DaVinci Resolve Video Editing: The Complete Course for Beginners

1. Why you need this course!: Video editing courses just overwhelm you with features that you'll never use. What if you can master the key elements of video editing in just a short period of time and start creating YouTube worthy videos easily? That's exactly what this DaVinci Resolve editing training is designed to do to get you up to speed and get you editing fast. Without getting overwhelmed or getting bogged down in what DaVinci Resolve has to offer. Because this program is an absolute beast. So this training is definitely not going to cover off on every little detail in there. But I'm going to take you through the fundamentals and all the key stuff that you need to know to have success with this as fast as possible. And for this training, I'm just going to be using the free version of DaVincia Resolve, so you can easily follow a lot. So this training is not for people who are hoping to go and work in Hollywood. This is for content creators. This is for entrepreneurs, for YouTubers who want to create great looking videos without throwing hundreds and hundreds of hours into training. So we haven't met before. My name is Justin Brown, and along with my brother Mike, we've built our primal video YouTube channel to 1.9 million subscribers. After years in professional video production and training our own editing team, we've distilled all the information, all the stuff that you need to know for effective, for efficient editing, and put it into a simple proven process. So in this training, I'm going to take you through our streamlined editing process. It's going to save you hours and hours of wasted time. You got to get a clear step by step system to edit complete YouTube videos easily. And by the end of this training, you'll have completed a YouTube ready video, ready for uploading. You'll also have a repeatable process for all of your future videos, and you'll have the confidence to edit videos that actually engage your audience. So this is the same system that we use to train our editing team. The focus being on essentials that get results. So if you're ready to stop looking like a beginner and start creating professional looking videos, I'll see you in the next video. 2. Kicking Off: Passive welcome to this DavinciRsolve training. My goal for this training is to get you up to speed using Davinci Resolve, creating some amazing looking videos fast without getting overwhelmed, without getting bogged down in what DaVinci Resolve has to offer. Because this program is an absolute beast. There is so much in there. So this course is definitely not going to cover off on every little detail that's in there. This is not an advanced course. Is, though, designed to get you up to speed fast, taking you through the fundamentals and all the key stuff that you need to know to have success with this as fast as possible. I will take you through some of the pro or paid features, too, but primarily, we're going to be running through on the free version, which is absolutely amazing. And the video that I'm going to be editing down is actually a video that is live on our YouTube channel. So you can either follow along. We provide all of the footage for you to follow along and edit that same video with me or also feel free to edit using your own footage and your own video assets. You are new to video editing, I would suggest you focus on editing down a simple project first, such as a personal introduction, a YouTube channel trailer, or even a brief tutorial. But for extra context on DaVinci Resolve, it is so much more than just an editing platform. And they say here on their website, it's the world's only solution that combines editing, color correction, visual effects, motion graphics, and audio post production all in the one program. And what's truly amazing about this is that most people are going to be able to get away with, again, the free version of this program, and it's going to do everything that you want, everything that you need without watermark. Without some severe limitations for most use case scenarios. Now, I also want to stress here that this is legit pro grade software. So as I said, there's a lot in here, and we could get super advanced on this stuff, but for most people, you're not going to need to. We want to learn how to utilize these amazing tools, how to edit with the power and the performance of DavinciaRsolve, and how to do it fast. And again, that's exactly what we're covering here in this training. But know that for those that do want to progress beyond this and really master those things, this is an amazing tool that the professionals use and something that you can really scale with as well. So part of what makes DivinciRsolve so powerful, but also makes it really easy to use when you understand how it works is that it's actually broken down into separate pages. Or really you can think of them as separate individual applications within the one DaVinci Resolve application. And these different pages or sections really outlined the entire editing process. And then you're able to access the specific tools as you need them at that point in the process. So these are the pages that I'm talking about. We've got a page here for media and importing and organizing all your footage, the cut and edit page, where the bulk of your video editing is actually going to happen Fusion, you can think of this like motion graphics, effects, and advanced titles, all those sorts of things. Color is color grading, color correcting, giving a look or feel to your creation. Fairlight is a full on audio production suite that's built in here as well. And then through to the Deliver page, which is where you can export and convert and create different versions of your project. And obviously, we're going to dive into these in more detail as we go through. The other thing I really love about DaVinci Resolve is that this is cross platform, meaning that there's a Windows version, a Mac version. There's also a Linux version available as well. They all operate exactly the same. So you can easily jump between different operating systems as and when you need to. Now there is also an iPad version as well, which they are in the process of, I guess, porting across the desktop version over to iPad. So right now at the time of shooting this, it's not a complete port. So all the functionality is not in there yet. So in this training, I'm going to be taking you through on a Mac, but know that whether you're on Windows or on Linux, the process is going to be exactly the same. Now, if you are on an iPad, they primarily have the CUT page, the color page, and the deliver page, but I'm hoping fingers crossed that they will release the other pages there very soon too. Let's get started. 3. Free vs Studio: Should you upgrade?: You resolve free or paid the studio version? What's the difference? Is it worth the upgrade? That's what we're going to take a look at in this video. But straight off the bat, I want to say that for most people, the free version is going to be the best starting place for you. What they pack into the free version is just insane. It's unlike any other tool or software out there. Literally pro grade software you can download, install, and use for free with very little limitations. There are no border marks. There really aren't restrictions that are going to apply to most people. But if you do want to full functionality and more performance, then that's where the studio version really comes in. We can see on their homepage here, we've got the option to download the free version, we've also got here to buy online now the studio version $295. Now I want to stress here, this is a one time purchase. Whether you're buying this right now or whether you bought this years ago, you won't have to purchase this again. This includes the updates to the new versions as they come out. In terms of the specific differences we can see here on their website, the free version here is still an all in one editing solution with the editing tools, the color, the VFX, so the fusion tab, so all the motion graphics and everything, all the audio tools, you get access to all of it. The free version is going to work with most video files out there. They say here virtually all eight bit video formats at up to 60 frames per second and in resolutions up to UHD four K. Consumer four. Free version also now includes multi user collaboration and even HDR color grading built in as well. But obviously, with the studio version here, it says it includes everything with the free version, but without those limitations. We can go a higher frame rates higher than 60 frames per second. We can record in higher than eight bit video files. If the camera you're recording or you want to be recording in ten bit, then you'll need the studio version for that. Likewise, if you want to create an editing project or a timeline greater than UHD four K. We want a six K timeline eight K timeline, and then we're going to need the studio version. Studio version also gives you access to their Davinci neural engine. This is where all of their AI stuff comes into play. As I said, in the earlier video, DaVinci Resolve is really a leader in this space with what they're adding in, the amount of AI functionality, how much it can level up your video creation, noise reduction, help you with color grading. It's pretty awesome what they're building out there to access the AI stuff. You will need to be on the studio version. In addition to that, they also say there's dozens of additional resolve effects, temporal and AI spatial noise reduction, text based editing, magic mask, which is an awesome tool, film grain, optical blur, and much more. Again, for the one time fee of $295. For me as someone who has been using the free version of DavenciRsolve for a long time until upgrading recently, I'm telling you that the free version for most people out there is going to be fine. The main reason that we've upgraded internally to the studio version is for the AI tools. Now, I also want to cover here that if you are interested in the studio version, as I said, it's a one time purchase, $295, or it's actually included in a lot of the hardware that they sell as well. If we come down you can see you could pick up a DaVinci Resolve speed editor, think of this a little editing specific keyboard to help streamline your editing process. This is selling for $435, and it actually comes with a studio license of DaVinci Resolve as well. So I've clicked through here to B&H, where we can see the same speed editor here. It's actually $365 on this website, so even cheaper and it comes with the Resolve Studio license. What you'll find is that a lot of their specific video editing hardware and also their cameras as well will likely come with a license of DivinciRsolve Studio. Terms of this training here, I'm going to be taking you through using the free version of DavinciRsolve. So everything I'm doing in here, you can do as well. Then in some of the later training, I will show off some of the AI features that are only available in the studio version right now. You don't need to make the call right now on which version you'd like. Just go ahead and grab the free version and we can get started. 4. The Ultimate Video Editing Process: Now the fastest and most efficient way to edit your videos down is by following a specific process. Where a lot of people go wrong with video editing is that they will jump in and maybe try to add in a few effects, a few color grades and things to make their footage look good before they've even gone through and reviewed or started to edit down their footage. Every time you add something to your clips, you're adding effects, color grades, transitions, all of this stuff. Adds to extra processing power that's needed by your device to be able to render and to play that out smoothly. The biggest mistake that a lot of people make is by jumping in and adding all these effects and things out front, in turn, slowing down their video editing process. Whereas instead, it's going to be far more beneficial for you to actually work on your editing project first and then make it look good after. The video editing process I'm going to take you through will help you edit faster in any program, any tool, any app because you'll be approaching it from the point of view of efficiency and effectiveness with your editing. This is going to allow you to edit faster and more strategically and you'll actually have more fun doing it this way as well because you're not going to have that performance hit that you you were jumping in trying to make it look pretty first. This step by step process, they're going to share with you now is actually how this training is laid out as well. It's done this way for a reason because this is the way I want to teach you to edit. The first thing you want to do with any editing project is to get your program set up. You want to create your video editing project, we want to make sure all of our settings and everything are correct and the way that we want them, and then we'll go ahead and start to import our video footage. Any footage, any graphics, any music, any video assets that we've got that we want to use in our editing project, we'll bring all of those in upfront. There, we want to start to build out our story. We want to bring into our timeline our core primary footage, our main camera angle, and we want to start trimming that down and refining it. The first pass that we do on that is remove any bad takes, any mistakes, any things that we definitely don't want to use in our finished video editing project. Of those go first. We're not so much worried about building out the story during this first pass. We just want to remove the bad stuff so that we're reducing the amount of footage that we're editing down to just the stuff that we want to use. You might find you're going through a couple of different iterations of this, doing a pass, removing stuff. If there's anything that you're unsure of at that first pass, then leave it in because on the next pass, you might find that you don't need that or you might use it somewhere else down the line. Video editing is really an iterative process that every time we're going through, we're making tweaks and adjustments moving us closer towards our goal, the finished video. Once we've gone through and we've cut down and built out our story with our primary footage, then next, we want to look at bringing in any overlay footage, any B roll, any graphics, any animations and those things to sit on top of our primary layer or to be shown instead of our camera, in this case. From there, we'll go ahead and add in any text or titles into our project and then we'll dive into transitions and effects. Next we'll go ahead and look at the audio side of things where we'll bring in our music and sound effects. We'll then go through and adjust all of our volume levels so that everything matches the way that we want. Then almost right at the end is where we'll start to look at making it look pretty with color grading and adjusting the colors and the look and feel so that the video is the way that you want it. The last step beyond that is where we'll be saving out our video, exporting for the platform that we want to release it on YouTube, for instance. Now, this step by step video editing process that I just shared with you and I'm going to take you through in detail in this training actually lines up perfectly with the way that DavinciRsolve is designed with its different pages or workflows down the bottom area. It really makes sense to be working through each of the different workspaces or whichever ones are related to what it is you're doing, moving from left to right, awesome that it was designed that way. 5. Getting to know the DaVinci Resolve interface: So this is what you'll see when you first open up DaVinci Resolve. This is your main project window here. Straightaway, we can see any of our video editing projects in here. These are our local ones on our local computer. We also access ones over a network or through Black Magic Cloud if we're collaborating with editors remotely. Let's come back here to local. I'm going to go ahead and open up this blank project here just to show you the overall interface before we start editing. Open this one up here. If you're not seeing anything here and you want to follow along with this, then you can hit New Project down the bottom, but we will be creating a new project very soon. I'm going to open this one up. But this is what you'll see when you first actually open up a project in resolve. Straightaway down the bottom here, we've got those different tabs that I've mentioned a few times now we have our media tab. We're currently opened here on the CUT page. There's Edit. We then have fusion next to that, color, fair light, and deliver. Again, we're normally working for the most part from left to right with. Start off first with the media one. In the top left hand corner here, this is where we can see our computer files. We can see we've got my hard drive here. I could go through and find some files on here, video files that we might want to use in our project. Maybe we go desktop, I'm sure there's some video files on here like this one here, video file here. We can preview our files in the window here. Just by putting my mouse over it, you can see it's going to give us a preview of that, or we can double click on it, have it opened in here, and we can scrub through to see if this is some footage that we want to use in our project. This is navigating our hard drive at the top here. Down the bottom here is our media pool. So clips that we've actually imported into Daventi Resolve that we're likely going to want to use in our editing project. You'll find is on these different tabs, you're going to get different menus and things that you have access to you can customize things up. On this first media tab here, you can see that we can show or hide that media storage area here. We've also got the ability to show and hide the clone tool. Likewise, with these other options over the side here, we can enable and disable different things just by clicking these buttons along the top. But all of these settings and features are in relation to this workspace or this tab down the bottom here, which again is the media with most programs and tools, you do have a menu bar across the top here as well if you're looking for a specific setting. But let's jump down the bottom here to the CUT page. You can see that we have access to our video editing timeline here. This will make more sense as we bring in some clips and take you through. We've got our playback monitor up here where we can preview our edit that we're making and we can see the clips that we have imported here into our media pool. We also have a different array of options across the top here, things like transitions, titles, effects, we can enable those up here as well. A lot of these panels and things, these configurable, meaning that if we want to make ones bigger or smaller, we can just grab the little border between them to resize things. Let's say we wanted to make our timeline here a little bit smaller. We can just grab that and drag it down so that we can then see more of these elements at the top. It's also worth noting if at anytime you want to go back to your project window where maybe you want to switch a timeline, switch a project. There's a little house button down the bottom here that will take you to that and we can access our settings at any time with a little cogwheel down the bottom here too. But again, I'll be diving through that in another video. Similar to the cut page is the Edit page and I will be covering off the differences between them and when you might like to use one versus the other very soon. But for the most part, I spend most of my time in the Edit page over the cut page. This is really what you would think of as Adobe Premiere or Final Cut. This is all on that one page there. Again, we've got access to our media to import our clips and to access everything from here, our Effects Index, there's also a sound library up here as well where we can download DaVinci Resolves free sound library by hitting that download button there. We've also got our other menu options at the top Quick Export mixer, metadata inspector. Again, you don't need to remember all of this. This is just an overview of where you can find stuff. But this inspector is where you will be spending a lot of time when you're customizing things up, configuring up effects. A lot of that stuff happens up here under inspector. You can see that we've got controls in here or we have controls in here for video, audio effects, transitions, image. There's a lot of time you'll be spending in this area. Also see that specific to this page, we've also got a bunch of other tools across here as well. Again, I'll cover these as we get to this page in more detail. We can also customize up the view of the timeline here as well, resizing things, enabling and disabling things, again, to make this a comfortable, usable space for you, depending on the projects that you're working on. You'll find that this whole workflow and theme is going to flow through to the other pages here like the fusion tab similar. Moving on to the color page though here, this is where DaVinci Resolve really got its start. It was originally a finishing tool. Whatever you were editing in Avid, premiere, whatever, you would export your videos from there into DaVinci Resolve, and you would finish it or master it in there and adjust all the colors, the looks, and everything. That's where resolve started. Is color grading and tweaking adjusting capabilities are really second to none, you could seriously have a dedicated course just on this. But don't worry, we're going to help you make sense of the key stuff in here so that you can get good results. Then again, next to that, we have falte, so this is all your audio production stuff. This personally is somewhere where I really don't spend any time at all for any audio adjustments and configurations. I'm personally just doing them over on the Edit page. Know that you have access to this for those that want to really dive into it. Deliver. This is where we're going to be exporting our videos out of here. You can see there's lots of different presets and things that we can customize up in here and really get as advanced as we need. But there's also some great simple streamlined options in here too, things like direct YouTube export. Again, it's another area where you can dive in and configure stuff up if you need to. But for most people, you'll probably find that there is a simple solution here for you to get the result that you. Jump back to the Edit page here because where we will be spending most of our time. But know that if you come up the top here to workspace, there are some options here to further configure up what you're actually seeing on screen here. That's the beauty of professional tools like this is that you don't just have to use it as it is. You can really over time, once you understand how it works and you get used to it, you can customize it up so that it is an even more effective tool for you. In this area here, if you are going to be running multiple screens, then you can enable that in here. You can choose what's shown on one screen versus another. We can enable and disable different panels, different features, different tools. From up here as well. You've also got dedicated menus in here specific to those different workspaces or tabs across the bottom as well. For example, you're looking for a specific setting here related to the color page. We can come up here to color it's likely going to be in this area. Likewise, with fusion, falte, and so on. It's also worth noting that if you do move things around and you maybe lost some panels or something that you thought you had access to before and you can't find them, there is a reset button up here under workspace. We can then come down to reset UI, your user interface layout and that's going to reset it back to default for you. But you can also save presets in here as well. So under layout presets, we can save a current layout or configuration. Then you can switch between different presets while you're editing and doing different tasks. That's a high level overview of Da VnciRsolve the different pages, how the panels and everything work, but also how it all fits together. 6. Important DaVinci Resolve settings: Before we get to the editing, it's a really good idea to make sure that everything is set up correctly for best performance and usability of DaVinci Resolve on your specific computer. I want to open up DawntiRsolve. We want to then come up to the top here and open up preferences. Now obviously, this is where it is on Mac on Windows, it's likely here under file, then preferences. We're going to choose here preferences, and then you want to come up here to memory and GPU. Now, this piece is going to change depending on the computer that you are on. But what we want to do is make sure that we are giving DavinciRsolve enough system resources and access to things like memory and your video card, your GPU, so that you do have best performance while you're editing on here. This pay Cube, we want to make sure that this is set up correctly. For a lot of us, the default settings here are going to be fine, but it is worth checking. It says here, the system that I'm currently on has 64 gig of RAM and the default settings here for how resolve can use that is it's allocating 48 gig of that to resolve and 36 gig of that to fusion for graphics and animations and those kind of things. If, for example, you're not going to be doing too much in the fusion tab, graphics and animations and that kind of stuff, then you could lower this amount here, meaning that you've got some leftover system memory left, some RAM left. Depending on where this slider is for you, maybe you could increase the amount that DivinciRsolve itself has to you. I'll leave this here back on default here for now. The other thing you want to check here on this page is really important is your GPU processing mode. I can see here that the auto box is selecting metal here for me, but if I unselect this, then I can also choose OpenCL. Now, if you're on a Mac, metal is probably the best solution for you. You're on a Windows computer, you might have some other options in here. You could have N Video, you might have QDa CUDA CUDA. All of these things are really talking about the hardware capabilities of your video card here or how your graphics and everything are going to be processed. For me, I know on this system, metal is going to be the best option. Again, if you're on a Mac, it likely will be for you too. But if you do run external graphics cards, then you want to pick the setting there that is right for that. Again, this is another one of those settings here. In this case, for me, I can leave as Auto. Also want to leave this checked here, use Apple's neural engine wherever possible. If your system supports that, you definitely want to have that selected. And GPU selection. This one, again, is a good idea to leave as auto unless you're running a custom built PC with maybe multiple graphics cards or you've got an in built graphics card and you've added your own gaming video card or something like that as well. You would have the option here to pick which video card you're using or multiple video cards if that's your setup. Again, I'm on a Mac. Without any extra graphics cards or anything added, I can leave this here as. From here, you can also customize up your media storage area here too. This is where your temporary files, your cache files, your default location for any assets and things that you're using in your editing projects, this is where they're going to go. You can see here this is my users Justin movies folder on here. But if I do want to change that, I can come down here and add in a new location on my computer or external drive for these files. Rest of the settings here, I would say that you don't need to worry about right now, but it is a good idea at some point for you to come back in here, maybe once you've got your head around, resolve a little bit and just click through some of the options in here because you might find some system options, some usability options, some of these user settings up here that will ad you can figure up the experience so that it is a better experience more suited for you and the way that you might like. There's also the area if we come down here to Internet accounts here where you can sign in to say your YouTube account or even TikTok if you want to have access to direct export and uploading to those places. All of this so far here has been under this system tab here. If we switch over to user settings, then this is where we get to customize up things like I was just mentioning around the interface and the overall experience now that we've adjusted our system and performance settings. Again, for a lot of you here, I would say, leave this as default for now, but you can enable things in here automatically open up your last project that you worked on every time you open resolve. If you're only focusing on one editing project right now and you're going to be for a period of time, then maybe that's something that you could do save you an extra step in opening that project manually. You can also customize up in here things like your automatic backups and auto saves. The default setting here under project save and load is for timeline backups that perform every 10 minutes. This is something like in 10 minutes, you could actually do quite a bit of work. Normally actually lower this to around 5 minutes just so we're not potentially going to lose a lot of work in that time. Also choose where these backup files are going as well. We can see the location here and we can specify a new one if we'd like. I said with the other settings in here, it's a good idea to go through these at some point because you can really see the level of customization that you have here in resolve for when you become more advanced and used to this to customize it up for you. But these are the key settings that you want to check or be aware of right now before we get stuck into the editing. Last point, don't forget to hit Save down the bottom here to make sure that whatever changes you've made are actually saved and applied. 7. Project Setup: Configuring project settings: Time for us to set up our project that we're going to be editing in. This is again, what you'll see when you first open up a resolve, you'll have a list of all of your projects here. You can see we've got one temporary one here, but I'm going to go ahead and create a new one. I'm going to hit New project down the bottom here, let's type in JB Edit. We want to give our project a name and then we want to hit Create. Before we start editing, we want to make sure that this project is set up correctly. There's two ways that you can do this. I'm going to give you two different methods. One of them is fully manual. I'll do that one first, and then I'll show you how you can automate some of that, which is likely how you'll be editing moving forward. To access the project settings, we want to come down here to the little settings wheel here or we can also choose File project settings here, and this is going to let us configure things up like our video resolution, the quality of the video we're going to be making. If we press this little drop down here, you can see it's already set to four K ultra HD. We can also see all the other options that we have. Again, I'm here on the free version, it's awesome that we have all of these here in the free version. You also have the ability to create a custom resolution here too. If we deselect this, we can also enable vertical resolutions as well. If you want to create a portrait video for TikTok or YouTube shorts or something, then we can tick that box here and that's going to flip these resolutions, there's quality here to be a portrait solution. For the purposes of this video, I'm going to uncheck this. We're going to create a regular widescreen video. The footage that I'm going to be editing is ten ADP footage, so I'm going to choose here 1920 by 1080. We can also then choose our project frame rate. Now, ideally here, you're going to be matching the settings that your camera recorded for your primary footage. The bulk of the footage in here, it is okay to mix different frame rates and footage from different cameras, but you want to try to set this as best you can to match the primary footage wherever possible. For me, here, I'm going to pick 30 frames per second because that's what this footage was captured at. If you're unsure about this, then the next method that I'm going to show you the automatic mode will automate a lot of this process for you. But you want to know how to come back in here and make these adjustments in case you are after something specific. Because for best case scenario for performance and for video quality, ideally, you are going to be matching here the settings from your camera with settings from your primary footage right through to exporting at the same again. So your recording files match your editing timeline, match what it is that you're exporting. That's going to give you the best performance, but also the best quality kept all the way through. But there are times where you might want to change that up. Those are the main settings we want to lock down here upfront the timeline format. We then want to go ahead and hit Save and our project is now set up ready for editing. The other method, the automatic method to help you get things set up right is to have DaVinci Resolve help you set that for based on the first video file, the first video clip that you import. I'm on the CUT page here now and you could also do this from the media page down the bottom here, it says we've got no media clips in the pool. Either one of those two areas there they are essentially the same. We can right click on here and we can choose Import media. We can then go ahead and find our primary camera footage. The footage or the file that's going to be used primarily in our edit here, we want to select just that one file for now. Now I will obviously have a video around importing and managing your media coming up very soon. But talking about project settings, if we pick just that first camera recording file there and we hit open, we get prompted now. Do you want to change your project frame rate? It says that that clip that we're importing is different. It's a different frame rate to our project settings. Do we want to automatically change our project settings so that it matches that file? Yes, we do. We want them all to match. We're going to choose change here. And now if we come down to that settings cogwheel again, we can see that it's automatically changed our timeline frame rate back to match that file, which is 30 frames per second. Then from here, we can jump up here and choose what resolution, what quality of video are we going to be creating and I'm going to choose ten ADP. Then I'll hit save, and then we're good to start editing from here. Now, for the most part, when I am starting a brand new project, I do the second method, the automated way. But because you can actually jump back in and adjust your project settings or when we get to repurposing a video a little later on, it's a good idea to understand where these settings are and how you can make changes to those as you progress. 8. Project Setup: Importing video assets: Now it's time for us to import our video clips and video assets into DaVinci Resolve so that we can edit them down. There's a couple of different ways that we can do this. There is a dedicated media tab here. I'm going to show you how this works, but also how we can import clips and files directly into both the CUT page and also the edit page as well. It doesn't matter which one of these methods that you end up using. The one that I use primarily is into the cut or the edit page depending on how I'm going to edit my video down initially. But if you are working on a larger project or you've got a lot of video clips and things that you want to bring in and organize them, then that's where it would make sense to use the media page here. Over on the media page here, we can see up the top left hand corner here, this is where we're able to preview our files on our computer. We can see we've got my Mac hard drive here. We could go down to Users, Justin, we could bring up desktop. I've got a folder on my desktop called Video Assets, and there's a couple of files in we're able to navigate through our computer, our network files, any USB drives or anything that are connected. We're able to do that from here, but these aren't actually imported into our project yet. We can just select these two here and we can click and drag them down into this media pool area. When I let go, you can see that we've now got those clips imported into our project. There's lots of different ways that we can customize up the view here. Straight out, you can see that we're on an icon view or a thumbnail view. We can switch to a list view, which is going to give us some information as to the file types that we've got here, the resolution, the frame rate, how many audio channels when these clips were created. We also have the ability to search here as well. So there's a specific file that we're looking for, we can do that. For me personally, when I'm working with a project like this, there's not going to have too many video clips involved, then I'll usually just leave it on the thumbnail image and we can even make them bigger or smaller using this slider here just so it's easy to quickly find the clips that we're after. That's obviously going to work on both this top area here, but also down in our main media area here as well. We can zoom in and out on those images. Once they're imported into our project, there is another view that we have access to down here, which is almost like a card view here, metadata view they terms of organization, you can see right now we've just brought in two clips. One is a primary clip, camera recording, and one is a screen recording. That would be our B roll or overlay footage. But we haven't created any folder structure or bins as they're known in here for us to get more granular with our project and file management, which would make more sense if you are going to work with a lot of files. We can right click down here or down over here, and we can choose new Bin you can see that we get a folder that is created. We could call this footage, we can maybe make another new bin and we could call this one music, another one for graphics, and then we could organize our files into those bins. Our camera recording here, we can put into footage, O B roll, we would also put into footage. Maybe we open this folder up and we make two sub folders in here. We go Nu Bn, one for camera and one for overlay footage or B roll. We move the footage into camera, the B roll footage into B roll. We can see that we then have this hierarchy or folder structure here, it's easy for us at any time to jump in and find what it is we're looking for. Again, this makes much more sense on big projects. The idea here is that we're setting this up so that you or potentially someone else in the future could jump back into this project and quickly find where everything. As I said, you can import in different areas of resolve or different pages on resolve. This was the media page. If we jump across here to the CUT page, you can see straightaway at the top, we have our media pull here showing. If you're not seeing it, you can press Media Pool here to toggle this window. We can see that we've got our folders that are created here and inside of these are our files that we've imported. At any time, if you want to add more files, we can right click and we can choose Import Media to bring in more clips. We can also choose File Import. And import files that way, or you can also drag and drop clips in from your computer into these folders as well. If you want to jump in and just start editing something straightaway without needing to worry about creating folders and bins and all of that stuff, you actually have the ability on the cut or the edit page to drag and drop clips directly into the timeline. Again, we have the ability to change the view and how this looks up in the top corner here as well. Very much the same on the Edit page. This is our edit page. If you're not seeing the media pull, it's up here again, something that we can toggle on and off so that while you're editing, you can quickly see your media files and drag and drop them into your timeline directly from there. While I showed you importing individual files, you can also bring in multiple files at once or even import an entire folder. If you've already got a folder structure set up on your computer, something similar with the footage, graphic, music, and everything all good to go, you can actually right click and choose Import Bin. Import folder. We're then able to go through and pick the folder you want to import and it will bring in everything in that folder into your project, and it's also going to import all the subfolders and keep all of that intact for you too. 9. Editing: Cutting down your videos: This point, we've got our video clips imported and now it's time for us to start cutting down our footage. As with anything, video editing, there's multiple ways to do this individual resolve. We have a dedicated cut page and we also have an edit page. There are pros and cons of each. You can really have great results with either one, but know that the cut page is the more basic tool. It is designed specifically to help you cut down simple projects fast and compile your footage, build out your story. But you could just use the Edit page for everything, knowing that you've got at your fingertips all the advanced features and functionality. This is really what you would get if you're using Final Cut Pro, if you're using Adobe Premiere Pro, this is essentially what that is here on that Edit page. I like that you get access to this cut page as well. I'm going to give you an overview of both because what I find I tend to do now highest efficiency when editing videos is I might start out on the cut page and then once I've got the story and everything built out, I'll progress to the edit page and work from there. But I'm going to show you how to cut, how to trim, how to edit essentially in both of these. For some projects for you, it might be easier to work in one over the other. It really doesn't matter at the end of the day which one you pick. But often I find that I'm switching between the two while I'm editing because some things are faster on the cut page than they are on the edit page. My goal here is to show you the different tools and things that you've got access to the different ways that we can cut and edit and move footage around so that then you've got all of that in your arsenal when you are building out your projects. I'm going to start off first with the cut page, which I have that selected down the bottom here so make sure you've got the same. I'm going to come over here to footage where we imported our primary footage. The first thing I want to do here is bring in our primary camera footage. And let's go through, remove all the bad takes, all the mistakes. Let's get this down to something manageable with just the content that we want to use. I've never go through in this media pool here. Again, if you're not finding it, you can click on this and we've got our primary camera footage here. You might find that you've got multiple clips. That's perfectly fine. I've got just one for this. And also if you'd like to follow along with this training, I've made these clips available to you as well in the resources area of this training. I'm going to select this clip and I'm going to drag it down here into this bottom area. Once I let go, we now have this clip here in our timeline, and it's actually automatically generated us a timeline up here called timeline one. Now, inside of our project here that I named JB Edit, we can actually have multiple timelines. One project can contain multiple timelines. These could be totally separate videos that you're making from the same footage, or they could be different versions of your video as it progresses. What I would normally do at this point is I would rename this instead of timeline one. I would just select on this and I would just call this base edit. We're going to do our basic edit, our first pass, remove all the bad stuff. Is our base edit. Okay, so with that named looking down here at our timeline, this view across the top here, no matter how much footage, how long your project is, this is always going to show here on this cut page the entirety of your edit. You can't zoom in and out on your footage here. This is a preview here of your entire timeline here, no matter how long it is. Whereas down below it, this here is where we have a zoomed in version of our footage. You can see as I click and drag on this area here where we've got the numbers, it looks like a ruler. Can scrub through our footage. We can see that as we do this, it also moves our playback head up here as well. This orange line here is known as your playback head. This is your indicator as to where you're actually viewing or playing back in your edit. You can see as we go through here, we are moving along our footage at the top here. We can also do the same up here. So if we want to jump across to the end, we can just click up here. And we're taking that part on both the Zoomed out and the zoomed in version. Let's grab this marker here. Let's come right back to the start. Obviously, this top window here is where we are previewing our edit where we can see what's happening. You'll see as I hit play to play through the clip. We can press space bar on the computer. We've also got some playback controls up here and you'll see that when it is playing, let's pause it there now you can see that we have our audio bars here so that we can see that there is volume for these clips and we can gauge the volume levels and all of that stuff. Over on the side here, we've got a few different controls and things that I'll take you through, different options you've got for editing your footage down. It's also worth noting before we get into this that while we can see our video here across the top and little frames of what's happening in the video, down below it is our audio waveform. We can see a visual representation of the audio that is in this video clip. Let's jump forward a bit. We can see there's pieces here where I'm speaking, but then back here, there's a quiet piece. If we have a look at this, then yeah, I probably finish a take or I'm probably about to attempt the next attempt at that sentence. But utilizing that visual representation of the audio is going to allow us to see when we're speaking when we're not speaking so we can make our cuts faster. With all that overview stuff out of the way, let's dive into cutting this down. Let's come back to the start again. Let's just hit play so we can hear what's happening at the start of this. Already, we can see that there is nothing at the start. Testing my microphone, so we don't need any of this stuff in the finished video. During my final checks, we can click and drag along here to scrub through. You can see I'm still not talking. We can also see there's no audio wave forms here, so I'm still preparing myself. Then at this point here, you can see that we start talking. What we can do at this point is let's add a cut in our clip at this point so we can remove everything that's happened before this. Multiple ways that we can do this. We can come over here to the pair of scissors and that's going to snip our clip in half at that time. You can see now we have a clip on the left, a clip on the right. All we need to do is select this first clip here on the left, press the delete key on the keyboard. With that piece removed, our video now starts from here. If you press Play on this, you can have the world's best video, but if no one clicks on it, right? This is now the start of our video. Now what we can do up here is we can just click and drag to scrub across. Again, I'm looking at those audio waveforms there. We can see I stop talking here, which means I finish that sentence, I finished that paragraph. I can then add a cut at this point to split the clip. I can come back up here to the pair of scissors to split the clip, or I can press Control B if you're on Windows or Command B, if you're on Mac to do the same thing. We've just cut our clip at that point. And we have a look at our preview up here, we can see that we do have the two clips here in our time I'm going to keep scrubbing through here. We can see that there's a little bit of noise here. Maybe I'm clearing my throat. Yep, it looks like it. Let's keep going through until I start to talk again about here. Now, we could at this point, again, just cut and delete like we just did, but as I said, with editing, there's so many different ways that we can do things. Because we already have a cut back here where we finished the area that we want to keep. We've now got all of this stuff here in the middle that we don't want to keep because I'm about to start talking again. We haven't listened to it yet to verify, but already, we know that we're going to remove all of this stuff because we don't need it. There is actually a really handy feature in here if we press this little drop down arrow here, and we can choose trim start. Trim the start of this clip that we have selected here in our timeline, trim start to the playback head. All the way up to our playback head here, which is where we are ready to hit play, we can remove all of that in one motion. To save adding a cut, selecting the clip, and deleting it, we can do all of that here with one click. If we press this one here, trim start of the clip to the playback. Then that has done that for a. That is one of my favorite editing tools across a lot of different programs is this ripple edit. It actually works both ways as well. Show you. Let's jump across to the end of our video up here. You can see here looking again, the audio waveforms that it's pretty much silence here. I'm not really talking. I'm not presenting at this point, meaning that I finished and maybe I'm fumbling around trying to stop the recording. Let's scrub back here a little bit until we find the piece where I finish talking. We can see here that I'm still talking and I finish about here. Somewhere around here it doesn't need to be perfect. We can come back through, we can tighten this back up. Again, we can choose up here under this little drop down arrow trim end of this clip. We want to trim off the end back to this playback head. All of this stuff here at the end of the clip back to this point here. Let's press on this now and that has happened for us. We've now removed the end of the also really handy keyboard shortcuts for that too, so you don't need to have to keep clicking up here and finding the setting. You can use on Mac Command Shift, square bracket, left and right, left to trim the start, right to trim the end. Perfect. We now got the end sorted. Again, you can see I'm showing you the different tools, different ways that you can start to cut down your footage. Sometimes it's going to make sense to use one of these, sometimes others. Now what we can also do at the end of a clip like this or between clips is you can see that there's flashing green here. It's highlighted green. We can also just with our mouse, we can click on that endpoint and we could trim a bit off. Or likewise, if we wanted to bring a bit back, if we trim too much off, we can drag it the other way and bring our clips back that way too. We can tighten this up. We can probably have it finished about here right when I finish, and that now is the new end of that clip. Scrolling back across here, we can see that there is a gap here in our audio, meaning that I'm not speaking. So let's come across to this point. We could again cut out clip at that point. We can then use any of the options I've showed you so far to trim this down. But in this case, I'm just going to put my mouse cursor on the left here of this cut. I'm going to effect this clip here and I'm going to click and hold and drag it back to the left. You can see it's actually bringing that following clip there. It's bringing it along for the ride as well. We're closing up that gap, but we're keeping everything else in sync as well. So there's no pause between that now. Now if you are editing like I am here on the card page and you are looking at the audio waveforms to see when you're speaking, when you're not speaking, there's a really cool feature that you can enable in here as well. I want to show you what this does before and after. Let's say that I was making an adjustment to this clip here again and I clicked the side of it and I'm dragging it along. We see that our view for the audio waveform here doesn't really change at all. It's good enough, but if you enable this feature up here, let's come up here and let's go trim to audio, meaning that we're telling DaventiRsolve. We're actually going to be cutting around the audio here and now we do the same thing. Click and drag, you can see that we now get a much bigger audio waveform for us to get much more accurate with that. That's a great feature to have enabled if you are going to be editing to audio. The idea here now is that you go through, remove all the bad takes, all the mistakes using those tools that I have shown you. I'd probably come to this point here. We'd have a cut. We could just come back to the next piece here where I stop talking here and maybe we'll do the trim end to play. We're trimming that last clip back to that point. You get the idea. This is the cut page. But if we jump across to the Edit page, again, you can switch between these at any time. You can already see that we get a slightly different view here, but we can see that we already have these same cuts here already made for us because we made them on the cut page. Now, in order to maximize our screen real estate here and make our timeline bigger, I would come up here and I'm going to turn off the media pool so we've got a bigger timeline. In this view here, you can see that we don't have that preview that we did back here on the cut page of our entire timeline. We're just seeing the timeline here down the bottom and we can zoom in and out using the plus and minus here. If you want to see the entire thing, we can. There's even a button here that will take us straight to where we can see our entire timeline. But we can also get more granular if we want to zoom in and get really accurate with something, we can use this slider here. We can also use the keyboard shortcuts to zoom in and out, Control plus and minus or Command plus and minus. Then we can also slide along our timeline here using this scroll bar on the bottom or if you've got a mouse with sideways scrolling capabilities or a track pad or something, then you can do that as well. Take a quick listen to what we already have here already, and let's start to edit this down. You can have the world's best video, but if no one clicks on it, no one's going to see it. You need to get your content clicked and that's where your thumbnail image is super important. You could have the world's best video, but if no one click. Okay, so this first take, I redid it. So what I would normally do in that case is I would use the second one, the better one. I mustn't have liked something about it at the time of recording, so I redid it. We actually don't want this first one. Let's select on it. Again, there's a couple of different ways that we can do this. I can just press Delete on the keyboard. You'll see it's deleted, but it hasn't actually removed the gap. We've now got this silence or this blank area here at the start. Now we could just click on this clip and move it along. But what you'll find is that we now have just shifted that gap. We can just select our clips, we can pick them up, we can move them around. You can obviously change the order of them if you would like. But contrasting this to the CAD page where by default, everything is going to close up those gaps and everything for you. We can do something similar here as well. But there are some benefits in this. Maybe sometimes you might want to have a big gap at the start so you can drop extra clips in. Like I said, you've got more flexibility with this edit page. I'm going to bring this back to the start here because we obviously want this at the start. Let's say that we did want to delete a gap here in the timeline. We can select the gap can right click on it and we can choose Ripple Delete or we can see if we use the keyboard shortcut Shift Delete, it's going to close that gap for us. Likewise, with this one here, we can select it, we can press Delete, it's going to close that for us. Zooming in to the start of our clip here, let's play the last piece of it. We can add a cut in our timeline here because I finished that sentence there. We can again use our keyboard shortcut Command B or Control B to split the clip at that point. But there's also a really cool editing mode in here with this cut tool as well. Instead of pressing Control or Command B to actually apply the cut, we can do is enable blade mode here on the Edit page, which we can either just press B on the keyboard or we can select it here from the icon and you'll see that our cursor has now changed to a razor blade, you can see that we get this thin red line there that is following our mouse cursor around. All we need to do is click where we want to have a cut now. Let's say that we want to add a cut here. If we click there, it's cut at that point. Let's say we want to add another cut here because we are likely going to use this section, but we're not going to use the flat audio piece at either end of it. We can easily go through and just mark up our clips here and add cuts all the way through very, very simply as well. Then to get back to our regular curs site, we can either click on that here or we can press A on the keyboard to come back to our regular arrow. I showed you before when I deleted a clip like this, I selected it. I press Delete, and it left the gap. There's sometimes that you might want but if I undo that now with Command Z or Control Z, if I select that clip like I want to delete it and instead I press Shift Delete, then it's going to delete the clip and close up the gap for us. Likewise, this one here, now that we know that we don't want any of this stuff in here, we can shift delete that one and that's gone, and the gap has been closed too. Again, we can use the combination of these tools to be able to edit this footage down fast. Let's say that we want to remove the start of this clip here. Let me zoom in on it a little bit more where we can see that there is the silence here. We have very similar options again, available to us that we had on the cup page, but also more advanced in here. If we move our mouse cursor to the right hand side of this clip, so we're going to click and drag it across. We're again adjusting that inpoint of the clip. When I let go, you can see that we've now done that trim but the difference here is on the CUT page, that removed this gap for us. Whereas here just trimming this way, it hasn't. But if I undo that, I press Command E, control Zed and I enable trim mode up here, press T on the keyboard, and then I do the same thing. I'll click and we'll drag. You can see that it's now keeping that gap closed for us. We also have access to those ripple trim features I showed you from the cut page as well. We're going to come back to the arrow here. Let's say that we want to add a cut here after I finish this bit of speaking. We'll add a cut here in the timeline. Let's say that we want to remove this section here and close up the gap automatically. We'll move this playback head here to where we want to cut and I'll press Command Shift square bracket left to remove all of this left stuff of this marker, and we've done that. Let's come across a bit further. We can see that we stop talking here, we can add a cut. Let's come across further to where I start talking again about here and let's remove all of this stuff here. Again, we want to press Command shift, and square bracket left, and that has happened for us. You can see just how fast and how powerful some of these tools are that are going to allow you to cut down a huge amount of footage to something really manageable really, really quickly. I know we've covered a lot in this, but this is really the fundamentals of editing here in DavinciRsolve, but also this process works with a lot of different tools and applications as well. This is the main editing interface here for DavinciRsolve, this edit page, it's also worth noting that when you're going through and you're doing your base cuts here, you can actually change the layouts and you can make things bigger and smaller. If you come up here to this little button here on the side of the timeline, we can do things like enable or disable the audio waveform. If you don't need them on there and they're distracting you or annoying you, you can turn them off. Obviously, I like to have them on. You can also adjust how that waveform looks. This is the default setting here. This is how most people are going to see it. But you can also display here a full waveform. It is a little bit bigger. I'm going to go ahead and switch that. You can also adjust the heights of both the video track. We can grab this slider here, we can make it bigger or smaller and likewise, with the audio track here as well. If you do find it's beneficial for you using that audio waveform, throughout this stage, we can make it much bigger as well. Then as we start layering up video tracks and things, then maybe we'll make some smaller to save on that screen real estate. You want to go through now, remove any bad takes, any mistakes using those tools that I've shown you either here on the Edit page or on the CUT page. Again, we can easily jump between them at any point and we're working on the same timeline, the same project. Now that you're across all the different tools and functionality in here that you can edit with on both the Edit page and the CUP page, I'm going to go ahead and edit down this a little bit further just so you can see how I would approach and how I would tackle this and the tools that I would use. But for those of you that are ready, your next step from here is to go through remove all the bad takes, all the stuff that you don't want to have in your finished video project. We want to make sure that all of that stuff is removed in this first base edit. I'm going to stay here on the Edit page. I'm going to zoom in a little bit. Let's play this piece here. Thumbnail image. This is where you could add some big bold text, maybe three to five words to help your viewer understand what the video is about. I'm going to add a cut here, Command B. I said this twice. So far, I'm going to use the second one. Let's see if I do a third try. I'd like to play it first or skim through to find these areas. This is actually where we want it to start. From here, then I'd press Command Shift square bracket left to remove all of that back to that point. Again, I can see here we've got a flat point here, so no audio spoken. Let's jump across a bit further here. Let's see what this next bit is. I redo this. I was about to cut there, but this is the one that we likely want to use. Again, command shift or control shift, square bracket left. I actually redone this chunk here, maybe we'll start it about here. Let's remove all of this stuff here and we need to come back a bit. Keep playing through. I set it again here so we can again start it from here, remove all of this stuff here. Command shift, square bracket left. I actually say it again here, so I'm going to start it at this point instead. You also want to make sure that your thumbnail images look good on small screens and small devices. If you've got too much text or too much going on, it's going to be really hard it's going to be really hard for someone on a small screen to work. A couple of things. We've got to cut here and it looks like there's more that we have removed. Let's drag this back across. Actually, I think it's over here. It is. Let's delete this gap, select the gap, delete it, shift delete, to bring those back in. I was going crazy for a second, let's come back here and let's sort out what was happening here. I want to remove this piece. Command B, for this time, I'm going to enable trim mode, and I'm going to select this side of the clip. To about there. Much text or too much going on. It's going to be really hard for someone on a small screen to work to figure that out. Um, also want to make sure that your thumbnail, let me just look good, small. Okay, so I've actually redone this whole section again. Right. So let's turn off trim mode. Let's go back to the main mouse cursor. These two here can actually be deleted, so shift delete. Now, let's play this Graphics. You also want to make sure that your thumbnail, let me just look good, small with so many people consuming on small screens, mobile devices. If there's too much going on in your thumbnail image, too much text or too much happening, your viewers are going to click on something else. Cool. That's how I would approach this. So you want to go through now, you want to remove any of the mistakes, any of the bad takes, anything that you don't want to have in your final video, and then we can get ready for the next stage. 10. Editing: Adding B-Roll & overlay videos: Now it's time for us to add in any B roll or overlay footage, graphic stock footage into our project here. The way this works is it's called overlay or B roll because it's sitting over the top of our primary video footage. It's not to replace it, it's just so we're able to show different things while say, in this case, the narration or me speaking is still happening underneath it. It allows us to easily switch between showing different things and showing the primary camera footage. With anything, video editing, there's lots of different ways to do things. I'm going to run through a lot of the different tools and methods for you to do this on both the edit page and the CUT page because you can do this on both. There are some slight differences and advantages and disadvantages of each so that again, you are familiar with what tools you've got access to because sometimes it's going to make sense for you to do things one way and other times it'll make sense to do things another way. But looking at our overall project here and where we're currently at, we have our base edit done. We've got our primary footage here, which is cut down in our timeline. What I like to do before I take things further beyond here is to duplicate and back up our timelines where we are right now. So we've got our timeline here, base edit. And what I want to do here is let's just duplicate this. Let's make a copy of it, so we can right click on it and we can choose duplicate timeline so that we've then got a separate version of it. If we ever need to come back to just the base edit with no extra changes made, then we've saved this as a snapshot or a timeline at this point in its current state. The other thing I'd like to do is look at the naming system for this, especially with larger projects so that we can easily see what the latest version is as we progress so that we're making sure that we're working on the right timeline, but also that we can easily go back through the different stages as well if we need to and easily find everything. So for this first one here, base edit, let's just click on the text here and let's just call it V one. Version one or stage one of our edit, which was the base edit. Now for this new one here that we've just duplicated, base edit copy, maybe we will call this V two, version two or stage two, and this one can be Broll. Now let's press Enter on that so you can see that we've named it. Now we need to make sure that we are working on this new version here and not making any further changes to the old one. We're going to double click on this here, V two. You can see that we now have the tick applied here. We can also verify that we are working on the right timeline because it says at the top here, V B roll. At this point here, we want to start to import our B roll into our project, which we've done in an earlier video. We can come up here to footage and Broll. This is where I had imported that too. We have our Broll footage here, which is a screen recording, which is the footage we're going to use to showcase what it is I'm talking about. This video and to make it more engaging, more exciting. I'm going to show you some of the tools here on the Edit page first because that's primarily what I use, but I'll also show you a quick overview of the CUT page and essentially doing the same things in there too. We've got our video clip up here. If we want to bring that into our timeline, we can literally just click on the clip here and drag it down into our project and you can see that we are able to either drop it on the same video and audio tracks as our primary we can drag up a little and we can position it on top. That's what we're talking about here. We're able to bring in footage, clips, graphics to sit on top of or to be shown on top of our primary footage. Even if we hit play on this section here now to help you with this, you need to make sure that you can see that we are still hearing what's happening underneath this, but what we're seeing is this top layer here. Just like any other clip, we can make adjustments to the start times, the end times, we can add cuts in it. Control B or Command B and we can edit this as we did our primary footage. I'm going to undo that a few times here. Let's remove that cut. You can see that right now we have this one massive clip here in our timeline, which is much longer than the video we're editing. Again, we can navigate through this, we can change the views using the plus and the minus the slider here. We can also adjust now that we're using multiple layers, if we come over here to the timeline view options here, we can scroll down here and we can adjust our heights so that we're able to see more on screen so we don't have to scroll. See we've got scroll bars on the side here. If you're working with a lot of tracks, that might make sense. But given that we're only using two or three tracks throughout this project, we can shrink these down so that we're able to see everything all at once. Something like this is how I would be adjusting it. The first method is to bring in your entire clips and cut it down in the timeline here as you would your regular footage. But as our B roll clip here is fairly long, I'm going to remove it. I'm going to select it and press delete, and I would usually just bring in the chunks or the pieces that we want into our timeline individually. What we would do here is come up to our clip. We would double click on it so we're able to preview we can then use these playback controls here to play through the clip or we can grab this little slider here and we can scrub through our footage relatively quickly to find the areas or the things that we want. Then all we need to do is use the keyboard shortcuts I and O in and out to mark an in point and an out point where we want this clip to start and finish and we can just drag that section down to our timeline so we're only bringing in smaller manageable clips at the same time. Let's just say that we wanted our clip to start about here before I start scrolling. We then press I on the keyboard to mark out in or start point. We could then play through this until we work out where we want it to stop. Let's say, for instance, around here, press P on the keyboard. This clip here now, we can either just drag both the audio and video part of it down to our timeline from here. You can see that we get both of those. Again, we can drop it above our primary video footage here. Or if I undo that, we also have the ability up here when we have this clip previewed. When you put your mouse over the clip here, you can see that we get the option for just video or just if we don't click and drag from here, but instead we click and drag from here with the video icon here, then we're able to just bring down the video portion without the audio. In the case of a screen recording like this example here, where there really is no spoken piece that we need, then I would just be doing that. I wouldn't be bringing in the audio piece. But if there's audio that you want to bring in for some other clips without the video, you've obviously got the option here to click and drag and bring down just the audio piece too. I'm going to go ahead and remove that remove this clip here because a few other tools that I want to show you. Let's go ahead and open up our clip here at the top again. You can see that we still have our marks here in and out. At any time we can come across, we can mark a new in point, a new outpoint, and that's now the piece that we're going to be bringing into our timeline. But instead of clicking and dragging, there are some other tools here that you need to be aware of. The first one here is this one here, insert clip. If we press Insert clip here, then it's going to look at our in and out points and it's going to grab that chunk and insert it down into our timeline. If we press that here, that's dropped it down to our primary timeline because that's what we have selected here. Video Track one, Audio Track one, and it's inserted it in, so it's moved everything else along. If I undo this and instead of picking Video Track one and Audio Track one, I press for Video Track two. We're switching here, which tracks are selected. Now I come back to our Bro and I want to import that, then I can press the same button here, insert and it's going to insert it on the layer above. But you can see that this tool here, insert has still shifted everything else along. Again, there will be some cases where you want to use that tool and have access to that functionality and other times not. I'm going to undo still were Video layer two and Audio layer two selected, let's look at the next tool here, which is overwrite clip. If we press this one instead, then this is going to bring those clips in that we'd marked from out in and out points and it's going to overlay it or put it on top of and it's going to bring it into our timeline without shifting the clips along. It's going to overwrite whatever is happening at that time. Which we know here, in this case, video Track two and Audio Track two, there is nothing happening in these areas. You can see that they are blank, so we're able to add new clips to there without moving or creating gaps in our timeline. Where the clips come into our timeline for any of these is wherever this playback head is. The last one here is replace clip. What this will essentially do is it we'll look at what clips are in the timeline here at the area where this playback indicator is and it will replace them with whatever it is that you've got selected up here, but it won't adjust the timing on any of the other clips. It's not going to shift clips along, it's not going to leave gaps, it's designed to replace clips in your timeline. Now, if there are no clips in your timeline at that point on the video layers and audio layers that you have selected, then it's just going to import the clip in with overwrite. If we press this here now with no clips here on Video two, and Audio two, we press this, then it's just going to bring that section in for us. But to give you an example, if we come back over here to this piece of B roll here, let's pick a new section. Let's come across to and here where I have zoomed out here. Maybe we'll start about here before the zoom out and the footage here will be zooming out. Let's mark an outpoint around here. With this clip here selected, we then press overwrite and we've then replaced this clip here in its current timing for how long this clip here has been cut in our timeline then replace this clip here without changing how long it's on screen, how long it's in our timeline. That clip now has been replaced with the new clip that we've just placed in there. As the core functions here on the Edit page. Let's jump across to the CUT page and you can see here that this is updated our preview with what's happening on our Edit page too. You can see that we do have these extra clips here in our timeline. They are showing here in our preview as a separate video layer. We can see we've got Video one, Video two. We can see that we've got our footage up here as well, which we can double click on. We can add these in and out points. But the in and out points in this view do look a little bit different. Actually see them here in our timeline as a marked out area. It's a bit easier to see. We also have these little icons here to help you add them. This is your in marker, this is your out marker here and I can click and rag on this and we can choose the area that we want. But what you'll also find is that our keyboard, your carts work the same in here as well. Let's say if we wanted this to be our endpoint, we can press I on the keyboard and that's automatically adjusted that as well. But it's cool that we can also adjust these in more detail with more accuracy, more precision by using these in and out icons here as well. Terms of adding this clip to our timeline, we do have a lot of that same functionality where we can just click and drag that clip down to our timeline to bring that in. We also have access to the other tools area here to bring those clips into our timeline. Again, you will want to make sure that you are selecting the right timeline that you want to bring this down to the right layer. You can see Video Track one is selected here. We will want to select Video Track two as overlay layer and we want to use this playback head here to work out where it is we want to bring clips into. But then we have access to tools here like Smart Insert. If we press this one, that has taken our screen recording clip that we had the section marked out, is dropped into our timeline, and you can see it's created this blank space. It's worked the same as the insert where it's edited in and it's pushed everything beyond that point along so that we're ended up with a gap in the timeline. If we jump back to edit here, you'll see this is what it looks like. I like that you can easily jump between these different views as well. Let's go ahead and undo that. Command Zed, control ed. There's a cool feature here called append, which will import that clip into your timeline on the layer that you've selected, but it will do it after the last clip that you've already brought in. If we press this one here, Append, you'll see that what it's doing here is it added the clip here. We selected Video Track two. The last clip that we have on Video Track two was here and it added our new clip here. Now, I can select on the clip here. Let's delete that. Let's undo that. This one here close up is a pretty cool feature where it will bring in that section into your clip, but it's going to zoom in. If you do have a talking head piece like our footage here and you're bringing it in in chunks and you're using these tools here on the cup page, you could actually have it automatically zoom in on a section of that footage for you, which is pretty cool. You've also got place on top. If we hit this one here, then we can see that that clip there in its entirety has then come across onto another new layer all by itself. It's not overriding anything, it's just dropping it in on top of everything else in our timeline. Those are different methods for bringing our footage in. Let's jump back to our Edit page. And let's actually look at bringing in the clips in the order that we would want them. So let's play through our video footage here. I'd imagine that I want to have me on camera on screen at the start and then we'll start to bring in some of this footage as it matches. You could have the world's best video, but if no one clicks on it, no one's going to see it. So you need to get your content clicked on, and that's when your thumbnail strategy is so important. Okay. So I think at this point, the piece that I want to look at is where it says, you want to get your thumbnail image clicked on. We want to somehow show someone clicking on a thumbnail image. It might be that we're using extra graphics and animations and things to help showcase that piece or to help call that out. But let's jump across to our footage here.'s double click on it to open it up. And let's go and find what we have in here. A lot of scrolling, YouTube, we've got our two thumbnail images here and we'll add some sort of animation to these showing someone clicking on. Before it zooms out. Let's put a marker for out here. We don't want it to go beyond that point. Let's just see what have we got before that page loading. Probably about from here in. We've marked out our area here. Let's just click the video piece. Let's bring that down to our timeline. Obviously, we've got a lot more than what we need here at this point. Let's just drop it down and then we can tidy this up, move it to where we want. At this point, I'd normally zoom in on the timeline too, just so we're getting some more accuracy here and we can start to work out looking at these audio waveforms, what it is I'm seeing and when so that we can really position things up. Let's play this little section here. Clicks on it, no one's going to see it. You need to get your content, we wanted to start around here after I finished talking there about here to see it. You need to get your content clicked on, and that's when your thumbnail strategy is so important. So I think I want to come back to me on camera for that last piece. Your thumbnail strategy is so important. It's a pretty critical piece of setting up this video and what we're talking about. For right now, I'm just going to finish this clip at that point. I can just grab the end of it here and drag it back to there. And for now, this is what we're going to show on screen. Again, we're going to animate this, make it look a little bit better. We'll probably zoom in on it, and I'll take you through that piece in another video. But for now we're focusing on bringing in the B roll, and this is what I want to show at this point. Let's take a quick look. You need to get your content clicked on, and that's when your thumbnail strategy is so important. Okay, so now we want to start to show the next piece. To help you with this, you need to make sure that your thumbnail images are grabbing people's attention. They stand out on whatever platform you're posting them on. Okay, so about thumbnail standing out, this is where I'd imagine we're going to show all the different options that people had scrolling through YouTube. That's probably a good starting place. So we'll come back up here to Broll, and let's grab one of those pieces here where there was a lot of scrolling. I think there was a couple of times we scroll and stopped yes, we've stopped here. So maybe we'll mark an end point here to start just when the scrolling starts again. Play through this. We paused, we don't want to pause. Maybe we'll start it actually around here. Mark a new in point, I on the keyboard, keep scubing through. That's probably enough. Let's mark an outpoint. Let's drag down the video piece here into our timeline. Let's just see as placeholder here what this looks like. Help you with this, you need to make sure that your thumbnail images are grabbing people's attention that they stand out on whatever platform you're posting them on. Okay, let's drag this out just for now until the end of this, so it's covering that entire section. Again, I don't want a clip to be too boring or too long on screen, so we are going to jazz this up a bit as we go. But for right now, this footage, it makes sense to be showing all the different options in terms of standing out on the platform. That's the process for going through and adding in stock footage, B roll, overlay clips into your timeline. Now, if you are looking for places to find stock footage, where we go is motion array and story blocks. Those are our top two. I just wanted to jump in here really quick to say, if you're finding this training valuable, can you please take a moment to leave us a review on here? It makes a world of difference to help people find this on Skill Share. So if you're liking this so far, I'd really appreciate it. Also, feel free to share any of your top takeaways along the way. 11. Editing: Scaling/zooming and rotating clips: Video, we are going to look at zooming, scaling and rotating your clips. This process will work no matter what clips you have in your timeline, whether it's your primary, A role, main camera footage, or whether it's your B role, clips, graphics, or anything else, too. All we need to do is select the clip that we want to modify. It's a good idea to also have this playback indicator here over the top of that area, somewhere covering that clip so that we make sure that we're actually getting the preview of the adjustments that we're making and then you want to make sure that you're able to see this inspector tab up the top here. You can show and hide your tabs. We want to make sure that we are seeing this because this is where the magic happens. Then in here, you'll see that there is a bunch of tools that we can use. Transform is specifically what we're looking at for this video. This is our Zoom controls, our position controls. You can also see that we've got rotation in here as well. That's just a matter of making adjustments to these. Let's say we want to zoom in on this clip here and the timeline. At this piece in the video, we are talking about getting our thumbnail images clicked on. I want to zoom in on these two thumbnail images. Quick warning when you are zooming in on clips, depending on how they've been shot and the quality of those clips, you might lose some quality in your finished video if you're zooming in too much. Just be mindful of that. But to zoom in, we want to come up here to Zoom. You can see we've got this slider bar here, we can click and hold and if we drag to the right, you can see that we are zooming in on this clip. Maybe something like this. The likewise with position, we can again grab these sliders here or numbers here for left and right. Maybe we'll move this across a bit. We've got our Y axis adjustment here up and down with this other slider here too. Maybe something like this. Maybe we'll try to zoom in a little bit more. Looking at this now, probably move it back to the left a little bit. Something like this. Now, you can see we can also do rotation in here as well. If we did want to adjust our clip rotation to make it look a little bit different, then we can do that here too. I'm going to undo that rotation here and leave this one straight because that's for this specific clip, how we'd want to it. Obviously these changes here have applied to the entire clip. You can see that it's not animating or anything like that. Let's scrub back to the start of our clip here. Again, you'll see there's no movement. We're not zooming in or anything on this primary camera shot. We could select this clip here. We have the ability to zoom in and make adjustments of it, as I just showed you. I'm going to undo that now. But there's also a feature in here called Dynamic Zoom. If we turn this one on, you can see it's actually zoomed in on our clip for us. Now if we play this, you can see that it's slowly zooming out. This is a quick and easy way that we can get DaVinci Resolve to create some simple animations for us literally with the click of a button, and then if we decide that we don't want this on, then we can disable it and turn it back off. A much more advanced way that we can do this essentially dynamic Zoom or animate the Zoom, the position, the rotation or really any of these features in here is with using these keyframe adjustments off the side. Now, this is a more advanced strategy and I cover keyframes in another specific video just on keyframes. If you're interested in getting more granular control for zooming rotation, specifically around animating your clips, then definitely check out that other training. But the idea here in this stage in the process is you want to go through and make any adjustments to your clips, Zooming, scaling, rotating to get them looking the way that you want. One of the other clips that we did want to make some adjustments in this time line here from our B roll that we brought in earlier is around this clip here when we are typing this stuff into search here, we can see that it's very small on the screen. I want to zoom in on this and let's just play this through and take a quick look. Let's just unmute our track here. Let's play it and take a look. Your thumbnail image also needs to be related to your video content. Best case scenario, if someone sees your thumbnail image, they can work out exactly what your video is about. A for at least first part here where we're typing this in. Considering it's a big screen, but the action really happening up the top here, the movement, we want to zoom in on this section at least. For right now, I'm just going to select the entire clip. Let's reposition this and zoom in for this top section. Let's zoom in and then we'll want to move this down. Maybe we'll zoom in a bit more actually looking at this. You can see this was a pretty high quality screen recording, so we're okay just zooming in this amount. Maybe I'll move it across a little bit. Let's play this now. Thumbnail image also needs to be related to your video content. Best case scenario. I think that looks pretty good so far. If someone sees your thumbnail image, they can work out exactly what your video is about and if it's for them. Maybe we'll extend our clip out a little longer here, so we're scrolling past them all. Your thumbnail image also needs to be related to your video content. Best case scenario, if someone sees your thumbnail image, they can work out exactly what your video is about. Okay, so that's not bad. Again, we'll probably make some more edits to this a little later on to tidy that up a little bit. But in terms of this Zoom and rotation and everything, I'm pretty happy with this at that. 12. Effects: Adding text: Time for us to add any text into our video. Again, before we take this step, I just want to make sure that we are duplicating our timeline here so that we have our backups in place so that we can revert back to this place at any time. I'm going to duplicate my timeline, and this one here, let's call it V three. Step three, version three, text. We want to make sure that we have this timeline open. Okay, this is the one that we are modifying now. So to add text into our timeline here, I am on the Edit page. We want to come at the top here to effects, and this is going to enable this effects panel now. Now, if we want to make this even bigger, we can turn off media pool at this point so that we have our effects filling up this entire area. Then here, we can access obviously a lot of effects, but also our transitions and titles too. I want to come down here to titles. Let's scroll back up to the top. But as you can see, there's a lot of different presets and templates and things in here we can use. Now, if you want to preview and see what these look like, just putting your mouse over them on this left side where this little preview then we can see what it's going to look like. Now these first ones here that are just titles, they're just static text. We can customize them up. We can make things bigger, smaller, change the fonts, colors, all of that stuff, but they're not animated at this point. To just add in a basic title, we'd probably grab this one here, text. If we want more configuration, more customization, then there is this one here text plus and I'll show you the differences between them. But there's also animated titles in here as well, these fusion titles. If we scrub through this, we can see those animations take place, the preview of them. This one here, background reveal, if we scroll through this, so this one down the bottom here, call out. We see the text appears and then there's a line with a little pointer, center reveal. So the text appearing from the middle. There's lots of different ones in here that you can again, apply to your projects and customize up. This digital glitch one, I think, looks pretty good too. This is very similar to the titles that we use on our YouTube videos. Let's go basic text first. Come back up here. Let's grab this text box. Let's drop it down in our timeline where we want it. Now, you can see here that this is actually overwriting clip here, our Broll screen recording. If you find that that's the case, it's a good idea to drop it on the layer above. We can drop this up here on layer three and maybe we'll push it across here. Again, if we want to resize our timeline, we can adjust our video track height here so that we can see everything there easily. We now have this title placeholder here in our timeline and it behaves just the same as any regular clip. We can adjust the start time, the end time, we can pick it up, we can move it around. You can see now that it's smaller, it doesn't necessarily need to be on its own layer. We could bring it down here if we needed to. It behaves the same as a regular clip. But to customize this up, we want to select the title and then over here on the side in this inspector area. If you're not seeing this, then you want to make sure that inspector is enabled, then we can see that we have our title settings. We've got basic title here. We can change the text. Let's go Justin Brown. We could change the font. We could go Oswald, which is our primal video font, change it to semi bold. We can do things like adjust to the tracking so that bring the letters a little bit closer together to customize this up so that it matches our brand. Likewise, we can change color and everything in here too, size, and if we keep scrolling down, then we can also adjust position. We could maybe center this up a little bit. Let's drop it down here and if we keep going down, we can add in a stroke if we wanted to a border around the outside. We can add a drop shadow. We can add a background to our text here as well and customize all of this up so we could take the width down on this. Maybe we get rid of the corner radius, it's a square box. This is already signed to look like the titles that we use on our YouTube channel. Maybe we change the background color here to our primal video blue, and we've now got a basic title. Now, there is no effects or animations or anything on this. If we play this section here, the world's best video, but if no one clicks on it, no one's. Then our title disappears and disappears. But this is where you can add transitions and effects on there as well. We do have a separate video on adding effects and transitions. If you want to spruce this up a little bit, then I would check that out. But this is really the crux of a basic title here. Now, the text plus, as I said, this had more controls on. Let's drag one of those onto our timeline here. But just for comparison here, if we click on the text plus, you can see that we have a lot more control and settings in here to customize this title up. But essentially, is going to do the same thing that we can just edit the text and it's going to make our changes here live on the screen for us. I'm going to remove this one here. But as I said, there's also animated titles, these fusion titles here as well, and again, they behave very much the same. If you pick this one here, digital glitch lower third. You can see this one actually has two lines of text. Let's drag this one down into our timeline. We can hit Spacebar to preview this. See it. Again, we can select it and customize it up. We've got large text here, the big one down the bottom, we could type in Justin Brown. We can adjust the size and configure this up. I keep scrolling down, we can see we've also got the top text as well. If I wanted, we could have primal video. Again, adjust the position and all of that stuff for this. Or if we don't want any text for the top, we can just remove that text and it's gone from our title here. You can go ahead and customize up this the way that you would like, and then the animations and everything still apply. You can see this still says Justin Brown animates on as that template going to go ahead and remove this. We're going to add some titles that I would add for this specific video right at the start. Let's just play and see what it says. You could have the World's Best video. World's Best video. I think what I would do in this case is I would bring up some texts. Instead of my name card here, Justin Brown, I would bring up World's Best video. Let's really call this out and create some engagement. I'm going to delete this title here. To go back to our basic title here and let's drag this out. Again, we'll just put it on a layer above so that we're not overwriting our clips here. Let's shorten this down and I will write the word worlds. Let's get this looking the way that we want. Let's go Oswald, again, semi bold, just the tracking. Let's scroll down here. Let's make it a bit bigger, Wlds let's move it over to the side. Maybe a little bit smaller. Maybe something like let's duplicate this. We can right click on it and choose Copy, come up the top here and choose Edit Paste, so that we've got two of them. Or if we undo that, we can select the clip. We can hold down Option or Alt and we can click and drag this clip upper layer and you can see that we have duplicated. We now have two versions of it. Let's customize up this top one here. World's best for this one, maybe we'll just move it down a little bit so we can see it. Let's duplicate this again. Let's hold down Alt and drag up or option, drag up. And let's have video and let's reposition this one. Welds best video. We've got our three words in there. Let's make it look a little bit better. Let's hit it best then maybe we'll make this one bigger. Let's adjust the size, welds best. Let's adjust the positioning of this. Likewise with video, let's do the same. My make it a little bit bigger. It's just the position. Okay, something like that doesn't look too bad. Now let's time this up with, as I say those words. World starts here, so we want that word to appear at that point. Let's adjust the inpoint of that word to there. World's best starts about here, that in point there. Video starts around here. Now, let's just preview this, see if we got it close enough. The world's best video, but if no one clicks on it. Okay, simple to add text that adds engagement to your videos. Pretty cool and pretty easy. Now, for those of you liking the idea of these animated titles, but maybe you're not finding something specific to what you're after, know that these are just the ones that are built in to resolve. Again, I am on the free version here, too. But you can go to websites like Video Hive where you're able to come up the top here to DavinciRsolve. And let's go titles. But you can see there's obviously so much more in here than just titles. As we scroll down, we can preview what these animated titles are, 350 plus cinematic titles in this pack. All of these, in this case, here are directly integrated with DaVinci Resolve. You can go through, look for something that is fit for what you're after, download, install this in your program, and it's then going to show up as a title that you can then drag and drop onto your project. 13. Effects: Applying transitions between clips: Time to add transitions on our clips. Again, we want to make sure that for our ongoing project here that we are duplicating our timeline so that we have that backup point to come back to. We'll call this one V for transitions and make sure this one is open. I am on the Edit page here and I want to bring up this effects panel. We can hide the media pull here so that we have effects much larger, then we want to come over here to video transitions. What you'll see in here is that there is a bunch of different transitions that we can literally drag and drop onto our clips. We've got things in here like your standard cross dissolve where it's just going to fade between the two clips. You've also got an additive dissolve, which is very similar, but it normally picks the bright areas of that and amplifies those, it's adding to it. We've got blurred dissolves, lots of different shape transitions and things down here as well. And then as we go down here, we see these fusion transitions too. These are the ones that are, I guess, more advanced or more intensive for your computer to process. You can see we've got a glitch transition here, camera shake. I'm just previewing these just with my mouse cursor over these effects. Things like circles as well. That one looks pretty cool. Stretch blur. So many in here to choose from. Now, what I would say is for most videos, you want to use these sparing a where a lot of amateurs go wrong is that they'll just be in here adding all these different Zoom transitions and effects on every cut. And it's really hard to watch those videos. They're really annoying and distracting. These transitions here are really used to transition between one type of clip to another, I would say to only use them where it's of value to the video, where it's adding to the story or the feeling, the vibe of what it is you're creating. Had them on every cut. For most of our YouTube videos and even the corporate projects I worked on for years, we very rarely used transitions. Having a cut between clips at the perfect time is normally the best thing to do for most cuts. But there are times when you want to use transition. So here is how to do it. You want to come up here and find the transition that you want to use. In this case here, I'm going to pick one, which is a slide, so we're going to slide this shot in here and I'm going to add it to our Broll clip at this point. I'm going to grab this transition and I'm going to hover it over my clip, and you can see that we can put it towards the start of the clip there where you can also put it at the end of the clip and you'll find this with really any clip that we have here in the timeline. You can also add it between two clips as well. You can see there's an overlap here of two clips. But for this first case here, I'm going to put it at the start of this Broll here and let's just preview that now. To see it. You need to get your content clicked on and that's when, very simple. Very easy. Now we can customize this up if we click on that transition effect there once it's in our timeline, then over here under the inspector for transitions, then you can see we've got a bunch of different things we can configure up. The duration, we can make this transition go for a longer period of time, a shorter period of time. We can choose the direction in this case of the slide. We can add a border, we can add a feather, so it's not just a hard edge to it. Let's just come back a few frames so we can see this edge here. Can enable feather and let's increase this border amount. You can see that we now don't have that hard edge. It's now a soft edge for that transition. You can turn that back off and we can also add in motion blur. Now when we preview It's blurry on the way through. There's a great amount of customization here for a lot of these effects that you can use. Now, to remove a transition, we just want to make sure that we have it selected. We can just press the delete key on our keyboard and that's gone. Maybe for this clip here, what I'd probably use then is an additive dissolve. Let's try that one on here as well. Let's make sure that our transition starts at the start of our clip. We can also adjust the timing of it directly from here without needing to go to the transition panel over here. But you will want to be zoomed in like I am so we've got that more granular control. Let's preview that now one's going to see. You need to get your content just very simple. It's just not appearing as a hard cut, it's fading in. Now obviously, as I said, we can add these at the start and the end of our clips. We might even add a different one at the end, maybe a slide right, and let's make it a little bit shorter. Let's preview that now. Click on, and that's when your thumbnail strategy just adds a little bit of extra movement or momentum to our clips. Now, scrolling through here and looking at our timeline, what we don't have in this timeline is a cut between two sentences. I'm just going to hide this clip here and move this out of the way for now so you can see what I'm talking about. There are times where we're going to be editing and creating our videos where we have a hard cut like this between two clips that are essentially the same. I'll play this now so you can see what I'm talking about. Video is about, or even some related age understand what the video is about or even some related image. It's where I have maybe removed a pause, a gap or a mistake and we've ended up with this hard cut there. Now, in a lot of cases, that can be fine. But if that's happening every couple of seconds, that could be really distracting, which is where you either want to do what I have done here in this case, and I had that covered up with Broll. That mistake or that cut no one's ever going to see because this footage here is shown on screen at that time. That's not always going to be the case. What you could do in theory is add a transition between the different clips. We could say, for example, grab this square iris here and you can see the effect here on screen that that transition is having between it. I don't love it. You could add some of these transitions here. It is an option for. What I personally think looks much more professional than adding these transitions where the clips are pretty much the same is to zoom in or change up one of the shots here. The left or the right, it doesn't matter, but I would normally just zoom in on one of them to essentially make it look like it was a different camera angle or a zoomed in shot. I'm going to pick the second shot here and I'm just going to zoom in on it. They have another video covering off on zooming and scaling and everything. But I'm just over here on the inspector under video transformation, and I'm just adjusting the Zoom parameter here to zoom in. Already, if we just play this now, it's not complete, but it's going to look a little bit better. Stand what the video is about, or even some related images. That's not bad. It's less jarring for the viewer because it feels different. It's mixed it up. But in order to really sell this effect and have it to be even less jarring, there's a secret little tip where you want to keep the eyes in the same position or as close as you can between the two different shots. It's going to be way less jarring for people watching. I'm going to reposition this other shot here to try and match the eye positioning from the shot before. We want to come down a little bit with the shot, maybe across to the side a little bit. Let's preview this now. Help your viewer understand what the video is about or even some related images or graphics. Yours. Okay, so much better. Instead of applying transitions between clips where they are essentially the same footage, same look, and there really isn't any difference, I like to zoom in on one of the clips to make it look different and feel different for the viewers without it being as jarring as just a little glitch. Also worth noting as I covered in the previous video on this topic, if you are going to be zooming in on your footage, depending on how it's been shot, the quality of the resolution, and the timeline that you're working in, there is the potential for you to lose some quality with this. I would use this sparingly as I wouldn't zoom in too much because it is possible that you could be losing quality at that point. But at the same time, if you're only going to be uploading to places like YouTube instead of Netflix, then you could likely get away with this without any issues, and it's what we do in our YouTube videos. 14. Effects: Adding special effects & Animations: Now time for us to add in any effects animations into our project here. So over here on the Edit page, we're going to come up here to effects, make sure that we can see this window here. And then there is a bunch of preset effects and things inside of resolve and there's also a dedicated effects, I guess, motion graphics effect tool in here as well. But we're going to go over to the preset ones first. So it's a good idea to dive in here and just scroll through and just to test out and sample, see what's in here so that you know what you can use in future projects. There's some random stuff in here. Some really useful effects and things in here that you might find that you'll use, and you've got the ability to customize up a lot of these as well. With these effects that are in here, we have the ability again to either drag and drop them onto an individual clip. Let's say we wanted this digital glitch effect. We wanted it on this clip here in our timeline. We can drag that on. Now when we play that clip, we can see that it has that effect applied. But if we want to make changes to the effect, we can click on the clip that we've applied it to. We can come over here to effects and we can see here the effect that we have applied. We could adjust the glitch width in this case, the height, the scale. There's a bunch of settings in here relation to. Want to disable the effect, we can turn it on and off here. If you want to actually remove the clip from our edit from our timeline, we can press the little trash icon here. If we want to dive into some more advanced controls, then we can actually open this effect in fusion, which is the motion graphics and effect tool set or really its own program here inside of Resolve. We can do that too by pressing this button here. You'll see that we're taking over to the fusion tab and this is where we can see all the different filters and effects and everything that make up this glitch effect in this case. Now, this is beyond the scope of the training here because this could literally be and is a full course on its own. For most people out there, you don't need to get bogged down in this. But I wanted you to know that for those of you are looking for more advanced customization and those kinds of things, could definitely dive into this area. I'm going to come back to the edit page here. Let's remove this digital glitch effect. So far, we're just under toolbox and effects, and there's a bunch of different ones in here. Before we move on to the other area that there is effects, I want to point out this amazing super powerful. I guess it's an effect, but it's really an adjustment clip that we can use in here as well. This blank clip, this adjustment clip, we can drag onto our timeline anywhere. I'm going to drag it onto a new video layer here, so it's on top of everything else. What we can actually do is assign clips and things to that adjustment. If we have a look at this section here, this adjustment clip, if I move it in or out of the way, it's not doing anything. Right now it's just a transparent layer, but it's a transparent layer that we can apply things to. Let's say that we did grab this video camera effect here. We could apply it to an individual clip or we can apply it to our adjustment layer and then wherever this adjustment layer is in our project, that effect or whatever we've got apply it on there is going to show up to everything underneath that. If we wanted this video camera effect here across our timeline from here to here, then we're now able to do that across different clips without needing to apply that same clip or same effect to each of the different clips here that are underneath that. This is a really powerful way for you to apply clips and adjustments and things to a broad range of clips all in one place. I'm going to go ahead and remove that adjustment clip there now. The other place that there are filters and things in here is under this open effects, so we can press on this and there is a bunch more filters in here. Things like different types of blur. Now you'll see some of them here that have this watermark across DaVinci Resolve Studio. Again, because I'm showing you this on the free version. Some of these open effects, some of these things in here are restricted access to the paid studio version. There's a lot that aren't like a lot of these other ones in anytime you are seeing this, then that's where you will need to go on the paid version to use that specific effect. You'll see that if we go to use it here, we'll get a warning that pops up and says, you've reached a limitation with our free version of resolve. Do you want to buy it now? We can go not yet, but that effect, we will need to remove from our shot here or we will end up with a watermark on our finished video. So we can come back here to the lens blur, let's delete that and we're now back in good standing with our free version. In this phase where we're adding effects and things, if there are any effects that you want to add on this camera shake effect, let's add this onto this last clip here, just add a little bit of movement. I usually dial this down a bit, but let's just play it straight out of the box and see what it looks like. Too much going on in your thrombo Image, too much text, too much. Right, so it is a bit much. We can adjust the speed. If there's too much going on in your front might still be a bit much. We drop the motion. We could even increase the motion blur a little bit. Too much going on in your image to effect much. You can see how quickly it is to apply these things to customize them up and have them look pretty good. But we can also stack these effects. Let's just say that we wanted to add this film damage to this as well. We can just grab that effect, drop it onto our clip here. You can now see here under our effects in inspector, we're now seeing multiple different effects that are applied here, and we can minimize or maximize them just by clicking on them and we can also change the ordering of them as well. We can actually apply more than one effect to a clip as well. Just for a quick preview of this, too much going on from that too much text to much. You can see we can really customize this up. I'm going to go ahead and remove those from this. But scrolling down through here, you can see some of the different types of effects that you get in here, different glows and lens flares. If you're on the paid version, you can unlock your beauty filters like skin smoothing and all of that stuff. Rlight is an amazing plug in which will help you relight your scene using AI. If a keep coming down there's lots of different looks and things you can apply. Again, it's a good idea for you to scroll through this at some point to see what you got access to to help you when you're being creative with. In terms of editing our actual video here, let's just play the start of it because we might be able to bring in a couple of different graphics and effects and things and I'll show you how I would apply those. You could have the world's best video, but if no one clicks on it, no one's going to see it. You need to get your content click. Okay, so the no one's going to see it. We could probably add a little sticker or gift or something there over my face, like a sad face, someone crying. So what I would do for this is I will be looking online for some extra graphics and things to add in there. Where I'll be going for that first off is places like story blocks and seeing if there's any different graphics or animations and things that we could add in for that. Or in this case, if we want to have a bit of fun with it, we could come to a GIF website like GiffR or Giffi Jiffy depending on how you say it, and we could search in here for sad Imogi sad face and just see what comes up, something like this could be pretty cool to overlay on my face. Let's download this, download GIF. Let's jump back to DaVinci Resolve. Let's go to our media pool. Let's go to our graphics folder, and let's import that gift that we've just downloaded. I down here on my downloads. There it is there. Let's press Open and it acts like a video file, which is pretty cool to see. We've got this animated GIF here. Let's drag this down onto our timeline, roughly where we want it, we'll zoom in using the slider here or command or Control plus and minus. Let's just hit play on this so we get the timing right. No one clicks on it, no one's going to see it. Okay, that's looking pretty good. Now obviously, we want to remove the black here from the background so that we're just seeing the sad face here. As with anything, video editing is lots of different ways that we can do this. I'm going to give you a couple of options because you might not always be cutting out a perfect circle like this. We can come over here to our effects area and make sure that we are seeing this. You can minimize the media pull at this point. You can see that I am on toolbox. I've come down here to open effcs and then we've got some different keying or background removal tools in here. I'm going to grab here the luma key just to show you one method here. We can drop that into our timeline. Well, then we want to hit this little drop down arrow here, and we want to make sure that we're on open effects overlay. Then all we need to do here is just click and drag a little bit on the color that we want to remove. And you can see that it has removed that color for us. Over on our effects area here, we can see that we can dial that in further if we wanted to play around with this, get a little bit more advanced and finesse it here. We can do that you see that because we've just removed the color black, we've also removed the eyes as well. It's not a bad way to do it, but there are better ways and other options. I'm going to come up here, let's remove that effect. Instead, how I would approach this one is I want to make sure that I've got that clip selected. We are going to jump across to the more advanced fusion area here where I want to go is to tools down to mask and we're going to draw out the area here that we want to cut out. This could be depending on what it is you're cutting out. That we are using splines or polygons here where we can just click and drag and draw out areas. Obviously, I'm not doing a very good job here, but I just want to give you an idea. We can cut things out that way and obviously we can control all these points and dial it in to get it the way that we want it. I'm just going to remove that one. So I want to come down here to this polygon one that we created. Let's press Delete, that's gone. We're now back to where we were. Instead, what I am going to use because it's a circle is the circle tool, the ellipse tool. If we press on that to add that, then you can see it's automatically done a pretty good job already. So with this selected here, we can also then adjust the border width, the crop of this circle. Obviously, here we can make it a little bit bigger. You can see that it's not perfectly aligned. So we could really dial this in. We can adjust the center of that circle there to get it looking a little bit closer, but it doesn't really matter. But if we jump back now to the edit page, we'll see that it's actually cropped all of that out for us. So now with this clip here, we can select it so that we have all our transform tools and everything up here and we can move this, scale it, put it where we want it. Let's cover up my face on this to have a little bit of fun with it. Another thing you can do with these transform tools. Obviously, I like to use these ones, but there are times where you might like to just click and drag on the preview Window here. We can do this too by switching this little mode here to transform. Then you'll see we get the regular box around here where we can click and drag, we can scale, we can rotate. We can do all of that stuff here. Maybe we'll rotate it a little bit. Cool. Now let's give this a play now. One clicks on it, no one's going to see it. You need to get your content, little bit of fun and pretty quick to add that in. Now you're obviously not just limited to adding gifts. That's something that we don't do too often but do add for a little bit of fun. But you might also want to add in different arrows or different elements to cold out sections of your video. This is something that we do a lot. Let's come down to later in the video here where we're talking about the different elements that you need to make a good thumbnail image for YouTube. Let's just play this section. Five words to help your viewer understand what the video is about. We're talking about the three to five words here. We could add in some different arrows or graphics to help call this out at this point. A great place I've found to grab static images, transparent images of things like arrows and designs and things is Pixabay, so we can just type in arrow or arrows, run the search on here, make sure that we have vectors selected. And if we scroll down here, you'll see that there's quite a few different options that we have that are already cut out, already transparent for us to use. We can click on this. We can choose Download. Let's pick this one here. Still PNG, it's transparent and let's hit Download. That's going to download to our computer. We then jump back to our DaVinci Resolve. Let's go to the media pull so we can import this graphic. We can just right click and choose Import Media and we'll navigate through and find that. Let's pick this one. And then we can just drag and drop that down onto our timeline. You'll see that because this arrow already was transparent, had a transparent background, it's come in to resolve here transparent as well. We could reposition this. Maybe we could rotate it to be how we would like it to call out the different elements on screen. But that is a static graphic. That's something that we use a lot in videos with arrows that pop up. Can also use animated or video based arrows and graphics too. For those, we usually get them from places like story blocks. To give you an idea of that, we're on story blocks. I've just searched for video files. Arrows is what we're searching for. And you can see that even on this one clip alone, all these different animated arrows and things that you can use and again, further customize up, it's pretty awesome. There's different arrow packs and video clips and all sorts of stuff. Them already here have a green screen background, so they're going to be easy for you to remove that background. I'm just going to go ahead and grab this first clip here, so I'm going to download that and I'm going to come over here to resolve and I'm going to import that file. You'll see if we scrub through here, we've got so many different types of arrows and things. I'm going to double click on that. We're going to mark out the arrow that we want, which is going to be this one here. We'll mark out Inpoint I on the keyboard. We'll mark our outpoint once that has finished its animation, and then we will click and drag this down into our timeline. Now, because the background of this one is plain black, we're only going to remove the black. There's no other areas like the eyeballs in the previous one that we wanted to keep, then we could just use the luma kia and use the process I showed you could jump back to fusion and use some of the effects and things in there, or we can just with the clip selected come over here to transform and we can change the mode here from normal to add. This here, you can see it's already removed the black and as we scrub through this, we can see that arrow and that animation and everything happening for us. That's just a matter of using the transform tools or clicking and dragging up here to scale up, scale down, rotate this arrow so it is how we want it. Maybe we will do it like this. Let's play that through. Maybe three to five words to help your viewer understand, that was pretty quick. Now we can duplicate this. Let's hold down Option or Alt and let's copy this clip here. Let's play it again. Five words to help your viewer understand what the video is about? Pretty awesome. Looking arrows, really, really fast and easy. So that's how easy it is to take your videos up a notch using some of these built in effects and things in resolve. 15. Effects: Speed adjustments (speed up slow down): Not resolve makes it really easy to make speed adjustments with your footage. This is going to apply to whatever type of footage you have dropped into your timeline here. For this example, I've got an extra clip here that's at the end of my editing project just to show you how this works. We're going to select our video clip. I'm here on the Edit page. We then want to make sure that we can see this inspector window at the top here, and then we want to come down here to where it says speed change. This is what it looks like by default. We can click on that and it's going to stretch. This where we can access the core functionality as with editing, there's lots of different ways that we can do this here. But I want to show you this way first because this is what I find to be the easiest for a lot of cases. First off, we can see here the direction of playback. We've got playing it forward or we've got playing it backwards. If we just want to play the clip in reverse, then we can hit this clip here and we can see that our speed change from 100, which is normal two -100, same speed but backwards. If we play this clip now that I have in my timeline, we can see that this rowing is happening backwards. We have the option here to play forward. Standard. You can see normal 100, reverse is negative 100 and we can also see here we have the option for freeze frame. Let's just say there was a specific frame here that we wanted to freeze it on. We can press that button there. You can see it splits our timeline at that point. This first clip here is going to play as we selected, which in this case is in reverse, and then it is going to freeze at that point. I'm going to undo this now. I'm going to press Command Z or Control Z to undo this. If we want to reset our settings here, we can always use these little reset buttons here. Now we can also get more granular control here. While it says here, speed 100 and frames per second 30, we can either make more granular adjustments by using these slider wheels here and clicking and dragging. If we go a lower number under 100, that's going to slow it down. If we go above 100, that's going to speed it up. We're going to do this at the speed level here based on percentage. Or we can do it at frames per second as a metric as well. Or we can come over here and we can just grab the dials on the end here and increase or decrease our speed from this point. Let's say that we want to really speed this clip up, go to 450 somewhere close to that. Now when we play this clip, we can see that there is definitely sped up. Now, when we're adjusting speed, whether it's increasing or decreasing, that also affects our clip duration, how long our clip is going to be. Obviously, if we're slowing things down, it's going to make it longer period of time to play back that same amount of footage back the other way, if we're speeding it up, it's going to play that clip in a shorter period of time. What we can do here is we can also monitor the duration. If there is a specific duration that we want to have a clip or to get it towards, then we could increase or decrease our speed at that point so that the clip actually matches that. You can see now as I'm increasing the speed that it is shortening the clip because it's going to take less time to play that back. Now, there's also an option here, ripple timeline, and if we have this selected, then this clip, if there was clips on either side of it, are going to ripple along so they're going to move along or shorten up, squish up that gap based on the time adjustments that we're making the speed adjustments. While I've got this clip on the end, it's not really affecting any other clips, but if it was in the middle, then I'd likely want to leave this ripple option selected here so that our clips would shift in time. This is the speed change settings here. I'm going to take it one step further because if we come down here to retime and scaling, we can adjust how the processing is done for the clips that we want to slow down or speed up to get much better results. I'm going to switch this here instead of being really sped up, 1,385. We're still playing forward. Let's drop this down to 20. So one 20th of the original speed here, you can see that it has stretched out clip out massively. In order to make it easier for me to show you this quickly, I'm going to trim this clip down, so I'm just going to cut the end of it off here. We're going to press Command B to cut the clip here or Control B for Windows, select this clip, press delete. We're now got a much smaller clip that we've slowed down that we're working with here. I'm going to set this to default settings here and I'm going to hit play. Let's take a look at what we have so far, slowing this clip down to 20%. We can see it's definitely slower, but it's very jumpy, it's very jittery. Especially when we have this person walk through here, it's very noticeable that it has been overly slowed down, much more than the camera had captured and it really doesn't look very professional. It doesn't look. But we can make this look better. If we select our clip here, let's come over here to real time processing. In here, we've got the options for project settings, which in a lot of cases is going to be this first setting here nearest. We've got frame blend and we've got optical flow. I'm going to switch this to frame blend, which isn't really a setting that I would normally use, but I want to show you the difference here we can see that it started to blend those frames, which here is playing back at around six frames per second. It's blending those and adding almost like a motion blur or a dissolve or a fade between them to try and make our slow motion footage look smoother. Let's come back and hit play on this now. You can see it's definitely still jumpy, it's definitely still jittery. The motion is not great and this person walking through, it still looks pretty bad. It's probably a little bit better, but it still looks really bad. But if we switch from frame blending to optical flow, this is where we're doing a lot more processing of each of those frames to generate new frames to make it look better in slow motion. Now with no extra settings adjusted, let's just play this now. We can even see this paddle here on the end. The motion for that is not perfect, but it is so much better. Like even the waves in the background here, it's not really jumping and jittering. This person walking through the frame here. It's not perfect, but it's much better, so much smoother. Depending on what it is you're slowing down, this might be enough for you. But we can take this one step further with this motion estimation setting here. Again, the default is project settings, which is likely going to be standard settings here. We can jump here to enhanced faster and enhanced better. Now, both of these are going to be better. But when we choose better over faster, it means it's going to be a better result, but it's going to put your computer under more pressure, more CPU, more GPU usage. To generate a better result. Generally, where you can I would pick better, you're going to have better results. Let's play this now. So this is, again, not perfect, but it is really good. There's some weird artifacting and stuff happening with some of the water. But again, this could be perfectly passable. This person walking through the shot here looks really good. That's how we can really dial in and create better looking slow motion clips here directly from the timeline. Now, for those of you that are on the DaVinci Resolve studio version, there is another level beyond this as well. Here we have enhanced better. That's what we were just doing. But it's also speed warp and again, there's two settings faster and better. We pick Speed warp better here and now we come back, we can see that it is telling us that this is a Resolve studio plug in, so we need to be using Resolve Studio, the paid version to access this. But we can still preview this. I bring back to the start of a clip and hit play. We're actually not getting full real time playback. You can see that we're playing here, six to seven frames per second. Obviously, we've got this really annoying flashing that's happening again because we're using a paid effect in the free version. But already, we can start to see that even playback at this speed, the processing, the detail, the clarity here, even in these water splashes and everything is next level. Now we can go ahead and render this. We could right click and choose render in place. Let's just hit render for the sake of this. I'm just going to choose my desktop here for this one. It'll then go through I'll process and render that clip for us. Now that rendering is complete, if we hit play on this now, try to ignore the flashing, but we can see how smooth this is, how much more accurate it is. Even this person walking through, there's no real weird artifacting or glitching or anything happening. Again, is a perfect no, but this is very, very close. If this is something that you are going to be using a lot, then obviously there's a big advantage here to jumping into the studio version for things like this. But also, you can see that you can get great results using the enhanced beta function in here, which is included in the free version of resolve. Now we've got the general overview of the speed controls in here. Let's say that we wanted to get more creative with how we're applying this and we don't just want to set a time for a specific clip. We want to be able to adjust the time and speed things up and slow them down. But there's a couple of extra settings that are worth noting here in your timeline. If we right click on our clip in the timeline, then we have here retime controls and retime curve. I'm going to turn on retime controls and we can see here already that we've got some extra functionality here in our timeline. We can see too that the clip here is at 20% speed. And we have the ability to adjust that. At any time we could reset this to 100, we could change the speed to any of these presets here, or there's even some other controls here in regards to speed ramping. If we want to speed this clip up from 0% from nothing, and then speed it up to 100, we have a preset from here and down from wherever our speed set, likely 100. Down to zero, so we want to freeze something slowly. Then we've got that as a preset here on the speed ramp as well. But let's say that we wanted to change the speeds throughout this clip playing back. Maybe we want to start it off at 20% speed and then we'll want to speed it up a little bit throughout. We can find the spot where we want to make that speed adjustment change. We can hit this little down arrow again and we can add a speed point. You can see that that has essentially created a keyframe for us at that point. We can see that the first part of the clip here is at 20% and the second part right now is also at 20%, but we could change that. We could reset it to 100 or we could change this to maybe 75%. We've sped it up close. Now if we play this now, again, we're at 20% until we hit this mark and it's going to jump to 75. Can make some adjustments to this in the timeline here too. We can see these two little gray markers here. If I click and drag on the top marker here to the left, you can see that this is changing our speed. The further I move it to the left, it's increasing the speed on the first clips. You can see we're up to 34% now before it crops off because it's too small on the screen. Likewise, if we go the other way, then we are slowing that clip down. We're actually retiming the entire clip here with this top marker, just moving left to right. Going to go back to where it was around 20 here. Now the other option is we click on the bottom one and we move that one around. You can see that we are still retiming our clip. We're making it all happen shorter or happening longer, but we're not adjusting the actual speed of playback at that point. Now, for even more settings to be able to control the velocity of that transition of jumping from one speed to another. If we right click on it and we choose the retime curve, then here we can see that in this chart. We're at this 20% speed until this marker here that we add. Then it jumps straight up to that 75%. If we want to smooth that out, then we can use these controls here to adjust that. We can again see our speed marker that we added, our speed point, which we can adjust. If we want to move to the left or to the right, we can do that from down here too. But if we want to change how this behaves, we can select on it. You can see it's gone red and we're currently in this mode. If we switch it to this mode where it's not a straight line, it's a curved line, then we can adjust our bezier lines here. We can stretch these out and you can see that the more I stretch this out, the smoother that transition between one speed and the other becomes. Let's play this now where we're at 20% speed and it's going to gradually ramp up here to the 75. You can see that that result looks so much better, so much more professional by just smoothing out those speed adjustments. There really is no real limit as to how many of these speed adjustments you can have here in your timeline and on an individual clip. If you want to have a clip that starts fast, slows down, then speeds back up or vice versa, all of that is really easy to do with these controls. 16. Effects: Background removal: Now if we want to remove the background from our videos, there is a couple of different ways that we can do this depending on the types of clips that we've got. I'm going to give you a couple of different examples in this. I'll start off with what you can do in the free version of DaVinci Resolve, and then I will also show you an amazing feature automatic background removal, which is only available in the studio version. I'm going to jump over now to story blocks. I just run a search here for green screen. Let's download a clip here, maybe we'll go this alien dancing. I'll show you how we can remove the background from this and make it transparent. Download this clip. We'll then import it into our project. Let's go import media, find our clip there, and let's just drag it down into our timeline here. We have this alien dancing here in our timeline. As with everything, editing, there's lots of different ways that we can do this. I can select on this. We can then come over here to effects. We can scroll down here until we find here a three D kee. Let's drag this onto our clip. We can then come down here to this little drop down arrow here and we want to select here open FX overlay. Then we just want to draw over the areas that we want to remove the green from. We can see here there is a shadow here as well. But we're going to start here with the main color. I'm just going to click and hold, and you can see straightaway, still holding, we're drawing a line here and I can start to remove some of these shadows here as well if I want to. Let's just draw over the areas or select the colors here of the things that we want to remove. I let go of this, that has now been cut out. Now it's done a pretty good job, but there is still a green outline here on that. That's where we can come down to these settings here under effects, open effects, and we can start to tweak these. Already here this D spell. If we increase this, you can see that that green line is disappearing. We've also got further options down here under key adjustment, where we can adjust the tolerance, we can adjust the softness of that selection here as well. I'm not sure if these are coming through on the screen recording, but we're really refining that. I mean, that's looking pretty good already. This clip now that we've removed the background on, if we select on this, come over here to video, then we could scale it down. We could move it across. We can also switch over here. It might be easier if we switch to transform. Then we can just click and drag this person to wherever we want. If we play this now, we've now got this little guy here dancing on the desk. That's one way that we can remove, in that case, the background from a green screen clip. This was with the three D Kia can also use the HSL Kia. There's not as many options in there as well. Obviously a more advanced way to do this would be to promote this to a fusion effect and use fusion for motion graphics and all of that stuff, the background remover in there, specifically for removing green screen. But it doesn't necessarily have to be green. It can be any single color that you could pick out. I'm going to go ahead and delete this now. Let's say that we wanted to remove the background here from my videos. What we'll find is that a lot of the default or built in stuff here in DaVinci Resolve is not really going to easily do until we move to the studio version, there's an amazing tool in there that will let you select a person or an object and it will automatically remove everything else for you. But the only other way that we can do this is to really mask it out and draw out almost frame by frame to cut out manually the background in this case. If you want to do it using the free version, it's going to be much easier if you're shooting on a green screen or a blue screen. But like I said, in the studio version, there is this awesome background removal tool. I'm going to show you that now. I'm going to select our primary clip here in the timeline and I'm going to hold down Option or Alt and I'm going to click and I'm going to drag this up. We've just duplicated this clip, but I've now brought it right to the top on top of all of our text and everything in here. With this clip selected here, what I want to do is jump over to the color tab here, and then I want to select this area here, which it says here is magic mask. Now that we're in this magic mask mode, we've got two options here. There's an object mask and there is a person mask here too. Now, even though we're going to be cutting out a person, I'm just going to leave it here as object mask. This still works really well. If you find that it's not for your specific scenario or struggling cutting it out, then you can definitely switch it here to person, see if that gives you better results. The last thing we want to do here is we want to toggle this mask overlay on so we can actually see what is happening here for us when we do this. But the next step is we want to hit on this little eyedropper here with the plus and we want to click and drag on our person here on our object. It's highlight me and my arms here and deselect and we can see now that it has highlight and it looks like it's done a pretty good job. Now, it's got the chair in there as well, but I'm perfectly fine with that. Now, right now, I do have this set for quality to be faster, but if we do want something more accurate, it's a much tighter shot and we're really looking at the detail in the hair and those kinds of things and you could switch this over to better. It is going to take longer to render for something like this, a wider shot faster is generally going to work fine. Then what we want to do. Last step here is we want to press these two little arrows here. This will start tracking my movement here throughout this shot. You can see here this happening in real time. We can see that it is doing a good job of cutting me out. My arms are red. There's this red tinge and you can see just how accurate this is. There's even parts here where it's cutting out the background under my arm here as well. Now that's done, we want to right click up in here and we want to choose Add Alpha output. Want to click on this little blue square and we want to drag down here and connect it with that little blue dot. That's it. Now we go back to our Edit page here, this isn't going to look any different right now because we've essentially duplicated our layer here, so they're going to look the same. But this top one is actually now just me as a cutout. So if we come over here to where the text was on top of me before, we've now got me sitting on top of the text. Let's go to this word video now and let's make it bigger. You can see now we have the background removed from this top shot here that we can now position things behind it. You can see if we drag this around now, we've got this cutout of me. Even if I put it over here for now, just to show you and hit play, then we can see that I'm now sitting on top of that text. Personally, I absolutely love this tool. I think it makes that whole cutout process much easier than going and shoot on a green screen. But it is only available in the paid version of resolve. 17. Effects: Stabilizing shaky video: You've got shaky video footage that you want to stabilize so that it looks better, then this is how to do it. I've got a clip here on the end of my timeline for this example, I'm going to play you the start of this clip and you'll see how shaky it is and then I'll show you how to make it look better. Let's play this now. No stabilization, very shaky. Then all we need to do here is select a clip. Come over here, make sure we have our inspector visible. Again, we're on the edit page where all the magic happens. Come up here to video and scroll down until you see stabilization. I want to make sure that this is enabled. Then in here, there's different stabilization modes. The standard one is actually perspective, and I'm just going to reset all of our settings here. This is all default, nothing else applied. Let's then hit stabilize. It's going to go through. It's going to process that clip and let's take a look at this now. They already, much better. Let's turn this off so you can see again and play it again. This is without stabilization. Let's turn it back on. This is with stabilization. Not perfect, but it's a dramatic improvement. Now, we can dial this in further with the settings here, cropping ratio, smoothing the strength of the stabilization effect that we can adjust here. But you can also see if I turn this off, so this is off and this is on, it's actually zoomed in on our footage to be able to stabilize it. It is worth noting that if you've got really crazy footage and it's moving around a lot, that the processing here might need to zoom in on it quite a bit to be able to stabilize it within that frame. If we turn off Zoom here, then we can actually see what's happening if we play this now. We can see the black bars around the edges here that are jumping around. You will want to have this zoom enabled so that it's going to crop out all of those black bars there for you. From here though, what I would normally experiment with is increasing the smoothness. In a lot of cases, that will just smooth out that a lot and we can see what that looks like now just a little bit smoother. But also I would switch this mode up. Again, perspective is the default and depending on the type of footage you've got, how much motion and movement is in it that you need to stabilize, you have different results with these different settings. Generally, if it was a shot like this with someone in it or something in the foreground, I personally find that translational is the setting that works the best. But again, it's really got to be on a case by case basis. Let's just play this now. Again, it's not 100%, but it's a dramatic improvement on where this clip was before. 18. Effects: Adding music and sound effects: Time for us to add in any music and sound effects into our project. Again, we want to make sure that we're backing up our project two at this point. We've got our V four here. Let's duplicate that and this one here is going to be five or step five. Let's call this one sound. Again, we want to make sure that we are working on this. Double click on it so that it opens up the top here and so that we see the tick on it at this point. Now we know we're working on our sound project. Is worth noting before we jump into it, that there is a dedicated Fairlight tool here, which is a full on professional grade audio tool for really allowing you full control over the audio in your projects. We're not going to be diving into this for most people. This is going to be significant overkill for what you'll want for your videos. We're going to come back here to the Edit page, but I just wanted to mention this fait area here. For those of you that are more advanced or want to learn to be more advanced, then it would be worth diving deeper into that when you are ready. But for the rest of us mere mortals, the Edit page is going to do everything that you need. I want to go ahead and make sure that we have our music, sound effects or whatever imported. So we're going to open up our music tab here and I'm going to import our media. So I've brought in two tracks here. One of them is a sound effect. And one of them is a music track. Both of these are from Epidemic Sound, which is one of our go to places to find royalty free music, copyright free music for your projects. I'm not saying free music. This is a paid service, but they make the whole licensing and everything super, super easy. They have a massive library of sound effects and music as well. I've got one of each. I've got a music file and a sound effect clip. What we're going to do first off is let's just grab our music track here, let's click it and drag it down into our timeline here. Now, we want to make sure that we are dropping this on a new audio track. You saw one that appeared here down the bottom. When I dragged this down. So I'm actually looking at overriding any of our primary audio, we want to add this on a new track. Now, the same import settings here also apply. We could have double clicked on it. We could have gone through and marked out a section of this using our in and out points and just brought that section down to the timeline if we'd like. But generally, where I like to start is with a music track, especially for the types of videos we make, we're just dropping that entire track down into our timeline. This point, you can see that we have too much going on in our timeline here to be able to see everything. So depending on your screen size, your resolution, you could readjust some of these things, so we can slide this up a bit. We could also come here to our timeline settings and we could adjust our video track height, maybe make those smaller. We could do the same with our audio, make them bigger or smaller so that we can have everything looking the way that we want. In this case, I want to be able to see everything. That's looking better. Then at this point, it's really important to work out early on is that music track that you've bought in, is actually going to match the vibe, the feeling of the video that you're creating. It's a good idea here without adjusting any volume levels or anything like that upfront, we will get to that very soon. But let's just hit play on this and see if this is going to match the feeling that we want our viewers to have when they're watching our video. You could have the world's best video. No one clicks on it. No one's going to see. Okay, so this track in particular here is very upbeat. I do think it's going to be a match for what we're looking to achieve here, but obviously the volume levels and stuff we need to work on. So we want to find the right track. We then want to bring it down into our timeline. We then want to do a very quick volume level adjustment here so that we can still hear our spoken piece in this case to further refine our edit because we might find now with this music track in here that we might want to change some of these edits. We might want to try and line some of them up with the beat of the music. So that it flows better and feels better for the viewer watching. I'm just going to select our music track here. I'm going to come up here and make sure that we are under the audio tab on the inspector panel. Again, if you're not seeing that, we can click on that there, and we've just got a simple volume slider here. I want to take this down. Let's just go -24 at this point, depending on the music track and your project and everything else you've got going on, things could be a little bit different, but this could be a good starting place around this -25 -20, just to allow us to keep moving before we come back and really dial this in. Let's hit Play on this now. Could have the world's best video, but if no one clicks on it, no one's going to see it. You need to get your content clicked on, and that's when your thumbnail strategy is so important. Now that we have that down to a manageable level, as I said, we'll then go through and see if there's any further adjustments or cuts that we need to make in our timeline to make this clip match the audio track that we've just added in here. With our audio tracks, they behave just the same as any other track in here. We can add cuts in them, so we can use Command B or Control B. We can pick them up, we can move them around because they just behave like regular clips. I'm going to undo this here now. All this same stuff here applies to sound effects as well. Let's come back to the start of this video. Let's add our sound effect here in, which is just a simple impact sound. I wanted to appear as the text appears on screen. Let's play this now. The world's best video, but if no one clicks on it, Okay, so as these three words appear, I want to have this impact sound again from epidemic sound. So I'm going to click and drag that down into our timeline, and then it's just a matter of lining these up. I'm going to zoom in a little bit on our timeline here. This is where we're looking at the audio waveform here for this clip. We want that to line up with close to where that clip comes on screen. It doesn't need to be perfect. We've got the first one there lined up. Let's just play that now. World's Best World's Best. So it's just like an impact or a hit. If we just play that so you can hear it without any of the other stuff. That's it. That's all we're talking about to just add a little bit of extra polish to our edit. I'm going to go ahead and add that for each of the three words, so we can copy and paste that or I can hold down Option or Alt and just drag that across somewhere around there. Likewise, for the last one, something like that, that seems to line up with these three points. Now, if we needed to, we could have dropped these down onto extra audio layers and had them down below because you can stack these things. But it worked out fine with us just having them in the one track here. Let's go ahead and play that now, let's see what this sounds like. Can have the world's best video. Not bad. It's probably a little bit loud, but again, we'll get to our volume adjustments, very soon. We want to get everything in place and then go through and make all of these adjustments at once. I might copy this sound effect here and we have a similar effect a little bit later in our video where we've got words appearing on screen. Thumbnail strategy. Okay, let's do the same thing here. We can paste that. I just use Control C on the keyboard or Command C to copy and Command V or Control V to paste that here in the timeline. Let's go again. Let's paste this again. Command V, in my case on a Mac, and let's line this up close to where this happens. Your thumbnail strategy is so Okay. Keep coming through. I think we got one more time that this happens. Here we go. Let's just paste it three times and we can move them around afterwards. That's close enough. Now, they don't need to be perfect here, but if you did want more granular control over this, we can zoom in on the timeline and move these in much smaller increments here to get them exactly where you want to have them. You'll also see here if I want to drag this across, you'll see it's not and it's snapping to that location. We can always come up here and we can turn off Snap. I did show you this in another video. But in this example here, now we can click and drag in much more detail, much more granular movements to get it lined up exactly where we want it. We need to turn off that snapping tool to do that. You want to go ahead and add all of your sound effects into your project. Once we have our sound effects in, happy with that, then this is where we want to adjust our volume levels to get everything sounding the way that we want. Now, it's a good idea. Anything audio to ideally be doing this with headphones on so that we're getting a true representation of what this actually sounds like. But it's also a good idea to preview this on your computer speakers or on your mobile device before you actually release it to the world so that you can actually see what it sounds like on different devices too. Where I like to start with volume level adjustments is on the most important thing, which is, in this case, the narration, the spoken piece. We want to make sure that that is right first, and then secondary to that, that our sound effects are loud enough but not too loud, and our music is loud enough, but not too loud, not too distracting, not too overpowering. What I'm going to do first off is we have our sound effects on this bottom track here. I'm going to mute that by pressing the pie. We have our music on this track here. I want to mute that so that we're just listening to and adjusting our spoken piece here first. Now, ideally, we're actually getting this right at the time of filming so that we don't really have to make major adjustments here to our volume levels. But obviously, we can if we need to. But one thing you should do First up is enable your mixer up the top here. This is going to give us a visual representation on how loud everything actually is. You'll see if we hit play on this now. You can have the world's best video here we can see our audio bars with how loud everything is. Now, we have the option in here to make adjustments on an audio track level. So you can see here we've got our audio track one. We can turn that up or down in its entirety. All the clips on that track go up or down, or we can make adjustments on a clip level, so on a clip by clip basis. If this clip here was too quiet, we could make this one louder, but if this one here was already right, then we don't need to make any changes to it. Now, given our project here, if I zoom mounts, you can see that we have all of our spoken piece here on one track on Audio Track one, and it was all shot same camera, same time, that these audio adjustments could actually be done at a track level to make them quieter or louder without needing to go into each individual clip. So it really doesn't matter which way you do this. All right. So let's hear play on this and let's see what's happening down here with these audio bars. Maybe we'll stretch this across a bit so we can see more of them, so we can see our audio track one, two, and three, let's just take a look at what's going on. You could have the world's best video, but if no one clicks on it, no one's going to see it. You need to get your content clicked on. Okay, so what's happening is we see the green, then it goes to yellow, then into the red. It's not too loud, but these clips are pretty loud. So what we want to do is have our clips in the green into the yellow and not really into the red wherever possible without getting too technical on this. If we actually max out and we hit that zero point the top of the red, that's where our audio is going to sound really bad because it's too loud, it's distorting. It's getting chopped off. We also see a visual representation of this in our timeline. Let me just expand this here so we can see what we're talking about. We can see with that audio track now at the louder the audio is at that point, the bigger the line is. If our audio, let's just increase the volume on this. You'll see what I'm talking about, let's make it louder. You can see now making it louder, we're now hitting the top here, which is going to show us that our audio is too loud. If we play this, it's going to be pretty loud if you've got headphones. Have the world. We're seeing here that we've got this little red indicator at the top, we've maxed out. We've gone too far. There's a few different ways that we can check our volume levels. Visually here, visually here to make sure it's not going into the red, but also we're able to hear it if we've got headphones on. Again, our goal is to have our audio getting close to the top or top of the yellow just starting out in the red, but definitely not to the top of the red. What I would do in this case is maybe just turn the volume down a little bit. We've got this here at -0.76. Let's hit play on this one. Could have the world's best video, but if no one clicks on it. Yellow into the red. See it. You need to get your content clicked on. But we're not getting close to the top of that red marker or to the zero. To help you if we undo this minor adjustment that we've made here and let's go back to default. We could make it here on a clip by clip basis as we did then, we could also just come down here to Audio one track and let's just lower the volume here a little bit. Let's go -0.9 here, but this has now been applied to everything on this track. You could have the world's best video, but if no one clicks on it, no one's we can see here that's now looking pretty good. Content clicked on. I would say it's a good idea here to play through and make sure that all of our clips are at that level. I mean, at a quick glance, this one here looks like it might be a little bit lower at that point. But generally, if it's same camera, same microphone and everything here, no adjustments made, this should be close enough. I've shown you that we can do this on a track by track basis. I've shown you that we can make adjustments here to the individual clips themselves using the volume slider up here. We also have a volume slider on the timeline here as well. You can see a very faint white line that's running across here. If we put our mouse over that line, you'll see that our cursor changes to these white arrows. You can see when you click, it says volume. We can increase that or decrease it from here as well. Once we're happy with our primary audio, in this case, the spoken piece, the narration, piece to camera, we then want to come down here and let's unmute our audio and let's get that to the level that we like as well. Again, ideally, you're doing this with headphones on, but it is a matter of then hitting play on this and listening to it, making sure is too loud? Is it too overpowering? Is it too distracting for what's happening in the video? Our audio bars and meters and things here aren't really going to make much impact here. They're not going to show us too much because we're not talking about getting this to maximum volume. At this point, we just want to not be too loud in comparison to the spoken piece. You could have the world's best video, but if no one clicks on it, no one's going to see it. You need to my opinion, this could actually be a little bit louder, but I do want you to remember that this is a creative thing. There really is no right or wrong when it comes to music volume levels, only that you just don't want to have it too loud. Same settings obviously apply. We could adjust this on Audio Track two in its entirety here, or we've got our track here. I could increase that. Maybe we'll come up to -20, and let's try that. You could have the world's best video, but if no one clicks on it, no one's going to see it. So you need to get your content clicked on, and that's when your thumbnail strategy is so important. Alright, so I'm pretty happy with that. Now we also want to make our adjustments to our sound effects. So we had those little whoosh sounds or impact sounds. So let's go ahead and unmute that, and let's see what that sounds like. You could have the world's best video, but if no one clicks. Alright, that's way too loud now in comparison. So for this case, again, we've got them all on the one track. I would just come over here and let's lower them all down. I'm just going to try minus eight at this point. You could have the world's best video. Okay. Still too overpowering, I think, at this point, 14. You could have the world's best video, but if no one clicks, still probably a little bit much 19. You could have the world's best video, but if no one clicks on it, no one's going to see it. Okay, let's try the next one across here. Grabbing people's attention, I think that's good enough that you hear it, but it's not too loud or too distracting. So that's the fundamentals of getting your audio tracks in, adjusting your volume levels in terms of the basic settings and controls that we have. It's also worth noting that we can easily fade our audio in and out. So with any of our audio clips that we have in our timeline, you can see if you put your mouse over the clip that we get these extra little icons here appear on either end. And these are our fade markers. I'm going to zoom in a little bit so we can see this more clearly. Again, we put our mouse over the clip, we sit a little white marker. If we click on that and drag to the side, then you can see here that we are able to fade our track in and we get to choose how long this fade from zero sound to whatever our set volume level is. We get to set how long that transition happens. At this point here, we're looking 13 seconds of fairly long amount of time. Let's just give that a play now. You could have the world's best video, but so it just takes the edge off the start. It might be a bit much, maybe something like this. You could have the world's best video. The same applies at the end. If we want to fade this track out at the end, we can come across and we've got our fade marker here and we can pull that in and the same thing is going to happen. We're going to play our audio regular volume levels until it hits that marker, and then it's going to lower the volume down for the duration that we've set, around 5 seconds in this case. You can apply that to any audio clip. Even the spoken pieces here, you can see that we have that same control here. Also worth noting you can have much more granular control over your volume levels here as well. I showed you how you can adjust your volume levels on a track by track basis using the mixer over here on the side. I also showed you how you can do it on a clip by clip basis with the individual settings up here or by doing it directly in your timeline. But if you do want to have more granular control where even at the start of the clip, your volume level is higher, maybe you lower it down for a period and then back up, then you can do that with keyframes. I wanted to mention that in this video, it is a more advanced strategy that I will be taking you through how keyframes work in a later video. But if you want more granular control, you can do it and it's with keyframes. If that's something that you're looking to do right now, then I recommend that you are checking out that video. I just wanted to jump in here really quick to say, if you're finding this training valuable, can you please take a moment to leave us a review on here. It makes a world of difference to help people find this on Skill Share. So if you're liking this so far, I'd really appreciate it. Also, feel free to share any of your top takeaways along the way. 19. Effects: Using Keyframes for greater control: Frames are a really powerful, more advanced feature that's built into a lot of different editing tools and software out there. Understanding how it works is going to give you so much more creative control over different effects and things that you can apply, but also to give you more granular control over things like sound and volume levels too. This is something that once you understand, you can really apply this in lots of different. I'm going to give you a couple of different examples in here so that you understand how they work and how powerful they are. I'm going to come across to this last clip in our timeline here if we play this, you'll see that this is just a static shot. There's no movement or anything happening to there's too much going on in your thumbnail image, too much text or too much happening. What we can do to liven this up a little bit is to add some motion or movement to it. One way that we could do this is a way that I showed you in a previous video. We can use DaVinci resolves, built in dynamic Zoom feature here. If we enable this, then we come back here and let's play this again. There's too much going on in your thumbnail image, too much text. You can see there's zoomed in for us and it's slowly zooming out. Now, we don't really have a great amount of control over this. We can choose what type of zoom it is. The default here is linear, so it's going to start at the start and move at a consistent speed till the end of it, whereas we've also got options here for ease in, ease out, which is where it's going to start at nothing. It's going to speed up to a specific speed, and then it's going to slow down to its endpoint. We can control these things a little bit. We can also swap here, whether it's a zoom in or a Zoom out. But beyond that, there's really no control. But this is a great example of where key frames can come in. I'm going to turn this off. We're back to just our stock clip here with no extra effects or anything applied to it. What we want to do is we want to make sure that we are up here on our video tab here and then you'll see these little dots down the side here, these little diamonds. These are your keyframe indicators. The way that they work here is you can see that we've got one overall keyframe here for this entire transform section. We've also got individual keyframes for different things like the Zoom, the position, the rotation. Anything with this little keyframe icon here, we can customize up and change its values or change its settings over time. This is really simple. Let's say that we wanted to create a slow zoom in on this. Let's come back to the very start of it, obviously the start of this clip is hidden behind this other clip here. I'm going to shorten this down just for the purposes of this to show you what I'm talking about. We can see here we're at the start or close to the start of this clip. Doesn't need to be exactly the start. But then what we want to do is say, let's save these settings. Let's set our start point and everything here at this point. We can come up here and we can hit this top transform keyframe here to enable that. You can see that all of these things have now lit up red. We have created an indicator, a keyframe at this point in time here in our timeline for all of these settings to be saved at this point. Now if I undo that for just 1 second, I could just turn on Zoom if that's the only thing that we want to do, or I could turn on Zoom and position if it's just those two that we want to be modifying and tweaking over time. But it's also not a problem to have them all turned on at this point, whether we're going to use them or not. We've marked a keyframe at this point with all of these settings applied. We've said that we want to start our movement or whatever is happening from this now let's come across towards the end of our clip here and let's create new keyframes at this point as the endpoint of where we want this animation or in our case here, a slow zoom in to finish. Let's scale up, let's adjust the Zoom. Maybe we'll also bring the position down a little bit as well so that we're just moving in with trying to keep my head around the same position. We've now said if we jump back to the start of this clip that we want to start our clip at this point, where we had our keyframe saved and we want it to finish. At this point Da vinci resolve then it fills in the blank between those two keyframe areas that you've set. The transition or the animation really becomes the interpolation between those two points. If we come and scrub through this now, you'll see that we have that slow zoom in happening between those two points. Now, if you want to go back and make adjustments to it, it is very hard to sit here and try to find the exact frame where you created your keyframes, but that's where these little arrows here will help you jump between the different keyframes. So if we want to go back to our first one, we can press the left arrow here that's going to take us back in time through our timeline to the previous keyframe that we've created. So if we had to make any adjustments at this point, they're going to be saved with those keyframes. Likewise, if we want to jump across to our end keyframe, we can press the right arrow here, and that's going to take us to where that is. So any modifications here are going to be applied to that transition at this point. So let's say that we wanted to add a little bit of rotation here. Now, we wouldn't normally, but just to really help you hit this point home, we can now see that even the rotation piece, it's rotating back in time. Between those two keyframes. We're starting here and we are finishing here. Now, once you've got keyframes applied here on your timeline, you can hit this little keyframe button here and that's going to show you the key frames in the timeline associated with that clip. You can see here that this is relating to transform. If we also had keyframes relating to some of these other effects and things, those will be showing up in here too. But I can see my keyframe down here. I can actually pick it up and I can move it. Let's say that we didn't want the Zoom in to happen immediately, we could move this across to this point and now let's scrub through and have a look. So there's no zoom in, no rotation or anything happening until we hit this point, and that's now triggered the start of this happening. Likewise, same as this endpoint. We could even move it further to the end so that it finishes right at the end of this or we could have this happen so much quicker. Let's bring it back to here. We've got nothing again happening at the start. It's just a normal clip. At this point, we start this transition, this effect, this rotation and Zoom. At this point we stop and our clip stays there because we haven't added any extra keyframes. But if we did want to add another key frame here, then again, we've got that clip selected. Let's come back up here to transform. We can add our keyframes and let's just zoom right in here. Now we can see again, clip is doing nothing. It's now got our first lot of motion involved here till that point and then we've got a crazy zoom in that happens beyond that. And that's where it stays. Now obviously, this example here isn't how I would normally use this effect, especially with rotations and all of that kind of stuff. I'm going to go ahead and remove this keyframe. I'm going to select on it here, just press Delete on the keyboard, let's get rid of this rotation piece. We'll just hit the reset on that and let's move these keyframes back to the end and to the start of our clip so that our clip here has that slow zoom in over time. Now, we're also not just limited to that linear motion where we're starting that effect at keyframe one and finish it at keyframe two. We can right click on these in the timeline here and we can change from linear to ease in or ease out. To help smooth that transition. In a nutshell, that's how keyframes work, and this is a great way for adding motion on your clips, as I've shown you for animating logos and moving text on screen. You set a start position, a start keyframe off screen, bring it on screen as the keyframe or end of your transition or effect there and it's going to animate between the two. But this is also how we can make adjustments to our volume levels and things as well. I'm going to pick this audio clip here in my timeline, just as an example for you. I'm going to come over here to audio and you can see here under volume, we have keyframes here as well. We just follow the exact same process. Let's say that we are happy with our volume levels until this point. Now let's start to lower it over time, and then we can bring it back up. How I would do that is at this point, I want to add a keyframe. I would then come across a little bit further and add another keyframe. Now what we can do is we can make adjustments to this. Our volume levels at this point are going to stay at whatever we have them set at zero. So standard volume, they're going to be at zero all the way through until they hit this keyframe here. And then what we want to do is lower our volume at this point. If we pull this down now, we can see that our volume adjustment has changed. And we can actually see this in real time as I scrub through this. Volume level is at zero until it hits that keyframe and now we see it start to slowly drop down to where I had said it, 12.67, and it will stay at 12.67 until we bring it back up with another keyframe. To tell it that we've had enough of volume at this level, we add a keyframe where we want this to start coming back and then we choose how long this increase is going to happen for. We've come across a little bit further. Let's add in another keyframe here now and we can increase at this point the volume back to zero. Let's just type it in zero. Again, I'm clear here, we've got four keyframes. The first one and the last one are to set the start and end points. The two in between that are to set the new level, but also the transition period between the two. A zero volume here, standard volume all the way through until this point here, we then see that drop down here to our lower volume point and stay at that until we hit this next keyframe and then we start coming back up until we're back at our next volume level that we want to keep which happens to be back at zero and that stays there for the remainder of the clip. Now with this again, let me bring this up so it's a bit bigger. We do also have more granular control with these on either of these clips by hitting this little black keyframe button here. This is going to allow us to adjust again the smoothness of those keyframes. We could right click on them as I showed you up here with the transform settings and adjust our easing here at that point. Or we could also hit this little button here to open up this extra menu where we can select our keyframes and we can choose what we want this to look like or how we want this to happen. We can see right now it's clearly linear. There's no curves or anything happening with this. If we switch these keyframes here to a more curved output, you'll see that it's flat lining a little bit longer while it's easing into this effect or volume change in this case, and then it's dropping down here until it hits that point. Now, obviously, we can control this as well and we can create a really smooth adjustment here between those two keyframes if we'd like. Again, this is something that you will find throughout a lot of different effects, a lot of different controls and stuff in here that you can animate or change over time the level of these effects. 20. Effects: Fixing colors (color correction): Going to take a look at color grading or color correcting in Da Vinci resolve. Now, this literally could be its own dedicated course for those of you that want all the advanced stuff, but for most people creating videos, it's going to be overkill. But I'm going to take you through some core foundation functionality and options and stuff in here to get your head around it so that you can start correcting, tweaking, adjusting and really bringing out the look and feel that you want from your videos, from this point forward. But again, I also want to stress that we are barely going to scratch the surface of what's possible in here. So first off, let's duplicate our timeline again just so that we have a backup. So we have this timeline five, right click. Let's duplicate our timeline and let's call it V six color. Let's make sure that we have that one open. Now I also want to make sure that I am at the start of our video project here. And what we're going to color grade first is our primary footage, all of the pieces here of me speaking to camera. And then once you've got that piece looking the way that you like, then you can go and adjust your other clips, your B roll and all of that stuff as well. I want to make sure that we are back at the start of our timeline. Now we're going to jump over to the color page here for a quick overview of what we're looking at here, again, we've got our preview window here where we can see what is happening. We've got a lot of our standard buttons and menus and stuff across the top to enable and disable different things in here, like the media poll. On the other side here, we've got some quick shortcuts and different things in here as well in terms of different interfaces and things we can bring up effects, nodes, our timeline view here. Again, this is something that over time once you're using more and more you might want to turn off things like the timeline here to give yourself more screen real estate if it's something that you're not using. This area over the side here is where we have what's called nodes and think of these as different layers of effects that you can apply. The way this works is from left to right, we can apply different filters, grades, looks, and effects, and things consecutively so that they are applied and tweaked and adjusted in that order. So we could add effects and things here right to this first node. We've got our start here. We can then see that we are running it through whatever effects and controls and stuff we adjust at this node. Then right now it's running straight to the output here. We have the ability here to add other nodes in as well. So we can see now we've got two of these here. We could name them. The first one here might be your brightness adjustment. The second one here, you might do some masking or some skin tone adjustment if we really want to dial things in, and we can have so many of these things mapped out or built out so that it's easy for us to track what we've done. Or when we get super complicated. Again, I'm not going to dive too much into this node tree thing. For those of you that do want to geek out beyond this, this is where you will be spending some time. I'm going to go ahead and just remove this node here now, the second one. Let's just leave it all here at default with one because for most people, this is all you're going to need for some simple tweaks and adjustments. Down under here, we've got a bunch of preview images. This is showing us the different clips in our timeline here. Again, we selected our first clip here in the timeline. We can see that that one is selected. That's also the one that is up here as well. That's the one that we're going to be adjusting first. Down below that, this is really where the magic happens. There's so many different tools and presets and things that we can use and customize up in here, even different effects and things all to help us dial in that look and feel of our video. This is another one of those great examples where are so many different ways that you could approach this and essentially get the same or very similar outputs. I really comes down to which tools here are going to be easiest for you, especially more so if you're on the more advanced end of things. I go down the bottom here, a key framing area as well. If we do want to animate some of these effects and things that we're applying, then we can do that in here too. Now, if you've never been on this page here before, where I'd suggest you start is let's just set this one here back to curves. And let's set this one over here to this third one in. This is your color wheels. This is a great place to start for tweaking and adjusting your shots. Starting out in this area over on the left here, this is a relatively new feature here. This is an auto balance or an auto adjustment here from DavinciRsolve, which is so much better than most of the built in automatic adjustments. Normally, I would say, don't worry about automatic tools because they're not very this one here really isn't that bad and depending on your shot, it might help you get to where you want to go, making your shots look better really quickly. I always think it's interesting as a starting point to hit this and let's just see what it thinks the shot should look like with its automatic adjustments. Now, we obviously don't have to use this. We can obviously make tweaks and adjustments and things beyond here, but I do think it is an interesting place to start. Now, I don't really love that. I think it's made it really contrast it's adjusted some of the colors that I probably wouldn't have. Again, with anything like this, remember that it is art, it is a creative thing. There is no right or wrong. You get to dictate what this looks like and what the feeling it brings to your viewers what that is. I'm going to undo that app. I don't absolutely love it. Let's just go edit undo. So we're now back to as our footage originally was. And I'm going to start playing with some of these settings here and explaining what they do so that you can then do the same in your projects, too. So what I would do first off here is I want to try to get the brightness of the shot, the highlights, the bright colors, and the dark areas. I want to try and get those close before we start adjusting the colors themselves. And to do that here, this is almost broken down into different areas. We've got lift, gamma, gain, and offset. And for any of these things, it is a good idea for you to come in as you're playing around yourselves and just start tweaking things and see what happens. I mean, that undo button is there for a reason, so I'm giving you permission to play here. But what I like to do first up is adjust the brightness of the shot. Let's make sure the bright areas are looking like they should and the dark areas are looking how they should and the overall brightness of the shot. Then we get to adjusting our colors in the shot and the strength of those colors, how intense they are as a secondary to that. One last thing that you want to change is going to make this easier for you is let's hit the three little dots. Let's come down here to histograms and instead of us getting a preview here of the input, this is where our preview is going to be. The input is our original. We want to have a look at what the output is going to look like, so our end product, the tweaks and adjustments, let's have a look at what that's going to look like. We want to make sure that we've set that there to output. Then you'll see as we make adjustments here, like to gain, we can grab this slide down the bottom here if we drag it one way, then we're going to brighten our shot up. Don't want to go too much. If we go the other way, it's going to darken it down. You can see we started here at level one. Let's go ahead and let's increase this a little bit. That's looking pretty good. Now, from here, we can jump across to the Gamma one and do the same thing. We're just talking minor adjustments. Maybe we'll bring this down a little bit. You see that my shirt is getting a little bit darker. I hope this is coming through on the screen recording, but I'll do it before and after very soon. But a lot of these adjustments here, they're just minor little tweaks. For me, I like to start with the slider of these two here to get this looking the way that I'd like. But we can also get more granular if we come down here to these shadow and highlight areas as well. If we click on the shadows here, this is going to adjust the dark areas of my shot. Let's click and drag to the left and you can see that's going to darken them down. If we want those darker areas brighter, we can drag it to the right. Probably somewhere around there. I'm think wise with the highlights, this is adjusting the bright areas of our shot. We can click and drag on that. You can see the bright background there behind us. It's getting too bright. It is maxing out. You can actually see it here on our preview here in this histogram. This is this skinny white line that is maxing out, hitting the top. It is too bright. It's blown out, so we want to bring it back from there. Let's grab this and let's slide it back to the left. Keep going, keep going, keep going. You can see that we're starting to get some detail back in that area too. So maybe still go a little bit brighter, maybe somewhere around here, that's looking pretty good. So for a quick little preview of those minor tweaks so far, this is with our new tweaks added. If we press this little button here, that will turn them off. So we can see that there is minor adjustments here, but it is looking a little bit clearer and looks better as far as I'm concerned, but we're not done yet. Now, from there, I like to jump up to the top here and we've got our color temperature here. Think of this like your white balance adjustment in your camera where we can make our shot cooler. So we add more blue or we can add more warmth, yellow, orange to our shot here. Now, generally here, you're just looking for a pretty minor adjustment, but again, we're looking for that look and feel that you're after. So maybe something like that. We've then got tint adjustment here as well. You can see from the little preview, we can add more green or pink on the other end of the scale. Again, this could correct for any lights that were in your scene that were throwing off the colors a bit or maybe your camera settings and things as well. And then you can see we've got a contrast adjustment here as well, which is, I guess, very similar to some of these ones across the bottom, these sliders that we were playing with. I generally spend a little bit of time getting this looking the way I want, so I might then come back and further adjust some of these things just a little bit. But after I've done my first pass here of those key settings, then I will come down here to the color boost. This is essentially a saturation adjustment here and we can add more color or amplify the colors. You see if I bring this along, it's amplifying everything. You don't want to go too much because it look terrible. Likewise, we go the other way, it's going to make it black and white. It's going to take all those colors out. Maybe we'll go something like this. Again, very quick before and after, you can see it's just a subtle difference, but it makes it look so much better. Now, the next level beyond this, if we really want to dial in specific colors and those things, I barely touched on this area here with gain Gamma lift offset. Now, for most people creating content out there, that is generally enough. If you do want the next level, again, without getting super advanced, then we can look further at these color wheel adjustments here. We only touched on the sliders at the bottom, which is moving all of these adjustments here all at once. You can see the numbers on all of these are synced. We've got adjustments here for red, for green, for blue. We've also got a brightness and darkness adjustment here for each one of these subcategories of gain Gamma lift offset as well. Again, I'm trying not to overwhelm you here. If we say one to increase just the red and we can adjust the red slider here for that subsection of colors as well, likewise, with the other colors too. But we can also get much more granular in here instead of just adjusting these three colors from here and obviously this applies to these other wheels as well. This actual color wheel here, we can grab this little pointer here in the middle and we can make adjustments to this. If we wanted to add more yellow or orange to our scene here, we can drag that way. And you can see what happens. The further away we get from the center point, the more of those colors we're going to bring in. Again, this is one where it's going to be super minor adjustments for most people. But you can see that as we move around, we're able to change up the colors and the look and everything here as well. Again, this applies to all of these color wheel adjustments here. But when we're happy with how this looks, again, this is an after we switch to before, after, before, after an easy way to apply this look to the remainder of our shots is we can right click on here and we can choose grab still. What that does, it takes a snapshot of those adjustments that we've made here and it saves it off to the side here. We could have different stills, different looks or different think of them like Instagram filters that we've just made, that we can then click on our next clip here in the timeline of us and we can apply our still to that. We can select that clip. We can come up here to this one and we can apply that grade to that clip. We can see that it's now on there because it's now got this little colored outline on this clip number four. Now, if we jump back to our Edit page at any time, we can also see that our effects here have applied here to that first clip. And also the second clip here, but we don't see the second clip because it's covered with this V roll. If I did move this clip out of the way, then we'll see that it also has that same effect on it as well. I'll just undo that now. We can jump back to the color page here. We could then just select the rest of the clips which are, in this case, me talking. So I can select that clip, select the next one here, hold down Command or Control to select multiple clips. And then we can right click on one of these and choose Apply grade, or we can come up here and choose apply grade from here, and that is now being processed on all of those clips. Now, if you want to make minor tweaks or adjustment to each one of these, then all we need to do is just select on the clip like I have this last one here selected now. We could make some tweaks to that and it will only be applied to that one. So we're not limited to just having one grade. As I said, we could different grades for different things, again, depending on what it is that you're editing down. I absolutely love here that it's just so seamless to switch between this color tab and jumping back to your edit as well. If you're fine when you're doing this, you want to make further tweaks or adjustments to your edit and then come back to Edit more on the color page, I just love that all these essentially apps are directly integrated here in resolve. That is a quick crash course on color adjustments in DaVinci Resolve. 21. Saving: Exporting videos: Time for us to save out and to export our video project from DaVinci Resolve now that our editing is complete. It's a good idea here just to play back through your clip, whether you're on the Cup page, the added page, it doesn't matter to play back through, make sure everything is how you want it looks and sounds the way that you want, and then it's time for us to deliver this. There's two ways we can do this. We could jump straight up to the quick Export button at the top here. It's going to give us some presets where we can choose the format that we would like, whether it's h264, h265 or PRs, which is a much larger file, or we've also got presets in here for things like YouTube, Vmeo, Tik Tok, and we can customize up further as we need to. Now, for most of the videos that I'm saving out of here, I just choose h264 Master and I pick that for the greatest range of compatibility, even on older devices, older computers. Hey, it works perfectly fine for YouTube as well. H265 is a newer format and is really becoming the norm. Unless you're trying to use this footage on older devices, you shouldn't have an issue with it, but some lower spec computers might struggle more with h265 over h264. This is where for us and for our YouTube videos and everything, we just use h264. We can see the default settings here. Again, remember we're on the Quick Export tab here. The default settings are going to be based off our timeline here that we set up, it's defaulting here to match that. 1920 by 1080s. This is a ten ADP project. We've chosen h264. It's 30 frames per second and we can just pretty much hit Export and it's going to start saving that out here for us. We can choose where we want to save this, we might pick desktop and we can type in JB, edit, hit save, and our export is happening for us. You can see this is happening really quick. That's the quick export option there. But what I find myself using the most is this deliver page down the bottom here. This is all designed in delivering your finished project. We're going to have a lot of the same settings in here, but we also have so many more in here too. Straight away here on this deliver page, up the top here, we're seeing a lot of those same settings, h264 Master. We're seeing PRs, there's the YouTube preset and everything in here as well, TikTok as well. But we're also getting more access to things. In terms of the YouTube ten ADP preset here, there's a little drop down. So maybe I want to export four K. Maybe I want to export 720 P for some reason. I can pick here the quality of the export, too. For a lot of people out there, especially if you're going to be creating content for YouTube, then these presets here are going to do everything that you need. You could say, yes, I want YouTube, ten ADP. Again, it's pulling your frame rate from your project frame rate. That's again why we want to have all that stuff set up right first before we start. Then choose the file type here, whether it's an MP four or whether it's an MOV file, we can choose, again, h264 or h265 and we get a bunch of other settings in here as well, but not all the settings. This is still based on a YouTube preset that DaVinci Resolve is creating for us. But the way that we would use this is that we want to give our file a name here. Again, we could go JB, edit, and let's go YT for this one, for YouTube preset. We then choose where we want to save, so we go browse, and again, we will choose the desktop and save. Now, the trick here is that we need to add it into a render queue or an export queue. So we can then come down here and check that box here, we can see that we've now got it sitting over on the side here as a job or a task for our computer to do for us. The beauty of this is we could just hit render at this point here and that's going to start, or if we want different versions of our video saved out, then we can go through and we could also create a TikTok. Version with a preset and add that to the Queue and render them all at once. Step away, go make your coffee, but all of that will be done consecutively in its own time. That's probably the biggest difference between that quick export button and actually being on this deliver page is we can queue up multiple exports. There are some cases where we will export out an MP three version of the video that we've created as well, just as a backup or if we want to allow people to download some of our course content as MP threes, then I like that we can do that here and resolve without needing to wait for that whole render to happen of the video and then load it back in and export the MP three afterwards. These presets again are a great place to start. But for those of you that really want to dial everything in, if there's a specific file size that you're trying to get to or a specific quality adjustment you're looking for, then that's really where this export option is going to really let you dial everything in. Again, we want to give our file a name, JB edit custom, we'll put it on the desktop or we then choose here. Do we want to export video or do we just want audio? We can also customize up then all of our video settings of our audio settings and our file related settings as well. Let's come back to video, again, we can choose MP four, h264. I would strongly recommend if this is supported on your computer to use hardware acceleration if available. This next one here seems to be ticked by default. Network optimization, it's really not needed, but if it's ticked, it's actually not going to do anything unless you've got this setup on a specific resolve network where it's going to use all computers on your network to render out. You can pretty much ignore this one here, network optimization. Our resolution, again, the size of the video that we're exporting, it's pulled that from our timeline, 1920 by 1080. But if we do want a specific resolution, we can go through and find that in here too. Again, if you're on the studio version, the paid version of this, you will have a lot more custom resolutions in here that you can pick. If you want to export vertical, we've got that option here as well. We can change our frame rate at this point. This is really the key difference here, the setting that we don't have on those YouTube presets, and this is the quality adjustment here. Normally this is set to automatic, but if you do need a specific file size, or if you do need a specific bit rate or quality of that ten ADP or four K video you're exporting, then you can dial that in here. This is giving you a data rate here 4 kilobits per second. The higher the number here, the higher the quality, but also the larger the file size. For instance, the camera that we use to shoot our YouTube video, it normally shoots at four K 100 megabits per second. If I didn't want to really lose any quality, then I could export 100 megabits per second and key that in here. But that's also going to create a very large file. I could drop this to 50 or 25 megabit, which would be 25,000 kilobits. I'm still getting a video that looks good but is going to be a smaller file size than what I originally started with. Now, for those of you specific to YouTube that want to geek out on this even further, then I will link to an article in the text below this where it talks where YouTube shares their recommended bitrate settings here and you can really dial something in there for you. But again, for most people, you could leave this here as automatic and it's going to do a great job for you or you can just come back over here to the YouTube presets. It's this fine dance of showing you what you should do. It's going to fit for most people, but also I want to give you enough here for those of you that do want to progress and really dial things in and geek out on this stuff some more that you do have those key settings here that you could look at beyond this. Then again, all we need to do here is hit Add to rendic. We can then see that we have two jobs now in the rendic let's say that we didn't want this first when we added it by mistake, we could hit the X to remove it. But whenever we're good to go rendering, to save this out, we want to hit this button here and that render is going to happen for us. Once that's done, it's a really good idea to play back your video before you release it and share it to the world. Play it back on a couple of different devices if you can, so that you're really seeing what your viewers would likely see if they're going to consume it from a mobile device. But then that's it. Your video is exported. I just wanted to jump in here really quick to say, If you're finding this training valuable, can you please take a moment to leave us a review on here? It makes a world of difference to help people find this on Skill Share. So if you're liking this so far, I'd really appreciate it. Also, feel free to share any of your top takeaways along the way. 22. Repurposing: Reformatting videos for different platforms: Actually really easy in DevintiRsolve to switch your project types between different formats. This is great if you're going to be repurposing your content, say from a widescreen video like we have here, and then let's say we want to create a portrait version as a short or as a Tik Tok version. I'm going to show you how to do that in this video. The first thing we want to do is let's duplicate our completed video here, this V six color so that we're not making adjustments to that. We're working on a new timeline here inside of this project. So I'm going to right click on that. I'm going to duplicate this timeline, and let's just call this one here seven. We then want to double click on that to make sure that that is the timeline that we are working on. Then what we want to do with this new timeline here is we want to right click on it. We want to go to timelines, and we want to go to timeline settings. We can make adjustments now to this specific timeline separate from making our entire project a different format. In here, we want to uncheck this box, use project settings, and we can check here use vertical resolution. You can see it's already matched it here 1920 by 1080, but it's now vertical. If we want to pick a different size, we can do that in here too. But I'm going to leave this here as default. You can also make adjustments here on what to do if there is a mismatch on resolutions. The default here is probably going to be fine for most people. It's where I would leave it to scale your clips with a crop so that they fit. So, default settings here, this is the only setting we really want to change on go okay. We can see now that this timeline is now portrait. Then what we need to do is go through our project here and adjust any of our clips so that they then match this new format because we might find that some of our text and things like here, isn't going to fit anymore. Now, looking at our primary camera footage here first, we can see that with this clip here, I'm not quite centered. With this clip selected, we can come back over here to our transform tool. We've got our position X and Y, and we could just move me across to where we'd like, a bit more central here. These next clips here, I can see that they're actually covered up with this screen recording. I don't need to bother about those. This next one here, I am going to be seen on camera here so we can make an adjustment to that if we need to. Maybe we'll come across a little bit here as well and likewise here with this last one. But with this last one, we've got this Zoom in that we created here. So it's not bad, but again, I probably adjust it so that we're across a little bit more. I can select on this. Let's just bring up our keyframes here so that we can see what's happening. If we check out this animation here and we're looking at the numbers up here as we progress, the position starts at zero. Are we actually animating the position as well? Yes, the position does change. So what we can do here is at this first keyframe and we want to make sure that we are on the first keyframe by hitting this left arrow here. I want to go to the position one, go to first keyframe, which it's defaulted for us. Let's move this across a little bit to where we want it. Around 18. Now let's jump to the next keyframe and let's re center this here as well. It's likely going to be about the same 18 looks pretty good. We've now got that animation included in here, that slow Zoom in, but I'm centered for that entire thing. We've gone through now we've reformatted our primary camera footage here. Next, we want to do the same for our B roll clips as well. This clip here, for instance, was just scrolling through YouTube. It probably doesn't matter that it's cropped off, but I'd probably still reposition it so that we're seeing the left side of the screen. Maybe something like this. We might even find that zooming in on this a little bit more as well might make it look even better so that we're having these thumbnail images sit a little more central, maybe something like this. If we scrub through this now, then it's scrolling almost like it would on a mobile device. Again, we'll get to the text again in a second, but we just want to go through adjust all our clips here as a layer by layer. Same with this one here, maybe we will move it across. Actually, this one is probably going to have to be zoomed out a little bit. Let's go out a little bit more. Just be mindful that when we are repositioning stuff, you can see we're now seeing the background in the top, so we want to bring this position up so that we're covering that. But also, if you did want to show what's happening behind then we could lower this down and actually have both M and the effect or the B role here on screen as well. This is actually an effect that you do see a lot in short form content, YouTube shorts, TikTok videos, where there is two different things on screen happening here at once. We'll keep working through our clips here. Let's reposition our sad face across. I might even make sense in this example here now, just to go a little bit smaller. Again, it doesn't have to be a perfect replication of what we did in the previous video. It's what's going to look good on mobile device in this case, or portrait. Okay, and onto our text. Again, we can click on them. We can make sure that we are over on title here. We can adjust the size so that they fit, and we can even come over here and click and drag to move them to what's going to look good on this screen here now. Now, if you're not able to click on them, then make sure you are on this transform mode here. So let's click on the next text layer here. Let's reduce the size of that font. Let's move it across a bit. Maybe we'll make it a bit bigger now that we can let's adjust its position and let's do the same with the third one. We're going to need to make it smaller and then adjust the position here. Now, depending on how your titles and things have been created, we also can select all three layers here in this case, now that we have them close to how we want them to look and we could come over here to settings and we could adjust the position and everything of those three now essentially group together. But if we look at the timing of them, they're still going to be matched up with what I say. They're still appearing one then the next, then the next. It's not so much retiming everything here, we're just scaling things to fit. Our text here for thumbnail strategy is way too big. Shrink this down, shrink this one down as well, and then we can pick them up and move them around using these transform boxes. Bit big. It's a bit smaller. Thumbnail strategy is so important. We've got our scrolling happening. It's just a matter of going through and readjusting your text, resizing things so that it now looks good on this new format. 23. Black Magic Cloud: Working with teams and sharing projects: If you're going to be working with teams or you want to use a cloud backup service, it's awesome to know that Black Magic and DaVinci Resolve does actually have one built in, and it's actually really good. So it says here that you can use this to live sync projects. So you can share your editing timelines with multiple people. You can share your media, so your files, your assets and everything as well. You can actually have conversations and chat and video conferencing and stuff all around your editing projects as well. And you even have the ability to automatically sync and upload files from things like the Black Magic camera app as well. For a lot of this functionality, you will need to be on the studio version of DaVinci Resolve, the paid version. But you just want to go ahead and create a free account and then login to start this. I'll have a link in the description for this video for where you can jump directly to that login page. But when you're setting this up initially, you need to create a project library here, essentially, a folder that's going to hold all of your projects. So where we do that is directly here on this website. But we can also access this directly from within DaVinci Resolve, project manager as well. So usually the default is in the likely scenario, working off local files that are stored on your computer for all of your editing projects in result. We do also have the option up here to jump across to networked ones. So if you've got multiple computers connected to a network, you could share your projects and things from there. But what we're talking about here is this cloud option at the top. You can see this is going to enable Black Magic Cloud. If you're not logged in to your Black Magic account, then it's going to prompt you to create an account and that'll take you back to this website here. Then in terms of adding a project library, we can click the button here, which again, will take us back to this website. They might want to click the button down the bottom here, add a project library. This is where we will pay per library. So we can see here I've already got one created on this plan. If I want to add another one or I want to adjust the amount of storage in that, then it's prompting me here to upgrade my plan. Let's just click on that. And this is going to ask us here to pick a plan. So we can see right now my current plan. I've got one project library, which is probably going to be more than enough for most people. That one project library has 2 gigabytes of storage, so not a whole lot of storage. 30 members can access that, and it's got up to 20 presentations in there. So we can either adjust the storage size here, which we can go up to some crazy numbers. But obviously, we're looking some crazy dollars per month at can also adjust the amount of project libraries that we would have in here as well. So once you've specified this, we'll click Continue, you'll make the payment, and then you'll be back to where I am here. Now over on this project server. Now, really quickly, I want to touch on that 2 gigabytes of storage. It's not much. And you can see that you could bump that up to 500 gigabytes on that previous screen. You're paying the monthly subscription for that. Even at 500 gigabytes, you could upload all of your files and everything for each one of your video projects so that we don't need to transfer the files or use Google Drive or Dropbox or any of that stuff. It can all be managed directly here inside DaVinci Resolve and their Cloud servers. But for us with our workflow, we're already uploading our files to Google Drive. We're already paying for that Cloud service. So for us, that 2 gigabytes is enough for us to add our project files here. But all of our video assets, we're synching those outside of Devinci Resolve using Google Drive. But we can also use Dropbox, or obviously we could pay for their cloud functionality too. And you can see here all the different projects and timelines and things that we've got created here. But coming back to Devinci Resolve, again, we want to click on Cloud make sure that we have purchased and created a project library. And then in here, we can either import our projects or we can create a new project, or obviously we can open up one of our existing projects that are already up on the cloud. So I'm just going to go here New Project. Now, this piece here is a little bit different, so we give our project a name. It's got Justin test project. We then get to choose a location for our project media. I'm just going to leave this here as default now. Then we get to choose here. Do we want to share our project with multiple users and allow multiple users to simultaneously access and change this project? So if you want a collaborative timeline and you want to work with someone on it, then you will need to check this box here, allow multiple simultaneous users. If it's just you, then you don't need to worry about that. Now, this is a setting that you can change afterwards as well. But then down here, this is where we get to choose for this project that we're creating we want to automatically synchronize our media, our files with Black Magic Cloud storage. So again, everyone can have access to all of your files for that individual project in the one place and have it automatically sync and upload and download and everything for you. You can do that. So your options here are don't sync, which is with our workflow of using Google Drive, we don't sync our media. We can sync our proxies only. So only low resolution versions of our video, so the file transfers are going to happen much quicker. Or we can do the proxies and originals in here. But obviously, you're going to want enough storage on your Black Magic Cloud account to hold all of that footage for that individual project. And then if you're using apps like the Black Magic camera app, we can allow remote camera access in here or not. I'm just going to leave this as Do not Allow. We can then hit Create. And then we have our new cloud based project. And this is going to work exactly the same as if this project was local on your computer. But depending on those settings you selected in regards to uploading clips and media, it could automatically upload those files that you're bringing into your project here. Automatically for you. And you can track all of the uploads and downloads and synchronizing with this little icon down the bottom here. I'll show you when there's files uploading, files downloading, how much storage you've got access to, all of those kinds of things. And you'll also be able to see when you do have someone else working on this timeline with you. So obviously, then here we can edit our video down as we normally knowing that our files can be synced or not, depending on our settings. Now, if we did want to add someone else into this project, we can come back down here and click on this little two person button. There's a few different other ways you can find this as well, but we will need to allow multiple users on this timeline. You can see then down the bottom here we get a couple of extra icons. So we have a chat notification here, so we can chat with our different team members that are working on this project as well. And we can view our project members down here too. Can easily share our project library to give access to our edits and our timelines here by coming back to this project server window, we can then click the little information button here on our project library. And then in here we'll see a list of the people that have access already. We can see it's just me at this point. But we've got a share button down the bottom here to add others in. Now, when you're adding other people in to access these files, they don't need to pay as well. You've already paid for this library, so you're just giving them access into that. So you enter their email address, hit Share, and then when they log into their DaVinci Resolve app over on the project window, they'll then see your library here with all of the projects in it. Now, we can also share from here as well. We can again, press the little I, and we've got the share button down the bottom here, too. Now there's one last thing I want to show you in regards to making all of this work. If you're not using Black Magic's Cloud to sync all of your files and you're using Dropbox or Google Drive, like we are, then I want to show you how this will look if all your files aren't being synchronized. I'm going to go ahead and open up this one here. I'm just going to double click on it. We can see that this is loading this project from the Cloud it might take a little bit longer than a local saved project. But we can see then we're seeing a lot of red, which says that the media files are offline, and that's obvious because we haven't synchronized those yet. So it's asking us here, where do we want to store our local media on this when we do synchronize them. So you might have already synchronized from Google Drive or Dropbox or something, you can select that location here. And it's also asking us do we want to synchronize that storage with Black Magic Cloud? Do we want to upload stuff back to the Cloud? And we get to choose again, yes or no. So I'm going to choose no for this one. I'm going to hit open. And then all we'd need to do is select our offline files up here and link them up with the files that we have on our computer. Then just a matter of selecting your clips. I'm just going to pick the one here. I'm going to right click on it, and I would choose relink selected clips, and then we go and point to where that file is on our computer, and that's then going to relink it and you can continue editing. And any changes that you make are automatically going to be backed up to that cloud. 24. Edit videos using text and AI: Now we're going to take a look at how you can use some of the AI functionality in DaVinci Resolve Studio to help edit your videos down using text. So yes, this is a studio only feature. You will need to be on the paid version of Resolve to do this. But I'm on a brand new project here. I'm currently on the CUT page, but you could also do this on the edit page as well, and have one video file here imported into our project. What we need to do is right click on our clip here in the media pool, and we can come down to audio transcription and then we've got the option here to transcribe this clip to write out everything that's being said in it. So we're going to click on that and you can see it's going through. It's analyzing that clip here for us, and it does a really amazing job really, really quickly. When that's done, we get this pop up here. This is our transcript. And if we scroll through here, we can see all the things that have been said in this video. And again, it's pretty damn accurate. A couple of different ways that we can edit from here. We could just come down to, say, the section that we want to have like this one here, we could highlight this, and then we can use these tools here to insert it into our timeline. So we can press insert here, and that piece has been added in. So then let's say we wanted this clip here as well. We could select maybe the piece of it that we want, and we could insert that as well. So we could build out our edits from here step by step like knowing that you're seeing all the text here of what's been said to save you the time of having to play through it all. Now, if I just select these clips here in my timeline, press delete, so let's just remove them from there. Another thing that we can do with our transcript here, let's come back up to the top, and we've got this button here, which will remove all of the silences or all of the gaps or pauses here for us. So we can see already here in our text that we have a gap from start through 2 seconds 22. There's another one down here at this point, wherever we see these three dots, this is a pause or silence. We can actually do is we can select all. So you can press Control A on your keyboard or Command A, if you're on a Mac to select all the text here. We can then come up the top here and we can press this button here, and it's going to automatically remove all of those silences for us. So then if we add this clip to our timeline, it's actually going to insert all of these pieces for us with those pauses or those gaps automatically removed. So if we look at our timeline here now, you can see that this editing has actually taken place. Now, there are some cases here where it looks like it's missed things, so we can see that there is still silence here in our timeline at that point, which obviously is easy for us to fix up here in our editing. But overall, it's done a pretty good job. There's another one here. And this is where we could then jump over to the CUT page and quickly find these things that we want to remove to do the next phase of the editing here really quickly. What you'll notice here is as we click around through this, it's updating our playback head here. And this is because we're editing off our raw camera clip here, not off a timeline. But where I think this transcription editing here becomes more powerful is if we close out of this, I'm now going to remove all the clips that we automatically added here into our timeline. So I'm going to press Command A or Control A to select I'm going to press Delete on the keyboard. So we now it's got a blank timeline here. We've got our clip up here that we have already transcribed. Instead of editing from the transcription on that clip itself, if we select this clip and bring it down into our timeline, we then come up to our timeline itself. Let's right click on that and choose audio transcription Transcribe. You can see it's going to bring in that transcription already for us. It doesn't need to process that clip again. But now any edits or changes we make to the text here are going to be reflected and updated in our timeline. So we can literally then just select the text that we want to remove and it's going to happen live in our timeline. So give you a real world example here. Let's look at the start of this video. There's some pauses. There's some tests. Here, it looks like this is where I start talking. So we can select all of this. We can press Delete on the keyboard, and we can see that that footage there is gone from our if we're skimming through this, it looks like I actually do a retake here. You could have the world's best video. You can have the world's best video. So we'd use the second one here. So I could select all of this stuff prior and press Delete on the keyboard. Now video is now going to start at that point. Obviously, if we scrub across, we can see that here. Likewise, here, there's next chunk, we can remove the pause, so to help you with this. I say that a couple of times. We can delete all of this, press Delete on the keyboard. We can remove that gap. We can then come down here. We can remove all of this. Next piece. Here. I'm not going to edit down the full video, but you get the idea here if we hit close on this and let's zoom out on this timeline. You can see that we've now picked the best clips that we want to use here much faster than playing through the video and trying to find these clips individually. But then all we need to do to close all of these gaps is we can come up to edit, and we come down to delete gaps, and it's going to remove all of those gaps or pauses in our timeline for us. So editing with text can be a great way to speed up your workflow if you are on the studio version of Resolve. 25. Studio: Audio and Voice Enhancements: A really cool feature that's built into the studio or the paid version of DaVinci Resolve, and it's called voice isolation. This will help you remove the background noise from your videos and help your voice sound better. In this example here, I'm just going to play this so you can hear it. I'm standing at the beach. I'm just using the built in microphone in my phone. There's a bit of wind, there's obviously wave noise and stuff here. We're going to turn on this voice isolation feature afterwards and I'll show you the difference that it makes. We're going to play this now. This is a test. There is lots of background noise here and a rainbow. We'll see how good this AI noise reduction is. Okay, so a lot of background noise. So we're going to select out clip here. We're going to come over here to audio down to voice isolation. The default amount here is to have this go to 100. So we're going to leave it at that for now, but know that we can pull this back if it doesn't quite sound right. But let's just go ahead and play it now. I test. There is lots of background noise here, and a rainbow. We'll see how good this AI noise reduction. Pretty damn good. You can see there next to it, no background noise now. If we actually scale this up, so we can have a look at the audio waveforms here. This is obviously the processed version. Now with the offs, you can hear it before and after this is before. This is a test. There is lots of background noise here and a rainbow. And with it on, we'll see how good this Ai noise reduction. Pretty amazing. That's the test. There is lots of background noise here. I wish that it would actually update the audio wave form here. I was going to jump in and make that bigger to show you, but it just shows the original, not the processed one here. It'd be cool to see how much this has actually processed it, but massive improvement. Now obviously this example here is pretty bad in terms of background noise and things. But even if you were shooting in an environment like I am here, you're able to improve your audio quality significantly by using this voice isolation feature. Now, there's obviously other audio features and things in here as well, we can adjust the pitch. If we want to change how people sound, we can do that in here. But generally, that's something that I would stay away from. Now, I also want to point out in here as well that we do have a dialog leveler in here too. Isn't really something that I use too often, but we do have the ability in here, and this is on the free one, this specific one. The voice isolation is paid. This will allow for some extra processing for things like lifting up the lower volume levels to match. There's even a preset here to lift soft or whispery sources. There's some cool stuff in here to help you improve your spoken audio from removing background noise and isolating the voice through some dialog improvements here too. 26. Wrapping Up: Wrapping up this DaventiRsolve course, a couple of quick things. If you found this training valuable, we would really appreciate you taking the 30 seconds to leave us a review. It can make a huge difference on helping others find this training, too. You can also share any of your top takeaways and things that you've learned to help others going through the training, too. And there is also an area if you'd like to where you can share any projects that you've made off the back of this training for others to see, totally your care. And if you want to see other master classes and courses that we have here on Skillshare, you can find them all listed under our profile area. So thank you very much. I'll see you in the next one. Cheers.