DaVinci Resolve 20 Masterclass: The Complete Video Editing & Color Grading Class (2026)

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 master class to take you from a beginner to an advanced editor in just a few hours. I 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 am also a YouTuber who just hit 100,000. 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. Class Overview: In this chapter, I'm going to be giving you an overview of what to expect in the Winter sol 20 master class. Of course, as I mentioned before, this class is for absolute beginners, and by beginners, I mean that I'm going to be teaching everything from scratch. In the first few sections, I'm going to be discussing with you some of the really important settings that you need to change in the winter resolve because some of the settings, they are so important that if you don't change them in the beginning, then later on, it's almost impossible to change. And after that, we're going to be heading straight to editing. I would be teaching you all the effects, everything what is available in the free version. The first few sections. And after that, I have dedicated some chapters where I'm discussing about the effects. What is in the Winter resolve paid version? What is in the Winter resolve studio version, what I'm using now? If you are a free version user, you can either skip it, or you can also just go through those chapters and see what you're missing out. And if you really feel that whatever settings or whatever effects is in the studio version, if it's really necessary for you then you can decide for yourself if you want to switch the studio version or not. I'm going to be doing the same thing in the edit page in the color grading section, all different sections. Majority of the class would be for the free version users. And later on in every section, I've dedicated few chapters for the studio version. And as I discussed before, everything, all the raw files what I'm using in this master class, they're all in the description. And I've divided those raw files into two different sections. First one is for Windows, second one is for Mac users. So really don't get confused and you can download the files, what is relevant to you. So now that I've given you a class overview, now let's jump on in the Winter Resolve and start editing. 3. Project Settings: So now let's actually start editing in the winter Resolve. So what are we going to do we just open the Winter Resolve here. And as you can see that I'm using the studio version, which is the paid version. But if you're using the free version, that's also really fine because I think 80% or 85% of the thing, what I'm going to show you that is all in the free version. So this is how you open your project. You go to Untitled, you know, just click here and you can maybe I can just do avente Resolve Not all 20 master class. And then you just do create project. And media location you can either do here on the desktop or you can change it, but this we can also change later. So don't worry. So you just name the project and then we go create so this is what comes up. This is where I left off in the last section in my last project, and I can also see that I have this vertical video. You could have a horizontal video, doesn't matter. But before we go and stat everything in the materials, there are a few settings that we need to change because later, those settings are almost impossible to change. So let's do that. First thing, what we're going to be changing is the project setting. So if we go here, if you see here in the right hand side corner, there's, like, a setting spot on which says project settings. So I'll just open that. Hang on. I'll also just make it full screen. So you can see here project settings. And once I open the project settings, then this new window pops up. And on the left hand side, there is a list of things, and we can go through all of that. But I would only show you what you need to know. Because the winter is always such a big software, so massive, and it can be really complicated. But in this entire class, I'm only going to show you what is required. Because if I show you everything, then it's just so much information for you at the same time. Anyways, so what are we going to do? We go to master settings. Here, as you saw that I had this vertical video open, that was because use vertical resolution was checked, so I would just uncheck it. You don't need to if you didn't have it. And then here we have timeline resolution. So timeline resolution is the resolution in which we're going to be seeing the playback of the video. So even if you have shot videos in four K, it doesn't matter. You can do the timeline resolution in 1920 by 1080, which is high definition. If you want the videos to play even smoother, then you can do the timeline resolution to 12 80 by 720, which is the 720 pixels. But I would just keep it to 1920 by 1080, and here pixel aspect you choose to square. And timeline frame rate, I would choose either 23.976 or 24 because all the videos, what we're going to be editing on, they're all in 24 frames per second. And something to really keep in mind, this is a time where you can change the frame rates. If you are editing a video and in the middle, if you decide to change the frame rates, it's impossible. So you have to really be careful while choosing the frame rates. If you have shot everything in 25 frames per second, then you should choose the 25 frames per second frame right. But here we're going to be choosing 24 because all the videos, what I have from my Sony camera, from my iPhone, from my drone, they're all in 24 frames per second. But in my previous class, someone asked me that, Hey, half of my videos are in 24 frames per second, half of my videos are in 60 frames per second. Which frame date should I choose? That was really good question. And in that case, you should still choose 24 frames per second, because it's difficult to play a 24 frames per second video into a 60 frame per second video, but it's easier to play a 60 frame per second video into a 24 frames per second. Doesn't make sense. Don't worry. It's just super nerdy thing. Some of you might have this question. That's why I explained, but keep the frame rates to 24 or 25. If you're not sure, what is the frame rate of the footage you filmed, go check in your camera settings. Whatever video I'm giving you, they're all in 24, so don't worry. But yeah, go check the camera settings at what frame rates your camera film the video at. Going to be doing this, and then here I wouldn't change anything. If something is different in your system, you can change it to this setting. Next, we're going to be going to optimized Media and render cache. So here, later on, I'm going to be also showing you how to edit videos faster, sometimes our timeline is lagging, sometimes the video playback is lagging. Then we convert the videos into Proxy. And that helps us to have a smooth playback. So for Mac users, you can copy the settings. But if you're a Window user, then you should choose this setting, the HQ DNx HRHQ in all of the formats. So here as well, H or if you want to go even lower quality, you can choose SQ, but I would just choose HQ if I were you and if I'm editing in Windows. And then here, Project media location, this you can choose wherever you have empty space. So I chose project Media location to desktop just for the sake of this video, proxy generation location. So this you really should choose the place where you have a lot of space or whatever drive is faster. What happens in the winter resolve is that if you generate a proxy, so that kind of generates a low resolution video in the winter resolve so that the videos can play easily. And that low resolution videos, if it's like 500 video clips that would still need space. So you have to choose this location really wisely that where I want my proxy media. This is not the original videos, what you would be editing. This is just a proxy media and that you can delete it after you're done editing the video project. Cash files, location, this also you have to choose wisely, choose the places where you have enough space. And gallery still location, this also you can just choose it wherever you have chosen the other things. I will tell you later what are these Galleries still location. It's not really needed now. So yeah, here we just changed the proxy resolution, you know, the proxy media format. The video folders location, the proxy and the cache folders location, and we change the frame rate and timeline resolution. Black Magic Cloud, I don't do anything, emit scaling, I don't do anything. Now here, I do something which is really, really important. So in the Minter resolve, there can be a lot of videos on the Internet about what color management you should be choosing I have tried tons in my last ten years of editing with DaVinci Resolve and I have settled on this. Color signs, DaVinci wire GP. I have edited a lot of times in DaVinci wire Color manage. It was good, but I am really happy with this setting. Then timeline color space, if you have chosen this, just unclick this, and then you do timeline color space, DaVinci white Gameut intermediate. Okay. And if you're a Mac user, choose output color space Rec 709 A to get super accurate color when you're exporting the video. If you're a window user, then you should be choosing Rec 709 Gamma 2.4. Just copy these settings blindly. I would all make sense later. If you really want accurate colors from your videos, then really choose these settings. So if you're a window user, choose this. I wouldn't do it because I am Mac user, and here I don't change anything about the lots. You can also change these layers or really don't worry about that. Then we go to general options. Here, as well, I just don't change anything. Yeah. Camera rock, nothing. Here, capture playback. If nothing is like this in your system, change it to this setting. It would save your life. Yeah, I don't change anything subtitles. This setting you can change later, so I won't worry about it. Fusion, nothing, Fairlight, nothing. Path mapping, nothing. So here, I made some changes, but I don't want to save it. But if you want to save it, you can, of course, save it. And what you can also do, you go to the three dots here. And then you do, that's what I have done, save current settings as default preset. So what would happen is that every time you open the Winter Resolve, all these settings would be preserved. So I have some different different settings for different different projects or different different types of videos, I edit. But my default setting is this. I just chose to use vertical resolution. That was a mistake. But my default setting is this. So you can do set current settings as default preset and then save it. I won't do it, but I would just maybe change the vertical resolution because we want the video to be in horizontal format. I hope that makes sense. So that was a general project setting. We need to do some other changes as well, and that's here. So if you go on the left hand side, on the top, we have the winter resolve, and then we go here to preferences. What we're going to be doing is we're going to be changing here memory and GPU. So whatever memory you have, just choose it to Max so that that would help Resolve to, you know, run the videos and everything faster because then Resolve would be actually using the real power from your system. So choose everything to Max, Media storage. Here I have chosen user ID movies because that's where I export the files, like if I have a final video, I whatever is here, don't worry about it. We're going to be changing it later. Digod option. I do nothing here. If none of these is selected, please select it. Here, I honestly, I have never been here. I only go to these places when I have to teach the winters. I have not done anything here. Control panel, nothing. In general, we change something, especially for Mac Uuser. If you're a Mac user, choose this tick, use ten bit Precision viewers, use Mac display color profile for viewers, and automatically tag Rex seven and nine scene as this one, and check for updates if you want to update you the pin to resolve regularly. Yeah, these are the four things you have to tick, but you can also just uncheck this box if you are Windows user. Here, I will check it, Internet account, nothing, nothing. In users, you have to change something. What you're going to be doing is you go to Project Save and load. And here, what you need to be doing is you click to LiveSave and what this does is that if, for example, if your system fails, if you're editing a really big project, if your system fails, DaVinci would have saved the one millisecond before the project fails. So everything is being saved in the Minchi you don't have to manually, you know, save it like how I used to do in Premiere Pro, which was a nightmare. So the Minchi is saving everything all the time. Even if your project just fails, everything crashes, you can reopen the Winter Resolve and resume working on where you left off. Project backups that also you should be taking, timeline backups also you should be taking. And perform backup, you can do it every 10 minutes so that it's sort of backing up the project, but the live save is still and then backup locations, you can choose it wisely and really remember where you chose the location. So I have chosen it here. You can choose wherever you want. Color management, case management. So whenever you're editing in the winter Resolve, the resolve kind of generates a lot of cache files, which is the files, which is necessary when you are editing the to be honest, I don't really know the best way to explain it, but the easiest way to explain it is that DaVinci Resolve is also making some files random files, it's generating the random files when you're editing any video, and it is saving in a folder. And like a few months ago, we had to manually delete that every month because those little files would take so much space over time. And now you can choose that DaVinci can automatically delete that. I have done ten days, but if you kind of work on some video projects for more than ten days, do it for a month, just to be on the safe side because I'm sure that you're not going to be editing any video project for more than a month. So yeah, really do that. Otherwise, your system would be so much full of all these random files which you are never going to use. And if the cache files, they also accumulate a lot, that also makes then resolve a little bit slower. So it's really wise to delete them. Editing, I don't change nothing here, color, I don't change nothing, Fairlight, nothing, playback, nothing, nothing, nothing, nothing. So that was it for project settings. And now let's get into the venture Resolve and just go through all these different pages. 4. User Interface Of DaVinci Resolve: Here, I'm going to be showing you how actually the winter resolve looks like. If you're a complete beginner, it can be a little bit overwhelming this software, but let's go through each and every step. Or let's go through each and every section step by step. So this is how it looks in the beginning. And if you go in the bottom, you can see that there are different tabs. So this is a tab which is called Media tab. So here you can import all the videos, whatever I've given you or from your personal project here in the media tab. And then we have the Cut tab. So cut tab, I used to, you know, you know, cut the clips, trim the clips, put them together in the cut tab, but I don't do it anymore because you can do the exact same thing in the edit tab. So Edit tab would be the place where we're going to be building up the entire video. And once we are done with the Edit tab, then we go to the next one. Fusion tab. So in fusion tab, you do like kind of animations or you do, you know, the travel map animations. We're not going to go super in depth in fusion tab, but I'm going to show you some really cool stuff that you can do in your videos. So fusion is mostly for animation. Then comes my favorite tab, the color tab. The Mature is always known for professional color grading, and this is how it looks. This is where I spend also most of my time after editing. And after the color tab, we have fair light tab. So here, you kind of adjust the audio, you mix them, you enhance the audios. I'm going to show you how to do it. And lastly, we have the export tab. So by end of this entire class, I'm going to be showing you the best video settings or the best export settings to get the highest quality export and also for different different formats such as social media, YouTube, vimeo, if you want. So yeah, these are seven tabs in the Mint resolve. First, we're going to be starting with the media tab, but that would be in the next chapter. So let's go. 5. Media Page Introduction: Here we are in the media tab. So what I'm going to be doing is, first, I'll give you a brief introduction of what the media tab is, and then we're going to be importing clips in the media tab. So if you go here on the left hand corner on the top, you have the media storage. If I click it on, it appears, and then here we have the arrow, so that kind of expands. If I click it on, it expands the whole section. But let's keep it this way. What it does in media storage is it kind of shows all the folders from your system. And I have also chosen some favorite folders. So what you can do if I need a favorite folder, say iPhone filmmaking, I go right click and then add folders to favorites. And if I click that, then the folder comes here. I have done these folders as my favorite because a lot of times my project files are there, like a lot of times all the raw files are there. So that's what I would import it from. Here are all the files which is in your computer, in your system. And here would be all the files which is in the int resolve in your project. So that explains these two sections. Then we have the audio. If you want to playback, then you can see the audiometer. Metadata is just information about the videos. Inspector, we don't really need it here and capture also we don't need it here. Let's just leave it to audio. We don't actually really need this section. Like here, I use media tab just to import the clips. So our current project, what I want to, you know, edit and show you the editing process, that is in here. And if I see here, I don't really see the name clearly. So what I can do, I can also change the outlook, so it can be in a list or it can be in these little bins. So let's do list, and I can also increase the width. And then this is where all the awhils are. So wherever the awhils are, what you can do you can select them all, you know, just drag select with the mouse. And if you drag it here, then all the clips are here, you know, without the folder structure because here I have structured the videos into different folders. The drawn shots are here. You can also go back here. So without the folder structure, everything is just BM comes on the main page. We don't want to do that. We want to preserve the same folder structure as how it was in my computer. So what I'm going to do, I'm going to drag it not here. But I'm going to drag it here under master. And if I just leave it, then what happens is in my master, if I go in the master, then all the clips are in the exact same structure as how it was in my computer. Because every time what happens is that when I'm filming something, I sort of really structure everything really good. So if something is shot on drone, I put it on drone, if something is shot on day one, I put it on day one, so I exactly know where the files are. Because if I just put them in one folder, I have 500 video clip in one folder. So then it's impossible to find anything. So that's why I put, yeah, separate in the different folders as much as possible. And now what's going to happen is I have imported everything in the vinci. So this was the computer. This is DaVinci. What you also need to do is you need to activate something called Smartbns or Power Bns. So here, if I go to Power Bins, you know, you go to this three dot, you just select Power Bins, and I would just delete that. So if I go here on the left hand bottom, I see something called this PowerBn you also might see. And if I click that, then I have a lot of different types of folders. You wouldn't have but I've given you all these folders in the raw video clips. So you can just download that in the computer. What these folders are, these folders are different sound effects that I use on most of my videos, different graphics, different overlays, like, you know, these arrows that I use a lot, this location point, this one week later meme that I use a lot. So I wouldn't copy all of this every time in the int resolve, they are available in the Power Bin. So Powerbin is like a collection of all the sound effects and the video effects that is there. So how you can import anything in the Power Bin is, say for example, all these things you have downloaded it somewhere. You know, I've given this to you in the description. So all these things say if you have saved it somewhere. So what you need to do, you just need to go in the computer, or you can also just go in the video effects. Let's say if I had the 2025 folder, if I want to copy it in the power bins, I just drag it under master. And this 2025 folder would be in the vent resolve every time I open the Venture resolve. I would just control Z because I don't need it. So wherever you have saved anything, just drag and drop that under master, not in the project, but under Power Bins master. And then every time you open the winter resolve, all these folders would be there. And it's just so nice to have an audio and a video library which you use every time, it saves so much time. So, yeah, that's how you import videos in the winter resolve. And in the next section, I'm going to be teaching you actually how to edit in the winter resolve. So let's go. 6. Edit Page Introduction: Now that we have discussed the media pool, now let's skip the CUT page and go to the Edit page because that's where the real thing happens. So we go to Edit Page, and this is how the layout is of the Edit page. What are we going to do? Let's go through the Edit page quickly because it doesn't really make sense to explain all the tools now. It's more handy for you to get to know them as we are editing the video. So you know exactly what is the use of that rather than me going two times. So here is the layout. And on the left hand side, we have the media pool, then we have effets. So this is what the media pool is off and whatever things we imported in the inter resolve from the media pool that's here, then we have the effects. So media pool still remains, and then the effects come here. So we have different kind of video effects, audio effects, a lot of effects, titles, animations. A lot of things are here in the effect panel. Index, you don't really need sound library, you don't need, keyframing we need. I'm going to be explaining you later. So let's turn up the effect. Let's go to media. Keyframe is so whatever panel which is activated, that would have white. If it's not activated, it becomes gray. So if I deactivate the effect, it becomes gray, of course. So here are all the videos that we imported and here are our Power pens. If you cannot see power bends here, what you need to do, go just normal click on these three dots, then here go show power Bens. So then you have the power pens. Let's just check any of the videos. So let's just check this video. So if I just double click on this video, then you have a playback. Wendy now. And then we have a playback of this video. And if I just drag and drop this video on the timeline, so then we have a playback of whatever is on the timeline. So say, for example, if I want to watch this video, you know, just to know when to, you know, cut and paste on the timeline. So this is the playback of everything which is playing from the media pool, and this is the playback of everything which is on the timeline. So if you want this layout, you can choose but I usually do just single layout. So if you want a single layout, just do like this because later on, we're going to be adding some more stuff. So I don't want this whole place to be cramped. What I also do is that I kind of close this whole panel, so I make it in half. So if you do that, then you make everything in half, and I keep the power bins like this, like so. So, master, we have everything from the winter resolve, everything what we have imported, we have power bins. And then I have like a whole broad view of the timeline because timeline, it's looking like this now, but when we add so many clips, so many different layers, then it gets a bit messy, trust me. So that was this side of the section. And then if we go on the right side, then you have Quick Export. So quick export is a really convenient way to directly export from the Edit page rather than going to the export page. You're not going to use it. If you want to use it, you can do it. Mixer. Mixer is here. Mixer here shows the audio level. Corner of the island. We are going to real. So you see the audio levels and I can really see that the audio is really muted or really low. But if I increase it, we are going to have the real Tessle experience we going to. Then you can see that the audio levels have increased. So yeah, just like here, you can monitor the audio level. Sometimes the audio is super peaking, then you can also see that here. So that was the mixer, where you can just check the audio metadata. Metadata is if I just click on this clip, then it kind of gives me the information about everything about the clip. So this is in a 264 format. This is shot in 23 4976 frame rate per second, which is almost 24. That's the exact frame rate of our project. This is in four K resolution, and this is the audio channels. And then here there are more information about the video clip. So that's when you can know what are the frameworks in which your video is shot at. So all my video clips, whatever is here, they're all shot in 23.976 frames per second. And also, you might be wondering that all the video clips that I have, it's a bit desaturated. Don't worry, we're going to be color wading them because I film all my video clips in Sony log format. So they are all a bit desaturated. But some of the clips that we have here, video extra. Like, these clips, they are in a normal color because I downloaded them from a stock video. But yeah, all the Sony ones, it's in, yeah, flat picture profile, but we're gonna be taking care of that. Don't worry. Yeah, that is metadata and then inspector. That is really important. So here you can also, click this arrow and make everything a little bit bigger. I don't do that because I really want a wide view of my timeline. And in inspector, there are a lot of settings that you can change for audio and video that we're going to be discussing later. So we discussed here, we discussed this panel. Then here we have the timeline. The timeline is like it kind of gives you the box. So each clip is like this little box. So the blue box here is the video, the green box is the audio. Like each box, if I just drag and drop they come down on the timeline, and all these videos they pile up after each other. You see? So if I just export it now, all the videos would be exported right after each other. What you can also do, for example, if I just bring this up, then the second video layer opens up. If I bring this one up, then the third video layer opens up and you can just drag up and down. I will just increase. You can always just increase and reduce the size of all different panels. I would just go this up. I would drag it a little bit down so that everything I can see everything. I can also reduce the size of this panel. And one more thing really important, what I want to show you. So here you can see different video one, two, three, Yeah. One more thing really important. You go here that is something about timeline. And here what you need to do. If you go to thumbnail view, I have chosen film strip. So if I choose film strip and if I kind of zoom in here, then I can see all the little video shots in the strip, so I know what kind of video it is. But if you had the thumbnail view, then you would just have one clip in the front, one clip in the back. You see? One clip, one clip. So then it's a bit difficult to see what's inside the clip, so I just keep it to film strip. And one more thing, display you should do display non rectified waveform. So kind of you shouldn't do that. You should do what was the initial setting, but that kind of changes the waveform of the audio. I just tick everything. So then, I can see the most details in the waveform. So if I increase this like this and if I zoom in in the timeline, you can zoom in and out like this, then you can see the waveform of each audio. And it is really handy see the waveform of each audio really clearly because then you can really cut the videos before when someone is talking or you can cut the videos when nobody is talking. So just by looking at the waveform, you get to know a lot of information about the audios, especially. So yeah, audio as well, you can have different different layers of the audio. And what happens is that if I bring this clip on top of here, then you don't really see This clip because now the second clip, the 5760, that is overlapping this clip. So whatever you put on the top, the audience would see that. Does that make sense? And you can also just bring it here in the middle, bring it like this. So you can also kind of just drag and drop on the clip, and then it kind of goes in between the clip. But whatever is on the top, our audience would see that. And if I just export everything now, then you would see first this clip, this clip, this clip, this clip. And the audio would also overlap but audio would go together because audio would just mess up everything. So the audios would be all mixed together. So really don't do that. But yeah, when we're going to be editing everything actually, then it would make more sense. So this is a little bit of introduction about the timeline. If I go here, then I have, you know, you can change the height of the videos and audio track can also do like that. But yeah, we're going to be doing a lot of things here. You can check display audio wave form because that is really important. You can also check display subtitles track. We're going to be talking about that later. Display stack timeline, we're going to be talking about this later. And here are some of the tools that we would be using in the timeline. So yeah, as we would go through the timeline, then I would be using more tools, and I think it's more handy to tell about them. Or. So now that we have discussed everything, now let's try to actually, you know, cut and paste and, you know, put the clips together. So if we have to delete everything, what we can do, we can do Command A or Control A, and then you can do backspace. So backspace would just delete everything. But for me, I'm using Sara shortcut. So for me, that's X, but you can just do backspace and you have a clear timeline. What do you need to do? I also see this voiceover. I would just bring the voiceover to music so that it's all everything is organized. So let's go here, and I would choose a music because now what we're gonna be doing is we are actually making a sequence. Mm, let's choose this music. So I will just drag this music clip here. So now, what happens is the music clip is in Audio One, but I don't want the music clip to be on Audio O. I want the music clip to be on Audio three and why it would make sense later. And then we go to the voiceover because what kind of movie we want to make is that there is a background music, and then there's a voiceover and then here, we have the actual videos. So I just zoom in with this, and I'm actually using a shortcut to zoom in, which is S, but it wouldn't work for you because you're not really using the shortcut preset what I have. I would be discussing that in the next section, but let's just zoom in and zoom out like this. What you can also do, if you want the extreme Zoom, you can go like this. So that would give you the extreme view of this area. If you want everything to be in one place, then click this. Anyways, I would just zoom in like this, and then I want this voiceover to start here. So let's listen to it. So if you want, you can also edit with me. Let's start again. There's an island just off the coast of the Netherlands. So here, I'm sure you can know what what the problem is. The audio from the music is a bit too loud and the voice over is a bit too low. So what we can do if we just put the audio track in the middle, you can also zoom in the increase the length or the height of these tracks by pressing Shift and scroll up. So then you increase the fiidth of the audio tracks. So here I want to increase the sound of the audio. So as soon as you sort of hover around the audio clip, the audio clip box, then you can see that my cursor changes. It was arrow and now it goes to like this. So I would increase the audio a little bit. So you can already see that the volume is increasing because I can see the decibels. It is 3.75 now, so it has increased a little bit. So I would increase it to until here, and then we here again. So yeah, video editing is all about making some changes, revisiting, rewatching, and relistening. This is an island. I think that the video is still like the background noise is still super loud. So what we're going to be doing now is I would go here and I want the background noise or the noise of this music to be a little bit less here. So what we're going to be doing is if we reduce the sound here, then the sound for the entire music track is reduced. I would just press Command Z or Control Z. I hover here, I just zoom in. I I hover here, then I can go Option or Alt and I just click here. So then I see this red dot. I need to do another one option Alt dot. So then there are two dots. So what I can do now I can just drag and drag this dot down. So if you have an entire view of this music track, you can see, wait, you can see that the volume of track was here, 0 decibels. I'm not moving anything. I'm just clicking on the line. And here, it's -12.19, so the volume reduced there's an island just off the coast of the Netherlands. So you see now the voice over sounds better. There's an island just off the coast of the Netherlands. A place shaped by wind. So that sounds really good. What are we going to do? We're going to now put some video clips. So first shot, what I want is here. So we have the video extra. Then we have this really beautiful video clip of ocean waves. So what you can do, if I just double click, then the ocean wave is playing here. So now my timeline is not playing. I double click, and now you can see that the source is Ocean wave. But if I go here and click here on the timeline, then the source is time line one. Yeah. Does that make sense? So I just go double click here so I can see that the source is here. And I want to know I would just you can either play it like this or you can just drag the cursor like this. So that would show you the entire clip. So what I want is I want this clip to be from here in the timeline. So here, if I want to select this point, I can press I and I can go until O. So that's in and out point we are selecting. And now what you can do, you can just drag and drop this file on the timeline, on the video w. And now let's watch the video. There's an island. So just when I start talking, I want another clip. There's an island. So here I want another clip. So what I want to do if I just go here that zooms in, I want this clip to be cut after this point. So what you can do, you can go here, select the blade. And you can also see that blade edit mode is in my system at C because I have this custom shortcut, but your system, it would be something else. So you can just press whatever button it is showing now. I would just press C, and later on, I would give you my shortcuts as well, which is really, really handy, and it would just save you hours while editing. But let's focus on super basics now. So just for the sake of this class, you can see that I have this arrow first. I will just click on the blade, and now I have blade. Here is arrow, but if I go on the clips or the audio clips, I have this blade now. So what I'm going to do, I'm just going to make a cut here. And if I just move my timeline, you can see that there is a little bit of cut in between the blade in between this clip and this clip. So now we're going to be pressing this arrow again. So now the blade is gone. Now we're going to be clicking on this clip, and you can press Backspace. And now this clip is gone. There's an island just on. So here when I say there's an island, I need another clip from the Sony video. So you see now the clips are a little bit small. I cannot really see it. So what I'm going to do, I'm just going to click off this the bin list, and that would go away. And then I can increase the size of these videos. So then I know, then I can see the thumbnails a little bit better. So I maybe need this clip from here. So what I'm going to do, I just double click so I know the source and I have the in points. I would go there with the Ipoint then I play. And then I need the outpoint here. So in the drone shot in the ocean shot, only the video file came because this clip had no audio. Okay? But if I go here, click Master, go to Sony, we had our clip here. So you can also see here in the thumbnail that we chose an in and out point here, that's exactly what we have here. So if I just drag and drop this, then the entire video and audio comes together. So you can see that this was video clip, and this is the audio. But if you just want to import the video or the audio, there is a way. So I go Command Z or Control Z. If I go click, and if I go on this clip now, I have two options here. The first one is the video. If I just want to drag and drop video, which can happen sometimes, you just drag and drop the video. If I click here again, if I just want to drag and drop the audio, you can just drag and drop the audio. But here we need both video and audio, so I would just drag and drop them together. And now I have the clip here. So let's play it again and let's see how that looks. There's an island just up the coast. I also want to hear the audio from this clip because that gives a bit more vibe of the sea. There's an island just off the coast of the Netherlands. I think it's too loud, so I would reduce it. There's an island just off the coast of the Netherlands. So this audio is nice, but what I also think is happening is the audio is too abrupt, and I want the audio to start a little bit before the video plays. Now you can see that if I just drag it like this, the entire audio and the video, they go together. But I want them to start here, but I want the audio to start bit before. And now if I click on this clip, both the clips are selected. Why is that? Because both of these clips are linked together. So you see if I just move it like this, both of them are linked together. So what we need to do is to disable the link, to disable the link, what you need to do, you go click here. And now if I disable the link, then I can just drag and drop drag the video and the audio. And you see that if I just drag the video like this, then it shows that here there is a difference of 1 second and 21 millisecond. That's really handy because sometimes if you're editing and if the audio and the video clip if they move, then the inti already shows that they are not in sync. So I would just bring it here, and I would maybe start the audio from here so that the audio comes before and video comes later. And what I can also do is that I can smoothen out the inserting of the audio. And how do you do that? If I go here in the corner, you can just do it like this. So then the audio is not going to come abruptly. So let's play it again. There's an island just off the coast of the Netherlands. So just when I say of the Netherlands, then I can cut it. So we go go Blade two, do it like this. Then you go here, then cut it out with backspace or X. So that's how you can cut and trim the clips. But I think it's a little bit tedious process. So that's when I would be introducing shortcuts. So we're going to be editing the entire sequence, but I think it's nice to edit them with the shortcuts. So in the next section, we're going to be talking about shortcuts and editing this sequence again, I think, ten times faster. So let's go. 7. Keyboard Shortcuts: So in the last section, we kind of went through how the timeline works, and we also did some cutting and putting the music together, reducing the sound of the music when the voice over was. But in my opinion, that's a little bit of tedious process of how we are doing everything. I have some set of shortcuts that can help you to cut and put all the clips together just with one press of a button. For example, if we have this clip, like we cut until here, right? So if we have this clip, right, what I need to do I just need to select or yeah, select the audio and the video. And if I just press one button on the keyboard, it's already gone. And then if I press another button on the keyboard, then it comes here in the front. What I can also do is I'll just do Control Z. And if I press another button here, say, for example, this clip was here and I wanted to cut this part out. So if I just press another button here, so what's happening here is if I just want to get rid of this clip, then with one button, this part would be removed and this clip would go on the left. And if I have to remove the clip from here with one button, everything is removed. How is all this possible? All of this is possible because I'm using shortcuts, keyboard shortcuts, to be precise, and I can also zoom in and out of the timeline like that. So how do you change the keyboard shortcut? Let's go here in the corner. We go to Winter resolve, then we go keyboard customization. And you can see here, I have a preset which is already loaded, which is the winter resolve AD if you want to load the same preset, what I have, then what you need to do, you go in the resource panel and you would have a dot TXT file, dot text file. Let me export this preset as the Winter Resolve sorry, export the winters of AI to Dextop and then I'll show you how it looks. So I will just do the Winter solve A. And if I go to my Dektop because a lot of people get confused, they're like, Oh, there's not a preset file. If I go here on my Dktop, then you would have a preset which looks like this. This is the keyboard customization preset. And what you need to do with this is you go to the Venture resolve keyboard customization. You press on these three dots and then import a preset. And then you go to Dektop or wherever you have saved the preset what I provided you click on this and open. I'm not going to do it because I already have the preset. So that's how you can import my keyboard shortcuts preset. I will also go through what are the keys, what is helping me to, you know, move the clips back and forth or move everything so easily. So the most important button that I use, if you have imported my preset, you would see here. So if I press Q, then there is an application called Trim start, and that's what it does. It kind of trims the starting part, and then W kind of trims the end part. So let's go here. And on this clip, if I just press Q, it kind of trims the entire thing. We don't want that. That's why we select the audio and video. And we kind of trim here. And with this selected, we can also press W now, and it kind of trims whatever is on the right or towards the end of the video. So that's W and Q, the trim start and trim end. And if you want to also search any of these commands, what you need to do, you go to all commands. That's really important. Go to all command, and then you will trim start, and then you would have the buttons here. So TrimStart is the command and what button is associated with TrimStart Q. If you want to change it, say, for example, if I want to do J, J is assigned to something. So if I want to say go M, M is also assigned to something. S L. Let's just say if I want to assign L button, you can just assign here, but L is all reassigned to something else, which I don't really use. But yeah, then you can assign any button of your convenience to any of these commands. That was Q and W. Next one, it's also really handy is A and S. So if I go if you have imported my preset, if you click on A, then you have application Zoom out, Zoom out. If you go S, Zoom in Zoom in, what that does, I will just discard the setting. So if this is my timeline, if I press S, it kind of zooms in. So I just click click click it zooms in. If I press A, it kind of zooms out. So that's really handy if I want to jump all over my timeline. So wherever I would put my playhead here, there it would zoom in. If I want to put my playbd here, if I press S, it would zoom in. So that also really useful for me. Keyboard customization, another one is C. So C was the blade edit mode. You know, we were cutting the clips with the blade edit mode. Another one is V. So when the cursor goes to the blade tool to bring back it to the cursor, you have to press V. For example, if you see my cursor here, if I press C, it's on the blade tool, if I press V, it's on the normal to. And if I press B, then it goes to trim edit mode. And the trim edit mode was something where the clips were going really quickly. So if I'm in the normal mode, the cursor looks like this, right? If I select this clip, if I press Q, it kind of deletes everything in the front. But then we still have to manually drag it, you know, select both of this, manually drag it, or we can click on the gap here and press X that is ripple delete. Can press X, then it comes there. That's still two, three steps. But if we go on this mode, that is the trim edit mode, which is B, then you can see my cursor is changing. So cursor changes to this, and now if I press Q, then it kind of, of course, does to everything. But now if I just select this and if I press Q, then it chops off the things in the front, and then it also moves the clip towards the front. Say, for example, if you want to get rid of this part, what I'm going to be doing is I would select both of this, go press B, and then W. I don't even have take off my hands from the keyboard. It's that convenient. And then I go back to the normal edit mode, which is V. So in the normal edit mode, which is V, if I want to, you know, drag this clip, this clip to here, you can just overwrite it. You can just click on the edges and you can overwrite it. So we are in the normal edit mode. If you want to move the clip, you can bring it like this. But if you go to the trim edit mode, which is B, I'll just press B, you can still drag the clips. But now, it's going to drag in the clip the different section. So say, for example, you wanted to put the things which is towards the end of the clip, you can click here. You wanted to put the things which is on the front of the clip, you can put it here. So I hope it makes sense. And that's why this timer is changing because now it's at 0.08 milliseconds. There is a difference between the audio and the video. So I'll just press Control Z. So I hope it makes sense. So there is a difference between the normal edit mode and the trim edit mode. So let's go back to the keyboard customization. D, I don't have anything with D. Ripple Delete was X. So what ripple delete always does is if there is a gap, you press X, it goes like this. And now we have to do the audio and video separately because the Link tool is disabled. Yeah. But if you enable it and now if you press X, then it goes together. So that's also handy if you enable the Link too. Next to the link tool is a magnet tool, snipping tool, which is shortcut as N. If you press N, it gets disabled. If you press N, it gets enabled. So if we disable it, and if you have to move this clip here, I'll just really zoom in, then you really have to park this clip here, otherwise, you can also go here or here. And if you leave it here, then the clip stays there. But if we have the snipping tool enable and if I move, I'll just zoom out. And if I move this clip here, let's kind of zoom in. If I just put it here, then it kind of like it kind of helps you to snap on the other clip. You see, kind of like it's like a magnet, so it kind of attaches the clips together. And then if you really force it, then you can move it here. But if you bring it like this, you can really park it on the end of the other clip. Like, it's really difficult to explain, but you really have to try for yourself, then you would know what I mean by the snipping tool, snapping tool. Another clip that I really like to use is E, which is the enable clip. So if I press E, this clip is disabled. If you press E, this clip is enable. And that is really handy. So you see if I move this now, the audio and the video, they both move. That's why I kind of disable the link here. So if I move this clip here, you know, if the goal was to put this clip on top of this clip, but if I want to see the clip which is under, then I can just disable this by pressing E. So. And that is also handy. Post of the Netherlands. So yeah, with E, you can enable or disable the clips. And what you can also do, for example, if I go here, if I kind of zoomed in, how do you zoom in to scroll with your mouse? If I zoomed in, you know, in the playhead in the main playhead here. And if you want to bring this clip back to normal, you don't have to zoom out, you know, fit the screen. Now you see, Oh, it's too much zoomed out. Now let's fit. Just press Z. If you press, it's fit to the screen. That's what you can do here, Fit Z. But if you want to go 200 person, you go 200 or just press Z, it just fits to the screen. Because a lot of times if I'm doing color grading, if I'm doing something else, I kind of zoom in, zoom out, and then I just press Z and I know that it is fit to the screen to the space what I have provided. So those were shortcuts for you. I hope it all makes sense, and I would really, really recommend you to import my shortcuts, how I did it, because in the upcoming sections, I would be editing according to my shortcuts, and I would be repeating the keys according to my shortcut. So it would make sense for both of us. And they are really, really handy and a lot of people have tried it and they have loved it. So yeah, it takes 2 seconds to just import it. Do that so that we are on the same page. Now in the next section, we're going to actually make a sequence of this out of all of these videos, let's go. 8. Editing Video Sequence - Part 1: So now let's actually finish this sequence. I would start the sequence, tell you what to cut and edit, and also show you some sound effects, what I've given it to you. Then I would let you edit the sequence and then I would show you my kind of final product. So let's start here. So I would just delete these two clips because I don't think they really fit here. Let's watch it from the beginning. I would reduce the size of this audio here. What I already see here is that this audio, it starts a little bit later. So what I'm going to be doing is, I will just click on this and press Q. It is in the normal mode, and then I would just drag it here. And I will zoom out Zoom and you see how smooth it is. There's a nile. And I also think that it gets muted. The volume gets reduced first, and then the voice overcomes. They should be together. So you see that's why the wave forms are so handy. Let's listen again. There's when I say there's an island, I need a clip of a bird. So we just get rid of it. Maybe kind of zoom in a little bit. So you can change all the shapes and sizes of everything. So I need this clip. Maybe from here, so I'll press in and out. You just drag on the clip and bring it here. And now what I also want to do is I want the audio to come a little bit earlier and I would reduce the volume of it so that it's not really bothering the music. Is an island just off the coast of the Netherlands. So what's happening now? In this audio, we have the audio camera. Audio camera here is the voice over. You can see, of course, I'm renaming it. Here is the music. Here I would do sound effects, and then we can put another layer called sound effects Layer two, so that we know exactly, you know, where to distribute all the audios because soon there would be a lot of audio. So here what I also feel is that the you can see the waves here, but you cannot really feel it because there's no audio because it was a drone shot. What we need to do, go to master. We have the sound effects here. That's the sound of the wave. So what I would be doing is I would just drag it here and let's hear it. I think it would be a bit too loud, I already know because you can see that the wave form of the music and waveform of the waves there of the same height. But these waves they should be just in the background. Now let's hear it. It's an island just up. And just when we come here, I want the audio of the wave to disappear here. So I would press W. It's gone. And then I would also want it to go out, you know, a bit smoothly, go out a bit smooth. It's an island. Ask. And what I want to also do, I know I'm making it complicated, but implementing these sound effects they help so much with making a really cool video. So I have this impact sound, yeah. I would just put this here. The reason why I know all of this is because I've already edited this video for my YouTube log. So that's why it's going every time smooth. But sometimes if I have tons of sound effects, then I put then I put one in the timeline, then I see if it sounds good. If it's not, then I switch with something else. So if you want to have access to all the sound effects, I have given all of these folders to you. If I want to know where this was, this was impacts. So you go Master Wooh impacts, and then I have downloaded the Impact seven. But I would really recommend you to go through all of these sound effects. They are really, really good. Okay, let's get rid of this panel, and let's go to Master. And let's hear it again. It's an art. So just when this clip comes, then I want this and I want it to be a little bit higher. It's an island just off the coast of the Netherlands. And I also feel that the audio sounds a bit off because I feel that it's in a different format. So what I want to do, I will go to here, clip attributes. I go to audio and I see that if I just go audio one, then see how that sounds. There's an island just off the coast of the Netherlands. And what I would also do is I would just change the color of this so I know that is the voiceover and how you can change it. You go right click, clip color. I would maybe put it to yellow and music, I would put it to orange. So yeah, and the sound effects, I would just change it later. So right now we are just done with 7 seconds, and I would show you another clip. What is one of my favorite clips. It is down here, but you can obviously put any clip you want. So I think I would put it maybe from here, so I go in And this clip doesn't have any audio. So whatever I drag, the audio is muted, you see, because it was a slow motion clip straight out of the camera, so I can either drag it and delete the audio, so you can put it here. But we still need the ambient sound. So let's see if we can use the same ambient sound of the Siegel clip. The Netherlands. Play shaped by wind, sea, and silence. That sounds good. So that's what you can also do is just play around with the audio. But the most important thing, what I have, you know, what I have learned before editing is just go through all the rock clips again and again so that then you know exactly what clips and what materials that you can use. But yeah, all these clips, what I've provided you, you can use them in any order. All the sound clips, you can use them in any order. What I'm doing right now, the sequence, it's not correct. For some people, it would be completely wrong. For some people, they would put completely different clips. So it's really up to you. So next clip, what I'm going to put is maybe this one when I say silence where the sky stretches endlessly. Just off the coast of the Netherlands. Maybe when I say coast, then this clip can already go there. It's an island just off the coast of the Netherlands. A place shaped. So I would maybe put this clip here. So this clip has audio because it's in a normal pace video, so I would just go and increase the audio. I can see that it's really low, but, yeah. I win. I think it's too loud now, so Play shaped. I'll win. So I can also see that this audio change between here and here is a little bit abrupt. Play shaped. I win. See. So what I can do, like, you have to have an ear for it. I can quickly catch it because I've been editing videos for really long. So what you can do now is that if I want to swiftly move between this audio and this audio, I can click in the middle. And go right click, and then you go add frame 24 frames cross or 12. That kind of blends both the audio. So this audio would disappear slowly, and this audio would come slowly. So let's hear it again. Play shaped by wind, see, and silence. So now you kind of know how to put the clips together, how to put the sound effects together. I would ask you to really edit this entire clip until this voice over. And let me show you what I came up with. And, of course, I'm going to be discussing you all the things, what I have put there. So yeah. 9. Editing Video Sequence - Part 2: So I am really curious what you came up with, but let me just go through these clips and then I'll show you what was my thought process and what all techniques I used to, you know, put these clips together. So this is how my timeline looks. The first one is the audio from the camera. I see that I've also put the sound effect here, which I shouldn't. So these are all audio from the cameras. This is the music. This is the sound effects one. I can do Sex two. Maybe I can also change the color of all the sound effects to, let's say, or let's say perfo. Now we have really separated the sounds and the audio. Let me show you what I came up with, and here it is. So what I did was I also pushed the voice over a little bit later because I wanted the audience to feel a bit of vibe of this entire place. But yeah, let's play the video and I'll show you. So here I kind of smoothen the audio from this clip and let it play until here. And then I kind of smoothen in and out from both of these clips. So how did you do? Just go in between, right click and then you have the, you know, you can change the smoothen in and out. There's an island, and just when the audio starts, I have reduced the volume of the music. There's an island just of the code. Now, here is the audio from this. Post of the Netherlands. And when these birds are coming, I have introduced a whoosh. And this sound is kind of a sound effect, which is a mixture of this and this what you're listening now, because these are the bird sound effect, which was from this clip, which was really helpful. The Netherlands. Play shaped. By wind. So here you see that kind of the top clip from the birds is fading. And then this clip appears. And how I have done this is wait. Kind of zoom in. If you also go to the video track, you can kind of fade them in, fade them out. So I wanted these birds to be kind of play shaped, faded in and faded out from these clips. A play shaped by wind, S, and silence. And here, what am I doing is I'm kind of merging the audios of all the clips so that the audio is not really abrupt. Where the sky stretches endlessly. Here what I'm saying where the sky stretches endlessly, then I'm showing, of course, a white shot, and then I'm also using this sound effect, Hawk and Eagle, which I have also provided you here in sound effects, Hawk and eagle, this one. So it's like a really long eagle's voice. But the sky stretches endlessly and the land moves to its own. And here I'm bringing the waves back again with an impact, which you cannot really hear it, but let's increase volume and C. And the land moves to its own rhythm. Some call it peaceful. So, yeah, I swiftly introduce the sound of the sea and then smoothly let it out by, just fade out. Others magico. And here, there's just audio from the camera. So I've kind of, you know, merged them together, but everyone agrees. It's so here was a drone shot, so I can also just put it in same level. It doesn't matter. But everyone agrees it's different. Unlike anywhere else in the country. They say you don't just visit Tso. You feel it. So that was a 32nd sequence. So here, I didn't do anything major. It was just cutting and putting clips together. Going with the rhythm of the music, putting the sound effects, which is really important, putting some ambient noises for all the drone shots. So those little little things they improve the video quality a lot. So now you have learned how to put the clips together, how to cut them, how to use shortcuts in the winters off. That is really important. So, yeah, that's how you can make a sequence. But if you think we are going really quick, you can go back and revisit the last two chapters and then try to edit the sequence again because you really don't need to do anything yet, you don't need to go to inspector panel, you don't need to do all sort of crazy editing. Whatever you have learned until now, you can make a cool sequence out of it. And in the next section, we're going to be going through inspector panel. But let me show you one thing before. Say, for example, if you wanted to make a vertical video out of it, right? What do you need to do? You go to project setting here, you go to vertical resolution. And now you can see that the screen is really small. So this is really cool in the winter. Is all 20. You can just click here. You see this arrow, and this vertical screen comes here. So now you have a full length view of the vertical, and I can get rid of this mixer, and I can also get rid of inspector. So it almost looks like a really big workspace, especially for vertical videos, which is really, really cool. If you go through all the clips, of course, we can change the position of the clips. But yeah, I just wanted to show you that yeah, the Winch 20 has introduced a really nice workspace, especially for vertical video. So I use it all the time when I'm using vertical video. So if I have to shrink the view, I just shrink it, and I will change it back to horizontal. Yeah, I just wanted to show you that because it's a really cool feature. But this what we have done until now is just half of the editing. Now we have to put some effects. Now we have to, of course, also color grade, but now we have to also go to inspector panel because that is a whole another game in DaVinci, but that is in the next chapter. 10. Inspector Panel For Video: In the last section, we put all the clips together, and now we're going to be putting or changing some of the parameters of the clips. We're not really doing anything with the audio, I'll just put it down. So let's say if we select this drawn shot, and as soon as we select it, then we go on the right hand side, and then you click on Inspector. And once you click on the Inspector, there are a lot of parameters that you can change in this specific clip. So if I say Zoom in, and a lot of them are really straightforward. So you go Zoom in Zoom out. You can change the parameters like X axis and the Y axis. Like so. And if I did something and you can also rotate it. And if I did something wrong and if I want to reset it, for example, if I just want to reset the rotation, then I just click here, the reset button. But if you wanted to reset everything, then you click here and everything would be back as how it was initially. Pitch, you can do like this. Yo, you can also change like this. All of these things we would be doing in the upcoming section, and then flip, you can flip the video horizontally, and this you can flip the video vertically. But I would just reset it again. AI Smart reframe. This is just for the studio version and I can show you how this can be handy. Let's say if I go on the settings here, if I do use vertical resolution. So here, if you see this video, my main subject is here in this corner. Is it not? Right. But if I do AI Smart reframe, the AI should be capable of bringing my subject back in the center. Let's see. Now, if I play this video, nile? You can see DaVinci brought this back in the center. We can do the same for here. Let's do reframe and then the us up the coast of the object is in the center. Why we would reset them again. So what happens is that DaVinci is basically changing the position of the Y and the X axis of wherever the subject lies. So I would just reset it and go back to the horizontal resolution. So this is an AI feature cropping. This is really interesting. So say, for example, if you are on this clip, if you go crop left, you can crop left, you go crop right, you can crop right. Top bottom, it's really yeah straightforward. And if we have crop like that, you can also sort of u manipulate the edges of the crop, and so you can change the softness. We can reset it like this. Dynamic Zoom is, yeah, you can just turn it on and Eland up the coast of the neoms. It kind of zooms in by itself. So this is a zoomed in image. End of the coast of the neoms. And then it zooms out. So that Zoom is quite straightforward. Composite mode. Composite is also really interesting because what happens now? Let's put this clip. Right. So right now we have this clip here and the clip is underneath this. But we are just seeing this clip, right? But if you change the opacity, so then the clip on the top, it becomes a little bit lighter. And if it's 100%, you don't see it. But there are different modes of composite mode. So let's do a really cool thing. So I would just leave it like so and then what are we going to do? We go in master. Then we go to overlays. Do you see overlays? Yeah, we go overlay, and I would maybe click on this one. So this and I would just click bring it down here, right? So you have all of this. Okay? Don't worry, you should go in the overlays, and then you have this. Now, I'll just mute the video because it's a bit annoying. So now if I go here, you can see that I want this to be on top of the other clip, but I also want the other clip to show. So if you bring down the opacity, then the whole image goes like this. I will just change the setting here. So what we can do is you go to opacity. This I use it all the time. If I have to put any overlays in between two videos, I use it all the time. So you go composite mode, you scroll all the way down, and then you go screen, and now you see how cool it looks. You see, I have tons of overlays that what I've given it to you, if I go here for Power Bins, if I just increase this up, we have overlays, and I have so many overlays that you can put, and they are quite long, so you can just choose what portion of this overlay you want on top of your videos. And what you need to do, you just bring it on top of in between two video clips and then just composite mode, you change it from normal to screen, and then the video looks beautiful. So this is the kind of transition a lot of people also use in their videos, especially on the reels and the short form format videos. So that's really interesting. Speed change is not really handy. Stabilization is really cool. So if we see say this clip, right? I would just bring this clip here. So if you want to make a duplicate of one clip, what you need to do, you press Alt or option, and then you click on the click and bring here because I don't want to disturb this sequence, but I still want to show you the stabilization method or stabilization setting, which is really cool. So I just press Alt or show again. Option or Alt, click on this and just drag it here. And that would create a duplicate. So I just zoom in, I'm going to increase the length of this. And you can see that this video is a little bit shaky. You can see it's a little bit shaky. So what we're going to be doing stabilization, you go stabilize. And then kind of it kind of crops everything in. And now, if you go full screen, so how do you go full screen, you press P. So I press Oh, wait, let's go in the beginning, press P. See now how smooth it looks. Without stabilization, you can see. It's a bit shaky. You see? And with stabilization, it's really smooth. Sometimes the stabilization, they don't really work. So then you can choose different modes. So you can do similarity, and then stabilize again. You can do translation and stabilize again because it really depends on the movement of the video. So, yeah, I usually just reset. I usually go perspective and that does the job. But in DaVinci, there is another cool stabilization method. Let me quick click to another clip. Mm. Maybe this one. Okay? So in this clip, you are seeing if I go full screen, you can see that this is a handheld clip, right? You can see some movements. Okay. But I'll just copy it here as well, make it a little bit longer. But you can almost make this clip look like it was a tripod shot. How do you do that? You go to camera lock, so that would try to lock the axis and then stabilize. The inch you would crop in a little bit. Let's do go full screen, and now let's play. You see how cool it is. A lot of times I take those handheld shots, and sometimes you can see the little bit of movement, but I want it to look like a tripod shot. I just press camera lock, and I do stabilize. But this is only Apple cable if the footage is not that shaky. If it's crazy shake, then it wouldn't work. I think it can also work with this video. You see, there's a bit of shake, I do camera log stabilize and now almost looks like it's a static shot. Of course, if I disable stabilization, if I disable stabilization, you can see that it's kind of cropping in a little bit. But that's the thing with stabilization, it crops in and then kind of tries to make the whole video stable. Lens correction, yeah, if you have some sort of lens distortion, then it's useful. It's not really useful now. Retime and scaling. This is really handy. So for example, if we had a 60 frames per second video clip, which I don't have it now. So I have found a 60 frames per second video. This is also with you. So how do you know it's 60 frames per second? I just click on the video. You go to File here, and there you can see that it's 59.9 40. That's 60 frames per second. So I don't want to, like, you know, go all over the place, but in the inspector panel, we are until here, okay? Now, what we're going to be doing is this clip, you can see it is 60 frames per second. But here, if I play this, it is also playing in 60 frames per second. So what we need to do is that as most of you know, if you have a 60 frames per second clip or 50 frames per second clip or 120 frames per second clip, you can convert that clip into a 24 frames per second clip, and that clip would be a slow motion. How do you do that in a good way. You go to clip attributes, you go to video, and then your video frame brrate you convert it to 24, which is the frame brrds of our timeline. Then if you play back here already, let's say we won the clip here, now it's in a little bit of slow motion. So that's how you slow videos down and bring it here. So that was generally a way to show you the slow motion. But let's take this clip. I'll just bring it here. So this clip, as you can see, it's already in slow motion, right? But what if I want to slow it further? This is something really cool in the winch, and I use it all the time. If I have to reduce the speed down because if I go clip attributes, it's already in 23 4976. You cannot really slow it down because you cannot really play a video which is already slower than the frame rates DaVinci of the project. So what we need to do, you go right, click, you go change, clip speed, and then you can slow it down from here. So let's say we want to do 50. So we are reducing it. It was already slow motion, but we want to reduce the speed even half. And let's play it in full screen. Now you can see the video is a little bit choppy. It's like a little bit jarring. It's not really smooth. This is something what DaVinci has introduced really cool. If you go to retime and scaling, and this is, of course, in the free version as well, which is amazing. If you go to retime scaling, you go here, retime process, you go optical flow, and then motion estimation, you can either do enhance faster or enhance better. I would do enhance better because then the quality of the slow motion is really good. Now if I play it now all the jarring is gone, and the video it's getting stuck because it's not really playing here at 24 frames per second. You see, the video is getting stuck because it's a bit heavy on the Vinci because we have to enhance better. Let's do enhance faster and see. The video is still getting stuck, but we're going to take care of the stuck video. But if we export it, then the video plays back really smooth. So what this is actually doing ret scaling is that it kind of takes care of the jarring motion. For example, if we change the speed to even say 20%, if we just reset it, and now if we see the video, you can see the video is a bit choppy, right? So now if we go optical flow here and then let's go standard faster and let's see how that looks. So you see it kind of takes care of the choppiness, the jarring motion. That is really cool in the vinci. But of course, this I'm showing you this in the standard faster format just for the sake of this video. But every time before exporting, you should do enhance better. So then you get the best, slow motion out of the vinci. Of course, if I do that, it's not really going to play the best. But yeah, this is what you should do to reduce the speed of the video more than how it was from the camera and is such a cool feature of the. AI super scale is in the studio version, but what happens here is that, speaking of studio version, if you are serious about video editing, I would really, really recommend you to invest in the studio version. This software is just so, so, so good. Let's show you. So for example, if we had a video which was filmed on a really bad camera, or if you sort of cropped it in a lot, you know, and once you crop videos, then the quality loses. This is shot on a good camera, so you don't really see the quality difference. If I just place it here, what you can do is that you can super scale the video. So if we go four x enhanced, then the video is a little bit sharper and it wouldn't look like it's cropped in. So what AI superscale basically does is that it kind of introduces like, it increases sharpness. It increases the video quality, even if it's zoomed in, because sometimes if you zoom in a video, it kind of falls apart, and that's what DaVinci taking care of. But it also makes your system really slow. Like, if I play it now, it just wouldn't play. It's like zero frames per second. It should be playing 24, but it just wouldn't play. So that's what if I have to do this, I do this AI superscale just before exporting any video, you know, because I still want a nice playback here. Anyways, let's transform, bring the transform here. And one more thing what is really cool is that, of course, we went through all the parameters in the inspector panel. So let's say, for example, if we changed anything, if we increase the clip speed, say, 20%, you know, forget that we did this, okay? And let's say if we changed the Y, if we change the Y position and if we rotated the image a little bit. If we want to copy the same video settings on this video clip. So we don't have to copy and paste the numbers what we can do. You go right click, you go copy, or you can go Command C or Control C in Windows. So what I would do I would do is a shortcut Command C, Control C, and then here you go. You go right click and there is a thing called Paste Attributes, which is option or A to B. So here we're going to be doing all or option. We go here, and now DaVinci is going to be copying the properties from this clip to this clip. And it's also going to show you what all things it would copy from that clip because it would only show you the things where we have made any changes. But for example, if we don't want to copy the rotation angle, we can choose that and let's apply. And then this video like this. So you can see that it kind of zoomed in the same zoom level as this clip. Then we have the position, we have zero rotation angle. So that's really handy as well. But I would just change the video. So yeah, that's how that's really, really handy when you have to sort of paste the same settings on the entire clips. For example, if I had to zoom in on all the clips like zoom in, say 1.2, then you can just do copy and paste attributes, and that would copy the Zoom on all the clips. You don't have to do it manually. So this is something really, really cool and I use it all the time. Copy and paste attributes is going to save you so much time. So that was inspector panel in the inchi for videos, but there is another inspector panel in the inchi for just audio, which we're going to cover in the next section. 11. Inspector Panel For Audio: So now let's go to the audio inspector panel. So let's bring the voice over here. So I would just go option here because I want you to hear really all the changes what I am making in the voiceover because here it would be distracted. Oh, wait. I can actually do one thing here. If we just want to play voice over here, you just need to do solo. And what it does is, even if it's going through the entire timeline, it would only play the voiceover. Nothing here. There's an island just off the coast of the Netherlands, a place shaped button. But if you want to mute that, you can just mute it here. You can mute it here. And then we could only hear the sound effects. So that things which I forgot to tell you before, but these are the things what you can do in the timeline. Sometimes, if you just want to listen to one track, you do it. And what is also really cool is you can lock the movement or you can lock the clips here. For example, if I just want to lock the voiceover clip or voiceover entire level, then it wouldn't change. You see? I cannot change it. It's locked, and that's really handy if you have a big project that you have put all the voice over at the particular places and you don't want them to change at all, then you can just do it there. And the same lock you can do for all the clips. Anyways, so we're going to be selecting solo, and now let's go to the Inspector Tab. For the audio. So we're going to be selecting the clips because now there's nothing is selected on the timeline. That's why we just cannot see anything here, but we're going to be clicking the voiceover. And as soon as we click the voiceover, we see a lot of things. So here we can see that this was the initial level of the audio and I would just do. So we have increased the volume of the audio that you can also see here. You can also change the pan so you can maybe do pan from left to right or right to left that you can do here. All these AI things that I would show you in the studio version because that's all included in the studio version, pitch, which is not really important. I don't really use it, so let's not do it. Speed change. Here you can change the speed of the audio, but I barely use it. AI music editor, if you are in a free version, you're missing this out. I would show you when I will talk about the studio version, which is really, really cool. Here we have the equalizer. So what you can do is that if you turn on the equalizer, so what you can do, you can do B one if we have to enhance this audio. Let's listen to it. There's an island just off the coast of the Netherlands. So if we go B one, then we have the one point. And if I want to increase the base of this, let's exaggerate it and see. Island just off the coast of the Netherlands. A place shape. So I want to increase the base, but not too much, say until here, and then let's hear it. There's an island just off the coast of the Netherlands. A play? I would also increase the spectra like this, so we have the equalizer here. It's shaped by wind, sea, and silence. So here you can also, these are all different different points in the audio. Let's play with it. Where the sky stretches elessly and the land moves to its own rhythm. Some call it peaceful, others magical. And you can also change how this thing dips. So if I do like this, you can sort of make it a bit more pointy or make it a bit more blunt. I usually do this. So what is my process is that? I would just play this audio. Island off the coast of the Netherlands. A place shaped by wind, sea and silence. Here it sounds a bit weird. So here is endless. Reduce it down. I would do the same for four. Let's make it a bit more a bit less pointy. And let's hear the audio. An island just off the coast of the Netherlands. A place shaped by wind, sea and silence. Where the sky stretches endlessly. So wherever it sounds weird to its own rhythm. Bring it down so that we don't have any sort of variation in the audio. There's an island just off the coast of them. And here, if I increase five, then Netherlands. A place shaped by wind. Then all the things which is a, they all get emphasized. So what we can do, we can click on six and bring it a little bit down. And let's now hear it. There's an island just off the coast of the Netherlands. A place shaped by wind, sea and silence. Where the sky stretches endlessly and the land moves to its own rhythm. That's how I'm doing the equalizer now, but you can do it how you want. So what we did was we increased the base a little bit. We put a limiter here on this corner and we have kind of limited all the things, which sounded a bit unusual in the entire clip. And what you can do now is that if we have to copy and paste the same properties on another clip, you can do the same for audio as well. So we go, Come on, see or Control C, and we want to just for the sake of this tutorial, if you want to paste the same settings here, we go option or all three, and then DaVinci would tell me that it's going to be changing the volume and it's going to also change the equalizer setting. That's what we did now. And if we do that, then my music track also had the same exact parameter as the voice over. But I don't want that. So that was equalizer, but we're going to be going in the Fairlight Tab. There the main audio adjustments are like, here, I don't really change much, so I would just reset it, but most of the changes I do in the audio is in Fairlight tab. But this is still good to know because if we have the AI voice isolation, AI dialog leveler, all these things, I do it here in the vents, but that is for studio version. Anyways, there's another audio setting that you can do. Say, last time we just clicked on the clip, and everything what we changed is just for this clip. If you click here, everything what we're going to changing is just for this clip. But if we want to change for the entire track, then you click on the track here, if I click on the track here, then another audio bar comes here, then another audio panel opens up. Go click here, then the audio panel opens up for just audio A one. Let's do it for voice over, or yeah, let's do it for A three. Okay? In the free version in the into free version, here you can see that there is an option called Ducker. And what Ducker does is that. Let's turn it on. And what Ducker does is that you remember what we did here? We kind of reduce the volume of the track when we started doing the voiceover. If I just delete it so to delete it, you can just press this white dot, and once you click it, it turns red, you delete it with X if you have my shortcuts. So let's go back to A three track audio Track and turn on Ducker. So what Ducker does here, the AI of DaVinci Resolve would help this audio track to reduce the sound when the voice over comes in. But for that, we have to select the source which is the voice over. So the voiceover is in the voice over track here, A two voiceover. Source one is the audio camera. Source two we can do as a voiceover so you can choose different different sources, and the level of this music would reduce down according to that. So let's see if DaVinci did a good job. Oh, we have solo here. Let's play again. Is an island just off the coast of the Netherlands, a place shaped by wind, sea, and silent. And if I turn off Ducker wins where the sky Is an island just off the coast of the Netherlands. A place shaped by wind? You still hear the music, but if I turn on the Ducker, then we can play again and see. Is an island just off the coast of the Netherlands? Place You can see that this music is playing in the background, but DaVinci has reduced it itself. You can also choose the duck level. So if you do it a lot shaped by wind. And you barely hear the background noise, but if I just duck say 2.2 and silence. But the sky stretches. You hear a little bit. So instead of, you know, going here, Keyframing and putting this volume down, and when the audio goes and then you increase the volume, you can also use Docker. But to be honest, it is not perfect yet, but it's good to know for you. For now, I would just turn it off because I don't think it's really handy for now, but maybe in the upcoming updates, just keep an eye on this. I think it would get better. But one thing, these options are only available for the entire track, not for just this clip. It would only appear if I go in this track, and then you have these music options. So yeah, those were some of the parameters that you can change in the audio in the inspector panel. Now let's move on to the next section. 12. Keyframing: And So now we're going to be talking about Keyframing. So I have just copied this clip which I had here in here. So what is Keyframing? So Keyframing is a way in which you can lock the property of a video or audio or of anything at one point, and then you can just change the same property at some other point. For example, if we want this image to have a Zoom number of one, the initial number, I want it here. But as I go towards the end of this clip, then I want the Zoom to be, say 1.4, let's say. 0.4. That we can achieve with Keyframing because if I go 1.4 here, it's already zoomed in at 1.4. You see? Here I want the value to be one. So that's when we set keyframes on specific areas. So to set up the keyframe in DaVinci, what you need to do, you go click here. So if I click here, any changes I would make here would be locked at this point. So let's say I don't want to do any change now, but when I go here, then I want this image to be zoomed in till here. I want the position of X to be here, I want the position of Y to be here. And rotation, do I want? Not really. So let's watch this video again on full screen, press P. So now you can see that the video is kind of slowly zooming in. The video is getting a bit stuck because it's a bit taxing on my system because I'm screen recording as well. But yeah, if you see here in the Transform panel, then you can see the numbers changing. And they are going towards our final position. So that's what Keyframing is. And we had the final position somewhere here. So let's just turn of the video here and you can do this to anything. Anything what you see here in stabilization, lens correction, you can do anything which has this diamond, you can do Keyframing. So let's do Keyframing at crop. So let's put the initial value. You know, I want to make that effect. That kind of window opens up like this. So let's do the initial value 560. So I can see that the top is cropped, and you can see this check mark. I think you might have it black. So what you need to do, you go here on the left side of the timeline. You go view background and you do checkboard. Yours is black. For me, black sometimes is confusing. That's because if there is a little bit of black left, I cannot really see it while editing the video. So I think just to be sure I have put it to checkboard. But when you have exported the video, this would be black. So this wouldn't be a checkboard. Don't worry. So this would be black. So anyways, coming back to cropping, my initial crop, I want it to be 560 from top and bottom. So we put the numbers, maybe go a little bit more here. And then I want to key frame this. So let's key frame the position of the crop top and bottom. I've also done it right and left because why not? And then when we go at this position, I want it back to zero. So now if we play full screen, you can see the image opening. But now I want the screen which opened. I want it to be a bit slower. So I cannot really change it here. So for that, I need to go in the Keyframing panel, which is new in the winter Resolve 20. What do you need to do? You go click on these diamonds here. You go show keyframe tray. You go up, it takes a bit of space in the timeline. We don't really need the audio, so we go here. And here you can see the changes what we made. You have all the parameters here, you know, the Zoom, X, everything. So all these changes, you see the initial and final diamonds, that is for the Zoom, everything what we did here, and all these little changes are for the cropping because you see how fast our crop went from one to here. But if you want to change the duration of the effect, say something here, we can just select everything and drag it. If we want this to be here, we can just select this and drag here. So now let's watch everything again in full screen. So our image is zooming in and the video opens up like this, which looks really cool. So yeah, that is Keyframing. But this is not just it. You can do Keyframing with everything. You can do pitch your, and you can, of course, control the keyframes here. What I would want to do is I would just close this tray. And when we talk about keyframe, there's also a really cool thing you might have seen in a lot of videos is called speed ramping. What speed ramping is, let's take this drone shot. Yeah? I think it's a little bit longer drawn shot. Say, it starts from here, and then it goes up, up, up, and then it goes up until here. It's still going. What I want to do I want this shot to play normally like this, and then I want this shot to speed up, like, from here. And then it just shows the last part. How do you do that? Also with Keyframing? So now you have to watch it really carefully. So what we need to be doing it is not the same process because here we cannot really change the speed. What our initial thought is that we go from normal speed, speed, then fast until here, and then normal speed here, and we cannot change it here because, yeah, there's no speed change option. So you right click on this clip, you go Retime controls. When we do retime controls, then our clip becomes like this. Here, I would just zoom in, say if you want the change to be here. Yeah. Then I would want add a Speed point. And then if I want the change to end here, so I would do add Speed point again. And now what we can do, you can either change the speed in between to say, let's say, 800, yeah. Then it goes really quick. But in my opinion, it looks really choppy that it goes slow then fast, and then down. I don't really like it and you can change these speed points like this. You can also change the speed points like so see it looks really choppy. We want to make it better. So what do we do? We do with the key frames again. What I need to do now, I need to go This is new in the winter I all 20. I'll make it full screen. We go to keyframes here. So there is a keyframe panel which opens up at the bottom. Let's close it. We have a keyframe panel here, which opens up here. Now, we don't have any keyframes here because I didn't do any Keyframing, but if we go down here, then we have some keyframes, which is the speed of the clips that we changed, right? But what we need to do we need to go here, and here you would see key frame curves. This is really important. If it's not clear, you should watch it two, three times this tutorial. We go key frame curves. And here you can see the actual curve. Yeah, we go up, this goes quick and then slope. But you see the speed here is one, and it suddenly goes to eight, and then it goes to one again. We can also remember we did 800. We can increase the speed here because with this arrow, you can only change the speed up to 800. That's why we come here. Let's do let's do 20 times the speed. And now let's play back. It looks really bad animation. It's also getting stuck. But what we need to do we need to smoothen out the speed so that it slowly goes 100-20 time 1-20 times and then come back to one time. What do we need to do? We go just select these two key points, and then here you see this little curve that says ease in and ease out. If we do it, then there is a bit of curve here. You see? We can also zoom in here. And if you touch this, if you elongate this, then the curve becomes a little bit smoother. You see, it becomes a bit more smoother. So now, what's going to happen is our footage would go from speed one to 20 times really nicely. It's not really playing good. So what I can do now, if it's not really playing good, I can maybe change the resolution. So if I go settings here, let's go 720 pixel. So now the resolution of the video wouldn't be great, and now hopefully it plays good. So let's watch it full screen. I pressed P. You see, so now it's going really nice. It's a bit more smoother. It's still not playing good, but in the upcoming section, I'm going to show you how to play with proxy files. So yeah, that's how you can do a speed ramping. But you can do a lot with these curves. Let me show you another example. For example, we are playing this clip right. We did the curve and everything. Let's reset this. Yeah, reset the transform, reset the cropping. Okay? And here, what I want to do I want this drone clip to come in the screen from the right hand side. You might have seen those animations. So what I can do now, I can do another Keyframing for the position. So if I just drag it this way, you know, go to position X, the position X is here. So it is out of the screen now, and I can set up a keyframe here. I'm not setting up here because we don't need to keyframe everything. We are just making change here, so let's do it here. And now at this second, I want it at its normal position. So here, if we play this you can see dis comes like a really bad animation, right? And I also want it to be a bit quicker. So what we need to do we need to select this clip, then go to key frames again. Then we go to parameters, and I can see that the parameters, which is chosen is ret speed, which was what we made now, but we don't want that. Now we want the position X because that's the change what we made now. And what we can also do is that we can shorten this so that the clip comes really quickly. Yeah. So this was the initial position, and this is the final position. You can also do the S curve here. So we go ease in and ease out. So it comes kind of a bit more smoothly. And you can see here it is not at his final position. It's not at zero. I can also see on the screen here. This comes really nice. And you can do all of this with a logo as well. For example, let me show you something really cool. Let's go master. We have some PNG. Say, let's say if we want this, you know, location title here in the corner, if you want it to come here in the corner. You know, like so. And I also don't want you know, you see something here. You see this. I also don't want this to come in. So you see I'm dragging and I'm sort of zooming in in the video, but you can also go up and down with, like, command or control and scroll up and down. I also don't want this. So I'm just going to select this clip and then crop from the bottom until it crops that. Oh, I think it's cropped. Yeah. Now if I press, it's a normal location. So now what I want, I want the same X factor, same X, how do you say, same X parameter to be copied on this little icon. So we're going to be doing Command C and let's go option or Alt V. So now it's going to copy the position. Position, you cannot separate the position between X and Y, so let's just see how it looks. So it might have the exact same graph as how we had in this clip. PC, you can bring any logo, anything here, but we want the initial position of this to be at the bottom. So let's keep it here at the bottom. So it is at minus 240. So if we just copy this number to the initial position as well, so then it wouldn't move. So I just copy paste minus 240 so that we are making sure that the only parameter which is changing is on the X axis, not on the Y axis. And if we watch it full screen, So this is how you can bring anything. And if you want to take it out, what you can do, you go here, select another key frame, and then here, you can just bring it out. So if I want it to go that side, I can just take it out here. And then here we can do same nice select all the keyframes and then in and out points make it a little bit more You have to always make sure that this line is not bent. This always has to be straight. Yeah. Now let's play again, comes in and goes out. So, you see, you don't have to be a crazy animator to do all these things. It is just super easy then to resolve. And this whole system, this whole Keyframing thing, the graph they have introduced in the DaVinci 20, which is really cool. And you can also zoom in and out here, if you want to go really zoom in, or you can choose this lens. So that would show the entire keyframe. But if I'm here and if I want to zoom in here, you can do it here as well. And you can also, of course, move the graph with this hand or yeah, you can choose everything with the arrow. What you can also do, you can just plug it out. So you can make it full screen like so. So sometimes, if you have a lot of things going on, you can make it full screen. And if I press escape or exit, then I'm here. If I go full screen, skip and exit. So that is really handy. And I have all of this thing the same. I didn't really change anything, and I use it a lot, with a lot of things I do. And then if you want to go back to the initial position, then you can go to the list, and here it would show you all the parameters that we have changed. And of course, you can change the duration of all the parameters. So here was the parameters, here was the curve. It is just really cool. And with Keyframing, you can also do Zoom in or Zoom out in the video. So you might have seen those travel videos where they kind of h Zoom in Zoom out, which is really cool. And we can do it here as well. So if we just copy these two clips and you have to watch all of this carefully because I want to see all of these effects project in the project file. So yeah, I'm not just doing it for anything, yeah. So let's just mute it. Here, what we're going to be doing is, you know, that Zoom in effect that we're going to be doing here. So let's say if we went four frames this way. So we copied these two clips here. I go in the middle and I go four frames to the left. So how do you go four frames to the left? Just press arrow. Four. And here, what we can do, we can choose the initial position. And if we go one, two, three, four, we can choose the final position. So you don't really see that clip because now it is showing the other clip. But if we play it, you see how it looks. So it's kind of zooming in in the last moment. And here I want that Zoom to continue. So here can be the final initial position and four frames, one, two, three, four, and here I want the Zoom to be here. And let's play this. But I think it has to be a little bit quicker. It's going a little bit slow. So let's fix that up in the key frame panel. So parameters, we had the video parameters, which was for position, which was from last time, but now we do Zoom X and Zoom Y. So here I can see that the Zoom is happening here. Maybe I want it to go a little bit this way. And then I want it to be a bit more smoother. And on this clip as well, we want to shorten that. So we selected this clip, and then you can just shorten this one. Oh, no, it's taking both the key frames. So just shorten this point. And then we kind of make it like this. It looks a bit weird, but what can make it better is putting a Zoom blur that we're going to be talking in the next section because then we are going to Effect panel. But, yeah, you can do Zoom in like this and you can also do just Zoom here. See if I have the initial position. Let's reset everything. See if I have initial position here, and then I want to Zoom in like so here, we can reduce Zoom duration and then here. And now let's watch. You might have seen a lot of videos, and it just takes 2 seconds to master this. I would also maybe make this curve a little bit smoother, a bit more round. So the more round and curvy it is, the more smooth it is. You see how nice it looks. Let's watch it on full screen. So we have a lot of Zoom going on, and if you want to make it nicer, you can put the Zoom like what we had in here. So we have the media pool. You go to let's say, Power Bins. We have the sh. So what we did was we went to master. We went to Bushes, and then we go to folder number three, and then you can choose what wooh you want. Probably this one. Oh, it's mute. Mmm. Yeah, this sounds good. So we want Wooh three to be here. Now we have to search where the transformation took place. So we can go to Keyframing. We chose this clip. Here is and I can do solo, so we're just listening to this. Let's hear it. It's so satisfying. So you have to also make sure that the duration of the Zoom is I can see that the Zoom here, the sound is over, and the animation is still going on. So that's why I would move this keyframe here and let's play it again. Now it really fits the So I really want to see this in the project section. So just make sure that you're implementing this. You can see at the starting of the Zoom, it is like this. And just when the sound is over, we are at our final position. So yeah, this graph of Keyframing, it just helps tons. So I hope that Keyframing is clear to you. If it's not just rewatch this again. I'm sure it might be a bit too much too much information, but that's how it is, and that's how we learn rewatching, repracticing, and you have tons of clips to practice for. So yeah, let's move to the next section. 13. Inbuilt Video Effects: So now let's talk about video effects. But before that, let's clear this mess. So I would just talk a lot of keyframe. Let's not talk a lot media. We just go like this. Here, we talked about a lot of stuff. Let's just, yeah, reduce the size of this. We talked about the inspector. We talked about everything related to Keyframing. Now let's talk about effects because there is a huge library of insane amount of effects in the jisolve. Like, I literally use maybe three to 4% from all these effects because I don't really need it. But, yeah, if you really need it, just explore through everything. And if you have a studio version, it's just so much, so much. Sometimes it can also be a bit overwhelming. But one of my favorite effects, or let's just go through, you know, I'll give you a brief overview. So if you press effects here, then you have this toolbox. The first few effects are, you know, cross fade when you're kind of fading between This is for audio. So if you just cross fade between, you know, the video audio clips. So if we just go here, let's say, let's say we have two audio clips here. Right? And if you want to drag and drop any sort of clips, you can just go in between or here. So it's gonna so you hear that this cycle tone is already playing now. So that's what it's doing the crossfade, because it's kind of cross fading from the previous clip. But I would just do that, reduce it. And next is a lot of effects such as additive dissolve. So all these things, you can just place it in between two clips. So it's kind of a transition between you see, it's kind of transition between the two plates. So you can try all of this. You can do blur dissolve, just copy and paste here. And it goes like that. You can also do Smooth cut is really interesting. What I'm going to show you later. But then you have arrow. This is just like simple transitions that you can do between each clip. But if you go in toolbox, it's going to show you all the effects. We don't want to do that. We go to first video transition. What are video transitions? I'll just press Smooth cut here. So video transitions are something where you move from one clip to another, and you put a transition in between so that the movement from one clip to another is not abrupt. So you can put any of this. So, you know, you don't even have to put it on the clip, you just drag and drop, and then it shows how it's going to look like. Some of it is a bit childish, but yeah, it is what it is. Remember the slide what we were doing with the animation, you can just slide it here and it's going to do it like that. You see how easy it is. And here you can also change the speed of the slide so you can sort of delay it a little bit, and then it comes really quick here or you can just reset it. At this point, if you want it to already finish, you can already finish it, so it goes quicker here. You see, so that is slide, and then you can do split. You can also do push. So here the footage pushes the other footage. There's a lot of transition. You have to try it, and then you would be surprised that there's so many things. Some of the cool ones what I use is the camera shake, and also what you can also do is you can reduce the transition duration. So if we have the camera shake, see it plays for so long, the jittery thing. And if you go just like that, it'll turn off the audio. It goes in 2 seconds. It's really cool. I really like it. I also like brightness. That's like just a flash between two clips. So yeah, just try everything, and I think you would really like. This is something new, elastic rubber. And what the cool part is that you can put all of these effects, some of them on the text as well. So that's really handy. Audio transitions. Remember the crossfade what we did. Next, are the titles which we go to come later. Let's do generators. Generators are just like these kind of clips, which you can put it behind the videos. Let's say, for example, if I have this video, if I wanted to put it here, I will turn on the key frame if I wanted to put it here, then you can put it like this, or you can put this, or you can put a gray scale, or you can put solid color. And this is I use quite a lot. You can put solid color, and then you can change the color to whatever color you want. Or if you want the solid color to be of the color of the T shirt, you can just go drag this selector here. You just click this, and then you go to the shirt, and then it's here. So yeah, you can change the color of the solid color as well. And you have a lot of things such as these comics. That's all new in the winter Resolve, which is quite cool. You have a lot of animations that you can put in the back of all the clips. A lot of times people have screen record and some other things and you can put everything in back of it. So these are the generators, and then you also have in generators this let thing. So you see, you don't need to do anything here what you need to do. You go here. You go to graphic text and just change the text. Change the text. If I do change the text, Look how nice it is. You can also put it in different line. Change the text. It's so cool. Let's just copy this, and I would delete it with X. This is really cool, really cute. So, yeah, you can go through all of this. They are super easy to change. Just drag and drop on the timeline and change the text super easy. Then we have effet. So Effect is something what I use quite often. Let's go to effects here. So Effex you have a lot of overlays, binoculars, CCTV. Like a lot of overlays that you can put it on top of your clips. Like earlier we had to buy all of these things, back in the day and now it's all there in the winter off. You can just play around there really cool, I think. The most important one adjustment clip. What it does is that. Let's say I want to put a video setting on top of all of these clips. So if you go to Adjustment Clip, just keep it here. And whatever this whatever setting, I'm just going to reduce the size. And whatever setting I'm going to put on the adjustment clip, that would be applied to everything watches what is underneath that. For example, if you want to do, you know, the cinematic crop from top to bottom, like so. So, you know, it looks like a cinema. Let's do 120 from the top and 120 from the bottom. So now on all these clips, we have this setting. That's cool. If I wanted to kind of zoom in. You know, on adjustment clip, then all my clips are zoomed in. So that is really handy if you want to do like a specific setting on certain group of clips, not the entire timeline. Then adjustment clips is nice. It's also nice with color grading. Sometimes you want to make some clips softer than the other, or sometimes if it was nighttime, you want to increase the brightness of that specific just those specific clips in the timeline, then you can do adjustment clips. So that's when it's really, really handy. And other than that, I don't think there's something which is more anything important. Now let's move on to Open fx. So here, something what I use is the Zoom blur a lot. So let's go on this clip. So remember when we did the Zoom, I don't think we have it here. So let's do it again quickly, and then we know. Keyframing takes literally 2 seconds. Oh, that's a bit too long to transition, the Zoom, so I would just bring it here. So you see, it's zooming in from here to here. I think I'm just going to check if the graph is smooth or not. So yeah, so we starting here and then we go like that. So what are we going to do? We're going to be here in the middle. And then we go to EffX, we're going to copy the Zoom blur to this clip. So now what happens is the Zoom blur, you can see that the footage is blurry. The Zoom blur is copied to the entire clip, but we just want the Zoom blur to be during the duration of our Zoom, what we did. So we go back to Keyframing, and then you go so we are kind of in the middle, right? If I just go one. Yeah, we are kind of in the middle of this Zoom. So what we do if you go click on this clip, you can be here, then you need to go to EX, which would take you to whatever effcs you're putting. If you have ten FX, there would be a list of ten ec. We want this Zoom level to be at this point. So let's put a keyframe here. But we want the video to look normal how it looked before at this point. So we're going to set up the Zoom amount to zero. And then, same thing we're going to do here. So we go here at the end of the transition, and we want the value to zero. So now what happens is initially it was zero, then the Zoom increases, increases, increases, and then end of the Zoom, it reduces. And now it actually looks like a really nice transition. Let's watch it full screen. So you don't really see it, but when you pause it, then it looks really smooth. So it's so subtle that you don't really see it. But now if I take out the zoom, now you see the difference. You see how it looks, and if I put the zoom on that's really cool. It's just so subtle, but then you still see it. Here, I also put the Zoom. And if I see the parameters, we have the parameters. We don't want the parameters for Zoom, we change the speed here. So we have the parameters for speed here. So we can do the exact same thing. We have the Zoom blur. We put the Zoom blur to 400 here, and the Zoom started from here. Sorry, the speed, and we can go like so zero. Now when we play the clip, You can see there's a bit of blur, and that makes the transition a bit more natural, a bit more neutral. So, yeah, that's when I use Zoom blur. A lot of times I also use the lens blur or Gaussian blur. When do I use it mostly in, you know, the vertical video? So for example, I don't really have any vertical video. Let's take a vertical video from you don't have to have it, but let's say let's take a vertical video from here. Yeah. If I just put it on my timeline, it is, of course, a vertical video in a horizontal video. So what we can do what I do usually, I just make a copy of it. You might have seen this effect. And what do I do? The bottom video, I would select it and increase the Zoom. And now, what am I going to do? I go to Gaussian blur and bring this blur here. So you might have seen this effect, then you can increase the blur. So now our vertical video looks like a normal horizontal video. And the reason why the quality looks really bad is because we are watching in cement 20. So let's increase it back to high definition because we are not doing anything crazy, and let's watch it again. Look at this how nice it looks. So that's when I use Gagen blur. That's why these things are starred. So which means that that's the favorite. So if you scroll through it, you already know which one is your favorite, so you know where to find them. Radial blur, I don't really use it. Like, you can just try all of these and then see if you find them nice, because there are ton of effects here in filters, you can just just go through everything if you have free time and just just select and make them favorite. A lot of things you can also do in the color grading page in the Fairlight page in the Fusion page. So I don't really that's why I'm not really showing it because I have to show you that later. Anyways, audio effects, I have to show these in the Fairlight effect. So I'm just checking what is important here as well. So if you go to favorites here, then you have all the transitions and all the things that I chose as favorite. And there's a really cool effect called smooth cut in the inci. What it does is that? Let's go to Media Pooh and Let's take out this shot? Let me show you what am I doing. So let's turn on the audio. Explore every corner of these islands. And now, if I want to just skip all of it and just start from here, you know, I'm using the same shortcuts. And now, if you play the videos, There is a bit of changes from one frame to another that you can see here, right? These islands. This is going to really push this effect. So if you go to effects, we had the favorite. We had the smooth cut. And if you want to search anything, you go to toolbox, you go Smooth cut. And if you cannot find it, you go to here under the lens, and you should do all folders. So then DaVinci would search in all the effects folder, not just the toolbox folder. And then what am I going to do? I'm just going to drag and drop smooth cut here. Then let's see if it can kind of smooth cut. So here what DaVinci should do, it should kind of lend it should blend both the frames and make it look like it's not an abrupt cut. So let's see if it did it or not. It didn't do in this section, but let's try again. Let's make a cut here. Let's make a cut where it's not really it's not really obvious that there's a cut. It's called. So here you can see there's a bit of cut, right? I just mute the voice. You can see there's a bit of cut here. What are we going to do? Are you going to drag smooth cut? It's called So you see if we delete the smooth cut, you can see the cut, cut between one clip to another, one frame to another. Now, right? And if you put smooth cut here, the inchi kind of generates the missing frames and it kind of makes it look like it was a single clip. There was no cut. Let's play it. It's called the Blue trot. So can you check where the cut was? Dex. It's called That's crazy, right? So that's in the free version as far as I know. It's called. It's really cool. So yeah, that's why Smoothcut is also in my favorite list. And we have camera shake, what I showed solid color I showed Gagen blur, camera shake, and drop shadow. Drop Shadow, I can show you when we are talking about the text animations. 14. Working With Compound Clips: I also want to talk about something called this compound clip. For example, let's get rid of the Effect panel. If we wanted DaVinci to treat this clip as one clip or if you want to put any video settings on both of the clips together, what we can do, you can go right click here and then you do compound clip. Now both of the clips, they become one single clip. You can do this for entire video. So this whole thing, here we have sort of this entire like everything here, you can make it in one single clip. You see? The benefit of that, you can do this in the end, so it makes your timeline look a bit cleaner. Now it's not that messy, but sometimes my timelines, they get really messy. So then you can so it looks like that it's one clip, and now if you want to make a change as well, you can do the change as well. And that would be on the entire clip. So I would just do it like this. Or if you want to do any color grading changes, anything, it can be on the compound clip as well. I will just go back and what you can also do now if you had a compound clip like this, but now your question would be, how if I have to edit something in one single clip, what do I do? You go to click, you go decompose in place, or you can do open in timeline. So then this compound clip, all these clips would be open in a separate timeline. And then whatever changes you're going to be making here, that would be made in the original timeline. That would be made in this sequence. So that's when compound clip is handy as well. And what you can also do, you can do decompose in place, so it's yeah, decomposed in place. For example, this, you can make it in a compound clip Pum is just one clip now. And if you want to make any changes, if you want to rotate it, it's all one clip. So that's when compound clip is really handy as well. 15. Voice Over In DaVinci Resolve: Another effect, what I wanted to show you, which is available in the free version is voiceover. So if you go here, you can see this mic. You can click on the voiceover, and then if you do it for the first time, I think it would ask you something. And if you go click on these three dots, you can do Enable three second countdown, so then you become ready for the voice over and then file, you can do maybe test and audio input. If you have any mic connected, then you can do then Resolve MacBook Pro. Let's try with the iPhone. Should we try. What if we do Art's iPhone? Oh, so we connected to Adidas MacBook Pro. So now my iPhone is the voice recording app. That's really cool. So if I just press record, it's going to be starting now. So here is the audio recording from my iPhone, I think. I'm not sure, but it's for sure is recording with Mc from my laptop. I'm sure it's recording from from the laptop. I put my phone away, and let's see how that sounds. So it is actually recorded on the audio ten, but you can also choose audio, what track it should record on. So let's record again and let's see if it's on the one. So here I'm going to be doing a voice recording, and I'm doing voice recording in the winter Resolve, and I don't know why it is red, but it should turn green when I turn up the recording. Of course, it's red because I'm recording. So let's see how that sounds. I'm sure it's going to sound really bad because I'm so far away. So here I'm going to be doing voice recording, and I'm doing There's a lot of echo, but yeah, you can do voice recording in your iPhone. No, not from the iPhone, but from the MacBook Pro microphone. Voice recording in the Mature zone. So, yeah, that's really handy when you're sort of watching something and you have to record the voice at the same time. That was it for effects. And yeah, I would say really just explore a lot of effects, and you would find so much value from just exploring everything. And yeah, that was the effects panel. And now let's move on to some text animation because that is also whole another world in Agi. So let's go. 16. Text/Titles: So now that we are getting a hang of the edit page, now let's learn something really interesting, which are the titles. So how you can find the titles, you go here in the effects, and here on the left hand side, you can find titles. The Winter Resolve has a lot of titles, but the most common and the basic one, what I use is this one, basic title, and how you can use it, you just click on it and drag and drop on the timeline here. So let's say you want to put a title here, and you can, of course, change the size. So title works as exact same as any video or audio clip, so you can just, you know, change the length. You can also fit the title in like this. And you can also fit it out, like so. But now let's just keep it as a normal basic title. So this is a basic title, and of course, once you have selected the title, then if you go on the right hand side, then you can do all sort of changes in the title. Of course, there is a box. You can just do say test. Oh. In this box, whatever you change, let's say, Dong I can do. So if you can just do int Resolve, you can just write whatever you want, and here you can change two different fonts. I'll just keep it to aerial. You can also change bold. Normal mode. So yeah. And then you can change the size, everything. So it's really simple, yeah, quite simple to understand. You can change the colors. You can also change the font so that you can do all caps or you can do mixed as how I wrote. You can change the alignment, position, you can change the Zoom, rotation, everything, and stroke as well, you can change. So what stroke is you see if I increase this, then you can see this stroke coming on the borders of the text. Don't really like it. What I like it is something called this drop shadow. So Drop shadow it kind of casts a shadow just under the text. So how do you do it? You go to drop shadow. If you go to X, then the shadow would be on the X axis, you know? Let's do the shadow here, and if I do Y, then the shadow goes on the Y axis. Let's do it here. But I think that the shadow is a bit too harsh. So what I can do is I can reduce the opacity. So now if I do full screen, you can see it really nice. There is a shadow. It's a bit of subtle shadow. It looks really nice. Of course, you can change the blur as well. So now it's too blur, now it's too solid. So, yeah, you can play around with a lot of things. You can also change the background. So, you know, like you might have seen this on social media that, hang on. That you can change the background like this. So you can increase the height, you can change the width. I think the outline with I'll just move it to zero. You can also change the color of everything. So everything is really straightforward when we do the basic title. What the inter Resolve has done now is that, for example, if I want the inter resolve here, right? And if I want another text underneath the winter Resolve, let's say, video editing, right? But I want this text to be of a different font. So of course, I can do it here by selecting the text that whatever change I made, I make, it's going to be here, and then I can change the color. But then I have to keep selecting this all the time. I have to keep selecting this video editing all the time. Because if I don't, then the changes, whatever change I would make would be on the entire timeline. And of course, I can also I cannot really change, I can change the size, but you can see that the other text is going up and outside the screen. So it's a bit of tedious process. So now what the inter Resolve has done is that here in this basic text, you can just do one text. What the winter resolve has done is you can do almost multiple text, almost, you can do really multiple text in one box. So let's just click it out. This is really cool, and I use it in a lot of reels in a lot of YouTube videos. So here, you can do say DaVinci res. Let's make the V capital because that's how it is DaVinci resolve. Yeah. And we can do whatever changes. Let's do aerial. You know, I can make it bold as well. Maybe just leave the color to here. Yeah. Okay. And then if I want to add another text, what you can do, you can just to add text. And there is another text. And this text is totally independent of the Danci resolve which stands on the top of it. So let's do video editing. And then I can change the font to, any font I want. Let's do bangers. It's a bit funny. I can change the size of this. So you see if I'm changing the size of this, the winter is always not changing at all. I can also change the color of this. So that is, I think, really cool. And you can add a lot of multiple text in this panel. And if you want to delete them, you can just delete it like this. But now we want to do some more things because it looks nice, in my opinion, but now we want to do something else. So let's go in layout. And in layout, of course, can you see that my video editing is selected here so I can change the position. I can change the size of this. This is the max, and I can change the perspective. No, I don't know what that means. And I can change the rotation. So you can change the rotation. You can change the rotation on the Y axis, you can change the rotation on the z axis. So it kind of gives a three D overview. And same thing if you go click on the vinci, we can do the exact same thing for the vinci. Now let's go on to shading. So you can do the same thing here. Let's select something. So, of course, here, you can change the color of everything. You can also change the softness. So if you want to make it a bit blurry, you know, you can do it. You can also what you can do is you can put Keyframing. So, you know, in the beginnings blurry and later, it's not. And you can also do outline. So outline is if we go here, you can see this. That looks really nice. You can do outline as well. And you can of course, change the thickness. So yeah, there's a lot of things to play around, and of course, you can do shadows as well. So you can do enable, and that is only for video editing. So we are not really touching the top. You can of course change the X and the Y axis. And, of course, you could change the opacity. You can change a lot of other things. So let's keep the X here as how they recommend. Now I'll press Z. So yeah, that is multitext in the winter resolve, which is a new feature, and I absolutely love it. But now, if you want to do an overall change on this entire thing, then you can just go on the setting and treat this as a normal video clip. So you can zoom in, zoom out, change the position rotation. You can also change the opacity. You know, like this, you can also do some animation with the positions, you know, how we did with the Keyframing that here, the text can be outside. And then here the text can come to its original place. And then when we can go to keyframe, we go to the graph here, we change the parameter, we change the position of X axis, and then you can just select everything and pom. And now, just in 2 seconds, we have a text animation. So that's how you can do multiple text in DaVinci. And of course, if you want to change anything internal, you go to titles. 17. Text/Titles Animation: And speaking of animation, you can still do a lot of things in the winter resolve with the text. So if you just click on the title and if you just scroll down, there are a lot of title animations. So all you need to do with these things is just drag and drop. So you just drag and drop like this, the text opens and you can do all sort of changes. If I want to change the color to red, you can change the color to red. And so you can see here that there's no drop shadow option. Oh. So what you can do is you can go to Effects panel and you can go. This I do all the time. I go drop, I just write drop, and then I want the Vingi to search in the entire effects panel. So then I have the drop everything what comes up a drop, it's here. So drop shadow is here. I just put the dragon drop the drop shadow on this new text animation that I have put. And now what happens is, in the video, if I just have to do any changes in the text, it's here and whatever effect that I have put and if I want to do any changes on that, then I go to effect here. And then, of course, you can change the shadow strength. If I reduce the blur, then you can see it more clear. You can change the drop angle, you can change the drop. Distance. So this is really cool. And I want to see this in the projects as well. So really remember this part. So yeah, a lot of things you can do with text, it is just almost too much too much for me, at least. And this is, I think is really funny comic title. So of course, this title just stays here. You can change it. So let's say, I'll do test Test, yeah, it's all new in the vinci resolve. So, of course, there is no animation in this. So what I can do is I can put some animation on this one. So one animation what we learned was here, the whip in, you know, it's kind of just coming in. But we have, of course, a lot of animations in built in DaVinci, which are in effects. You just need to go to video transition. And, you know, remember, we did these video transition for videos, but there are also a lot of things that you can just put it on any sort of text or any sort of, you know, remember this location icon, what we have put, you can also put on any of these files. So let's go here, and I want to put a nice animation on this. Cameras, not really. Let's do elastic rubber. So, of course, you know, dragon if I'm just hovering on the thing, it is showing me the transition for the clips because these are the two clips, but I want to just drag and drop it on the text and let's see how it goes. So you can see here the video transition has been put on this text box. And if we just play it, you can see how cool it looks. It almost looks really funny. And that suits really nice for this. You can obviously change the length of this. Now it goes a bit slower. How cool is that, right? And then I can also just try with a lot of other titles. You just need to go in the title. There are a lot of them, and the vinci result they keep adding every update. So that's also really cool part about DaVinci that even if you bought the studio version, you're not limited to that version. Every update, it's free. So yeah, I would recommend you to just play around with these texts. And yeah, let me know. What do you think? And there are some texts which already have an animation, something like this. Which is really cool. And I think you can change the color of everything. So of course, you can change the color of the background. You can also change the color of the text. I am hoping. I've never used it, so you can change the color of the text. You can change the color of a lot of things. I think you cannot change the color of this, but, yeah, this is already nice, and it's just drag and drop, and all you need to do is change the text. This one is new, the ribbon. Yeah, they keep adding all of this, so you really have to try it out for yourself and then see which one you think is nice. If you're a free version user, then you don't really have access to the AI subtitle that DaVinci generates the subtitles by itself, which is a bit of bummer. Like, yeah, I thought they should have done it for free version as well, but not. They haven't what you can do is that if you have to put a subtitle, you go to titles here, and then you can search here for a subtitle. Maybe I'll just do I'll just search for a subtitle. And yeah, here. So you see this subtitle box, you would find this in titles. What do you need to do is you just need to drag and drop on the timeline here. So if you just do it here, then what happens is there is another subtitle section that opens up on the timeline. So here we had the video, here, here, we had the audio. And on this section, we have a subtitle box. And subtitle, of course, it acts the exact same as how these text boxes would act. You can of course change all the video settings and you can of course change the text as well. Here, if I write anything in the subtitle, that would be here on this text. And, of course, whatever I say, you can manually do it, which is a bit of tedious, but that's how it is in the free version. And, of course, you can change anything, and what you can also do now in the Daventur all 20 is you can also put these animated subtitles or animated or sort of designer subtitles. What do you need to do? Say, for example, if you want this. Let's get rid of it. We just need to scroll down to get those subtitle animation. So if we want these subtitles, say, animated. So what do we need to do? We go click on this Lollipop and drag it on the subtitle track here. And then the subtitle animation would be here. So I will maybe write something else. I don't know why is it not working. So I think you can only change the text beforehand before putting the animation. You can also try different animations, if I go Statement and drag it on the subtitle track. That is also really nice. But, yeah, if you are really thinking of buying the studio version, I would really recommend to do it because, like, just for subtitle, it's already worth it to invest in studio version. But in the upcoming section, I'm going to show you all the studio features in the edit page, and then we're going to be showing you studio features in the collaborating page. And for me, at least, it is 1,000% worth it. And if you're a video editor, you're serious about this whole thing, video editing thing, I would really recommend you to invest in the Resolve studio. But anyways, that's how you create subtitles and that's how you can play around with texts in the Winters. And now let's move on to the next section. 18. Using Proxy Files: So as we are learning all these animations and all these effects, that would make your system slow as well. That would make you working on the winter resolves slow as well. So there's one method of how you can run or play back the videos. A little bit smoother is by generating proxies. What are proxies? So proxies are those low resolution file because if I play any of these videos now, they are processing the exact same video which came out of my camera, which in some cases, they can be a bit tedious on the system if you put crazy effects if you do crazy color grading. But what option there is in the winter is always at. You can change the camera originals into proxies, and proxies would be a low resolution file. Of the camera original. While editing now in the Winter Resolve, you can edit on those files on the low resolution on, you know, low quality files. Of course, the playback, the quality of the video, what you would see now, it wouldn't be great. But at least when you're editing, there is no lag and you can play everything in real time. So while editing, you are editing on proxy files, you know, if you want. And then when you export it, then the winter is always not going to export the low resolution file, then it would export the camera originals. So it's just a way to get a smoother playback in the winter resolve. So, yeah, I think it makes our life really easier and how you should do it. So what we can do now is that let's go Sony, and I have already made proxy of some files. But say, for example, if you want to make proxy of the entire folder, then what we need to do, we go on this folder. It is just an example. Then you go Proxy Media, and then you go generate proxy media. And remember, when we're doing the video settings, we chose a format of the proxy media, and we also chose a location of the proxy media. So now DaVinci is making a low resolution file of my camera originals, of the huge and complicated files from the camera. And all those files would be saved in my computer somewhere. And now DaVinci would be linking those files from the computer directly. Now it has nothing to do with the camera originals if we generate proxies. So I hope it makes sense. If it doesn't just assume that proxy media is to run video smoother. So if we go to this drone clip, right? I can get rid of the animation. So this drone clip should be proxy, but I can see here that this file is original from the camera. Because if we go here, if we just play this drone or maybe if we just copy all of these clips, let's just put it here, right? So now we can see that the proxy media is playing. And that is because I can see here there is a little proxy icon. If it's not playing in your case, what do you need to do, you go here on the top, and then you click on this arrow. Yours must be like this. So if it's like this, then there's no proxy. And then here, you can choose preferred proxy. So if it's preferred proxy, then you can do here. And there's also a way in the inch Resolve is that proxy handling. So a lot of times you can either choose preferred camera originals or a lot of times you can choose prefer proxies. So it really depends on you. And now, if you have proxies and if you have crazy color grading or crazy effects, the video should play a little bit smoother than how it was playing, you know, when it was using camera originals. So this way, you can run the system a little bit faster. 19. Timeline Organisation: Now we need to learn a little bit more about the timeline. So remember, I went here in the beginning and I was showing you some things, you know, the subtitle track, the audio wave forms, these audio wave forms. That is really cool. But the Winter Resolve has introduced some new features to just make our life easier as editors. So if we just go here and click Display stacked timelines, then what happens is that? Because a lot of times, if I'm editing a project, I'll show you. It's going to blow your mind. So let's say this is one of my clients project, right? If I didn't have a stack timeline. So this is one of the video for them. So I'm editing four videos for them. Okay? If I want to go because a lot of times what I do is that I finish a video, and then I make a duplicate of that. And then I make another duplicate of that so that if I have done any changes in this video, I can always just go back to another version that I created. Or if I want to go to another video project, then I make multiple timelines. And how do you make multiple timelines and I have also a folders for timelines or how do you make a new timeline is? You just go timeline, create a new timeline, and Dji would create a new timeline. And how you can access that, you go here, display stacked timeline. And now, this is the timeline for company video. I can just jump into the timeline of terminal video if I want I also made a timeline for a voiceover of someone. So I just have the voice over there, and if I want to copy anything from here, so say, for example, if I want to copy from here, to cool, let's say, and if I want to copy here, what I would do, just copy everything here. So this is being copied from a completely different timeline. And that's why having stack timeline is really important because you can just toggle between different timelines. You can copy and paste different clips between these timelines, and that is really handy. And of course, if you click on the arrow, it would show you which timeline is not open because I already have a lot of timelines open here. So if I close them, if I close all of this, and then if I want a new timeline, I can choose from the list which timeline I want. And there's also another cool feature. You can put multiple timeline layers. So say, for example, on this timeline, I have this video. For these features, you really need a big screen. And here I can put another video with this saying this here. So here what we can do is if we want to say, copy these videos on this one, on the top timeline, you can just drag and drop like this. You see? I am just dragging and dropping from here. So of course, it's not going to move. It would just make a duplicate from these video clips from here to another timeline. And that is, I think it's just really handy to be able to access all these timelines in one go. What did I do was I did display stack timeline. So that helped me to get these timelines next to each other. And then I went here, and then I clicked on multiple timelines. So if I just pressed Plus, then it was another layer of time. When I can open anything here, if I want another one, I can have three layers here. You see you can almost open three, four timelines in one page. And that is really cool. Now, what I want to show you one more thing is that you can also switch between different projects. You see what I just did here. So I am editing on the Resolve with you. The Resolve 20, but if I wanted to go to my clients video, I can just go home. And what I need to do, right click and then I go dynamic project switching. This, you need to turn it on. And then if you have another video project from something else that you can just access like this. And then now you don't need to go home and click another project. You can just click on these arrows and open multiple project. I can open some other project as well. And now we would have three videos, so one, two, three video projects, and of course, you can do the exact same thing again. You can just copy all of this, everything on any of the projects. So you don't think it's just it improves the quality of life so much as an editor. So yeah, what we learned here was switching between different timelines easily and also switching between different video projects, which is, in my opinion, really cool. Now I want to show you something also really important. So I'm not sure where is the timeline from this video here. So, I think it is in Sony. Yeah. So this timeline is this one, right? I'll just make it a little bit bigger. This timeline is here. Remember I told you that I make duplicates of the same timeline. So what you can do, how do you make a duplicate, you go here, right click, and then you go at the bottom here, duplicate timeline. And then it's going to make another timeline which would say timeline one copy. We can also just rename it. I usually do backup. And now you have a backup here. So even if whatever you do something wrong here, you can always just go to the backup. Or if you want to make two versions, usually, if I'm editing for a client, I make two, three versions of the same video to show them which one do they like. And that time I would have multiple timelines, you know. So that's really handy. And a lot of times, if it's a big video project, then I make a separate bin and I would just name them timeline. And then I would just drag and drop all the timelines in those folders. We can do it now. So you just go timeline here, you go to timeline bin. Where was our backup backup is here, you go to timeline. So now you don't have to search it, it's all here. So that's also really handy. I want to show you something also really cool. Say, for example, you're not doing this backup, and it's also a bit tedious. I do it at the end of the video project. But say, for example, if you are doing something at this portion, if there's a lot of video clips and you delete something here by mistake. And of course, the interior is always saving every few seconds, every few minutes. So how you can access the things what you have deleted and you didn't know B for example, if I'm zoomed in here, then I don't know if I by mistake and deleted something in the front. So how you can access that. So then what do you need to do? You go to timeline, you go right click on the timeline. You go to restore timeline backup. And then DaVinci would show you all the different versions what it has saved. So right now it's 1033. We have a version from 1023, we have a version from 1013. You can, of course, change the duration of how often it saves. I have done it 10 minutes. So if we click on how our timeline looked on 1023, we would have here. So remember, we were playing around with the texts. So all the texts, they appear here. And also something really cool is whatever so this new timeline, which was 10 minutes back, DaVinci is not overwriting on my current timeline because I went here, backup this is this, DaVinci generates a separate timeline so that I can watch both the timelines, side by side and see like what all things got deleted. So that is really cool. Remember, all these drawn clips we had. So for example, if we deleted by mistake, and if we couldn't do Command Z, man z because it was 50 steps back. So then you can obviously access, just go 10 minutes back, and then you have a backup timeline. So that is, I think it's just so, so cool because I'm sure a lot of editors would have had this problem that the project crashed or they did some mistake, and then they just cannot access or cannot go back. Those were some of the timeline features that would improve your quality of life and just make your life easier as an editor in the winter resolve. Now let's move on to some of the really cool studio features. So if you're a free version user, I would recommend you to just glance through the next chapter so that then you know what are features you are missing out. And if you really think that there is something useful for you, just watch it. Or if you want to just skip to the next section, just skip the next chapter and go to the following. 20. AI Audio Features: So here in this section, I'm gonna be showing you some of the AI features which are only available in the Winger Resolve studio. The first one is one of my favorites, and that feature, I use it all the time, and that is called AI Voice Isolation. That's how it works. Let's listen to this audio first. So so the sun is in my eyes, my hair goes everywhere. And apparently, we're going to find a bird. I cannot leave her pronounce. So you can see that there's a lot of background noise. So so to get rid of that, what we can do, you click on this audio tab, and then you go to AI Voice Isolation. So if I just toll this on, and if I just make it 100%, let's hear it. So, the suns in my eyes, my hair goes everywhere, and apparently we go find a bird. It sounds pretty good. It did a really good job because this is how it was before. And this is after. So the sun is my eye. What you can do? 'Cause I also feel that it sounds a bit more robotic and it sounds a bit more fake because I also want the audience to hear the surrounding the ambience. So what I usually do is that I put it about 20 to 30%. Sometimes I even do just 10%. Then let's hear it again. So, the sun is in my eyes, my hair goes everywhere. And that was before. And apparently we go fight. So this sounds a bit more neutral because you can still hear the background, and you can still hear clearly hear the voice of the subject. So the sun is in my eyes, my hair goes everywhere. So that is really handy. And after that, we have the AI dialogue leveler. So what it's supposed to be doing is it should be increasing the volume of the places where the audio is a bit low, and it should be reducing the volume of places where the audio is a bit too high. In my opinion, it doesn't do the best job, but let's try it out. So I've toggled it on, and let's see how that works. So, the sun is in my eyes, my hair goes everywhere. It sounds pretty good, but I have feeling that in the beginning, it was a little bit low. So you see, it was a bit low and then it widened up. So that's why I don't use it, but it's a nice thing for you to just play around and see how it goes. And the next tool, like, you are not going to believe that this tool is in the winter Resolve, which is called AI Music Remixer. So I have just downloaded this music here. I would also give this music to you. This is just a music with some vocals. So let's hear it. It's more than enough to let the light. So you can hear there's vocals. There's some music. What we need to do, you just toggle on AI Music Remixer. And if you want, you can just mute everything else and just let the voice be there. It's more than enough to let the light in. There was before. The wave. There's after. Y'all making me feel it's divine. That's crazy, right? So, yeah, that's how you can get rid of all the all the instruments in a video. But if I want to just mute the voice and let other things play, that is also possible. So the audio is gone, completely gone. So, yeah, that's a nice tool for you to play around. Unfortunately, this tool doesn't really work on normal audio because it is not music, but it is really good at detecting, you know, the drums, the bass, the guitar, and other instruments. So it works really perfect with any music track. And now, next tool, what I want to show you is AI music editor. So if I just click on this music, you know, This was the music track what we used before. So if I click on this, it shows me the length of this music track. At sometimes you have the visuals are really long, but the audio track is really small, so then you have to find the perfect beat to repeat it. But in the winter resolve, AI can do it. So say, for example, if I wanted this video to be 5 minutes, this audio. Now it's 2 minutes 39. Let's do it for, say, 5 minutes. Yeah, and then if I do adjust, then let's see what happens. In a few seconds, it would try to make the same audio clip 5 minutes and 39 seconds longer. And then we can see how that sounds. So it would try to chop in between the clips. So let's see. I'm also trying this feature on this music for the first time. Okay, so we have the clips here. So the audio should have been ended here, you see. But there is this little you can see the zig zag icon, which means that there is an AI chop. So let's listen at this point and then see if it did a good job. It sounds like it just keeps going. So you see there are different different chops. So whatever places the AI thought that it's nice to repeat the audio track, it did. And now, what if we make the audio to just say 44 seconds? Because the original audio was, I think, 2 minutes something. So let's try to do that. What if we do 20 seconds, and then we can see what happens? Because 20 seconds, if you want to edit a reel, that's perfect, right? Here is a bit abrupt. Here. That is really cool. So AI is doing it. What it also does is that it gives you two or three versions. So let's check out version two and then see how it works. It's still fine. Like this jump here, it's still okay. I really like the version one. So yeah, that's how you can change the length of the music according to how you want in the AI music editor. And unfortunately, all of this is just available in the studio version. And one more cool feature also is AI beats detect. So, you know, like, a lot of times when you're editing a video, you want to cut everything on the beat. Let me show you. So if I do right click on any of the audio and then you do show music beats, then AI would do its thing to detect the beats in the music, and it would tell you, Here is a beat. Here is a beat. And then, according to those lines, you can chop the clips or edit the clips. So let's see. Oh, there is a lot of beats here. You see, so it is putting on every beat. But if you want, you can also choose that I want to put the clips on every fourth beat. And it's also really easy to put the music here. And if I want this clip to be here, it's really easy to just hover around because the software, it would stop try to stop at every beat, but you can kind of keep dragging it. That is really nice because if there was no beats detection, then I wouldn't know where to put this clip on. You can see. Like, I don't know where are the beats. So instead of listening and going back and forth, you know exactly where the beat is, and that is just by right clicking and show music beat. And it's really cool. The next feature is, I think it's also really cool. All the features are really cool, but this one is really cool. So what you can do now it's my hair goes everywhere. And partly, we go. So you can see the voice. That is the voice of my wife. Here, what you can do is that you can actually train the Vinci resolve to sort of learn someone's voice. So say, for example, if I just click on this clip, then I can already see in the system in the file library that where this clip is right here. What do we need to do? You go right, click on the clip, and then you go to AI tools. And then here what you can do the inchi AI voice training. So now we are training the vinchi to learn the voice of Mia, my wife. And if I just click on that, then it's going to ask you for some permission. If you go accept it, then you can do a new voice name. Let's do test. Okay, Test one. And training accuracy, we do better. And what happens is that now once we do this, then DaVinci would do its job in the background to put this voice readily available for us in a few minutes. So let's start, and it will do its job in the background. It is in process and has been launched in the background. So you can see here if you go, Okay. So now what we can do, we can go to the Fairlight Tab. You just click on this audio and we go to Fairlight here. And now here you can actually convert the voice. So we go to Right click, go to AI tools, and then voice convert. And then you can choose you can choose either render in place or make a new track. We'll just do render in place. And DaVinci already has, you know, female US female, this this male. And also, this is one of my friends voice, Ignas and this is Mira's voice that I did last time. If we do the sound, the voice of one of my friends, and he also has a really specific accent. So let's see if that works or not. And he can do render, and now the voice should be changing. So we are doing this in Fairlight Tab, not in the Edit page, and we can go back in the Edit page. So, the st is in my eyes, my hair goes everywhere, and probably find a bird I cannot even pronounce, but says so, let's go. That's crazy, right? This was before. So the st is in my eye. And this is after. So the Saudi zip. So that's how you can train voices in the inter Resolve and just put any voice you want on anyone's video. And I think it's quite funny. So those were some of the audio features in the Winter Resolve. And of course, there are a lot of video features as well in the studio version. A lot of them are with effects because a lot of times, if you are a non studio version, if you hover to any of the effects, a lot of them are not available. But all these effects, whatever you see, they're all available to you in the vent Resolve. And this one, what I told before the super scale, that is available in the vent Resolve studio version as well, so you can enhance the quality of the video by four times six times like that and make it really sharp. So let's see if we go just back's not that sharp. And if we just enhance it, of course, you're not going to see it because this video is already sharp, but I've tried it on really bad, old videos or old photos, and it does a great job. Some of the, a lot of features of the Interes studio versions are all these effects. Some of them we're going also be using in the color page, in the Fusion page, which I'm going to be teaching you next. So you just play around with a lot of features, a lot of effects, all the effects, what I use that I've showed you before. So that was everything what you can find in the studio version in the Veneris of except for the subtitle panel, which I'm going to show you in the next chapter. So let's go. 21. Subtitles In DaVinci Resolve: So in previous sections, I told you I gave you a brief introduction about the subtitle feature, how to actually use them. Let me show you. So what you need to do if you have to generate subtitle for a specific section. So first, what we can do, we can open the timeline which was this one, I think, which is without the text. I think I'll just get rid of all the text or just move them here. So say, for example, if you want the sub title for this specific timeline, what do we need to do? Or if you have to export or import or if you just have to export any project, what do you need to do is go and you go in the beginning and press I here, which is the point, and then you go at the end, wherever you want the video to be stopped, you just press O. So that is like in and out point, and that is a segment what DaVinci would be exporting when you're exporting. But that is also a segment what DaVinci would be producing the subtitles from. So yeah, this is only for studio version. So what do you need to do? You go to timeline, you go to AI tools, you go to create subtitles from Audio. And here you can select the language. I would do English. Or you can also do Auto. But sometimes if there are two languages and if you want to have subtitle in one specific language, then you really need to select it. And then maximum characters per line. So, you know, sometimes if you see one of some of those reels, they have just one word per frame so that you can do as well. So that's when you can change here. But we would just do maybe say 30 characters per line. So there's maximum of 30 words or 30 letters per line. And then gap between subtitle, I'll just do zero lines, also, I'll just make it single. Sometimes, if people have to do, really long sentences, and if they want to put everything in one frame, then you can do double lines. I usually do single lines. And caption preset, I just says subtitle default, but later on, I have my own presets. Depending on different different clients, depending on my personal usage as well. So let's go create. And in few seconds, DaVinci would be creating the subtitle from the voice over that we did. And subtitles should be here. Why are they not here? Crazy. How weird. Oh, because we have done solo, so that you have to take it out because now DaVinci was just listening this track. So that's my mistake as well. So if you have it on, then delete it. So just unclick the solo, and now let's go AITols create subtitles from the audio. So yeah, these little problems you can run into. So we have in the beginning. So remember the track what we put before the setting that is already here, which we don't really want, but let's just see it and see how it is. There's an island just off the coast of the Netherlands, a place shaped by wind, sea, and silence. But the sky stretches endlessly and the land moves to its own rhythm. Some call it peaceful, others magical. So yeah, and if you want to do any changes, I don't really like this whole animation thing now. So what I can do is that I go in the track, and then I can put my own preset. So if I have a preset for YouTube, I would just go load preset, and hopefully it should be there. It is not. Yeah, I tried this first time I'm doing it, the animation. So how you can get rid of the animation? Because I just wanted to show you some normal things. So you can click on the subtitle here, and then you can go not on the caption, but on the track, and then you can delete this. You see this fusion animation, you can delete this that would delete the animation here. And now the subtitles are according to my preset, and I have different different presets for subtitles. So one is for my client, which is kind of in the middle. This one we usually use for our YouTube. Cost of it is an island just off the coast of the Netherlands. A place shaped by win. And if you want to do any changes, you can do changes here. But the thing is that if we do say, change here, then all the subtitle changes. So you have to be really careful. But if you want to say just change in this sentence, then what you need to do. I'll just put this up. Then what you need to do, you click on this box in which we have in C and silence, and then I'll just make it a little bit bigger. You click on this box in inc and silence. And then what you need to do, you go to you can also see it selected here. Then you can go to customize captions, and that's what's going to do is that we just customize that box. Customize caption, let's make it, let's say, yellow, just for the sake of this. So now hip by wind. None of the other things are moving. You can also make it a little bit bigger. I mean. You might have seen that in some videos or mostly in the short form videos that they have normal subtitles, and then if there's something important, then that text is a little bit bigger. And that's how you can achieve that effect as well here. But of course, I am mostly using these subtitles because they look a bit more minimal. They go with the kind of videos that I make. But as I showed you before, you can also do all sort of crazy subtitles, or you can also just make it nice. So if we just want with yellow Vg shadow, you can just drag and drop on the subtitle. By wind, see, and silence. So if I do this, then everything what I did before would be gone. And if you want to get rid of this effect, what we got here, then you need to delete it here. And then everything what we had before would come. And of course, you can edit all the subtitles here. So if there is some mistake, because a lot of times DaVinci makes mistakes if some words are not in English or if some names are not English names, the Mint does a lot of mistakes. You can also jump around in the subtitles here. For example, this is not Texo but it is called Tso. This is, that was not Tso, the spelling is Texel, but it is called Tso. So that's what I have to change as well all the time. And if you go to the track, most of the changes are in track here. So you can do all sort of changes, you can do stroke. It's exact same as how the text would work, but we are in the subtitle panel. And you can also disable the subtitle. So if you don't want to see that, you can just disable subtitle track. So you don't really see that. And you can enable it here. You can also do lock track. So now nothing is moving. Like it works exactly as how the audio or the video files would be working. And I think it's really cool the subtitles. And the accuracy of these subtitles, they are getting better and better every time. So that's really handy, and of course, you can try these animated subtitles, as well. They are a bit new in the Winter reserve, and I think they're pretty good. There's an island just off the coast of the Netherlands. A place shaped by wind. It's still a little bit childish. As I told that I'm not going to use it. But, yeah, it's pretty decent. 22. AI Audio Transcription: So now let's talk about audio transcription. So I have just opened one of the timelines from my YouTube log. And if I want the transcription of the entire video, if you don't know what transcription is so transcription is a written format of every dialogue, every sentence spoken in the video. So how you can get that? You go on the timeline, which timeline is here, it's not yet. You right click on this and you go AI tools and you go audio transcription. And then you transcribe. It would take some time, but for my, like, I've already done it, so it comes really quick. And that gives you all the words and everything that has been spoken in the video. What I usually do is that if I want to make an Instagram caption or make a TikTok caption, I usually do with my reels. I would get the transcription from that video, go to Chat GPT, tell them that, Hey, can you convert this into an Instagram caption and then hat TPT does that, and it gives me an starting point to have an Instagram caption. So that's when I use the transcription. Sometimes if you want to give it to your client or give it to someone else, you can also do that by just exporting it. So you see here, I have clicked the Export button. You can just export it and it would go out as a text file. What you can also do, let's go back to the Winter Resolve here. We have one clip where we are sitting and talking, right? We have a clip here. And if we go and get the transcription of just this clip, let's go transcribe. It will take some time, then we can edit according to whatever we have said in this clip. Let me show you how. So let's say, I would just move this on the other screen and let's put an eye point here, you know? And then if we do it's less windy now than we thought first time in Dutch island. If we just want this sentence in the timeline. So I will just highlight the text here, and then I will just click insert this button. And that comes here. It's less windy now than we thought. Yeah. So here we are for the first time on the holidays in one of the Dutch islands test. So you see everything what we highlighted, that is here. And now if I want some other, you know, that's our mission. That's our mission, this whole trip. Here in Tso. Let's insert this that clip would come next to the clip what we did before. Submission. Submission this track here in Tessu. So yeah, from this transcript, you can also see because a lot of times, if you are filming something and if you know that you only needed just that two sentences from this entire video, you don't have to go through the entire video. You can just open up the transcript and you can just select whatever you want and just insert it, and that would go in your timeline. And that is really handy. And what you can also do is that you can use speaker detection. So if I just do that and then if I go, yeah, tools, transcript, it's gonna just transcribe again and we can assign the speakers because last time we just got a little paragraph of everything what we said. There was not a thing that he said this, she said this. Hm. The speakers are not there. Yeah, so we have speakers. If you just go here and if you go display speakers then you have speaker here. So if I just play here, Oh, yeah, so this is the speaker Mia, and this is the speaker speaker one is Mira and then speaker two is myself. And now, throughout the whole video, we know that what Mira said and what I said. And if I just wanted to take out my part or if I just wanted to take out her part, we can easily do with transcription and then just copy everything on the timeline. And you can also delete these little little gaps. So if you just go like this, and all the gaps are deleted. And now what you can do is that, I selected these clips here, and now what you can do if you select all the text here and if you go insert, then all the text would be on my timeline without any gap because we deleted all the gaps in the transcript. So that's really cool, and that's how you can use the transcript for your videos, which is, I think it's only getting better and better, and it's really, really cool. So yes, I think that was from the edit section in the Resolve, and now we're going to be moving on to the Fairlight page, which I don't really use often but I use it once in every project, and I'll show you when, and I think it's really cool. So Fairlight page is mostly for the audios. If you want to enhance your audio, then yeah, let's go to the next chapter. 23. Fairlight Page: So now that we have learned everything about the Edit page, now we're going to be moving on to the next page, which is not the fusion. I distrust me, this sequence of how I'm teaching, we would go to the Fairlight page. And here, this is a page where you can edit the audio in a bit more detailed way. So what I usually do is that I don't do crazy audio editing because it's not really needed for general purposes, but what I do is that I enhance the voiceovers and the vocals. So how this page is. So here we just see the audio tracks. I have, you know, made them bigger. This is my voiceovers. So that's why it's also really handy to name them. So here we had the audio camera, the voiceover, music, and the sound effects. So what are we going to be doing is we would be editing or enhancing the audio from the Voiceover page or the voiceover table panel. So we're going to be clicking here so you can see that it is selected. And once we select that, then we can see that here, the audio two is selected as well. So what we can also do, we can just make it solo so we can just hear the voiceover. There's an island just off the coast of the Netherlands. So that's how it sounds now. The first thing what we want to do to enhance the voice is something called as DSR. And that DSR is if you go to here restoration, we have falte effects, and then you go to DSR and what DSR does is that, you know, like all those Ss all those things in the video, DSR eliminates that. So what we can do here, if you just go here, listen to E S only, then if you play there. There's an island just off the coast of the Netherlands. Up to see Netherlands, like, all these things we have to eliminate in then. And the software shows that these essays, they lie here on this graph. Place shaped by wind, sea, and silence. So what do we need to do is we can make the dip here. So the more we dip, the more the software would damp the SS. So let's hear it again the Netherlands There's an island just off the coast of the Netherlands. A place shaped by wind. We can also refine the edge, so make it a bit more sharp or sorry, here. We can just change the frequency. We can make it a bit more broader, make it like this. Usually, I just do it like this. The silence. Where the sky stretches endlessly and the land moves to its own rhythm. Some call it peaceful, others magical. I think it sounds good. So here we're going to leave DSR here. So that's the first step in audio enhancement. And whatever changes you do, it's going to be listed here. You see DSR is there, and if we want to do some changes again, we go to Controls and we can change it again. Next one, what we have is. So if you have to put any effect, you go to this plus. Next one, what we have is you go to Dynamics, you go to Fairlight Effect, and then you go to soft Clipper. And here, we have to do soft drive. And that would enhance our audio. A little bit, it would just give a bit more body to the entire audio. There's an island just off the coast of the Netherlands. That is after, and let's listen the before. To there's an island just off the coast of the Netherlands. So before it was not that bold the audio. And once we did the soft clipper, it just sounds really full. There's an island just off the coast of the Netherlands. A place shaped by wind, sea, and silence. That sounds pretty good to me. So next, what we're going to be doing is we're going to be playing with the equalizer. Remember, we did the equalizer as well in the edit section. But here, the equalizer is a bit more advanced, and I also have some presets. So some presets from different different mics, from different different classes. So if we have preset from the DGI mic to, the preset looks like this. But let's do from the beginning. So how you want to reset it, you go here. So first thing what I do is I bring the band one, and I reduce all the harsh or, like, really high bass voices. And then I bring the two a little bit up and then reduce the bass voices. There's an island just off the coast of the Netherlands. A place shaped by wind, sea, and silence. So now the audio sounds a little bit heavy, a little bit nice. There's an island just off the coast of the Netherlands. And now here at Band three, four and five, what we can do is three and four, specifically, what we can do is that we have to listen to the errors in the audio. So we can just increase this and we can also increase the factor here. So then you see a little bit of really sharp mountain kind of thing. And now, if you listen to the audio, while the three is increased, and you can also keep moving them around. Island just off the coast of the Netherlands. A place shaped by wind, sea, and silence. So wherever it sounds weird, I just bring the value down here. Where the sky stretches endlessly and the land moves to its own rhythm. And at four, I'm going to do the same, increase the factor. Some call it peaceful, others magical, but everyone agrees. So I'm just hovering around the graph here. It's different, unlike anywhere else in the country. They say you don't just visit Tessle. So that's how you can dip in three and four. If you want, we can increase or reduce the dip a lot. You feel it. Toast of the Netherlands. A place shaped by wind. And here we can introduce the Band six, as well. So band six comes like so, and we can increase the five, like how the two. Sea and silence where the sky stretches endlessly and the land moves to its own. This was before On rhythm. Some call it peaceful. This is. Others, magico. So it just feels like the voice has opened up a little bit more. But everyone agrees it's different, unlike anywhere else in the country. So that's how you can enhance the audio in the Fairlight page. And I have something else to show you as well. So if you see these clips, wait. So if you see these clips in my timeline, you can see that the graph is really different. So here I have increased the volume. Here, the volume is a bit reduced. Here, of course, there is a same clip, but if we have another clip, if you bring this clip, this has a different audio level. And if you want to bring the audio level of all these different clips on the same level, then we can do that, too. For example, you see the line here, the line here, the audio volume that is plus 20 TB, and then it's this loud. But maybe there could be a chance that this audio is already loud here at 10 decibels, not 20 decibels. So instead of changing this in each video, what we can do is we can go to the Fairlight page. I'll just reset this one. We can go to the Fairlight page, so I can see that we have all the audio clips that we already have here. So maybe we just balance the audio of this entire clip and I want my graph to be here. Oh, we have solo here. I'm sorry. It's less windy now than we thought. Yeah. So here we are for the first. So I want my graph to be here because I feel like this is a bit too loud. So you see? So I want the graph to be here or the volume to be at this level. So simple lmage, I want the graph from all the video clips to look like this. So what I can do is you go right click on this clip. You go AI tools, you go capture clip operations. You go to clip operations. Then you go level matcher. And then here you go capture level profile. So DaVinci would be capturing the level profile of just that audio. And now we're going to be selecting everything. Let's just select everything. And now we go to capture operations. We go level matcher, and then we go apply level profile. And now you can see that let's go to the Edit page. Now you can see that the graph looks very similar to all the audios. The volume of this is 4 decibels, the volume of this is 10 decibels. The volume of this is 12 decibels, and DaVinci has made sure that they all sound very similar because a lot of times in this video, we are sometimes we are really close to the camera, sometimes we are really far, so the audio is, of course, very different, but the vinci has made sure that they all sound really same. Yeah. We going to find a bird? I cannot leave her pronounce so. And for the coming days, we find him on the holidays and trot. Now, in Dutch. And I think this feature is really handy if I'm also editing a video like this where you want the same level of audio throughout the whole course. Same for YouTube video. You want the same level of audio from different cameras or from different time of the day or different mic distances. You want them to sound good and sound the same. And that's when it's really handy. So that was a little introduction from the Fairlight page. As I told you, I don't really use it often, but I use it for these few little things, and it just makes my life so much easier. And, yeah, it's so reliable these tools. And now we're going to be moving to my favorite section in the winter Resolve the color grading page. So let's go. 24. Colorgrading Overview: Welcome to my most favorite section, Color Grading in the Winter Resolve. So in the previous section, I showed you a lot of files which were a bit desaturated because they were filmed in Sony Log three. We're going to be editing them, but we're going to be editing them later because if I edit them now, it wouldn't make sense to you because I want to teach you everything from scratch. So we're going to be starting with some normal looking clips, okay? So what I can and all these clips I've provided in the color grading folder. So yeah, really go check that out. And maybe the first clip we would be starting is this one, and I would just mute the audio because it's annoying. So yeah, we would go to the color grading page, and this is how it should look, your color grading page as well. So in this chapter, I would just give you a brief overview so that it's not really overwhelming to you. In the left hand side, we have the gallery. Remember, with few screenshots and there is stills, there is power grid, there is timeline. So timeline would have all the clips that we used in our previous section if you are in the same timeline, and the stills that I would discuss later what the stills is. And lots. So the Winter Resolve has a lot of inbuilt lot. And in the winter Resolve, we can also import your lot. So I have given you a lot of lots from my personal ut pack, and I also have this really cool ut pack from previous yeah, from a previous subscription that I provided you for free. And I would also show you, of course, how to import the lots, but that's for later. And then we have Media pool, you know, where we have the same folder as how we had before. The media pool and yeah, but Media pool is not really needed now because we are not an edit page anymore. And then clips. So if I just toggle off the clips, then you can see that all the clips the thumbnails here are gone. If I toggle it on, it is on. So I usually don't let the clips be enabled because if I'm editing on a laptop, then at least I have a bigger room to play around and at least I can see what am I color grading with. So that's why I disable it, but the good part about clips is that you can see all the clips on your timeline, so you can just go wherever you want. So if you have a big project just to scroll around, I think it's nice to be on the clips. And then here are a few options. We're going to go through it later. And then here is quick exports. So another quick export of how to export your videos that we don't really use it, then we have timelines. If you enable the timeline, you have a timeline in the little little boxes, so you can still scroll through the entire timeline. Which is not really handy for us now. So we're going to disable it just to have more room. I'm also going to disable the clips here, and then we have the nodes. So nodes are one of the most important parts of the winter resolve. And I'm going to be showing you later what are nodes and how can we use them to make beautiful images. And after nodes, we have effects. So just like Edit page. So I have all the favorites effects here. But just like Edit page, there are a lot of effects in the inch resolve. A lot of these effects are the same effects that we have in the Edit page, and a lot of effects, which is in the color grading pages are specifically for color grading. So we're going to be going through some of my favorite ones, and there are also a lot of effects which is only available for the studio version. So there would be an entire section about all the cool features of the winter Resolve color grading page. So if you're a free version user, I would also recommend you to just go just glance through the chapter so that you know what all things are in the studio version because some of the effects which are in studio version, just for that specific effect, would pay for the studio version. They are so cool. So those were the effects, then we have the light box. Light box also kind of gives you an overview of the entire timeline. So when this is important is, say, for example, if I coloutd this clip. So if I see an overview of my project, then I know how my entire project looks. So here you can maybe kind of figure out that, Oh, maybe some of the clips, they are not that warm or Oh, some of the clips, they are not that bright. So it kind of gives you an overview of the entire project so that you know that are all the clips in the project. First of all, they are color grading or not. Second, if they are color grading with the same mood and if they have the same tone or if they have the same lot on the images. So it's really handy to check that out like this. That's light box. And here we have all the tools. So all these tools we would be using to change the exposure of the image, to color create an image, to kind of transform the image or to track something on the image. So we would be doing a lot of stuff here. And this is kind of like a feedback of whatever we are doing. For example, if I increase the gain, you can see that this graph is changing. And yeah, so this is just a, a feedback of whatever we are doing. So we are here at parade, but you can also have waveform. You can also have vectroscope, you can also have histogram. So yeah, I leave it to parade and I'm going to show you later why do I leave it to parade? And then here we have the Keyframing section. So just like Edit page, we also do Keyframing in the cloud rating page, but I'll show you later. Don't then we have at the bottom, different tabs. So that was an overview of collaborating page in the winter Resolve. And in the next section, now we're going to be discussing what is not tree. 25. Node Tree Explained: So here we are. We're going to be just expanding the winter resolve. So what are we going to be learning here is the Node Tree. So what are nodes? So you see this little box that is called as a node. If I just press Option plus S or Alt plus S, that's a shortcut, you have another node. Or what you can also do, you go right click, then you go add Node, add a serial node because these are in serials. These nodes, they can also be in parallel, but we're going to be talking about that later. So what these nodes they do is that you can put various various effects on these nodes. For example, on one node, you can just change the wide balance of an image with here. On one node, you can change the exposure of an image. On one node, you can change the saturation of the image. On one node, you can put the filter on the image. So nodes are basically different layers of settings you put on your clip, but this image is just frustrating. So let's just go back. So yeah, nodes are basically layers of settings you put on your image to have the desired results. But the thing is that the sequence in which you put the settings, that also matters. So for example, this is the endpoint, it goes here, so if we put say exposure, if we increase the exposure here, if you increase the exposure here. So now what happens is the second node here, this node wouldn't know how the image looked originally. This node would know that image the original image is looking like this because the input of this node is coming through the first node. Same as, for example, if we increase the saturation, let's go 100%. So this node, the input of this node is the input from here and here. So yeah, this node would never know how the original clip looped. And that is why you should put all these settings in a certain way because sometimes what happens is that if you put already the wrong setting in the front in the first node, then if we do some other setting later, so that setting wouldn't have the effect how it should have because the input of that node has been manipulated by the previous node. So that's why it's really, really important to have specific node settings. So what I did was reset reset all nodes tax layers, or you can also do reset all grades and nodes, and then the image would come as how it was. So yeah, that was nodes, and of course, this is the endpoints, so this is where the image comes in green, and then here the image goes out and you can have as many nodes as you want. So I'm just pressing Option SSS. You can go as many nodes as you want. And what I would do reset all grade nodes. And what you can do is that, for example, if I right click, you can go ad Node, you can go at parallel. So then what would happen here is that if I put another node, then what would happen here is that the input in this node and input in these two nodes are the same, which is coming from this image. It's not that just because we put this node after this node, the input is coming from this node to this node. I hope it makes sense. So the input of this node is the same, the second node. And then the settings, what we have on this node and this node, if we combine them, then that becomes the input of this node. I know it's a bit complicated, but let's start color grading in the next section, and then I'm going to be showing you how everything works and how all of this notary works. So let's go. 26. Color Correction Basics: And in this section, we're going to be actually color grading. So what I thought was previously when I was making the Iteris itorial, I would first explain all the tools and then we would go through all the tools again to learn about them. So what I'm going to be doing now is that I wouldn't explain any of the tools now as we are color grading, then I would introduce different different tools as we are color grading so you can see the real life examples. So say, for example, what I do usually when I am color grading is and if my image is in a normal picture format, if it's not desaturated, like the Sony images, what we saw before, and I would make Node structure like so. So the first one, what I would do, I would label, you go node label, I would make it as white balance. Then if I go at node, you can do at serial or you can just go Altes. I usually go test. Then here would be exposure. And then I would add another node here, I would do HDR. And then here I would do L. So look would be what kind of look we want. So this is the basic structure, but sometimes it also gets a bit complicated, so don't worry about that. And you can just, you know, drag and drag around these notes. So yeah. So yeah, first one, we have to look for white balance. So how do we know that the white balance here is good or is accurate or not? If you see the graph here, so what I did to have these graphs is go here and go select parade. So if you see the graph here, then you can see that the red, green, and blue, they are kind of on the same level. But if I show you some other image, for example, this image, if you see this image, it looks a bit more red, a bit more yellow. If we go here, then here you can see that there is so much dense. The reds are so dense. The green is a little bit, and there is barely like the blues are just here at the bottom. So that kind of tells us that this image is red or warm dominant. So that's what those are the information you can also get from the parade section. So let's go. So we were talking about white balance. So that's why in this image, the white balance is off. But let's focus on this image first. I kind of still think that this image is a little bit bluish because I can see that there's like this blue is a little bit higher ideally. The red, green, and blue, they should be in the same level. So what are we going to do? We're going to be changing the white balance, or are we going to be changing the temperature of this image? And how do you do that? You go to primary color wheels, you know, this little circle. And then you go to the first circle, which is the primary color wheels. Sometimes the log wheels are the primary log wheels are selected. We need to go on primary color wheels. So how do we set up the wide balance? So if I think that it's a bit too bluish, then what I would do is that to compensate that blue, I would introduce more warmth in the image. So if I kind of drag towards the right side, you can see that there is a little bit of warmth in the image and you can also see here that the blues are going down. This was before. How do you see before? You just press Command or Control D, and that will show you before. This was after, this is before. There is a little bit of introduction of warmth in the image and you can see that my blues are now down. If you check on the graph, this was before, this is after. Now you can see that we have brought all of them in the same level. So the wide balance was not really kind of crazy in this image. We took care of it super easily. Now what I think that now we have to take care of the exposure. So the expose you can also just drag and drop here, move the nodes there. How do you take care of the exposure? So if you see here, we have in the primary color hels, we have gain, gama and lift. What does gain do is that? If I go all the way up, gain kind of increases the brightness of the image. So now you can see that everything is out of this parade. I just go Control Z or command Z. Our goal in the inch Resolve in color grading is to keep everything within this range. So to keep everything within this range, if something is below these black points, which means that it's too dark. If something is above these 1023, which means that it's peaking. So we have to, for example, if we go in this image, I just went previous, you have this image as well with you. We can see that there's not much darks, there's not much shadows, and that you can see here in the parade, there's not much darks, but there's a lot of there's a lot of brightness somewhere in the middle. And that's where these clouds are. You can see. Just by looking at the parade, you can first thing you can see what is the color tone of the original image, and then you can see how saturated or how contrasty the images. Let me show you another example. So if we go to our Sony clips, here you can see that because the image is less contrast or super desaturated, everything is in the middle. And our goal is to expand the image, but expand until the thresholds. I shouldn't pass the threshold in most cases. So let's go to our main image here. So to change the exposure, what are we going to be doing is? I can see that we can still push the gain a little bit up. So I can go until here. So if you go before and after Command D, Control D, it's a little bit bright, and then lift you can bring a little bit down. So what does Lift do is that? Lift kind of introduces the shadows or blacks in the image. So if I go like this, the image becomes super black, and if you want to reset it just click here on the reset. What are we going to do? We just go a little bit down. So I can see that some things are below the threshold, that can be this bag, and that can be shadows here. But here's the thing. An image, it can go here, dark, I can go up here, but the most important thing, which is a subject, which is us that shouldn't be overlighted or super underexposed in normal cases. So here we took care of the lift. What does Gamma does is that? Gamma kind of so lift was taking care of the bottom portion, the gain was taking care of the top portion. What Gamma does is that Gamma kind of moves the whole brightness of the image up or down. So Gamma would take care of the mid section. So if I go up, you can see that the whole image is lifting. If I go down, you can see that the whole image goes dark. So I would just reset it, maybe increase it a little bit. So Gamma if we increase it, you can see that the graph is going up, but it's not crossing here a lot. And now what we do we can go full screen, we go P, and if you go Command or Control D, this was before this is after. This is before this is after. So what we have also done is that we have introduced some contrast in the image. And now what we're going to be doing is we can still kind of push the exposure a little bit up because it's a travel video, so I want it to be a bit punchy. Now what we're going to be doing is we go so we can see that we pushed again a bit too much, you know, so it's kind of crossing the threshold, but we're going to be taking care of that in the SDR section. So what is an HDR section? So SDR is here, SDR grade. So what happened in the primary color wheels was that it was kind of affecting the entire bright areas or the entire dark areas. But in SDR, you can choose kind of specific places where you want the changes. For example, I can see that a lot of things have blown out. So we would go to highlights. And if you don't have highlights here, you can just press the arrows and that would kind of bring the highlights. And you can go like this. So that would go through different different scopes. We're going to be going to highlights. And what highlights are is that highlights are the brightest part of the image. And we're going to be reducing that. So if I go here at exposure, you go down. So now you would see that all these things which kind of passed the threshold, which blew out the image, we can bring just them back. And if you see here, there's no change in anything. So you see now, I can just bring all the brightness, the brightness which was blowing out of the image back. So if we go full screen, we can go before. You can see everything, all these clouds were blowing out. We had no change here. This is after before, after. So when we do after, then we see a lot of details in the clouds, which was lost because we pushed our gains a bit too hard. What you can also do here, I can see that the darks are a little bit dark, you know, we took care of the bright, so now we have to take care of the dark. It's just for the sake of this tutorial, I would leave my image like this because I like that dark, you know, the blacks being blacks. But just for the sake of this tutorial, I would lift this just to have the image in the safe section. So to lift this, you can go to the darks and then go up, up, up, up, up. So now you can see that black bag is kind of becoming gray and it's kind of being good exposed. But you shouldn't push it too much, otherwise, the image falls apart. So I can maybe leave it here and maybe increase the shadows as well a little bit. So now you see, just by doing that, you can bring a lot of brightness in the image. So you see this was the image before, this is after. I personally don't like it. I really like the darks being dark. The shadows not super overlifted. So I would just reset it, but that was just an example that if something is, you know, below the dark point, you can always bring them back. So I would just reset it, and I love how the image looks. Okay. Now what we're going to be doing is I forgot one node, which is the saturation. So I would just go node label saturation. So there are a lot of ways in the vent resolve. I would go to primary colovials. So there are a lot of ways to introduce saturation in the venture resolve. One of the most common way is this one. You just go to saturation, just bump up the saturation and hope for the best. But I think that it's just not the best. Like, for some of you, yeah, you can say that it's really nice, but it almost looks like a cheap tool for saturation. So you see what happened was in the saturation node, I didn't change any saturation. In the node, I changed the saturation because by mistake, the selection tool selected the node. So we're going to be resetting the node grade, and then we go to saturation node and then we're going to be changing that. By the way, if you want to see before and after of where we are now, we go P, full screen, we go to option and D. So I cannot do it because I have the cursor with me, so I would just close it. So what I would be doing is I would just select all of these notes and then go full screen, then before and after. So you see before the image looked a little bit dull. Now we have brought a little bit of punch in the image and a bit of warmth as well. I can see that all these trees they are a bit warm. So yeah, that was one way to saturate. The other way to saturate is with color boost. You can increase the boost. It is kind of similar to saturation, but a little bit more nicer, which is good. But if I go color boost, you can also see that also changes the exposure of the image. If I see my parade here, you can see that my exposure is also going up and down. Like we worked so hard to bring all of these backs from the SDR panel, and just by color boost, everything is ruined again. You can see that blacks have passed these parts as well. So we're not going to be using color boost. I would just reset that. This should be zero. So I would reset it. But how do you change the saturation of the image? Let me show you a really cool way. So you click on the saturation node, then go right click and then you go to color space. And color space, you should select HSV, which is hue, saturation, and vibrance. We go HSD and now, right click, we go to channels. So we don't want to change the hues, so I would disable the first channel and we don't want to change what was it? HSV, the vibrans. We don't want to change the channel three. What we want is the saturation which is the S. Now whatever changes we would be doing in this node would only affect saturation. With this being done, what I did again, I would just go through again. I went to color space, I selected HSV, and then I went to channels here, and then I disabled the channel one and channel three. Now what we're going to be doing is look at the image carefully. I've just zoomed in so if you just scroll in and out, you can zoom in in the image. So I would increase again, and what that would do is that that would increase the saturation of the image. And if you see the parade, it's not really falling apart. We are increasing the saturation, but that is really slight saturation, and it goes really gradual. It's not going to just blow apart. So for some of you, you might think that there's no change in the saturation. If we go full screen, we can go before and after. So you can see how suddenly we brought the saturation in and the exposure of the image has not changed at all. How cool is that? So that is with gain, we can also do a little bit of saturation with gama, and that would change. So the gains is kind of giving the saturation to most of the bright areas, and then gama is to the mid area. So if I increase a little bit, so we just to keep it until here. And then if you go full screen, then we go before and after, you can see we have brought the saturation, but it's really subtle. You can see the color of the bag. You can see color of the buildings. You go before and after. You can see the grass. Like this image already looks really nice. So that is saturation. And I recently discovered this way of saturation, and I have never looked back since. So now if we go, just go before and after because it's just so satisfying to watch. We're going to be pressing Option D or AT before image, a normal image. Pretty well exposed, but yeah, just an okay image, and this is what we did until now. So I'm already really liking it. You can leave it until here, because for a travel video, I think this is really, really perfect. So what we did until now was something called color correction, where we brought the image to our desired liking. But in the upcoming sections, we're going to be doing color grading, where we would be sort of making some other changes in the image to have a certain look but for a travel video, I think this is pretty good because it is looking like a normal image. It looks quite good. And I am really happy with the result because in some of the travel videos, you don't want to have a crazy color grading. You don't want to have, you know, really heavy or cinematic color grading. You just want to look you just want it to look bright and nice and happy. And I think we have achieved that. So, yeah, we are done with color correction. Upcoming section, I'm going to be showing you color grading. But let me show you something really cool before you go further. So if I want to copy this whole setting, or if I want to have, like, a preset of this whatever we did until now, and if we want to put it to other clips, what I can do, you just need to kind of enable the gallery and go to stills. What we can do, you go right click and you go grab still. So now what we did with that step was we copied the settings, and we have made a kind of a preset, you can say. And now, if you go to clip, that's why clip is handy. And if we kind of paste, if you want to paste the same setting on this image, then what we can do, you go right, click. And if you just hover around this preset, it already shows you how the image looks. So you can go right click and you can go apply grade. And that would have the same node structure. So why it is really handy? It is really handy because now I think that this image is a little bit too warm and because we copy the same structure and because we labeled each node, I know that it is too warm because we made the other image warm, but that warmth is not applicable to all the image. So what we can do, we can disable this node here and see how it looks. So to disable this node, we need to go Command D or Control D. Now I think it's looking really fine. So this was warm look. This is before. So whatever you prefer, you can choose it. And there's another tip. For example, if you think that the saturation was a bit too much, I want it to be. So this was before saturation, this is after. So yeah, if you thought that the saturation was a bit too much, I want kind of 50% effect of the saturation, what we did in the last image. So then you don't need to go here and calculate what is a 50% of the gain, what we increase, and what is the 50% of Gamma, what we increased. What you can do, you can just reduce the opacity of this node to 50%. And to do that, let's go here. Click on this node and then you go here. You go to key, you click the key and then key output, you can reduce it. I reduce it, then I can also see the saturation going down a little bit. And if I just go here, then that's 50% of the initial saturation. And if I go like this, that's 100%. That's one was 100, you can also go 150 to hundred percent. So this was before and after, and if you're just going to go 0.5, you can go 50% saturation because I can imagine that that saturation what we chose for the previous image that might not be applicable. I am sure in this scene that saturation might not be applicable. So let's go to gallery, then we kind of paste this. It looks pretty good, but we can also increase the saturation a bit more. So we can increase the saturation a little bit more because it is an overcast date, the image is already a bit dull. So to have a bit more color, this is before, this is after. After. So yeah, that's how you can also change the opacity, what we say in technical terms of a node by just going to key and changing the key output. So I would just reset the grades from this video, and I would be back here. So yeah, in this section, what we learned is color correction, where we changed the wide balance first, then we took care of the exposure. Then we went to the SDR panel to take care of the highlights. You can also target specific exposure places by SDR panel, and then we did the saturation. So yeah, this was I'll just do it one more time. This was before this is after already looks perfect. But in the next section, I'm going to be showing you some color grading tips. So let's go. 27. Colorgrading With Curves: In this section, we're going to be doing some color grading, which is also one of my coolest things to do. So we had all the exposure. Let's just put them in one row. So it's a bit more cleaner. Look. So there are several ways to color grade an image. And one of my favorite ways is by the custom curves. So if you go to Custom curves here, you can go custom curves this one. Can see that there's a curve here, which is a straight line, but if you go and click on like this, you can use it as a curve. How I use this curve as well, I'll just reset it, how I use this curve as well as that to change the exposure of an image. So sometimes, if an image is too bright, I would just go in the middle, just bring it down. So the exposure of the entire image comes down. I will see if we have a good example, then I can show you at that as well. I'll show you later. Don't worry about it. We were here. Yeah. This is a master frame. Let's go to color grading. Sure. That's how I use custom curve for exposure, but we are now doing color grading. So let's check that out. So the first type of curve is Hue versus Hue. Then we have other curves, which is hue versus saturation, which I also use, and then there's another curve which is hue versus luminance. All these three curves, they are a little bit different from each other. And I'm going to be showing you first Hue versus Hue and then other ones because that's how it would make sense. So let's go to Hue versus Hue curve. So how do you know if it's selected? It is a little bit, you know, highlighted here and you can also see here, it says Hue versus Hue. Usually use Hub versus Hu curve to change colors of specific things. For example, if we go here, if this curve is selected, if we go here on the sky, you see that you have this selector, you know, the color picker. If I click on this, as soon as I click on this, there is a little bit of there are three dots on Hub versus Hue curve. And if I just go to the middle dot and if I bring this up, then I can see that the color of the skies or the color of all the blues in the image, that's changing. So all the blues which is within from this to this range, the color would be changing, and it would be changing to first, it would go a little bit t and then it would go a bit more towards greenish side because I can see in the graph that that's how the color is here. And if I go the other way, then it becomes a little bit more bluish, which is natural to our eyes. And we go down down down and then becomes a bit more pink and then purple and so on. All the blues. So what usually I do is that I just bring the blues a little bit up to have that classic teal and orange effect. So this is how I would just bring it here. And then if I go full screen, then I go before and after. So this is before. So there's a subtle change in blue. There is after before, after. Change the color of the blues to a little bit of teal. Now, say, for example, if you want to change the color of the yellows. So if we go here, we can select this building. So I'm just zooming in by scrolling the mouse. We select the yellows, then it is, the building is not really yellow. It's kind of reddish. So we can also select anything manually here. So if I go here and if I want this entire thing, I would just reset the image. If I want this entire thing, to look a little bit reddish, that would happen as well in the image. For example, if I go full screen, you can see that the bag was not of this color. It was kind of yellowish. This building had a shade of yellow. You can see, and now it became a bit more reddish. So yeah, hue versus hue curve we can use to change the color of the things. If we go here to the greens and if I just select the greens, then that would select the green here. So I would just bring this here so that the changes are only being affected to these lines. The colors which belong from this spectrum to this spectrum is not really affected. Yeah, let's take care of the green. So for the greens, I selected on this tree, so then that gave me a point here that that color lies here. So if I bring the greens up, then it becomes a bit more. You can say a bit more, now it's looking pink, but I think the proper greens were not selected. So let's go here. Now the greens are let's go before. This is after. So greens are a bit more warm. You can see here greens are a bit green. Now it becomes a bit more warm. But if I go the other way, then the greens become a bit more dark green. You can see before this after before and after. You can see the tree here before and after. So yeah, it's really up to you how you want the colors to be. So if we go full screen and if we just go before and after, you can see that we brought a little bit of change in the image. So that's one way of doing color grading is by just changing different different colors. And maybe what I would also do is I would maybe go to another different clip and then show you so that it's not a bit boring. Maybe let's go and do the color grading on this clip. So if we have this clip here, what are we going to be doing is we go to gallery and we're going to be copying and pasting the same settings. So the settings, what we are pasting is just until the color correction part, not the color grading part. And I can see here just by looking at the graph and also looking at the images, the image is a little bit dark. So before any sort of color grading, you should be taking care of the color correction. You have to bring the image to the desired brightness or to the desired color so that you just have to bring the image to a place where how it looked with your own eyes when you were there. So I would go to exposure. What I would do is I would just reset the exposure and then see how the graph is. So I can see that everything's a bit dark. I can also see that image is a little bit too much blue. The reds are a bit down. So let's take care of the white balance first. I would introduce some warmth. Just to bring everything in the same spectrum. This kind of looks good, maybe a little bit of pink as well. So let's go before and after CK see, there was so much blue. The whites were looking also a bit bluish. And now we took care of the white balance. It looks pretty good. But of course, you can see that there's a lot of room here for the image to be bright. So we're going to be going to exposure, I would increase the gain here. I would increase the grain, just let it go up. We're going to be taking care of with the SDR. And then what we're going to also be doing is maybe increase the gamma a little bit and then reduce the lift. So we have that contrast in the image. If you go before and after, you can see how much change we have made in this image by just one little node. And then if we go to the SDR panel, we go to HDR here, I would reduce the highlight a little bit more so that these clouds are not falling apart. So this was before this is after. You can see that all the texture on the buildings, we can see it now. Okay, so that's good. I love the saturation, which is really nice, the look. So there's no change in the graph here. So if you want to copy the same settings of the look, what you can do, you go to this image. You just press Command C, Control C. You come back to our image here and then do Command V or Control V. And then the same look would be on this image. But I want the color of this blue to be teal as well. But this blue kind of lies little bit this side. So I will also increase this not too much so that we are kind of changing the color of the entire blues, not just one specific blues. And I can also see that the building here, it was yellow. It became a bit pink. So we're going to be reducing that a little bit. And I'm not sure about the greens. Let's just try the green. Let's just click it so it is somewhere here. So just click the greens to be a bit more warm so you can see it's a little bit warm. But that's a look. Like, we did some changes, and now we have this look. If we go full screen, this was before. This is after before really subtle change. Yeah. Now what we want to do because I want to give a summer vibe to this image. What we're going to be doing is now we just let the flag here and we're going to introduce some warmth in the image. So what we're going to be doing now is because it's summer vibe, I want to get it, you know, make it look a bit more warm, what we're going to be doing is we go to HDR, you go to temperature, and make it a little bit warm. So the warmth, what would come in the image would be really, really subtle. So I'm going above, say, 2000 let's go here, and let's go full screen. Let's go before and after. This before. This is after. So I can also see that all the blues are gone, so we don't want that. What we can do now is that we go to color wheels and we can increase the gain. So how we always increase the gain was for the brightness of the image by going here. But now you can also just change the color of all the brighter areas in the image by moving this little.in different different spectrum. So that's what we're going to be doing now. So we go to gain and we go a little bit this size. So the image becomes a little bit warm. So if you really zoom in here, you can see that the center of the gain has shifted a little bit. And then gamma as well, because Gama are the mid tones. Now if you go before and after, now you would see a really nice and warm image before and after, before and after. So with these two nodes, we did color grading. So we go A, we go before and after. So you see how nice and warm the image looks. But if you wanted to make it a little bit colder, you can also just reset it and bring it down here. So it looks a little bit colder, gain and gamma. It's nice if you go before and after. But obviously, I just to go Control Z. I think this feel, this looks really nice on this image. What we're going to be doing is I just put it as warm. And maybe let's copy this setting to the previous image. Command C or Control C. We go to clips, we go here, and I would make another node option S or the S and let's paste it here. I think it is looking really good. You see this clay. It looks really good. We go full screen before and after. I think it fits really nice with the vibe. So if we go before and after for the entire image, this was before, this is after. So the first section, we did the color correction. Second section, we did color grading. But remember, I told you that there are many ways to colour grade an image. Let me show you another way. So this was color grading using the custom curves, you know, what we did here. But let me show you another way in the next chapter. 28. Qualifier Tool: Now we are on a different clip because I wanted to show you another way of color grading, and this time we're going to be doing something a little bit different. So we go to the Color panel. So I have also provided you this clip as well. So now what we're going to be doing is, let's choose a master frame here, which is this one. And I can also see that I don't really see my prey, it's really good. So what you can do, you go to the settings here, three dots, you can increase the opacity of the prey. So now you can see everything super clear. So maybe this can be the master frame, right? We just going to make another note. Or let's just copy everything from the previous video. So I just went and applied grade. Yeah. Here what we can do I don't really like the exposure. I don't really I'm just going to reset the wide balance, reset everything. Yeah. We just want that structure. So I can see here that everything is falling apart with the cloud. So let's first take care of that. So you go to HDR, we just reduce the highlights. So you can see we are bringing the image back to making it look normal. So you see with one click, everything was falling apart. We have brought some things back. This master frame and now here exposure, we go, I don't think I need to change anything in the white balance, maybe reduce the blues a little bit. So there is another way to change the white balance. Let me show you here. If we go to the curves here, then we go to custom curves. And then in this custom curve, if you go here to the blues, that would just show me the curve for the blue. So I can see that the top part of the blue that needs to be reduced if I want to reduce it, then you can just click here on the top part and then go down. So that would reduce the top part of the blue without anything affecting on the red and the green. So let's leave it here, maybe also green a little bit. So if I'm reducing the green, you can see that is affecting both the curves, so I would just leave it here. Let's go before and after. So the image was a little bit blue, and now it looks a bit now normal. So what we can be doing here is that exposure, I'm not sure if I need to change anything. I will just reset it. So I would also reset the SDR because I think I did a mistake. SDR was not really reset. So let's take care of the exposure first because I want to make sure that my subject is well exposed. Let's just be on this frame. The gains are quite high because the clouds are already exposed. So let's increase it a little bit, very little. Yeah. Then the gamma also a little bit. And here just leave the gamma. Here we're going to be increasing the shadows because everything in the shadows, we have to expose it well. So now you can see as I'm increasing the shadow, the grass, the clothes, or face, it is all increasing, which is really, really nice. So if we go before and after, you see how dull the image was this is after. So yeah, we're going to be taking care of the HDR. I know you came here for another way of color grading, but yeah, this is also really essential because we cannot really colour grade if the image is not well exposed. Okay, so now I think, let's select everything. We go before and after. So now I think the image is well exposed. Let's leave it here to the master frame. Now if you want to have a dramatic look on this image, saturation, I don't think I would touch it, or maybe let's just try. Let's go to color space, HSV, then we go right click Channels, Channel one, take it out, and then here Channel three. And now we're going to be increasing the saturation. I'm sure the reds would go crazy. So maybe I am focusing on her face because before this, the face looked a bit discolred. Now it looks a little bit colorful, a bit more lively. So that's what happens as well that it really depends on what environment you're filming in. The face of the subject or the colors, it just changes drastically. So saturation was pretty good. But what happened here was, I didn't want that saturation to be on the jacket. I wanted that saturation to be also not on the grass. So what would happen is that I would maybe just select the face. So to do that, what you can do, you go right, click, Ego add no, ego add layer. And as soon as I add layer, you can see that the whole saturation, whatever we did, it would be disabled. That is disabled because now what's happening is that layer is like adding nodes in a layer is a way to kind of separate the settings. Let me show you. So if for example, we did saturation, layer is just another node sitting on the top, that is making the input how it was before saturation. So let's do something really cool, which I haven't talked yet. So, if you go to the Qualifier Tool, yeah, and if you select the jacket here, if I select the jacket and if I go here to the highlights, I know we are moving a little bit quicker, but yeah, if we go to highlights, that would show me what all things are selected. And here, if we have the qualifier selector, then I can also see what colors have been selected. So if I just expand the colors, then we just want to select the reds, right? And the saturation, we can bring it up, but that is also selecting her lips, which we don't want. Maybe if we go this way, then we just need to make sure that the whole jacket is selected. So what's happening now is that here we did the saturation usual saturation. But here, in this node, we are just selecting the reds, the jackets. And if I want to make any changes here, that would be just on the reds. But what's also happening here is that if we go full screen and if we disable that, then the reds, the saturation of reds is increasing a lot. What's happening here is that the output of this little box is the input from this minus the input of this. So we did saturation, which was on the entire image, but because this node has these reds active, that is not letting the saturation to be on the reds because we are kind of excluding the reds. So whatever is selected on this node would be excluded from this setting. And we can also do some settings on this. So what you can do is that if you just go color boost or saturation, if you just reduce the saturation down, you can reduce the saturation of the jacket. So if you go before and after, now, this looks a bit more natural. So if we just select these two node and go before and after, you can see how much changes we made. You brought the color of the face to normal looking and also reduce the jacket color. So in look what we can do. Here what we're going to be doing is we're going to be using parallel nodes. So how do you do parallel nodes? You go add node, you go add parallel. You go add Node, add parallel. So what parallel node does is that it's a little bit different than the layers. So layer was this minus this is this, but the parallel is this plus this plus, this is this. So you can also do everything on one node or you can do everything on separate nodes. So here, what we're going to be doing is we just go greens. I just enable it. We can go here and go skin. We can go here, we can go blues. So say, for example, we just want to change the color of the greens. We go to the greens, we go to the Qualifier Tool, and we can select the greens. And if we go to the highlight, that would tell me that just the greens are selected. But we can also move around and just make sure that all the greens are selected. Maybe expand this entire saturation. Same as luminans increases this entire band. And then what we can also do, we can also increase the type of greens because I think the where I chosen was these greens were not included, so I would just increase this. So I'm just kind of making sure that all the greens in the image are selected. If you just go here, and now whatever you do on this note, that would just select the greens. What you can do, you can go to hues here. You go to primary color weeds, go to hue here, can change the color of the green to anything you want. So it is exact same as the curves, what we were doing, but with a different twist. So we can maybe increase or reduce the color of the green, maybe make it a bit more warm ish, or maybe make it a bit more bluish. Is before is after. And now the skin tone, I think it looks pretty good. How do we know if the skin tones are looking good? Is we go to parade, we go to pectorscope. And then here, if you go to the settings, we need to show skin tone indicator. And here, if we do any changes in the skin, that would kind of depict here. For example, let's go to the curve. Or, yeah, let's even go to the Qualifier Tool and just qualify the skin here and if you go here, and if you see the entire image, that is kind of selecting the entire just the skins. So you can also kind of eliminate the hair if you want. You can also make it a little bit soft, so you go soft, you can go like this. You can also kind of increase or reduce the saturation because we just want the skins to be active. So that's the only demerit about saturation tool is that you like precise the precise selection is a little bit difficult. So we're going to be going here and now you can see that if I go here, the highlights, then you can see that only in this node, only this part is activated, and that is where the skin tone is. For example, if my skin tones were off, it would be here. You can see now the skin looks very weird. If my skin tones were like this, then this line wouldn't be on the skin tone indicator. So if you bring it here in the middle, we are kind of changing a little bit of color is 50.6. It should be 50. Then this is where the skin lies. But in my opinion, I think it looks pretty good, and it also kind of if you go highlights, it shows me that the skin tone is lying on the skin tone indicator. So if it's kind of here or here, which means that the skin tones are not good. So that's really important. And if you go blues, if there were skies, then we could have done blues, as well. So that's how you can also collaborate with by using the Qualifier Tool. And now, in the end, what we can also do is that if you want to make the entire image a little bit bluish, we can just go to offset and bring this down. So offset kind of affects the entire image. So gain just affected the brighter areas. Gamma affected the mid tones. Lift would affect the darker areas, offset would just change the entrem the entire color tone of the image. So what we can also do here is that I can see that if I kind of make the entire image bluish, the face and the body of the subject is also changing. And if we don't want that to change, what we can do, you go reset node. You go to the Qualifier Tool, then you select the face. So we have the face selected. We can let the jacket be like how it is. And now, what we need to be doing is we go first here, to the offset two, bring everything bluish, and then add another layer here. Add node, add layer. Now here, if we select the face, So now what's happening is of course, it's a bit aggressive, but now what's happening is that everything is turning kind of blue if you go full screen, except for the face. But it looks a little bit fake. So what we can do is that we can reduce the opacity of the layer. So we go to the layer, we go here, to the key sorry, and then reduce the output here. This before, this is after. And if we just choose these two clips, this before, and this is after. So that was another way to kind of color grade an image. And if you go full screen before and after, you can see this is how the image looked before, so dark. And wait. And this is how the image looks after. You see how much changes we have made. It looks a bit more dramatic. It is very different than to see what we had before, before our goal was to go for that warm tone, and now our goal is to get that cool tone to make it a bit more dramatic. 29. Color Slice Tool: So now let me show you another method of color grading. So if we go to the Control panel here, then if you click this droplet icon, that is called Color Slice. And what you can do exact same as the Qualifier Tool, you can select the tools. The only difference is you don't need to select the tools manually. The int Resolve has certain color presets. So if we go click on the red, we don't click, if you just go click here on the red panel, then that would show me what is selected. You go click on the skin, then the skins are selected. But then also the other parts are also selected. If you go yellow, greens, cyan. So the thing is that here, you cannot really select anything like super precise, but if you want an overall selection of certain colors that you can do here. So say, for example, red, if you go here. So first of all, we have the same video settings as how it was. So I just copy pasted this lot, what we had here, and I have disabled everything from the L panel. So I will disable the gallery. And here, if you go red, we know that the reds are selected. What you can do, you can either go to Hue and you can change the colors of the red to any color you want, which is kind of cool. We are not going to do that. Here, maybe we can reduce the saturation. So if you go like this, you can reduce the saturation. I would just Control Z, or you can reduce the luminance. So if this goes up, it becomes a little bit dark. If this goes down, it becomes a little bit brighter. So that's how you can change the luminance of an image. You can also just go and drag and drop. We're just going to maybe leave it here, increase the saturation a little bit, so it is a bit more warm color. So this was how it was before, this is how it is after. And now I can feel that the skin tones are they are a little bit yellow. So if you go click on the skin, we can see that if you see on the vectorscope, I can see that the skin tones are falling here. I just go select the skin. They are falling a little bit down, which means they're a bit warm. They're a bit too yellowish. So what we need to do is we can increase the hues to a bit more reddish. Very slight. And now, if you go to the skin, you can see that it moved a little bit. Maybe we need to bring it a little bit more to the red. Now I think it would look really good. So see now the skin tones, they fall on the vectroscope, skin tone indicators. If you go F, we go before and after. Let's not do the rest so that it's not distracting. Let's go here. Let's go before and after. S here, you can see that the skin you just focus here and the hands, skin was a bit yellowish. You can see yellow greenish, and now it looks like a normal skin. S before and after. So that was skin. If I had to go, if I zoomed in and if I had to go to normal size, I just press Z. What we can also do yellow if you want. So yellow here is also selecting the greens because they are in the kind of similar tone. So you can also, you know, kind of change the colors to greens or some other ones. What we're going to be doing is we're going to be changing the color of cyan, which is here. So I want to make it a little bit warm, so I would go a bit more towards the greenish side. Not too much. So it really depends on you. You go before and after. That looks good, and we'll see what happens with the blue. So the blue is kind of selecting the whole thing. So my whole point of showing this to you is to just show that how we can use color slicer tool to color grade as well. You don't have to kind of qualify the things by yourself, and you can look for yourself that wattle area it's selecting. If you want to make some changes in some area and not in the other, then color slicer tool is not good enough. But I have another way where you can select the area by using just a color slicer tool. So let me show that to you in the next chapter because it is really interesting. 30. Windows Tool: So in the previous section, we learned about color slicer two. Now we're going to be learning about something which is really interesting, which is called Windows tool. So if you go and click here, so I would just make another node, you know, just label it as Windows or WIN and if we go here. So what this does is that, what this tool does is that, this allows you to draw certain shapes on your image, and then you can make changes in that shape or outside the shape. Let me show you really easy example. So for example, if you just choose the circle. And if we say just want to focus on the subject, not too much on the background, and our goal is to so I'm just zooming out to make the image look like this. So our goal is to and now I'm pressing command or control to bring the image up and down. So our goal is to keep the brightness of the subject where the subject is good, but the surrounding areas a little bit low so that the whole focus is on the subject. How do you do? So I made the circle. I can make it big or small like so. And then you can also make it a little bit softer so you can go like so. And now what I can do is I can go to the curve. So this area is selected. If I do any changes, it is just in this area. You see, I've increased again, it's just blowing out. I would go to parade. What I want to do now, I'll just press. I have two options. If I go to custom curve here, I just press Y so that the curve is selected for the entire colors. I can either make the subject a little bit brighter, but that means that this thing is kind of blowing apart. If we go full screen, it looks a bit weird. We can reset it. What we can do, we go to Windows tool, you can see that this circle appears. You can invert this tool. So if you just click this button, and if you check the node here, so now in the node also, you can see if I just zoom in in the node. In this node, you can see that this little section is selected. If I invert it, now you can see that everything is selected except my subject. And then you go to custom curves. Remember I told you to reduce the brightness of the entire image, how do you do it? You go to custom curve here and pull it from the mir. So you might not see any significant change, but if I go full screen, you would be surprised. This is before, this is after. And this is what you should be doing in almost all the image because the subject is the most important thing in the video, in the frame, and how you kind of make it more visible is just by using this. And this process actually has a term which is called vignetting. Vignetting means you're kind of darkening the outside the outer areas of the frame. And for some of you, if you think that it looks a bit weird, you can, of course, increase, you know, how the darkness of the surrounding it blends in. We can also use it for some other images. So let's go copy this. Let's go to maybe this image. I'll just make the, let's go here and we're going to be pasting it. So, come on. So our subject is here. So let's do that. Let's go full screen before and after I see. So now the whole focus is on the subject. And what we can also do, you can put any setting you want. So, for example, if you go effect, if we want to put any blur, we go to Gaussian blur, we go put it here. So there is a blur around the subject, but you can, of course, reduce the intensity. And if you go full screen, this is before and this is after. So this image also has a little bit blur, so we are kind of making sure that the midpoint is a little bit sharper. So this is also really important. Not the blur part, blur is optional, but this vignetting, it's also really important when it comes to color grading. And why I wanted to show you this was is because of course, we can use the Windows tool as, you know, to highlight the subject. But we can also use this tool. For example, when we were in the color slicer and when we went to the skin, I saw that it is also when I press the skin it is also selecting the grass, it is also selecting the mountains, right? I just wanted to select or have the effect just around the subject, or at least try to make it as much as possible around the subject. What we can do, we go to Windows two, we select this part. So you see, you can also make it square, you can make it circle, you can make it a line. You can make a lot of shapes, but we're going to be doing something custom shape. So if we go here, you go to curve. And what you can do if I just zoom in, Zoom in with my mouse, I go here, I can make a shape around my subject. I can go up so now what would happen is that any change what I would be doing would be just around this area. And now to make it a little bit less harsh, what we're going to be doing is we're going to be changing the softness. So you go in line and outline. So yeah, let's go to the color slicer tool. And now if we select the skin, you can still see that the other areas are selected, like the mountains and the grass in the front. It is showing, but if I change the hues, the only change which is happening is here is on the subject. You can see the mountains are not changing. So this method you can also do in the other sections. So if we go to, um, this, you cannot obviously copy it because it's a custom thing because we just made it specifically for this. This effect, we can also do for our red jacket or the green grass. Imagine if there were greens here as well. And if we just wanted to change the color of these greens, then we would have made a sort of boundary around that green that node specific node would select just those greens. So, yeah, that's how we can use a Qualifier Tool. So now what we can also do is we can kind of track this because you can see that my frame is woving my subject has kind of gotten out here. If I go here, my subject is here, the hand is kind of coming out. So let's go to the original frame where I drew this according to how the subject was here. I think it was this one. And now we go to this plane tracker, and we need to select this mintio. So now it's going to go forward and backward, and it's going to track the movement of the subject to make sure that this stays on the subject. So now you can see that if I move it around, this whole diagram, what we have made it is also moving with the subject. But yeah, that's how you can use the tracker tool and the Window tool to do any specific change in any image. For example, let me show you, let me give you another example. So let's use this image, for example. I can see that the image is kind of well exposed, but I can see a lot of brightness coming out from here. So what I can do, of course, we go to the Windows tool. We can use the gradient. So if we do the gradient and if we turn on the highlights, then it kind of also shows what all areas are selected. And then you can go like this. So this is kind of the line is really harsh, so the separation everybody could see. But if we do like this, then the separation is a little bit less harsh. And then we go like this. Zoom out just to see. And I want these areas to be a little bit dark. So it is kind of selecting the area which is the brightest in the image, and I'm just going to take it out. So now let's go to the curves because we want to reduce the exposure of the entire, you know, area or the entire image which was being selected. So let's just bring it down. So here you can see that the exposure has gone down. But I think it can maybe come a little bit more inside. So you see the entire image has been reduced here the brightness and what we can also do, we can reduce the highlights. See if I reduce the highlights, you can see I've been reducing the highlights a lot. So let's go full screen. This was before and this is after. So here, what we did was we just used the gradient tool and we put the gradient tool on the brightest area of the image and reduced the brightness of that area because now we want to focus on the subject here. So yeah, that was Windows tool for you, and I also showed you how to track a Window tool, which is really useful. Now let's move on to the next section. 31. Key Framing: In this section, we're going to be talking about Keyframing. So remember, we talked about Keyframing in the edit page, and we can do the exact same thing in the Colabating page. And when is it necessary? Let me just grab a clip. Let's just take an example of this clip. Yeah, I will just get rid of the audio. So we're going to be going to the collaborating page. Say, for example, if the exposure was super low in the beginning, then later on, if the exposure went really high, what we can do? So I can just make another node, and that you can do with exposure, saturation, anything. I can just make another node and just write as Keyframing example. So this is just an example. I'm just asking you to assume that the exposure was super low in the beginning. What we can do, we can make some Keyframing. So Keyframing window is here. So if you are on the scopes, you can just click on this Keyframing. And if I want this keyframe section to be a little bit bigger, I can press this arrow. So then the graph is gone. Let's go back to Keyframing. And you can see there's a list of correctors, one, two, three, four, five, six, seven, because we have seven nodes. Yes, we do have seven nodes. I was just counting. And the arrector is because we have seven nodes. And if you want to make change in the third node, then we can put a keyframe here. So now what's going to happen is whatever change we would make that would be stored here. So say, for example, at this position, if the brightness of the image was super low, I can bring this up or I can also just bring the shadows up. For example, it was a really dark image, so I'll bring the shadows say 100 and then here, when we came to this point, let's say, 6 seconds, then the exposure went pretty good. Then the exposure went to neural exposures. Then I would just make it zero as how it is. So at this point, we made two key frames. The first was here, the shadows was on a second was here, the shadows was zero. And you can see these there is like a triangle, really elongated triangle, and that kind of shows that the shadow value, it's not going to change instantaneously. I hope. If you look in the image, you can see that the shadows. Here, of course, the value is not changing as how it was in the Edit page, but if I play the video, you can actually see in the video that there's not abrupt shadow change. It goes back to neutral and you don't even realize it. And let's say at 9 seconds we want the shadows to be up again. So it goes back here to neutral, and then you can see the exposure kind of going up. And DaVinci does it really gradually, and you don't have to do anything here. So yeah, you don't have to do anything. And this I just did with exposure, changing the shadows. You can also do with saturation. So let's which node is it one, two, three, four, five. So it's a fifth node. So if I just maybe set up a keyframe here, the saturation, what we chose, and what we made 50% here, if let's make it two. And we can do the exact same here. If it goes here, we can make the saturation zero. So you can see that there was a keyframe here with a diamond. There's a keyframe here, and you can also just drag and, you know, change the position of the keyframes. So that's how you can do Keyframing in the colo rating tab as well. And you can do the exact same thing for these Windows panel as well. So if I go here, then you can see the circle if you want to make the circle bigger. For example, here, let the circle size be this, and then we go here, if you want the circle to be really small, you can do that as well. So we didn't make any. So you can see that the circle is kind of changing. So yeah, that's how you can do Keyframing in the colo rating page in the n itself. 32. Color Grading With LUTs: Now let's talk about how to add lots in the winter or how to edit, how to color grade with lots. So this window tool, what we did in the last section, I'm going to just going to reset it. We also played with the saturation, I would reset it, and I think we also played with this. I would just reset it. I would just delete this note. So the first question would be, how do you import a lot in the in resolve? This is how you do it. It's super easy. And I have given you two separate ut packs. One is my personal ut pack which I made by myself from scratch. And the second one is a ut pack which I have been using since years, and they are just so, so good. So how do you do it? You go here to this panel, and then you can click on Lots. So once you click on Lots, you have a list of tons of lots. A lot of lots you would have as well. Because DaVinci has a lot of in built lots, but a lot of lots you wouldn't have and the lots, what we're going to be using that you might not have. So how do you import a lot? So, in your resource folder, you might be you might be seeing a folder with this name in ts, Rex 709 and LCO Lot pack. How do you install it? So first of all, what you need to do, you go to Lots and then right click here, you go to Reveal in Finder or Reveal in Windows, if you have Windows. And then what your computer would do is that that would open the folder where the t files are saved from the interiors. What you need to do whatever lot you have in the resources or if you have any other external lot, you can just paste in this folder. So in this folder, I have pasted the Rec seven oh nine lot, I'll see a lot pack. And once you have pasted that, then you go back to DaVinci. And what do you need to do? You go right click on this lot and go refresh so that the update what you made in your folder of your system that is also updated here in the inch Resolve. Once you have done it, then you have this Rex 79 and LC lot pack. So this is my personal lot pack, which I usually sell it to students. But because you have enrolled in this class, it is free for you. So once we have tackled the first question, how to import lots, second question you should be asking is where should I place the lot or how to place the lot? So a lot should always be placed in the end. In the beginning, you did all the color correction then you did some sort of color grading. You know, you change the look or you change the temperature, and then in the end, you put a lot. What you can also do, I would just delete this Windows. What you can also do is that you can already put the lot, but on the last node and then go back from there. Because a lot of times, if I put the lot, then I feel that the saturation is a bit too much, then I have to reduce the saturation. So it doesn't really make sense. So first, also what I do is I just put the lot, and then according to that, I change the saturation, I change exposure, I change the white balance. So I would just label this node as lot. Yeah, one rule really important, always put the lots in the end. So let's go to the LCO Lot pack. And if we just go on the everyday, if you just go right click, add t to current node or what you can also do just do just double click on this lot. And if we go full screen, this is before, this is after. You see how much colors we are getting. So this lot is usually it kind of gives a cinematic look, but it's still not that harsh. You can still use it in your YouTube videos. You can also use it on your Instagram reels or TikTok. And I have kind of enhanced the skin tones, and the blues are a little bit teal, and the greens are, of course, a little bit warmer. So, yeah, that's my everyday one, then everyday VT. It's a little bit different. So it's a bit more towards the greenish side. And this is always happening, why the image is looking good. One reason is, of course, because of the lot, but then another reason is because we did all these changes. So if we just activate the lot, you can see the images, it's okay. But if we activate all of this, then you have a complete picture, and I absolutely love it. So that's the thing. Just by slapping on lots on any image, it's not going to do any good. You have to learn how to do good color correction, how to get the perfect exposure, how to get that nice and poppy contrast. And then you should put the lots on the image. And what you can also do with lots is, of course, you can change the intensity. So if sometimes if we feel that the lot is a bit too much, we can just reduce it down, and I do it all the time. And I also have some kind of a bit too harsh lot, which is this one. I would just go to one. So this is a bit too harsh, you know. Some people might like it, some people might not. So yeah, you can put it, and then you can always reduce the intensity. City cinematic. And we can also do the exact same thing for other videos. So here we did everything. We just need to go to the last node, and then we go lot. Let's do everyday one. All right. So I'm just hovering on the lots, and then I can already see how the image looks. Cherry, cinema, it's a bit too much. So yeah. That's the thing that one lot wouldn't be good for all the videos. So you have to always just try them out and see how you feel it, how you like it. And also the thing with color grading is that it's really subjective. Whatever I'm doing right here for some people, they might find it really ugly. And some people, they might find it really good. So that's the thing with color grading and editing. And I think with any creative work, it is just subjective. It really depends on the taste of the person. So anyway, that's how you can slap on lots on an image, and then another lot pack, what I have given you that has 20 really cool lots, and you can always, of course, play around with that. So that's how you import lots and play around with lots in the inch resolve. And I would high, highly recommend you to import the two lots, what I've given it to you. They are really, really cool and just try them out on different different images. I think the lot what I had that would also look really good on this window. So here, if we want to paste the lot and if we don't name everything, what we can do, we go to our clips. Say we put the lot here, this one, we just go Command C or Control C, and then you go on this image and then paste the lot Command V or Control V, and then you have the lot pasted on this image, and look at this, how nice it looks. I think the whole thing got pasted. Yeah. So you can see here that I have just pasted the lot. In my opinion, it's not really looking the best. I feel that the saturation is a bit too much. I would reduce the saturation. I also feel that I need to increase the exposure because here you can see there's a lot of darks. So that's the thing. Once you put the lot, the entire image can look really different than how it was before, so you have to play around with it again and again. So it's always just going back and forth between the nodes. And that's why it is really important to rename or name the nodes so that you know exactly where you're going. Yeah, that's how you can play around with lots. And in the next section, I'm going to be teaching you how to color grade the Sony Log or the log images, what comes out of your iPhone, what comes out of Sony or different film or professional cameras. So let's 33. LOG Video Color Grading: Here, I'm going to be showing you how to color grade log images, which is one of my favorite types of color grading because the before and after results are just shocking. So I went to this clip. It's a slow motion clip at the beach and everything is filmed in perfect exposure because I made sure in the camera that everything was filmed a good exposure. And that's also really important Pat about color grading is that if you're filming yourself, then you really need to make sure that everything is filmed with the good exposure, with a good wide balance, with good video settings in general, so that you just make your life easier when it comes to color grading. What do you need to do here? I would just get rid of the clips. I would also get rid of the gallery so that we have a big room to play around. So to convert this file into Rec 79 into a normal looking image, we need two nodes. So one node would be in the beginning and another node would be in the end. Let's say we need three nodes. This is for the lot, which we might or might use in this chapter. Here, what we would be doing is we're going to be doing color space transformation. So color space transformation is a way in the winter resolve to transform the colors from one color profile to another. And our goal here is to transform This is shot on Sony camera in S log three. Our goal here is to transform the S log three image into Rec seven oh nine, which is a normal looking image, which is the image what you are seeing right now as I'm talking to you. So you go in effects color space transform, and then I would just drag and drop here. Then what I would also do, I would also color space transform on this node and then here. So you can see that FX, so FX means that I have put some effect on this node. And I will just label it say CST one, colossus transform one, and then here as CST two. What do we need to do? So remember, we did some color management settings here. So this should be a color management settings, otherwise it wouldn't work. So this is really, really important, okay? It should be like this Ding RGB, DaVinci, the wing white Game intermediate. And if you're a Mac user, Rex 709, A, if you're a Windows user, do Rex 709 Gamma 2.4. Yep. I didn't change anything, so I would just cancel it. In CSD one, what do you need to do? You go back to EX again. So now the list of et is here. You need to go to settings. Input color space. So my input color space was the color space from my camera, which was the Sony S gamma three C. When you're editing something, and if you have any footage, you really need to make sure you know what format your image or your videos were shot at. So we will do this. Nothing changes. We go input gamma. We do Sony E lock free. So that's input, yeah, because that's what was in the camera. The image looks like a disaster, that's fine. Here we're going to be doing output color space, the inchi white gameut. And here we're going to be doing the inchi intermediate because that was our output gamma. That was our settings here in the color management. Timeline color space is the chi intermediate. And then, so we made some settings in the color space transformation here, so you can just check again if this is all the settings you have and then we're going to be doing all the exposure, all the color changes and everything in between these two nodes. So in between the CST one and CST two. So all the color correction would be in between these two. Yeah. And then in this node, the CST two node, what do we need to do? We go to FX again. And here we're going to be doing is input color space. So here, the output color space was Digi white gamma, Domigi intermediate. Here we're going to be doing the same names as the input color space. So we're going to be doing DaVinci white Game, input Gamma, DaVinci intermediate. And then output color space is our desired color space, which is Rec seven oh nine. Yeah, so you just search for Rec seven oh nine. Go click here. You can see a little bit of colors, you know, on the image, which looks a little bit natural. And here we're going to be doing is we go to Gamma 2.4. If you're window users, you might have chosen Gamma 2.4 in the color settings, and that is why it is important. So you see, our input color space was this because that is the output here, and then we have exact just copy exact same settings. And now you can see that our image transformed from this to this. So this looks like a normal looking image. But now your question would be, why do we even film in log and then do all of these things? Because say, for example, your image was a little bit too bright or a little bit too dark. Then if you have filmed in log, it is easy, in that case, for the image to bring them within these lines. So in simple terms, you can just push the image a lot when it's filmed in log. You can do some crazy heavy color grading and the image wouldn't fall apart. So that's why you should film in log. But if an image was filmed in Rec seven oh nine, which is this clip, this is just a stock footage, I wouldn't be able to push this image or go crazy on this image as I would be able to go on this image. So that's why you should be filming in Log. That just gives you a lot of dynamic range. So dynamic range in simple terms is that the more the dynamic range of the image, the more you can you know, you can do some heavy color grading or you can do some crazy changes on the image. So that's why, yeah, you should be filming in Log. So here what we did was. So that's the thing with the log footage, there is an additional step. So all the x seven and nine, you just start with white balance exposure, everything. This is the first step for the log. So what are we going to do? How did we start here? We start earlier what with white balance. I will just maybe bring the CSD node up here. Second row would be just the color correction, and this CSD node would be down here with the lots. Then we go exposure. Then we go maybe saturation Okay. But now let's also look at this parade here. Let's go before, and let's go after. So you see, by doing the color space transformation, we have expanded the colors a little bit of this image. But as you can see here, there's so much more room to play around. So what are we going to do? So I don't think I would be doing any changes in the white balance. I would just go to the exposure. And what are we going to do? We go up here. You see this point. So this point kind of is peaking in all the colors, and that is except for blue, not too much. And that is depicting the shorts and her face because they are the brightest thing in the image. Other things are still in normal picture, you know, in normal brightness level, but we're going to still push it and see how much we can push it. Let's go a little bit higher. I forgot to add the HDR. HDR. And then I would go to HDR node, and then I would reduce the highlights to see how much we can push back. So what did we do with these two nodes is before and after. So you can see how much brighter we can make an image, which is crazy. And then we go back to exposure because I feel that the blacks are not really blacks. You can see it's lifted so much. So we're going to go to the primary color wheels and bring down the lifts. So now you can see we are kind of expanding the color wheels, bring down the gamma a little bit. So I can also see the gamma is pushing the entire brightness back as well. You can see. So we can push it again again. So that's the thing. It's always about playing between this gama lift and gain curves. I wouldn't let the gamma go so down, maybe just leave it here, maybe just bring the blacks back and also increase the shadows a little bit. I also feel that the image is becoming a little too harsh. So I would just increase the gama a little bit, maybe reduce the gain, reduce the highlights a little bit. So we went to the next note. I would go before and after. You can see just like what is highlights doing. All the whites, it is kind of taking care of all the whites. So yeah, that's how the image looks after we did some exposure adjustment. And what we can also do right now is, so we did exposure SDR. Now maybe we can increase the saturation or maybe, let's just increase the saturation a little bit and see how it looks. So we go to color space, we go to HSV and then get rid of the channel three and then here. You can increase the saturation a little bit, gain, go up, gama, go up. So now you can see before and after. So the image already looks really nice. So this was color corrected. So if we just go before and after, you can see how much crazy change we have made in our image. After saturation, maybe we can do the hue versus hue. And I would also show you some different graphs as well. So let's go hue versus hue. We go here. And if you want to change the color of the blues, we go here, you go up a little bit. Maybe you want if we want to see the color of the skin, if it's falling on the vectroscope, let's go to parade. Let's go to vectorscope. I think it should be fine. We need to toggle on the skin tone indicator. I think it is fine. If you want to make sure about it, then you go here, go click on the skin, and then go here. So here you can see that the skin is falling on the skin tones, how it should be. So I'll just go Control Z. So the skin looks really nice. We're going to be going to the curve, and maybe the sand, we can make it a little bit reddish, really tiny bit. That's the thing you don't have to play too much. Maybe also the watercolor, I can maybe increase the entire blues a little bit. So if you go full screen before and after, so you can see there's a slight change in the color of the blues and the color of the sand. We don't want to do anything with the skin because it looks really good. What we can do here is we can also play with some other curves, which is hue versus saturation. So this curve is basically kind of changing the saturation of specific colors. So if I go click on the blues here, you can go, then you can see the exact same thing and you can go up and down, so that would increase or reduce the color of the blues. Maybe I want it to be a bit you know, a bit saturated, so that can look really nice, the sky is popping. That is good. Then here we can also do is hue versus luminance. What is Hu Hu versus hue was a curve which would help to change the colors of certain color. Hue versus saturation curve is a curve that helps to change the saturation of specific colors and hue versus luminance is a curve that would help us to change the brightness of certain colors. Let's go click on the blues again. And if we go a bit higher, then you can see the blues are getting a little bit brighter. And if you go low, you can see the blues are getting a little bit, you know, darker. There's a bit more details coming. So that I really like. So maybe I can bring the luminance down, maybe also the sand. I have a feeling I would just go like this to bring the luminance a little bit down of the yellows. And let's go full screen and see what we do with the curve. So this was before this is after. There's a really subtle change. Before and after. There's a really, really subtle change. The image already looks really good here. So you can just stop everything and be happy about your life. Everything looks perfect. But of course, we want to experiment a little bit more. So what are we going to going to do now is that I also want to maybe put the Windows, you know, so that I want the subject to be the brightest and the surrounding or maybe not because I already feel the subject is brighter and the surroundings are not that bright, so I think let's just leave it like that. So that's also thing that just because you know how to do some things, doesn't mean you have to implement that in all the images. So yeah, that's really important. And now maybe let's try to put the lots. So let's go here. This time we're going to be doing the Rec seven oh nine lots, and let's just hover around the lot and see which one looks nice. You can play around with everything if you want to go a bit more cinematic, you can go here. But my usually preferable lot is the lot ten. So I will just go double click. And here, once I put it, I have a feeling that because we bumped up the exposure and we did a lot of contrast work, it's kind of ruining the image now. So if you go before, it is like this, if you go after it is like this. So what we can do right now is we can kind of reduce the intensity of our exposure, or maybe just just bring the gains down a little bit, so we're going to go to parade. Bring the gain a little bit down so that the image is a little bit softer. Noah a little bit up. Yeah. And here, what we also going to be doing is maybe let's just turn up the saturation and see saturation looks good, maybe reduce the intensity of the lot. So that's the thing, as I told before, there's no one rule for all the images. You just need to know these techniques, and if you see an image, then you need to think that, why is it not looking good? What's wrong? Like, I also haven't really perfected this art. I'm also learning day by day that, oh, because if I see my color grading two years back, it was very different than how it is now. And if I would see my color grading two years from now, it would be very different than how it is now. So yeah, you have to learn these small, small tools and just look at the image and see what is going wrong here and how can I achieve the look what I want? How can I get closer to it and what changes I have to make? So yeah, here we go to lot and reduce the key output, say here. Go before and after. So I can see everything looks perfect. So let's just go before and after. So what you need to do, you need to go Alt or Option D, go before and after. Look at this, how nice it looks. And if you want to, you know, put these settings on some other image, we go grab still. You can also put these settings on all the images by just selecting them so you go press Shift. You clicked on this image, go here. And then, you know, I I don't want here, then we go, Come on, this, this, select everything. Yeah. So maybe let's just for the sake of this tutorial, we go to gallery, we go paste, apply grade here. So let's just get rid of this. I already see a big problem here. I see that the saturation of the reds is a little bit too much. So what are we going to do? We go to Hue versus Hue curve, and we go here to hue versus saturation. Maybe I can just bring this outside in some other nodes so that it's not confusing. So I would just go reds so that we are kind of making sure that we are taking care of the reds just in this node. I would click on my jacket, and that shows that the point is here. And if I want to bring down the saturation, that is kind of bringing down the saturation of the jacket. I also want to make sure that it shouldn't bring down the saturation of something else. So maybe I would kind of close or make this gap or make this range as small as possible so that it is only selecting the jacket. That looks good. I think maybe we have to make it a little bit bigger. That looks good. And now if we want to play with the hue versus luminance, we can do the same with the reds. You just go click on the red and bring down the brightness. You see, if we go like this, that brings down the exposure, we go like this. Brings down the brightness. So if you go full screen, this was before and after. So you see we've just changed the colors of the reds. And in this image, I feel that we really need to put the Windows, the vignetting here because the surrounding is same bright as the subject, which we don't want. So we can just make here, just label it two Windows. And make a window around my subject, go like this. You can also make it a little bit soft, make it a little bit bigger, a bit taller. So here in the beginning subject was here. That was because of an effect what we did. So we're going to be just going here just to see if we're doing everything good and we can go to this main custom curve and then pull it from the center. So we see what mistake we did was. We didn't invert it what we should have done. So if we invert it, this whole darkness would be on the surroundings except for the subject. And I feel that maybe it's a little bit too hard, so I would increase the softness and maybe increase this a little bit. And if you go full screen, this was before and after. So there is a soul change, but that is still doing something. So yeah, if you go before and after of this entire image, we go before and after. So you see how much changes we are making. And that also saves a lot of time if you are in the gallery and if you are kind of, you know, just saving the presets and putting that on any other clip. Let's go on this clip. So we go apply right here. And in this clip, I see a little problem. I have a feeling that this image was a little bit warmer, but this image is not. So here, what we are going to be doing is we go to the white balance and we can change the white balance. So we go here, we can either go to the HDR node and change the white balance from here. So that can make the image a little bit warm. You see? Or instead of just changing the wide balance, we can increase some warmth like how we did before. So that we can do after the hues or that we can do also in the end because that warmth I want to put as an end effect, you know, even after the lots. So we go here. The offset, you can pull it a little bit towards this side. So you can see how nice and summer vibe it looks. So we go full screen. So we're just doing the warmth. This was before this is after. You see how nice it looks. Like, we didn't even do anything in this image, just a bit of warmth. So that's the thing that if you're editing an entire sequence, you have to kind of go back to the clips or go to the light box here, what I showed before, and then you can see the images. Because if we put all these images together, I can see now that this image is a little bit bluish. This image is perfect warm. This image is perfect warm. So then we have to go in this image, and then we have to bring some warmth. So we're going to be just yeah, bringing some warmth here. Let's go offset. And now if you go to Lightbox, you can see this looks pretty good as that. And that's how you can edit an entire sequence. So yeah, we learned a lot in this chapter, a lot of different things. So that's the thing with editing in the in Resolve is that once you start editing, then a lot of tools that comes on the way, and then you learn it along the way. So let's go to the next chapter, and there I would be teaching you how to utilize the inch Resolves lots because the Winter Resolve also has some really cool in built lot, really cool film like looking lots. So let's go. 34. Film Look LUTs: So what am I going to teach you now is something really cool. So the winter Resolve also has some inbuilt lot, as I told before, you don't have to import my lots, you don't have to import any lots. You don't have to buy any lot pack because lots what we have in the winter resolve, it's really cool. And to implement that, what I would be doing is I would just disable these two lots, and I would just put them in the corner. Yeah. And I would make another node here called film Look. The film look. And if we go to the lots here, we go lots here. And then film looks. So these lots they are available in the free version, in the paid version, and they have been available in the Winter so for ages. So these are some of the film look lots, what are used in a lot of cinemas, and it's really crazy that it's free in the Winter Resolve. So I would just make it list view so that I can know the names. And some of the lots are what my favorite lots are Codec 203-80-3605 or this one or this one. So let's try Codec 23 83 D 55. This is my image after I put the lot. And I'm sure now your question would be that I thought that you told that it's a really good film lot. It is, but you have to put this lot on a good video settings. So this lot is only for specific type of videos. And we can convert all of our videos, whatever we have to that format so that film look lots are applicable for that format. Just hear me out. Yep. So if we go to CST two, so here on CST one, color space transformation one, we had this test this settings, CSD two, we had this test this settings. What do we want to do? We want to go to output Gamma, and we're going to go to Sinon film log. So once we do that, then the film look lot is applicable on that because this lot is only made for Sinon film log, you know, like some of the lots what I have already, it's only made for Sony Log picture profile. So those lots, they automatically transform the Sony Log to seven and nine and then they give us this look and same as the film look lot. That is only for Sinon film log, and we can convert any image into Sinon film log format by this technique. And if you're wondering how the Sinon film log looks, this is how the Sinon film log looks in real life in general. But our Rec seven and nine image that looked completely different. So that's why the film lots work on this. You can also just try another lots. So that's also a good learning curve about color space transformation. If we go Kodak 83, Kodak D 65, it's like these lots, they are, in my opinion, really, really cool. I just need to maybe get rid of the saturation. You can change the exposure according to these lots, and they give a really nice and cinematic vibe. Some people might like it, some people might not, but I think they're really cool. And how we can use this lot on a normal image, let's say, this image. Let's try it out. So remember this image, how it looked. It was a Rec seven oh nine image. So this image was a Rec seven oh nine image. In reality, it looked like this. So what do we need to do? We need to make another node already in the beginning. Yeah. And then we can reset this node, maybe just activate everything. Yeah. And on this node already, we need to convert the image to Sinon film log. So we go color space transformation, put it here, and then we don't need to change anything just output gamma, Sine on film log. So yeah, here what we need to do, we need to put the Seon film log, and that makes this image applicable to the lot what we have in DaVinci. But the thing is that as you can see, this lot is making this image a little bit too bright, so we need to reset our exposure, maybe reset our HDR. Also maybe reset the saturation or just leave it like that. Here we can reduce the exposure of the image. So we just go pull it down from the center. Maybe it's not working, we need to maybe play with the HDR. I would just reduce down the highlights because it's going really crazy. So now the image looks a little bit decent. It's not the best. Maybe we have to reduce down the gains because I can see that they're all peaking up really bad. So yeah, and I can increase the shadows, increase the gains here, maybe get rid of the saturation. So yeah, that's how you can also use the film look lots. And if we go before and after for the entire image, look at this. This was how it is, and now it really looks like a film look. Let's maybe try on this image. So I would just go here, color space transform and here just send on film look. So you can see that the image is a little bit desaturated and I'll just put the film look in the end. Or maybe this one or maybe this one. You can try everything. My favorite is one of these codecs. So yeah, as you can see, they make the image a little bit brighter. So we're going to reduce the exposure, maybe reduce the entire exposure of the image. So, of course, this is not a look what you would go for in your daily log videos, but this is a look what you can do if you are making any sort of cinematic videos. And what we can also do here, you go to Custom Curve and maybe bring down the brightness like this. You can see that now our image is coming in earlier it was all peaking. Now, it's coming in the good spectrum. Here, maybe we can let the gamma be like that, maybe increase the shadows a little bit. You can see that in just three nodes before, it was looking like a normal trouble video image. Looks like a film now. That is really cool. That's how you can use the film look node in the winter itself. 35. Powergrade Tool: Remember, I was talking about the color space transform. What we did every time was we made a color space transform for Sony images. Remember that we made the color space transform for this image. So what did we do here? I would just give you another tip. So say, for example, we want to maybe color space transform. Say this image, this image. This is inter seminar nine, or maybe say this image. Yeah. Just with the two nodes, one in the beginning, one in the back. So you don't have to do that in all the images. What you can do actually is that if we have the color space transformation here and we have the coral space transformation here, you can do the exact same settings. Remember these two nodes, what we did for every Sony image that we went like this, we put these values in the first node and then we put these values in the second node. For example, if you're shooting a lot with S log three files or Sony files, even if you're not, this can be applicable for any other cameras. And if you want to put these settings every time when you are converting the S log image, what you can do to make your life easier is there is something called a Power Grade. So stills are the stills for this specific project. You know, these two stills what we made before. But if you go to Power Grade, you can already see I have a lot of files here. So Power grade, what you can do if I go here, grab stills, then this setting is set in the winter resolve for any of my project. Say, for example, if I open say, iPhone reels, yeah. If I have the iPhone reels, let's go to some image which is shot on Sony. Let's say this all Apple, Apple Apple. Let's say this image, it is shot on Sony, right? You can see a lot of color grading. But if this image looked like this, and if I have to do the same as all the conversion, what I can do, I just go to Power Grid, I can copy this setting. So you go here, you go apply grade. And that would instantly convert my Sony image to Rec seven and nine because we made a preset in the winter resolve for all my video projects, for all my video work. So you don't have to do this all the time. I wouldn't recommend to make proper color grading settings like this in the power grade because all the exposure, everything that is very different for different projects. What you can also do is that you can make a whole node structure like this. You can name everything like this and then put it in the power grade. Then when you go to make any project, then you don't have to make separate notes and then you don't have to rewrite the notes. That's how, yeah, you can use Power grades as well. I have the Sony conversion lot saved here every time, so when I go for Sony image, I just go click this and I can already see that the image is converted into Rec seven and nine with just one click. I have the same for the drone, I think. So let me go to a drone clip. I have put it here. I think there are some other settings as well, but if I go like so, then if I go apply grade and if I just disable all of this, then my image is in Rec seven oh nine and before the image was like this. So let me just go quickly here. Here, what we did was, you don't have to collaborate this with me, but what we did here was this image was shot in Dog, which is my drone shots. Or maybe just let me colorrd this image so it would make more sense. So how do you colorate this image? We go here. We go Dog because that was shot in Dlogs. I've given you some drone shots as well, and that's how you should edit them. So this is Dog and then here, we have DJI D. So this is what you need to put in output color space, we go DaVinci white gamut, we go DaVinci intermediate. And then here another color current version, we go DaVinci and then DaVinci intermediate, output, Rx seven oh nine, and here we go Gamma 2.4. So you see now I have made this preset for the drone right in front of you. I can go lots here, I can go gallery power grid, and then I can just save it here. So I never saved it for the drone, so today I've done it, and that is really cool. So this is how you can transform the drone image to Rec seven oh nine, and then you can color grade from here. So I would also really encourage you that when you're doing the video projects, you should also incorporate some drone images and color grading them, and I would be really happy to see you. So I think we are kind of coming towards the end of color grading in the winter Resolve. For the free version, I also have a lot of tools to show you that is only applicable for the studio version. So that would be in the upcoming sections. So let's go. 36. Magic Mask: In this chapter, we're going to be talking about one of the greatest invention in the winter Resolve, which is the magic mask. And unfortunately, it is only available in the studio version. And to be honest, it makes sense because it is such a great tool that I would only buy the Winter Resolve just for this, too. Anyways, what is a magic mask? So remember, in one of the sections, we were selecting the subject by making some boundaries around her, you know, here. I think I got rid of that node. But yeah, like, remember what we were doing it, that we were making a whole window around it, you know, something like this, this, this, this this, this this. And then we hope that the subject would be tracked throughout the entire process throughout the entire walk. In magic mask, that can be done with one click. So what exactly why is it so important this magic mask and what exactly it is? So magic mask is a tool in the win resolve that would help you to mask anything in the screen. And that would be throughout the entire clip. Let me show an example. So if we go here, you know, this human looking icon, you go, AI magic mask. If I just click on the subject here, and then you need to activate this panel. So if it's deactivated, you don't really see anything on our face. But if it's activated, then you see a little red icon. Now you can see that just the glasses are tracked. Okay? We can make another click here, and now you can see that just the skin on the face, not even the hair is tracked. If I click on the image, you can see that the hair is tracked. Well, most of it is tracked. What if we want to maybe just the skin here also we want to track, you know? What if we want to just track her face and make the face maybe a little bit less bright? Let's go here. And what we need to do we obviously want to track everything throughout our whole movement because our subject is walking. Once we have everything selected, we can also do here there are some options in Magic Mass. You can do it better. So better would make your system a bit laggy. Let's do it better for the sake of this video. We go. We don't go faster, we go better. So better, you know, it would become a little bit darker so you know better is selected. So once I do better, then you can see that even the little tiny hairs that is selected in faster, it was like overall. You know, it's not that accurate. But if I do better, even the little little hairs are selected. If you go here, just little hairs are selected. Just this bit is missing. Let's click that as well. So it is even selecting the hair from this far. Which is insane, right? So I would just zoom in the subject here, and then you can do Smart refine. So sometimes you can also refine by like this. So it kind of kind of smoothens in or out. It makes the border a little bit softer. I would go a little bit low, not too low. So you see my system is already getting a bit yeah, stressed because this is a system heavy software. So what if we track everything? You can also do in and out ratio to make it a little bit softer, but we want whatever settings we want to do we want to do on this on her face and on her hair. So let's track it forward and backward. So now it's going to go throughout the entire movement. So we have to wait for a couple of seconds. So it really depends on how fast or how strong your system is. I'm using the M one Max, which was released back in 2021, and it still does okay. So if we play our clip, surprisingly, it is working really good. So what do we need to do? Let's get rid of this so that we don't need to check now what is selected. What if we go here? And what if just for the sake of this terorile? What if we wanted to darken the face a little bit, you know, bring a bit more contrast in the face, nowhere else. And if we go full screen, I can see that the shirt is also selected, but we didn't really see maybe because of the color shirt. If I go here. Yep, now I can see because the color of the shirt was also, yeah, similar to red. So that's a really good thing. So now what we can do, can we just wanted to have the effect on her face, on her chest, here, skin, and the hair here on the top. What do we need to do? We need to eliminate the T shirt. So I just want to check, so it's all over here. So we go to the minus here, not the plus, and then we click so now if we go enable and disable, I can see that this area is also selected, so I would just put some dots here. So now I can really see that just the face, a little bit of chest and the hairs are selected. So what if we track again? So we have to go back and forth again. So now I can see that just the face is tracked. No, it's not really tracking the other ones. Wait, let me just reset it and do it again. So I'll just select the face. Maybe do it better. So here we can see that nothing is being selected. What if we track it like this? So, yeah, sometimes if magic mask is not working, you have to redo it again because I think what I did was I did choose a lot of points, and that made the entire process really slow. So now, if we just reduce the shadow, so it is just on the face just for the sake of this video. And that would be like this. I would just turn on the audio throughout the entire frame. So you can see how easily you can track. And that is also really handy if you just want to change the color of the face or if you just want to change the color of the sand. So let's reset it. And let's try to go on another image like here. What we did here was we had a layer node. We can reset it, right. And instead of going through all of this, what we can do is that we had a saturation here. Saturation was here before, this after. So maybe we can just try to select the jacket and see how it goes. So we go to AI Magic mask, we go here, and then we're going to see what is being selected. Or maybe it is handy to make separate node. I'll just delete this. Maybe let's make a separate node here. Or maybe let's just make a separate node in the end. And here we can reduce the brightness of the reds. So we just select everything, and then we can see what is being selected. And what if we track this? So now, I don't know if you can hear my laptop is going crazy because of all this. So here, I can see that everything is tracked on this jacket from start to finish. Say, for example, if you wanted to change the color of this red to something else, this just for the sake of this video. Say, yeah, purple, blue. This is blue, I hope. So you can change the color of this. You can still see it's not 100% accurate. Because we did it in a faster way, but you can see it is tracking the entire image like so. Here, there are some problems. So what you can do here, you go to the magic mask and you can eliminate these points. So you go click here, that kind of takes it out. And then if you go frame by frame, we put the negative here, then you have to track it again. Because if you just put the point there, that disables all the tracking after that point. So every time if you see some error because it's still a machine, it's still learning. It's still kind of getting better. So yeah, you have to go back and forth, but this is really like, I've used it a lot. So now you can see that the entire jacket is selected. But let me show an example. So yeah, this one. So let me show you where we were. So if you see in this section, if you go in the color page. So I was filming for a company whose trucks were green. But when we were at the location, the truck which came, this was red. So what I did was I made two points with the magic mask, you know, so that selected the truck here because it's red. You don't really see the selection, and then I tracked it. And then what I did was I went to Hugh versus Hughes, and I changed the color from red to green, which is the color of their trucks, which is like this. So it looks like it is the exact same truck. What we have here. But in reality, the color was red. So that also you can do. You can change the colors, and I also reduce the saturation. So you can change the colors. You can put blur on the subject. A lot of times you might have seen the license plate of the cars. They are blur or someone's face is blur. So that also you can do with the magic mask. And there's also one really cool feature or tool that you can do in magic mask if you go to Fusion page, but that I would be showing in the Fusion page, so don't worry about it. So, yeah, let's go back to our DaVinci. So that was magic mask for you. But, yeah, it's a little bit taxing on your system. If I do it better, then of course, you can see that it's kind of, you know, like this was faster. You know, I just did it okay job, and if I go better, then it really makes sure that everything is selected to the hair, which is insane, but it would take ridiculously long time to just track it. But it's worth it. A lot of times, if I just have to if I'm editing a project, I would just do it in faster, and just before exporting, I would do it in better so that it would export in the best quality. So yeah, that is magic mask for you. And now let's go to the next chapter, where I will show you another cool studio feature in Color Grading page in the winter is off. So let's go. 37. Halation Tool: So the next tool, what I'm going to be teaching you is hation tool. Wha halation tool does is that it gives the soft look to the image. So let's go. Here we go fx, then you just type Halation. You might have seen a lot of videos where people are kind of getting this dreamy effect. So as soon as I drag and drop elation, the image looks like this. So if you want, you can leave it like so, or if you want, you can make some changes. So the first and the most important change, what you can do is global blend. So, of course, you can reduce down the opacity. So I usually keep it until here. So it's not too much, but it still looks a little bit dreamy. Then another change, what I do is the strength here. So you can go all in or a little bit less, all in or a little bit less. This halation tool, it usually works when there is a bright light source in the image. So that's the only two variables that I change. One is the global bends, next to the strength. You can play around with gamma to have the different type of the halation. I usually just leave it to the default. Is this. So this also, you need to learn is that if we go here and if you want everything to be back to normal, then you just click Double click on Gamma and it goes back to normal. Let's give you example of the clip what we were editing before. So Halation tool would look really cool on this image because there's a lot of bright spots. If I just go here, you can see there's a lot of all these graphs. They have this they have this kind of shiny effect, which looks really cool. But it might not look great in this image. So let me just make this image a bit more normal. So I would get rid of the magic mask. And if you go here in the effects here, and then if we put halation it wouldn't be too much because there's not much kind of sunlight falling on someone's face or there's not crazy sun or light source. It's still doing something on the reds, but not too much on the skin, but it still does really good. Like, the image looks so much better than how it was before. So that's also really cool tool watch which was introduced in the inch Resolve a few years back. I think a couple of years back here, if you do halation again, so you can see that, there's a bit of glow here. So there's a glow on a lot of reds and a lot of warm colors, which is really cool. But I usually keep the blend mode to about 50 to 60 so that it shouldn't look like just because I know how to put Halation tool, I would put it on all the images. So, yeah, that's Halation tool for you. 38. Noise Reduction: So the next tool, what we have is a noise reduction tool. So I'll get rid of hlation here. Let me give you an example. So all these clips that is included with the resource file, what I would do, you can see it's a little bit darker image. So what I would do to make it a little bit bright, I'm going to increase the shadows just for the sake of this tutorial. But when I increase the shadows, if I just zoom in in the image, you can see there are a lot of grains here. Like this was before, this is after, and that also happens with a lot of dark images. There are a lot of grains. The Winter Resolve studio, there is a feature where you can reduce these grains with one click. Let me show you how. So we go make a new node, I'll just rename it as Noise Reduction, and then we go to the FX panel, and then I would search Noise Reduction here as well. We go to Noise Reduction, we can just drag and drop to our current node. Nothing happens, right? What we need to do we go to Luma threshold, and then you can increase the intensity. And as I'm increasing the intensity, you can see that my grains are disappearing and my image is becoming a little bit softer. So this was before this is after. Let's go full screen. So you can see there is a lot of grains, lot of noise in the image. And with one click, it is all gone, which is really, really crazy. Like, for years, we have been as videographers, we have been struggling with filming in low light because you film in low light, there are a lot of noise, there's a lot of grains. And with one click in the winter dsolve studio, you can just eliminate that, which is insane. So yeah, you can change the intensity, but I would recommend not push it too much because then the image becomes too soft and too unnatural. So whatever these tools are, keep the intensity a little bit lower. So it shouldn't look like just because you can, you're doing it. And that would make the image look a little bit natural. So that was noise reduction for you. 39. Film Grain : Now let's talk about grains, film grains. So in the last chapter, we learned about how to get rid of the noise and get rid of the film grains. But film grains can also make the image look a bit more cinematic. In a lot of movies, they use these film grains that make the, the video look a bit more analog. No It doesn't really look like it was filmed on a digital camera. So how do you get film grain? So if I just type grain, there is a film grain option, and if you just drag and drop on a clip, then we have film grain on a clip. But I think in this class, you cannot really see the film grain because they are there, but they're not really there. So if you go before, you can see the texture here changing in the sky, and this is after. So you can see there is some texture changing. So those are film grains that make the image look like it was shot on an analog camera. And you can, of course, change the opacity. So here, if you go like this, the grains look like this, which is also looking really cool, in my opinion. But you can change the opacity here. And what you can also do, you can change the size of the grains. So this is 16 millimeters, so it's a little bit bigger. The grains are a little bit bigger. If you go to 35, then the grains are a little bit smaller. If you go full screen, then you increase the opacity, you can see that the grains are a little bit thinner, a little bit smaller. And if you go eight millimeter, then the grains are super big. So it almost looks like it is from those digital cameras used, 20, 30 years ago. I usually keep it to 35 or maybe 16 MM so that I keep the intensity really low opacity until here, so I usually just keep it until this and that already makes the image look a bit more nicer. So yeah, that's how you can put grains, but it's really optional. And as I told before, just because you can do it, you don't need to do it. And those were some of the settings that I change always to have a nice grain on my videos. So that was it for the color grading page, and I hope you enjoyed this section. And if you have some confusion, just let me know in the comments below. And now we're going to be going to the Fusion page and we're going to be doing some effects, which is really cool. We're going to be doing some animations, which is really cool. But what I would be doing is I would be just keeping the previous lecture from the inch resolved previous version because there's not much change in the Fusion page between those two versions. So you might be seeing a different setup, a different outlook, but the tutorials are the same, and you would get the exact same value. So let's go. 40. 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 everything 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. So 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, so I would maybe just leave it like this. So let's give you a little overview. It's not that complicated. So let's start from the right hand side. So 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, you know, enable or disable this node section. We'll get to the Node sections Dom and here, of course, you can change the size and the views of the playback. And this side, you can obviously, you know, 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 Keyframing 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, you know, 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 if 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. So what I would do, I would just drag this text from here, you know, and 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, and 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. So I want to see bigger view of what I'm editing at. So Media I was the original video. Then you put some effects, and then media out is the outlet here. And 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. 41. Attact Text To Object: So the first effect, what we're gonna 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 we 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. So 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, it 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. So 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. So what I would do if you go here in trackers, you go tracking, and then you do this forward play button. So that obviously says track forward. So let's just press it and see what happens. Now the system is working for this image to track forward. And 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. Yep. 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. And 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, right? 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. Yeah. 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 so 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 so that's the arrow. You can bring it to the foreground, and now the arrow is here. What you can do, change 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. 42. 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 got 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 and white and black. So I would go press again. Tracker O 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 backtracking. 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, he he or his jacket stays at the same position, but it just jumps a little bit here because of the bad tracking. So what we're going to do is that we can track again and see what can we do better. So 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. So 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 more 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. 43. Attach Text On 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. No, 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. So 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. So 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 do 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 planner 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. And 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 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 like 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 the 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. 44. Green Screen 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. And I can also see that the laptop is, like, not XY plane. It's kind of there's a bit of tilt. I will also change the yo 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 you see. Now my image is almost in the same plane. Maybe change the yo a little bit, so maybe rotation. All these things, yeah, 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 Edit page which I've already taught you. If you watch in Phil 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 winters of 19 infusion. 45. 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, e. 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. So 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. Yep. And 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. So 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, Keyframing here. So you see if I did Keyframing, 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 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 just 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's 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. So I just select this the 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. So 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 L so we can do Zoom in and Zoom out. So 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 winters of 19. 46. The Cutout 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. You can also see something else is selected here, just 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 long clip, it's going to take a while. So let's go to a point where it's already to. 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 this 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 this 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 exported, 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. 47. Best Export Settings: 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. And 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 color grading 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 h264 or 265 format. So what is the difference 264-265 format? They are called Codec and tra 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 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 do 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 ASD 265, the final rendered video would be 2 gigabytes, two GB, and if I was selecting SSD 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 ASD 264 also doesn't have any cons except for the file size. So for the sake of this video, I'll just do SO 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 would just do four k. Friend brrtes was the same 2,034.976. So I would select 23.976. The quality I would select automatic when I'm using hd 264. But if I'm doing hd 265, then the quality, I would restrict to 50,000 because in my experience, if I have exported a video in ESD 265 and if I selected quality automatic, DaVinci 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 Skillshare 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 ES Do 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 Edo 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, ad 265 was pretty good quality, small five size, but if you want to have the highest quality output, then you can export in Ps. 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 grading, 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 DaVinci 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 p422 is the biggest file size. As soon as you go to 42 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 Prez. 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 the 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 DaVinci. So, yeah, I think that was it from the export panel. 48. Outro: Was it from this class about video editing in the Winter Resolve. Make sure that you check out the project section and I really want to see 1 minute video from you and you should be using all the effects that I've taught in the Edit page, Fusion page, color grading page. Yes, I'm really excited to see those projects. And if you have any questions, please let me know in the comments below. Let me know in the discussion panel, or if you want, you can also reach out to me on my social media. So that was it for video editing in the Int Resolve, and I'll see you in the next class.