Transcripts
1. Introduction: There's something
about the creative process that is just free. And there's a sense of
accomplishment you get when you get done with a video and
you get to look back at it. That I feel like you just
can't get from anything else. I'm Marcel Patillo and I
love everything creative. I fortunately have had the
chance to direct, and shoot, and edit, and color for some amazing companies
all around the world. And there's something
truly special about taking a blank canvas, starting from nothing,
and putting together the pieces to create
something really special. And while the
creative process can be difficult at times,
it should be fun. And it should be free a chance
to think outside the box, to break the rules and to
really learn as you go. Venture resolve started as the industry leader in
color grading and now it has taken the
industry by storm with the venture resolve
that we all know today. With its audio
editor, video editor, color grading, Wart Station, and VFX, you can truly do everything, this
all in one program. This class will be an
overview of what makes this program so
versatile and capable. We will go through a simple
edit so you can understand the UI and each tab In
the Resources tab below, you can download
the entire project and follow along step by step. My hope for this class is
that by the end you'll have a decent understanding of diventuy resolve and how
the various tabs work. No matter if you are an editor, an audio engineer, VFX
artist or colorist, or even the jack of all trades, the diventure
resolve is made for you When being creative,
try not to overthink. Be patient with yourself
and enjoy the journey. So let's have some fun
and let's get started.
2. Getting Started: What is up again?
Marcel Potillo, and we're back for lesson two. I started like a lot of you
are probably starting now. I bought a camera and then
scoured the Internet for all the information I could find following other
people's experience, because that's the best way
to learn is from experience. And a few years then I
had the opportunity to create videos for
companies like Lu Lemon, Opt Nutrition and Even, and hopefully this is the start of a similar journey for you. So in this class we'll be
going over a simple edit. We'll start with importing
and organizing our media. And then we'll add some
of those clips into our timeline. We'll
replace them to music. And then we'll jump over
the color tab where we can add more emotion and
feel in our color grade. And then we'll export, where we can see our final product. So the fun thing about
this is in the end, we can all share
our project with each other and see
how each person made a different piece
with the same material based on their own
creative choices. And I just wanted
to go over what you'll need for this class. Personally, my setup
is pretty simple. I have a computer monitor, mouse, and keyboard, and
that's really all I need. Venture resolve also works
great on just a laptop. I do plenty of projects from start to finish,
just on my Mac Pro. And as far as your
workspace work, wherever you feel the
most comfortable, whether that's your bedroom or your office, or a living room, or even a coffee shop,
wherever you can hear and see what you're doing
clearly is perfect. So I encourage you to
watch this entire class because the more venture
resolve you know, the more of a well rounded creative that you'll
end up being. As well as the more comfortable
you are with the program, the faster you can
provide a great product for yourself or a client
you're working for. So now it's time to get started. Make sure to download
and install. Vince, you resolve, get into a comfortable workspace
where you can hear all the intricate
details of the class. And make sure to
download the media we've made available in the
resource tab below. Let's jump over lesson three. We'll do a deep dive into
resolved user interface. We'll see you all there.
3. Discovering the Interface: So now we'll start
with lesson three. Well, we'll go over the
UI of Venti Resolve. The first thing you'll
see when you click on the Venture Resolve icon
is the loading screen. Now Vent Resolve, like I
said in previous lessons is an all in 11 stop shop for
everything Post production. With that comes a little bit to learn with the
different various tabs. And the first page you'll
see is the project manager. And here is where you'll
manage any projects that you're currently
working on, have worked on in the past. You can see that I have a couple different databases
here of projects. And this one in
particular is made just for skill share to
keep things organized. Now if you write, click in here, you can make a new project. You can make a new
folder if you want to organize a series of
projects under one folder. You can import a project that may be a different
editor has sent you. Or you can restore
a project archive, which we'll get into
that in future classes. But the project archives can
be very useful and helpful. And so the first
thing all is is, is click on this
Untitled project. That's a great way to
start any new project. And by default
it's got us in ten ADP at 24 frames a second.
So we'll click on that. And the first page that
we'll see is the cut page. Now the cut page is not
generally where you'll start. Where you'll actually start
is in the media page. And this is where you can
access your hard drives to bring media in
to the media pool. And the media pool you
can actually access on any tab in Davinci resolve, which is extremely helpful because you never know
when you need to bring in that little clip or that
little sound effect or that logo to either
animate or manipulate. Across the bottom you'll
see all the different tabs that you can get into in
Davinci resolve and that's what I mean when I
talk about the all in 11 stop shop for everything
post production. Because here you have your
media pool where you can bring in media from
your hard drives. And then you have your
cut tab where you could quickly cut
clips if you're doing something that needs
to be done rather quickly without a lot
of finesse or flare. Then you have your
Edit tab, where you can bring in clips into your timeline and you
see that you still have your media pool here to the
left, as I mentioned before. And then you have
your Fusion tab, which is for VFX and more advanced compositing
or animation. Again, you have your media
pool at the top left where you can always access the content that you have
in your project. You have your color tab
where you can color, grade, and color correct and add
style to your videos. Again. You also
have the media pool up here on your top left. If you want to access any clips and bring them
into your project, you have your Fair Light Tab, which is all audio. This is a one stop shop
for everything audio. It is literally what they
call, in the music industry, a digital audio workstation
where you can have effects and plug ins and VST's
and virtual instruments. And you can record
in here if you want to do any ADR voiceovers, you have mixing controls
and dynamic controls of, of noise gates and
compressors and limiters. It's an amazing, amazing
tab for audio and you can really fine tune and do great sound design
thanks to this tab. And again, in the top left, you have your media
pool where you, again, can access
any of your content. And then at the
end you have your deliver tab where
you can deliver in so many various formats
which we'll get into later. The importance of knowing
what you're exporting to, why you're exporting, what the end result is to be and
what the end location is. So if we come back
over to the media tab, I'm actually going to
bring in some footage. See in my hard drive list to the left that I've got
all my hard drives here. But I actually want access to my desktop and
I want it fast. I don't want to have to dig
through my folder structure. So I can just right click in this list and add new location. And then I can go up
here to my desktop and click Select Folder. Now I'll have my desktop
in this list and I can go up to Skillshare where
I have my Bronson project. And I'm going to
add this footage folder to my media pool. The best way to do that, to stay organized is if you right click, you could just add
folder into media pool, but then it would
add the contents into the media pool without
really any organization. So I'm going to go to add
folder and sub folders into media pool, create bins. And this way when it adds
the media to the project, it'll actually create folders or sub folders if there's subfolders
within this one folder. So if I click this,
it'll now ask me, do I want to change my timeline, frame rate to the frame rate
of the footage for now I do. So now I know that
all my footage and my timeline are at
the same frame rate which is 29.970 and all
this is four K footage. I mean maybe some of
it might be two K, but I believe it's
all six K from the black magic six K pro
and it's great stuff. I love, this was a
really fun shoot to do. If I want to add more
music I could go to this master clip over to the left in my folder structure and then come to my
music for this project. Right click and add folder and sub folders into
media pool, create bins. And now we have our
footage in one folder, our music in another folder. And if I go back to Master and then I can
come over to Edit, and I can either
right click and go to Timelines and
create new timeline. And this will give us options like we can name this timeline, let's name it
Bronson, because that is the guy in the video. And if you want to specify
certain things about your project or your
timeline, you can deselect. Use project settings and
then come over to format. And you can change it
to whatever you want. If you want it to be
two K, or four K, or even eight K,
you can do it there and even change your frame
rate from here as well. You have some monitor and output and color options as well, but from here,
everything looks fine. So I'm going to hit
Create. And you'll see over in our media
pool in the edit tab, we now have a timeline. Now that timeline is already open in front of us right here, and now we can get to work. So if I go to my footage
and I want to bring in, let's bring in a really
good looking clip. Let's go with this one here. So if I double
click on this clip, I can now preview it in my previewer here and
I can scrub through. And I can pick which portion of this clip I want to use
by maybe going through. And let's say right
here looks good. I can hit Eye on the keyboard
to make an endpoint and then drag this further out
and hit to make an out point. And then if you hover
over the preview window, you'll see two icons
on the bottom. This is a little video clip and this is a little wave form. And if I want, I could just
drag in the whole clip, which will give me
the video and audio. But in a lot of cases, I really just want to
drag in just the video, and in this case
is one of those. So I'll just go to
this little video clip here and then I can just drag in the video portion of this
clip and then we can play through that really
easily around this. In the edit tab, you have
your media pool to the left, you have your tool box
under that on the left, which is where your
effects would lie. You have video transitions, audio transitions, any title
animations you may use. And you can scrub
through these and preview them, which
is really cool. You have generators like gray scale or any
solid backgrounds. You may want to make
even some little effects here like noise gradient. And then you have
effects that you may use like this little
binoculars look if you want to see them like
some kind of spy or a CC TV border glitch,
digital glitches. And then you have open effects
which is like blurs and more advanced
effects that you'll find infusion over to the right, you'll see that we have a mixer, so you can always
level your audio or check your audio and make
sure that it's level. You have some audio controls like the mixing volume fader, you can change how
your audio is panned. And you don't really have effects control in the edit tab, but there is enough
control there to really finish out and edit
before you go to polish. And over to the right you have the inspector which
is where you'll find all your video properties and ways to manipulate
your video footage. And the inspector tab is pretty much in every single
tab except for color. And here is where you
could zoom or you could pant across
and change position. You could rotate if
things are off centered. I'm just going to go
ahead and reset these. And it's even got really cool
functions like cropping. And when I first start
using resolve, I was like, that's kind of weird
that you have such an accessible cropping tool. But then I find myself using it all the
time and I'm like, God, that's so genius that
they put that in there. And one of my favorite tools in the edit tab is dynamic zoom, which is just nasty
with one click. Now I can play this and it's actually zooming back
as I'm pushing forward. And if I were to swap this, you would see that now it's
zooming in even faster. So it's just a really cool
and easy way to kind of do a nice little push in or push
back in any of your clips. And if I turn that off for now, some other modes like
compositing modes, you have stabilization
**** correction, Re, time and scaling. So last but not least,
right above your timeline, you have these tools that are kind of commonly used
tools and editing Trim tool is really
nice because I can now trim through the clip
without moving the clip. I can leave it where
it is, so if I do have a lot of clips stacked
on top of each other, I don't have to kind
of move this around and then elongate it and
then now shorten this end. Instead of doing all
that, I can just grab the trim tool and scoot to
a more preferred place. In that clip, you have a dynamic trim, which
is really nice. And a blade tool,
which if you hit B, which two of my favorite
keyboard shortcuts are, A for your normal cursor
and then B to cut. I tend to use those the most. And with B, you can
cut pretty much on any cursor as long
as your snap is on. That, again, is in this tool
menu above the timeline. So make sure your snap is on. I turn that off a lot and
then forget that it's off. And then I go to cut
something and I end up getting close to the
cursor, but then it's not on. But if you have your snap on, then you can easily just
hover around the cursor. And if you press Cut, it'll cut. You have overwrite
clip and insert clips. You can easily swap
clips with another clip. So if I wanted to
click on let's say this clip and then
swap that one, now it would drop that in place of where the
other clip was. And then of course here you have snapping, linking and locking. And then at the end of this,
you have zoom in and out. You can zoom in and out
on your timeline if you need to see a little more
detail or if you want to make a very fine kind of fade in on a certain amount of seconds and you need to
zoom in to see that, that's very easily done there. And then to your left, you have a really, really, really nice tool which is your timeline view options here. Like let's say your computer is a little sluggish right now. We have film strip view, but I could go to
thumbnail view or give me less visuals on my timeline, making it easier
for my computer to compute the timeline
as it sweeps across. Or if your computer doesn't
even like that at all, you can just go to single view and it won't give
you any imagery, it'll just give you the bar and makes it a little
bit harder to edit. But if you're on a
slower computer, that can be really helpful. And then of course, moving down, you have the same type of
tools for your wave forms, different ways to view
your wave forms If you had audio pulled in and then
you have your track height, so if you need all
the tracks to be bigger video or audio, you can easily do that there. All right, so now that we've
gone over the edit tab, I want to jump over
to the cut tab. Just to mention that the cut tab is used to cut a
little bit faster. You see that there's
no audio properties here and there really won't be much you can do
with audio in this tab. It's really just for cutting. Like if you have a
very long interview and you need to
cut out ****** in between or if you have a bunch of content that you
need to really consolidate, the cut page is
great to do that. But me in general, I love to use the edit tab for
everything because I like to see all my assets. I like to see where
I have the video, where I have my transitions, where I have my audio, and it's pretty rare
that I'm taking an extremely long
video and cutting it down to super short. And even if so, I'd probably still
use the edit tab because for some reason
there's peace of mind in seeing all
the properties and all the assets
in one screen. But for now, let's head on to the next lesson and I'll
see you guys there.
4. Understanding Resolve Main Capabilities: So welcome back. Now we're
on to the Fusion tab, the color tab and delivery. The Fusion tab is made for compositing for VFX
and for animation. So if I wanted to
build any kind of even lower thirds like if I
wanted to display my name and my job title across the bottom
fusions where I'd build an animation like that
if I didn't use one of the stock titles that are
already built into resolve. In the color tab, you can see that we have the
media pool like we have in the edition and the tab, but we have our preview window. And then over to our right
we have our node tree. And the node tree
is how you will build out your color grades. Just for a simple quick example, if I were to write,
click on this node. I can go down to
Lutz. And this is black magic design footage
from the Black Magic Six Pro. So I can go to Black Magic Design and
then come all the way down to five film
to extended video. Because this is in five film and I want to make
it extended video. And so boom, there we have a light color grade
on our first node. So if you want to add a new
node, you can just write, click the node that
you have there and go to add new node. And there's various nodes that
you can use and they have various different
functions that are very helpful and we'll get into
that later on in this class. But for now, one way also to add new node is just hit Alt S and you can add
new nodes and then make corrections from there. And I know the node
work system seems a little weird and
a little different if you're used to
layers or tracks. But it's really, really helpful, especially when you want to add new corrections and
different corrections. And maybe you don't want to
have baked in corrections. You know, I don't want to do everything to this node because then everything I do
is baked in this way. If I make every adjustment in a new node and if I end up changing my mind or not
liking the correction, I need to delete that node. Or even deactivate it with control D to not see it anymore. So I'll get a little
bit more into nodes later on in this class, but for now we'll just stick
to the UI to the left. As I mentioned, you'll see
the media pool which you can preview some of the media that
you have in your project. Under that you have your clips, which as you lay down clips in your timeline, they'll
all show up here. And you can click on
them individually and make corrections there. And then at the bottom, you
have all of your color tools, which these are a
lot of color tools. And don't be overwhelmed because we will go into
these more in depth, but I just want you
guys to see kind of firsthand how this
UI is laid out. Each tab in resolve
has a different UI built in for that specific task. So while this may look a little bit more complicated
than the edit tab, it is really helpful
once you get to know it. You know you have your
color wheels here, just your primary color wheels, you have your log wheels, you have your primary color bars are all a little bit different. They do all serve
the same function, but they work along
different parameters. And then you have your
HDR color wheels, you have your RGB mixer. You have a noise reduction, which if you're using the
free version of resolve, then this will not be
accessible to you. It's one of the
very few features that the free version of
resolve doesn't have. But if you do have
the studio version, the noise reduction in
divinu resolve is amazing. And then from the
beginning you have your camera raw functions
which if you're using raw footage that divini resolve recognizes like
this black magic raw. I could come in here and
just go to decode using clip and now I have raw functions so I
can change the color, temperature or the
tint or the exposure. And then to the right
you have your scopes. Right now we're on the parades, but you also have waveform and your vector scope
and your histogram. And so all the tools
that you'll need to get your footage
well calibrated, corrected, and graded
Along this middle section, you have various tools
as well that are very helpful like your hue or
saturation color warper, which can take, you know, if I want to move my reds
slightly more to the greens, that's easily done there. Or to the purple
which you can see in this bar at the
top of the footage. And then you have things like your qualifier for
qualifying specific colors. You have masking tools which the masks and vini
resolve are outrageous. And they make things so
fun because you have so much manipulation
opportunity with the masks. And then you have
trackers for those masks. So if I wanted to
mask this car and then track it, it
could easily be done. Here you have a
magic mask which I could select a certain object like this car and then resolve. Using AI would just know
that the car is there, no matter where
the camera moves, it would stay on that car,
which is pretty cool. And then you have blur effects
and sharpening effects. You have your key, which is almost like the
opacity of a node. And you can use this
to max out the gain, or if you like what a
correction is doing kind of, but you don't want
the full performance, you can kind of knock that down a little bit like
you're seeing here. I'm kind of lessening
that let that we put on the footage
and then we have transform tools and
then three D effects which will save for another day. Next we have our fair Light tab, which is everything audio. We don't have any audio laid
out here, but if we did, you would see the audio tracks laid out very singularly here. There'd be a preview window at the top where we could
see our footage. And then to the right
you have more in depth effects for your
audio like dynamics, which includes a compressor, noise gait limiter, very helpful stuff
to making sure that your audio is
full and level. You also have an EQ, and then
you have your Effects menu, where you can pull
in various built in effects or any
VST's you may have. If you have things like
isotope, or ozone, or any waves plug ins, you can actually bring those in to resolve using
this effects window. And then lastly, you
have your deliver tab, which is pretty much
where everything comes out and you
have a lot of options here at the top for various
things like Dropbox or Youtube or Tiktok or
Twitter, whatever it may be. Under that you can
name your files, you can place where the files will be located once
they're exported, as well as a bunch of different formats to
make your videos in and resolve has all the
industry leading formats and resolutions and
Kodaks and encoders, and we will also get into
that later on in this class. So as you can see,
Venture resolve is the only all in one
platform for video audio, color grading and VFX. All the tabs hold an extreme amount of
power and of course, you can make a great edit
with just the edit tab, but you really enhance your edit in the color and
the fair light tab. And if you take things
a step further, you can go into the Fusion tab. So now that we've
gone over the UI, take some time, familiarize yourself with some of the tools. Click around and don't
forget to have fun. And when you feel
like you're ready, I'll meet you in
the next lesson, we'll do a deep dive
into the edit tab.
5. Mastering the Media and Editing Pages: Welcome back. Now
we'll do a deep dive into the media tab and edit tab. The media tab is pretty simple. That's just where
you bring in your footage as I mentioned before, and any media you may have,
any pictures or audio. So here I'm in my
project folder and I'll just bring in my footage by right clicking on
our footage folder. And I could go to add
folder into media. But then that will just
add all the contents of that folder into media pool. If I go to add folder and subfolders into media
pool create bins, If I click that then
it'll add our media as well as create a nice folder
to keep things organized. If we think smart now, then we'll save
time in the future. And if we go up to our master
folder in our media pool, now I can go up to
our music folder, right click, and use
the same option, Add folder and subfolders
into media pool, create bins, and now our footage
and our music in separate folders well
organized and ready to go. Last thing we'll do is bring
in our logo for Bronson, who this video is about. And then from here,
we'd be ready to jump into our edit tab. We'll have our media pool
with our media in it and well organized
on the top left. Now in the media pool
button at the top left, We can close our media pool. If we ever need more space, we can do the same
with the effects that are on the bottom left. If we click the Effect button. So we could click the
Effect button and the media pool
button if we needed more screen real
estate in the future. But for now I'm going
to keep those open. It's just something to know
about the UI of the edit tab. So now we'll jump over into
the edit tab where we'll get a better
understanding of how to lay our footage
and audio out. The goal here for this
video that I'm working on, it's a photographer that shoots cars and I want to
really encapsulate kind of the coolness of shooting cars and
kind of make it build. You really want to
use emotion with your edits to kind of
take people on a journey. If it starts at ten
and ends at ten, then you kind of
keep people on a very static wave form when if you kind of
bring them in slow and then build it up
to kind of climax, you kind of tell more
of a story that way. Looking through our footage, I'm going to start with
maybe him greeting a camera, which I believe
would be this clip here where he walks
up to the car, he looks around and
starts taking shots. I can just grab the portion
of this clip that I need by dragging
the cursor forward. And let's say I
want to start with his foot coming in to frame. I could hit there and
then play through a little bit and hit to
create an out point. With this clip selected
in the media pool, with our in and out points
already established, I can hover over this clip in the preview window and
you'll see these cursors. On the bottom, one is a video clip and
one is a wave form. This will allow us to bring in either just the video
or just the audio. And I just want to bring in just the video of this portion here. And then we'll go from here
and take a look at this. And that looks good.
So now I'll need to bring in some music to
past our video along. To me personally,
I let Music lead the way on edit unless I already
have a plan established, unless there's a storyboard
that I have to stick to. If I'm just trying
to create a motion, usually I'll find a song or
create a song like I did in this video and then past the
video along to that music. So if I come down to
our music folder, we have our music track. I'll just select this and then drag it down to our
audio one track. And now we can hear the music as we edit along to our video. And I'm going to try to
edit along to the beat. If we think about this, which this may be easier for
some than it is for others, but if we take a
listen to the music, I'll want my next clip
to come in on the beat. So it's like 123 cut there. We'll make our cut and then
we'll add our next clip. So if I go up to
footage and then find our next piece of footage
that we want to implement, My idea in my head is to
have him coming up to the car and assessing
the car as we're showing fine detail
of the car itself. So let me come down
to maybe this clip of the diffuser here on
the front of this car. Let me just pick from here. I'll hit Create an endpoint, and then play through and
hit to create an outpoint. We'll drag this down
to our time line. Now we'll have one clip. Then again, I want
to cut to the beat, but I want to cut to a
different portion of the beat. We waited for 4
bars here, 123412. And then I'll cut
again. This will be a little faster of a cut. Boom right there. And then I'll bring in another
section of the last clip. I can maximize our view here with the zoom in
and out and see, okay, this was clip A 004, bunch of numbers, 020, so I'll find that C 020. Again, I can also identify the clip just based on
the in and out markers. We've only done that
for one other clip. If you kind of scrub
through and you see, okay, there are my in and out, that must be the
clip that I used. So there's a couple ways you can identify which clip
you're looking for. So I'll scrub through here. And I like when he
brushes his hand through his hair and I'll hit here
to create an endpoint. And then hit an outpoint. And then we'll again use our video clip marker to just drag in our video
portion of that clip. And then now we have then again sticking to the B foam. Then we'll cut again
and I'll come down here to another clip of the
detail of the car. Maybe this one here of the rim. And we'll hit play
through slightly hit and we can bring that in. And I'm going to leave this on a different track just in case, just to try to keep myself a
little bit more organized. I know that video track one will be of
Bronson himself and video track two will be detail shots of the
car in going through. Boom. I love that. Now there's a few things
about these clips that we'll want to do
to enhance them. Right here in the edit tab, one thing that I'm noticing is a little bit of
shake in the camera. My gimble skills were maybe
a little shoddy that day, but we can correct
them very easily in the stabilization tab to the
right under the inspector. If we go down to stabilize, there are a few options
within stabilization. There's perspective, there's similarity, and
there's translation. Now, I highly recommend that
you go through each one depending on the
clip that you're using to see which
one does the best. Because let's say I use perspective with this
clip and I hit stabilize. This looks smoother,
but I'm also noticing like a wobble
type warp in this region. Perspective will give
you that wobble warp. In some situations,
perspective is perfect and we'll see
that here in a second. But in some other situations, it just manipulates the
footage in a way that may seem a organic for this one. Let's go down to similarity. It's one I use quite
often as well. Similarity meaning
let the program see in the clip what's similar and let stabilize
base off of that. Now if I play this back, we're looking much smoother. But I could even bring
our smooth parameter up. It stabilize again.
You know what, I'm still seeing a bit
of a wobble there. I'm going to knock this
down to 393 in the smooth. Then we're going to
use another trick that I love to use all the time, and that's the dynamic. The dynamic zoom will
help us either push in or pull back at the bottom
left of the preview window. If you have dynamic zoom on, you can come to this drop down menu where it says transform. And come down to dynamic zoom. Now it'll tell us where we're pushing into or pulling back from the default position of the dynamic zoom
is to pull back. It's telling us with this green square that we're starting here and we're pulling
back to where the red is. I'm going to take
this green square and I'm actually going to expand it. Because I don't want it to
be that fast of a pull back. I want it to be slow. If we start about
there and then come back to the beginning,
turn this off. So we're not seeing what we're previewing in the dynamic zoom. Now it's going to
give us a pullback. It might look better
if we push in to accentuate the car and the fact that he's going to the car, and so we're pushing in as
he walks towards the car. And we can do that
a little faster. So if I bring our dynamic
zoom properties back up, go to this red, because
now they've switched. Instead of the red coming
back to the green, the green's pushing
in to the red. Let me zoom this in quite a bit, and we should see a
pretty drastic push in. That looks great. So I'm going to do the same
thing with our stabilization, with our next clip. And this is a clip that
perspective will probably work great on if we just hit
perspective and hit stabilize. Now we can play this back. It's very smooth again. Going to our next clip and
stabilizing this as well. We can go to similarity, Leave the smooth where it is. Hit stabilize, that
looks pretty good. I'm going to move the smooth up quite a bit to almost 500. Stabilize again. Then we're going to do another
dynamic zoom. Pushing in, again, accentuating that he's
walking towards the car. He's going at the car again. Like I said, the dynamic zoom, the default property is to
start close and to pull back. So we'll want to swap that
under dynamic zoom to push in. And then if I hit off
those properties, we can play this back. Yeah, that looks nice. We can hit our dynamic
zoom properties again, clicking in on our
closest point. And then we can move
this to the side, because I want to keep
the car in the center. In the beginning, the
car is in the center, but as it moves over, it shifts to the left slightly. So this will help keep
that car centered. One last thing, I'm going to try our translation under stabilization instead
of similarity. It's a real game of massaging. Actually, let me
try perspective. Yeah, that looks
great, very smooth. And then this last clip
doesn't really need anything, but I'm going to do a similarity stabilization
just in case, just to make it as
smooth as it can be. Yeah, that looks great. So now I'm going to go ahead and build out the rest of this edit. Now make sure to go through all the media that we have here, see what we've got to work with. Compile it together
however you would like. However you feel like
is the most creative to you and how it would be the
most cool to see on your end. And I'll do the same. And you can see how I edit it and kind of take some
inspiration from that, or you can completely
do your own thing. But I'll see you
guys here in a bit. So now I have finished
my baseline edit. Just kind of the bare bones of what I need
from the edit tab. And we've left the timeline for you to download in the
resource tab down below, where you can follow along using my edit or you can follow along using the edit
that you already made. So now we'll jump
over to Fair Light to help our interview audio
sit in better with our music and to go
over the UI and some of the tools that I use the most in Fair Light.
We'll see you all there.
6. Figuring out the Fairlight Page: Welcome back. Now we are in the Fair Light tab
where we will kind of help manipulate our audio for the interview audio to sit
in better with our music, which is something that's very overlooked by most filmmakers. People often say, but
don't really apply, that your audio is half
of your video experience. And early on in my video days, I forgot that all
the time and ended up with some really good looking videos that sounded terrible. And so hopefully by
the end of this, you'll have a better
understanding of how to have audio really sit in to your video and not just kind of
be an afterthought. So in the Fair Light Tab, we have our full time
line built out here, which again you can download in the resource tab below if you
want to follow along with our exact timeline
or you can use the same techniques
I'm about to show you to apply to your own
timeline and your own edit. So I'm going to extend
some of these tracks here using our zoom in
our Fair Light menu. So now we can better see we
have our video tracks up top. You'll see here video
track one through seven and our audio tracks
down below here in green. And we have our music, which I'll play for you from, and we have our
interview sitting here, which you can hear is pretty
drowned out by the music. National car photographer. I love cars because they
look good. Sound Good. Now there's a few
things we could do. Of course we could
turn down the audio, but there's a better way to go about helping the interview
audio sit into the music. But before we get into that,
let me just show you around. So as I showed you before, we have a preview window
in the top right of our fair light tab
where you can see the video that you're editing. And then we have our
mixer to the right, which has our dynamics. Like compressor, we have a voice isolation tool
and a dialogue leveler. We have an order splitter
which we can determine how exactly fair light
processes the audio. It could do VFX first
dynamics and then EQ. Or it could do
dynamics EQ than FX. Or it could do EQ
effects dynamics. You know, there's 1
million different ways here and you'll kind of figure out over time which way works best for which project. But for now I'm going to go with EQ effects and then dynamics. That's the way that I prefer usually to do it in
most situations. One thing that's
really cool about venture resolve and
fair light entirely is if I click on an
audio track like this music track down here
over in our inspector, we have a lot of audio
properties built in just right there that kind of happen before it even gets to
the track level effects, just in the clip level effects. We have volume, we have Pan, we have voice isolation, dialogue leveler, we have
pitch speed change, and EQ. And EQ is the one that we're going to be using a lot today. And one thing that's really
cool is we have an EQ on the track level and an EQ
on the clip level here. Which is really, really cool
because EQing is one way to duck audio or to really manipulate the audio depending
on what you want to do. And sometimes you need
further levels of Q. And so one thing we're
going to do to help the vocal audio
of the interview. Hi, my name is Bronson Laflin. I sit in better with our
music audio is first I'm going to clean up
the interview audio just slightly. If
I play this back. Hi, my name is Bronson Claflin. I'm a Nashville
car photographer. Him, you can hear there's a little bit of sound in
the background for that. I'm just going to turn on this voice isolation
in track one, which is where our
interview audio is now. If I play this back. Hi, my name is Bronson Claflin. I'm a Nashville
car photographer. Sounds great. You don't hear that background noise anymore from the street or the wind. And if you wanted, you could
go into the properties of this voice isolation by clicking the settings and then bringing
the amount down or up. It's just one ****. But
it's very effective because sometimes you want
a little bit of that background noise
and sometimes you don't. In this situation, I have no need to hear the street and the wind
in the background. So I'm just going to leave
this all the way up. But in certain situations, by leaving it all the way up, it might cut into the
frequency of the voice itself. In that situation, I would turn it down slightly
because even if I turn this down to 50% my
name is Bronson Clot. We're barely hearing
the background noise. It's still doing a
great job of isolating the voice without really manipulating the
frequencies of the voice. But for now, I'm just going
to leave this all the way up and then we can move
on to dynamics. So with the dynamic
menu pulled up, we're going to add a compressor. Now the easiest and
fastest way to do that in this instance
is with this dropdown. It has a couple
presets you can use, and right now we're
using dialogue. I'm going to go with dialogue
basic and a compressor. What a compressor will do is
right now you can see within our audio wave form that the audio comes up and
it comes down a little, and it comes up
and down a little. A compressor will compress
the audio together to where things seem a little bit
more stable and unison. If I click on Dialog Basic, this will give us a
basic compression, but that's pretty
strong to give us a more punchy and
a more full sound. Hi, my name is Bronson Claflin. I'm a national car
photographer now. The parts that have
dipped down in volume have been brought up. And the points that peak
high have been brought down so where everything
sits in a more level space. I love cars because
they look good. Sound Good. You can always
catch them at a good angle. Boom. And then we are done
with the interview audio. If I come down to our
music on track 31, thing I'm going to
do is duck some of the high end out
of certain parts of the music to make sure that our vocal of the
interview stands out. With our cursor
right before Bronson starts to speak in his interview
and the music selected. I'm going to hit control B, and that'll cut where the
cursor is in the music. Now I can hit Spacebar to
play through this slightly. When he stops, I'll hit control B again with that
second part selected. And it'll cut our music there. Now we have a section of music, that's just where he speaks. And from there we're
going to do a little EQing of just that clip. That's why I love the
clip level EQ and the track level EQ because
we really just need this EQ during this
certain section and it would be a nightmare
to automate the EQ. And this is a really fast
way to make sections EQed differently than other
sections of the music. So I'm going to turn the
EQ on with our EQ on, we have two bands already
on band two and band three. Our band two is actually a bit of a shelf to where
if we move this up or down, it'll move the entire
bottom end up or down. In band three, we have
what they call a bell, which will just
move a section of the frequencies up and down. We just want to duck down the same frequency of
the interview audio. Which vocal audio is usually
around the one K mark. So I'm going to pull this down around one K. And
then in our band two, I'm going to make that a
bell as well and push down a little bit more of the high mids because that is where
most of our vocals sit. And then I'll actually
drag down the volume of this clip to
maybe minus nine. Hi, my name is Bronson Claflin. I'm a National car photographer. Hi, my name is Bronson Claflin. I'm a national carpotopher. Now, we're getting the
fullness of the music, but we're also getting the
interview audio very clear. My name is we could even
maybe bring the volume up of this clip to maybe seven. All right. Maybe even six. Hi, my name is Bronson Claflin. I'm a Nashville
car photographer. Yeah. Maybe we'll split the
difference at seven and then the next thing
I'll do is go into effect and come to our
audio transitions. And just bring a cross fade in to both sides of
where we cut the audio. So it ends up fading
in to where we have that audio duck and
then it'll fade out back into the fullness
that we had before. Hi, my name is Bronson Claflin. I'm a Nashville
car photographer. I love it. Boom.
And so we would do the same for all these
sections of audio, kind of manipulating
our music track to duck those frequencies where the interview
audio would stand out and then fading
it back to fullness. That way, you know,
you don't lose the emotion because
a lot of people will just duck down the audio
when someone goes to speak. And if you just kind of
turn the volume down, then you kind of
lose the motion of the music in the background
and it kind of becomes something that is kind of
forgot about when if you keep the volume up but then duck the frequencies where you want the interview audio
to stand out, then you still have
that fullness. You still have that drive. And that's what you see in movie trailers where that movie is just hitting and
hitting and hitting. And as a trailer progresses, you hear people talk
and it's very clear, but that music never
loses its impact. And that's kind of what
makes those trailers or commercials really stand out and seem epic and
larger than life. So now that you have a good
idea of how Fairlight works and how to weave in your
interview audio with music, I'll go ahead and finish out
my edit here in fair light. You do the same with your edit and you can come back
and see what I've done. And in the end, you can
share your project. And we can see what you did. And I'll see in the next lesson.
7. Learning Fusion Basics: Welcome back. We are
now in the Fusion tab. Fusion is primarily for compositing V effects
and animation. It's great for
animating logos or title animations
as well as adding any effects or compositing
images together. And it can be extremely complex, but once you have a general understanding
for Al Fusion works, it actually gets
pretty simple and can go a long way in enhancing
your video projects. I'm going to start
in the edit tab and we're going to just bring in a title and then break down
Fusion within that title. If you go to the titles under the Effects menu on
your left hand side, I'm going to come down to
this digital glitch lower third and then drag this
on top of our edit. If I play this through, I
want this to come in as Bronson is introducing
himself to the audience. My name is Bronson about there. If I move it a little
further to the side, maybe here my name is Bros. As he says his name. And then you can see on our
right hand side in the inspector under
the video tab there, you can see that
we have properties for that text animation. And we can change the
wording and the color, and the spacing and the size. So if we go to this large text, I can type in Bronson Claflin. Then from here we can
change to maybe a font that seems a little bit
more to our liking. I'm a big fan of Monas Rat. And then in our small text we'll type in car photographer. I'm going to scoot this to the side, but as
you're noticing, we can't do that here under the properties that
we have available to us. So this is where we'll jump into the actual fusion tab to get a little bit more control over
this animation as a whole. If I write click on
this text animation and go to Open Infusion page. Now we are in the dreaded
but awesome Fusion. And you'll see that
we have two menus here or two preview screens. Which in some situations
can be really helpful because you can preview one node while you have the completion of your node tree in another preview window. But for now, I'm just going to break this down to one preview. If we come up here
to the viewer, we can click on
this and it'll just give us the one preview window. And then you can hold
control and wheel in on your mouse wheel to zoom in and see the nodes
in better detail. This right here is our node tree that makes up
the animation that we have. If we right click on this group of nodes
and go to expand node, it'll open up this
window here where now we can actually see
what's going on in fusion. Which again, can
seem complicated, but it's really not that bad. What you're looking
at here is this is our output and everything
you see before. This is what's creating
what goes into our output. And our output is pretty much the container that we'll
see in the edit tab, where we have full control over the text and the colors
coming back into Fusion. This is running out
to a duplicate and then a mosaic blur and a
prism blur and then a merge. The way fusion works
is you'll have a text node that's put into a transform node that
goes into a merge. Then you can almost
think of this as pages, this is going into
the background. And then this transform node at the bottom is going
into our foreground. You can even see that
displayed in the bottom left. As I hover over these handles, foreground and
background, again, going to our small text, we can expand that menu here. Come over to our layout. And then we can move
the center position. And we want to move this over to more of a right
hand side position. And there's a lot of things
that we can manipulate within this for more of
a deep dive infusion, Definitely check out my
fusion class where you can get a more detailed view
of what each node does. At least the most
important nodes that you'll probably
use with Infusion. But now we pretty much have this set exactly how we want it. And we can out of here, go back to our
edit tab and boom, now we have Bronson's
name, his title. And we can even come into our settings and zoom out a little bit to
make this smaller. And in our position we can scoot this down to be a little
bit more discrete, a little bit more
modest right there. My name is Bronson class
on the left hand side, National Car Photographer.
Boom, love it. Now we'll jump over to the
color tab where we'll color correct and then add a slight grade to the
footage that we have. Let's head on to the next lesson and I'll see
you guys there.
8. Learning Color and Exporting Basics: Welcome back. Now we're onto the color tab where we'll color correct and then add a slight grade to the
footage that we have. We have a fade in
on this footage. On the first clip, we'll want to come to the
end to where it's completely faded in and choose
what we call a hero shot. The hero shot is that
shot that we love, that looks great, and that will build the color correction
and grade around. The first thing we
want to do is add a lut because this
is raw footage, this is not Wc
seven oh nine yet. This is logarithmic color space. With this first node selected, we'll right click and
then come down to Lutz. Come down to black magic design because this is black magic raw and this is
actually in five film. So we'll come down to black
magic in five film and two extended video
because that's what we'd like it to
be, extended video. Now you can play around
with those and create your own look,
choose your own lut. This is just the
one that I suggest for this footage in particular. And I'm going to get
rid of the media pool to give us a little
bit more space. And then I'm going to hit Alt
to make a new serial node. Again, you can make
new nodes as well by right clicking on a node
and going to add node. And there's several nodes
here that we can choose, but we really just need
the serial node again. If you want more of a deep
dive on the color tab, definitely check
out the color class because we will
be doing a lot of cool and neat tricks
that you'll probably love to use in your future
videos from that class. But for now, we're just going to make some simple
adjustments here. If I pull up the
parades in the scopes, you'll notice that these
things kind of go out of whack here on the
handles from left to right. And what you're looking at is the image from left to right. And if I hover my
cursor over this, you can actually see where I'm hovering over
within the scopes. So you're seeing the
luminous levels of the red, the green and the blue. So it's pretty much
telling us that the red is bright on the left side and it's bright on
the right side. And we're seeing that
represented in the image. As you can see, it comes out
of the underpass and into the outside where it's much
brighter under this carport. You'll see that it all
dips down in the red, green and blue, just indicating that it's
bright over here. It's darker here and
it's brighter here. What I want to do
is bring this down to a more black
of a black level. Using our curves, we
can make a point, let's say where we know
something is its darkest. Let's say down here. Click that. Then we can make a point where we know
things are pretty bright. Let's click the sky here. Then using this dot
at the very bottom of our curves that we made when
we clicked our black points, we can bring this down
to make a little darker. Then we could do two things. We could make a point
in the mid tones of our curves and bring this up
to bring those shadows up. Or we can come over
to the colors wheels. And then under shadows, we can bring the
shadows level up. That gives us a
much better result. Bring up the shadows without
muddying up our highlights. Then from here, I'll hit Alt
S to make another new node. We've pretty much corrected,
for the most part, the white balance is
where it needs to be, the contrast is now
where it needs to be. Now I just want to
add a little bit of style to the shot Here. I'll go to the log wheels, which is in that same menu as the color wheels and
the primaries bars, and we can adjust a little bit
of a teal and orange here. If we take our shadows, moving these a little
into the blues, if I reset that, you'll
see it's creating a little bit of separation between the shadows
and the midtones. Then if I come over
to our midtones and push these towards the warm, you can see we're getting
a good bit more warmth around this general zone here. If I turn this off by
hitting control D, I can turn off that node. You can see we're creating a
little bit of style there. Then we had these range markers. What this is indicating
is that under range 333, now we are in the
shadows above range 550, Now we are in the highlights in 333-550 That is the midtones. I would like our
midtones to be a little bit more in
the shadow realm. I'm going to pull
this range 333, down a little bit. Now we can push a
little bit more into the blues of the shadows, without affecting his skin tone, without affecting
his shoes as much. And I can even bring
down that shadow range a little bit more,
just slightly. Now if I control D to deactivate and reactivate, that's nice. And I might even
use the highlights to get a little bit
more warmth there. Almost seemingly like we shot it more towards
a golden hour, which this was midday. But with color grading, you can do just about anything. So now, if I deactivate, reactivate, now we have a lot more punch and a lot more color contrast within the shot. One last thing I'm going to do is hit Alt S to
create a new node. And then in the Curves menu, there's a lot of cool options. You have hue, verse hue. So I could change, let's say, the hue of these trees. If I just click where
it's green in there, I could push this up and
make the trees purple, or I could push them down
and make them more blue. I don't need to do
that for this shot. I just wanted to
show you that that's a really cool option there. And then you have
hue over saturation. So I could click on the
trees again where it's green and just pull that down
and make them just gray. I could take away saturation in a certain kind of
range and color, but what I want to do is
make our blacks black. We can see here in the scopes. Because we've pushed the
blues into the shadows. It's actually pushed the blues
into the blacks as well. But we can add more contrast if we have our warm mid tones, our blue shadows and
then our black blacks. If I come over here towards
the end to luminous ver, saturation, you can see that most of our saturation
is in our shadows. I want to do, if I hold
shift and make a dot, it'll make sure that
this bar does not move. And then I can
click our black dot at the very end and
just pull this down. You can see this in the scopes more than you can
see it in the image. It is affecting the image. And I can see it in the car, mainly if I zoom in on the car and then shift
these blacks down, you can see that we're
getting like some blue. And then over here where
it's really black, it just goes straight black. Then again, in the scopes
you can see that it's raising those red
blacks as well. Now our blacks are level
and they are surely black. Now we have a little
bit of style. We have it fully corrected, and now we can move
on to the next shot. In the next shot we
want the same look. What we can do is actually copy our grade from before
instead of starting over. Because this is shot
in the same room, under the same lighting,
in the same exposure, in the same camera settings. What we can do is
either mouse in, click in on the
mouse wheel, boom. And it'll copy that grade. Or another way to do that
will be to right click. And we could apply grade, or we could also right
click in a pinned grade. And it'll add all
those same nodes after the node that
we already have here. I'm just going to
mouse click in on this first clip with our
second clip selected. One thing I'm noticing is because this is mainly
in the shadows, we're not getting that
same color contrast. We'll need to correct this
image to be a little bit brighter so that some of our midtones lean
into those warms. I'm going to reset our curves
in our curves node here. And then in our offset
under the color wheels, I'm going to bring up the
offset just like that. I'll move these other two nodes over and create a
new node after that, one where we raise
the exposure at all S. And then now we can add our contrast back by clicking on something that we know
should be pretty black. Then clicking on a highlight
that we want to keep. Because if we were
to move this now, it would pull everything down. When we really just want to pull that section of shadows down, I'll make another dot here and then we can
pull our levels down. Now we're getting that warmth
back in the mid tones. If we come to the second dot we created in the highlights, we can pull this up. You're seeing as I push it down, the gravel is becoming
more blue because in the shadows where we
have our primaries, are our log wheels pushed in
the shadows over to blue. But if I pull it up, you can see it gets warmer and warmer and warmer as it crosses over
into those mid tones, which is looking
really, really nice. Maybe we'll make one
more in between them, but closer to the shadows,
and we'll pull that down as well. That looks good. Moving forward, This next shot is the same exact shot
as our first shot. It's just further
down in the timeline. So we can click in
on our mouse wheel. Boom. And we are
back in business, and that looks smooth. And then again, we
can click on our next and copy our grade from our second shot
with our mouse wheel. Click in, Great. And we're seeing those
midtones out here. I'm seeing the blues
in the tire itself. And that is essentially
how you correct and grade and work
within the color tab. So now I'm going to go
ahead and finish out the color grade for this edit and you go ahead
and do the same, have fun play around. Mess with things, create
your own new looks, try out, different
luts get crazy. Like I said, there is no
rules and creativity, people will try to
tell you there are. But everyone that succeeds and goes far seems to
break those rules. So definitely feel free
to break some rules, try some new things out,
and enjoy the journey. And then we'll jump in
the delivery tab where I'll show you how to show
your work to the world. So now we are in the Deliver
tab of Venture Resolve. And you'll notice in
the top left you have various settings that you can easily use to
do easy exports. Like for Youtube, there's
a dropdown menu here where you can choose your
resolution or video, or Twitter, Tiktok
or presentations. Or even if you need XML's for premiere or final cut or Avid, you can export those
there to send to another editor to continue the work if he's in
a different program. I'm just going to make my own because I'm gonna upload this to my Youtube channel for
my subscribers to see, and I'm going to label
this Skillshare X Bronson. And then I'm just going to
choose a location, my desktop. And then from here I'm
going to use MP four. Now there's a few
things to think about when you're exporting. One of them is, where
are you exporting to? You know, if you're exporting
to Tiktok or to Twitter, you may not need
the same rate or resolution as you would need
for something like Youtube. That can go all the
way up to four K and a pretty high bit rate. I highly suggest that
if you're exporting to Instagram or
Facebook or Tiktok, that you do a quick
Google search to see what the highest
quality parameters are. Because if you upload an
extremely high quality video to something like Instagram, that Instagram has got to re, decode it and encode it and
it could crush the quality entirely where you're
better off just giving it a file closer to
what it's looking for. That way it doesn't have
to do so much manipulation on its own that could
risk your video quality. But me knowing that I'm going
to export four Youtube. In particular, I'm going to use an MP four codec and H dot 264 and I'm going to use
an individia encoder which you could go to auto which would just leave Davinci resolve to know what's best
for your computer. And of course when it
comes to format Codex, your producer or
director as well, given certain
projects might give you a certain export parameter. But me knowing I'm going
to use this for Youtube, I'm going to do this in four
K at 29.9 frames a second. Under quality there's automatic
and best which can get pretty crazy because best means give me your highest quality, which also means give me
your biggest file size. And we don't really need the biggest file
size, because again, we want to get this as close to where we want the
end result to be. Which on Youtube, four
K videos are usually about 45,000 kilobytes a second. I'm going to go ahead
and type that in here, 45,000 Then under
encode profile, I always choose high. And then from there
we can go to Add, render Q and render out. Now one other thing that's
cool is if you have multiple time lines
and instead of doing one edit and
then exporting in another edit and then exporting
all within one project, you could do all your editing, all your coloring, all
your sound design, and then under each
time line you could add to render and
then select them all, and then press Render All. And while those all
render, you can go do something
else like go have dinner or lunch or go
hang out with friends. But for now we
just have the one. So I'm just going to go
ahead and click Render All, and then within a
matter of minutes, you'll have your finished
video ready to go. Now my finished video will be
in the Resources tab below. If you want to check it
out and download it for yourself and see
exactly what I did, I would love to see what
you guys did as well. And next we will go on to the final thoughts
from this class.
9. Final Thoughts: Congratulations, we
have made it through our first class into Da
Vinci resolve and I hope you enjoyed learning
the basics and feel a little bit more
comfortable working way around this amazing software. If you want to learn more advanced
professional techniques, make sure to check out one of
my other classes because we definitely have more
deep diving into Fusion, into color, into
edit, and into audio. Don't forget to
share your projects down with us below so
we can all comment on each other's projects
the way we did things differently and learn from each other and get
better together. Thanks again for checking out this class and I'll see
you all in the next one.
10. Bonus Lesson : Marcel's Final Edit: Hi, my name is Bronson Claflin. I'm a Nashville
car photographer. I love cars because
they look good. Sound good and you can always
catch them in a good angle. You love pursue it
hard, keep creating.