DaVinci Resolve : Understand the Power of Every Page | Marcel Patillo | Skillshare
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DaVinci Resolve : Understand the Power of Every Page

teacher avatar Marcel Patillo, YouTuber, Filmmaker

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

      1:34

    • 2.

      Getting Started

      1:47

    • 3.

      Discovering the Interface

      11:46

    • 4.

      Understanding Resolve Main Capabilities

      6:43

    • 5.

      Mastering the Media and Editing Pages

      12:47

    • 6.

      Figuring out the Fairlight Page

      10:04

    • 7.

      Learning Fusion Basics

      5:03

    • 8.

      Learning Color and Exporting Basics

      13:50

    • 9.

      Final Thoughts

      0:38

    • 10.

      Bonus Lesson : Marcel's Final Edit

      0:52

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About This Class

Take your video content and transform it into a final product worthy of the pros with DaVinci Resolve, an all-in-one post-production platform.

Marcel Patillo started his career as a filmmaker in the same way a lot of new filmmakers begin theirs. He bought a camera and scoured the internet for all of the information he could find. In the years since, Marcel has transformed his hobby into a full-time job and produced video content for brands like Lululemon and Crocs all while gaining almost 50K subscribers on his YouTube channel on modern filmmaking. Now an expert in post-production, Marcel is ready to share everything he knows about DaVinci Resolve across five classes: 

In this class, Marcel will walk you through the basics of the post-production process and help you gain an understanding of DaVinci Resolve’s user interface.

With Marcel by your side, you’ll:

  • Navigate through all of the most important elements of the Resolve UI
  • Calibrate and grade your video content through the Fusion and Color pages
  • Create emotion through music and timing in the Media and Editing pages
  • Manipulate dialogue and music for a high-quality audio within the Fairlight page
  • Add and adjust a title using VFX in the Fusion page

Plus, you can download Marcel’s Resolve timeline and his video assets so that you can follow along within his edit or use his tips and techniques to make edits to your own content. 

Whether you’re a videographer looking to add post-production skills to your resume or you’re just drawn towards DaVinci and its all-in-one editing capabilities, you’ll leave this class with the foundational skills you’ll need to complete a basic post-production project and navigate the software for more advanced edits in the future.  

No previous post-production experience is required to take this class. You’ll need a computer and DaVinci Resolve to get started, but a mouse and a quiet place to work are recommended for a streamlined workflow. To continue learning more about post-production in DaVinci Resolve, explore Marcel’s full Video Editing Learning Path. 

Meet Your Teacher

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Marcel Patillo

YouTuber, Filmmaker

Teacher

When Marcel Patillo decides to do something, he dives headfirst in the deep end. After a decade working as a music producer he found himself behind a camera and has been in love with everything video production ever since. 


Shortly after Marcel's dive into video production he found himself working on campaigns for Lululemon, SteelFit, Crocs, TobyMac, and many more. Being completely self taught, he brings a unique look and perspective to all the brands and artists he works with. For the last several years Patillo has also been hosting a YouTube channel "The Modern Filmmaker," where he teaches coloring, editing, animating and audio mixing in Davinci Resolve. He says, “It has been great to see the Davinci Resolve community grow and to be able to help people along... See full profile

Level: Beginner

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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.