going to highlight here. For example, as soon
as you click on qualifier and if I go to red, then it's just going
to qualify the red and it's going to show you
what area is selected. But we don't want to
do that. We're going to just reset the qualifier. Something goes wrong, just
click the reset button. Here we're going
to go to lumins. We're going to come back
to qualifier. Don't worry. We're going to go to luminance, and we just kind of
select the areas which are the brightest
in the image. So we go this this
this, all the way here. So here you can see that
now the separation starts. So luminance is the
brightness in the image. So if we just select the
things on the right hand side, that is selecting the
brightest part of the image. You can also see
from this bar that here is the dark
and here is bright. If we just move this entire bar here or maybe somewhere here, then it's only selecting
the darker areas, but you want to select
the brighter areas. And then what you
can do, you can, refine the luminance a bit more. I'll go just until here. And then if you go to soft, which means that it's going
to soften the selected area. So earlier there was a
really defined boundary, but I want to highlight
it like this. So you can see that some parts of the hut is also selected. So that's what I
want to select now, or maybe I want to go a little bit more up
just to select, like, the really blown
out areas. Yeah. So now I see what is selected, I would just turn this off. So here we have the
highlights selected. So here we were in
primary color wheels. What we need to do
is we go to HDR, and I don't really use
HDR, as I told before. I just use it for
one specific thing, which is to reduce the
highlights if they go out of control when I was increasing the
exposure of the image. So here, if you see
the highlight here, here I can reduce the exposure
and try to bring back the details in the clouds
as much as possible. If my camera was a film camera, it would be super easy,
but not now, but still. This looks somewhat better. So I'll just, you
know, disable it. This was how it was looking
before, crazy blown out. This is how it is looking now. So that's what you can also do when you are in a situation like this where you have to expose the subject, good, but then the
sky blows out. And if I go before and
after for the entire image, you can go option D or all D. You see, the image was dark. We have almost a sky
of the same color. There is some details lost
because earlier you can see the clouds that
detail to, you know, bring back that detail, I can maybe reduce the
Exposure a little bit. And yeah, so, yeah, that's how you can take care
of the highlights. You see everything
was blown out. Now it looks a bit more natural. It just looks like it's
just normal clouds. So, yeah, that's
how you can reduce the brightness of the clouds. So those were a few
things what you can do with the
primary color wheels. But in the upcoming sections, I'm also going to
show you how you can change the colors and give a certain look to an image also with primary color wheels. But that would be for later. So now let's move on
to the next section.
40. Windows Tool For Exposure: So in the last section, we did color books with
qualifying tool, and of course, you can qualify things with the tool which is here,
the qualifier tool. But there's also a
really cool way to qualify an entire area
or qualify a shape. For example, I'll
go to another clip, which is this one, clip
two, four, four, six. It's a really beautiful clip. So I think this can be
the master footage. So with wide balance, I'm not really
going to change it. And you can see that the image
is spread out really good. But I have some issues
with the image here. I would go here to exposure. Even if I don't have to
change the white balance, I still keep one note
before because say, if I put some crazy
color grading and if I don't like
the white balance, then I can go back and
change it in the beginning. With exposure, what I want
to do in these images. The mountains, they
look perfectly exposed. But then the subject here, this needs to be well
exposed as well. So to expose them, what I would do is I would just increase the gain as usual, very little, and then I would
increase the shadows a lot. So here, what would
happen is that this area is getting same exposed as how this
area was before, because if I go
before and after, I think the mountains, they have been a little
bit too exposed. So what I can do, there is another way to use
a qualifier tool, and that is by going
to the windows here. So if you click on
this little circle, go to Window, here
what you can do. As I told, I think
I showed you before that if you have a square box, whatever changes you do, if I go to the curve here, you know, the custom curve, you can increase or reduce the exposure of the image
just in that region. So I would delete it. The most I would just reset the node. So the most usual thing what I use when it's
qualifier tool is, I'll just zoom out the image. So how you zoom out is just
scroll out with the mouse. And here I would
choose gradient. And what gradient
does is that I have to go to Highlight Tool to
see what is highlighted. What gradient does
is that it sort of highlights just certain
part of the image. So if I want it to, you know, sort of blend in slowly,
can go like this. I can change the direction. I usually use it in case of sunlight
because sometimes if the sun is flowing
from this way, I use the gradient like this. And the longer I
make it, the more softer it blends
in in the image. So I would go a little
bit higher and here, what I want to do is that, because we expose this image so much that the exposure here, if I increase Kena little bit, the exposure here is getting
a little bit too much. You can see that it's
just outside the graph. So what we would be doing
is go to the highlight two. I will just go label or
what is that window to? That's the window
tool. And here what I would do because I've selected this with the gradient
here and it's really softly blending in image. What you can also do to reduce the exposure of an image
is by going to curves. If you pull the top one, it only reduces the highlights. And now in the graph, it's only showing the hang on, I get rid of the highlight. And now in this graph, it's only showing the area
when I do the highlight, the only showing the pots, the features of everything highlighted, but we
don't really need that. Here to reduce the exposure of the mountains, what
do you need to do? Go in the middle, press
it down really gradually. So you see the
exposure is changing, but not that crazy. I can also reduce this down. And now if we go
before and after, let's make it full
screen, this was before. So you see how
softly the exposure of the top part changes. And of course, I can
go to the window page and reduce the size and
maybe bring it down. But then if I bring it down, the subject also
can get de exposed. But I think this area
looks pretty good. It comes so softly that you wouldn't even feel that there is
something there. You see, all the information
in the sky comes back. And here, if you
want, you can also play with the SDR,
the highlight tool, what we mentioned before, because I see that some
of the parts here, they are kind of blown out. So if I just zoom in, I
can see the paths here. Then if I reduce it, then I can get a little bit
of information in the image. So this was it before. You see, there was just
white and nothing, and we have retained
so much information. So I'll just press
Z to bring it back. So, yeah, you see, I'll go before and after because
there's so much fun. This was before
the entire image. And as soon as I go after, you can see that the
exposure on the top of the area is not
that much changing. Exposure at the bottom part of the image is just
changing drastically. This was before, after. How cool is this tool? It's just so so cool. And with the Window tool, if you go here, let's
go to another image. Say, for example, here, in this image, what we want to do is we have done
the exposure yeah. We have increased exposure, but as I showed here before, that if I increase
the gain too much, then the sky here
just blows out. What we can do with the
qualifier tool if our goal is to increase the exposure of
this area a little bit more, what we can do, go
to the Window tool, and then here, I can
actually draw the edges. So if I just select
this pen tool, I just zoom out a little bit. So if I go from here, you can also make it curve, if you keep pressing
it and just drag it so there can be a little bit of curb and make sure that
you have to make a loop. So yeah, just for the
sake of this example, we are making it a
little bit rough. But you can see that now
you see highlighted area. So the highlighted
area is this one. Yeah. But we're going to
increase the softness. So here you can
increase the softness. See, there's a
little bit of blur. You can do softness inside. Softness outside,
I want it to be, you know, not go too hard. So it shouldn't look
like there is a filter. And here what I would be doing is I would increase
the brightness, try to just try from here. It's not the best way. It's not really looking
good. I would go here. I would just increase
again in this area. So, go, go, go. You see how much we can
retain the information. I wouldn't go too
much with the shadow. So this was before,
and this is after. It looks a little bit weird
in these areas because, yeah, there's too
much separation. So for that, what I would do, I would just increase the
outsides a bit too much. And you can always
change the shape. If you drew some
weird shapes here, you can always
change the shapes. I would also go inside
a little bit softer. So this was before, this after. But now the problem is we drew this structure on this frame. If you change the
video like this, now the whole structure changes. So to do that, what
we have to do, I think it was somewhere
here, we have to track this diagram,
what we have made. And how do you do
tracking is you go to this little tracker
icon, what I can say. So to track it, what we would be doing is we go track forward. So it's all falling apart because it's just
going everywhere. So what we would be doing
is we get rid of three D, get rid of rotate,
and now track again. We'll go back to the frame. So that's what happens
with tracker is that sometimes if there's too
much movement in the image, the tracker goes crazy, so you have to try with turning on and off different options. It is pretty decent, still not the best. So what I would
do, I would reduce the Zoom as well and
then play it again. So I would also reduce
the tilt as well. I would just keep it here
because this is how it was, then I would reduce the
tilt again and then play. So now it's tracking
a little bit better because here my image goes
down, but that doesn't matter. Now it's tracking a
little bit better. And then if we go here
at the beginning, and then we go backwards because we didn't
track the back part. So you see now, I kind of
overdid it the saturation. You know, but now it's highlighting this entire
area from the beginning. Like, at each frame, I can turn on and turn off the changes what we
made in the exposure, and it would really look
quite natural. Oh, yeah. In this section, we learned how can you use the Windows two. So if you want to draw a line or if you want to
draw circles, square, whatever you can do is
here in the Window two, and you can also
do the gradient, what I showed in the last clip. And whatever you draw,
you can select it, and you can obviously do a
lot of other changes as well, not just the exposure
in this area. We did the tracker. And tracker was not
really working well because there was so much
shake in the camera. So what I did was, I just selected pan mode
because pan would be just left and
right because that's the only movement where I
want the tracker to move. I don't want it to tilt because otherwise it would just go down, or I don't want it
to zoom because then it would have a
crazy weird shape. You can try this and yeah, just try different
different options and see where the tracker works. Because if we go in this frame, go all the way in the
beginning and then go to the clip here if we
track this gradient, it would be super easy because there's not much crazy movement. Because we are in
the first frame, we go play and now, yeah, there's barely
any movement, so the tracker just stays there. You can see here there is a
little bit of movement in the gradient if I move
forward, but it's not much. So yeah, we learned a lot. So we have done a lot of exposure techniques until now that how to change the
exposure of an image, how to use color boost, increase the saturation, make
the image pop a little bit. And we also learned how
to change the exposure or some colors of specific
areas in an image. It was once with
the qualifier tool, if we have to choose
a specific color or if we had to choose
a specific region, we chose the Windows tool
where we use the gradient and the spin tool so you can make your custom design of what
areas you want to choose. Then we also learned how
to use the HDR tools, how to reduce the highlights, how to retain the
information in the image. So think we did a lot with the interiors of
color grading until now. So what I would
recommend is maybe pause the course now and watch it tomorrow, watch it
some other day. Whatever I have taught, I've given the clips in
the description. So just go practice with whatever I have
taught until now. And in the next section, then we would be doing
real color grading. So whatever we did until
now was color correction. Color correction means
that we brought the image, how it looked with
our normal eyes when we actually
filmed the footage. And color grading is how you can do some dramatic colors or how you can tweak
some colors or how you can put a shade of some color to make it look or to give it a certain
feel or give it a certain tone that we would be learning
in next sections, and then we would
be learning a lot of effects what you can
do in color grading.
41. Color Grading Using Curves: In the previous section,
we learned about how to color correct
certain things, how to bring the
image looking like normal or looking like
how we desire it to be. Now, we're going to be giving
a certain look to an image. We're going to be changing
some colors in the image, and then we're going to be
making it more dramatic, more cinematic if it's required. So yeah, let's start. Let's take this image
for an example. So this is a real long clip. I think if you go to media Pool, it should be somewhere here. Yeah, so it is in
the color grading folder clip number 2631. In this clip, I have paused at this frame because
I think that this is the master frame because
here you can see the subject. You can see the skin
color of the subject. You can see the greens. You can see the reds, it's pink here. You can see the yellows,
you can see the blue sky. Here, what I want to do is to show you something
really cool. So what I would do is
this is white balance. Here, I think the white balance is really perfect because
you can see here. The reds are almost of the same shape as the
greens and the blues. It's not like crazy difference. That's really good. Then
we have the exposure. Exposure looks really
fine, I think. You see that nothing
is peaking out, and here, nothing is going below this line.
So that's really good. And then we do here maybe final, you know, if we need to
do some changes later. Now we're going to
be doing a look. So here what we would
be doing is we're going to label this node
Hugh versus Hugh. Because now we're
going to be doing color grading using the curves. There's a lot of ways with which you can
do color grading. There is one way with which you can select qualify
each color and then change the color of that thing and then
qualify the sky, then change the color of
that, qualify the yellows, change the color of that
according to how you want. I used to do that, but I
think it's really time consuming and it's also
not very accurate. So I'll show you another way. If you go to the custom curves, which looks like this,
but then if you go here, we have different
kinds of curves. The first one is hue versus hue, hue versus saturation,
hue versus luminance. I'll explain to you what hue is. Hue is a color of,
for example, yellow. This is not yellow, so the hues of yellow would be all
different tones of yellows. For example, if we go here in the primary color wheels and if we change the
hues of the thing, you can see that the
hues of yellow could be any of these colors. Yeah. And hue of the sky
could be any of these colors. So hue is just different
variation of I'll just reset it. So hue is just different
variation of a certain color, and that's what is represented
in hue versus hue curves. For example, as soon as
you go to the curve, then you have this selector on. We don't have the cursor
anymore. We have this selector. So say, for example, if you
want to select the sky. So you just click on the sky, and as soon as you
click on the sky, if you come to Hue
versus Hue curve, then you see that the winter
is always made a point here. So this point lies where this blue color
exists in the frame. What we can do if you want
to change color of blues, what we can do is
that we can make the margin a little
bit more so that we make sure that all of
our blues are selected. If we just bring it up and down, that would change the hue of
just the blues in the image. If we bring it up, you can see that it's
turned into teal, but then it's coming into green and some different colors. Same if we go all the way down, then you see that it was
becoming more sky blue, but now it's becoming purple, pink, and then yeah,
all different color. What usually we see in
movies or we see on YouTube is the teal and orange
kind of look a little bit. So what are we going
to do? We go to change the color of
the sky to teal? So we just lift
this a little bit. You know, and then if we go
full screen, Control plus F, Command plus F, and then we
go Command D or Control D, so you can see before and after. So you can see that just the
color of blues has changed. If the subject was also wearing some blue clothes,
it would also change. So that looks nice. That you can change the color of the sky. And then here we want to
change the color of the grass, not change, but just tweak the color of the
grass, I should say. So you see if I maybe just
click here in the greens here, so that selects this
part of the green. What I want to do is that make the selection a little
bit bigger, you know, as soon as you
click on this graph in the middle or whatever point, it makes new points. So here, what we can do is increase it to a little
bit yellowish side. So it gives a bit more
summer vibe, you know, so if you go full screen before, there's a very, very,
very minor change. For example, if we pushed
it all the way here, then you would have crazy different color
before and after. But if we just go a little
bit higher, you know, you would have rather
than dark green, more yellowish kind of
color, more summery look. You see that before and after that is also changing
color of the sky. And now, what are we going to do is we're going to
see if we need to change the color of
the reds because here I see that the skin
tones are really nice. What I would do in this image is that I still don't see
her face really good. So what I would do
here is I would make a little circle around her face, you know,
with the window to. Let's do that, not in
exposure, just in final, so around the face, I will make it like this, and then I would make
it a bit more softer. So it's like looking like this, make it a little bit more small because the other part of the image is really
well exposed. I just want to expose this pot. So yeah. And once this pot is selected, then I go to just
normal primary wheels and then increase the shadow. So here, if we go full screen, then you can see that the face was super dark. Now
it's a bit bright. And now, if you can track it
let's just go with normal. Yeah, I tracked really good. But this clip in
reality is really long, but I chose a little
part of the clip. So you have to also make
sure that just choose a little part of the clip just for the sake
of the example, because here, yeah,
DaVinci now would track the face until
the end of this clip. So that's why it's good to do these tracking in small clips because then there is
not much movement. So that's what I always do that when I'm
doing color grading, I go back to, you know,
color correction nodes here. But yeah, Hub versus
Hu, I don't know. Maybe I'll change
yellows a little bit. So I go to the curve,
maybe click on the yellow. So here is yellow. So I
want to make it more like orange ish. Just a little bit. Yeah. So now if we go full
screen before and after, you can see that the
color has changed. And now I want to show you
something really important. So if we go to parade here on the right hand side and now
if we go to vectroscope, what vectroscope does
is that it shows the skin tones if
they are neutral, if they are looking good or not. So if something is lying on this line, that
is the skin tone. Say, for example, if I just
click on the face here. So if I click on the face, there should be
another dot here, so I think that's the dot. That's the dot what happened
when I click on the face. And as soon as I move
this up and down, you can see that there's
a little line here. If I go full screen of, you can also go full screen, but now you don't see
the window because, yeah, we are just
using one monitor now. You can also split
it, and, yeah, you can bring all
the information, so I will just close it here in the corner
and then it goes out. So if you see this
little line here, that line should ideally fall on this line
because this is the reference line for how the face should be the color
of the face should be. So I would just make
sure that that line is lying on this line. Sometimes it's not
that accurate, but you also have to
trust your eye sometimes. But now we can see that the
skin tones are lying good on the vectorscope here because
earlier this dot was here, and then you can see that
the colors were a little bit shifted to the
bottom of vectorscope. And now if we go
a little bit up, so now it lies on the line, and let's see if
it's really helping. So that was the color before. It was a bit more yellowish, and now it's bringing a bit
more orangish reddish tone. So this looks pretty good. What we also forgot here was to bring back
the saturation. So what I would do often here, I will do color boost. But this color boost, I am doing it because my Sony camera, I don't shoot in
crazy saturation. So every time in post, I have to do a little
bit of saturation here. But you always you don't have to do it depends on your camera. But if you are practicing with me here, then you should do it. But it's also my choice because I want the
image to look like, you know, very colorful
and happy and popping. So this was before
the color boost. This is really minor change. This is after the color boost. So if you do before and after, this was before
the entire image, this was after before and after. There's not much crazy change because we didn't do much in Exposure. But yeah, let's
go to parade again. So yeah, that is how it looks, and maybe I might reduce try to, you know, get a little
bit of contrast, more contrast in the image. It's always like
with color grading, you always want to do
a little bit more, a little bit more even
if it's not needed, but I just want to
see how it looks. So and then increase
the lift a little bit. Maybe I increase
the gains a bit. Here you can see the shots
are just falling apart. The image looks nice, but you can see that this line
here that represents this. Everything else looks good. Here, what we're going to
be doing is in the final, we can maybe add
another option S and do the highlight
thing what we did before. So we're going to be
going to the qualifier, then go to luminance. I think it would
probably be here. I would just check here, the highlight area, and then
maybe go this, this this. Maybe until the spot, and then take the highlight out. And here we go to SDR and
reduce the highlight. I am not sure if
it's doing much, but maybe let's also try
to bring the graph down. Is doing a little bit,
but it's obviously not as good as how it
should be before. So maybe we can reduce
the brightness a little. Maybe we can increase the gamma, the mid tones and bring
the highlights down. So what is happening now is that the gamma is increasing
the mid tones of the image, you know, because most of
things lies in the mid tone. The only thing lies in the
highlights is this area, so we reduce the highlight
a little bit and then increase the gamma to
lift up the entire image. So if we go before and after
exposure, Did we need it? Probably not, but now if
we did it, it looks nice. And here also, this is not really playing
a major key role, but I will just leave it there. And then we have the
shadows on the face. That's also really
looking nice and the color booze is also
really looking nice. So here we were at the
Hue versus Hue curve. So if you go before and
after for hue versus Hu, you can check the
colors are changing. Looks nice. We have
another curve after this. So what are we going
to do? Now we're going to be adding a parallel node. And what this would do
is that if we go here, then it's a bit more clear and I can make the nodes a
little bit smaller. So what's happening here is that all the information after the exposure, after
the color boost, I want that information
to go to Hue versus Hue, and then I also want the same information to go
to Hue versus saturation. I think that's the next curve. Hu versus saturation. So I will just label Hue versus set because that's the curve we're
going to be working. And then we have another curve. We add parallel go no label
Hue versus luminance. So here, in Hu
versus saturation, I personally think that the
sky is a little too blue. Yeah. So we were
before Hue versus Hue, which was here, we
changed all the hues. Now we can still do Hu versus saturation Hubers luminance
in the same curve. But just for the sake
of this tutorial, to show you exactly what
Hubersus saturation is doing, I'm making a different note. And I actually usually
do this as well. Just to make my life
a little bit easier. So here, if I just
select the sky, so I want the blues to be a
little bit less saturated. So we just increase this range. If I wanted to do it to
be more saturated, oh, I'm still on Hu versus
hue. Let's refresh that. We go to hue versus saturation. Select the sky, increase
the area of the blues, and then reduce the blues here. So if I go all the way down, you can see that just the
saturation of blues are gone. But if I go all the way
up, the blues are up. What I would do is I just
reduce it down a little bit. Maybe just that. So let's
go before and after. You don't see much
crazy difference, but I think I would
just prefer that. And then these greens, they are looking a bit desaturated. So what I'm going to
do I go to greens, just increase this range, and maybe increase the
color of the greens. Let's see if it's
making any difference. If I go a bit more saturated, a bit more range of the greens, you can see here
that now the greens are a little bit more saturated. It's not that abrupt because
these greens are also a bit more not super
bright on this day. Then I think that this
bag is a bit too yellow, so I want to reduce it. But this color grading, what I think is just what I think. You can think that
it's looking really fine. But I would reduce. That's why color
grading is a really subjective thing, which yeah. Color grading is a
really subjective thing which some of you might
like, some of you might not. It's really up to the
style of the person. So that was hue
versus saturation. So here what we did reduce
the saturation of the blues, increase the saturation
of the greens, and reduce the saturation
of the yellows. We didn't do anything with the reds because
here at this point, I think I really
like the skin color. So hu versus saturation, this was before, this is after. There's not much change. Even if you see the graph, there's just a little
bit of change, but it still does something. And now we go to hue
versus luminance. So hue versus saturation was, of course, increasing or
reducing the saturation. Luminance is, as I told before, is the brightness of an image. So in this craft, what happens is, if you go to
here, Lu versus luminance, what happens is, by
selecting blues, you can select the
brightness of the blue. So either you can
make it super bright, you know, all the blues
or make it super dark. But here, I think maybe a
little bit bright is enough. Blue before and after just makes it look
like super bright day. The greenside would want it
to be a little more darker. And then the skin color, I want them to pop out a little bit see if
I go like this, you can pop out this skin a lot, but I would just
go just this much. This was before, this is after maybe this bag,
this yellow color. I want to be a little bit low. I don't want it to be too
bright because I want the focus to be on the
skin, not on the bag. Maybe just put bring
all this down. So you see, now what can we do? We can select hue
versus all the curves, hue versus us at
Russian luminance. And then we go before
and after Command plus D. This was before the image, and then this is after. So you see, we changed a lot of colors, and this is the look. This looks really good,
really summary look. If we want to save
it, what can we do? If we want to put the same look on some other clip,
what do we do? You go to right click. Let's bring the gallery here. You already see there's
a picture here. You go right click, you go
grab still, you grab still, and if I want to put
this on some other clip, you can also go to the next
clip by clicking this. Yeah, you go to clips and maybe I'll drag a
similar clip in my timeline. So this was a clip maybe this clip on my
timeline, here, somewhere. What can we do here? It
was on the same day, so everything should look
technically the same. Is? We can just apply grade. So once we apply the grade, that's like color grade, then you have the same
node tray here. But here you can see
the exposure level is completely
different than how it was in the last
picture because here, there's some random dot
which has increased shadow, we don't need it. So
you just reset it. Exposure is a little
bit different. We don't need lift here. Maybe gain. Yeah,
maybe gamma we need. But here, I think we need
a lot of shadows because all the areas which
is in the dark here, that is super dark. So we're going to be
increasing the shadows and see how much we can increase without the
image falling apart. So I think that
is a good number. Maybe increase the lift
also a little bit. Just until here, and I see that the exposure
is going all the way. This looks pretty good. But here, I also think that the image is a
little bit bluish. I don't know why, but
we can fix that by going in the white
balance so we can bring some warmth in the image. So if we just go really
slow until the red, blue, red, green, and blue
can come in the same line. So now let's go before and after just for
the white balance. This was before you see
a bit bluish this after. Here it looks pretty good. And here what I want to do. I think the sky is
a bit too bright, so I exactly know what
I need to change. So here I think I want to change the luminance of the sky. So I would go to hue
versus luminance, go to the graph hue
versus luminans. We are already here.
Here, I want to reduce the brightness of the
blues and see how it looks. Yeah, that looks really fine. That looks actually really good. Humor saturation is in humor saturation curve and maybe increase the
saturation of the blue. And says, see, this was, I think it's too green now, so maybe reduce it a little bit. So if we go before and after, just for the curves, this
was before, this is after. So you see, you can bring the change in the colors
that looks really nice. And if we go before and
after for the entire image, you go full screen, full screen, this was before,
crazy difference. This is after. To be honest, we didn't really do much in
this image. What did we do? We changed the white
balance, which was here. It was too bluish,
so I did it a bit more warm because it's summer. I want to give summer look. And then we changed the exposure because this area
was super dark, so I increased the Shadows here gave a little bit
of boost by Gamma. I didn't increase the gain. I actually reduced the
game because otherwise, this whole thing would blow out. And then in final, we didn't do much because the final was the same
setting from the last. And then this node, we didn't do much
because there was nothing really particular
which was highlighting. If things went bad, it would
go bad for the entire sky. Color boost, we did
color boost 8.5. I can maybe go a
little bit lower. Maybe it's not even
needed for this image. So even with the same
camera on the same day, you can have different
different types of color, depending on the location, depending on how the
sky is at that time, at what angle the sun is. So that's really
tricky sometimes. And then hubors hue, we went here and changed
the colors of the greens, the blues and the reds, to make sure the skin
is pretty good. Hubors saturation. We increase the
saturation of the greens, increase the saturation
of the blues, reduce the saturation of
the yellows a little bit, rest everything will same. Versus luminance, hue
versus luminance, increase the brightness
of the skin tones, reduce the brightness of
the yellows and the greens. Otherwise, they would be too distracting and reduce
the exposure or brightness of the blue so that this area just the skin is popping out a
bit more. You see? So that was one way to do color grading and color
grading with the curves. So I hope that the
curves are clear to you. I would really recommend you to pick up some footage
from what I've provided and just experiment
with yourself first, maybe experiment with a really well exposed
image like this. And then if you're enjoying it, then go to the cloudy days
or the days where it's not that pretty and then try to make it pretty
with the curves, with the exposure, with all the techniques what
I've told you. And in the next
section, I'm going to teach you something brand new which is in the ventures
of 19. So let's go.
42. Color Slice Tool: Here, I'm going to teach
you something really cool. So we were here somewhere
lost in all the curves. That was really fine,
really cool technique. But the Winter result 19 has introduced a really cool
technique of color grading, which is very similar to curves, but it's even bet
the color slice. So if you go here and this is available in the free
version as well, so we go here with
the color slice, and here you see that
there's red skin, yellow, all different
types of colors. Here, if you see there's
a little droplet. I don't know why they
make it droplet. That is the saturation,
and this is the density. So density works the
same as the luminans. Let's reset it, and let's
give you an example. Here, what we did was we did the color changes in the sky, the skin, the greens, and
all that sort of stuff. So here, what we're going to do, we're going to disable this. So I'm just going to select all the three nodes or
just select with a mouse and then disable it by
Command D or Control D, and once I have disabled it, now I can still make new nodes. So now all this
information is gone, and my image is how it looked
after the color boost. Here, what we can do. If you see the
skin. So all these how they have divided
the colors is by, you know, separating what
kind of color it is. So here is just reds, here is just skin,
yellow, greens. So what we can do
is that let's try to do something with
the skin color. So I still think that it's a bit yellowish because
you can see that the skin is kind
of coming a little bit under than the
vectroscope line. So what are we going to
do? First, let's see what is the venti resolve
even selecting in the skin. So if we go press highlight, then it's going to
show that yeah, that is the region, what is the vent resolve is thinking that that is the
skin in the video, which is pretty accurate. Sometimes it's not. So if it's
not, then what do you do? You can click here so you can consistently see
what is going on. And then you could
change the center. So just the skin, you know, so if I go towards the right, it's also selecting
the yellow bag which I don't want to select. So I would go towards the left until the point
where just the skin, at least the skin is properly selected, which
was in the center. But yeah, that was just for
the sake of this example. So here what we can
do deselect it. And here, if you go to density
and if you reduce it down, that increases the brightness
if you bring it down. But if you go up, then it makes
the skin a bit more dull. You can see you can see on the arms and also on the
face, it looks a bit weird. So if I just go up
down down down, and reduce the density, so it becomes a bit more bright. Let's go before and after. There's a little bit glow, very minor glow if
I go all the way. You can see that there's a
bit more glow in the skin. I will just keep it
a bit more neutral. And then here is the saturation. If you go all the way up, that increases saturation
of the skin, and that can also
reduce the saturation. If we go a little bit higher, the skin saturation is
increased a little bit. So you can change the
saturation and the density, and of course, you can
change the hues as well. So if you see this line, and if we go and I'm just
focusing on the vectroscope, so it should be lying
under this guideline. So if we go hue all
the way this way, then it's pink, all
the way this way, then it's green, we should
make sure that it's just here. So if you go full screen, we have the exact same result as how we had with the curves. So now you don't really
have to select the curves, and it's all working fine. Same with the sky. I am hoping that it should be in cyan
or blue. Yeah, it is. And let's see what's in blue. So blue is also sky, but
not that much, but yeah, let's change the density,
maybe it becomes bright. We let's make it a little bit bright,
increase the saturation. You see, we go down,
saturation is gone, increase the saturation
a little bit, and then tinge the hues, we go more towards the left. So if you go more
towards the left, no, sorry, we go more
towards the right. So it gives a bit more tealish
look before and after. And then we can also
change the greens and magenta and yellows.
So yellow is here. You know, I hope it's
selecting the bag, and there's also the green is not really green in this
image. It's more yellowish. But if we select it, and then if we move the center, then we can see what is the
winter resolve selecting. So if we go all the
way to the left, it is just selecting
this yellow. And if we change the tensity
towards a bit more reddish, so you see it's not really
significant change. Now you can see the difference. But it's also affecting
the skin a little bit, so I'm not going to go
too crazy just here. And maybe the greens. Let's see what Javinci
think is green is. I would go here, select
with a highlight. So greens are not everything, just these grass and little
bit of trees is green, which is a really good news. So I would deselect
it, and I would maybe make it a
little bit saturated. So you go all the way you
make it super saturated, a little bit saturated, and then maybe make
it a bit more warm. Here is, you know, dark green, and this is a bit more warm. And now, if you go full screen, let's go before and after. This gives a certain look. But obviously, it's not as clear as how we had
in the graphs here, because yeah, in the graph, you can really see what color is going and where it
is to what degree. Here, it's more numbers. But yeah, for beginners, I think this is also really good tool because here you can see everything in the image that if you want to change
the color of the red, change the saturation,
change the luminance, you can just change it
by just going here. But yeah, that is color slide
super handy for beginners. And now let's move
to what I would do. I would just reset it for now, and I would activate these
notes because I personally think that this is a bit more
visually appealing to me. But yeah, it's
totally up to you. And then after this,
what are we going to do? We're going to go to primary
color wheels and give a bit more flavor to this image because
now it looks good, we change the color
of certain things. But in the next section,
we're going to be changing the color
of the entire image. So let's go in that section.
43. Primary Color Wheels Colorgrading: So in this section,
let's color grade by using primary color wheels. So here, in the beginning, we were using primary
color wheels to, you know, change the exposure,
like you can see here, change the exposure
of the image. But here we want to use it to change the look of the image. I want a super summer
look in this image. So what I would do if
you go to the parade. If I change anything in gain, any color because you see now this thing is in the center. If I move towards
orange, it becomes, you know, orange redes, if I move this way. So all the brighter
areas becomes like this. Maybe if we have an image
which has a bit more, you know, difference between
the bright and dark, that would be So let's
check this image. So if in this image, we go all the way like this, then you have the image
looking like this. We go all the way
like this, then you have the image
looking like this. So what are we going to do is to give a really nice summer look. So maybe that is the frame. Maybe that is a master
frame like this. Here we're going to do.
We're going to bring the gain to a bit more orange, a bit more warm side. So you see you might have
seen these look in cinema. That looks pretty good. You can also see the
numbers are changing, so I'm moving more towards
the you see reddish side. That's why the red
is increasing and the green and the
blues are reducing. You can also see here
that the red is almost crossing the whole parade. Then do I need to do the
same color in the Gamma? I don't know. We can see.
I go in the gamma as well. So all the mid tones would
be also very similar color, or I can also make it
the opposite color. But here, if I want to
go for a summer look, I would maybe keep it here. So if we go before and after, you can see how nice
and warm this looks. But what we can do
with the lift is that the lifts all these areas, you can see these are
the shadows areas. If we bring it down, then you can see that
in all the shadows, there is a weird
blues because I'm bringing all the shadows
towards the blue. But if I keep it neutral,
of course, it's neutral. Can maybe bring it
a little bit down. Usually, that's the rule of
thumb that gain and gamma, if they go in one direction, the lift goes in the
opposite direction. So if they are both
going towards a worm, I might bring the lift to a
little bit cool ish side. So let's see how this image
looks before and after. This is a certain look we
are giving to the image now, super summary look, and this you might have seen
in a lot of movies. So let's copy this. Maybe let's name it to and I want to copy this
setting to maybe this clip. So this still looks
really nice clip, but if I do that, then you can see that it gives
a soup or summer wipe. I personally think it's
a little bit too much. So maybe I will reduce the
gain a little bit down. And I also think that maybe
the sky is a bit dark. So you see, that's why
it's really handy to label all the node because if I see that the sky is a bit
dark, I can just go here, hub versus luminansG
to the graph here and increase the
blues a little bit. And also maybe increase
saturation humors because I think I reduce crease the
saturation of the blues. Yeah. So that's what the summer L is now.
We go color look. Or maybe I think that
maybe it's a bit too much, so I would reduce it still down. I personally really like it. I can give you another example. For example, let's let's grab still here because I
really like this setting. We go to this node, and I want this setting
to be on this image. That looks really cool. Everything looks really perfect. And if I want to give a
c, you know, summer look, I don't even do anything with the curves because this
already looks really nice. The colors are really pretty. If I want to give a color
look, I go to gain, bring it a bit more towards, you know, orange,
yellowish side. I usually bring it more towards, you know, the orangish side, also gum a bit more towards
that already looks so good. So so good. Lift goes
a little bit down. So you see if we
bring the lift down, you can see that all the
shadows areas have become blue. So I would bring
it down to here. CC. The summer vibe is there. All the highlighted areas have become a bit more
orange from white. You can see this was like this and all the shadows
have become bluish. This complimentary color from orange to the blue also
gives a really unique look. This was how it was before. It just looks like a really nice commercial kind of image, commercial shot where yeah, you are in the mountains,
everything is nice and bright, really nice colors, everything. But if you want to
give a summer look, you go to primary curves and change the gain and
gamma and the lift. Now you have a completely
different look. Yeah, that's how you use primary color wheels to also give a certain
look to an image. So I really hope that yeah,
you're learning a lot. And I would also
recommend you to pause at this time because we have covered in really short
section we have covered a lot. So whatever we have learned, maybe watch it again and maybe just practice with all the
clips I've given to you. And yeah, if you
have any questions, please leave them
down in the comments. And now let's move to the next section because we have really cool effects coming.
44. Color Grading From What We Learned: If we go to the first
clip where it was a little bit cloudy, here, what we can do is that here, I don't know if you
remember we left it just by making this
image look really nice. You know? There
was a color boost here, and here there is nothing. So first thing what we can do is that color grade
with the curves, or maybe what we can do is just to color grade
with color slicer. So I would just node label it. Color slice. I want to just do some things with the green and maybe reduce the red here. So I would go to
color slice because if you don't really want to do too much crazy color grading, color slice is really good too. So with greens, what I would do, I would just first check
greens, yes, that is selected. Maybe reduce down the density,
increase the density, so that reduces the brightness and maybe reduce the
saturation a little bit. So I did here with
the saturation, and so let's see
before and after. And now we also going
to take care of reds because I think
it's too bright. I want to give a bit more
dramatic look in this image. So yeah, that is red, but I see that her face
is also being selected, so we just click here, and we try to move
the center point to see what we can do. Here, maybe what we can do is I wouldn't do anything here, maybe make another node or maybe make a parallel node here. And what I would do, I just want the settings to
be on her jacket. I would just go to windows, maybe make a boundary
around her jacket, not the face at all. And now if I select red, so now everything
what I would do would be just changing
this area, not the face. So now if I go to color slicer
and now if I select red, still selecting the faces weird. But even if I do any change, it would only be in this area. So with this, what I would do, I would maybe reduce the
brightness of the red a little bit and reduce the saturation. So this was before and
this is after because I want this image to look
a bit more dramatic. So this was before,
this is after. For some reason, my Sony camera makes the reds too bright. Like this jacket
makes it too bright. So what I would do, maybe
that as a master frame, here I would start
putting the primary. So here I would maybe
do color slice, red. Other things I don't
really want to change. So let's see what we
did with the color slicer before and after. Let's reduce the brightness
of the grass and reds. And now let's go to
primary color wheels, and here what I want to do. Here, I want to make it
a bit more dramatic, a bit more cooler, maybe
a bit more greenish side. So I'm just bringing
it a bit more towards, you know, the green,
blueish side. It's not really warm. I want to make it give
it a bit more cool look. And then here in the lift, I want to maybe increase
the lift so that the shadows are a bit
lifted with the ribs. So this is the before
and this is after. So you see just
by doing tweaking a little bit of color,
now you have this look. But now, so if you
go node label, the color look, get
rid of the clip. And here I'm going to show
you something really cool. Earlier, we were just doing
the parallel nodes, you know? So what parallel did was the same information
was going here, the same information
was going here.
45. Layer And Paraller Node Tree: Now we want to do layers. And what layer does is that? If I just add node and
add the node as a layer, what this is going to do is that this would make this image look like it's a new
image coming from here. I'm just seeing this. Yeah?
What is my goal here is, I want to have the look what I created here
if I disable this. The look what I created here looks really
nice and dramatic, but I don't want that
look to be on her face. Yeah? So what I would do, I made another layer, and here I would deselect the face or change the
color of the face. So what I would do, I would
go to qualifier here, and I would select the face. And then I would go to the qualifier here so that
I can see what is selected. And here I can change
the selection, what is even being selected. So here I think the phase
is little bit selected. I will just reduce it down. I would just be here so that
I sure that the face is out. So here what happened
was if I go up, here you can see
that the face is not the same color
look as we did that. The face is standing out because we made
it a separate layer. So this layer is like it's on
the top of the color look, but it does not have the same
setting as the color look. And here, here, there was a window where we
deselected the face, and here there is a window where we did the color grading, and here is a window,
which is a mixture of the color grading what we did and the deselection
what we did. And what I can also do is
that maybe this looks a bit more maybe unreal
that everything is greenish and the face
looks a bit more reddish, to blend in what I can do, I can select this node, and then I go here, no, then I go here to the key. And this is the gain of
how intense this node is. If it goes all the way zero, so every effect from
this node is gone. But if we make it to say, 50 or 50, like
halfway or about 60, then it looks like it's
kind of blending in. So this was a phase before,
after we color grade. This is a phase after
when we selected it. So this key is, for example, if you did the exposure here, this was the effect
due to exposure, if you want to reduce the
effect of just that node, if we go to key output and
reduce it all the way to zero, then there's no effect
because of that node. And if you want to
give a partial effect, then you can go to 0.5, 0.8, whatever you want. But that was just an example. But this key setting, we usually use when
we are using lots because sometimes if you put a lot on an image
that is too intense, some sort of filter, so you can reduce the intensity
by going to the key. But yeah, so that
was the layers. When do we use layers? In parallel, what happens is
everything what comes out in this node is a mixture of this and this because we made
a node in parallel. Here we made a node in layers. So what is coming out
here in the output is the effect what happened
with the color look node, minus the effect what
happened on this node. So this minus this equals this. Here was this plus this
equals the result here. So that's when we
use layer node. And that's how you use the primary color wheels to give a certain
look to an image.
46. Power Grade Tool: And what there is also really
cool thing in the materials of is called a
power grade option. What power grid does is that? So if you go to gallery
here on left hand side, and then you have stills, which is the stills from
this, you know, and also what you
can do is that you go to Power grade,
which is here, and then you can
also grab still, and this still would
be in the power grid. So now what happens is that? For example, if I open some other
projects, say, this one, if I open some other project and if I had this
clip here where it is completely different project
than what we were doing in the minty resolve because
there's nothing in stills, but there would be
things in power grid. So power grid is
like a template, what you can save in the
vinci resolve and you can bring back that template every
time when you're editing. So if you just put
this neutral look, it is in that picture, and it's looking pretty neutral. But if we had this power grid from one of the hiking
videos, what we did, if you go full screen,
even just with one click, we change from
this to this look. Sometimes you, of course, have to change the wide
balance and exposure. So that's when you can also
use Power grade option. And yeah, next, we
have the timeline. So if you have timelines, you
can see all the clips here. But let's go back to
the previous project. So to switch back
to the project, you can also just progress this arrow and go to
the integer of 19. Yeah, this is how you can also switch from one
project to another.
47. High Quality Screenshots: And now what you can do, you might have seen
a lot of creators, they export stills
from the videos. So I will go to color grade. I would choose whatever frame
I want to be the still. I say, if this frame, I want to be as a still,
I'll go grab still. And then what I would do I
would go export and export, I can export as JPEG. What you can also do is that
whatever clip you are on, you can go to file. Then you can go to export
current frame as still, and then DaVinci
would, you know, show that current
frame to export the current frame in JPEG or any other file format,
whatever you want. So yeah, that's how you
can export frames as well.
48. Colorgrade A Timeline: One more thing what
you can do I showed you before this toggle button. So there's one button,
which is for the clip, and there's one button
which is for the timeline. So for example, if I go
option S, make another node, whatever changes I would
do here, for example, what I do is that I
usually make things softer to make it look a bit
more dreamy in some videos. So here I change the details, the midtones which is available in the
primary color wheels. And by changing it here, this setting would be
on the entire timeline. So yeah, if you want to have a universal change,
you can just go here on the right hand side on
the top in the toggle, and then you go to timeline. And if I have to go
back to the clip, then I go back to the clip. Now if I see all
my other frames, what we have here, they
are all a bit softer. So if you go full screen
before and after, so you can see that
all the frames are softer before and after. I would just disable it. So, you can do any sort of changes in the entire
timeline by just going here. So these little little things would save so much time for you. And in the next
section, we're going to be editing some advanced clip. Some clips which is shot on a bit more professional
cameras and a bit more professional
format. So let's go.
49. Sony Log Colorgrading: So here in this section, we're going to be editing with some really interesting files. So if you go to color grading and then if you go to log files, you might see these files, which is a little
bit desaturated, which looks something
like this, you know, you might have seen on the Internet as well
that this is log. And we also have some log
clips from the iPhone. So what are log clips? Maybe let's just import this one's alters dragon
drop on the timeline. So what is a log clip? If we go here in the color page, then you can already see from the scopes in parade
that log clips, they don't really
have so much colors. They don't really have
so much contrived. It's just super flat. And the benefit of
filming in log clips is that if you want
to push the image, if the image was
initially super dark, you can increase the brightness of image without
it falling apart. Sometimes, if my subject is in shadows and the
background is super bright, can increase the brightness
of the subject and reduce the brightness of
the sky or whatever is a brighter part without
the image falling apart. So that's why you
use lock clips, and that's what they
call that lock clips. They have more dynamic range. What does that mean
is that, of course, you can push the
clip to so much more brighter or so much more darker with respect
to how it is shot. And also, you can do some really heavy cinematic color grading. Because if I do like really
crazy colour grading in some footage which is out of
a really ordinary camera, my footage would
just fall apart. You know, I just would
look super saturated and super childish or
super unprofessional. But if you do the
exact same color grading on a log picture, it would look super cinematic. So what do we do
with this image? I would just press the gallery here so that we have more space. I'll just zoom in,
scroll the mouse. So this video is shot
on my Sony is MS three. It is shot in Sony log. So what you can do for
this image to look neutral is I would
add one more node, and I would just do adjustment, and I would do here CST. So what is CST? CST is called color
space transformation. So I told you that my footage
was shot in Sony log, which means that my footage was shot in Sony log color space, and we have to transform
the Sony log into Recepnony Rec 709 images look like this
already beforehand. Rex 79 image would
look like this. So that's what I have to convert the log file to the
Rec seven oh nine. So how do you do that? You go to CST just
to a normal frame, and then you go to effXs. I have chosen favorites
in my setting, but if you go here, show all, then you would see
all the effects. Here you just select colors if you want this to be favorite, you can just click on Star and then you can just have
all the favorites here. But let's just go
in the main menu. I would drag this color
space transformation to the node here, CST. Now you would see that there
are a few options here. So if I go to input color space, I would choose Sony because that was what this color space
was shot at Sony a game three sinus if you are a video editor
and if you're getting your footage from someone
else and you don't know what color
space it is shot at, then it's going to
be a big problem. So really ask the
person who's giving you the videos which color
space it is shot at. Let's do Sony a three game. As soon as I would
change it, you would see a little bit of
change in the video. See, there's a little bit
of colors in the video. It looks a little bit fine, but it's still
really washed out. And then input Gamma, we have to change
is to Soc three. I told you that it was
filmed in Soc three format. So let's go Soc three. So you see with one clip, it has changed from the
flat profile to this. Can also see the parade here, parade the color
parade it expands. In the beginning,
it was this much, and now it goes here. And what I told you before is that our
main goal is to expand this parade as much as possible to get the most
out of our footage. So I'll just toggle off the space and the
output color space, I would leave it to the
timeline color space because if you go here to settings then you
go color management. And here you can see that
the timeline color space is Rex 79 Gamma 2.4. So that's what the
timeline color space is. So that's what it is here. So I don't really need to put it because there is an option r709, Gamma 2.4 or something. Rex seven and nine
and then Gamma, you would choose 2.4,
but we already have it, so really don't
worry about that. So I can see here is that everything just looks
really perfect. So I would just
leave it like this, and then we can do
the same thing. We can go and do
the color changes. But maybe what I would
also do is that I would do some adjustments
because I think that I can see here
that I can push this a little bit more because I want a little bit more pop. So I would bring the lifts down. To bring a little
bit more contrast in the image and then gain
a little bit higher. Gamma is well a
little bit higher. So this was before adjustment. This is after. So
you can see that there's a little bit of
contrast in the image. And what I would
also want to do here now is that I would
show you how to edit this image with lots because we already told
if I was not using lot, I would do the same thing, go to versus and
change all the graph. And then after that,
I would go to, you know, the primary color
wheels and change the colors. But here we're going
to edit with lots. Because now we have the image in Rec seven oh nine format. We're going to import some lots. So you go to lots and
you have the lots here, and then if you do this,
then you have a whole list. So as I told before, DaVinci already has a lot of
lots from before, and what you can do is that Da Vinti also has
some predefined lots, which is for if you
go to film looks, Dawnti already has these lots. But what would happen
is that if I go here, the footage looks really
washed out, yeah? Because this lot is
for the log videos. Now we have already converted
into Rec seven oh nin. So what I can do disable the color space transformation just for the sake of this video. Then I can just, you know, if I just toggle around, you can see the lots here, then I can put this lot. But we are not going
to use this lot. We're going to use
the lots which is already in Rec 79 color format. So if you see this
Rec seven oh nine, I've also given this
lot in the description, I will go to Rec seven
oh nine and then you have a group of 20 lots here. They are really I also use them sometimes in my videos,
really, really cool. So here, what I would do, yeah, I would move to the next
node because I don't want to do cospas transformation
and t in the same node. So let's go to t and
let's just hover around these files to see which
one fits the best. This is looking fine. I think the lot ten
was always nice. So I would go to lot and what you can also do
if I want this lot, I would just double click,
so it is on my image. Or what you can also do, go to applied lot to the current
node and then it's there. Lot is there. It is
looking pretty nice. If you see the parade here, this was before the lot. And as soon as we
introduced a lot, it expanded the parade
a little bit more. But that's really fine. I think
it is a really good look. So what we want to do is that I want to grab
still of that. And I know another footage which was shot on the same camera, which is this one. I'll
just grab it here. I'll go here because I know
that where the footage was, I'll just grab it here,
bringing in the timeline. This would be my hero frame or maybe a little
bit before that. And then to get rid of the
lots, I'll go to galleries. So then I have all the video
settings already saved here. So then I would go here, right
click to Sony apply grid. So of course, you can see
that adjustment is making a bit of trouble because we made the image a
little bit darker. It's not really needed. It already looks
really nice here. But then according
to the parade, I see that there's
a lot of shadows. You can also see that
a lot of shadows here. So what I would do increase
the shadows a little bit. I can also see
there's a little bit of room for improvement. Here, just gain a little bit
up and then reduce the lift. So this was before and after. So what did we do in the
beginning, it was like this. So already from the parade, I can see that everything
is super down. There's a lot of
room to play around, and we have to lift
the shadows here. So I lifted the shadows here, and then I increase the gain. So that would push the craft so, and then I reduce the lift
to get a bit of contrast. Here what I can do after a lot, you can also put some other
settings what we thought. You know, I I think
that this green is a bit too saturated, you can do this again. I can go to Hue
versus Hue curve. I go to hue versus saturation. I can choose the greens, maybe increase the range, and then I can reduce
the greens here. So this was before and after. And I also think the greens
are a bit too bright. So what I can also do, I go to Hue versus luminus.
I choose this green. I can reuse the luminance
of this screen. So if I go full screen, this is before, this is after. I think this looks a bit more realistic because our main
focus is the subject, not the greens, because this was the greens before,
and now look at this. What I can also do is that
I can go to Hue versus Hue. I want to make this
green a little bit more Yellowish. So what I would
do this nice screen, I would go up, up. And so you see if I go full
screen? This was before. So we can do so much magic with everything what
we have learned. So I'll just go through it
again, the steps in brief. So first thing what we did was, we'll just disable this
disable the adjustment. First thing what we did was we did the color space
transformation. Color space
transformation settings was like this for Sony, you know, I chose
everything from Sony. Then what we do is we
did some adjustment. Adjustment looked like
this because then we saw here in the parade
that everything was down before, then
we did the adjustment. Then we put a lot,
which you also have, you can just go in
the description. After that, I didn't like
the color of the green, so I use what we
have learned before. I changed the color
of the green, I changed the luminance and
I changed the saturation. Then I had this dramatic
look in the greens. Now what I can also do is that I can put an
overall colors. So if I want it to be a bit more dramatic or so I can just go like this or if I wanted to
have a bit of dune look, you know, the dune movie,
then I can give this look. So you can do so much, so much crazy stuff in the inch resolve by just learning this
little tiny effect. And if you're a
videographer, freelancer, you can just charge so much to your clients or you
can just impress people online by just doing
these little steps at war. And that would already
make the footage look like it's been
professionally color graded. And everything looks
so nice and neutral here because this
is shot in log. But for example, if I
just reset this, yeah. And with the lot, one more thing, with the lot. This was before the lot, this is after the lot.
I really like the look. Maybe I can show you with different so it
makes more sense. For example, this lot, yeah. This lot looks pretty decent. It's not my favorite,
but with this lot, I really like the look
what it's producing, but I don't want the
intensity to be too much. So what I can do is
that I can go here. So if you see here, it says key, I'm going to press it,
and then the key output, I can reduce it to 50%
or whatever percent, and that would reduce the
intensity of the lot. I can just go down down down. So as I go down, you
can also see that the opacity of this
node also reduces. That is kind of showing
that, you know, that the filter is
just half applied. So this is after half applied. So that's still a
really good look. And you can also I feel that the contrast is a bit missing. So you can always just
go back, you know, reduce the darks a little bit, maybe increase the
gains a bit more, you know, to give it
a bit more punch. So this was my image
before, after. Full screen. Let's go full screen. This was my image before super
flat. This is after.
50. Canon Log Colorgrading: M And we can do very similar things on footage from different
different brands. Like that was for Sony. I also have this
footage from Cannon, and I'll show you something. So I'll just delete the audio. And here what I also see is that because it is a cannon
from my friend, the size of the video is not the same as
my timeline size. So what I have to do,
I have to zoom in. Otherwise, if I
just do like this, then there would be a
black bars on the top. I'll just zoom in, and let's
go to Colospras Transform. So this is my hero footage. What I would do, I
would go to gallery and let's try to
put the Sony look. The Sony look looks nice, but what I would do here is that to really make
sure that I have the accurate color
transformation is I will go to color space transform
and I would choose Cannon lot because this
was shot on cannon. So I would go to Cannon
Cinema Gant and Cannon log three because this was shot in Cannon log three.
So you see a difference. So this is what the
image should look like. I will just disable
the lot as well. So this is the Rec
seven oh nine. So this is how it was looking
when I was at the location. I would just delete the
lot. So you see just with I put the cannon
settings and yeah, the image looks really nice. What you can also do
is that, for example, if everything was gone, I would just make one more node, and then I would go right click. I would go lot, and
then all the lots from DaVinci is already here. So what I can do is that if I know the company and the
settings of the camera, then I can directly
transform with one click. So if you go to here to cannon
log to Rec seven oh nine, you see now it has transformed to Cannon log to
Rec seven oh nine. It wouldn't be that accurate. What I usually do is I just
go color space transform, whatever camera brand, Cannon Cinema gamet
then here Cannon log. This was Canon log to
Rec seven oh nine.
51. Exposing Log Clips In Camera: Lot of times what you have to do is that if you're
filming a video, it doesn't matter from Sony,
Cannon, DGI, whatever. You have to over expose
your log footage. In Sony, I have to over
expose my log footage to 1.7. Usually, if you
have zero exposure, then the footage
looks really nice. But when you're filming
log, you have to expose you have to do
your own research. When you're filming
from Cannon or Panasonic or other brand that what would be
the exposure for log settings if you're
filming in the camera?
52. Apple Log Colorgrading: Now I have another video, which is from an iPhone. So if I go here, this is a video from an iPhone. IPhone 16 Pro, and it
is shot in Apple log. But what DaVinci is doing, which is really smart
is if I go to clips Dawnci is already converting this image into
Rec seven oh nine. Usually the image
looked like this. If you go right
click on the clip here and if you go to
input color space here, it is already converting
to Apple Log. Usually, it was like this. So that's what Dawnci
also does really smart. Sometimes is that if it's going to recognize
what format it was, it would just do the
exact same thing. But here, let's check out if we have the settings accurate
settings for Apple Log. If you go to color
space transform, if you go to input Gamma, you have to go Apple
Log, and it is, it's the exact same thing
what the other way was doing. And now it's already
converted to Appog. So here, if it doesn't
have Apple Log, which means that we just
need input Gamma settings and it would already
convert it to Apolog. Then what we can do is
that if you want to make it dramatic,
take another node. I'll just bring it
here, maybe put a lot. I can also use my own lot pad. So this also I have provided
in the description. I would go to cinema
drama and look at this. Cinema blows Sherry, maybe
every day, just go here. And then what I can
also do is I can just go maybe do a little bit of color boost if we
need some juice, and we can also so here, then you can increase the brightness of
the image so much. So to increase the brightness, we just go again here. Color grading, I just love it so much is such a cool process. It's so rewarding, especially when you see the before
and after the whole time. So I'll just do full screen. This was before
shot on an iPhone. Insane. This is after. You see how much
information we got out. Like, you see, before
everything was ranging here. After we pushed it, we opened the entire color
range for this image. So yeah, that's how you
can edit log foot gible. There's not much difference. The only step what
you need to be doing is just do the color
space transform. And because this was shot
in log, I would go here. I can increase the
shadow so much. You see? I can increase the brightness so much to reduce the
contrast so much. I can do so much
with this image. It's just for an example. But if this image was shot in a
normal picture profile, you wouldn't be able to
push the image so much. So that's why people
shoot and log. All the cinema things
are shot shot and log. Yeah, that's how you can convert the Rec seven oh nine footage. And in the description, I have given Mutz my
special lots as well. You see how cool it looks
with just one click. So I would just go here. If I go every day one, look at this, how beautiful it looks. So I have MilutPack and
I have this Rec seven oh nine ut pack that you can use on iPhone, on any camera. But if the footage
is shot in log, then you have to
first convert it and then put this lot on the image, and that would look
just so, so good. That was it for color
grading with lots and also color
grading the log file. So let's move on
to the next one.
53. Glow Effect: So here what I would be doing, I would choose this image
again because I need to show you some really cool
features in the winter resolve. So here, what I would do, I would show you something glow. So glow is something which gives that cinematic glow
on the image or wait. Yeah, I can just show
you on this image. So this would be the hero frame. What I would do, go to
effect, go here, glow. And it is also available
in the free version. Don't worry, so I'll
just bring glow here. So what glow does, glow brings that dreamy
effect in an image. So this was full image. This is before and after. So what is happening here? Glow gives a dreamy
effect to an image. It sort of it makes the
highlights a bit smoother. So if you see the sky here, that is the brightest
part in the image or even the bicycle is
the brightest part. This bag is the brightest part. And as soon as I put glow, it almost feels like sunlight is reflecting from that object, and it's sort of bringing
more glow in the image. Brick. It's so difficult
to explain what it does, but it just looks so dreamy. I can show you in on
the image as well. So if you see everything
looks really normal, if I go glow, if I just zoom in, you would see some changes
in the lights here. Can see this is normal.
This is with the glow. So all the things which is a
bit brightest in the image, they sort of have
this bit dreamy look, and we can do some
changes as well. So if I go here, the
shine is a bit too harsh. So here you can actually see
that all things are shining, and then you can go, you know, until the point
where you are happy. So I would maybe just
be here and the spread. So spread, you can make it super aggressive spread
or you can make it that it's blending in. So this was before and
you can see that now I can make it a bit more
blend in like this. You see this was
before and after. Glow is available in the nissolve pre version,
you can use this as well. I think maybe here, it
can be more apparent. If I go to color Look, I just add one more
and if I go glow, you can see that all
the things are glowing. But here what I would be
doing is I would reduce it down I would make it spread out, not too crazy, but
spread out so that it looks still this
was before this after. This is a technique what
a lot of filmmakers also use to make their image
look a bit more nicer. We can try on this
image. Let's go here. Let's do. There is
something on this one, but I don't remember
what, so that's why it's nice to
label the image. If you go in the last clip, you go glow and you can
see the sky, it's too bad. But what we would be doing is go here and spread out data. You can also change
the intensity, so you can change the gain, if you go before and after. So yeah, glow is something
really subjective. I like to use it in some
clips, not in every clips, but just because some
effect is there, doesn't mean that you
really have to use it. But yeah, that's glow for you.
54. Magic Mask(Studio Only): Welcome to another chapter of Color Grading in the
Winter Resolve 19. And now we're going to be
discussing about some features which is just exclusive
for studio version. The first one is, I think, when it released, it was the game changer for
every creator out there. It's called Magic Mask.
What are we going to do? We're going to add another node? I'll just do node
label MM Magic Mask. What this does, it's
just mind blowing. So if you just go here to this
icon, it says magic mask. As soon as you click on
magic mask, this icon, there is this plus selector
icon, which appears again. So what do you need to do here? If this is human? What do you need to do?
You go here in magic mask, select this human, you
know, person mask. And then what you can do because
this is a person, right? So if I just do this, then the magic mask kind of selects the entire
person, I think. To see what is it selecting,
you have to go here. It's like a toggle mask overlay, is going to give
you the red thing, which means that it's showing
you whatever is selected. But if I just want to
select the face of a human, what we can do, let's
just delete it. So just go here, then we can go to features. And in features, then you have different
options such as arms, clothes, stu, blah, blah. We're going to do face for pace if we just go and
select the face. If we just go zoom in, Dawnji is just selecting
the face of an object, and if we just track
it to track it, it's also super easy
just go play button. Then depending on the
power of your system, Da Vinci would be key
framing that mask on the face of my subject
for the entire video. Of course, if the face is going
crazy all over the place, it wouldn't be able to track, but my subject is not
really moving that much, and we can also see that
at some places a mask is coming out, but that's okay. If you go here, and then what we can do
if we just zoom in, we can toggle this off because we don't want
to see what is selected. And here what we can do if we just want to say
soften her face, what we can do, color wheels, go to mid tones and just soften
the face of the subject. So nothing in the background or nothing in the image
softening is just this. If you want to say
increase the shadow, you can increase the
shadow of the face. Of course, not too much
that's too obvious. But yeah, just a little
bit, just a little boost. And what you can also do is, if you go to the beginning, you can also do simple refine. So you can go like this. So then the blend
is not that harsh. There's also blur radius, you can increase that clean
blacks and clean white. And here also, though,
I do in and out ratio, I increase all of this. So what this does now is
that if I just zoom in, you can see that the edges
are not that harsh now. So now if I increase the shadow, it wouldn't be
like a little like a super harsh boundary,
super harsh edge. It would look more natural. So you see, this was
it is too exaggerated, but yeah, this was
before magic mass. This is after here you
can also use it nice. So if we were on the bike,
here is the footage. If we are on the bike here, and what I want to do is
that I want to change the color of the subject to
some completely weird color. So what I would do, I would
go to magic mask here. This is magic mask, then
I would go subject. And here without instead
of choosing features, I would go just person. And then I would just go from top to bottom, just
draw this line. And of course, I have to toggle this on to see what is selected. Pam, it is selecting
the entire human. To deselect a few
things because I also see it selecting the bike
here, I just go here. So what I did was I chose minus just to let software know that
don't select the bike, and then I can also just do here that do not select the bag. I don't want the
bag to be selected. And now just my
person is selected. And now if you do play, it's going to keyframe
the entire three strokes. The first one was addition, and the reds are
the subtraction. So if you just go So
you see track so good. And now what I can do, I can increase the gain. Yeah. So you see my subject is just my
subject is selected. And you can see the
harsh, you know, in and out boundaries, I
can also take care of that. In ratio, we have black claim, we have clean blacks, blur ratio, you know? So if you do blur, then
it's not that harsh. But of course, I'm
assuming that if you are using magic mask, you're not going to do too much like you're not going
to go this crazy. You can just increase something, you can just increase
the shadows. A lot of times when
I'm filming courses, I sort of do magic mask
just on myself and increase the shadow or increase
the brightness so that I am the brightest
person in the frame. And the reason why I do is that because I want the background
to be distracting. So if I make myself bright, then of course, I am popping
out from the background. And, it's just making the
subject more pop out. And that's what you can
also do with magic mask. You can do a lot
of stuff with it. You can just change increase. Like every color
grading setting, what you can do in
the winter resolve, you can just choose
magic mask on a particular object and do that change on that
particular thing.
55. Halation Effect(Studio Only): The next effect, what
I'm going to show you in the Winter Resolve studio
is halation effect. Since the time it came,
everybody's using it. Every creative word
I see is using it. And apparently, this has
been used in films for ages. I think on different
softwares or some really, really
advanced software. So let's try halation effect. What halation effect is? It's just it gives this really
traumatic look like glow, but then it adds
some extra element. Let me show you.
We go to effect. Let's go to halation
you go here. So you see already this is
before and this is after. So what halation does is that
it adds this really weird, blurry kind of edge on the
brightest area of the image. And yeah, it gives a
bit of dreamy effect. Look at that. It also
makes the reds pop out. So the skin tones,
they also really pop out before there is after. I think it looks really
cool on this image. Maybe let's try on this one. We can delete the cow
potion from last image. I personally use
halation on most of my creative projects
because it just gives that extra pop and look at this. Just with one click, we go
full screen, this go before. Everything was looking nice and now everything has
a little glow. You see my subject on
the edges, it has, like, a little weird highlight
glow on around. Also, the clouds
has a bit of glow, the grass has a bit of glow. And what you can also
do, you can choose different settings of halation. Let me go to a concrete example. Let's go on this image and
show you the settings. If we go on the
settings inhalation, you can just play around. Threshold if you go
all the way here, the inhalation disappears, maybe I can just zoom
in so you can see. If you go all the way here,
the halation comes back. I just usually put it here
because in some image, if the image is too bright, then the inhalation
looks super intense. I play around with this
so it doesn't look like I am that person who's using an effect
just because it's there. This was before and after. And then I would just
touch threshold, and then the strength I would
also increase and reduce. So this would be the
strength of hlation. I would maybe just go here. So now you can see,
maybe just here. So you can see a little
bit of glow in the image. And then you can also
add some grains. But I like grains, you know, gives that retro effect
before and after. But for grains,
I'm going to teach you in the next section
how to use grains. So I would just
yeah, not use it. And then, yeah, that's it. I would just, you know, play around with threshold and strength while using halation. In any clip you put, like I think in this clip, you can see the real difference because there's so
many glowing areas. Go here. You see? All the reds are popping out. It just looks so cool. So let's see this image
was like this before, and then we made it so
nice and dreamy after.
56. Film Grain(Studio Only): After halation the next effect
what I use is film grain. So what happens in a normal cinema camera is that when you film
from that camera, like the most expensive ones, they already have
this in built grain. That's why the image looks
a bit more cinematic. But the thing with the
mirrorless cameras are you don't have that grain. You have this polish, sharpen you know, digital look. And that's what it
kind of separates the mirrorless cameras
from the cinema ones. So DaVinci has some
tools like the glow, the halation and it
has one more tool. It makes the footage look a bit more closer to
the cinema camera, and that tool is film grain. So if I go in effect, go to film grain, we go here, just drag it to there. So now, you don't
see any difference, especially, yeah, if someone is watching
on a small screen, you wouldn't see
much difference. But let me kind of exaggerate
here. So film grain. There's different different
types of film grain. So grains are they look
something like this. So you see the grain
here, this, that's grain. So this is a bit more bigger. You can also have 35 MM, which is really common
apparently in cinemas. And now the grain
structure changes. So now it looks just
like a normal grain. It almost looks like the camera had some feature that
made it look grainy. You can also see here that the grain is adding a
little bit of glow. I can maybe add in
some other image, that maybe makes it look
a bit more obvious. We go film grain. I would do 35. I usually do
35 of them if I have to. I don't do it in my
TIV logs because why would you need a
grain in the YouTube log? So if I go all the way up, it has this film like, you know, film like Look. Now it actually looks like
it's shot on a CIMA camera. All the sharpness is gone, all the blurness is gone,
and this is what it is. So that's how you can use grain. I don't really
change the texture, but you can also
change the texture of the grain so if I go here and if I increase or reduce the texture, you can
choose the texture. So this would be like a
bit more zoomed in grain, and this would be a bit
more kind of more small, small particles of grain. So grain is just like
a little filter, like a little layer transparent
layer on the image that sort of takes off
that digital look on the mirror ized
camera footage. So, yeah, you can
use film grains, as well. It is optional. I use them on really
specific videos where it's really needed. But, yeah, I think it's
a really cool tool.
57. Film Look Creator(Studio Only): The next tool, what we have
in the studio version of the Wings of 19 is
the latest edition, which is called
film Look Creator. Let's disable all of this, yeah. And I'm just going to
add one more node. So this is how my
image looked before. Yeah. We go to Oh, it was already there,
film Look Creator. If I just drag and drop. Within one click, it gives
that cinematic look. If I go full screen, it almost looks like it
has this halation. I did something with the color. It did maybe also some grains. Yes, it did a little
bit of grain. So what this cinematic look is doing that for someone who
don't want to, you know, have, go through crazy
color grading or so, they can just use
this film creator. Here you can choose
some settings, play around with the preset. This is the preset for 65 film. You can go to 35 or you
can go to cinematics. Cinematic gives that bar, but I just go to 65, and then we go with color
Bnd and color Brand, and then we go with
the color blend. And here, of course, you can choose the contrast
in the image. You can see that this
was less contrast, it's more contrast. Then film look blend. So this is more
important. This is my image with
halation and grain. But this too, they also
did this color grading, and this is what it looks
after the color grading. So if you want a half of it, so I would just go to this. But if you want a
different color type, you can go from cinematic,
you go to this one. That has a different
you can go to Alaska. You have all different
it's like different lots. Mixed with the halation
and the grain effect. So really just play
around with this. What I usually do, I would go
to cinematic and I'll just go halfway so that it still
has the natural colors, what I filmed, but it also
has this cinematic vibe. And then skin bias,
what it does is that. Like if I go this way, then it looks like my skin
is a blending in the image, and it's kind of
like greenish tint, which is the tint for
the entire image. But if I want the
skin to pop out, then I go this way and now you can see that the skin looks a bit more natural
colors before and after. Then I don't do any of this color setting
exposure because I can do the exposure changes in the primary color wheels. But yeah, you can
change the exposure. If I don't want the
exposure to change, I would just go research. You can also change
the contrast. So it's just that
either you can just choose that and be
happy with it or you can also play around
with the settings. Has split toning vignetting. Split toning is also
really interesting. So it kind of you can see, it kind of changes the color. You can choose the hues. It's like there is
endless amount of option, and I would really recommend
you to just play around with that because everything what I've taught
it is on one side. And if you really just
play around with that and find your own style,
that is on one side. I am still not really
100% used to it. But I can see myself
using it in the future. And what you can also do with this is that you can go through the timeline and then
do film creator. And then on all the images, you would have this
film look, look.
58. Noise Reduction(Studio Only): The most important
feature because of which a lot of people switch to the adventure resolve
is the noise reduction. So this image looked
like this, yep. We pushed it, we
increased the brightness, we increased the shadows, and now this image
looks like this. But if I zoom in, you can see that there
are a lot of grains here. Sometimes grains are nice, but sometimes grains
can also be annoying. So how can you get
rid of the grain? It's so funny that in
the winter itself, there's one tool to
have the film grain, and then there's one tool
to reduce the film grain. I have filmed a lot of events, and I would obviously film in the dark and whatever
light is available, sometimes the light
is not enough, and my footage
looks super grainy. So this is a time
when you should be using the noise
reduction effect. This is not available in any
video editing software yet. This professional tool,
it is so accurate. You go to noise reduction,
drag to the node, and here, nothing changes.
What do you need to do? Go to Luma threshold
and then increase. And if you see here,
the grain is gone. If I go before, you can
see so many grains. Zoom in so many grains, and this is after. It is just magic. And you can also make
it a bit more softer, but I also try to find a balance between
how much I want to push it because sometimes
if you push it too much, the whole image becomes a
little bit soft, a bit weird. So that's why I just push the Luma threshold to
about 20 to 30 max 40, lot of people struggle with
the noise in the videos, and now the venture resolve has an option to reduce the noise, which is so so good. So yeah, I think I've taught you enough with
the color grading page, and now it's time for you to
just play around with it. Whatever I've taught, just go through it one by one
and just edit with me, pause the video, edit with me, and then see for yourself
and I can guarantee that every time you
watch this course back again and again, you would learn something new.
59. Fusion Page Overview: Now let's talk about
the fusion page. The fusion page is usually for someone who wants to, like, extreme graphic stuff, like green screen or
some text animation. Like, I used to use
for text animation, but now from everything what
I've showed you before, you can just do text animation
with one single click. So I barely use fusion, but what I use fusion
for, I will teach you. And for me for a
really long time, it was quite
intimidating fusion. So let's dive in and see
what Fusion is about. So this is how
fusion page looks. So what you can do is that
you can just select a clip, for example, this clip, and then go to Fusion.
So we go here. And now when you go
back, you can already see the fusion logo, the fusion sign, the three star, which means that
that's a fusion clip. You can go here, and if sometimes it's your first
time going to Fusion, your playhead would
look like this, I would just go here in the right corner and
click and the viewer. We just have one single viewer, and if you scroll up and down, the clip goes up and down. But if you're in a Zoom
in, you press Command or Control and then
Zoom in and yeah, I would maybe just
leave it like this. Let's give you a
little overview. It's not that complicated, so let's start from
the right hand side. This is the media pool
what we discussed before, but we don't really need media
pool infusion right now, so I'll just click it off. You can also put all the effect. You can check all the clips,
but we don't really need it. Usually you're using
fusion on one single clip, not the entire timeline, like how we were doing with collaborating and
other editing things. Fusion is just for
one single clip. So this is what we have
discussed already. So this is to enable or
disable this node section. We'll get to the
node sections Domer. And here, of course,
you can change the size and the views of the playback. And this side, you
can obviously, maintain the border or
this is the effect, which is on and off,
and this is the lot. So Fusion has its own lots, but I barely, it's not really, so I would just
put it like that. And this was the viewer. So if you want two viewers,
you can select like this. If you want one viewer,
you can select like this. And all these key
framings metadata, we don't really need it because that's almost too advanced. Or someone who is really
going into animation. And if you go here, then yeah, that brings the entire
node panel at the bottom. We can also keep it like this. And here are some
of the tools or some of the modifiers
that would be working on. So every time you
select a new tool, like this layout would change. And this is a timeline. So a lot of times, what happens is that if
you open the fusion this red bar or red line is in the middle and you have to bring it all
the way to the front. So this is all frame, right? So each image has
certain frames. And if you combine all
that frames together, and frames are like a photo. So if you combine
all those photos together and play
them really quickly, then that becomes a video. For example, this video is
shot in 24 frames per second. So which means that each
second has 24 photos. So this is 14 oh, two, four oh, three,
four oh, 44o. So I'm just going with the
arrow key to the next frame. And that's what this represents. So until here, I think
24 is somewhere here. Until here, this clip
would be 1 second. Then until here, 48 clip this
clip would be 2 seconds. So this is just
showing you where the timeline is and how many
frames this clip is for. That's not really important, but you should be aware
where your playhead is. So that's what this represents. Here we have sound on and off. And here are some of the
tools that we would be using. This is like an effect panel, how we had here in the Edit
page, that effect is here. Some of the effects
are here, but we would just do manual search. And this is the node panel. So this is the media in. So media in would
be the raw media, and media out is this. So whatever is here, it's
showing me media out, and you can see this white dot. So if I just disable it, then there's no output. And I just do so this dot
is for the right view. So for example, if we had two
views, I'll just zoom out. If we had two views, and if you wanted the left
view to be like this, then we can always see the before and after simultaneously. This would make more sense
if I have put something. For example, if I want to
do text, what I would do, I would just drag
this text from here, if I see this blue
and yellow line, then I would just drop the text. And then the text comes
here with a merge folder. I would just do maybe text. So you see, this is the media in view because here we have
selected the left view. You know, this is the media
out because here we have selected this white dot which is showing the right
side of the view. That can be really handy to
see before and after always. But for what I do, I usually use just one view because a lot of times
I edit on my laptop, which is just 16 inch. I want to see bigger view
of what I'm editing at. Media I was the original video. Then you put some effects, and then media out
is the outlet here. That's how fusion works as well. It's same as color grading
that in the beginning, you have this raw video and then you start putting
different effects, and then you have the output. It's kind of same
as making a dish. So first, you had this
ingredients such as water, and then you added some pasta, and then you add some salt, then you add some other thing, and then the output is here, which is the main output. I hope that example makes sense. So that was a little bit of
overview of the fusion page. Now let's get into
some editing and some of the really cool things
what you can do in fusion.
60. Attach Text To Object: So the first effect,
what we're going to do in fusion is
something like this. So I can show you in
the timeline I already did it. Uh, wait. Not this, but
something like this. If I go full screen, Fusion is a bit taxing on the system. That's why it's
lagging a little bit. So you can see that this text is going together
attached to my subject, and you might have seen a lot
of this kind of effect in commercials or even in any other video that the text
is attached to the object, and that's what we're
going to do now. So how you do it.
And for example, there are some things
here, some effects here, but if we want to
search for an effect, so you press Shift plus space, and that gives you a
list of all the effects, which is like hundreds of
effects in fusion tab. You don't need to know
all these hundreds to make a good video. First we going to do is tracker. So whatever you search,
it just appears. And there are so
many other trackers. So I would just go
with a normal tracker. And fusion is really powerful. You can almost do really
crazy animations in fusion. But if you're interested, maybe I can make a course about it because if
I just teach fusion, it would take like seven to
8 hours for teaching fusion. It's so cool. So anyways,
getting back to trackers, as soon as I selected
the tracker, the tracker just appears. Tracker node appears in between
the input and the output. And if you zoom in here, then you can see that there is a green arrow and then
there is a blue arrow. And there's also yellow box. So green arrow is anything that you would put on
top of the tracker, that should come on the top. And if you want to
put any effect, any mask or so that would be
connected to the blue one, and this yellow
one is the input, I think, yes, that's
the input because this tracker is
getting input from the main median median one, which is the original file. So the original file is
attaching but if you click here, the original file
gets disconnected. Now the output is
tracker plus the output, which is nothing, so that's
why you don't see nothing. So we would attach it again. As soon as I click Tracker, if you go here on the screen, you would see intel tracker. And that's the tracker. And if I just drag this tracker around, if I drag it on the cow, kind of zooms in and shows
where the tracker is. What I would do,
I would maybe put the tracker on her
head on the cap. B also for tracker to work, it's nice to select the area which is a
little bit contrasty, or maybe I just select the bag. Not that contrast,
but let's try. Yeah. So once we have this
tracker selected somewhere, now we want to track this
because now if I move this click now if I
move this clip here, you see the tracker, it
goes away from the bag. So what we want to do
is to do a setting so that this square box
sticks to the bag. Yeah. So let's do it. As soon as I click
here on the tracker, you go on the right hand side, and then there are
a lot of settings and options. That
would always happen. Every time if you have
a new thing here, you would have
different settings and options relevant to
whatever you have selected. So with the tracker, what I
want to do I want to track, of course, square
to track the back. What I would do if you
go here in trackers, you go tracking, and then you do this forward play button. That obviously says
track forward. Let's just press it
and see what happens. Now the system is working for this image to track forward. As you can see, that's just tracking all the
way until the end. Until I just bring
the camera down. Let's just go until here
or maybe what we can do is that we can just crop
this end part until here. Let's go back to fusion. Now you can see that the tracker has tracked the backpack all the way to the end
because if you go here to this green thing
that shows the path, exact path of how that particular point in the bag went throughout
the entire video. Now what we can do, we can attach text to the bag and that would stick
to the tracker. What you want to do, you
go to tracker or maybe you just go shift in
space and do text. You go text. And text commerce.
So text box is here, and you want to put the
text on the foreground. So what you would do, this
is the output of the text. So you take the arrow from here and put it
in the foreground. And now let's just say maybe
just write it back. Yeah. Nothing happens.
There's a reason. What we want to do,
go back to tracker, go to operations,
and in operation, you can do from
here to match move. Now what happens is because
we put the bag here, like the text, whatever it's same as the edit page
that if you bring a text, it's always in the center. So now what we want
to do is to bring this bag on top for example, if we just play the bag here, the bag is still
replicating the movement of this bag on its own plane. So what we want to do
is just drag this bag maybe here or on the subject
or maybe just on the bag, and let's just play. So now it almost looks like the text is
attached to the bag. In some cases, it might not be that easy to track
something because here, my subject was not going crazy. There was not crazy movement. So yeah, that was tracker. Like how we added text. In this case, you can
also add a lot of other things like graphics
or different icons. For example, let's go here. And if we go to Fusion,
now we have text, right? If I just say, delete the text, and then I bring now media
pool comes in handy if I bring this arrow, you
can bring this arrow. I'll also delete the transform, you can bring that's the arrow. You can bring it
to the foreground and now the arrow is here. What you can do,
you cannot change the position of
arrow now because the arrow is not
acting as a text. What do you need to do? You
need to put a transform node. So you just go transform because as soon as you
put transform node, that gives you the option
to change the size, change the position of anything. So if I put transform node, so now the transform node
is attached to this arrow. So as soon as I
click on transform, then I can change the position. I can change the
size of this arrow. I can also change the
angle of this arrow. So let's just go angle.
Let's just go like this. And if I just bring
this up here, then it would be
attached to the cap. So you can, yeah, add anything once you have
tracked the object. I usually do text
or something like that, you know, just for fun.
61. Locked On Stablisation: There's one more really
cool thing what you can do with tracker
is stabilization. So I'll show you.
Just bear with me. So if you go to Fusion Folder, this is just a video of
someone dancing, yeah. And you can see this side bars because the video is
in vertical format. So maybe I would
just go until here. And cut it. Yeah.
And what I can do, I can also just change the
resolution to vertical so you can go to setting for vertical resolution like throw. And now let's go to fusion. So here what I want
to do I want to track the jacket because here there is a bit of
contrast the white and black. So I would go press again. Tracker. Hoop press
Enter, tracker comes. You can see this green box here. I would put the tracker here. Yeah. And I want this tracker to track this jacket throughout
the entire movement. So let's hope that it is
tracking, tracking, tracking. Sometimes it can get you see. Here, as soon as the guy
twisted on the right side, it didn't track because
now the plane is gone. So what I would
be doing is here, I would bring the
square to his head and maybe track backwards to just match the movement because
how his jacket is moving, his head is also moving
in the same way. So I would just
go back tracking. So now it's tracking
his entire head. So I think now my tracker
has a bit of a Movement. Of course, it was here late
back then and now it's here. So what I would do. Here, I want to stabilize
the frame or just keep this point at the same position throughout
the entire video. So the next step is we go here to operation on
the right hand side, and then you go match, move. And then after
selecting match move, if you go to merge, you
can go background only. And now you see what happens. You see, my mouse, if
I put my mouse here, his head or his jacket
stays at the same position, but it just jumps
a little bit here because of the bad tracking. What we're going to do
is that we can track again and see what
can we do better. Maybe just leave the tracker
here and then track again. No, it is not tracking. Maybe adaptive mode, every
frame I can do and see. Tracking always, that's what I also see in a lot of tutorials
that every time they choose this easy clip and it doesn't work because if
I just zoom in here, my box should be somewhere here. So if I just bring
it here again, as soon as he turns, the whole plane is gone. So what I would be doing is
that's why you should always track things which is in the frame throughout
the whole video. Maybe what we can do now is
that maybe track his head. Maybe his head. You see, because there is
not much contrast between the head
and the background, so that's why it's not
working, but let's try again. Yeah, because now the head the cap is there throughout
the entire video. Okay, so that worked. So yeah, choose this on a clip which is
not that complicated, so match move background only. So I think it is tracking now. So if we go here in the media
page, then you can see. So what is happening
now is that my clip is moving because it wants to keep
everything stable here. So what we need to
do in this case is we need to just
zoom in a little bit, you know, so that
we need to make sure that the clip is not going everywhere. And this
is how it looks. So if I just do like this, his head would be at the exact same position throughout
the entire frame. And in a lot of dance videos, a lot of dance TikToks,
they do this as well. And this is called
lock on stabilization. That you can achieve super easily with the tracker window.
62. Attach Text On A Layer: Now, let's show you
something really cool. So here you see that
this text is attached to the lake text is
attached to the lake. You might have seen
in a lot of videos that sometimes the texts
are attached to the wall, so that's what we're
going to learn now. So what we do, I'll just
make another copy of it. I go to fusion and I would
just delete everything. So here, we have
the lake with us. Yeah. You have this
video as well. So now we're going
to do tracker again. You, that we always get confused
between shift and space, so we go tracker again. And here we go planar tracker. So what planar tracker does is that the other tracker
was just for a point. Planar tracker is
for entire plane. So let's do tracker here. And now, what we're going
to do we just see the clip. I'll just turn off the
media pool. So yeah. I would just bring the cursor to the beginning and planar
tracker, what you want to do? I would do this time on the
mountain or maybe here. I would just draw like
a little plane because I want the text to be
on this mountain here. Yeah. So now this box is closed, I can change the
shape of the box. This. You can just make
a little box here of whatever place you want to
track and always make sure that that place is there in the frame throughout
the entire video. It shouldn't appear like this plane because this plane
was not there in the video. So this plane should be there
through the entire video. So yeah, I can see
that it was there. So maybe let's just do it here. We made a little box.
What do you want to do? You go all the way to the front. You bring the red line all the way to the
front so you're at the first frame and
then you click set. Yeah. And after clicking set, what you need to do tracker, then go hybrid point areas. And now you track again. So here, what you can do, you can just press
the forward tracker. So you can see that
this box sticks to the floor to the grass
what we have selected. This is a really nice
smooth drawn shot. That's why it's
acting really nice. But sometimes if you
film from your camera, or if the shot is
not that smooth, if there's too much movement,
then this might not work. Okay, so we can see that this box was attached to the grass throughout
the whole time. Yeah. I can also there was a little movement
here. You can see. I would maybe to
perspective again and see Maybe I can just use the clip until now or just play it and
see how it looks. It looks like it is tracking. So if it doesn't
track, just go through different options and choose any of the options
and play it again, and then one of the
options should be working. If it's not working, then your clip is not good
enough for tracking. So now we have the
planar tracker here. Now what we can do
the text again. So I would do text text, and then text appears here. So what we want to do? I would just delete this merge because we don't
really need the merge. We want the text
in the foreground. So what I would do, just go
here and bring the text here. And now, if I write
something, say, grass, nothing happens, right? What do we want to do?
Go to planar Tracker, and from Track, you
go to corner pin. As soon as I go corner pin, I see my grass appearing
in this weird box. So now what we want to
do we want to place this grass text on the grass and then see
how everything looks. So I'm putting the
grass on the grass. Of course, because
it's in that plane, you don't really see it clearly. But if I go to text,
I can zoom in. If you zoom in too much, sometimes it can go
outside the box. Yeah? This looks nice. Let's just see if it
actually is tracking or not. So you see the grass is
attached to the grass. That looks really cool, but it's not really looking
that realistic. So I would just
add some shadows. Yeah. So here I would
go shift space. I just go shadow,
and drop shadow. Drop shadow we have
used in the Edit page. So let's select drop shadow. And now you can see there
is actually a shadow under this under the grass and you can change the
settings with blur. If I don't go blur,
shadow is strength, you can see the strength of the. And you can change the angle of the shadow according to how
the sunlight is falling. So I can also zoom
in in this area. I would maybe go blur a
little bit, you know? So it still looks a
little bit realistic. Maybe just increase
the drop distance, increase blur, maybe
something like that. It almost looks like the
grass is just placed there. Let's just go here and fit. Now if we track, let's see. It almost looks like grass
is just plays there. So this is also what you can do. Here, we're attaching
a text to a plane. In planar tracker, we attached a text to a point to an object, but the text would still
be in the XY plane. But here it almost looks like the text is in
a three D plane, and that's really cool
about planear tracker. So last time, what I
showed you was here with water and this
time is the grass. And that's what
really cool thing about planar tracker is that any flat area you can
track and put anything, you can also put your
photo, put Imogs, put anything here, and
track it. So cool.
63. Greenscreen Effect: After planar tracker, we're going to do another
really cool thing. So a lot of you might have seen, you know, green
screens in the video, so I actually have given you stock footage
of a green screen. So yeah, if you want to make this green screen
disappear in DaVinci, it's not really possible until
you go to the Fusion tab. So I selected the clip. I go to Fusion tab and then
I go media I Media out. I just select median one, and then I go Delta. Just type Delta and then
it comes Delta here. You select Delta kee and then here is the
background color. So whatever color is in there, this Delta queer would
make it transparent. So what I want to do I take the selector tool and I
drag it to green area. But if I dragged
it to white area, this white, then
everything which is white in the screen
would become white. And that's why people use this crazy green color in a green screen because
most of the time, none of the other colors are
very similar to this screen, and that's why it's easy to
take out the green screen. So now we can put anything
on this computer. For example, now you can see that there's
this black screen. So if I put any footage, let's just put the drone
footage from here. If I put any footage under this, it would look like it is
playing in the system, but now you can see that the
footage is in just a normal, like, a full length shape. So what I would do, I would
reduce the size of the image. I can also see that the
laptop is not XY plane. There's a bit of tilt. I will also change the
ya and the pitch. Maybe I'll change the pitch so make the pitch look like this. Now it almost looks like
it is playing actually. Now my image is almost
in the same plane. Maybe change the yo a
little bit, maybe rotation. All these things,
you can just tweak. That's why I wanted
to teach fusion in the end because whatever
I'm doing right now, that is in the Edith page,
which I've already taught you. So if you watch in
Phil's full screen, it almost looks like this
video is in the computer. How cool is that? So with just one little click,
you can just use this. So, yeah, that's how you can use the green screen effect in
the winter of 19 infusion.
64. Travel Map Animation: Now let's show you one of the
map animations what I do. This I use in a lot
of my YouTube videos. I've also recently used in
one of my client videos, and they absolutely love it. So to use this effect, you need a screenshot of a map. You can use any map you want. I have provided a
screenshot of a map. So let's just go here. This is just a screenshot, so it's like a little photo. So I'm just going to make
sure the photo goes for 5 seconds or even
longer is fine. So yeah, this is a screenshot
just from Google Maps. So I would just zoom
in because you can see that it was a
live is smaller, so I'll just zoom in. And let's go to fusion. So here in fusion, what we want to do is that we want to maybe
mark, you know, how they do in map animation
that mark a point, a line from Hamburg, show the route from Hamburg,
all the way to Berlin. So that's how you do it. First thing what you need
to do is go to background. Just press background,
background appears, then add the background. Background is here now. Yeah. Whatever color you want the line to be, you
have to choose it now. You can always change it later. I would maybe do red because
yeah, red just pops out. And after that, you can see
that the whole image is red. After that, you need to click on the background and then
go to another effect. Just select the background
and press Shift Command, Shift space bar
and type paint and then select mask paint
here and then go add. So it gets added on
top of the background. Here. Now it's time
to draw, yeah. So I'm zooming in with command
and just scroll the mouse. You can do the same
with command or control. Now what we want to do? We have the mask paint here, and if I just do a little
click on the image, it just makes a little dot. We don't want dots. We want
to draw an entire line. Yeah. So we want to go here
to the polyline stroke. So once we have the
polyline stroke, you can make the
lines like this. Yeah. So I'll just control Z. So we are just going to draw, you know, not that precise. Just go according to the
follow this little highway. So I'm just clicking, yeah. And if you want
to make any turn, what you can do is just
click here a bit further, and then you have
this like a little polygon kind of tool so you
can make curves like that. So you can select here
as well and make curves. Yeah. So here we're going to
go all the way to Berlin. Yeah. Now you can see that
this is a little bit blurry. I'll just go to
the normal shape. The line, what we have
drawn is a little bit, you know, washed out,
a bit more blurry. So what we want to do go
to brush controls here. And softness, I usually
just go all the way down. So now it's a really hard line. And you can also reduce
the size of the line. So now what's happening
here is that I can see that I don't
really see Hamburg. So maybe we can change the way. So you see this little dots, so you can just drag
it however you want. So, you know, just for
the sake of this video, I would just change the way so that people can also
see Hamburg in the map. So maybe I can also
add just go here. Now if I drew the new way, you can see Hamburg actually
really clearly. Yeah. You have to make sure you're
selecting these points. Now if I zoom out, I can obviously see
Hamburg and Berlin. Now we have the
entire way drawn out. What we want to do, we want
the animation to start maybe at after 1 second. Let's go at 24 frames, which is here, and here
what we're going to do. You go to mask paint. And then you go to
stroke controls. So we go to stroke Controls and you see this write on tool. If I go all the way there, then my line disappears. I can maybe zoom in a little
bit so you can see clearly. So if I, you know, do right on, my line is there, if
not, line is gone. So what I would do I would do, of course, key framing here. So you see if I did key framing, there's a white line here. And when do I want this
effect to be over? Maybe at 100th frame. So we're starting at about after 1 second and
ending at the fifth second. And at the fifth second,
you go like, so. So should we play
from the beginning? Hamburg. And we went to Berlin. Yeah. And if you
want to add shadows, you can add shadows as well. So shadow, you don't have to
add under the mask paint, you go under background. So here what we would be doing is I would just
select background, and then I go drop shadow. Just try dropshadow.
You click it. The drop shadow comes in between the background and the merge
node. You can see here. And if I click on Drop Shadow, drop shadow is
somewhere there, I just reduce the blur and you
can see the shadow here. So I would keep the
blur like that, maybe change the distance. Yeah. And this was the image without shadow and
this is with shadow. Now if I play in
full screen, this. So you might have seen
this animation so often, and now you know how to do it. And of course, you can
put some location point here. I don't know. Yeah, you can put I will also give you
this, so don't worry. You can put some location point. So this one, I would
just reduce the size, go to Hamburg here, maybe zoom in a little bit. So what I would be
doing is I would just bring it at Hamburg, yeah. And then I would also
do the same thing. I would just make
another copy, go option. Let's just increase it. So there is another one
at the same location. This I would bring it to Berlin. And if you see that you have this little shadow of
the location icon, if you want to get rid of it, just crop it from the bottom. I just select this then
crop from the bottom. So now you can see, if I get rid of this box, the shadow is gone. Same with the other one. I can get rid of it
from the bottom. And what you can
also do that you can do some animation, what
I taught you before. If I go to effect,
yeah, here in effect, you go all the way down,
you go magic animate, V three, you go here, and then here, what you can do, you can do Zoom in and Zoom out. Both drag, so we can do
Zoom in and Zoom out. Now let's see the
entire animation. How cool is that?
Like, you really don't have to do crazy amount of
editing to get this effect. So that was map animation for
you in the winter is of 19.
65. Cut Out Effect: Here I'm going to show you something which is
in studio version. Here, what we're going to do, we are going to cut out
this character and then delete all the things
in the background and we can put this character
anywhere we want. That's really easy infusion tab. What you need to do, select
median one, shift command, and here what we're going to do is we go click Magic mask. Select magic mask and here
what we're going to do. If we select magic mask
as soon as we go to the subject that brings
this little selector. So here I would just
do a rough selection of the subject just
around their body. You know, just to make sure
that everything is selected. And now you can see that
the subject is selected. But I can also see there's also something else here selected. So I will just go
to negative here, select this just
to get this out. Yeah. Can also see something else is selected
here, so just there. So I don't want all of this. And here what you want to do. So you can see that
our subject is selected and the
background is gone. Yeah. Here what you want to do. You can also do it better. And if you go refined range, so that gives more
refined video, so the edges would
be more softer, but then it's also a bit
taxing on your system. Now we have to track this track throughout
the entire video. So what we want to do is usually we were doing
the forward tracking, but here I see that I
started it was my mistake. I started from the
middle of the clip. There is an option called
front and back tracking. So it would track all
the way to the front, you know, and then later it would track all
the way to the back. So because this is a long clip, I shouldn't have done
it on a long clip, it's going to take a while. So let's got to a point
where it's already ton. So now you can see
that as soon as it tracked all the
way in the front, now it's tracking all
the way to the back. It is, of course, not perfect. If you really want
to do perfect, then you have to go frame by frame and track frame by frame, but it does the job. So here I can see that
the subject is cut out. Now I can put the
subject anywhere I want. So you can see that
the subject jumped from one video to another. What we can also do is I
will just make a copy of it, so option or Alt and
then drag it down. So now you can make
duplicate copy and here what we're going to do. Here we're going to
delete this magic mask. So what we have now is a transparent layer of all the background
the subject is here, and here we have
the entire video. So now what we can do, I can just bring this text here. So text, I would
just write down. I think I did the
other way around. Yes. That was my mistake, so you can really learn from it. So what I did was the video
which was not cropped out, that should be all the
way at the bottom. So this video should
be at the top. So it almost looks like, first, is this cropped out image, and then we have the text. Text behind the there is text
behind the object effect, and you can just
do it like this. And then I can drag
the main clip here. So it almost looks like,
let's do full screen. Yeah, the text is
behind the object. What you can also do usually is that you know how you might
have seen all those cutouts. You can just play another video. Just drag this subject here
and display another video. This video is a bit
lagging maybe here. And you can change the
size and, you know, drag this anywhere,
change the size or so. So, yeah, that's really cool and it's just available in resolve. But yeah, the text
behind object is one of my favorite effects because I use that in my reels as well, and it's super easy to do. It is a little bit taxing on the system because
you can sometimes see that it doesn't go at
23.976 frames per second. But, yeah, in the end,
it's really nice. Once you render it, export it, then it does really good job. So that was a brief
introduction about fusion. There are thousands and
thousands of effects. There are so many crazy things what you can do in this page. If you really want
to learn about it, just DMU or put it
in the discussions. Maybe I can give you a
link of some other YouTube or some other course which is
available about Fusion now. But if you really want me
to make a course about it, I'm happy to do so as well. So yeah, that was Fusion, and now we go to the last
section of the winter reserve, how to export high
quality videos. Let's go.
66. Export Settings Tutorial: I'm really glad you have
made until this far, and now it's time to
export the files. I'm not going to tell you which settings you should export at. I'm going to tell you
what setting is what, and then you can decide
for yourself what setting you want to
export it. So let's go. First, for example, if I just want to export
from here to here, what I want to do
because now if you see my timeline,
everything is selected. But if I want to just
quote from here to here, I would just do out. I would just make an outpoint. So here you can see that you
can select in and out range. So here you just press I if it's not selected
and here you go, Oh. You can always just
zoom in to see if there is no black spot left. I think there is one left, so I'll just bring it
closer to the clip. Okay, yeah, I would also
just bring it closer here. You cannot do it here,
so you have to go in the Edit page, and then you can
also just do in and out points in the
Edit page itself. Yep. So let's go to the
Export page, how it works. If you don't want any dramas, you can just go
to Custom Export. You can go Browse,
but I have selected my export to a
specific location, which I already chose in the
beginning of this video. But I would go Browse and you can also just do it on Dektop. It's really up to you
and you can save it. So now this video can
be exported on Dektop. I can just do maybe
test file one, and that would be the
name of the clip. Sometimes, if you want to export individual
clips, for example, if I want to export just
this clip as how it is, I want to explore this clip individually, this
clip individually, then you can select
individual clip, and DaVinci would export
all the clips individually. I usually it's really handy when someone is
colaborting the videos. So you can collaborate 100
videos and DaVinci can export all the hundred
videos as 100 new clips, not an entire project.
That's really handy then. But if you just want a single
clip of multiple clips, then that's the
option to select. Here with video, first we go
through the video option. You can go select
Tick Export Video. I usually do
QuickTime or MP four, and with MP four, you can
select 264 or 65 format. So what is the difference
264-265 format? They are called Codec
and So 264 is easy to use in any other
video editing software because the footage works, it plays really smooth. But then the file sizes
are also really big. But do 265, the footage
is a little bit difficult to play on certain systems if
it's in 265 format, but the file sizes
are really small. So sometimes, most of times, if I'm exporting
my YouTube videos, which are like 16 minutes,
20 minutes or so, then I choose 265
because then that gives me the same
quality exported file, but the file size is almost
four to five times smaller. So now usually my YouTube videos are I think if I
go in Astor 265, the final rendered video
would be 2 gigabytes, two GB, and if I was selecting do 264, then the final video would
be around ten to 12 GB. So if you want to save space, you can go AT 265, but SDO 264 also doesn't have any cons except
for the file size. So for the sake of this video, I'll just do EO 265. Here I would just select Tick tick hardware
acceleration if available. Now, remember I
told you to select your timeline as high definition
for it to play smooth. Here, the vinci shows
the same resolution, the timeline resolution,
which is high definition. But here, you can change it
to four K. So if you want, you can do four K ultra HD. In the DaVinci
studio paid version, you can also export in eight K, but I usually do in four K. You also have different
different other sizes. If you want to export in some lower quality
or if you want to export in a square format,
you can also do it. But for the sake of this video, I will just do four
k. Friend brrtes was the same 2,034.976. I would select 23.976. The quality I would select automatic when I'm using hd 264. But if I'm doing hd265, then the quality, I would
restrict to 50,000. Because in my experience, if I have exported
a video in ESDo 265 and if I selected
quality automatic, Dawnti does something
weird and there are some glitches here
and there in the video. And after a lot of research, I have come to this conclusion
that if you restrict the quality to 50,000 KBPS
kilobytes per second, then the video is of
really good quality. So here I would select that, restrict to 50,000 if I'm
choosing the ESD 265 codec. Then in the advanced setting, I don't change nothing. But if you have subtitles, like I showed you before, if you have subtitles, then you can go
burn in the video if you want the subtitles
to appear in the video. But if you want the subtitles to be exported as
a separate file, I go to as a separate file
because sometimes in YouTube, I want to upload the
subtitle file as well. So then I would do
as a separate file, and then I would do dot SRT. But usually, if I want the subtitle to
appear in the video, I would just do
burn in the video. And I would just select
the outpoint again. For some reason, it disappeared. I think because we
did something here. So yeah, that was
the general setting, if you want to take it easy. And then I go to at render Q. Now, it says, Add
higher resolution render because we chose the timeline size to be smaller and now we are
rendering in higher resolution. Yes, we're going to do that. And then you can render Oh, and you can also do
multiple clicks. For example, what I do usually with skill
share classes is that I would edit everything and then everything
is in the timeline. So that was one chapter. If, for example, if this
is another chapter, right? I would just change the
name to test file two, leave all the settings, and
then to add higher renders. So now we have two
files to render. So then what I do is that if
I have ten files to render, I would just select all
of them and render all. And meanwhile, I'm on a break
or so when I come back, all the files are rendered. But that only when you have
to render multiple files. So that was a general
export settings. Audio, I don't really do much. I just leave it as it is. From here on, you would just see all the other presets
in the Vinci Resolve, what the Vinci Resolve has
made to make our lives easier. So you can do ESDo 264. We can change all the settings
and see what best for you. But for my YouTube videos, what I do is that
I go to Esdo 265. This preset only does one thing. He just selects ESD 265. You can also do it manually, but I do if I have to
export on YouTube video, I just go ESD 265. Here I just do four K,
restrict to 50,000, burn into the video, if
there is any subtitle, name something and then export. But if you want to have the
highest quality output, dot 265 was pretty good
quality, small five size, but if you want to have the
highest quality output, then you can export in Press. For example, as I
told that if I have to color grade
individual clips for a client and give them all
the clips after color grade, not the project file but
all the individual clips. Then I would export the clips
in ProRes 42h because then my client would get really high quality
big file size videos. And when they import that big file size videos
in their computer, the sizes would be quite big. But how it would play on the Vinci or any other video editing software
would be super smooth. So here, PRs, you
can do same thing. You can go ProRes, different
different options. Apple Pros 422 is the
biggest file size. As soon as you go to 422 Proxy, it's the smallest file size. But if I have to export in the highest quality with
the biggest file size ever, then I would do for PRs, and then you can
also select four K. I wouldn't change anything here and then export subtitles. And then you also have this
little YouTube format, like the format which works the best and easiest for
YouTube is this one. But yeah, these are all the presets what you
can use if you want to. But what I have showed
you before, the basics, everything is related
to the basics, and in each preset, just some of these
basics are changing. You can also do for Tik Tok, so for TikTok and oh, and also if you wanted to export this vertical video where
it was the dancing video. Yeah. So if I go here in and
out and if I go to Export, and if I want to
export vertical video, what I do usually go to custom. And here, I would just
do vertical resolution. So if I do vertical resolution, then my image wouldn't
have these black pars, even if I have exported it. Same thing you can do
in Tik Tok, as well. So you can also make
your own preset TikTok they recommend thousand ADP. The inter recommends
thousand ATP as well. I don't do all of
this because this is only if you have to export
the videos into premiere. And if you want to
export just the audio, then there is another
preset as well. So export video is ticked
out, audio is selected. If you just want to
export the audio and the format is wave, which is the highest
export settings. So I hope that the
export settings are a little bit clear to you. It's not that complicated. But, yeah, you should
know the basics of what all these settings are
before exporting anything. So yeah, most of
things I don't change. The only thing I change is
the timeline resolution. And if I have to export
it as a vertical video, then I do as a vertical video. And this one restrict to 50,000 if I am
exporting ISD 265. And last thing what I
do is that subtitles burn into the video if there
are subtitles in the Vinci. So, yeah, I think that was
it from the export panel.
67. Thank You!: So, guys, that was it for video editing in the
Winter Result 19. I hope you enjoyed the
class and don't forget to post your projects
in the project section, and I'll see you
in the next one.
Adi Singh, Videographer and Youtuber
