Transcripts
1. Introduction: All any filmmaker or
creative wants to do is make something
without obstacles. Making a film is hard, and when you find a
single program that works for you, you
want to keep using it. You may have heard
of resolve and think it's only a color
grading program, but for thousands of filmmakers, it's their go to post
production software. In this class, I'm
going to take you through the full post
production workflow. You're going to see what it's
like to create something from nothing and take it
all the way to delivery. You'll learn what it's like
to import, organize, edit, do sound, color, titles, and deliver using only resolve. I'm Fred Trevino,
owner and operator of Bembox Studio in New York and a top teacher here
at Skill Share. I've been grading projects
for over ten years, and I've graded over
50 feature films and hundreds of short form projects
for clients such as HBO, Versace, ESPN, and under
armor to name a few. I'm going to take you
through DaVinci Resolve and give you an introduction of what it's like to
create a short project from start to finish. We're going to go
through each page, and I'll show you enough
to get started and feel confident making
something of your own. This class is for everyone, regardless of your skill level. If you're a beginner
who's looking for a program to get started in, then this class is for you. And if you're more
advanced and just want to know what
resolve has to offer, then you'll be glad you took
this class when it's over. If there's one thing
I'd like for you to get out of this
class is how to make your own projects efficiently without having to jump through
ten different programs. We're going to go over
resolve, what it is. It's interface, importing media, the basics of editing video, some basic sound editing, the color page, titles, and exporting your
final project. This class will
teach you more than enough to jump in
and start creating, and I'll even provide the media for you to follow along and create a project of your
own. So let's get started.
2. Getting to Know the Interface: Okay, so this is
just going to be a quick and short
lesson to kind of show you the way that DaVinci Resolve is laid out and kind of the logic behind it. In a nutshell, DaVinci Resolve is more than just a color
correction and grading program. It's a program where you can
import footage, organize it, create dailyes, edit, do color, do visual effects,
do sound design, and then export for basically
any kind of deliverable or format you can think of from going to YouTube or the web or, you know, going to
a movie theater for a national or
worldwide distribution of a feature length film. So it's very simple. We simply have these
pages here at the bottom. First, we have the media
page, this in a nutshell, and I will go over into more detail later as
we're using these. But basically, the media page is where we would
bring clips in, where we would
organize our footage, color code, create folders, create bins, that kind of thing. Similar to what you might see as a browser in another program, but really it's an entire page dedicated just for that so
that you can see your footage. You can bring clips
in, and you can get ready and prep
your projects. Okay, so the next
page is the CUT page, and we actually won't go
over this page very much in this class because just
for simplicity's sake, we're going to
skip it because it can add confusion to things. It is a very new page
in DaVinci Resolve. Honestly, not too
many people use it, but it is something that is meant for editing,
picture editing. And it's something that
Black Magic Design created to try to
create very fast edits, where it's meant to
just kind of, you know, import all of your
footage, drop it in here, do very quick edits, and then do an
export very quickly, kind of, you know, think of
a rough cut mentality or, you know, a rough
assembly of a clip. Though you can get pretty
fine tuned with this page. The primary focus of this page
is speed and fast editing. But again, we won't go too deep into this because
I think, you know, we have the cut page and then the edit page which
is also for editing, and you can see how
things could get a little confusing if we kind of cover two different
editing pages, especially if you're
new to DaVinci Resolve. So what we will
cover on this page, however, is the Edit page. This, as the name states, is kind of like your typical editing
program like Final Cut Pro or Abd
or Adobe Premiere Pro. This is where all of
our editing is done. So you would bring
in your footage into the media page and organize and do everything you
have to do there. And then your clips
would show up here, and let me just show you
something really quick. Let's say I just want to just so you can see what
something looks like. I'm just going to kind of
grab a chunk of clips, drop it down here,
change frame right, yes, the way most
programs ask you to. But then you can see clips here. And then this is where
we would kind of go in. You know, if you've
ever edited anything, this probably looks familiar. You pick an in and out
point. Drop it in. And then this is kind of
what we're looking at. This is like your typical two
windows that you see where here we have what
typically would be in the browser to
select your footage. And then this is what the
actual timeline is showing you. And that's kind of
what this page is. In a nutshell, you can
see we have meters. And for anyone, again,
who's ever edited, this probably looks
very familiar. It might look a
little different, but it works like
your typical editor like premiere or anything else. And then another
page here, which, again, we won't go too into
it for this class is fusion. And the reason for that is because this program
is a massive, massive program similar
to Adobe After Effects. It's a visual effects and compositing program that is used on big Hollywood
productions. And this page alone
would be, you know, several massive
classes on its own. But basically, this is
where you can, you know, have an edit if you
need to do any sort of visual effects or
compositing or green screen, everything from very basic green screen stuff to, you know, multi layered stuff that you
might see on things like, you know, Star Wars or
anything like that. That's what fusion is for. In most projects,
you are basically going to bring things
into the media page, jump straight into
the edit page, and then the color page, of course, what DaVinci
Resolve is known for. This is where we do
our color correction. And then another page that we will go over a little
bit is Fairlight. This is basically
sound design mixing. This is where you have a
lot of your audio effects. You can do a lot of this
stuff in the edit page, just like any editing program. But this is basically,
similar to the color page. It's just an entire page dedicated just for sound
design and post production. There's a lot of great
benefits to that. As you'll find out, there's
a lot of cool functions. And we will go over a few things here that will just kind of make your mixing and audio
editing much easier. And then, lastly, we have our deliverables page
or deliver page. This as the name states again, is where we basically to put it simply export our
projects once it's done. We have all of these different
presets from YouTube, Vimeo, even Twitter
here, drop down menus. They show you the
different resolutions. Dropbox PRs, h264, h65, IMF files, you know, presets, even for Disney
Netflix, like I said, Resolve is a very
high end program, and they have basically
anything you can think of to export that is done here, and we definitely will spend
a little bit of time here, and I'll go over some
of the more, you know, commonly used exports
and things to watch out for and definitely some tips for when you're
exporting to the web. And I think you'll
really learn a lot about this Export page. And this was just a
very quick run through of the DaVinci
Resolve interface, the different rooms or pages, whatever you
want to call them. In the next lesson, we will
slow it down a little bit. I know this was just a quick crash course of the interface. We'll slow it down a little bit. We'll come back here
into the media page, and I'll show you a
lot of cool features that this has here before we jump into the main
editing. I'll see you there.
3. Get Started with the Media Page: Okay, so here we are.
The next lesson. We are now going to go
over the media page. And so I went ahead and
just deleted everything that was here and will
kind of slow things down. And let me just go over
what this page is for. So you open up Daventi Resolve, you create a new project, name it whatever you'd like
to, and then you end up here. So what do I do next? When I'm starting an edit. So up here, what we see is this is where all of
our hard drives are. You can see that I
have this hard drive called skill share class Drive. So typically, I would
just go up here, and then I want to, you know, open this folder here, which we have different
views here, by the way. Right now I have
it in icon view. I can also go to List View. But I will keep it here, and then I could simply
double click and open this, and then I can see
other folders here. This is kind of mirroring
what we're seeing, so I could, you know, drop down menu,
look at my media, look at my music, the
voiceovers for this project. So I'm going to simply take this folder here to keep things a
little bit organized. It will copy over whatever layout you have in your actual operating
system of your computer. So I could select everything
and just drop it in here, but we want to keep
things organized. So I'm just going to go to media and drop it here
to where it says master, and you can see it pops it in. And to go over a little
bit of what this is, the master folder is simply, you know, quick answer to that. It means this is where
all of your media is. That could easily just
say all your media. That's what the
master folder is. You could also, you
know, take something, drop it in here, and then it's in
the master folder. But what happens then is you basically end up with
very disorganized files. You know, you have audio and pictures and video
clips everywhere. So I would not recommend that. You always want to
stay organized. So the best thing
to do would be to either copy the
organization that you have, for example, here's music I could drop that in
and then VoiceOver, and then I could drop that in. And again, I'm dropping it
in where it says Master, so it has this
nice clean layout. That's the best way,
or you could always just select here, right click, go to NuBin create
something else, and then here I'll
put, for example, titles, for example,
something like that. If I want to drop in, you know, graphics that I
created and another program like Photoshop
or Illustrator or, you know, you name it, you can just bring that stuff in here, and then you could just manually
drop stuff in like that. Command Z to undo.
Okay. So here we go. And then we end up basically with all of our footage here. And what we have
next is that you can simply click on
any of these shots, and you have the
metadata tab open. If that's not open right now, you can just click
on it to open it. And the metadata tab just shows you everything
about this shot. It shows you, you know, the name, the location, the duration, the codec, the framewate, the resolution, the starting time
code, you name it. You can go in here and see
everything about this clip. And you can simply
go through here. And see the metadata for
all of these shots, okay? And then also, if it's
important to you, you could open up
this audio tab, and it has the meters,
which will basically just kind of give you an overview of, I can double click here. And it just kind of tells you a little bit about the clip. You can see it's two channels of audio that you can see here. And then also the
inspector here, if you just want
to go through here and play with this clip, zoom in, rotate it. But I really wouldn't
do that in this room because that's where we'll get to in the Edit page
when we get to that. But you can see this is where
you bring in your footage. And then from here,
I'll just kind of go over a couple cool features that exist in DaVinci Resolve. And one of those is basically being able
to color code things. So let's say that, again, I want to keep everything
very neat and organized. Here we have what are
called Smart Bins, which is basically creating a folder with
specific attributes. For example, all of the footage that's four K or
ultra HD or TDP, or 24 frames or 25 frames, that kind of thing, you
can create a folder for basically any metadata or any attribute so that you can
quickly go to that footage. So let's say you
have a big project and you shot on five
different cameras, and one of those is
four K. One of them is ultraHD and then some
of that stuff was shot maybe on drone footage, and then another one was shot on an iPhone and another one
was shot on something else. Just to keep things organized, you can always
create smart folders or SmartBns as they're
called diventa resolve, so that you can very
quickly see that footage. You could color code
it. You could flag it, mark it, do all kinds of things to it, so that
when you're editing, you can very quickly go to those clips because
anyone with any sort of experience editing knows
that as you're shooting with a ton of different cameras and a ton of different formats, you'll eventually
have tech issues and you'll have to
troubleshoot things. And I can't tell you how many
times it saved me to where, you know, I create a Smart Bin, a Smart folder of something, kind of separating
all of the footage, and then I realize, Oh, it's all of the drone footage that's creating an
issue or it's all of this camera or that camera that are
creating the issue. So I'll show you very quickly how to do
something like that. Simply go down here,
right click at SmartBN. So the first one I'm going to create is I'm just going to call this folder HD footage. And then media properties, I'm going to go to Resolution is 1920 by 1080 and create. Great. And so now I have
this Smart Bin down here. This is all of my HD footage. I can further organize
just select all of it, and then I'm going
to right click. Let's say I just want to
color code all of this stuff to be let's just say navy. Okay. And then I'll create
another Smart Bn, and I'll call this ultra HD. And then I'll go. You can
see here you have, you know, different things like duration, clip name, frames, resolution, framer, audio
channels, bit depth. You have all of
this stuff and more actually that you can
use to create SmartBn. So I'm going to do this
one, keep it easy, and I'm going to do
ultra HD 38 40 by 21 60. Okay. And so these are
the shots that are THD. And again, I'm going to
right click on these, and I'm going to Let's
make all of these. Let's say, teal. Okay? And you get the picture here, and then I can very easily
and quickly go to these shots and keep that stuff
organized in the media page. And so now anytime I drop
any of these shots in, they will be color
coded as such, and it'll be very easy to pick
them out and isolate them. And in case, you know, I have any questions
about any of the footage. Okay, so that's a overview
of the media page. Again, we simply just
imported this footage, and then we kind of created
these different bins, and then we color coded, and we created Smart bins, which are super helpful. In the next page here that we'll jump to will
be the Edit page, and we'll kind of start
our editing here. So I will see you in
this next lesson.
4. Begin Your Edit with the Basics: Okay, so here we
are in this lesson, we're going to go
over the Edit page, and we're just
basically going to get started by going over the
interface a little bit, and then a lot of the
basic editing tools. If you've ever edited
anything in any program, whether it's Final Cut Pro or
Premiere Pro, as you know, a lot of the programs
work the same, but at the same time,
being a different program. Even though things are the same, they always tend
to have something that's a little bit different. They work a little
bit different way. They might have a
slightly different name, and that's just
kind of what we're going to cover here
just so you get acquainted with everything and resolve as far as
the Edit page goes. Okay, so before we get started, I'm just going to
give a quick overview of the interface
of the Edit page. And as you can see over here, this is where we have our
media that we created. And again, we have
our master bin here with all our folders. Media music, voiceover titles, which right now is empty. And in the Edit page, we can view this a
little bit differently. We can either go here
and view things as a list view like this where we can scroll over and see
all the specs of the clip. As you can see, we can look
at it in thumbnail view, which is probably the
more popular view. And then we can also
view this in kind of you can say hybrid view
where it's a thumbnail, but it also shows some
of the basic specs, such as, you know, the clip name and duration, that
kind of thing. But for now, we'll just leave
it in the thumbnail view. Okay. And then we can always
resize the clips here. If you want to see a
little bit more or less, so I'll just leave
that like that. We can hide this folder view
here to see more clips. We can also click on this drop down menu here to
expand and see more clips. This is normally
helpful if you're on a laptop, for example. Then we have the Effects
tab, which is basically, where we have things like our video transitions
like dissolves, your audio transitions as well, a lot of the pre made titles
that you can go through, generators, such as bars, solid color, if you're creating any sort of backgrounds
to anything. And then some of these effects here as well that
you can kind of add in but typically you're just in the media pool. You're here. You have our canvas here, our inspector, which should be another very familiar thing
that you've seen before. Basically, where you
can go in here and, you know, zoom in
and out of clips. Let's say, I go here. Of course, you've
seen this basically any editor zooming and out, reposition clips, for example, rotating, all that
kind of thing. Cropping composite
modes or blend modes, as they're called,
opacity of clips. All of that stuff is done here, as well as audio
effects, transitions. All of the inspector attributes live under this
menu, and then metadata, which is just exactly
the same as what we saw in the media page, basically clicking on a clip, and you see all the specs here. And then, again, we
have this little expand window in
case you want to see more information about
any clip then of course, we have our audio mixer. And as you get more audio
tracks, this also expands out, which you'll see as we start putting something together here. So typically, you do
want to have this on. Usually the inspectors
on there as well. And so then as we
move down here, you'll see the typical
stuff as well, the stop play pause
button forward. Same thing as hitting
the space bar when you're typically
playing a clip. Se Space Bar, Spacebar
pauses as well. And then of course,
the JK and Ll keys, which are used in every
editor work as well. J is rewind. Space bar, K is to pause, and then L is to forward. And then, of course, if you
tap it a couple of times, it speeds up. Tap it again. Now we're going two x, four x, eight x, for example. And then this is
basically, again, what we typically
use as a keyboard shortcut when we're
editing something, I for in, Oh, for out. Okay. And let me clear
that with option X. And then, of course,
we have our viewer here, exact same controls. And so let's jump right in
the other little tools here, we have to have clips for to
see what's going on exactly. So the first thing I'm
going to do actually is throw a little music in here. So I'm going to grab this guy. And then I can see that I just want to kind of make
this about 30 seconds. And so I'm going to look up here because I want it
to be about 30 seconds. And if you hit the arrow keys, right arrow and left arrow, we add one frame at a time. And then I will hit O, which is already marked, and then I'm just going
to drop this in. There we go. And you
can always expand To see a little bit
more information, which I always like to do. And what's great about this, it will not only give you more information,
but you can go in here, for example, and then
title the tracks, music, lock the track here. Solo mute. It tells you how
many clips are on this track, which is actually very
useful once you start getting more complicated grades. And then, of course, you
can see the waveform, which is also very helpful. And then the two point tells you what kind of track this is. So this is a stereo track. If you ever want to go
in here and change this, you can simply right
click you know, add a track or change
track type two. But when you do add a track, you can add Mono stereo, 5.1 around 7.1 or the
default, which is adaptive, which basically means that whenever you drop something in, resolve to text what that
audio file is and it automatically sets it like
it did in this situation, I knew this was a stereo track, so it just created a
stereo audio track. Okay. So now let's go into
the media tab here, and I will just start dropping
a couple of clips in. So let's say we start off
with maybe this guy here. And again, I for marking N O, and then we can simply either go to this window and insert overwrite all the
different kinds of edits, and it drops that in. And then, let's see. Well, I'm not going to create a
masterpiece by any means today. I'm just going to drop
a couple of clips in. So let's say we go
with this one next. I O, and then you can also
just drop this in like this. Scroll back and
spacebar to play. Okay. And then I can
always back here, and I'm just gonna drop
in a couple shots here. Let's say, now I go. I'm
just going to drop that in. And again, I Oh. Oops. So in this
situation, for example, these initial clips
had no audio to them, so I just drop them in. But now that this clip
has an audio track, we see these two different
icons, video and audio. So if I want to drop this in, I can simply just grab this
video icon and drop that in. Same. If I wanted to
only bring in the audio, I could grab this
and add that in. But all we want is
the video track. And here we go. You can see as things are
coming together. Okay, and then a couple of commonly used
functions here are, of course, zooming in and out. So you can always either hit this here to
zoom in and out, which is honestly a little it's not the
easiest way to do it. You can also hit Command
plus, Command minus. Or if you have a mouse with a scroll wheel or you're working on a laptop
with a track pad, another useful function is to hit hold down the option key, and then you can use it to zoom in and out
while holding down the option key and
moving up and down on your track pad or scrolling up and down
in your mouse wheel. And then another very useful tip is Shift Z shows you
the entire timeline. So you might be like this. You know, it's
completely zoomed out, Shift Z, you pop right in. Okay. And then, of
course, grab this. I can make it a
little bit longer. Then let's say I grab
something like this in out. I can always apply it again, grab this here on
the upper track. Let's watch through that. Okay. And if I want
to delete that, I can select that and delete. Okay, so here we go let me add another shot
here very quickly. Um, let's say I add this guy in. I Oh, drop that in. And then let's say I want to
slow this down a little bit. Right click Change clip speed, and I'm just going to drop
that down to 50% Space bar. And another really easy
thing is, let me command. Plus, you can always easily
add a fade in and fade out. If you zoom in and see these little icon here on the left, you can always grab that
and drag it 15 frames, and that will create a fade in. And then the same thing on this end if we wanted
to create a fade out, or we can just drag
it right back. There we go. Let's say you wanted to
start off with a fade in. And the same thing, by the way, exists with the audio. I can grab this to create a long fade in. Okay. So those were some of
the very basic tools. Again, if you're coming from another editor or you've
edited anything before, whether it's even I
movie or Final Cut, Avid, premiere Pro, I'm sure a lot of this
stuff looks familiar. In the next lesson,
we're going to go a little bit deeper
into it and cover a little bit more advanced
editing functions that live in DaVinci Resolve.
So I will see you there.
5. Advanced Tools in the Edit Page: Okay, so here we are. Welcome to the more advanced
editing lesson. In the previous lesson,
we basically just dropped stuff in here, you know, pretty randomly, and I showed
you some of the very basic one oh one tools to
use in the editor. Now we're just kind of kind of actually maybe finish
this off quickly so you can see so
that you can see some of the more commonly
used editing tools. So hopefully, when you
finish this class, you feel comfortable uh, importing clips,
organizing them, dropping them into the
timeline, start and edit, and actually use some of
the more advanced tools so you can do nice polished,
efficient editing. Okay, so let's just kind of
watch this really quick. So that fades in. So the first thing I'm
going to do is hold down the function key
and then left arrow, jumps to the beginning
of the timeline. Right arrow jumps to the end. So again, I'm going to go to the beginning and I'm
going to remove this fade and on let's say we just want to replace this
clip with something else. Maybe I'll replace it
with this shot here. There we go. And then I just select this, grab it here and I'm
going to say replace. Okay, so that's replace there. I'm actually going to let's just add a few more shots here. Again, I'm just kind of randomly adding a couple of
these guys here. And again, I'm just going
to go here over right. Let's get a little bit
of that flare. Okay. And then as we watch
through it here, so now we want to trim
this a little bit, so I'm actually going to hit
Command plus to zoom in. And then one of the more
advanced editing tools, but it's commonly used
is the trim tool. So if I hit the letter T, or I can click here, but the keyboard shortcut
is T. I can then do a ripple edit where one thing to remember about
this trim tool, it's that it works based on the location that you
put the playhead. So if I put the playhead here, for example, it does one thing. We undo that. I put the playhead here at the
bottom, it does something else. But in this case, I'm going
to put it right on the edge here and I'm going to let's see. Let's say I want to trim this, ripple edit this down to that, I will then and it snaps to it. Then if I want to grab
everything in the timeline, I can hit Option Y. It grabs everything to be exact. Option Y, grabs
everything going forward. Or you can also go
like this and actually want to move the whole
timeline up a little bit. Okay. And then if we look here,
there's that little bump. And I want to remove that. So now, again, I'm
going to hit T, and I'm going to slip this, do a slip edit and just grab it. And this is just kind of keeping this exact same clip duration, but I'm just going
to kind of you can see in the window here. You can see in the viewer
there. The left side of the hand is the in point, the right side is the outpoint. And then, of course,
the clips under it are the shot that comes
before and after. So I'm just going to slip
to somewhere where I know that that little
bump doesn't exist. So let's say I just
do this is fine. Okay, and then same thing here. Let's say we actually want to
get her completely turning. I can simply I still have the trim tool selectus.
I'm just gonna grab this. And because I know the right
frame is the outpoint. I'm just going to
adjust this till she's completely turned
around and maybe even running forward
a little bit. Okay. And now this shot, I'm
actually going to delete. And if you do a ripple delete, you hold down Shift
and then delete, it moves everything in place, which is a little bit
faster than doing this and then grabbing
this and sliding it over. Commands you to undo that. A ripple dele is
simply selecting it, and then those
collapse down to fit Again, I'm just kind of
running through some of the more basic advanced tools, you could say, and let's
just add a few more shots. Let's say I go to this one here. Aye. Oh, and then I'm
going to drop that in, and then maybe I want to grab a totally different angle,
let's say, up here. Okay, so now what I'm
going to do is here, we have that little jump cut,
but now I want to zoom in, so I'm going to go
into the inspector and take notice that Oh, first of all, the typical color for a resolve clip
is actually blue, and notice that
these are turquois. So if you remember, the ultra HD stuff is turquois. So because of that, because I color coded them
and arranged them, actually, I'm going
to grab all of these. Select them all,
which by the way, I did that by selecting
the first clip, holding down the Shift key, and then clicking
on the last clip. And then this, by the
way, is the timeline. So you can always tell the
timeline because it's got the little checkbox and then
also the timeline icon here, and then of course, the title, which we'll name in a second. And then I'm going to hold down the command key and click
on this one, deselect it. And I'm going to change the
color of all the HD footage. You can always change
it. I'm going to change this to something
easier to see. Maybe I'll say yellow. And then I'm going to change
the timeline name. Let's call this and
venture. There we go. And here's our sequence name. And here's another really
cool feature of the editing. It's got this kind
of final Cup Pro ten style skimming
function where all you have to do is run
the mouse over a clip, just kind of skim through it. Okay. And if that is
not happening for you, then you can go up here and
turn on live media preview. And actually, I'll do this one, so I'm going to double
click. There we go. And I'll just grab the
video icon, drop it in. But you can see now that
that clip is yellow, and we know that the yellow
clips are the HD footage. And we know that
the turquoise clips are the ultra HD footage. Jump cut. And now I
know that's ultra HD, I can go into the
inspector, and I know I have the room to pop
in a little bit. So I'm going to go here
and kind of reframe this shot like this. Okay. And notice that because
I modified this shot here and made it and
scaled it up a bit, it now changed the color
of the shot so that we know visually that
something was modified here, and now we have these
icons here as well. I hit Shift C to
see the whole clip. And so let's just watch through it again
and kind of we'll keep going through a few more
of the basic editing tools. And let's just say we
want to do some sort of fancy edit here.
I'll zoom in here. And then, of course, B is the Blade tool,
or we can clip here, and then I can either blade or an even easier way to
do it is scrolling to where you want to go. And now, if you hit Command B, what that will do
is make a slice all the way through all the
different tracks, okay? But I'm going to delete that, or you can hit just simply hit B and then make a cut
wherever you'd like. But let's say you want to
do something like this, make a cut here, and then I can hit
the A key to go back. And then let's say on this shot, I want to maybe I was
just Zoom in a touch. I'm just going to just
something so you can see a change in how
to use that tool. So I made a blade there so I can add a little
jump cut in there. And then, lastly, I'll show you these few other little tools
that are very helpful. And basically, it's markers, which they're great because
you can always go through, and let's say you want to
go here and add a note, maybe right on this clip here, and I can either click on this marker or
hit the letter M, and you have all these
different colored markers. But let's just say
I hit M twice. Okay. And then I can
name this here and say, say gimble shot. And if you want to do reminders or leave notes
for someone, I'll say, you know, reset this back
to normal Zoom level. Done. And then you will
have a marker there, and let's just say I add
something else here. And I'm going to maybe I'm
just going to add a quick one, add jump cut. There we go. And then a quick way This is
a very simple timeline here. A quick way to see
your markers in case, let's say you had
a two hour movie with hundreds of markers
for whatever reason, you could actually go into the viewer and then
go to markers, and then the list of markers
will go here and you can simply jump to
whichever one you want. And then I could always go here, B, add that note, add little cut in there, and then I'll add
a little jump cut. Very slight jump cut,
but you can see it. And then you also have
something called a flag. Now, the difference
between a flag and a marker is markers. You add a marker just to
this specific location. So if you literally just
want to add a marker to this time code and
say, Gimble shot, reset this back to normal, click here to set, here we go. And then, you know, here that adds it to that
specific location. Or if I have something
on a specific clip here, I can add a marker to that
specific spot on this clip, so that will travel
with that clip. But then these here,
it doesn't matter what I do if I slide it around, those are attached
to the timeline. And what a flag does, let's use this one
as an example again, if I select this
clip here and add, say, a flag, and I'll just
do a different color. Okay? Now, a flag is
attached to this clip, so it doesn't matter where
it kind of moves with it. And also notice that even though these were split in half, I added a green
flag to this clip, and it'll add it to any location
where this clip exists. So you could have, say,
a two hour long movie. And if this clip
here, let's say, a documentary and you
have the same, you know, interview spread throughout
the documentary, and you want to always be able to easily
locate that shot, you can flag that shot there, and then it makes things very
easy to break those down. So you could always
say, for example, and then you can say go
to timeline and then say select clips with green flag, and it selects all
of those shots here. Or to jump ahead a little
bit, if you're in, say, the color page, you can
always go into the light box. And we'll get to the
color page later. But then you can go here and
then say, You know what? I just want to look
at the green flags. And it'll isolate
those so you can say, Okay, I can see all
the green flags. Maybe you want to apply the same grade to
all the green flags, or maybe you just want
to be able to, like, jump through all the shots
for whatever reason. Flags are very useful. Markers are very useful, and it's something that
I would definitely use frequently just to mark things
and to organize things. Because there's a lot of situations where
when you're editing, you'll be very happy that you've color coded things
and you've added flags and you've added
markers so that you can very quickly replace a shot, replace a camera, or export
certain things, for example. If you want to select
those to export them, it's something that's very
great to know how to use. And so I highly recommend that. Okay, and lastly, I'll
just add a few things, you know, for
example, transitions, maybe you want to add something like if I want to add something
like a cross dissolve, I can just drop those in and then select it, and
then the inspector, I can modify these things, these different parameters, adjust the size of a transition. Se like that, also delete it. And you can see
the large options of effects that we have. You also have your
different OFX filters here. So if you want to, for
example, I don't know, add something like
Gaussian blur here, which you can also do this
stuff in the color page, but it's just great that
you can always go in here. And now that we added
that, in the inspector, we have effects and we can modify that here in
the inspector, as well. And if I want to turn this off, I can simply click here
and turn that off. Okay, so I think that gives you a good idea of the Edit page. You know, we went over a lot of the more commonly used
tools in the Edit page. So hopefully now you
feel a little bit more comfortable bringing in shots and starting
your basic edit, modifying them with
the inspector, adding effects, in transitions. You know, fading things
in and out here or adding a quick fade in and out
for the video files, keyboard shortcuts
with zooming in and out and seeing the whole
sequence in the timeline, resizing the different
tracks here, which is very helpful,
adding a blade tool, for example, ripple edits. Okay, so in the next lesson, what we're going
to do is jump into some basic audio editing
in the inspector window. So I will see you there and
we'll keep this edit moving.
6. Working with Sound: In this lesson, we are
going to go over some of the basic audio editing
tools in the edit page. Now, all I've done here, I didn't do too much. All I've done is add a couple of extra clips just to finish off the timeline and then I just added a fade-out here
at the very end. If you are following along, feel free to just
drop in some clips. It doesn't have to be
perfect and look amazing, Oscar-caliber in
any way whatsoever. This is just the
learning tools so we can see our shots, the music, and so we can learn how to
use the editing tools and then some of the tools in the next lessons such
as color for example. I'll just play through this
to show you what I mean. [MUSIC] All of this stuff
you've seen already, except for maybe the
last six or seven shots. You can see that's all I did. If you want to reproduce
something like that, that would be great or you
can just follow along here. I'm going to hit ''Function''
left arrow to jump to the beginning and then I'm going to go into the
voice-over track here, double-click, and then I'm
just going to drop this down. Let's see. [BACKGROUND]
There we are. I'm going to make a marker there and drop this down because this will have
a voice-over to it. Again, I'm going to expand
this so I can see it. Then I can also grab
this border here. You can slide it up
and down to see more or less of the audio
or video tracks. For now, I'm going to bump it up a little bit just to see this voice-over a little
bit better. There we go. Now let's play through it and you'll see that
you won't be able to hear anything because we've
done zero audio edits. Adventure. [MUSIC] It's a
word that always has a story. Adventure makes us stronger. Adventure terrifies us. Adventure. Then looking over
here at the audio meters, you can see the
difference between, let me name this voice-over between the
music and the voice-over. Basically, some of the
basic editing tools here is I'm going to first
select the voice-over, right-click, I want to normalize it because
I want to hear this and I'm all set this to negative one is
fine and then normalize. Then just with that alone. Adventure, it's a word that maybe I was a
bit too high so I'm going to keep that
to negative three. Adventure. It's a word
that always has a story. Adventure makes us stronger. Adventure terrifies us. I'm going to actually turn down adventure pushes us the
music just to touch. Adventure is a hero's journey, but too because when I
look [OVERLAPPING] Okay, so now let's backup here
and let's do it again. Adventure. [MUSIC] It's a
word that always has a story. Adventure makes us stronger. Adventure terrifies us. Now here's something
to keep in mind. If I click on the track, this will lower the volume
on the entire track. Sometimes you want to do
that, sometimes you don't. If you had, say 50 or
60 audio clips here, and I only wanted to turn down this one bit of the music, then I would click on the clip itself and
then I could turn this down and it would only turn on that one shot
and that one clip. In this case, it's the
only thing on the track, so they're both the same thing. I'm actually just going
to turn down the track. I can do it here, or I can do it up here so
I'm going to turn this down now just say
like two decimals. It's a word [MUSIC] that
always has a story. I'm going to turn
down adventure, make the voice-over
a little better. Adventure terrifies us. There we go. Adventure.
Then we have the meters here for the music and the meters here for the voice-over and you can see it's getting a
little bit better. We basically just
normalize this. I'm actually going
to take this and drop this down even more. Adventure. It's [MUSIC] a word that always has a story [OVERLAPPING] or as
I'm listening to it, adventure makes us stronger. Adventure terrifies us. Now, we are going to finesse
this a little bit later, but for now, I think that's
a good starting point. Just basically wanted to show
you those initial tools. Another more manual useful tool that you can do is you can always add keyframes
by simply going to, this is the line here
which you can use to adjust the volume of this track. But you could also once
again create a fade-in going here or if you hold down the option key and
click, it creates keyframes. You can also do
something like this. Adventure. [MUSIC] It's
a word that always has. If I wanted to say
just that word, to be not so loud, I could tweak that a little bit. Adventure. Or if I wanted to
come in a little bit later, I could always blade it. Adventure. It's a word [MUSIC]
that always has a story. Adventure makes us stronger. Adventure terrifies us. Adventure pushes us forward. Adventure is a hero's journey. Because when we look
back on our adventures, we realize we had
it in us all along. Once you've conquered
one journey, the next one is always
on the horizon. Explore the wilderness. Those are some of the
more very basic tools in the edit page for audio. In the next lesson, we're actually going to
jump into Fairlight, which is the more advanced
audio editing interface in Da Vinci Resolve and we're
going to continue doing a little bit more
detailed mixing and detailed audio adjustments, which is what this page is for. There are some really cool
things that this page can do. I'll see you in the next lesson.
7. Mix Like a Pro in Fairlight: Okay, so now we are in the more advanced editing
interface of Fairlight. A little bit about falte. Basically, this used to
be a standalone full blown post production
sound mixing program. And then DaVinci
Resolve purchased it and stuck it in to
DaVinci Resolve. And so now you basically
have the power of a full blown audio mixing
and editing program like ProTools or logic, anything like that
within DaVinci Resolve. It's a thing where
kind of the sky is the limit when it
comes to this program, but I'm just going to
go over some of the, again, more commonly
used functions. But if anything, once you have a project that
gets a little bit complex, it's always nice to have
an entire interface that's dedicated
just to sound design compared to only having this layout and this little box here and these
little meters here, I mean, just a comparison, you can see right
away that you have a lot more to work with. Okay? So we're just going to do something very simple here. Again, everything
that you did in the previous page,
you can do here. I just might be a little bit easier because of the layout, for example, you can
add your effects. If I go back, you
can see that you can easily see all of your
different meters, except this one divides
it into left and right, left and right because they
are set up as stereo tracks. Whereas here we see
something a little simpler. It's just one track.
There we go. One track. Adventure. Here you
can see both and here you can see both
left and right channels. And it's all laid
out up here as well, and all your different
loudness meters. Always has a story. Usually, the first
thing I do is just, here we have our tools and
I can just go here and you can start there we go. Expanding this, and this
is to Zoom in and out. But you can see it all
revolves around just simply the audio part of things. But one of the main things that I wanted to show you here. And actually, I want to
turn off the effects here now so I can see
the full timeline. Basically, it's a really
great page to mix your audio. So now I'm going to mix the music with the
voiceover, okay? And a very easy
way to do this is basically turning
on the automation. So go here. And then what
do we want to automate? Well, we actually
want to automate the faders, so I turn this on. And then you can
see that we have the Fader icon here and
then also one here. And that way, we're
activating these to tell it, Okay, we want to
actually record. We actually want to
record as we're making adjustments on the
fly down here. Okay? So let's just
listen through it, and I'm actually going
to adjust the music. Adventure. It's a word
that always has a story. Adventure makes us stronger. Adventure terrifies us. Adventure pushes us forward. Adventure is a hero's journey because when we look
back on our adventures, we realize we had
it in us all along. And once you've
conquered one journey, the next one is always
on the horizon. Explore the wilderness. Okay. And so that
has been recorded. And actually, if we go here
to where it says none, and we turn on fader levels, and we turn on fader level here, and then we turn on fader
levels on the music. You can see that it shows
us what we've done exactly. You can see that it makes
this very easy to on the fly, just make all the
different adjustments. And basically, the
automation is something that some people like
having on all of the time. Doing this here is kind of like a one off
thing where if I just want to make one
quick adjustment, I can turn this on. And then as soon as I
make that adjustment, this will reset so that
if I go through again and Whatever I do, it actually was not recorded
because this was not on. But if I do want
that to stay on, if I'm going to be doing
multiple rounds of mixing and adjusting
the different tracks, then you can turn on SNAP. Explore it a little bit. You see? And then
that'll record that. And so you don't actually
have to turn this on. So that's just kind of an
optional thing for you. Depending if you want to do
a just one off adjustment, you can turn this on just
for that one adjustment, but then you have to
remember to turn it back on for the next adjustment, or you can just keep it on Snap. And then as you're making
these multiple adjustments, it'll record all of them. Okay. So now if I go back
and then on this one, I'll go through and I'll go through and mix
just the voiceover, Adventure, it's a word
that always has a story. Adventure makes us stronger. Adventure terrifies us. Adventure pushes us forward. Adventure is a hero's journey because when we look
back on our adventures, we realize we had
it in us all along. And once you've
conquered one journey, the next one is always
on the horizon. Explored the wilderness. And there we go. You can
see that it's much easier. Now, this is obviously a
very kind of simple example, but you can see that
in situations where we have a lot of tracks
and things like that, a lot of times editors will work in something
like this and just make a ton of different keyframes and drag things up and down and
do different stuff like that. But that's part of the power of Fairlight in the
Fairlight window is that you can go through and just have the full interface to make adjustments
like this and also just cool
things like mixing your project in Fairlight will just make it look a
little bit more polished, a little bit more professional. And it'll honestly
make things much, much easier and move
along much faster. So now you can
actually watch it. Here's your playback window. You can also just break this
out if you want, resize it. But I'll just leave it
there. Adventure, it's a word that always has a story. Adventure makes us stronger. Adventure terrifies us. Adventure pushes us forward. Adventure is a hero's journey because when we look
back on our adventures, we realize we had
it in us all along. And once you've
conquered one journey, the next one is always
on the horizon. Explore the wilderness. There you go. And so that is a very quick introduction
to Fairlight. More than anything, again, this whole window
alone could be, you know, a ten hour
course on its own. It's similar to the color
window or the Fairlight window. You could simply spend
hours and hours here going every single little
tool because they are full blown post
production editing tools for sound and for color
and for VFX, for example. But really, I just
wanted to introduce you to it so you're
not afraid of it, so you can see the
power that it has. And so that at the very
least, you can jump in here, use this as your window to apply your different effects that we have here and modify those. And also go in here and start mixing your audio
using automation, which saves a lot
of time and makes your sound design and sound
mixing sound way, way better. Okay, so in the next lesson, we are actually going to go
back into the edit page, and we are going to
work with title. So now that we have this
project here, we've mixed it. We've done a basic, you know, we've found our picture
lock, so to speak. Now we're going to add a couple titles and start, you know, polishing things further.
So I will see you there.
8. Let's Make Some Titles: Okay, so here we
are. We're kind of getting a little bit
towards the end. And this will be a short
lesson because I'm basically just going to go
over how to create titles. It's pretty easy here, and it's a pretty basic tool
that's simple to use. So let's just go. We're just going to make
a couple easy ones here. But I'll show you
the interface is basically in the effects window, and your options are
either something simple, such as taking a title
here and just dropping it in, doing something like this. And let's say, I do
something like that. And then, of course, here we can go through and pick a font. Okay, so let's just say I pick something like
this, for example, and then, you know, you can go through and
change it like that. And it can be
something as simple as just dropping this in. And then, let's say we
grab a generator here. Let me zoom in here. Say a background color. Clicking in the inspector. And then, you know, you can
go through and let's say, you know, something
very simple like this, or you could always
remove this here, and, you know, you have all
these different lower thirds, middle third, right,
lower third, scrolling. And then you have what
are the fusion titles, which these are just a
little bit, you know, kind of pre animated
callous center reveal. And here you can
have a lot of fun just going through all of
these different titles. You know, let's say you just
drop something like that in. This little line
here basically means that it sort of
has to render out, which is what the
blue line means. It basically means that
it has been rendered. So because fusion is such a
and this little icon here, the little kind of three stars means it's a fusion
clip or title. And because fusion is so, like, processor intensive, a lot
of times when you use these, you will have to, you know, let the program create that blue line, meaning
you're ready to go. But you can see these are
all kind of pre animated, but you can always
skim through them like this and you have a ton
that you can look at. And then of course, if you do bring them in, like, let's say, I do maybe something like this. Let's say I bring that
in You, of course, have all the editing tools as well that you can go
here and, you know, type in whatever you
want, font color, make all the
adjustments to the bar. You know, a lot of
power in all of these. Here's one called
Superhero Movie. But, yeah, you can
spend a lot of time going through here
and looking at all these. For now, though, I think what
most people use, though, is, I'm just going to let's see. I'm just going to drop
in something like this. And then I'm going to, let's say, add an effect. I'm just going to keep
it a little simple, do that under effects. And the inspector,
I'm just going to really really blur that
something like that. And then just do a basic title, lay it here. Okay. I'm actually going to
select both of those. And if you hit Shift,
hold down shift, and then drag down,
that will let you drop a clip down without
shifting it left or right. That way you don't kind
of mess up your edits. I'm holding down Shift,
dropping it down. Okay, and then I'm
just going to do that. And let's see. I'll go
back. I'll just do this. I'll make that black. And you can make all these different
adjustments there. So I'll just do that, and I'll actually just make this
a little bit bigger. You'll just adjust
the tracking Okay. And I'll just do something
kind of simple like this. Y'all do a quick fade in. Okay, so there we go. So
let's just say I hit play. Adventure. Okay, and I'm just going to kind of
zoom in like this. And I'm actually going
to select everything, maybe just slide it
over about 1 second, which you can see, and
then I will zoom in, and there's just seem to
be a little bit longer. So I'm basically adding a
second there and a second here. Adventure. It's a word
that always has a story. Adventure makes us stronger. Adventure terrifies us. Adventure, push it. Okay. And then at the end, if you want to just
simply kind of repeat a similar title scheme, I can select these
two, copy it, paste. And then, let's say, I
just kind of expand that out. And I'll zoom in. Maybe I'll make this
a 1 second fade in. Then he says Explore
the wilderness, so maybe I will change this to say Maybe I'll just
make this white. And for this last one,
maybe I'll go in. I selected that, and I'll
just lower the opacity a tiny bit. And I can do this. I can also adjust
the line spacing. Again, I'm not trying to win
any graphic design awards, but I'll just kind of make some small adjustments
there. And then, let's see. I don't want the fade in there. So now at the end,
we're just simply going to have a simple cut. Explore the wilderness. And then maybe I
will extend that out and do a 1 second fade out. Shift Z to see the
whole timeline, and I'll just back up to here. The next one is always
on the horizon. Explore the wilderness. And maybe I'll transition there. I'll do video, and I'll
say dip to color here. Select the transition color. I'll do dip to white. I also like this transition extended Conquered one journey. The next one is always
on the horizon. Explore the wilderness. So basically, titles
are that easy. You can also create something in another program
like, you know, Photoshop or anywhere
else and drop in JPEGs or tips or
anything like that. So you can see this project
is kind of coming together. We have the titles, and we have the sound
mixing, everything. And so in the next lesson, we are actually going to
jump into color and give this a little bit of a look to kind of keep bringing
everything together, keep it cohesive. So
I will see you there.
9. A Quick Grade in the Color Page: Okay, so here we are
now in the color page. I obviously have
a ton of lessons and classes that you
can take for color. So I'll go over
this one briefly, mainly go over the interface, and then we'll apply
a quick look to the whole project before we
move on to the next lesson. So here, once you've gone
through and you've been in the media page and
brought everything in and then edited things
together, done sound work, gone to Fairlight, down a little sound mixing,
maybe add effects, or whatever other filters
you need for your footage, now you can do your quick
color correction here. And the way this is
basically laid out, here is the timeline, the thumbnails of all
the different clips. And then here we have a kind of mini timeline that shows you
all the individual shots. And in this timeline, you can see, obviously
the markers that we have. We can see the color coded and flagged clips that we have. You can see the format of
the footage, the codec. You can see which ones had effects on them and
what the effect is, for example, we can
see our titles. We can see a lot of
information and then here, we have the different tabs
within the color page. And so by default, it opens up to the
primaries color wheels, where we have our
lift or shadows, Gamma and gain or highlights
and contrast tint. So all the basic primary
adjustments are here. We could also go into if you were shooting
Raw, for example, all the camera raw
settings here, if you shot on a chip chart, that's where you would go to
balance your footage using a chip chart and the HDR wheels here for
high dynamic range. This is your RGB mixer, if you simply want to go
through and increase the red, the greens, a lot of stuff
that you can do here. Then some of the
more advanced tools, such as the noise reduction, which Denture is
always known for, does a great job if you have very noisy or
underexposed footage. But again, we're just
mainly going to do a basic grade here and stay
in the primary corrections. Here we have the more
secondary adjustments, for example, curves, this kind of spider
web color warper if we want to modify colors, DaVinci Resolve, like
I mentioned before, with Fairlight and also fusion. It's one of those programs, you know, kind of
like in my case, you can make hours and
hours and hours, of course, it's just on this program because the possibilities
are endless. It goes in very very complicated, very
minute adjustments. And that's why it's
the industry standard, and that's why, you know, a lot of big budget
studios have been using it to color grade big
blockbuster movies because it's such a
powerful program. But again, here's all the
secondaries, for example, if you want to do a key, and then here we have, you
know, different windows, if you want to draw
windows around things to make focused
adjustments, of course, like if I just want to make an adjustment to this
little area here, that's what the windows are for. Okay. And let's reset
all of this stuff. Windows, tracking window. So if you're wanting to,
for example, you know, follow this person here, you could draw window on them and track them
as they're moving. Also, this very cool new
feature called magic mask, which is kind of like
a rotoscoping thing. So if you wanted to for example, here, draw a window
just around her. As she's running and moving, that window would only stay on her as she's moving,
which is great. Blur here, which
is something that we've done using effects, but there's actually
just like a built in blur and sharpener
within DaVinci Resolve. And then keying here, which is basically an
adjustment, for example, if I make an
adjustment like this, I can kind of reduce the
intensity of that adjustment. So here's where it was or kind
of turn it off completely. Okay, and then I'll just
reset all this stuff here. And then in this window
is resolves kind of optical quality resizing in case you want to pen or zoom in. This is another feature that is resolve is very
well known for. And then, of course, we
have our main viewer here unless you have
an external monitor. You have nodes, which
DaVinci Resolve is a node based program, which basically means think of nodes is similar
to adjustment layers. You know, you make an adjustment
to the first one here, and then maybe add a node and make another adjustment to
this and then another node. And make an adjustment
to that, et cetera. That's basically the way
DaVinci Resolve works, and they're very powerful
because you have different types of nodes
based on the situation, and that's what you
control here is the different nodes as
you're doing complex grades. And then our gallery still, this is basically
just saving still. So let's say you wanted to make an adjustment
here like this. You could always right click, grab a still, save
that, export it out. To show someone, for example, or to compare this
to other clips, it's a very useful
thing to have. And then, of course, you
have your media pool, if you want to go back here. So you can see, you know, the rationale behind
all the windows in resolve is pretty similar. You have your different
windows, different louts here, if you want to apply that, and a cool thing too is, you know, you could always go
through and just by again, hovering over a lot, it kind of gives
you a preview of that. And I'll go back here. And then here if you wanted to turn any of this stuff off, which I really
wouldn't recommend you can turn off the timeline, the clips or by
clicking on here, you see you have kind of one of the reasons why you
can apply flags, and you can have it show you, for example, just the
green marker clips, which can be very useful to, you know, grade quickly. And I'll have it show
me all the clips and also the effects similar to the other pages that
we've gone through. And then this very cool
feature called Lightbox, which kind of just
shows you all of your clips, bird's eye view. This makes it very easy to jump through if you want to
jump to a specific shot. Here it's kind of easy,
but, for example, a longer project, like a feature might have
1,000 or 2000 shots. And obviously, finding
the shot here, scrolling and scrolling
and scrolling or trying to jump through
it takes a while. But if you have the light box, you can very easily just
jump straight to it. And again, if you want to go deeper into color correction, you can check out a ton of
my classes that I have now from intro to
intermediate to advanced. So here, I'm basically
just kind of, you know, keep the course of this
class and show you the workflow and what
it's like taking a project from the
very beginning, importing and editing sound
design, and now to color. So I'm just going to,
you know, give this a very quick, cool look. To kind of keep
things consistent, so I'm just going to, you
know, do a very quick grade. So I'll do this, and I'm just going to kind
of cool things down. And I'm just go to
kind of go through and speed this up a little. Okay, so that was just a quick time lapse
of me grading this. Definitely a speed grade. Just really, I was
just kind of giving it a cooler bluer
look, which again, you can see here in
the overhead view, it kind of has a
little bit more of a cohesive look to it. Not perfect, but again,
we're just kind of worrying more about the
overall workflow right now. Okay. And so let's just
kind of watch through it. Kind of we've had I'm going
to go into full screen. Adventure. It's a word
that always has a story. Adventure makes us stronger. Adventure terrifies us. Adventure pushes us forward. Adventure is a hero's journey because when we look
back on our adventures, we realize we had
it in us all along. And once you've
conquered one journey, the next one is always
on the horizon. Explore the wilderness.
Okay, so there you go. You know, definitely some shots. I would love to tweak as a colorist and
also as an editor. But I think we just have
to kind of keep our focus. And remember, here, we're
just kind of wanting to learn the full post
workflow in DavintRsolve. And I think we've definitely covered all of these
different tools. We have gone over a lot of stuff from the media
page to the edit room, basic tools, advanced tools. Sound editing tools in the Fairlight window to do some sound mixing
and adding effects. And again, going through basic
tools to advanced tools, and now we're in the color page. So really, we've
taken this project through what most projects go through from
beginning to end, from the import, organize,
edit, color, sound, et cetera, now that we
have this thing completed, picture locked, color graded, sound designed and mixed, the next lesson we are
going to go into is the Deliver page
where we will go over what this
page does exactly. It's for exporting and just kind of go over
some of the settings and commonly used settings for exporting your projects
at the highest quality. Okay, so we're
almost to the end. Keep going, and I'll see
you in the next lesson.
10. Exporting from the Deliver Page: Okay, so here we are
in the Deliver page. So this is basically
pretty simple. It's laid out similar to the color page where we have
all of our tracks here, also our timeline here, and we have all of our
settings, presets here. You can see you have YouTube,
Vimeo, Twitter, Dropbox, PRs, H two, 64, 65, et cetera. Final Cut Pro. If you're round tripping back
to an editor, for example, like Final Cup Pro ten or
Premiere Avid Pro Tools, or if you want to
do the audio only, and you can also create presets. So that's how this
is kind of laid out. We have our viewer here if
we want to see it as well, and we can choose to render
out the entire timeline. Or we can set in and out points. So if I want to just render
out this clip to this clip, I can mark in and O on
the keyboard to do that, but I'm just going to set it to the entire timeline, obviously. And then here, once we
add a job to render out, that will show up here. So basically, delivering and exporting can be as
simple as you want. Or as complex as you want. If you are rendering
out for Vimeo, for example, you can say, Okay, I want to render out in ten
ADP or ultra HD or 720. You could make it as easy as clicking on this preset here. So you could always
name your file here. So maybe I'll call this
adventure for Vimeo. Like that. And then select
where you want to save it too. So maybe I'll go here. There we go. And then here you can simply
customize your settings if you want to tweak what's already been selected as the default, you know, resolution frame rate, what format, QuickTime
MPEC four, you know, which one of the audio
tracks you want to export, whether you want stereo, timeline tracks, all
the timeline tracks. Here you have all of
those different options. What specific codec. But you can see you have
a lot of options here. So let's say you
wanted to export one for Vmeo and you just
want to use the presets, then you would select
at to render Q. Something I always
like to do is click on these three dots here and
say show job details, so you can kind of confirm
how it's exporting out. And you can see the
runtime, frame rate, the codec, all the tech
details are here as well. And so maybe we want
to do one for Vimeo. Then we want to do a PRs master. So alsolect this. And all do the same thing adventure,
ProRes master. The selection, the location is already selected, so
nothing to do there. I could select to do this
all as one single clip or export all the clips
individually in ProRes, but I really I'm just going
to export a master file, archival quality ProRes file. So I'm going to do a single
clip, QuickTime PRs. Let's say I want to
do four, four, four, and then I want to do this
one though in ultra HD. I'm just selecting
this as an example, of course, this has a
lot of mixed media. Typically, obviously, if you
shot something in four K, you would export in four K.
If you shot something in HD, there really would be no
reason to export and uprez your file to four K because
then you'd be losing quality. So it just takes as an example. If you want to switch the resolution to
anything you want, obviously the frame rate
would say the same as well, and you can ask it to export an Alpha if
you'd want to do that. And then under
advanced settings, you can see that you
have a lot of options. 99% of the time, you really will
touch very little of all of these
advanced features, pixel aspect ratio. No
reason to change it. Basically, unless you know exactly what you're doing
and what this stuff is, I would keep it as is. Okay. So you can see
all of these options. Also, data burning, for
example, this is another thing. If you're sending a clip
to a client, for example, I would definitely go into
a workspace, data burn in, and you can see you have all of these different
things that you can burn in the time code, so they can give notes,
source time code of all the individual clips
as they're coming on. Or you can do even something
like say, custom text. And let me put this here, and I can say first pass. You know, you can name
it whatever you'd like. You can even put in
a logo, watermark. You can put a lot
of information, and this is a very cool
thing that you can do. So I will actually
turn these off. And basically, that's
what that refers to data burning,
same as project, or do you want to do none or just the time code, you know, basically meaning all
of the stuff, you know, the logos, the text,
that kind of thing. But same as project.
Basically leaves it as is. So I don't have anything
on, so we're good to go. And I won't get too much into this stuff here
because like I said, it's a very complex program. We didn't kind of get
into this stuff earlier, so it really
wouldn't make sense. But just just kind of
involves, you know, if you created proxy media or optimized media or work files, for example, you can use
those to export quicker or use the master full quality
raw files, for example. Yeah. And then,
of course, if you have any sort of subtitles, this is where you
would choose to export subtitles as
a separate file, burned in, et cetera, you have a lot of control here. So now we have basically
a vimeo format, and then we have a PRs master. I'm going to go
into the audio tab. And yes, I do want
this to be linear PCM, which is the highest quality. But I'm going to maybe
switch this to 24 bit. Here's a cool thing about
it. This is popping up. You know, it says, Add
high resolution renders. The selected render resolution is higher than the
timeline resolution. Rendered images will
be upscaled from the timeline resolution to
the selected resolution. This may result in
reduced image quality. So this is basically very
cool that resolve tells you, Hey, your timeline is
not a four K timeline. So why are you
exporting in four K? And it's telling
you if you do that, it's going to be lower quality. So that's why it's
telling us that. I'm just going to go
ahead and say add. Because it's just an example. So now we have both
of these different files that we're exporting, and I'm going to do
one more custom one. Let's say, I'm
going to do a h264. Maybe you have a place client or someone who needs things in the same specs
every single time. You could always go here
and say, h264 Master. I'm going to say
adventure for client. And maybe they always want
you to do h264 HD data rate. They always want it to be
50,000 kilobytes/second. Maybe they always want you to force the sizing to the
highest quality, for example. Let me drop this down. And then for audio, they want
you to always do 16 bit. And then from here, if this is something you
use all the time, you can then go here and you
can save as a new preset. And let's say, I'm going to
name this Venture preset. Okay. And then you will have all of your
presets right here. So anytime you're doing this, you can always select your
preset just like that. And this is where you
can save as new preset, delete the current preset, update the preset, or you can do a quick export as well and
select one of your presets. Okay. So I'm now going
to also add this. And now you can see
you can just kind of batch a lot of
different files, and then I hit Render A. And there we go. You
can see it's rendering. It shows you up here how
fast it's rendering. And then the progress here, and it's telling you the
estimated completion time. Okay, so now it's
all totally done, and it renders out to the location that
you selected here. And so, basically, that's
it for the deliver page. Pretty simple. You can
create your presets. You can use some of
the existing presets, change all of the
quality settings here, and then you will be good to go. Okay, so I will see you all in the next and final
lesson. See you then.
11. Final Thoughts - Congrats!: Okay, so that's it. You
finished the class. Congratulations. Thank you
so much for taking it. I would love to hear
what you think. So if you have any questions, please post them to
the discussions page. If you love the class,
please do give me a review. I love to always hear
what you have to say. And if you created
your own project, please post it to
the projects page so that we can all check it out. So if you're wondering
what's next after this, then I would say,
if you want to dive right in and start
learning color correction, take an absolute
beginner's crash course, or if you want to
dive deeper and really learn what makes up an image and how a
colorist thinks, then I would say take an
introduction with a pro colors. So again, thank you so
much for taking the class. I hope you learned a lot, and I'll see you next time.