DaVinci Resolve: The Video Editing Workflow | Fred Trevino | Skillshare
Drawer
Search

Playback Speed


  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

DaVinci Resolve: The Video Editing Workflow

teacher avatar Fred Trevino, Colorist & Top Teacher

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Introduction

      1:58

    • 2.

      Getting to Know the Interface

      6:56

    • 3.

      Get Started with the Media Page

      8:15

    • 4.

      Begin Your Edit with the Basics

      11:53

    • 5.

      Advanced Tools in the Edit Page

      16:37

    • 6.

      Working with Sound

      7:45

    • 7.

      Mix Like a Pro in Fairlight

      8:50

    • 8.

      Let's Make Some Titles

      7:53

    • 9.

      A Quick Grade in the Color Page

      11:06

    • 10.

      Exporting from the Deliver Page

      9:27

    • 11.

      Final Thoughts - Congrats!

      0:54

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.

6,065

Students

55

Projects

About This Class

Did you know Resolve does more than just color grading? In this class I'll show you the range of tools and features Resolve has beyond just color. This class is for anyone who creates any type of video production. From beginner to pro, if you've never used Resolve on one of your productions this class will take you from creating a project to delivery.

This class is for anyone wanting to learn what its like to take a project through Resolve from beginning to end and we'll cover:

  • The Interface
  • Handling Media
  • Editing Basics
  • More Advanced Editing Tools
  • Working with Sound
  • Mixing Audio
  • Creating Titles
  • The Color Page (of course)
  • Exporting and Delivering your Project!

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

About Your Teacher

Fred Trevino is a colorist with over 10 years experience.  He's graded over 50 feature films and hundreds of projects for high end clients such as HBO, Versace, ESPN, Under Armour and more. His narrative color work has screened at well known film festivals like Sundance, Cannes, and Slamdance. His goal is to use the experience and skills he's developed over his career to accelerate your learning in the field of color.

Meet Your Teacher

Teacher Profile Image

Fred Trevino

Colorist & Top Teacher

Top Teacher


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

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

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

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

Level: All Levels

Class Ratings

Expectations Met?
    Exceeded!
  • 0%
  • Yes
  • 0%
  • Somewhat
  • 0%
  • Not really
  • 0%

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.

Transcripts

1. Introduction: [MUSIC] 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 and grading program, but for a 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 Beambox Studio in New York, and a top teacher here at Skillshare. I've been grading projects for over 10 years and I've graded over 50 feature films and hundreds of short-form projects for clients such as HBO, Versace, ESPN, and Under Armour to name a few. I'm going to take you through Da Vinci 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. 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 10 different programs. We're going to go over Resolve, what it is, its 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. I'll even provide the media for you to follow along and create a project of your own. Let's get started. [MUSIC] 2. Getting to Know the Interface: This is just going to be a quick and short lesson to show you the way that Da Vinci Resolve is laid out and the logic behind it. In a nutshell, Da Vinci Resolve is more than just a color correction and grading program. It's a program where we can import footage, organize it, create dailies, edit, do color, do visual effects, do sound design, and then export for basically any deliverable or format you can think of from going to YouTube or the web, or going to a movie theater for a national or worldwide distribution of a feature-length film. 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 and 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. The next page is the cut page. We actually won't go over this page very much in this class, because just for simplicity sake, we're going to skip it because it can add confusion to things. It is a very new page in Da Vinci Resolve. Honestly, not too many people use it. But it is something that isn't meant for editing, picture editing. It's something that Blackmagic design created to try and create very fast edits where it's meant to just import all of your footage, drop it in here, do very quick edits and then do an export very quickly. Think of a rough cut mentality, or 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 we have the cup page and then the edit page, which is also for editing, and you can see how things could get a little confusing if we covered two different editing pages, especially if you're new to Da Vinci Resolve. What we will cover in this page, however, is the edit page. This as the name states, is your typical editing program, like final Cut Pro, or Avid, or Adobe Premiere Pro. This is where all of our editing is done. You would bring in your footage into the media page and organize it and do the thing you have to do there, and then your clips would show up here, let me just show you something really quick. Let's say I just want to, so you can see what something looks like. I'm just going to grab a chunk of clips, drop it down here, change frame rate. Yes, the way most programs ask you to. But then you can see clips here and then this is where we would go in. If you've ever edited anything, this probably looks familiar, you pick an in and out point, drop it in, and then this is what we're looking at. This is like your typical two windows that you see where here we have what's typically would be in the browser to select your footage, and then this is what the actual timeline is showing you, and that's 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. Then another page here, which again, we won't go too into it for this class is fusion. The reason for that is because this program is a massive program similar to Adobe After Effects. It's a visual effects and compositing program, is used on big Hollywood productions. This page alone would be several massive classes on its own. But basically this is where you can have an edit if you need to do any visual effects, or compositing, or green screen. Everything from very basic green screen stuff to multi-layered stuff that you might see on things like 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 Da Vinci 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 fair light. 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 make your mixing and audio editing much easier. 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 that's done, we have all of these different presets from YouTube, Vimeo, even Twitter here, drop-down menus to show you the different resolutions. Dropbox, progress, H264, H265, IMF files for 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. I'll go over some of the more 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 these export page. Again, this was just a very quick run through of the Da Vinci 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. I'll show you a lot of cool features that this has here before we jump into the main editing, so I'll see you there. 3. Get Started with the Media Page: Here we are. The next lesson. We are now going to go over the media page. I went ahead and just deleted everything that was here and slow things down and let me just go over what this page is for. You open up DaVinci Resolve, you create a new project, name it whatever you'd like to, and then you end up here. What do I do next when I'm starting an edit? 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 Skillshare Class Drive. Typically I would just go up here and then I want to 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. Then I can see other folders here. This is mirroring what we're seeing. I could 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. To go over a little bit of what this is, the Master folder is simply, quick answer to that, it's means this is where all of your media is. That could easily just saying all your media, that's what the Master folder is. You could also 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 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. 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 New Bin, create something else and then here I'll put, for example, titles, for example, something like that. If I wanted to drop in graphics that I created and another program like Photoshop or Illustrator or 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. Here we go. Then we end up basically with all of our footage here. 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. The Metadata tab just shows you everything about this shot, this shows you the name, the location, the duration, the codec, the frame rate, the resolution, the starting timecode, you name it. You can go in here and see everything about this clip. You can simply go through here and see the metadata for all of these shots. Then also if it's important to you, you can open up this audio tab and it has the meters, which will basically just give you an overview of, I can double-click here, and it just tells you a little bit about the clip. You can see it's two channels of audio, but 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. Then from here, just go over a couple of cool features that exist in DaVinci Resolve. One of those is basically being able to color-code things. 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 4K or ultra HD or [inaudible], 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. Let's say you have a big project and you shot on five different cameras, One one of those is 4K, one of them is ultra HD, 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 smart bins, as they're called in DaVinci Resolve, so that you can very quickly see that footage, you could color-coded, you could flag it market and 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 experience in 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 I create a smart bin, a smart folder of something 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. I'll show you very quickly how to do something like that. Simply go down here, right-click, add smart bin. The first one I'm going to create is I'm just going to call this folder HD Footage. Then media properties, I'm going to go to resolution is 1920 by 1080 and create. Great. 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. Then I'll create another smart bin, and I'll call this ultra HD. Then I'll go. You can see here you have different things like duration, clip name, frames, resolution, frame rate, audio channels, bit depth. You have all of this stuff and more actually that you can use to create smart bin. I'm going to do this one, keep it easy and I'm going to do ultra HD, 3840 by 2160. Those are the shots that are ultra HD. Again, I'm going to right-click on these, and I'm going to, let's make all of these, let's say teal. You get the picture here. Then now I can very easily and quickly go to the shots and keep that stuff organized. The media page until 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 I have any questions about any of the footage. That's a overview of the Media page. Again, we simply just imported this footage and then we created these different bins. Then we color-coded and we created smart bins which are super helpful. In the next page here that will jump to will be the edit page, and we'll start our editing here. I will see you in this next lesson. 4. Begin Your Edit with the Basics: Here we are. In this lesson, we're going to go over the Edit page. We're just basically going to get started by going over the interface a little bit. Then a lot of the basic editing tools. If you've ever edited anything in any program, whether it's Final Cut Pro or Premier 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. That's just what we're going to cover here, just so you get acquainted with everything and resolve as far as the Edit page goes. Before we get started, I'm just going to give a quick overview of the interface of the Edit page. As you can see over here, this is where we have our media that we created. Again, we have our master bin here with all our folders, media, music, voice-over, titles, which right now is empty. In the Edit page we can view this a little bit differently. We can either go here and view things as a list view collect 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. Then we can also view this in, you can say hybrid viewer. It's a thumbnail, but it also shows some of the basic specs, such as the clip name and duration, that thing, but for now we'll just leave it in the thumbnail view. We can always resize the clips here. If you want to see a little bit more, less. 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, a solid color if you're creating any sort of backgrounds to anything and then some of these effects here as well that you can add in there. 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 we can go in here and zoom in and out of clips. Let's say I go here. Of course you've seen this in basically any editor, zoom in and out, reposition clips, for example, rotating all that 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. 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. 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. As you get more audio tracks this also expands out, which you'll see as we start putting something together here. Typically you do want to have this on, usually the inspectors on there as well. 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 typically playing a clip. Say space bar. Space bar pauses as well. Then of course the J, K, and L 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. Then of course, if you tap it a couple of times, it speeds up. Tap it again, now we're going 2x, 4x, 8x for example. This is basically, again, what we typically use as a keyboard shortcut when we're editing something. I for in, O for out. Let me clear that with "Option+ X". Then of course we have our viewer here, exact same controls. Let's jump right in because the other little tools here we have to have clips for to see what's going on exactly. The first thing I'm going to do actually is throw a little music in here. I'm going to grab this guy. [NOISE] Then I can see that I just want to make this about 30 seconds. I'm going to look up here because I want it to be about 30 seconds. [NOISE] If you hit the [NOISE] arrow keys, "Right arrow" [NOISE]. Left arrow, we add one frame at a time. [NOISE] Then I will hit "O", which is already marked. Then I'm just going to drop this in. There we go. You can always expand to see a little bit more information which I always like to do. 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. Then of course you can see the waveform, which is also very helpful. Then the 2.0 tells you what track this is. This is a stereo track. If you ever want to go in here and change this, you can simply right-click, add a track or change track type II, but when you do add a track, you can add mono, stereo, 5.1, this is around 7.1, or the default which is adaptive, which basically means that whenever you drop something in resolve to the test what the audio file is and it automatically sets it. Like it did in this situation, I knew this was a stereo track, so I just created a stereo audio track. Now let's go into the Media tab here. I will just start dropping a couple of clips in. Let's say we start off with maybe this guy here. Again, I for marking in, O, and then we can simply either go to this window and insert, overwrite all the different kinds of edits. It drops that in. Then let's see. Not going to create a masterpiece by any means today. I'm just going to drop a couple of clips in. 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 space bar to play. [MUSIC] Then I can always go back here. I'm just going to drop in a couple of shots here. Let's say now I go. Just going to drop that in. Again, I, O. 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. If I want to drop this in, I can simply just grab this video icon and drop that in the 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 on track. [NOISE] Here we go. [MUSIC] You can see, these things are coming together. Then a couple of commonly used functions here are of course, zooming in and out. You can always either hit this here to zoom in and out. 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 trackpad another useful function is to hold down the Option key and then you can use that to zoom in and out while holding down the Option key and moving up and down on your trackpad or scrolling up and down in your mouse wheel. Then another very useful tip is "Shift + Z", shows you the entire timeline. You might be like this. It was completely zoomed out, "Shift + Z", you pop right in. 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. [MUSIC] If I wanted to leave that, I can just select that and delete. Here we go [MUSIC]. Let me add another shot here very quickly. Let's say I add this guy in. I, O and drop that in. Then let's say I want to slow this down a little bit. Right-click. Change clip speed, and I'm going to drop that down to 50 percent. "Space bar". [MUSIC] 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 this little icon here on the left, you can always grab that and drag it, 15 frames. That will create a fade in. Then the same thing on this end if we wanted to create a fade out. [MUSIC] Or we can just drag it right back. Here we go. Let's say we wanted to start off with a fade in. The same thing, by the way, exist with the audio. I can grab this to create a long fade in.[MUSIC] Those were some of the very basic tools. Again, if you're coming from another editor or you better at anything before whether it's even iMovie or Final Cut, Avid, Premier Pro, I'm sure a lot of this stuff looked 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 Da Vinci Resolve. I will see you there. 5. Advanced Tools in the Edit Page: Here we are welcome to the more advanced editing lesson. In the previous lesson, we basically just dropped stuff in here pretty randomly and I showed you some of the very basic 101 tools to use in the editor. Now we're just actually maybe finish this off quickly so that you can see some of the more commonly used editing tools. Hopefully when you finish this class, you'll feel comfortable 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. Let's just watch this really quick. [MUSIC] that fades in. 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. Again, I'm going to go to the beginning and I'm going to remove this fade and then let's say we just want to replace this clip with something else. Maybe I'll replace it with this shot here. Here we go. Then I just select this, grab it here, and I'm going to say replace. Now that's replaced there, I'm actually going to [BACKGROUND] just add a few more shots here. Again, I'm just randomly adding a couple of these guys here. Again, I'm just going to go here, over right, little bit of that flare. Then as we watch through it here. 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 to trim tool. 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 is it works based on the location that you put the play head. If I put the play head here, for example, it does one thing. Let me undo that. If you put the play head 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 see. Let's say I want to trim this ripple, edit this down to that, and then it snaps to it. Then if I want to grab everything in the timeline, I can hit Option Y, C and 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. [MUSIC] Then if we look here, [MUSIC] there's that little bump [MUSIC] and I want to remove that so now again, I'm going to hit T and I'm going to slip this to a slip edit and just grab it and this is just keeping this exact same clip duration, but I'm just going to contain the window here. You can see in the viewer there, the left side of the hand is the endpoint, the right side is the out point and then of course the eclipse under are the shot that comes before and after. I'm just going to slip to somewhere to where I know that little bump doesn't exist so let's say I just do this, it's fine. [MUSIC] Then same thing here. Let's say we actually want to get her completely turning [MUSIC]. I still have the trim tool selectors, so I'm just going to grab this. Because I know the right frame is the out point, I'm just going to adjust this until she's completely turned around and maybe even running forward a little bit [MUSIC]. 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. Command Z to undo that, a ripple delete is simply selecting it and then those collapse down to fit. [MUSIC] Again, I'm just running through some of the more basic advanced tools you could say unless just add a few more shots. Let's say, I'd go to this one here. Then I'm going to drop that in and then maybe I want to have a totally different angle, let's say up here. Now what I'm going to do is [MUSIC] 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 first of all, the typical color for a resolve clip is actually blue and notice that these are turquoise. If you remember, the ultra HD stuff is turquoise so because of that, because I color-coded them and arrange 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. Then this by the way, is the timeline so you can always tell a talent because he'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. Then I'm going to hold down the command key and click on just this one, de-select 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. Then I'm going to change the timeline name, I'm going to let's call this venture. Here we go and here's our sequence name. Here's another really cool feature of the editing. It's got this Final Cut Pro ten style skimming function where all you have to do is run the mouse over a clip, does skim through it. If that is not happening for you, then you can go up here and turn on Live Media Preview. Actually, I'll do this one so I'm going to double-click. Here 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. [MUSIC] Jump cut and now that 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. I'm going to go here and re-frame this shot like this. [MUSIC] Notice that because I modified this shot here, and scaled it up a bit, it now change the color of the shot so that we know visually that something was modified here and now we have these icons here as well. Now I hit Shift C to see the whole clip. Let's just watch through it again and we'll keep going through a few more of the basic editing tools. [MUSIC] Let's just say we want to do some 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 as scrolling to where you want to go. Now, if you hit "Command B", what that will do, was make a slice all the way through all the different tracks. I'm going to delete that, or you can just simply hit "B" and then make a cut wherever you'd like. But let's say we 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 just zoom in and attach. I'm just going to adjust something so you can see a change in how to use that tool. [MUSIC] I made a blade there. I can add a little jump cut in there. Then lastly, I'll show you these few other little tools that are very helpful. Basically it's markers, they're great because you can always go through. 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, and then I can name this here and say gimbal shot. If you want to do reminders or leave notes for someone I'll say, reset this back to normal zoom level. Done. Then you will have a marker there and let's say I add something else here and I'm going to just going to add a quick one, add jump cut. There we go. 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, 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. Then I could always go here, B, add that note, add a little cut in there, and then I'll add a little jump cut. [MUSIC] Very slight jump cut, but you can see it. Then you also have something called a flag. Now the difference between a flag and a marker, is you add a marker just to this specific location. If you literally just want to add a marker to this time-code and say, gimbal shot reset this back to normal. Click here to reset. We go. Then here the add to that specific location or if I have something on a specific clip here, [MUSIC] 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. 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. Now, a flag is attached to this clip. It doesn't matter where, it moves with it. 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. You could have say, a two-hour long movie and if this clip here, let's say a documentary and you have the same 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. 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, move out here and say the color page. You can always go into the Lightbox and we'll get to the color page later, but then you can go here and then say, you know what, I just wanted to look at the green flags. It'll isolate those, so you can say, I can see all the green flags. Maybe you want to apply the same gray to all the green flags, or maybe you just want to be able to 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 them. Lastly, I'll just add a few things. For example, transitions, maybe if I want to add something like a Cross Dissolve, I can just drop those in and then select it. Then the Inspector, I can modify these different parameters. Adjust the size of a transition. [MUSIC] Select that, also delete it. You can see the large options of effects that we have. You also have your different effects filters here. If you wanted, for example, 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. Now that we added that in the Inspector, we have effects and we can modify that here in the Inspector as well. If I want to turn this off, we can simply click here and turn that off. I think that gives you a good idea of the edit page. We went over a lot of the more commonly used tools in the edit page. 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, 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 and the timeline, re-sizing the different tracks here which is very helpful, adding a blade tool, for example, ripple edits. In the next lesson, what we're going to do is jump into some basic audio editing in the Inspector Window. 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 Fairlight. Basically, this used to be a stand alone, full-blown post-production sound mixing program. Then DaVinci Resolve, purchased it and stuck it into DaVinci Resolve and so now you basically have the power of a full-blown audio mixing and editing program like Pro Tools or Logic, anything like that within DaVinci Resolve. It's a thing, the sky's the limit when it comes to this program. But I'm just going to go over some of the 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 sound design compared to only having this layout and this little box here, in these little meters here. I mean, just a comparison you can see right away that you have a lot more to work with. So we're just going to do something very simple here. Again, everything that you did in the previous page you can do here. It 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 setup as stereo tracks. Whereas here we see something a little simpler, it's just one track, here we go one track adventure and you can see both. Here, you can see both the left and right channels and it's all laid out up here as well and all your different loudness meters always has a story [MUSIC]. 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's all revolves around just simply the audio part of things. But one of the main things I wanted to show you here, actually, I wanted 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. Now I'm going to mix the music with the voice-over, 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. Then you can see that we have the fade icon here and then also one here and that way we actually want to record as we're making adjustments on the fly down here. Okay, so let's just listen through it. I'm actually going to adjust the music. [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 this all along. Once you've conquered one journey, the next one is always on the horizon. Explore the wilderness." [MUSIC] Until that has been recorded and actually, if we go here to where it says none and we turn on fader levels, we turn 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 and just make all the different adjustments. Basically the automation is something that some people like having on all of the time. Doing this here is 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, 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. [MUSIC] Explore the world, you see and then that'll record that and so you don't actually have to turn this on. That's just an optional thing for you, depending if you want to do a just a 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 will record all of them. Now if I go back and then on this one I'll go through and mix just the voice-over. [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 this all along. Once you've conquered one journey, the next one is always on the horizon. Explore the wilderness." [MUSIC] There we go. You can see that it's a much easier now this is obviously a very simple example, but you can see that in our situations we have a lot of tracks, things like that, a lot of times editors will work in something like this and just make a ton of different key frames 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 easier and move along much faster. Now you can actually watch it. Here's your playback window you can also just break this out if you want. Resize it or just leave it there. [MUSIC] "Adventure, it's a word that always has a story. Adventure makes us stronger. Adventure terrify's 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 this all along. Once you've conquered one journey, the next one is always on the horizon. Explore the wilderness." [MUSIC] There you go. That is a very quick introduction to Fairlight, more than anything again, this whole window alone, could be a 10 hour course on its own, is similar to the color window or the Fairlight window, you could simply spend hours and hours, you're going every single little tool because they are full-blown post-production editing tools for sound and for color and for the effects 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 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 better. In the next lesson, we are actually going to go back into the edit page and we're going to work with title so now that we have this project here, we've mixed it, we've done a basic, we've found our picture lock, so to speak, now we're going to add a couple of titles and start polishing things further, so I will see you there. 8. Let's Make Some Titles: Here we are. We're getting a little bit towards the end. 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 pretty a basic tool that's simple to use. Let's just go, we're just going to make a couple of 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. Let's say I do something like that and then of course here we can go through and pick a font. Let's just say I pick something like this for example and then you can go through and change it like that. 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 on the "Inspector". Then you can go through and let's say something very simple like this. Or you could always remove this here. You have all these different lower thirds, middle third, lower third scrolling. Then you have what are the fusion titles which these are just a little bit pre-animated call-out send reveal. Here you can have a lot of fun just going through all of these different titles. Now, let's say you just drop something like that in. This little line here basically means that it has to render out which is what the blue line means. It means that it has been rendered, so because fusion is such. This little icon here, the little three stars means it's a fusion clip or title. Because fusion is so like processor-intensive a lot of times when you use these you will have to let the program create that blue line meaning you're ready to go. But you can see these are all pre-animated but you can always skim through them like this. You have a ton that you can look at. Then of course if you do bring them in like let's say, I do lets maybe something like this and say I bring that in. You of course have all the editing tools as well. But you can go here and type in whatever you want. Font color, make all the adjustments to the bar, a lot of power and 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. 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 blur that, something like that. Then we just do a basic title right here. I'm actually going to select both of those. 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 mess up your edits. I'm holding down Shift, dropping it down. Then I'm just going to do that. Let's see, I'll go back. I'll just do this. I'll make that black. You can make all these different adjustments there. I'll just do that and I'll actually just make this a little bit bigger. Just adjust the tracking. I'll just do something simple like this. Do a quick fade in. There we go. Let's just say I hit "Play" adventure. Now I'm just going to zoom in like this and I'm actually going to select everything, maybe slide it over about one second which you can see and then I will zoom in. It just needs to be a little bit longer. So I'm basically adding a second there and a second here. Adventure. [MUSIC] It's a word that always has a story. Adventure makes us stronger. Adventure terrifies us. Adventure. Push it. Then at the end, if you want to just simply repeat a similar title scheme, I can select these too, copy it, paste. Then let's say I just expand that out. I'll zoom in. Maybe I'll make this a one second fade in. [MUSIC] Then he says explore the wilderness so maybe I will change this. To say, here 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. 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 make some small adjustments there. Then let's see. I don't want the fade in there. Now at the end we're just simply going to have a simple cut. [MUSIC] Explore the wilderness. Then maybe I will extend that out and do a one second fade out. Shift Z to see the whole timeline and now I'll just back up to here. [MUSIC] The next one is always on the horizon. Explore the world in this. Maybe I'll transition, then I will do video and I'll say dip the color here. Select the transition color, I'll do dip to white. Also like this transition extended. Conquered one journey. The next one is always on the horizon. Explore the world in this. Basically titles are that easy. You can also create something and another program like Photoshop or anywhere else and drop in JPEGs or TIFs or anything like that. You can see this project is coming together. We have the titles and we have the sound mixing everything. In the next lesson we are actually going to jump into color and give this a little bit of a look to keep bringing everything together, keep it cohesive. I will see you there. 9. A Quick Grade in the Color Page: Here we are now in the Color page. I obviously have a ton of lessons and classes that you can take for color. 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. 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 fair light, done 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 mini timeline that shows you all the individual shots. 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 Kodak, you can now see which ones had effects on them and what the effect is, for example, we can see our titles, so we can see a lot of information. Then here we have the different tabs within the Color page. 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. 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 green, a lot of stuff that you can do here. Then some of the more advanced tools, such as the noise reduction, which DaVinci 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 spiderweb color wrapper if we want to modify colors, DaVinci Resolve like I mentioned before, with fair light end. Also fusion, it's one of those programs, like in my case, you can make hours and hours of courses just on this program because the possibilities are endless, it goes and very deep, very complicated, very minute adjustments. That's why it's the industry standard and that's why 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 secondary, for example, if you want to do a key, and then here we have 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. Let's reset all of this stuff. Tracking windows, so if you're wanting to, for example, follow this person here, you could draw a window on them and track them as they're moving. Also this very cool new feature called magic mask, which 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. Then keying here, which is basically an adjustments, for example, if I make an adjustment like this, I can reduce the intensity of that adjustment, so here's where it was or turn it off completely, and then I'll just reset all this stuff here. Then in this window is resolves optical quality resizing in case you want to pan or zoom in. This is another feature that Resolve is very well known for. 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 make an adjustment to the first one here, and then maybe you add a node and make another adjustment to this, and then another node, and make an adjustment to that, etc. 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. 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 very useful thing to have. Then of course you have your media pool, if you want to go back here. You can see the rationale behind all the windows. In Resolve it's pretty similar, you have your different windows, different lots here if you want to apply that, and a cool thing too is you could always go through and just by again hovering over a lot, it gives you a preview of that. I'll go back here. 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 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 grade quickly. I'll have it show me all the clips and also the effects similar to the other pages that we've gone through. Then this very cool feature called light-box, which 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 easy, but for example, a longer project like a feature, it might have 1,000 or 2,000 shots, and obviously finding the shot here, scrolling and scrolling or trying to jump through it takes awhile, but if you have the light box you can very easily just jump straight to it. Again, because if you want to go deeper into color correction, you can check out a ton of my class that I have now from intro to intermediate to advanced. Here I'm basically just 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. I'm just going to give this a very quick cool look just to keep things consistent, so I'm just going to do a very quick grade, so I'll do this. I'm just going to cool things down. I'm just going to go through and speed this up a little. [MUSIC] That was just a quick time-lapse of me grading this definitely a speed grade. Just really I was just giving you a cooler bluer look, which again, you can see here in the overhead view, it's has a little bit more of a cohesive look to it. Not perfect, but again, we're just worrying more about the overall workflow right now. Let's just watch through it, I'm going to go into full screen. Adventure. [MUSIC] 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. Definitely some shots, I would love it to tweak as a colorist and also edit as an editor, but I think we just have to keep our focus, and remember, here we're just wanting to learn the full post workflow in DaVinci Resolve. 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, and the fair light window to do some sound mixing and adding effects. Again, going through basic tools to advance 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, etc. 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 go over some of the settings then commonly used settings for exporting your projects at the highest quality. We're almost to the end, keep going, and I'll see you in the next lesson. 10. Exporting from the Deliver Page: Here we are in the deliver page. This is basically pretty simple. It's laid out similar to the color page where we have all of our tracks here, and also our timeline here, and we have all of our settings, presets here, you can see you have YouTube, Vimeo, twitter, Dropbox, ProRes, H.264, 65, etc. Final Cut Pro. If you're round tripping back to an editor, for example, like Final Cut Pro 10 or Premier Avid Pro Tools, or if you wanted to the audio only and you can also create presets. That's how this is 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. If I wanted to say just render out this clip to this clip, I can mark in an 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. 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 1080p or ultra HD, or 720. You could make it as easy as clicking on this, preset here. You can always name your file here. Maybe I'll call this Adventure for Vimeo. Like that, and then select where you want to save it to. Maybe I'll go here. There we go. Then here you can simply customize your settings if you want to tweak what's already been selected as the default. Resolution frame rate, what format? QuickTime mpeg4. Which one of the audio tracks you 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. Let's say you wanted to export one for Vimeo and you just want to use the presets, then you would select Add to Render Queue. Something I always like to do is click on these three dots here and say show job details, so you can confirm how it's exporting out. You can see the run-time frame rate, the codec, all detect details are here as well. Maybe we want to do one for Vimeo, then we want to do a ProRes master. I'll select this, and I'll do the same thing, Adventure ProRes Master. 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'm just going to export a master file, archival quality ProRes file. I'm going to do a single clip, QuickTime ProRes. Let's say I wanted to do 444. 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. Obviously, if you shot something in 4K, you would export in 4K. If you be shot something in HD, there really would be no reason to export and appraise your file to 4K because then you'd be losing quality. It just takes as an example, if you want to switch the resolution to anything you want, obviously the frame rate would stay the same as well, and you can ask it to export an Alpha if you'd want to do that. Then under Advanced Settings, you can see that you have a lot of options. Ninety nine percent 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. You can see that all of these options also Data Burn-In. For example, this is another thing if you're sending a clip to a client, for example, I would definitely go into Workspace, Data Burn-In, and you can see how all of these different things that you can burn in. The timecode, 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. Let me put this here, and I can say First Pass. 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. I will actually turn these off. Basically, that's what that refers to. Data Burn-In, same as project, or do you want to do none or just the time code. Basically meaning all of the stuff, the logos, the texts, 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. I won't get too much into this stuff here because like I said, it's a very complex program. We didn't get into this stuff earlier, so it really wouldn't make sense. But just involves, 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. Then of course, if you have any subtitles, this is where you would choose to export subtitles as a separate file burned in, etc. You have a lot of control here. Now we have basically a Vimeo format and then we have a ProRes 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. 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. This is basically very cool. That resolve tells you, hey, your timeline is not a 4K timeline, so why are you exporting in 4K? It's telling you if you do that it's going to be lower-quality. That's why it's telling us that. I'm just going to go ahead and say add because it's just an example. Now we have both of these different files that were exporting, and I'm going to do one more custom one. Let's say I'm going to do a H.264. Maybe you have a place, or a client, or someone who needs things in the same specs every single time, you could always go here and say H.264 master. I'm going to say Adventure for Client. Maybe they always want you to do H.264 HD data rate. They always want it to be 50,000 kilobytes per second. Maybe they always want you to force the sizing to the highest quality, for example. Let me drop this down. Then for audio, they want you to always do 16-bit. 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. Let's say I'm going to name this Adventure Preset. Then you will have all of your presets right here. 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. I'm now going to also add this. Now you can see you can just batch a lot of different files and then I hit "Render All". There we go. You can see it's rendering. It shows you up here how fast it's rendering. Then the progress here, and it's telling you the estimated completion time. Now it's all totally done and it renders out to the location that you selected here. 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. I will see you all in the next and final lesson. See you then. 11. Final Thoughts - Congrats!: That's it. You finish 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 hear what you have to say. If you created your own project, please post it to the projects page so that we can all check it out. 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 our colors thinks then I would say, take an introduction with a pro colorist. Again, thank you so much for taking the class. I hope you learned a lot and I'll see you next time.