In-Depth Video Editing in DaVinci Resolve 18/19

1. Course Presentation - Video editing in DaVinci Resolve: If you are completely new to the Vinty resolve and you want to master this powerful software, you have come to the perfect place for you. Welcome. My name is Aurelio. I'm a DaVinci resolve instructor and this is the most in-depth course about video editing in DaVinci resolve that you can find. Why is this the most in-depth course? Because you will learn all the features of the software with very good examples that you can follow along easily. Because I will teach you the most important keyboard shortcuts to speed up your workflow. To continue, you have your lessons that you are aiming to make you master DaVinci resolve and feel comfortable editing great videos with it. I'm not an Adobe guy adventure in DaVinci resolve. I'm a real DaVinci resolve instructor with more than six years of experience in the software and more than 15 years of experience in video editing, and this course is not only the most in-depth, it's also the most beginner friendly that you will find. I will explain all the concepts and steps needed for you to accomplish the proposed editing easily. And that's not enough for me. I will make available for you more than 250 media to make the editing with me throughout the course, including videos, music, sound effects, and overlays. We are going to have many projects to make together. And also guided exercises are types of exercises designed by me to help you fix even more than knowledge taught in the course. You are in touch with the first part of the course that covers all about video editing. DaVinci resolve everything in detail and with the best teaching. With the third days money back guarantee and the audience benefits, there are no reasons to not enroll now and start learning video editing in DaVinci resolve with me. So click the button in the row now and I hope you in the first lesson. 2. Welcome and how to download DaVinci Resolve 19: Welcome to my Adventure Resolve course in the Adventure Resolve course. This is our course about DaventRsolve. I'm very happy that you are here learning with me. I hope you like the lessons of this course, and that you go with me throughout the entire course to master DaventRsolve. And if you have any doubt about any of the lessons, please make a question here in the Q&A section of the course, that will be very happy to help you answering with my best. So let's go. Let's start with the first thing we need to get DaventRsv running to start our course. That is to download and install the software. To do this, you can Google Daventu five or I will put in the resources of the lesson a link to the official download page. And here, if Google Advent Resolve. The first page that appears is the DaventResv page for Download and the Black Magic Design site. That is the developer of the software. So you click here to go to the page. That is the page. We will go here to this part. We have those two options, and this one is to buy the license of DaventRsvTog. That is the paid version of Daventsv. It has the studio in the naming and here in this button, we can download both the free and the paid version. Here we buy the license, here we download the Daventsving. We'll click here because we will learn it in the free version of Daventsvn that's already very powerful. By clicking here, we open this window this side we have the DaventResv studio, and the number of the version, the stable version in the moment. So if you have bought the licensee of DaventResv Studio, you can download this option. Here in this side you have the free version of DaventRsv we can choose our operational system. Here I have windows and by clicking here, we go to the other screen where you need to make some registration then you go under here and click in this button to download the DaventRsolv. And after the download, it's very simple to install. You click in next to every time and go next and next, and don't see you are finished with the installation of DaventRsolv, we can go to the next lesson to see the first screen of DaventRsolv. They splashy screen very very simple, so let's go to the next lesson. 3. Getting to know the DaVinci Resolve interface: Let's take this lesson the first look into DaventRsolv. So when you open Avent Resolving, you have for the first time this window that's the project manager. Of course, you don't have this bunch of things. You just have the untitled project. Those are all our projects that I have created, and when we have some projects, we can open it by double clicking that project. And if you want to create new projects, you go to the new project button. We can put a name into our project here. Let's say, first project, and we click Create. Can also open and entitle the project and save it later with the traditional keyboard shot cut Control S in Windows or commands in the Mac. So let's create it here. Now we are into the main, the ventu is always screen. So let's understand how it works here. Down here, we have all the pages that we need to make our works, and this page has its own purpose. The first page is the media page that have the purpose of importing the organizing media. Also import and organize media in other pages, but if you have a bunch of media to work with, it's recommended that you impart it here in the media page and you organize it into here. After the media page, you have the Cutch page where you can make a fast assembly of your video. I don't have so much resources to edit your video, like in the edit page, so the Cuch page is fit to make fast and simple editing. In the edit page, like I said, it's the main edit page where you make your editing with the main tools that the ventsv offers you fusion page, we can make Advanced visual effects and motion graphics. In the color page, the most famous page of Dant Avi. We do color correction and color grading in Fairlight page. We can do Advanced works with the audio. It's like a do digital audio workstation and here in the deliver page, the last page. We have all the options to make the deliver of your video or to say better to export your video, they have a final file to distribute. So that is an overview of the Da ventureso pages and speaking some more about the layout of Da ventures. You can see all the pages that we have some tabs over here in the left and in the right. Some of them like the media pool will be in most of the pages, and we will learn much more details about those tabs throughout the scurse. And of course, all the panels and all the tools that we have in each page. 4. Setting up your project and preferences: In this lesson, let's configure our project settings and preferences. To go to the project settings, we go to the File menu, and down here, we have project settings or you can press Shift plus 90 or another way to go to the project settings is by going under here in this little gear. Now we have opened the project settings window, and the main configurations that you need to do here is the timeline resolution. That is the resolution of your video. The standard for Internet nowadays is 1920 by 1080 or full ATG, or you can use the awesome the tratG or four K. That is the double of the full HG resolution. We use here the full HG resolution. If you want a vertical resolution for social media, for example, you can click here, use a vertical resolution. Now we have the opposite of what we had before. We have 1080 by 1920, but by now will use a full HD with a horizontal resolution. Here we have the timeline frame rated. That is the frame per second of our video. The standard for internag is 30. You can use up to 60 here, the venture is over three. We use third. The playback frame rate is just the frame rate of the playback inside the Daventsv here in the viewer. Now we go down here to configure our optimized media and the render cache and our Px media. We have a section about Px media and the rendered cache, all the details about that. But here we will just configure it to use throughout our cars to make our media playback more smoothly. So here in ProxmdiaRsolution, I will leaving the option, choose automatically. In proximdia format, I will put DNx HR eightQ. If you are on a Mac you have also the option to use PRS. Those are the codec that you have to choose to make the proximdia. Those two options over here are not good options, the h264 and the 8265 because they tend to play not so smoothly as the other ones. So we will choose G&XHR or PRs, and those options of DNxHR are ordered from the most quality in the top to the less quality in the bottom. But where we have the most quality, we have the larger file size, and the one with less quality makes the smallest file size. So I will check here in DNx HRHQ for a very good quality, not so big file size. I will make the same thing for epitomized media, GNx HR HQ, and the same thing for under Case. We hit save, and now we go to the preferences menu. To make it, we go to the vent Resolving menu and then preferences. Now in this window, we go to the user tab, so we go to Project Save and load. And if you don't have it checked the live save, you will check it because it will save your project in every change that you make. So hit save and we are done for now. We have made the configuration of our project, and every new timeline that you create here now, we have the semi options that you have put in the project settings and to explain the timeline is the sequence of your final video so when we have a time line, we export the timeline in the end and we will have a video file. If you have ten time lines and you export those ten time lines, you will end up with ten video files and so on. So the time lining is the assembly of your video. And further on, you will see how to create timelines and make the assembly of your video. 5. Understanding the Media page interface: In this lesson, let's take a look in the interface of the media page. That is the first page, tempt media and organize them. First of all, we have here the viewer, and this viewer is present in most of the pages that we have here in DaventRsolv and also here in the media page where we can see our media like a video, like a photo, like an audio, and so on. Here in this side, we have the media storage panel that is like an explorer where we can find in the disk our files to import to our project to work with. We can navigate through folders here we can even favorite our favorite folders. Under here, we have this thing here that is the media Po panel, which is very important because this is the panel we are going to use to import our media to work with in our project. When we import our media, it is always present here in the media pool. The media Pool is also present in most of the pages here in the media page, in the cut page, in the edit page, in the fusion page, in the color page, and in the fat page. It is not present only in the deliver page. So everything like a video, like a photo or an audio, you need to input here in the media pool to work in your project. And the detail here about the media storage panel is that we can expand it by clicking here, and we can shrink the panel by clicking here again. Here we have other tabs to use like the Audio tab where we have some meters to measure our audio levels and do another works. We can open and close it like this. We have the metadata tab where we can see and set the metadata of our media. We have another very important panel here that's called the inspector. The inspector shows all the parameters that we have in our media. You will do many works in the inspector, like animations, change parameters, compositions, and much more. When we have the inspector open, we can also shrink it to the middle of the screen, as you can see, only the upper part of the screen, or you can expand it like in the Mij Storage panel. And then there is the overview of our media page interface, and we will start to work with the media page in the next lessons to get a better understanding of the features that we have here. 6. Importing your media: In this lesson, let's see how we can import media inside DaventRsolv to our project, to make our first assembly. That's an exciting moment where we will start to have your media inside your project, and so we can make our video. So we have many ways to do this here to import our media to the media Pooh. We can also import our media inside other pages of DaventRsolv where the media Poo is present, like the cut page, the edit page, the fusion page, the color page, and the Ferlch page. And if you don't have a bunch of media to import and organize, really recommend you to import it on the other pages, like in the edit page, for example, that will be much easier. You don't necessarily need to go to the media page to import and organize your media. But what is the advantage of importing and organizing our media here in the media page? One of the advantage that we have here is that we have the media storage panel, and so we don't need to open the exploiter of your system to bring our media. Another advantage here is that we have the metadata panel. If you have a bunch of media, it is important to put some metadata in our media to identify and organize it, that will show you how to do that in further lessons. Another advantage that we have here in the media page is that we have the option to access the favorites. It shows the favorite folders you have saved for easy access. So let's see how we can porch our media here in the media page. I will go here and click to expand this SSD. I will search for this folder here where I have my media in the Mia folder. And then we'll click in the media folder to open it, and we have two options here. One option is to open the folders to import our media like here in the animals folder. We can select the media that we want. To import to our media pool, let's say I want to import all media from the animos folder, so I select the media and drag them to the media pool. The first time you do that, the vent resolve will ask you if you want to change the project frame rate to match our media frame rate. It is a good idea to change it, so I will click in the changing button. And now we have our media imported here inside the media Pooh. So now under here in the media Pooh, they are inside our project, and over here in the media storage panel, they are not inside our project. I will show you soon the other option to import media to the media Pooh. But first, let's organize our media here, and to do this, we will create bins. Let's take a look at the side. We have here, the master. The master is always here. That is the root of our project bins, and we can create another bins inside the master bin. To create another BM, we can click in an empty space here on the left and click on new Bin that is the only option that we have here or you can use the keyboard charge cut Control Shift N, or on the Mac command Shift N. I created a BM. I can rename it now. If I click outside it, I can rename it by double clicking here in the BIM or I can right click here and choose the option, rename it Bin. Let's put the name animals and hit Enter, you can see that your media that you imported is not appearing here because you are inside the animal's bin. You need to go back to the master Bin to see your imported media. You select all your media here, click the first, hold down the Shift key, and click the last one. Now you drag the media to the animal's bin. Now your media are inside the animal's bin. The tumbnos are too big here for me, I will click in this slider and drag to the left to make it smaller. Or you can drag to the right to make the bigger if you want. I will leave it small by now. And now let's see the other option that we have here to import the media to our project. Instead of going inside the folder and bring the media directly to the master, we can just bring the whole folder directly to the master, and now we have a bin inside the master with the name of the folder and with the same content inside. Now all the media that's inside the audios folder are inside the audios beam here in the media pool, and that is the sound effects folder with the sound effects and the Musk folder with tmusks inside. To recap, we can open the folder here and import our media directly to the master bin or to another beam that we have. Or we can import the complete folder we will have a bin with the same name of the folder with all the media that's inside that folder to put a folder in the favorites for easy access. We can write click here. I want to put this media folder in the favorites, so I will write click here and choose the option add folder to favorites. Now it's in the favorites here. If we don't have it open here, I can click in the media folder here and now it's open. So as I have all the folders organized here to just import to my project, I will click in the master Bn. I will select my folders, the cars, journey, overlay, people, photos, professional organic light leaks, syn cut detection, sports, stabilization, subtitles, and green screen, and bring it directly here to our master. And now I'm done importing my media to the media pool, and I can start to work with those media in the other pages like the Cut page and the edit page. 7. Removing media from the media pool: Let's take a look in this lesson how we can remove media in the media pool and some aspects of the media pool here in DaVinci Resolve related to removing and changing media. So first thing, I will select these two media's Wavies 1 and Wavies 2 in the media storage panel and I will import it to my master bin here in the media pool. It's selected, I will drag it here and now it's imported in the media pool. When we delete a media here in the media pool, we are not deleting the media in the G-scan, we are just deleting the media from our project. That's because the media here in the media pool is just a reference to the media in the G-scan. So for example, to delete this media that I have just imported here, I select it in the media pool and I can press the delete button or the backspace button. Both keys work for deleting media. So I will press the delete button and I have deleted the Wavies 2 from my media pool. As you can see in the media storage panel, the Wavies 2 file is already here. It's not deleted, I can even double click it here and see it in our viewer. It was not deleted from our disk, I can even re-impart it by dragging it again. But take care in the other way if we delete something here in the media storage, we are really deleting the media from our disk. We won't have the media anymore. We cannot even delete the media by pressing the backspace key or the delete key here in the media storage. I will press the delete key here. It cannot delete this way, but we can delete the media by right clicking in the file and go to the option delete permanently. It says here permanently like an advice to us to let us know that you will delete it from our disk permanently like the name says. So take care. I will do it here now to show you what happens. The venture resolve also asks to us if we really want to delete this file from the disk and if we really want to, we go to delete and now the file is not in our disk anymore. Let's click it done and let's see what happened here. The media Wavies 2 that we have imported here to our media pool is not found anymore in the disk, so we don't have access to it to work in our project. If I double click here in the media, it says media offline. Media offline is a problem that happens every time that you don't have the right reference to our media in the media pool. For example, if I have it deleted the media like I like I have just did, it will say media offline. If I have it changed the media folder, we will have it the media offline too. And if we change the name of the media, it will say media offline too. For example, if I go to my explorer here and change this Wavie 1 media name like Wavies 21, I will go back to the venture resolve and my Wavies 1 is offline too, because now it can't find the media anymore. It's still loaded here in our viewer in some parts because it's loaded in the memory. But now the venture resolve will have some problem to access this media since the reference to it is Wavies 1.mp4 and in the disk in our folder, the name is other Wavies 21.mp4. And when this happens, we can do some things. One thing is to relink our media to make the right reference again and to do so I can right click in the media and go to replace selected clip. That's because I have changed the name of the clip so I will need to replace it by the clip with the right name. I will navigate here to course video editing the venture resolve folder. I will go to the media folder and here we have the Wavies 21. That's the same file but with different name, I will select it and now I have the media relinked here and it's not offline anymore. And another thing that we can do is to just delete those images that's offline and you re-import it. It was not offline anymore because I have replaced it already but if it was still offline, I could delete it and you re-import. 8. Previewing your media on the Media page: When you have our media imported here in the media pool, it's a good idea to watch what we have in our material that we will use it to work with to make our editings. And that's not just going to one clip like animals, selecting one and playing, because we have so many options here in Davin to resolve it to better preview our midi. So let's take a deeper look about the preview of our midi here in the midi page. First thing that you can do is to show midi from many bins at a time and to do so you can select those bins that you want to show the midi in the midi pool. Like this one animals I have already selected. And I want to select it drone for example, I hold ctrl and select it. And now we have the drone footage and the animals footage here. All a chance. I can hold ctrl and select cars for example. And we have the car footage, we have the animals footage and the drone footage. And when we want to see just a bin, we click not in the name here in the side in the bin and we see just the animals. To load a clip in the viewer, we just click in the clip. And to play we have those options like you guessed it, this one is to play forward, this one is to stop it and this one is to play in reverse. But we can also use keyboard shortcuts that we have here configured in Davin to resolve it. That's JKL. Take a look in your keyboard and you will see that JKL are all together and the J key plays reverse, the K key stops and the L key plays forward. Furthermore, we have the option to press the L or the J key to play in a different speed, not just in one time. For example, if I press one time the L key, I play forward in one time the speed, but if I press the L key two times, I can play two times the speed. But as you can see, it has ended the clip and the playback stopped, I can put the loop on and now I can press again in the K key to stop and the L key to play. And I can play two times the speed by pressing the L key again, I can press the L key again to play four times the speed and so on. Always double in the speed of my playback each time I press the L key. If I press again and again and again, I have 46 times and I can do the same thingy in reverse by pressing the J key two times in reverse, four times, eight times, 16 times and so on. You can also play in half time of the speed by holding the K key and pressing the L or the J key. So I'm holding the K key, I will press the L key and it plays half the speed. Another option that we have here in DaVinci Resolve is to go to these three dots and activate the live media preview, what it does. When we have the live media preview activated like you can see now, I can just hover the mouse cursor over the thumbnail of the videos and scrub it back and forth to see a preview of my video in the viewer. If I put my mouse over this one, I can see this one, if I put the mouse over this one, I can see this one and so on. I will disable my live media preview and just I think it's not possible to use the live media preview when we have our media shown in the list option. So if I put the live media preview, I cannot preview my media by hovering the mouse over the media name. So I need to be in the thumb mode to use the live media preview. And of course, you can use it to the space bar to play the video and the space bar again to stop the video. In this option that I have here, when I press the space bar and press again to stop the video, you can see that the play head goes to the last position that I have put it and it happens because right clicking here in the stop button, we have it this option. It's not enabled for you when you first open DaVinci, but you can go here and activate and this happens just when you use the space bar to play and to stop it. If I uncheck this option, I can press space bar and press again to stop it and it will stop where the video is playing now. 9. Improving the preview: In this lesson we will take a look in a common problem that we can have you when editing our videos that's the choppy playback especially if we have a high resolution video to play or to scrub it through like a 4k video and how we can deal with this problem. First thing I will close this media storage panel I don't need it anymore it has made it's work and let's watch this elephant walking video I will just scrub it by dragging the play edge back and forth as you can see I have not much problem here my computer scrubbing through this video it's a little choppy but not much that's because my CPU can handle well this video that's a full HD video like you can see by clicking this eye button when you put your mouse cursor over the video here we have some informations about the video like the resolution but if I go here to the people bin and I reload this video that's 4k video like we can see here not 4k it's higher than 4k video 4k is 3080 4 by 2160 this one is higher than 4k and if I scrub it through this video you can see it's very choppy I cannot see it smoothly let's say I click in this part it takes half a second to load this framing let's go to another part for example it took even longer to load this framing for example and that happens because we have a type of media coded in a codec that's very processor intensively and now to deal with this problem to make faster editing to make my video play smoother mainly when I scrub it through the video I can use a thing called proxy media so I will generate prox media here for my video and to do so I can select the media's that I want to make the prox media's so I will select all those media's and right click and I go to the option generate prox media just an advice before you do it the prox media's are media's that play much easier in your computer than the media in the codec h264 or h265 like the majority of media's that we have in the internet but the file size of the prox media is much larger than those that we have here something like 10 times bigger so you need to take care of the size of the files or to say we need to have a much disk space to create prox media and you need to manage it to do so you can go to the project settings and you go in the master settings down here in the bottom in working folders you will have where your prox media are being generated and you can go to this folder and manage your prox media the prox media that you don't use anymore you can delete from your disk to make more space so let's go let's create the prox media right click generate prox media and it goes in the process of generating prox media it can take some time and when it is done the prox media will be linked to your clips let's jump to the future and now Davinci is done generating the prox media and you can see here the PXY icon that indicates that those media's have the prox media linked to it so now by playing this media here in my viewer the prox media instead of the original media is the media that will play here so I can just scrub here and it will be much smoother now as you can see and now it will be much easier to play and to add to our videos with the prox media 10. Creating Subclips: In this lesson we will see how to create subclips and what is subclipping. Let's say we have a long scene from where we wanted to take some small parts of that long scene and make new clips from those parts. Those new clips is what we call the subclipping. So let's say for example let's go here to the sports bin. I will put in the list view so I can see many informations of the videos just right here and I will click here in the duration column to see the order add by duration. So here you have the smaller clipping duration and here in the engine I have the bigger clipping duration. I will click in this one to load it to the viewer and let's play this clip it selects some parts to make sub clips. Let's scrub it through it to be faster. So let's say I want to this part where the guy makes this stunt. So I will get here from this part. I will press the I key in the keyboard to mark an in point. As you can see here this is the in point and let's scrub it through it. I want it to end. Let's say here where the guy is staying fit again and I will press the O button to mark an out point. As you can see here this one is the out point and now I can just grab it just from the viewer to the media pool and place here and the new sub clipping window appears where I can put a name for this sub clip. Let's say breakdensey is stunt one and I will click create to create it and I will have here the breakdensey is stunt one. This one if I click to load it to the viewer I can see that it starts where I have put my in point and the end where I have put my out point. And let's make it again. Let's load this clip again. I will go forward here to this guy. Let's say I want the second stunt. So I will press the I button. I will scrub it to the guy go to his fit again. Let's say here and I will press the O button to mark the out point. So I will have the in point here and the out point here. I will drag it to the media pool. I will put the name breakdensey is stunt two present. I will have here the breakdensey is stunt two. So that's the way that we have to create sub clips here in the media page of the DaVinci Resolve. We can extract parts of clips to make new clips with just the parts that interests us. 11. Scene cut detection: In this lesson let's see what's Scene Cut detection and how we can do it. So first of all I will close this Smart Bins panel because we don't need it by now. We'll use it soon. And to make this I will go to these three dots in the media pool and choose it to uncheck the show Smart Bins option. Now we have more space here in the left. I will go to the master. I will right click here in the master to create a Scene Cut detection bin. I will go to the new bin. Here it is with the name bin18 and it's ready to be renamed. So I will put Scene Cut detection. Enter. I will open the media storage panel again. I will import new media with the Scene Cut detection feature. I will click in this media favorite folder that I have put in the favorites earlier to access my media. And here we have the Scene Cut detection clip that's already in the resources that I have put in the first lesson of this class. So let's click in it to load it in the viewer and let's scrub through this clip to see what we have here. We have just a first scene here and we have a Scene Cut. Another scene. Let's scrub through it to find another scene. And we have here another Scene Cut. One scene and the other scene. Here we have not a Scene Cut but just a zoom that I have made in this clip. So technically it's not really a Scene Cut for us. Let's scrub it more. We have another Scene Cut here. Another scene. And we have just this. So what's Scene Cut detection? Let's say we want not to just import this clip as it is but we want to import each scene separately. How can we do that? We can do it with the Scene Cut detection. But how can we do it? Let's see in the next lesson. 12. Adding metadata: Let's see in this lesson how we can use metadata and how to patch how to insert metadata in our media and why it can be very useful for our work. I will close the media storage panel, you don't need it anymore, and I will close this side of the media pool to make more space here. I will patch the thumbnail mode on, because I will use the live media preview as you will see. So now the metadata is the data about our media, it can be a description of our media, we can be the can that we used, we can be many things that describes our media or that delivers us an information about the media, and we can use it each to search our media with filters and to organize better our project. So I have activated here the live media preview, I will need it to review my media, and let's say I want to patch a description for each video here, for example with this girl, let's say it's a move that we are editing, and this girl is a character of our moving, so let's use the live media preview to search through our media in every clip that this girl is. I can even make bigger our thumbnails to see it better, I can see she's here, here, here, here, here, and here again, if I have an doubt I can use the live media preview to patch my mouse over the clip, hover over it, and I can see the girl is there again. Now I will put the metadata identifying that those clips have this girl on, and to do that I will open this metadata panel, it says nothing to inspect because I have not selected any clip yet, so I will select this first one for example, and for you you will see probably this information here, the clip details, these ones are metadata that's already in the clip, like the start time code, the end time code, the frame count of the clip, the frame rate, and so on, but I will go in this button here, and I will open the shotting scene metadata, we have much options here to put metadata, we can see even all these groups together by clicking all groups, as you can see here, but I will use the shotting scene, that's this one, I can click in shotting scene, and I see the same thing, but not the rest of all groups here, like we saw before, and as you can see we have much options here to put metadata, like shot, scene, take, angle, and much more, and here we are going to use the keywords, that's very useful to identify a clipping, we can even make the keywords work together with these March beings, that's our next topic, so we will use it, and I will click in this box, and let's say the character name of this girl in our movie is Julia, so I will put Julia here, and now I need to put a comma to make our keyword to be inserted, and now we have our keyword here, I can put another keywords, like for example the cloudy sky, so I can put cloudy sky, and a comma to make this one a keyword, and with the live media preview enabled, I will scrub it through this clipping, and I can see the girl is dancing here, making a performance, so I will put here in the keywords, dancing, comma, and that's it, we have the keywords inserted in this clipping, but I don't want to put the metadata, the keywords in each clip separately, it will be very time consuming, so I will preview each clip by hovering the mouse over each, with the live media preview, and see what we have here, we have the same situation as this clip, or to say Julia dancing with cloudy sky, so I will select this one, I will see this one, this one is the same thing again, this one again, this one too, and this one she's not dancing, so I will select this one, hold shift and click in this one, so I selected this sequence of clips that have the same situation, and now I can put our keywords in all these clips, all a chance, to do this, now that we have many clips selected, multiple clips, I need to select the keywords, it's not needed, when we have just one clip selected, but with multiple clips, we need to select this box, and I go to the keywords box, and I will put Julia, I can even present her, I can go to the cloud sky, it has the suggestion there, I can present her to accept that suggestion, and I can write dancing, it suggests dancing because I have put this keywords before, I can press the enter key, and now we have almost done our keywords insertion in those clips, we just need now to click in the save button, this happens because we have multiple clips selected, it's a difference between multiple clips and one clip, one clip we do not to click in save button, it don't even appears the save button, but with multiple clips we need to check this checkbox, put our keywords, and click in the save button, so we have saved now, if I click in each of these clips, we have the same keywords, this one and this one, we have not put our keywords, we have a different situation here, but we have Julia again, so I will select those two, holding control or command during the making, I will select the keywords, and I will put here Julia, enter, and I select only this one, ah, I forgot to save, so I will apply, I will select only this one, and I will put the name of the other character, let's say she is called Rebecca, comma, let's put the situation of light, golden hour, oh, golden hour, comma, and they are standing still, so standing comma, I will select this one, I will put cloud, sky, enter, and I will put standing, enter, and that's it, we can do the same thing for the other clips, for example, those one, select the keywords checkbox, go to the box of the keywords, and put let's say she is called Carmen, Carmen, comma, she is in the lake, so I will put lake, comma, and let's say that's it, so I will save, so you have understood how we can put metadata here, and now let's say I want to find all the clips that have Julia in, so I will go to the search magnifier to open my search, I will filter by keyword, I can go up and down to find the keyword, and I will put in this box Julia, and I will find all the clips that we have Julia in, if I want a cloud sky, I can put cloud, and we have a cloud sky filter to find our cloud sky clips, if I want the clips where Carmen is in, I can put Carmen, and I find the clips where we have the Carmen character, when we are done making our filter, for example, we can do it even here in the edit page, for example, we have the filter here, we can go to the filter by, and go to keyword, and make it the same thing, let's say Rebecca, we have Rebecca here, I can put to our timeline, I will teach you how to do this later in the course, and when we are done making our filter, our search, we can close our search by clicking the magnifier again, and we have all the clips of that being shown again. 13. Using Smart bins: Now in this lesson let's take a look in how we can use Smart bins and watch Smart bins is here in DaVinci Resolve. First of all, Smart bins like the name says is Smart bins. It's a type of bins that automatically make filters in your media to show your media in those bins, basically in those filters. So to show the Smart bins here, first we need to open it here in the Media Pool. I can do it here in the Media Page, but I also can do it in the Edit Page. So I will make it in the Edit Page, so we can get more used to the Edit Page, because in the future we will be using the Edit Page to make our edits. So here we have our Media Pool again. If this side that shows the bins is closed to you, you can click here in this button to open the bin List. And I will open the Smart bins by clicking those three dots and check Show Smart bins. Now we have the Smart bins here and see we have here Keywords. The Keywords Smart bins are created automatically by DaVinci Resolve when we have Keywords added to our media, like we have done before. So I will click here in the Keywords and as you can see we have now a row here that I can click to expand and see all the keywords that I have in my project. I will grab this line to make more space here, this one too. And see we have here the Carmen Keywords, the Cloud Sky Keywords, the Dancing Keywords and if I click in any of those Smart bins based on the keywords that you have added to our media, I can see automatically a filter that shows all the media that we have with the Keywords Dancing applied to it in its metadata. If I click in the Cloud Sky, we can see all the clips that have Cloud Sky, if I click in Carmen. We can see all the clips that have Carmen and so on. In Julia for example we have all the clips that have Julia. So these Smart bins with Keywords are automatically every new Keywords that we add here to our media. We will make a new Smart bin to appear in this List with a filter to show all the Media that have that Keywords applied to it. So I will close it and let's take a look in the collections in Smart bins. We have another type of Smart bins here as you can see. I will expand it too and here you can see that we have Smart bins that filters our media based on some characteristics of the media like Video clips. Here we will have all media that you have Video or Audio Only or Music or effect, based on certain metadata that we can add to our media. And in fact it's even possible to add metadata here in the Edit page. You see that the metadata panel is here to open. But I want to show you that it's also possible to create new Smart bins that will have the filters that we want to show our media based on those filters. To make this to create new Smart bins we can go here and right click and go to Add Smart bin. Here we have the space to put a name in the Smart bin. So for example I will create a Smart bin that will have all the clips all the Videos with less than 20 seconds. So I will put here less than 20 seconds and as you can remember it's not even possible to make it this type of filter here in the search. So the Smart bins are more powerful than searching with filters. It's possible to use the same filters as we have here in the search and much more. Here we can check this Show in All Projects checkbox to do what the name says. And here we have the rules that we can add to our Smart bin to make our filters and this plus button makes it possible to add new filters like so. I can add new and new and new filters. I will delete it in the minus button because I don't want more than one filter now. But when we have for example two filters or more we can determine if you want that the Smart bin match all of the following rules or any. All obviously is more restrictive. The media that will show in our Smart bin must match all of the rules and any if the media attends to any of the rules it will show in our Smart bin. So I will delete again. It doesn't matter now if I put any or all because I have just one rule here. And the first thing that we will put here is from where we want to get a parameter to make our rule. We have much options here and I will get from the media pool properties and what I want to get. I want to get the duration to see duration time code. Now I will put the rule that is if I want the duration exactly such duration or the opacity of that duration every duration that's not that one or greater than that one or less than that one or in the range of that duration. In this case we want that duration time code is less than and now we have to put here 20 seconds like we have said before 20 seconds and click create. Now my Smart bin is created and it shows all the clips that you have in less than 20 seconds. Let's click here in the list mode to see this information about our media. I will make more space here by catching this column of the name and I will drag here the row bar to see our duration. And let's see if you have attended to the less than 20 seconds duration rule. I will click here in the column name to search our clips based on the duration and here we have it one second one second notch it's one frame it size two or to say here we have the shorter clip. And in the bottom let's go to the bottom we have the longer clipping. The longer clipping is 19 seconds and 29 frames. So our clips in this Smart bin matches the rule of being clips with less than 20 seconds and every new clip every new media that we import to our media pool if it have less than 20 seconds it will appear here in our Smart bin with this rule. But now let's say we want to make another rule we don't want anything but videos here we have much videos but we have it is choose two images we don't want images here in our Smart bin that shows videos with less than 20 seconds. So I will right click in our Smart bin and go to the edit option and I can add or change our rule I will add our new rule and again I will get the parameter from the media pool properties I will go to the parameters and I will choose the parameter clip typing and that's it. I want the clips typing is video I click OK now I will put here to match all of the following rules because if I put any of the following rules I will have a problem because my Smart bin will show everything that's less than 20 seconds and everything that's video that's not what I want I want to attend both rules so I will put all and click OK and let's take a look now if it's all right here we have videos with duration from two seconds and six frames all videos videos two, 19 seconds and 29 frames so that's the way we have it to create a Smart bin and that's how they work here in DaVinci Resolve and they are especially important with large projects when you have a bunch of media to organize automatically without the need to make new searches for your media every time you need to find them. 14. Sorting and searching for clips: We are here again and now in this lesson I will teach you how to search our media here in the media pool and how to search too. First thing everywhere that we have our media pool like in the media page through the Fairlight page it's possible to search media and to search those media and so I will go to the edit page because the functionalities of the media pool here in the edit page is the same as the media pool in the media page. I will show you how to search and search media in the catch pages soon. So to make the searching of our media here first of all I will make it smaller our terminals I will open my people bin let's go to the people bin here and you know that we can search our media here in the list module by clicking the column naming when I click in one time I'm searching in an ascending order as you can see we have the shorter duration here and the longer duration here and when I click again in the column naming I'm searching in the ascending order but in the thumbnail module it's possible to make a searching of our media by clicking this button we have many options here to search our media like by the file name by the duration by the type of media and so on and we can also choose to search our media in ascending order or descending order I would like to show you the catch page options for searching it has some sort parameters here but it is less than what we have in the edit page and in the media page as you can see I will put here in the thumbnail module like in the edit page so I will go to the edit page and show you how can you research our media here and other details we have seen it before but I will show you another details now about the search feature first of all I will close my smart bins here to make more space for my normal bins I mean the people bin at the time and let's search for dancing for example dancing and now I'm filtering my clips by the file naming with the term dancing that I don't need to complete the naming I already have you what I want that is dancing in the file naming of my media if I want to find for example lion I cannot see any clips of lions because I'm in the people bin but if I want to search in all bins I can go to this down around and choose all bins now I can find even if I have it just the people bin opened I can find in all bins by the file naming every media that he has in the file naming the term lion and let's say we wanted to find media by a specific resolution for example I will go to the filter resolution I will put here 19 trench and now I can find in all bins all the clips that you have the resolution 19 trench and let's say I want to find all the clips that you have Julia in it and I will put Julia here and I can't find it by the resolution Julia and let's say I don't know I don't remember or I don't know in which parameter Julia was inserted now I know that's in the keywords where is keywords here keywords but let's say I don't know and what I can do to find the clips where Julia is in I can go to the all fields and now I'm searching through all fields and as you can see I will make it bigger to see the name neither of these clips has in the name the term Julia the name Julia but as I used the filter all fields I can search in all fields and those clips have Julia in the keyword parameter like a metadata that's why I can now find clips that you have Julia in it and when we are done further on I will show you many ways to insert clips in our timeline and the watch I timeline is and we can do this by searching clips and then inserting in our timeline and when we are done we can clean our search by clicking this X button or just to close our search by clicking the magnifier button and now we have back our people being shown here a difference from the edit page to the catch page search is that in the catch page search we can only search by the file name so I put the name here like dance and I can find all clips in the people being I cannot search in all beings like in the edge page and in the media page so I can only search in one bin here in the catch page by the file name and when we are done we clean our search by clicking the X button and that's it 15. Getting to know the Cut page interface: Now in this lesson I wanna show you the interface of the cut page. Before that, really fast, how about making a rating and a review about my course? Now I would be so grateful for your kindness. And if you have already made it, thank you very much. Now let's go back to the lesson. I am here in the cut page as you can see. Just a quick tip here if you are the one to resolve it, doesn't show the names of the pages, you can right click it under here and choose show icons and labels. So the first thing that I will do here in the cut page is dragging a clip to this space that is the space of your timeline and to know what's a timeline. A timeline is just how our final video will be. If you are assembling, if you are editing, if you are transitions, effectors and so on. So that's a timeline, it's possible to make multiple timelines in a single project and that is the space under here where you can make the assembly and the editing of your timeline. So I will bring this clip to the space of our timeline here and now as you can see we are in the people bin, now we are just in the master bin because we have a timeline created automatically when we drag a clip to this empty space. It was empty before and this timeline is called timeline one. Davinci has named it automatically to us. We can change the name of this timeline by clicking in the name or just selecting the timeline and pressing F2. And the name is selected to change. I will not change the name now, I will just press enter. As you can see we have now shown here the clip of our timeline. Then here we have the viewer, in this side we have the media pool and that's not possible just to close the media pool by clicking this button, differentially from the edit page that's possible to close the media pool. Here we can just change the tab that we have opened here by clicking for example in the effects tab, you will see the effects tab and not the media pool. We can open the titles tab, so I can see the titles tab and not the other tabs. Same thing with the transitions tab and so on. So I will go to the media pool, here I can click in this button to open my bin list, as you can see and to close this I can click outside and it will close. Here we have also another tabs, all of these tabs in the left and in the right we will show in much more details and we will see how to use it properly from the basic to the advanced in further lessons. Now that we have a timeline opened, created and opened, you can see here the total timeline duration and under here the current position of our playhead, so I will press space to play our timeline and you can see that the playhead goes on and the time code indicates the current position of our playhead. If I put it to the end of our timeline you can see that our timeline has exactly the duration that you saw over here. Here we have our transport controls, it works the same way as we saw in the media page, we can even activate our loopy and now when we come to the end of the clip it starts again from the beginning. As you can see we have some options here, some buttons to make insertions of our media, in the timeline it's possible to make insertions. In many ways not just by dragging the media, you can make it with much more control over the insertion. In this left side we have the headers of our tracks, we can have multiple tracks, for example if I create another video track I have two video tracks, I can put a video over other video, for example this one I put this one here, I will drag this to see one video over the other, as you can see they do not match in the aspect ratio, the bottom video shows here in this part, that's not a thing to bother now I will show you how to correct those problems further on, but I want to show you the header of this track here and the header of this track here, each track has this header and what are those two things, we have a thing here and another thing here with another playhead, what that means, it means that we have two presentations of our timeline, one that shows the entire timeline here, we have it from the start to the end, so we can access the entire timeline at a time, if I put another clips for example this one in the end here, let's put this one here, the size of the clips presentation here, we will adapt, we will fit to the screen to show the entire timeline in this top presentation, and under here we have another presentation with more zoom of our timeline, where we can see more precisely what's going on, so if I change the position of our playhead over here, I change the position of our playhead here too, but this one displayhead in this bottom presentation is fixed and we can drag our timeline and this one over here is the playhead that moves and the timeline stays fixed, so overall we have the interface of the catch page that we will see in much more details how to use each feature of this interface in this section. 16. Importing media on the Cut page: Let's take a look in this lesson at how we can import media here in the Cut page because it's possible to import media in the Cut page in the Edit page, not just in the Media page. Everywhere that you have a media pool, and that's from the Media to the Fairlight page, just not in the Deliver page, it's possible to import your media. And if you have a small project or just a few media files to import, it's probably a better idea to import directly in your Cut page or Edit page; there's no need to switch to the Media page to make this import. And how can we do that? To do that, there are many ways. One way is to go to the File menu, choose Import, then Import Media. You can even import directly from a folder. You can also use the keyboard shortcut Ctrl + I, or on Mac, Command + I. Another way to import your media is to right-click in an empty space in the media pool, and you also have the option Import Media. As you can see, it's the same option from the File menu because you have the same keyboard shortcut. Here, by clicking on the Import Media option, we open an explorer of your system; you select the media that you want to import and click the Open button. I'll click Cancel; I don't want to import those media now. I want to show that it's possible to open a file explorer of your system. For example, I have opened this explorer in my media folder; I will select these two clips, and I can just drag those two clips over the media pool here, in an empty space of the media pool, and release them, and I have those media imported into the media pool. I will delete them to show you another way. Let's go to our file explorer. It's also possible if DaVinci Resolve is not opened in the background. For example, let's open here another thing: the course curriculum. And let's say I have opened our file explorer, and you want to drag our media into DaVinci Resolve. It's also possible to do it this way. I can drag the media in my taskbar, over DaVinci Resolve. DaVinci Resolve will open, and I can drag it to the media pool. One thing to consider here is that we need to have the media pool open to do it this way, to import media by dragging from the folder, because if I don't have the media pool open, for example, if I have the Effects tab open, I cannot drag my media and put it in the media pool over here, for example, because the media pool won't open this way, and I cannot even release my media over the Effects tab because it won't be in the media pool. So, those are some ways that we can use the media pool here in the Cut page or in the Edit page too. It's possible in the same way, we have the same options. the need to go to the media page but the media page has the media storage, the favorites, and it can save you some time if you need to use those features. 17. Navigating bins and moving media: Hi people, in this lesson we will take a look at how the navigation of the Bins works here in the Cut page and how we can move Bins and Media from one Bin to another. So first thing, I have this sound here, I can even double click here to open it in the viewer. It's possible also to see the audio waveform in the viewer and to play it, but that is not the thing here and I want to put this audio inside the sound effects bin that's inside the audio bin. How can I do that? I can open the bin list here to see that the audio bin has the music bin and sound effects bin inside, but if I drag my audio trying to put it inside the sound effects bin, it's not here anymore. The list disappears. To make the list appear again, I can just hover over this icon and the bin list opens, I can go to my audio bin. If I hover over this audio bin, the bins inside it will expand to show and I can drag over this sound effects bin and release my mouse button. Now inside the sound effects bin, we have the sound that I have dragged inside this bin. To navigate through bins here, we can use the bin list. As you can see, I can open the master bin, another bin, I can expand the bins inside another bin and click the one we want and we can also navigate through those names that we have here. Here it says that we have the master bin and we are inside the drawing bin and to go to the master bin again, I can click on the master bin name here and now I am in the master bin again. Let's say I go by double clicking here in the audio bin and then the sound effects bin. Now I have two layers of bins, one inside the other and if I want to go to the master bin directly from the sound effects bin, I can click on the master name or if I want to go back from the sound effects bin to the audio bin, I click on the audio name. For example, I go here, now I came back to the audio bin. If I want to go directly to the master bin, I click on the name master and I'm back to the master bin and to move bins inside or outside another bin, it's the same thing as the media. For example, if I want to take the sound effects bin outside the audio bin, I can open the audio bin. Now I have here the sound effects bin, I can drag over this icon and then drag over the master bin. For example, and now I go to the master bin and I have the sound effects bin moved to the master bin. Let's put it again in the audio bin and that's it. Some things about the navigation through bins and how to move the media and bins here in the Cut page. 18. Creating timelines: Okay, let's go. Now in this lesson, it's a very special lesson that we will see how to create new Timelines here in DaVinci Resolve. As I said before, Timelines is your final video is the assembly of your video with your Edges, with your Transitions, with everything that your video will have when you export it. You have solved for that we created this Timeline one by dragging one clip in 2G empty space of the Timelining, but now we have a Timelining we don't have an empty space anymore and to create new Timeliness. If you want to another videos in our project, like I said before it's possible and to do that I will right click in the Media Pool and we have the option to create a new Timelining or you can use the short cut control any or command n in the Mac. That's just one way to create a new Timeline, let's make it. We have this window to configure our Timelining. Let's put a name here for example Drones. I can choose the number of Video Tracks that the Timelining starts with and the Audio Tracks too. It can be changed after by creating or deleting Video Tracks or Audio Tracks, that's no problem to make it with such number. Same thing with the Audio Track Typing that we can have a Stereo Audio Track or a Mono Audio Track, but this can be changed after also. And here we have this option that says Use Project Settings. Do you remember that we have made a Project Settings here in the Files menu, Project Settings or this little gear under here, we have set the Timelining Resolution, the Timelining Frame Rate and that's what we will have when we create another Timelining, a new Timelining using the Project Settings. If you don't want to create with the Project Settings you want to check this and you can change the settings of your new Timelining by going in format for example, you can change here the Timelining Resolution by choosing a Resolution from the listing or by manually typing the Resolution here in the boxes, you can use the Vertical Resolution, you can change the Frame Rate of your Timelining and you will have other options in the other tabs that we won't explore in this time because it's more advanced. So let's stay with the Project Settings by checking this and creating a new Timelining. That's one way to create a Timelining, we have now an empty Timelining, we can see that it's opened because it's marked here in our Media Pool with this check, we have the other Timelining, Timelining 1 here that's not opened anymore, we can open this Timelining by double clicking here and we can know what's a Timelining in our Media Pool because we have this little icon here that indicates that it is a Timelining, when we have a Video it can be a Video without Audio, so it will have no icon here or a Video if we Audio, we have a Audio icon here and if we have for example, Photos, we have this icon of a Photo here in this spacing, if we have a Form of the Audio in the Tabineo Mode and that's the way we know which type of Media we have in our Media Pool. Another way to create a Timelining instead of creating an empty Timelining is to creating a Timelining with clips in it, for example let's create a Indus Bin, not Indus Bin with this Bin, I will select some Media here, for example those Media, these four Media and I can right click in any of these Media's that I have selected and I go to the option create new Timelining using selected clips, this window appears again, I can put it here for example People, I can change the settings like you know and I go to create and now we have opened this Timelining People with the clips that I have put in the Timelining and obviously that's changeable, we can put any clips that we want in the Timelining, we can delete those ones and put another clips, change the order, change everything as we can do in the empty Timelining. Another way to create a Timelining is by opening a Bin from where we want to get all the clips to create a Timelining, we don't need this time to select all clips, if I want all clips in my Timelining I just right click in the named space of that Bin and go to the second option create new Timelining using selected Bin, in this option I can put here for example the name photos and I will hit enter and now we have the Timelining photos created in the Master Bin, it's always created in the Master Bin, I can put it in the Photos Bin if I want just by dragging it and we have here a Timelining with my photos added to it, just a thing to you know here is that every time we add a photo to a Timelining by default the photo we have 5 seconds of duration and obviously we can change this duration anytime we want and that's it, that's the way we have to create Timeliness here in Davinci Resolving and one of the most personalized way is the way to create an empty Timelining like we have made in the first option by right clicking here and create a new Timelining or by pressing Ctrl and your Command and like we have made in this drone's Timelining and why is it more personalized, more customizable, that's because we can add our media to the Timelining using in and out points like we will do in a further lesson with just the part of the clip that we want with much more control and ease in the assembly of our video and just a final order to delete a Timelining from our Media Pool we can select it and press Delete or Backspace Davinci will ask for a confirmation, I will confirm and my Timelining is deleted, I will also delete this one, I could select both of them and delete both at a time, so now we have opened the drone's Timelining where we are going to work your own. 19. Inserting media into the timeline: Let's go people, let's see how we can insert our media here in the timeline. Of course you have seen that we can just drag our media to the timeline, even we can select several media and drag all the media to the timeline. But it doesn't offer us much control over the part of our video that goes to the timeline. The video just goes from start to end every time. Of course we can trim our clipping later, but it is a very good idea to insert our clips to the timeline with just a portion of the clipping that we want to use to make our assembly. So let's delete those ones, I will select it and press backspace and I will show you a better way to select which portion of the clipping. You will put in the timeline, so let's click in this clipping, I will double click it to load it to the viewer, because we had the timeline loaded to the clipping, so we need it to double click first in a clipping the media pool, and after I double click I can just click in another one to load it to the viewer. So let's say I will scrub it through this clipping and I want to for example to insert my clipping from this part to my timeline going to this part. How can I do that? I will use in and out points to mark an in point in my clipping, I will position the playerhead in the part of the clip that I want to mark in my in point and press I in the keyboard. Now I have a in point here, indicated by this bar, and I will go to the position where I want the out point to be marked in and I will press the O button of the keyboard, so now I have an out point here. So as you can see we have the indication of the portion of the clipping that will be inserted in our timeline now, before this we had all the clips selected, and now we have just this portion, we can drag it from the viewer directly to our timeline and that's it, or I will press Ctrl Z or Command Z to undo this action, I can also drag it from the media pool, it is the same thing as dragging from the viewer to my timeline. Now I have just that portion that I selected of my clipping in the timeline, let's load another clip here, this one by double clicking and let's see another thing, another option that we have here instead of just dragging, so first of all we will mark a in point some part here, let's say in this part I will press I in the keyboard and I will go to this part and I will press O to mark an out point and instead of dragging the clipping, I can just click in this button that is the append button that inserts or appends this portion of our clip, our selected clipping at the end of our timeline, so every time that we have one or more selected clips in the media pool, we can use the append button to insert those clips or that clip to the end of our timeline, so I will click in and now we have this clip in the end of the timeline, we can even go to this bottom presentation of the timeline, right click in the clipping and change the clip color to better identify this clipping and we can even change the clip color, here in the media pool I will right click in this one that I will add next and I will change the clip color to violet for example, now I will double click in this one, let's see another way to insert media into our timeline, I will select some part here from this part to this moment, press O, press I press O and then instead of inserting my media in the end of the timeline, let's say I want to put my media here between one and the other clip and instead of just dragging the clip there, that can be a bit problematic, as you can see I need to drag, Davinci needs to identify that I'm putting the media there and I will release, let's make another thing, I will press ctrl Z, my clip is already selected here in the media pool, I will use this button that is matching such button, what that does? As you can see we have here a narrow pointing down to this edged point, this is what we call an edged point, every time you have a cut between a clip and other we have an edged point and this arrow indicates that the is matching such button that is this one, we will insert this clip that is selected in this edged point or to say between the blue clipping and the yellow clipping, so I will click it and my violet clipping goes between the yellow one and the blue one, I can see it here, my in and out point is applied, just a portion of the clip that I selected goes to the timeline and now let's say we want to change this clipping by another clipping, we don't want this clipping anymore, how can we change this clipping by another clipping? To make this I will go to another bin here to choose just a clip, just to put it here and let's say I will want this clipping double click, I will play this clipping, this is a short clipping and to change this clip of the drawing by this clipping, I can just use this third button, the ripple overwrite button with this clip selected and now we have changed the clipping in our timeline, we could have selected the in and out points for our clip like we have made before but this one I wanted it to patch the entire clip because it's a short clip so that's okay, so in our first view those are good options that we have to insert our media in our timelines here in DaVinci Resolve but in further lessons I will teach you how to insert medias with much more speed and to review your material much more faster and watch shortcuts you can use to make a faster assembly of your timeline. 20. Shortcuts to insert media in the timeline: So in this lesson let's take a look in some keyboard shortcuts and some techniques to make faster assemblies here in the catch page. First of all let's see how we can load our media from the media pool in the viewer and how we can load the timeline in the viewer. That's a thing that can be somewhat difficult sometimes to the beginner so I will teach some things about it. First of all we need to know what's loaded in the viewer at the moment. To know this we have over here this name that says drones. So by this name we know that we have the drone's timeline loaded in the viewer and we know that the drone's timeline is the timeline opened under here because it is checked with this orange or red check. And look at those three buttons that we have here. This one indicates two that we have the timeline loaded in the viewer because it is white it's activated and this one the source clip if I click it it loads the media pool in the viewer we are not seeing nothing at this moment because it's like the live media preview that we have saw in the media page. So if I hover my mouse cursor over the clips I can see the clips like the live media preview by going back and forth over the clips and the nails and if I click in a clip to select it it's now fixed to the viewer and I can scrub it through it or to play to see my clipping and now if I click here in an empty space of the media pool I go back to the live media preview module where I can hover the mouse over another clips to review it. To load it now my timeline into the viewer it's very simple we have it two ways to do that one way is just by clicking here in the space of timeline and it's loaded in the viewer another way is to use this button as you might have guessed and we load our timeline and this middle button what does it do the source tape it that's a very good option to review our medium in a bin for a fast assembly it's only present here in the catch page that's why I like the catch page for making fast assemblies so first of all I will not click here to not load all the clips that we have in the media pool at the moment because I am the master if I click here now I will load all the clips here in the viewer it will be somewhat heavy so first thing I will open this people bin for example we have here some medium and now I will click in this button to load all the clips that we have in the people bin here in the viewer as you can see it has some separations here that indicates the duration the proportional duration of each clipping that is loaded in the viewer now and now we can review our clips to make our assemblies but first of all let's create a new timeline to start an assembly from zero so I will right click here and create new timeline I will name it people I will hit check enter to create it will have gone to the master so I will click here in the source clipping let's go again to the people bin and source taping and how can we review our media the best way to assembly our timeline one way is to click in this button the fast review that will play through our medium and the shorter clips will play is lower and the longer clips will play faster let's see this one is a short clipping its place is low and the next one will play faster because it's a longer clipping and so on this one for example it will play faster because it's a bigger clip a longer clipping let's see so this fast review adapts to the duration of the clipping to play is lower or faster we can also review by scrubbing through our timeline and if I want to scrub it more precisely in any moment we can use the joggy wheel I click it in the movie right and left and I can review my media scrubbing my media through my medium is lower in this part of the video let's say we have a let's go to the beginning of our source taping I will just press the spacebar to watch at normal speed let's say I don't want to do this vertical medium neither G's let's say I want to start with G's one that's a horizontal medium and I will play let's say I want it to start in this part I will press the I key to insert an in point and I will press the spacebar to play and to C or L to play two times the speed and let's say I want to put my out point here I will press O and now we have some options instead of just going to this button the append button each time we want to insert a media to the timeline we can use these options that we have here in the edge menu but we will not use the edit menu we use the keyboard shortcuts I'm showing you the comments in the edge to menu because if you forget any of the shortcuts you can come here and take a look in the comments with the shortcuts to remember so the most used is the append to end of timeline F 10 remember this shortcut F 10 and that's the same thing as clicking in this button right here it will insert the clip in the end of our timeline so I will making my assembly in some order so I will press F 10 after I have put my in and out point and now my clip is in the timeline I can I can continually reviewing my clips for example I will go to the next one and I can press L let's say I want to start in this point I will press the I button I will press L two times to see in two times the speed let's say we want to end at this point I will press O to put in out point and I press F 10 to append to the end of our timeline so as you can see we have the first clip here and from here to the end we have the second clip and that way we can make fast assemblies of our timeline let's see we want to to go here in this clip I will jog you here let's say I want to start at this moment I press I I will play double the speed by double pressing the L button I want to the out point here I will press O and I press F 10 and when I'm done with assembling my timeline this way I can go back in clicking the timeline button for example and I can see my timeline here in the viewer again so the source tape is a way to make faster assemblies of our timeline using in and out points in our clips and using the F10 keyboard shortcut to append to the end of our timeline each portion of clips that we choose with the in and out points 21. Removing media from the timeline: Let's see in this lesson some details about removing media from our timeline. It's not so trivial, it can be tricky sometimes for the beginner, so I will need to explain it to you. So first thing to know is that this button, the repo on, it affects the way the timeline behaves when you delete some media from the timeline. So for example, to delete this media, this clip, I can click to select it. I will change the clip color just to make it clear that it's another media that I'm deleting. I will make it the same thing for this one. I need to go under here. It's not possible to right click here. The menu doesn't appear. So I will go under here, clip color and change this one to pink for example. So I will go to this media, I will select it and let's see what happens when we have the repo on, off. It's off because it's not watch, it's gray. The default is on, but I have it off now. I can press the backspace button or the delete button to delete this media that is selected. I can even make a selection of other media and delete all a chance. So I will delete just this one. And when I press backspace, you can see that we have now a gap here that shows just a black screen in our viewer. So we have not the repo effect in our timeline when the repo is off. And what is the repo? Let's press Ctrl Z or Command Z to undo this action and let's understand what's the repo in our timeline. The repo means that when I delete this media, for example, the rest of the timeline here to the right, we'll close the gap in all the clips that we have here. If you have a tank clips, even in other layers, it will come synchronized and close the gap. That's the repo effect. So if I put the repo on and delete my media by pressing backspace or delete, all the rest of my timeline comes to close the gap and stay synchronized. If I had another layer here, this layer will come together to my timeline stay all synchronized, making this movement, closing this gap. But let's say we don't have the repo off for accident. For example, it happens sometimes and you delete some media and we have here a gap. You can repo the rest of your timeline already, but you will need another step to make this when the repo is off. To make this, just select the spaces that's empty. That's not a clip, it is gray spacing. I can press delete or backspacing and now we have closed the gap in and all of the rest of our timeline comes together. If we have another clips here in the right, it comes together too. So those are some tips that you can use. I recommend you to maintain the repo on. You don't want a black screen in the middle of your timeline. So if in any moment you delete a media and the timeline doesn't close the gap, you will know that your repo is off. 22. Changing clips’ position in the timeline: Let's go in this lesson. We are going to see how to change the position of your clips in the timeline. So to do this, I will put this clip into the timeline. I have already inserted an point and an outpoint here to get you just this portion of my clip. Now you use it. There is marching search button, my clip is selected, and I'm near to an edit point. So the edge point that's nearer to my play edge is the one where the clip will be inserted when I click in the is Marching search. So I click it and the clip is here. I will change the color of this clip just to identify it better. I will patch live. And let's say I want to patch guys clippy. Before the live clip, the clip of the grow, and to make gs, I can drag gs clippy two here, to gs addit point, hold for a second, and I can release it. Now I have changed the position of those two clips. Another way to reposition clips in our time line is by cutching and pasting. We have the options of cutching and paste. Here in the edge menu. We have Cutch here or control X or common x in the mac, and the paste option, the famous control V. Make g, we go here to our time lining. I will select gs clipping. Let's say now I went g clip before the guys clipping, I will press control X, and I need to patch my play edge exactly at g edge pointing. Because if I don't do so, I will split the guys clip or the other clip the ballet dancer clipping. For example, if I paste my clip over here, not exactly at the edge pointing, I will press control V. You can see that he splitted. The guys clippy. We have just a tiny portion of the clip here, then the clip of the girl and the rest of the clip of the guy. That's obviously not what I want, so I will press control Z and we need to know the snap feature. The snap feature is that one that we have here in this button, Tine options. We have match options about the timeline here, and we have the Snap. This snap is not checked. At the moment I can click here and now it's check With the snap on, when I drag the play hedge near an edged point, you can see it is naps to that edge point. It makes it easier to go to that edged point. I will use it to easily position my play hedge, if I'm not with the play hedging in the edge point, I activate my snappy and go near the edge point. And it is naps there. I can press Control V to paste my clip exactly between those two clips to toggle on and off our snappy. We can press the n key in our keyboard. So if I have a day snap on, I will press n and I disable D Snape, and when I press n again, I enable again Day snap. So remember, the n key I will be very useful to you because sometimes you don't want this Nap, for example, if you are scrubbing through your timeline to see your clips. If the snap is one, you will be snapping that edge points, for example, here. And D Nap doesn't let you scrub it through your timeline, without snapping to those edge points that we have near the play Hedge. So you press n and you have the Nap off. You can just scrub it through the edge points without any problem. Another thing that you can do here is to change it that layer of clip just by dragging to an upper layer. For example, this one I can drag up, I can release here, and we have it a new layer, the V two or Vj, where I have Puch the guys clip, so it's over the grow clip. And if I want to get it back to the V one layer, I can just drag it here and reposition, and we have it the clip it there again. The nice chip that I have to you to reposition clips in a very busy time line. Imagine that you have a timeline match clips. Let's purch all those clips here from G one to G one. I will press F ten with all GS clip selectogy. So I have many clips here in the time line. The clips becomes mall in Gs upper presentation. Let's say I want to move it Gs clippy to another part of my timeline, for example, here, I can grab it from g bottom presentation of the timeline to the upper presentation. I go to the position of my timeline where I went to patch my clip, and I go back to the bottom Timeline presentation and position here in an edge point. And now I can position this clip exactly ge gs edge point. Instead of just grabbing through here, that would be very time consuming. I can just drag it from the bottom to the upper. And then from the upper, I go to the bottom again. And as you can see, sometimes when I press out tab here, the outt key disables the ****, and now we have two gaps, as you can see. Those gray spaces are two gaps in our time line. We just have a black screen here and here. That was an accident when I moved in my clip. So when we have the ripple offi, this problem will happen when we move clips through the timeline. Another problem, let's say, let's remove all those clips to see it more clearly. The two, then I will select both gaps in the press delete or back space. Have another space here, another gap. I will click here and the press back space. And if I have the ripple offi, I will have a e problem, changing the position of a clip in the timeline because the clip will overwrite another clip, if I cut and paste the clip. So I will select to this one, I will press control. I will leave the gap because the ripple is off. And if I put over here, I will press to snap to this edge point and if I press control V S overwrites the guys clippy in Dutch party Dutch pastae, se grows clipping. So it's always a good idea to have the repo on when we walk here in the Kutch page, to move our clips or to the liche clippy or to copy and paste clips and so on. 23. Guided exercise 1: Hi, people. Now we have a guided exercise, a very good, a very nice type of exercise that I have created for you, where I want you to answer my questions about what you can do to make such edgins that I will propose to you, that I will demand for you. Like I was your director, for example, so let's go. Let's dive into it. First thing that I will ask you is that I want you to change the clip of S guy. Have the guy here, I want you to change for another clipping. Let's say I want to go to master, then I go to animals, I want you to insert in the place of the guys clipping. The Lions clipping, let's double click in it to load in our viewer, and I want you to put Lions Video in the place of the guy's Video. What could you do to make g with fast and easy? I will give you 3 seconds if you want you can pause the vigo answer me how to do this. And then after the 3 seconds, I will come with the right answer to you. So let's go. Then have you the right answer. So let's go. I will give you the answer. What can we do to replace the guys clipping by the Lions clipping with festin easy. To make es, I will select the Lions clipping. I don't need to load in the viewer. Right now. I just need to select in the Mija pu. I will position my playhead over the guys clipping, and I will press es button the ripple over right, that you will change the guys clip by the Lions clippy. But let's take a look. The Lions clip became very long here in our time line. Very heavy is smaller clips. So let's say I demand you to make it different. I just want you to puch the Lions clip with four to 5 seconds, not the entire clip. Let's say I have demanded each the first time to you, then I will press control Z to undo the last action. Now I ask you how to do that, how to touch the lion opening mouthing, this video with only four to 5 seconds in the place of the guys clipping. Let's go try to answer. And then I expect that you have the right answer. So what can we do to make edging? I will log you by double clicking clip. To see it in our viewer, I will position the play edge in a place where I want to puch. And in point. I will press I, I will press the space bar to play M clip. 42 5 seconds. Let's say here, I will press the Key sen out point. Now I can see over here the duration of this portion of the clip that I heavy, selectagy with the in and out points and not the entire clip duration and more. If it don't says something like four or 5 seconds, like I said before, I can drag those in and out points. To make it change the duration to something like 5 seconds. And I will press this button, the ripple over right button with the play g over the guys clipping. And I will be replacing the guys clip with four to 5 seconds. In this case, 5 seconds and seven frames of the lion's clip. And the last thing that I want to demand you is the following. Let's play this lions clip to see what we have. As you can here, we have some sounds in this clipping. And me, as your director, I ask you to don't you use the sound of this clipping. In our timeline, I want you to insert the image, just the video and not the sound. That's not I think that I had to cheat you before, but I want to give you a chip. I want you to go to your Davi resolving and take a look in do here and try to guess what button you could you use to insert the video of the lion without the algo. As the video, go in the vent resolving and try to find that button. Let's go. Okay, we are back for the answer. The button that we need to use is s one that says Video only. We have s the Audio only. How those buttons works. Let's press control z, to undo the last check. Already have the in and outt point in the Lonsclipy, as we can see here in the Tabino. It has markers here and here. It's electagy. I will press this button that says Vigo only. So now I will puch only the vigo of sclipy. When I press my ripple over right button. Now let's plate to see if you have you what we want. And now, that's okay. That's what we want the lions clippy without the du. And we can disable this button because we don't need it anymore, and that's itchy. That was our guided exercise number one. Have you answered right for my demands. So let's go for the next lessons. 24. Adding and deleting new tracks: Let's see in this lesson, how we can add new tracks to our T line, and how to insert media in those new tracks. To add a new track, I can right click here in the header, or in an empty space of in my Telne and go to the Edge tracky option. I have now the V g two that's the VD g l tracks altogether. And I want to place my liones clip in the VT or VDOT track. To make so, I will determine it first, and point where I went to insert the Lones clip in the timeline. It's another thing that we can do here in the vent resolve to have more control over our insertions in the timeline. So here in my timeline, I will position my play head where I went the Lioness clippy to starch. I will press the key. Now I have a point in my timeline here, that will go forward. To gs point, where I went, Monas clip two G. Then I will press the key. Now I will double click in the Lones clippy, and I will choose a place where I went to put in point in the Lones clip to say the vents olvi that I went the clip to be insertedy from S point. And now in the time line, my play g can be in any place because I have a put g and not point. And I will press the F 12 key. As you can see, I have insertedy, the Lion as media over the other medias in the V two exactly in that portion of my time line selected by the point and the Ouch point. That's another way to insert medias in the time line using points in the ch points in the time line. Two V option is over here. It says, place on top, so I will place the clip on top of the other clips that I have in the moment at that point of my T line. Let's say we have another track here, I will add a third track. I want to insert a clip in V three track and not in the V two. How can I do that? I need to select this track by clicking here. I can s click it here, and now it's Reggie indicating that it is selected for my insertion. I will again select a portion of my timeline with the NGO keys to Marky in and No point in my timeline. Now I want to insert this elephant family clipping that I already have a market and point here, and I need to go to the option here in the editing menu Orit. But let's say I want you to use a shart cutch for the overrge. You can see that the overrit doesn't have a shart cut by the foe. So I will configure a shart cut for the overrche option. The Gs, I will go to the Davinaries of menu, then keyboard customization. I will type in here the name of the Cage. That's over rich. I have already found it here. I will click in over rich. It shows a space where I can insert the short cutch that I want. I will click it here, and then I will press a key in my keyboard to make the short cutch for the Orche Cage. Know that the FH key is not used for other commands, so I will press F H, that's in the side of the F nine and F ten, that's a good key to use. I will save it and I will close it. Now, as you can see here in the edge menu, we have the FH keyboard chart cut assigned to the overrch command. So I will press S just to show you that if I press now the FH key with the tri selected, and in the Mida po, my elephant family clip also selected The elephant family will go to the victory track, starting from the point that I have touched in the elephant family clipping in the space that I selected with my in and outpoint in the time line. And now, the Ventrsolv has automatically created another track for us. And let's say we want to delete our track. Have two options. One option is by right clicking over the tracky header and go to the delete option, or you can right click in any tracky header or any empty space in your time line. And you don't need to know what tracks are empty. You just go to the option delete empty tracks. And you resolve, we will automatically delete the empty tracks for you. 25. Trimming clips in the timeline: Let's see in this lesson. How we can trim clips in our timeline. What's trimming? When I go to the engine or the starch of clippy. For example, I go here to the enge of my timeline, the enge of dsclip of the grow, looking to the can. I can position my mouse cursor exactly here in the eng of dsclipi, when I see ds cursor that you are seeing now, and I click and drag it to reduce clippy or to extend it. Obviously, we cannot extend it beyond the last frame of the clippy, and that's the reason the clip is showing now reg in that trim point. And when I reduce the clippy, I can see this white line over here, indicating t you where I have a video frames to extend my clippy. To reducing or extending my clip by dragging this point. It's called the trimming, so I'm trimming my clippy here. This white rectangle here is called the handle of the clippy. I will release my mouse button now. And we can do the same thing in the start of the clipping. If I click here and drag it to the right. I'm now reducing the clippy and extending the handle, and if I drag it to the left, I'm extending the clip and reducing the handle. Till we have the t point. Reg, indicating that we don't have more handle. Take care when you are trimming a clippy because when you have a gs cursor positioning your mousy cursor over the edge point between one clipping and other, and you click and dragging, you are trimming both clips at a time and not just one clipping. You are reducing one clipping and extending the other clipping. Of course, if you go to g side of g clipping, the edge of the Lions clipping, you can click here and you reduce gs clipping or extend And as you can see, our time line comes with my trim point that's the ripple because the ripple is. If I turn off the ripple, and I trim my lions clippy, for example, the rest of my t line that is this gross clipping, won't ripple as before. We have a gap here. And if I extend this lions clippy with the ripple fin. I you overrit this girls clipping because it's note with the ripple. So again, the ripple is a good option when you are trimming the clips in your timeline because you probably want the rest of your timeline to come together when you reduce the ge of clipping or to be pushed to the chi when you extend a clip. You can also tring eclip A frame at ate by selecting that Ting point, for example, the starch of ds clippy. Now I have selected Ting point. And I see because it is highlighted in green. And if I press coma, I move it that Ting 0.1 frame to the left. And if I press the Dt. I'm moving that tring point, A frame to the right. I can for example, move three frames to the right, one, two, three, and the hey reduce the that clip exactly three frames. I can select g s clippy. After lion in the ting point, it becomes highlighted in green. Let's say I want to reduce three frames, so I will press coma one, two, three times. And I have a trimmed to reduce the lion's clipping by three frames. So that's the trimming. We can reduce or extend our clips in the time lining. 26. Sliping a clip: Now in this lesson, I will show you how is lip eclipi inside itself. What is the liping eclipy? Let's look at the starch of s lions clipi. And we have declipy starch in front placing and let's say we want you to make declipy starch later, but I don't want to trim my eclipy. I want you each with the same duration in the time lie. Just want to change, the place where it starts. So to do this, I will slip the clipping side itself using's button. So I click here and drag it. Left, you can see in the upper presentation of my timeline that I'm not changing the duration of the clipping. I'm not trimming it. I'm just changing the position of the clipping side itself. Can see in this blacky rectangle, how much of the clip Im slipping right now. And it says -22 frames. I'm miliping the clip to the left em. Minus means left 22 frames. If I is slipping more, I can see there, for example, 1 second, and frames to the left em. If I is light to the right che, I can see the pulse chief, and now I'm mis liging to the right 90 frames. So I will drag it to the left chem. I can see in the viewer, some things. I will delete this Liones clip to make it clearer to us what's happening. So I will press back space or delete. Again, I will click it here to is slip the Lions clipping. And in the first frame that we have in the viewer now in the upper left corner. Are seeing the current frame that's in the starch of my clipping, that's the first frame of my clip now. And in the upper right corner, I can see the last frame of my clippy right now. So if I move it, I can see the first and the last frame of the clipping. YO Y is slipping the clipping inside itself. The both frames in the bottom of the viewer. I can see in the left keep the last frame of the clippy in the left e of the lions clipping, and in the right che, the first frame of the clippy in the right e of the lions clipping. So will release the mouse button, and I end the slipping of my clipping. And that's the way that we can reposition eclipi inside itself in our time line without trimming. 27. Splitting clips: Okay, people, let's start another lesson. And in this lesson, we're going to see how to split eclipse here in the vent resolving. And the reasons why we should do that. One of the reasons to split eclipy is to remove a part of eclipy that you want to remove it. For some reason, you could also want to apply an effect to a part of a video and not in the other part. You can cut out some part of the video that is boring to jump it right into another appealing patch, and so on. So there are many reasons why you would want to split a clip. So let's see how can we split a clip here in the vent resolve. The first thing that you can do is the obvious Cesor button that we have here. You position the playhead where you want to split, and you click it in the split clippy button, the Cesor button, and the clip will split in dutch parch. I will press control Z or common Z to do thatch. Let's see another way to do this because way is much laborious. It can be very painful to go with the mousy every time to that button, just to split a clippy. Because let's say we have a video two edge, like an interview, where you will make many cuts, many splits, remove the silences, for example, so it can be very painful to go every time into that button, just to split many parts of that video. So you are going to see the next two option that we have that's better than z one, that's the keyboard shut cut. So we can press the keyboard shut cut, Control B or command B in the mac. I will show you another better option that we have. But before es, will choose a part of our time line? Let's see what we have here. We have a new Tim lining with the name elephants walking that I have created now. We have here. Let's scrub it through each. We have some elephants walking. We have another clip here with other elephants walking. As you can see, we have a blank frame in the eng of clip. It's not a problem because he will cut out a part of the eng of this clippy by splitching each. So I want you to match the elephants walking in those two clips in different angles. Let's say we have the same situation. We can see here that elephant is not following the same movement, the semi walking of the other elephants, and we have some grass here, and those elements are not present in the next sin in the next shot. We don't have a grass here. We don't have an elephant that's not following the same direction of the other elephants. Will cut here I G s parch, let's go to here, that's okay, where we don't see the grass and the elephant that was not walking in the same direction. I will use the control B short cut to cut in dispatch or ese pletch. I will select a g s parch to remove, as you can see. I don't have the ripple one at this moment, so I will click here to activate h and now I can press the backspace button or the delete button to delete dispag and to ripple the rest of our time lining. Now, what you have, let's see. Having a nice cuch here. It's okay by this moment. We have the elephants walking in one direction, all in one direction. And here, again, we have the elephants walking in one direction. But what I want to show you is a way to make a sharp cuch even better than that one. Because it can be, is too painful to spread your fingers from the control to the B key in the keyboard, and sometimes you need to make many splits in a clippy. So let's assign another charge cut. That's just one letter, one key, to use it to split our clips. Are going to the diventsolve menu, then keyboard customization. Here, you can press the virtual keyboard buttons or keys to find a common of diventsolv. So I will press the control and the B, and it says we have the previous and the razor commands associated to the Control B charge Cutch. I will click in the razor. I opens here in this side. So as you can see, the key stroke, the keyboard charge cutch is Control B. Here I have already assigned the C key as a charge cutch for the razor. For you, will show us nothing here. So to associate another key for the hazer that splits clips. You can go here and click in the erasor. You will click the plus button here. And now you can press another key to associate with the hazer, that I recommend you to use the C key because in the Davin resolving the full keyboard the customization, the C key is not used to any other common. So we use the C, you press C, and then you click in the Save button, and you can now close this window. We have the C button associated to the split or the razor Cang and when we press. The C, we have the split here, and we can do whereever we want with gs like removing or to puch an effect in this part or in this patch of the clippy, and so on. Another thing that's very useful to do here is to join two clips that's a sequence, that's a continuation of the other clippy like those two clips that I have just splitag. I gs clip is the continuation of gs clip, and you have a just a split between those two. You can join g two clips to just one, or to say to make the reverse, that we have just made, that she was split the clip. To make gs, we select gs tach point, when the cursor of the mouse shows like Gs then we have both selected showing green, and I can press the backspace key to join gs clippy. Again, it cannot be made. Here, for example, because if we don't have the continuation of the clip. I can select. Price the backspace key. GT gives an or. Another thing that you should know about splitting clips is that if you have a clip here in the track above another one, you can split all the clips that you have under the play hygie to do so you need to deselect all clips by clicking in an empty area. And prize the control B or the C, if you have assigned the C key as a short cutch for splitting. Then we have split all the clips that's under the Play Hedge. Let's select those edge points and price back space two join back again. You can also select clipping and split it only that clipping. So we'll select one and price C. So we split it just clip and not the other. If you have a 34 clips, you can select the ones that you want to split, and then press the C or control B and split it just eclipse that you have selected, Let's press control Z. And another very useful feature that you have here in the vent resolve is a command two. Split eclip and you remove, they starch or the ge of that clip. I just one key press. So for example, if I want to cut out the gs patch of the clip, they start. I can press a keyboard chart catch to make gs in one time. As you can see, e splitted in that patch The lit departure that was to the left. To make this, let's see again here the comments that we have in the keyboard customization. Now I will search here for a comedy that I know that's called the stache to play hedge. We have the comedy inside those options. Let's open it have here is touch to play Hg. As you can see, you have a three, touch to play hag. The one that I want to say to you is the ripple one, so let's use it. G one starch to play hag, with the ripple. You have a key stroke short cut, assigned to each, but you need to press trick keys to make it gs short cutch. It's not very good in my opinion, so I recommend you to use it just to one key, and I use the H Key to do g because the H Key is not assigned to any other common. So you can use each save and closing. To remember, you press in the plus button and press the H key, press save, then closing, and now you can go to a parch to split the clip in that part, and the liche the starting part of that clipping. So those are some efficient ways that you have to split clips here in the vent resolving. 28. Using markers on the timeline: Now in this lesson, let's see what's a marker, and how can we edge markers here in our timeline? So a marker is a good way to make an notations throughout your timeline for you or for another person to make a future adjustments, insertions, or edgings in your time lining. So let's see how we can edge a marker in our time line. First thing, we have the button again, the edge marker button. So I will click here, and we have you add a marker here, the marker one. And again, we have the keyboard sharch Cutch to use. And I highly recommend you to use the keyboard sharch Cutch to speed up your editing process. So remember, the MT is the keyboard chart cutch for the marker. So I will press the M, where I want to add another marker, and we have the marker here. We can edit this marker by double clicking over each. This dialogue appears. We can pitch an name, let's say, something like key transition. We can make notes here to give the marker some description. We can even edit key words for the marker, and we can choose the color of our marker. For example, this one. When we are done, we click don. Let's say we have come back here in this time line. We have many markers here. Let's add another one in page. I will press M. If I don't scrub the time line and don't play it. I I with the play dg just above the marker that I have just added it. I can press M again to open same dialogue and the two here. Let's say we are now in the future reviewing our markers and to make these to review our markers. You can go before the first marker, and you will press the shift and the down buttom to navigate it through the markers. Now I have the play hedge over the first marker. I can see here in the viewer, the name of the marker, and then anation of the marker. This one don't have any annation. At the moment can press again the shift and down a row to go to the next marker. This one doesn't have an annotation. Also, let's double click it in the puts notation. So annotation. You present, and now we have the annotation here. And we can make it the works that the markers are saying at this moment. Again, if we want to go to the next marker, we ho shift and press the down a row. If we want to go to previous markers, we hold shifting and press the up around. Shift, go to the previous, shift it down, go to the next to remove a marker, you can click in it to selection. It's now selected as you can see, and you press Backspace dit to delete that marker, or you can just select all the markers with a rectangular selection like s, and now we have all selected, I can press Backspace dit to delete all the markers. 29. Changing clip attributes : Hi, people, let's see in this lesson, how we can change the attributes of clippy, in the venture resolving, like the size of eclipy, deposition, the rotation angle, the composition mode, to make artistic and appealing visuals, to make changes in the speech of eclipy, to make a stabilization, and much more. And to starchy, let's see in overall, what we need to do to change eclipy attribute. So to do this, we need the first to select eclipy. For example, G one, that I want to change and attribute in clip. Now we need to open the inspector here in this side. The inspector is a panel where you have all the parameters are the attributes that you can change in your clips, and even make animations with those parameters, that's a thing that I will teach you in further lessons. So let's take an overall look here in the inspector, how it works. First thing, we have some tabs over here, and some are in activy because we don't have, for example, aldo in this clipping. At the moment, we don't have any effects applied to it, we don't have any transition, and so on. So if we have some of these things, those tabs will be active and we can access those tabs to see the parameters of that type. So here we have the video tab that controls the parameters of the Video. Here, we have like sections of parameters that we can shrink it by clicking in the name of that section and expanding by clicking again in the name to see those parameters. Here, for example, we have the cropping parameters. I can click here to open it or to expand. If I want to hig it, I will click it here in the name again. Another thing to note is that you can disable temporarily a group of parameters, a section by clicking G's red button. So for example, in GS clip I have added some changes in the parameters, and now I have it temporarily disable the changes. And when I want to enable again, I click it here, and I have all the parameters set again for that group. Can also research a group of parameters or an individual parameter. To make g in Gs circular row that you have here with the plus sign inside it. I can research all the parameters of the transformer group for example, so I click here and I have you research all. I will press controls it to undo that action. And if I want to research you, for example, the zoom parameter, I can click in the circular row in the side of the zoom parameter. I research the Zoom parameter alone. Again, I will press control z to change a parameter here. We go over the value fig. I can click and drag it to the left to make the value smaller or drag it to the right to make the value bigger. We can also click here to select this value fg and type a value in the keyboard, for example, 0.5, meaning 0.5 and presenter. That's another way to change the value of that parameter. Also have d slide their control in some parameters, for example, the rotation angle, that can be dragged to to change that parameter. To make the value of the parameter, to go to the de full value again, I can double click here in the parameter name or attribute name, and that's different from clicking's button because further on, when we learn about animations with key frames, you click in Gs button, you will delete all the key frames and you reset the parameter to the default value. And differently from that, when you double click the parameter name, you just goes to the default value, but you don't remove all the key frames. So that's the difference between GS button and double clicking in the parameter name. So that's an overall look that we have here in the inspector to change the value of the parameters that we have in acclipy, and in the further lessons, I will teach you the details about each parameters because it can be sometimes trickier than you think, and you have much more control over your editins. It's very useful to learn that detail. So let's go to the next lesson. A nice thing that you need to know is that the inspector is present. In the majority of it pages. Here. Almost every page has the inspector like the media Pu, for example. We have the inspector from the media page to the Fairlight page. It's not present only in the deliver page. So the inspector is very important and another detail about the inspector is that it works the same way in the media page in the Catch page In the edit page. So everything that I say about the inspector now in the next lessons. We will apply to the edited page that we will learn in further lessons, how to use it for more advanced edgings, for more features to use. But I will use the inspector here in the catch page because we have just learned how to use the catch page in the previous lessons. So I will stay here by now, and further on, I will start to teach you about the edit page two. So let's go to see the details about the clips attributes. 30. Transform Attributes : So people, let's see. In this lesson, much more details about the transforming attributes. Obviously, you can come here and change a parameter and see what it does by your selfie. But doing this doesn't means that you dominate those parameters to make exactly the editions that you want or that you client wants or that g director wants. So what I will be teaching you in the further lessons are all the details for you to dominate those parameters so you can make exactly the editing that you need. So let's start by resetting the transform parameters of s Lions clip that I have already changed its parameters. It's shown over here. Don't care with the color of the clip that you see that's different here from here. That's because I have already made a color grading work here in the color page to make the color of this clip to match better with the gs clip of the elephants. The color grading is a thing that we will see further in g course. So let's reset the transform parameters by clicking here for the Lions clipping. And the first attribute to our parameter that we have here is the Zoom x y. It changes the size of the clipping, as you can see, You can drag it both in the x value or in the y value, and you will change both values with the same amount of change atte. And as you can see we have a chain here, a chain buttom. And that's because when you change the scale of the x or the y xs, most of the time, you want to maintain the atract ratio of your image. So by the phone, the chain button is activated. If for some reason, you want to change the aspect ratio of your image, you can deactivate each, and now you can change the x, that's the horizontal scale, and the y, that's the vertical scale separately. And when you are done, you can re link each again, clicking here and change both xes together. How will double click here two, go to the D fo value. And I thing that you need to note here is that the zoom x y has a normalized value. What's a normalized value? It means that one that you have here, is the 100% size or the original size of the image. And if you have here, for example, two, let's put two here and present it. Now we have double of the value for that parameters or to say double of the size of clip. And if we put here three, we have it three times the size of the clip. So on, I I put here 0.5, it's 0.5, we have half of the size of the clippy. So that's a normalized value. Let's go again to the default value. That's one. Let's see the position x and y, differently from the zoom, the position is measured by pixels and not a normalized value. That means that if I go here 147 in the x x. I haven't moved it to the right myclpi by 100 for seven pixels. You know that is useful to position a clip in the edge. In some strategic position inside your frame. For example, if you want your clip, to stay exactly with the edge in the center of your clip you can go here to the file tab of the inspector. You take a look at the horizontal resolution of the clip that's 192 inch. And you divide 9182 inch by two and by doing, you can come here 192 inch divided by two is 96. So you press and now I have the lion clip. Align it exactly with the edge at the center of the screen. If I want it with the edge exactly just going outside of the screen, I will puch you here nine inch two inch. And now I have the clip outside. I can make an animation. For example, this type of animation, the clip coming in, so that's good to know that the position XN Y is measured by pixels. Now we have the rotation angle that's measured by degrees, you can go here to 360 and the negative 360 to the left. But you need to know that ds lider is not the limit of your value. You can type here another value, for example, 5,000. And it goes to 5,000 degrees. If you need in the future, when you learn about doing animations, to make any spin animation of your clip. It's good to know that you can put another value here, higher than that one that this lighter goes because that's possible. Let's double click here. And the next parameter is the anchor point. This one is a little more trickier than the other ones. So to show what the anchor point does, I will open the view controls by clicking here in the tools. In this first two options, we have the transform view controls. It will show in the viewer when we change any of the parameters of the transforming Section For example, I will change here the zoom, and now I see the view controls of the transforming attributes. This one is the anchor point. The anchor point is the point that's fixed in the screen when you apply a zoom or a rotation. For example, if you rotate our clip here, this point is fixed, that's the anchor point, and if you apply a zoom, that point is fixed, and all the clippy changes around that point. Let's again research it, and now I will change the zoom slightly just to see the view controls, and I will drag the anchor point to here. And let's see what happens when I change the zoom and the rotation angle. So I will change the zoom, and let's see. As I moved the anchor point to here, this point is now fixed, and the zoom is applied around this point. So the clippy grows from that point or sings to that point. Same thing if the rotation angle, if I rotate, that point stays fixed and the clippy rotates around that point. So this is the chor point. And we can use also the information about the pixels because the inchor point is measured by pixels two like the position x and y. So to fix eclipy, for example, exactly in this corner, the upper left corner. I can go to the pile tabbing, take a look at the resolution, and then we want the anchor point to go, 1080/2 up and the 192/2 to the left. So let's make it in the anchor point. I will change here the rotations slightly just to show the view controls, and the 192/2, we have 96. The chor point has moved to the right so we need to go to the left. Then I will change it to negative 96. Enter now, the anchor point is here in the left. In the yx, I can bring it to see if it goes up or down. So it goes up positive values. So I will pitch five f, that's ten a divided by two. So my anchor point have gone to this corner, and now I can zoom around that point. And let's say I want you exactly to put clip with the half size of the original size. I will put here 0.5, and then the clip is at g corner with a half of the size. 31. Cropping Attributes: Let's go people. In this lesson, we're going to see the cropping attributes. If it's not expanded, you click here in the cropping name it, to expand the options, the attributes. As you can see, if you drag here heavy black bars in the top in the bottom of the image. And you white to use the cropping attributes. Can be used to make some artistic looks to our video, like to apply a cinematic look or to focus the attention of the viewer. In some areas of acini, for example, I personally don't like much the black bars in films to make cinematic looks, but if you like, you can do it with the cropping attributes. Can do even animations with the cropping attributes, like we will do in a further lesson with the opening of the drones project that I will present to you, it will be an animation of the video opening from Blackie from the center to the top to the bottom. So it has no secrets. You just drag here. Just one thing to know is that when you drag the slide the way to the right. You will have a number that represents the total pixels that you have in that dimension, for example, the horizontal dimension, you have here 192 inch pixels, same finger obvious for the right. The thing to note is that if you drag, for example, the left and the right, you will cross eventually both, and you will do the opposite thing of cropping like gs So to make, for example, an animation of the cropping attribute opening from the center like the crop toppy and croppy bottom with an exact value. You can just divide it the vertical resolution of the vigo by two. In this case, we have 1080 in the vertical resolution. So I will divide that by two that is 500 and forge. And I will put that here, 500 forge and here, 500 forge We have it the cropping exactly in the center, and then we can animate it with key frames that I will teach you in a further lesson, how to use it from this value to the zero again. This soften as option, will soften the edges of your cropping, and this option retain image position. An important option to know what it does. It's not so obvious. For example, let's reset it here. Let's say we have a black bar here in the top and in the bottom, for example, and we need to do a zooming of the image. If we do a zooming now, it will not maintain the position of the cropping, but if we use the written image position, the cropping will maintain its position, even if we change the zoom or the position or any other parameter like the rotation angle, and so on. So that's the retain image position. That's what it does. Let's reset it here and here. And just to know the cropping attributes are simple cropping options that we have here in the inspector of the cut and edge page. If you want to do much more advanced the cropping of your image, like customized croppings, I will teach you how to do this in the fusion page. Here you can make any shape that you want to. When cropping an image like a custom shape, for example, it's not so limited like this cropping attributes. 32. Importing and Exporting Timelines: Hi, again, people. In this lesson. I will take the opportunity to show you how to import and how to export timelines in the vent resolving. B I will need to do this in this lesson, because I have a drones timeline that I want to show you in the next lesson. That's the project that we will work you on to make our gits for you to practice. And to do so. First of all, I have drones timeline in this project that we are working on. That's the first project that I called The timeline that I will impart to this project has the same name. So I will need first to delete this one because the vent resolving Don't you accept the same name for two time lines in the semi project. So I will select this timeline and press back space are delete, and I will confirm me. And now to impart my drones timeline from another project, I will go to the file menu. I already have exported that timeline from the other projecting. So I will go here and then impart timeline. I will find you the folder where I have is saved you, the drones timeline that's here. And we have here the drones GRG. And this is our timeline that I have parted, I will double click it here. And then we have imparted here, our drones time line together with our media that composes gt line. I have already our media here in gs drone folder. But if I don't have it, the medi imparted. The ventures will automatically impart you for us when we impart our time line. How can we export our time lines here in the venture resolving. T Export, it's much simple. We click in a timeline date, we want to export and go to the Pile menu, then export, timeline. And here we have some options for the file format. If you want to export the T line two open in Daventory resolve again, in another project, for example, like we have GG here, the prefered format is the diventars of T line files, the GRG extension because that is the most compatible formaty for the venture resolve. The other ones can be used open in other software, for example, like the XML. So in this case, I have used the GRT file formaty, the ventusolv Timeline, because I wanted open my timeline in the venture resolve again. 33. Presentation of the Drones Project: Here we are in another lesson, where I will show you the drones project or the drones time line that we have imported in the previous lesson. So let's take a look in this drones project to see what we have, and we will walk you on this project throughout our course. As we move forward in lessons, as you learn new things that we can apply in this project. So let's take a look in this. I will press the P key in bology to make it a fo screen, and then I will press the space bar to play our time line. Let's go. And that it's a simple project that we can make in the first part of our course, we will walk on this project to the end of the lessons about editing in the cut and in the edged page. And a very nice thing that I want you to know, is that I'm line to do in the lessons resources for you to mine. With the GRG extension, you already know how to use that. So how to impart this tine to dv resolving. You can download the end in part each in the advent to resolve. T follow along with GS timeline, exactly how I'm showing to you. Another thing that you should know is if you have some problem playing through gs transitions, let's see, I will put here in the Much because I don't want to hear the music now, I want to speak while I play GS VGo. So let's play here. We have GS transition and GS one. And if you have some problems, some choppy playback while playing Gs, I recommend you to go to the playback menu. Then in Render Cache, you choose the march option, instead of the non option. That's probably what selected for you now. And GS option will save you in the GSK your transitions after some seconds. Then the transitions will play smoother in real time. And then a further section of the course, I will teach you everything about the under cache option, what's ds exactly and how to manage the under cache the files because it can take much space off your disc. So don't forget to take a look in that section, that's the performance section of the course. 34. Image Scaling Options: Let's go to another lesson, where we will talk about the scaling option of your video. That's because many times you can have an issue with image scaling, like we have is clipping, where I have a top and a bottom black bar. Let's say want those bars. Here, I want you the image to few the framing. And first of all. In your Daventories of probably you have a black back ground here that you can confuse with the black bars. If you use this clip if called the woman applying cream, you will probably have those bars. But if you don't see those bars, let's go here to the Davinories of menu, then preferences, then you are probably in the system tabby. You go to the user tabby, then in the UY settings. Check the use gray background in viewers and saving. And now you have the gray background. You don't confuse the background with the black bars that are video present. And why those bars happens. That's because the clippy has a differential aspect ratio from our timeline. I click it here in the Media Po in my Tiny one and go to the inspector, I can see here Midapu Tine one. So that's what I'm inspecting now in the inspector. And if I go in the File tab, I can see the resolution of my timeline now. That's 1920 by 1080. And if I click it here in the timeline in my clip of the woman applying cream. Now I can see in the inspector that I'm inspecting the woman applying cream clip. In the Phyle tab, I have the resolution two and four by 1080. That's a differential aspect ratio between gsclip and the time line that dsclip zone, and that is the cause of those black bars. If you want to fill the frame with gclipi, and don't have it those black bars. Maybe you are going to Videotab, and the messing with the Zoom to fill the screen, but that's not the Gal way to do this. Let's reset the Zoom. The ideal way is to use the scaling options that we have here in the retiming the scaling. Let's open it. And selecting this clip. I can go to the scaling options. And you see that we have here the project settings. That means that Da vinci is getting the scaling option for this clip from the project settings that we have set here in this little gear. Exactly here in the image scaling. To be exactly, we don't us those options yet. I will teach you in this lesson. So let's close it Let's see here in the inspector, the scale options that we have. Instead of three project settings, we can choose a crop fat few and stretch and what each of those options means. The crop option means that the vid hey just the size that the Video has. For example, if you have a four K Video in a full HG resolution time line. Video will just appear with a double of the size of the time lining, and DT croppi. That means that the croppi option just don't scale the image in any way. It stays with the original resolution and the aspect ratio. The feature option will feat the image to our framing, to the image appear entirely here. Nothing will be cropping, and the aspect ratio will be maintainergy. Few option, that's the option that we launch now, we'll just fill our frame entirely and can cropy the sides of vidu, or if you have a vertical resolution clippy, it will cropy the topy and the bottom of the vido. So this option will fill entirely the screen and can cropy the laterals or the topy and bottom of the vigo if the aspect ratio of the vido is differentiate from the aspectu ratio of time line. The last option they stretch. It cannot maintain the aspect ratio of the image. If our clip has a differential aspect ratio from our time lining. In this case, the video has a differential aspect ratio, and nothing will be cropd, but the video will be strategy to fill the entire frame of our time line, and the aspect ratio of the vido will be changed, squeezing or stretching each, if clippy has a differential aspect ratio from our time line. So I will put here the project settings, and I will change in the project settings. Watch every clip that she says in the scaling. Project settings will have as the option for the scaling. So let's go to the project settings, image scaling. And here in the input scaling, I will choose. This option here, scale full frame with crop. That's the same option that says few here. The name is more descript here. The options are the same. G one is the crop option that we have here. GS one is the feel option that we have here. GS one is the fit option that we have here, and GS one is the stretch option that we have here. So I will put the feel option that's the second scale fo frame with crop. Save it. Now, every clip that we have in the timeline, we will use the scaling option of filling the frame, and those black bars will not be a problem and more. And if you want in any clip, to use a different scaling option, you can go here in the inspector and not to use the project settings and choose another option. 35. Dynamic Zoom: Let's see now what's the dynamic zoom and how to work with it. The dynamic zoom is an animation of the zooming of our vision from the starch to the engine of the clip that we have in the timeline. So we can zoom in our zoom t of our vigo using the dynamic zoom option. By the pe, it comes disabled here as you can see, and to use the dynamic zoom in clippy. We select the clipa zways, and then we enable the dynamic zoom. Now we have the dynamic zoom applied to our clippy. Let's open it. And we can see that the options here are very few options. We have a list here that will explain to you in this lesson, and we need to open the viewer controls to customize our dynamic zoom. Make s will go to these options that says tools. Now we have some tools here, some additional tools, and we need to go from the transforming option that you selected now to the dynamic zoom option. Now we have the dynamic zoom controls on the screen that are the green rectangle and the regi rectangle. What dz rectangles mean. The green means the starch framing of the clipping. So in the starch of clippy. In the first framing. We will have a g zoom level or gs framing, and in the eng of clippy. We will have the framing of the reg rectangle. So let's play to understand gs better. Let's go. I will play and you will see the dynamic zoom animation going from gs framing from the starch of declipi, to gs framing to the engine of the clip. Let's go. So we have a more close D framing in the starch. And we are going to the g to a more open framing. Let's go again to the clip, and to change it you can go to those watch dots that we have in the corners of those rectangles and grabbing. So now I have a clo staring, framing of our video, and let's see how it goes. We have a framing in the eyes now. And two will animate zooming out. We can also make the opposite of gs by going the swap option, that's the same of those rows that we have here. And then now we have the zoom in animation in of the zoom out because they start framing here in the entire framing and the end framing here in the eyes. So let's play to see what happens. We have they start framing wider. And we'll go zooming in. And what are the options that we have here? The linear, the easy easy Ouch, easing and Ouch. That means that the linear is a linear animation, so the animation will zooming or uch. In a linear speech, with easy in is the same option that we have here as you can see easing We have a lower animation in the starchy of clippy. And the fast animation in the eng of clippy, as you can see here in the curving that shows the starchy a more horizontal line, and in the eng a vertical line, the verge co lie the vertical lining means a fast animation, and the horizontal lining means is lower animation. Let's play s. We have a lower animation at the starch. It goes Each time faster to the eng. The opposite way, we have the easy uch, as you can see, which means a faster animation in the beginning. G is lower animation at the engine. We have the easing uch that is a low animation in the starch eng in the engine and the faster animation in the middle of the clip. We also have some presets here that are the Zoom Prasch, that is the first one that we used. We have the Pupsch. If you click it here, you will see that we don't zoom in and out. We just make a pup from the right to the left e. Or if you click it here in the swap you make from the left to the right Gs option, that's a diagonal movement without g zooming in or out that goes from gs corner to this corner, or if you swap, you go from this corner to this corner. And of course, you can personalize those presets, changing those rectangles, for example, Gs, and you als can move the rectangles by dragging them to the place that you want you. So that's the dynamic zoom and animation that you can make you zooming in an easy way. And if you want to disable the dynamic zoom, Click here and now it's disabled. 36. Composite modes: Hi, people. In this lesson, we are going to see the compulsive modes that we have in the vent resolving and how to use some of the compulsive modes to make things like a burn transition and other things like this one that I will show here to you. Let's take a look. This is a filmy burned transition that's called. Let's see again. And to do this. We need to use the composite modes. Let's go here to the media pool to find our overlays that I have already provided you with the resources of the course. If you haven't imparted to the media pool, yet you can do it by right clicking here, going to impart media, and you can go to the overlay folder and impart the overlays that you want. It's a great idea to impart to all of the overlays. Then I have imparted then here in the overlay being. We use the filmy burning overlay that I have here. Let's search here for film. Burn, we have here the film burning overlay. This one is also a film burn, but I want this one. Let's double click to open it in our viewer. I will take out the in and out point that I have already put here to show you how to select a portion of the video that you want. So let's see this part of the clip. You can use part that you want of GS overlay because it have many fuming burning overlays to make your transitions the way you like. And will use GS one here. I can in scrub it here. And then I will press the right arrow to go one frame forward. Now we will press the left arrow to go one frame left. I will press the key to select to mark a point in gesclip, in dispatch. Let's press the space bar to play gs parch of declipy. We have you also the algo of gs fume burn attached to gesclip, that's a nice thing to have the sound effect. And I will press now the left charro to go back one frame. Another one. You can see here that I'm going back. Let's press again. And again, and again, as you can see, we have you here the filmy burning engine. I want you to note that we have a sound meter here since we have alg in dclipi. And every time that I press the left or right arrow. We can see here if we have some sound being played or not. So I will press the right arrow. And I can see that we hey in gs frame that I have gone. That we have some sound. So the sound doesn't end g yet. So I will press again to the right. We have some sound again. I will press again to the right. Have any sound in g frames. So I need to consider the sound effect that we have here, not only the image. So I will press here in this frame the key to mark a notch point, and now that we have a in point and the notch pinch in our clippy. Let's say we don't have the transition reading stagy here like I have made earlier, so I will delete it. Let's say I want to insert here in Gs edged point. I will press the n key to activate thes Nap. So I will grab it here to go exactly to the edge point. And with the clip selected in the Mija poo. I will press GS button here, the place on top. One will place g clip from the n point to the Ouch point. Over the clips that we have here, so I will click, and let's see what we have in here. I will press again the n to disable the Nap option. So I will grab it here, make a scrub have our transition, but it doesn't blend with the clip that we have behind it, and I want it to blend it. I want the clippy behind you to appear in the black areas of dyscliping, and to do so, I needed to change the composition mode from normal that doesn't blend anything. I will click in dysclipy, and I will change it to the screen mode to the screen composition mood. That's the option we use to make those transitions with the fume burns or the light leaks. That's how we call those type of transitions. This one is a fume burn. So we will use the screen compositmogy. The screen compostimogy makes all the black areas of clipy to become transparent. The white areas, we will stay totage in the areas that are not black or white, will be semi transparent with some color. So let's see what you have now. We have now our film burn transition. But let's see here in the starch of the clip. Let's put it here again to the normal two doesn't blend. And as you can see if I press the right and left charro. You have already two frames with black and gs clippy. And I don't want you. I want you clip to starchy. F g frame, that's already a burned film. To do this, I will select gs edit point of the starch of dysclpi, to move it. I can now see the first frame of dyscpi, the second one and the 31, and I will press the Dutch key in the keyboard to trim one framing and another, and now we have here the first framing in gclipy that's shown here too. But now dysclp is noch lined with the starch of dsclipi, so I need to select it, I will press to activate the snap option. I will put here in the start of d clip. Let's put it here again to the screen option, and let's see what we have now. It's better, but let's say we want you to make clip this transition, this burning transition, two starchy, two frames before the g of dsclip. To make gs, I will select dsclip and the press. The coma two time is when two to move dsclip, two frames to the left, and now we have g. It's better to me now. And that's a way to use the compulsive modes with the screen compulsive mode. There are many other ways to use the compulsive modes, mainly for artistic purposes. Another example that we can have here is use instead of screen mode. We can use the edge mode that makes a similar thing as the screen mode, but it becomes brighter than the screen mode. So if you want the transition to become stronger, can use the edge mode in this case. If you want the screen mode to become even weaker, you can use the pas geese lighter to make it weaker, so we have G. Let's see another thing that we can do here in the composite mode. We can do many things, like I have said, it's possible to make many different artistic compositions with G Other option is to colorize a VD, with some color, and to do so, I will go here to the effect tabbing. Then I'll go to the generator tabbing. I will grab a solid color over dsclipy. I can trim this color to the ge of de clipping if I want and to the start of declip. That's not to our eche now, so I will leave as the ese. I will click Ds clip selected. I will go to the generator tab to change this color from black to another color, for example, this green color and I will click. But now we just have a solid color over our video. We are not seeing our video because it's not blending with the video. So we are going to the setting Study. We are now in the generator tab. We go to the setting study where we can access the composite mode. Do you choose the color composition moody. Puts gs color to g background clippy. We can putch less color or more color by dragging the past slider, and we can go here to change the color, for example, f one gz way or gz way. Click and that's a way to colorize videos with some color. And to be clear, that's not a way to make a color grading to our videos. If you want you to make a color grading, I will teach you in a further section of the course about the color page, how to make color grading, that's much more advanced than Gs. But that is a simple way to make a gs procedure of colorizing Avid, by using the composition modes. Another thing that's similar to GS is by using the composition mode. It's different from the color mode because he will colorize only the parts that have some color in each. So for example, with the clip selected, I press g two deactivate each to disable the clip. As you can see, we have color in her skin, we have color here and here, and we don't have color here here, we have just white, blacky, gray, here in the towel, we have just white. Those parts that don't have colors won't be colorized by the composite mode. So I have pressed the G key again to activate dclipy. And as we can see, we have colorized only the parts of the image that you have some color to each. There are many many ways to use the compulsive modes to make artistic compositions, and that's up to you now to test those composition modes. Many other ways to see what you can get. I will show you further and other options to use the compulsion modes, but by now, those are some examples that we have on how to use the compulsion modes here in the venture resolving. 37. Edit page interface overall: Let's go to another lesson where I will teach you about the edit page interface. Let's go here to the edit page to know its interface because we are going to start to use the edit page. That's much more flexible and we have much more resources to use in our time line than the catch page. I recommend you to use the catch page just to make your assembly or simple projects because it has mainly this source tape option here that's not present in the edit page. Because in this option, you can review much faster your material and mark in and out points to make your assembly faster. So let's go to the edit page where I recommend you to make the majority of your editing. Let's take a look in the overall interface of the Edge page. Here we have the media pu, as you already know. We can expand it or shrink by clicking S button. We can close the media pu. It's not possible in the catch page, for example. We can go to the effect tube where we can access effects and transitions and titles and much more things. We can even heavy the media pu and effects. If we expand g panel here, we can click in the media poo and have the media pu in one part. The fact panel in another part. Let's shrink each again. Here we have the Index tab where we can access our clips by index, and also our markers, and our tracks. We have the sound library that can be a further subject in our course. Here we can access man sounds to use in our project. If we have those sounds installed in our computer, I will go back to the Mijapu. I will shrink it to make more space for my time line. Here we have the inspector again, that's the same thing that we have in the Catch Page. We have the semi options here. We have the metadea panel. Let's close the inspector panel that you already know from the media page. Here again, we have the option to shrink to expand the metadata or inspector panel by clicking button, and we can close it to make more space for our viewer, for example. Have the mixer here that opens in parts of the interface, and the mixer lets us control many aspects of the audio tracks of our time lining, like the volume, applying equalization and much more things that we learn it to use further on. And here, a quick patch option. That I don't like it very much because it has only presets to use it. We can't configure the parching options, and then we can expat our current time line through here. I will cancel. I prefer to use the deliver page to make the x parching. Because it allows me to make more configurations and to use the render queue. Data will cheat you in a further section. Under here we have our timeline, the presentation of our timeline that's a bit different and more flexible than what you have seen in the catch page because we can adjust the zoom of Timna, both horizontally and vertically We have a split line that separates the algo tracks from the video tracks. If you have many video tracks or many algia tracks here, we can scroll down or scroll up to access our tracks. Here, obviously, we have the viewer, and we can see also two viewers by clicking z button Now GS one in the right e is the viewer for the time line and G one in the left is the viewer for the media po material. But if I open the inspector panel or the metada panel, I will not see both of the viewers. I will see only one, the one in folks in the moment. So I need to close this panel to have both of the viewers here. And if I click here again, I have again, only one viewer. Here in the middle, we have some differential tools to use to make our editings, that will teach you in further lessons, how to use those tools. So that's an overall looky in the interface of the edit page that we are going to use in the next lessons. 38. Organization in the Media Pool: We are now going to see how to work with the edit page, that's the main page for editing here in the vent resolve. And later on, we are going to continue where we have you stopped learning about the attributes that we have here in the inspector to change the attributes and to make animations with eclipse, we have stopped in the composite section. And after you are more used to the edit page, we will start again here in the speed change section, okay? I want to show you really fasting es lesson. Some things about the organization of the media po here in the edit Paging. So let's go. First thing here in the Tomb mod, we can go to Jesus lider and make our media appear bigger or smaller. If we want you to see more media, we go to the smaller option, and if we want to see bigger tombs, we go to the right In the side, we have the beings that we can hig and show, as you already know, if you want to create another being, I can right click in the being where I want to create that new being and go to the new Bing. I will rename it my Bing, for example, enter can even drag one bin to another being by going here and dragging over another bin. For example, this Bin today Sparts Bin. Now it's in Day sports Bin. I can shrink or expand it the list of bins inside this bin. And if I click here in this bin, I can delete it by pressing back space or delete. We can also select our media and drag it to another bin here to move it from a bin to another. Here we have three presentation options. This one is the term be modi or mb, here, we have the least modi, where we have a bunch of informations in columns about your median. We also can go to the header of the columns and the right click it to access more options of columns that we can go down here to see even more options, as you can see, we have here a arrow. And if we click here in the checkbox of your column. We added this column data level, for example. Let's see what where is it. It's here, data level. And if I right click here again and the uncheck this one, it disappears from the columns that we have here. Let's click out. This presentation option shows metadatas. As you can see if you over the mousy here, we see sin that's not a metadata that I have in my eclipse here. Here we have a shot, here, we have camera, here we have it taken. Let's go back to the tamino mode. The search options you have already seen before. Have you also the searching option. That's very useful. Sometimes, like for example, you can search your media by date added. If you have added the medias in different dates in different times. You can know which medias were added before or later. You can also search by type duration and much more. Here you have the option. The menu of the media po, you have some options here that you can try. So for example, this option does exactly what it says. Show smart beans. We have these smart beans here. Or they show power beans that we are going to learn in further lessons, what it power beans are and how to use it. So let's hide again. And another thing that I want you to know is that this menu of the viewer here that's related to something in our media pool, that's the live media preview. You can't see the live media preview here at this time. That's because we have the time line loaded in the viewer. If you want you to see the live Media preview option here, you can load a Media from the Media poo by double clicking each. Now we go here to the three dots, and we have the live media preview option. It's checked the ready. I can click it here to close that menu, and if I ho over our clips, I can preview then the viewer with the live media preview. If I double click in a clippy, I fix it to the viewer, and I can go here and describe it and play this Clippy to review and so on. So that's anoview of the organization that we can make here in the Media poo in the Edge Paging. 39. Edit Page viewer: Let's take a look in this lesson. In the options that we have in the viewer here in the edit page, how it works here because it's a bit different from the viewer of the catch page. Let's see the options that we have here. First, gz one is the zoom, is the zoom of the viewer. So if for example, we use z option feature or press the Z key on the keyboard. Image will fit to the space of our viewer, and if I drag the line down or pi, the image we will still fit to space. As you can see, the zoom here changes with the size that we have here because we are fitting, and that's different from choosing GS option 50%. Because that's not fitted to our space. So if I drag it down or App, the image doesn't feat in space. So I will press the z key on the keyboard to fit again. Another option that we have here is the actual size of ***. So now we have a time line with the FH G resolution, and with G's option 100%, we can see the actual size of R time line. Let's press Z again. Here we have a list of the time lines that we have last opened. It's limited to ten time lines. Here, we have the duration of our time line that says 51 seconds in the 16 frames. And if I mark an point in my time line by pressing the key on the keyboard and the O K in other part. We have now an point and the ch point, and now here is the duration between the point and the ch point. Let's press out x to take out our point in the ch point. We can see again the duration of the timeline. Here in the right, we have the actual position of our play hag on the timeline. So if I drag it here, you can see there that it's changing to reflect the current position of our play Hage. And one thing that we can do, that's very interesting in the view here in the edit page, that is not possible in the catch page is to resize it as you have seen here. But instead of clicking here, I will zoom in with the mouse wheel by going forward our backyard. Can also use the mouse wheel by clicking each to drag my viewer to any side that I want. I will press Z again to Fitch again. We have here the jog wheel to scrub it more finally in our Tine. We have the transport controls to play our Tim line, like you already have seen the Media page and in the catch Page. Here we have some options of the screen controls that you can activate it by clicking GS button or by going in the list and choosy, what control do you want to activate on the screen? For example, now we have the crop controls. So if I drag G one, I can crop the image accordingly. So I will drag it again to here and will disable the screen control by clicking here again to hide you Those are the options that we have in the viewer. Here in the git page. It's more flexible than the viewer of the catch page. It has much more options as you can see, like the Zoom, to see a detail in your imaging, like the pen and uc option, and so on. 40. Controlling the zoom of the timeline: Let's see in this lesson. Some zoom options that we have in the added page that are not present in the Cutch page because we have just two zoom options in the Cutch page. GS one under here and s one over here. So let's go to the added page. First, I will present to you the buttons that you can access to change the zoom. Then now we'll teach you the keyboard chart cuts that is a very good idea to use keyboard chart cuts, to speed up your editing process. So let's go. We have here in dis part the options to make Zooms. One is an option that you can drag to Zoom out your time line or to zoom in, to see in more details. As you can see, this time indicator over here is expanding or shrinking. If I go all the way up to the right. Here we have some markers that indicates each frame of our time line. So this one is one frameage. One is another framag. Is one is another, and so on. I can also click in those buttons to make zoom out our zooming. You can see where the elider is going to. I can even click in some part of the lidere to bring that dot, that ball to that part, to make exactly that level of zoom that you can know, that's a good zoom for you. Those options, this full extent Zoom, makes the time line fits the space that we have here in the screen, so you can see the entire time line to access any part of it. These options goes back to the previous zoom that you had. So if you had G Zoom, now I had G Zoom before, so it goes back to here. If I change the zoom to Gs and then I click in the full extent zoom, then I click in the ton zoo. We go back to that level that we had before. Gs option, the detail Zoom is a predefinite zoom with detail. So let's say we have a GS, for example, to see my entire timeline, and I click here in the detail Zoom. I can now have a A detail zoom of my time line. That's a predefinite zoom in the vent resolve. We have also some options to zoom vertically, not only horizontally, and those options are here in the timeline view options. We can drag the slider of the Video tracks to make the Video tracks smaller or bigger. We had here multiple tracks, Jesus lighter, will change the size of those tracks altogether and the same thing for the algo tracks. We can even change the size, the vertical zoom of our tracks by dragging the line here. So now I'm changing individually track. If we have another Video tracks here, like this one, the VG two, for example, let's make more space here to see the Vdo tracks better. Now we have the Vigo one track much bigger than the Vigo, for example. But if I go here and drag again, Jesus lider. Now all the tracks will be, now all the tracks will have the same size again. And now let's see the keyboard shortcuts that we have to zoom in and outch our time line. The first one that is a very good is the Ouch or option. So you hold Ouch, and you row for arg, the mouse wheel, and you can zoom in horizontally your time line. O you row backwards, the mouse wheel to Zoom Ouch your time line. Another very good option that I use main mean Ts is the shifty Z. The shifty Z is the full extent zoom. So if I have a more zoom here, I press Shift Z to see my entire timeline so I can access another part of my tine, for example, this part. I can press again shifty Z for the custom zoom. I go back to the preview zoom that I had, and now I can scrub it through my time line with more detail with more precision. And if I want to go to the edge of my timeline again, for example, I can price shifty Z, go to the edge of my timeline, and I price shifty Z again, and I have it again, more precision in my scrubbing. The vertical zoom has the following options of keyboard such cuts. We have the shifty and the mouse wheel. We can roll forarg, to make it bigger. All the tracks, we make all the tracks bigger. Or if we roll backwards, we make the tracks smaller. So those are the options that we have two Zoo ing and Auch, horizontally and vertically, our tane here in the edged page, and that's another thing that's not possible in the catch page, that makes the edged page more flexible. 41. Assembling the timeline on the Edit Page: Hi, people. Let's go to another lesson where we're going to see the options that we have it to remove and insert media in our timeline here in the edit page. I will change my time line by going in this list that shows the last time lines that I have opened. I will go to the P T line because I don't want to find the P T line here in the Mija pu by case it's here. Let's see what we have here. We have a lion in a people timeline and that lion is in the wrong place. It's not a people. I want to delete first of all, this lion from this timeline. I will select dysclipi, and we have two options to delete dsclipi from this timeline. The backspace key and the delete key. Backspace key will just delete that clip and Olivia Gap. We can still selected Gap by clicking here and press Backspace again to delete that gap. I will press Control Z and Control Z again to undo those actions. And let's see the delete option. I selected the clip here. And if I press the delete key, I can delete the clip and the repos the rest of my Tine all at once. So that's a good option if you don't want livia gap in your timeline because that gap will be just a black screen. Can press the delete button to ripple the rest of your timeline. And now let's see how we can insert media in our Tmulne here in the git page. It has some differential options from the Catch page. So I will go here to the P Bin. I will click in the Bing listy button, to close it, to hide it, to make M space for my media. Let's say I want to insert GS Mig. O G one. I G one because one has, as you can see here, it has an gia track attaches to it. Let's double click in this clip tog to the viewer. I will scribe it to to review my material. I will mark in point and Ouch point with the N O key. We still have the option to use the F ten and F nine options that you have already learned. So the F ten will append to the engine of my time line as you can see. I will delete it. And the F nine option with the clip selected g in the Mija po. We insert. For example, here, it will split the other clip and insert the clippy between those two pieces. Let's press Control C, or IN with the plag in an edged point. Will press F nine, and we will insert my clipping that edit point. As you can see, we have an algeotrac here, that doesn't have alge because it doesn't have any algo wavy for me. It's totally empty here. I want to delete gs algeoclipy without deleting the video. Let's see if I selected the algeotrac, not the track. Instead, I'm selecting the clip the algoclipy. I'm also selecting the videoclip with the alga because it's linkage as you can see here, it has a chain symbol, indicating that those two clips are linked. That's the reason both you are selected when I click one or the other. I I delete this clipping now by pressing the back space. I delete both of the clips, the video clip and the algo clippy. I don't want these. I want to delete on the alga. So select only the alga when it is linked to the video. I will hold the uch key so I'll select only the clip that I have a clickag, and then I will press the backspace, not the delete key because it will cause a problem with the ripple. I will press the backspace key, and I can delete only the alga. Other options that we have here, Let's press the Shift Z is by dragging our media. So for example, if I load GS media to the viewer by double clicking, we can mark in and point and drag it from here or we can drag it from the media pool, or we can drag it from those buttons that we have here. GS one drags only the VGo. And GS one drags only the algu as you can see, the algo trache, has nothing neat again. So I will drag only the du to our time line with a GS option. Another option that we have here to insert our media in the time line because it eventualolve, has so many options for all the things that you can do here is by clicking GS button that you already know that makes both of the viewers appear. Now you can drag from s viewer to Gs viewer, that is the timeline viewer, and you have those options, as you can see when I drag here, we have those options. The insert option is the same thing as the F 90 key. The append H ge is the same thing as the F ten key. I will append to the ge of the timeline, and we have the overrt. I will reposition the play H here to you to see what the overrte he really does, so I will drag here, and the patch over the overrt button, and as you can see overwrites all the clips in that parch. The other options. You can even try those other options there. They are very easy to understand the like the ripple variety to just replace our clip with the other clip and ripples the rest of our time lining. Let's press control Z. We can even drag it from those buttons to drag only the Vj and make an insertion with those options or only the alga. But another interesting thing that you can do here is to select the destination track of your insertion. As you can see, we have here a ready rectangle in first track. And we can click here in the V two, for example. And now the V two is my destination tracky for Vigus. And if I go here and select a clippy in the media po and click in the Ort button that we have here to, I will insert my media in G trak that selected as the destination. Let's undo by pressing control Z. When I go back to the Video one, now the Video one is my destination tracking. 42. Edit modes: Hey, people, in this lesson, let's take a look in the edged modes that we have here in the edged page. And what we can do with those edged modes. The main edged modes that we have here are those ones that we have here in this first block, that is the selection mode, the t edge mode, and the blade mode. What can we do with each of these modes? The first one is their normal mode, the selection mode, where you can select and move things clips here in the timeline. And when you trim a clippy, for example, g one, you will levy a gapping with this selection mode. So let's go back here to close the gapping and the t edged mode. The t edged mode. As you can see, we have a p there that says the name of the mode. In your letter, that's the keyboard chart cut to access that mode, so you have the A key for the selection mode, the key key for the t edged mode, and the B key for the blady edge mode. Let's see the t edit mode. What it does. What's the difference between the t edged mode and the selection mode? Here you can drin your clips and ripple the rest of your timeline, as you can see. If I tring here in the starch or if I trin here in the ge of eclipi, we always ripple the rest of our timeline, and that's like the ripple one of the chpa basically. There are other things that we can do with the tr added mode like the slip of eclipi inside it selfie, as you can see if we go here. Over aclipi, we can see a different cursor and that cursor says that we can drag lip the clippy inside it selfie, as you can see. So I'm changing the first and the last frame of the clipi and the clip itself, the position of the clip inside itself. Here in the viewer, when N is leaping the clip. We can see in the top left corner, the first framing of the gs clip that I is leaping. In the right we can see the last frame of this clip that I me leaping, and in the bottom, we can see the last frame of the clippy before g one in the left chip. And in the right, we can see the first framing of the next eclipy after the clip that I is leaping. When you use each of those modes. We are going to talk about the blade edged mode in a moment. But before ge, we need to explain when you use each of those two modes. For example, if you want tri eclipy here in the time line and not leave a gap, and that is what you want most of the time, you will press the che key in keyboard, the che keyboard search cuch to go to the t edged mode. Trim eclipy here and you ripple the rest of your timeline. And you press the A keyboard search cut, to go back to the selection mode, to continue your normal editing. Another example. Let's say we have eclipi here, for example, here, and you are in the trim edge mode. If you want to trim dclipy, you will have a problem. You will ripple the rest of your time line. Usually, that's not what you want you are trimming clips that are not in the first video tracking. So if you want to trim dsclip and do not mess with the rest of our timeline, you press the A keyboard search cut, to go to the selection mode, and you trim dscliping. If you want to trim a clip in the first video track, you press the keyboard search cuch and trim dsclip. Or here, for example, and you can ripple the rest of your tiline with the t edged module. So let's press again the A keyboard arch catch, to go to selection mode. And, I will move the clippy back to the edge of my Tiline. And let's see the blady edged module. I will press the B keyboard charch catch to go to the blady edged module. And now we have it when I put my mouse over a clipping. A blades you can see, as I over my Blag back and forth. Viewer shows exactly the frame where my mouse is over at the moment. That way we can know exactly where we are splitching our clippy because the blade edge mode is to splitch eclipy. So if I click here, I can split this clip in this part. And when to use the blady edge mode. That's the case when you want to make many splits in the eclipse. For example, you want to make a splitch here, another here, another here, and so on. Mainly if you heavy A. I'll do track if narration. For example. If you want to catch out silences, you can go and split with the bled age mode, the silent parts of the clip, for example, so you can delete a later by going back to the selection mode. I will press the A keyboard search catch. And now I'm back to the selection mode. I can select the clips that I heavy. Splitag. I will hold you control to make gs to select multiple clips. And I will select those ones. I will press delete Now I have deleted it, that parts of the eclipse that C I have is slitagen. Gs are the main edged modes that we have here in the edged pagen. 43. A practical use of the Blade edit mode: And let's take a look here in practical use of the blady edge mode. Here we have just a lesson that you have already watched the lesson edged page viewer. But that is the raw recording. And I make many mistakes. I stay much of the time in silencing thinking what to say. So I need to cut out the silent parts of my recording. So I will use the blady edge mode to show you how I do this work. First thing, I will position this play edge. They start fing my timeline. I will go to this button to zooming in the timeline. And as you can see. We have here the alg wave forms of Gs recording. We can drag this line to make it bigger if we want to see better the alg wavy forming. If you don't see g alguav forming, you can go here to the time line view options, and you select option to show the algave forms and now I will go to the blade jag mode by pressing the keyboard charge at B. I will position this plag to the left and I will start to splitch Mclepy in the silent parts. Before I split the clip, let's take a look at what we have here. I will play clipping. Let's take a look in just lesson in the options that we have in the viewer here in the git page, how it works here because it's a bit different from the viewer of the catch page. So as you can see, we have many spaces with his silence, that we need to catch. We have a coffee here. So I will go to Dispachy, before I start speaking, and I will click gee splitch. And again, in dispachy, and in dispachy, and here and here and here, I know that is a cough because I have a plag, so I will that cough. Now to row our time line, I can click with the middle mouse button. Drag my t line to see another part, you can also hold down control and you roll your mouse wheel back and forth, to go back and forth with your t line. It is easier than dragging's row bar, and we can continue to split it the clippy here and here and here and here, and so on. When we are done, let's say we have already made all the cuts that we need to cut the silence parts of this clippy. We can go back to the selection mode to delete those parts, so I will press the A keyboard chart catch. Now I'm back to the selection mode. I will zoom out my timeline, a beach, to see better the parts that I have splitagy. I will select you the first part. I will hold down the control key and select the other ones. Take care to not click. When you are in an edge point like one, because you will lose your selection that you have your image. So take care with that. I will select again here and here and here, here, here, here, and here. If you need to zoom in, you can hold down the Ouch key G row for R G mouse wheel to select easier your part of the clippy. And now you can press the delete key to delete all of those parts. You ripple the rest of your time lining, not leaving the gaps. That's a practical use of the blade edge modem to cut out silences of our eclipse. Based on gave forms that we have attached to our eclipse. 44. Moving with precision: Let's see in this lesson, how we can move things here in the edged page with much precision. First of all, what we can move here. We can move a clipping. We can move the starchy or the g of a clipping. That's what you called the trimming. We can go to the edge mode and move clipping side itself. That's what called the slipping the clipping, and it is possible to make all those movements with the clips with total precision. For example, let's say we want two movie, a clip to the right to the left only by one frame. To the Gs, I can go to the selection mode. I will select the clip that I want to movie. Let's say this clip is over here. It's a Raw clip, for example. It's over the main subject. If I want to move it only one frame it to the right dysclip, I can select dysclp, and you press period. Period, will move a dysclipy, one frame it to the right. Comma will move a dysclipi, one frame it to the left. As you can see, I press pyog I move it one frame it. To the right, I will even zoom in here to you see better. So we have here one frame and here we have the next frame of our Ty line. I will press period. Have you moved the dysclipi, one frame me to the right g. I will press coma, I have you move the dysclipi, one frame it to the left g. The same thing we can do with the trimming. I can select g. For example, the edge of dysclipa, I want to extend dysclipi. Now with this edge point selected, it becomes green to say selected. I will press pero hey edgy one framing to dsclipi. I extended the disclpi by one framing. If I want to take out one framing, I will press coma. Let's out here. Another thing that we can do here with gs technique is by going to the ting edit modi I will select the starchy and the g of dysclip, with the ting edit moody that selects not theclypi, but the edge points, and I can press pyog to go one frame me with both of the edge points of dsclipi to the right I can press C to go one frame to the left. So I'll press coma, coma, and I'll go many frames to the left. Or I press period, period, per period, to go many frames to the right. Now with the ring added mode, let's say I selected dsclip, and I went top disc. Just one frame it to the left. I will press. C. Having now lipid dysclipi, w frame it to the left, or I press pyog if I went to slippy dysclipi, when frame it to the right. So pyody periodi period, I have lipidy dysclipi, three frames to the right. Another thing that we can do here now not with the coma and the pyogy, is to move things. A certain amount of eprames are seconds. So for example, if I want to extend dsclip, exactly 15 frames, for example, I will select g s point of the ge of dclipi, and I will press. Plus, as you can see, we have here a selection in the timecode with the plus sine. Now I will press 15 in the keyboard. As we can see we have now 15 frames, we have still the selection here, and now look here at the ge of dsclipi. When I press the ter key dsclip is trimag, or extended 15 frames. Same thing we can do to movie an entire clip. So for example, if I want to move dsclip, ten frames to the right. I can press plus 10 and press and dsclip is move the ten frames to the right. We can move things by seconds. So for example, if I want to move dsclip, 2 seconds to the right. I select dsclipi with the selection modem, and I press plus two period. So now I have here plus 2 seconds and zero frames. If I want to make 2 seconds and ten frames, for example. Now I can press ten and I press e, and this clip is moving you 2 seconds and ten frames to the right. And as the plus sine goes to the right, you can also use the minus sine to go to the left to go back. So if I press -22, for example, I can see here -22 frames, and when I press e, I go with this clip back or to the left 22 frames. If this doesn't work to you, go here to the playback menu, then Tymcog and see if you have it. Those keys assigned to the increment Tim coog comogy and decrement Tymcog comogy. If you don't see here the plus and the minus sign, you can go here to Da vinci resolving menu, keyboard customization, you search here by Tymcogm, write Tymcog. Entirely. Can go down here and find the playback option. Expand the T Code option, that's the same thing as going here in the playback menu and then T code as you can see. And here, we have the option to assign a keyboard charge catch it to those comments. If you don't have the keyboard charge Cutch assigne here, for example, so with nothing here, we can click in box, and I will press the minus button or the minus key. I can assign also another key that's the minus sign of the non page keyboard. The same thing for the increment Tam coogiy. I will press here. I will press the plus button or plus key, and I will press here again to assign another key, and I will press the now page plus, and now I can hit save you and close you. Now I have you here, the keyboard chart cuts to the increment Tam coogiy option or commode, and to the decrement Tam coogy comogy. With this, we can move things with a much precision here in the edge page by using the coma, the period and the addition of the Tm coogy. 45. Repositioning clips on the timeline: Hi, people. Let's see in lesson. Some details about how to reposition clips in the time line here in the edged page. So for example, let's say I want clip to go before S clip in edge Pointe. That can be a bit tricky here because if I just drag dsclip, it overwrites this other clip, and that's not what you want. So let's press Control Z. You just want clip to go before this one and the obviously this one after G one. To make GS, it's very simple. You can hold down control and shifty and you drag the clippy. And now you can reposition dysclipi before this one or you can even make it dysclipi go in the middle of dysclipi. That's not a problem. If you want GS, but in this moment I just want to reposition then. Take care to make days snapping on when reposition clips this way because you want to reposition the clippy without leaving a tiny beach of ds clippy before this one by accident, for example. So with days Napping on, you can go to this edit ponche with much easy as we have saw. Other way to reposition clips here in the timeline is by cutting out clippy. Let's say one, now I want to putch here before clippy. This green clippy. I can press the control x keyboard chuch cut. To Cutch this clippy, we can even see here in the edged menu, the options to make it the Cutch, the ripple catch, the copy, the paste and so on. We have here, the control X keyboard chuch cut. Now I can go to this edit point if they snapping on to go exactly to the edit point, but we have a problem. If you use just the control V, you again overwrites the other clips. So let's press the control Z, and now to paste in search. This clip that I have a cut. I need to press. Let's see here in the edit menu to make the pasting search. I will press the control shift V. So, control shift V, the clip is pasted, and the rest of the timeline is specialty. That's a pasting search. So remember control Shift V. If you don't remember any of those keyboard chart cuts, you can go here to the edge menu and see in this party, those comments, to see the keyboard chart cuts or to click it here if you want. And another thing that we can do here. Let's say I want to cut this clip out of this place Now Puch dclipy in the start of my time line. If I use the control X, I will leave a gappy. I don't want it. I can even click in this gappy and press back space to delete data gap. But let's say I want to make it those things in just one tappy. I will select dsclip, and I need to make it a ripple catch. Let's see here in the edit menu, the ripple catchy, the control shift X. Board chart catch. So I will press control. Let's select again. I have a click age here outside Control Shift X. Now I have catch that clipping. And you ripple the ge of my timeline, the rest of the time line, and I will go here to the start of my timeline, and I will press control shift V. So this way, I can reposition my eclipse in the timeline with much easy. But now let's say you want to past a clip. A different track. Let's say you want d clipping to be repositioned to track above the Video two track. Let's press Control X. You can see if I go here in the press Control V, the clip will paste it in the first video track because it was in the first video track by the f it pastes in the same video track that you had it before. So let's press Control Z, and to paste in the Video two track. I need to turn off the out to track selector by clicking here in the video one Other. Now the next track that we have the Auto track selector O is the Video two. So if I press Control V, I will paste it D clip here. Let's press Control Z. If you want you, for example, two paste in the Video three track, I can de select the Auto track selector individual two. Two. And then I can position my play Hage where I want to paste Mclipi, and press Control V, and I can paste MClipi in the Video three track. And now I can turn you on again, the Auto track selector for those tracks. 46. Link between clips: People in lesson, let's take a look in the Lynk clips. What's the link between clips? And how can we work with alynky between clips? First of all, let's put Sclipi, that heavy and now the track in it in our time line, so I will select this clip and the press F ten to appended clip to the end of my time line. I will press shifty z to see the entire clip. As you can see, we have an audiotraci here, attached to this clipping, and you can see that we have a g chain here in the Video clippy, G, and other chain in the aldioclipy. It means that those eclipse are linked together, and if I selected Gs one, for example, I'm selecting both of then or if I selected G one, I selected both of then two. If I drag dsclipi, I'm dragging both of the clips that are linked. If I trim dsclipi. I trim both of eclipse. Same thing with the algclipy. I will trim both of eclipse. If I select one of the clips, I select both and I can remove both of the clips at a time. That's because the clips are linked together. But as this algo trache has no algo in it because I don't see any aldavy form here. I will change gyclipi by another clippy with some alga. Let's reposition here in the timelines clips and I will drag a music a song here. G Song song, I will select it. I will go to my timeline. In the start of gclipi, I will press the key to mark a end point Here in the ge of dsclip, I will mark a notch pointy by pressing the k with this song selected, I will press in gs button, the Orie clip and I will select dclipi, in the Mja pool, and I will click it in the Ort button to Orite that the aldo trach with my song. Now you can see that we don't have any more that link because that link was between GSClip and the other algo track that we had the udoclipi. I I drag GS clip, for example, song doesn't goes together. If I want it then to be linked. I will need now to select both of them, right clicking one of them, and then I need to check the Linky clips option. Now I can see the chain here and here, indicating that those clips are linked. Now, if I move one of the clips, both it will be moved. If I trim one of the clip both will be tried. One, and we can even select multiple clips like many video clips and many audio clips and link all of them. I will right click in any of the selected clips and the link clips, and now they are selected. If I click on any of these clips, they all will be selected together, and we will move together or train together. Now, let's say I went to select only one clip trim, only one of the clips that I have linked. I can do this by holding Ouch or option in the keyboard and clicking in that clip. Now I have only this clip selected, even if they are all linked together, and I can trim this clip. I can select again and move this clip. Apart of the other clips. Let's press control Z to undo that action. Can also disable this linked selection button to make the same thing. I can now go to any of the clips and click to select then a part of the other clips. The linked selection is a good thing to make clips to be linked like the NE says, because when you have the clips synchronized with each other, don't want to change the synchronization of the clipse mainly when you have the Du synchronized to the algume. That's very useful to link the clipse this way. They move together, they trim together and do all of the stuff together. 47. Removing clips from the timeline: Let's go people to another lesson where we are going to see. Some details about how to remove clips from our time line. That can be a bit tricky to the beginner and I will show you what's the problem that you can have when trying to delete clips from your time line. Let's say, I will see what we have here. Let's play and we have. Just a lightlik transition like, you have learned in a previous lesson, how to do it. But let's say now we went to delete, is light like. From here, and if you just selected dysclipy, and press delete, let's see what happens. It eats a part of dsclipi. As you can see, let's press control it, you see again. Let's select, press delete, and we have eated trid a part of dysclipy, and rippled the rest of your time line. I don't want that. So let's press Control Z. And let's see how we can properly deleted this clip from our timeline. So first of all, we have it two ways to delete clips or to remove clips from our time line. One way is by pressing the delete key, this option will ripple the rest of our timeline. So if I delete this clip, for example, they are linkage now. So I will right click and unlink it those clips by clicking here. I will click it here to the selected the clips and the click it here again to select it. Only this clip. If I press delete here in the edit page. I will delete disclpi. And the rest of my timeline will come to the left to close the gappy. That's the ripple of my timeline. Let's undo this action by pressing control Z. I will select again dysclpi. And if I press the back space key. I will leave a gap so my timeline will not be ripple in with this second option that we have remove eclipse from our time line. So let's press Control Z, and let's see when you use the delete key, and when you use the backspace key. The delete key, by de fe, you want to use it when you are deleting eclip from the Video one track, the first track that you have because you want to maintain everything synchronized with the Video one tracky that's the main track, the A row that you we call. So when you delete eclipy from the first video track, you will probably want to use the delete key to ripple the rest timeline and don't mess with the synchronization of the clips that you have already edited. And if you want to remove a clippy from a track, above it, the Video one or to say any other video tracks that's not the Video one track. You will want to use the backspace key to don't make it the ripple of the timeline. So I will press now the backspace key to delete. Clipping, Then I can delete this clipping don't mess in with the rest of my time line. Those are two ways to remove clips from the time line, the delete key for the visual and track most of the ting and the backspace key to delete clips from the tracks above because the backspace key here in the edge page, don't confuse with the catch page that we could delete with the delete or backspace key with no difference. Here in the edit page, the delete key will ripple the rest of R time line and the backspace key will not ripple the rest of R time line. 48. What’s Alpha Channel and Luminance information version 2: This lesson, let's understand you what's Alpha channel and iluminous information of an image or of a Video. So let's see here we are here in fusion, just to show you some things about the channels that and image can have it. And basically, all images, all digital images, hey three channels that composes the image. Those three channels are the color channels, as we call. That are the red channel, the green channel, and the blue channel of the image. The computer doesn't represents the image as colors. It represents as a gray scale of image like this one, that tells your software. The areas where you should you have more of that color of that channel. For example, this channel is the regi channel of this image. So the brighter areas tells the software that this image should you have more regi in those areas and the darker areas, for example, here, tells the software that this area should have less regi. And the same thing applies to the other channels. GS one, for example, is the green channel of this image. The darker areas tells the softa that GS area should heavy less green, and the brighter areas tells the softare, that it should be heavy, more green. GS one is the blue channel, just for example, in this image, and that's how our images, our videos are composed digitally. But sometimes some images are some videos, can heavy a fourth channel that's called the Alpha channel. One, for example, doesn't you have an Alpha channel. If I go to the Alpha channel of g's image, it shows only white. It has no information in the Alpha channel, that's also a gray scale image or to say a black and white image. That basically tells our software, where the image should have a transparency where the image should be opaque. That's the propose of the Alpha channel. To tell our software where the image should be opaque and where the image should be transparent. PNG images, for example, can have an Alpha channel, a quick time video to say a Video if the extension doch MOV can have Alpha channel two. For example, an image that have Alpha channel here is this B image, that's a PNG image that I have. I will puch it in the resources of these lesson. This image has an alpha channel. Or to say it has transparent areas here around the B. So if I go to the Alpha channel here, I can see a black and white image, where the blacky areas tells our software that those areas should be transparent, and the white areas tells our software, that this area should be opaque. So I will go back to the normal image, and we can see that the area where we see the B is opaque and around the B is transparenty. That's because the Alpha channel of this image. Same thing with this text. This text has an alpha channel. So if I go to the Alpha channel of this text, I can see a black and white image where the black areas are transparenty, and the white areas are opaque. So basically, the Alpha channel is a fourth channel of our image with a black and white image, that tells our software where the images should be transparent and where the image should be opaque. And what is luminous information. Luminance information is another way to fk our image as being brighter or darker in some areas. So the luminous information of our image tells our software where the image should be brighter, for example, here or here, and where the image should be darker, for example here, or even a color, for example, here, is a darker gi, than here, and here is a darker gi than here, for example. And why are we talking about alpha channel and the illuminanus information? That's because in the next lesson, we are going to see how to use the composition modes that we have here in the edge page. Those last two ones that are the foreground, the Alpha inverted Alpha luminance, and the inverted illuminance, that we can use to make match transitions and cut outs of our images or our Videos. Using the luminous information of some images or the Alpha channel of some image or of some Video. So now that we understand you about the Alpha channel whats, the Alpha channel and what is the luminous information of an image or Alpha Video, we are going to see how to use those composition modes in the next lesson. 49. Foreground, Alpha and Luma composite modes: Now in this lesson, let's see how we can do. Just type of thing to cut out a video with some shape like texting. We have a sun sate here in the background in the fora ground inside the text, we have another video as we can see here. And to do this, we need to learn about the compulsive modes for a ground Alpha inverted Alpha, luminance or luma, and the inverted luma. Let's take a look. First of all, let's delete it and put this clip here. I have obviously put this clip in the video tree track. GS one individual one. We needed three video tracks to use it properly. The composite modes that we are going to see in this lesson. So I will put S clip individuo T tracking, the other one in the vido one tracking, the sunsetting, and I will leave the Video two track. If I space it to use another clip or another thing that's a text to make our composition. We'll go here to bring the text in the effects, two box. I can expand it and go to titles, and then I will grab a text plus. Don't worry about the titles because I will teach you everything about titles in a further lesson. Here in this lesson, we are just going to use this text because it has pha channel in it. I will grab this text here to my time line, I will train it to expend you. I need to select you this text. I will go to the Video tabbing, then title. I will type some text here like Happy. For example, I will G track to see my text. I will click in my text again to customize it. I will change the font. I like a GS one. I will make the text bigger to appear better. Then now I will enable again the clip by selecting it and depressing G. The first thing that I need to do to cut out dclipy with the text. I by going in the composition mode if this clip selected, I will change from the normal, that's where it is by the fool and I will go to the foreground g because always in this type of compositions, the clipa bove needs to be the foreground. Clip in the middle, we need to make it now as Alpha or inverted Alpha. So we selected this title or text plus clipping, then I will go to the inspector here in the setting stub, to go to the compulsive modes, and I will choose Alpha. If I want to the Video of the foreground to be inside you the text or I can choose the inverted. Alpha, if I want to the foreground Video to be outside of the text. This way, I'm using the Alpha channel of the texting to cut gsvgum that is in the foreground. Or to say the paground compostimogm. And what we have in the background, is just dysclipi with the normal compostimod. G one above needs to be in the forground de compostimogi, G one in the middle, that is the clip that C the foreground, needs to be in the Alpha or inverted the Alpha modem compostumogim, and that's because we have Alpha channel in dysclip of the text. But if I want to use the luminous information, if the clip doesn't have alpha channel in each, we should use the luminous and inverted luminous compulse modes. Let's see here, for example. If I grab another clip here, I will go here two photos. I will go here to the match overlay match. And let's say G one, for example, if I grab GS one here and I pitch this clip over here, I will make it here in a transition of those two clips. So I need G one to be in the foreground complete mode. Now, just one in the middle, let's see it. This one doesn't have an Alpha channel, which is just a clip that goes from Blackie. Two totally white. So I will use the luminous information of dysclipy, because we have it. It's starting from totally blacky going all the way up to totally white. So totally low luminous information, two totally high luminous information. So I can enable dysclip again. This one is already the for ground. This one will be then the luminance or the inverted luminance. Let's see. In this case, I want S one to be the first clip, of course, and GS one the second eclypi. I need, as you can see here, I need to have the luminance. Then we have a transition. And if I had the g clippy under here going from the totally whitey to totally blacky. Let's see it. Here it goes from totally blacky to totally white. But if you had it the opposite way, for example, if I go here in the change, the speed of each backwards, we will see g in a for the lesson, how to do speed changes. Much more in details. Now I have the clippy going backwards. A to say from totally whitey to totally blacky. And in this case, I need to use the inverted. Luminous compulsion mode for dclipy for my transition to work the way I went. So we have this transition, very nice. Using the luminous or the inverted luminous information. That is the black and white information, how bright or how darky dclpy is to determine what should you appear from the foreground, and what should you not appear in the foreground. 50. Speed change: People, let's start to this lesson. Where I will teach you about the speed change options that we have here in the inspector, some details that we have in those options. So I will create a new time line here. W those two clips, G one and G one. And as you can see, those are virtual clips Vertical resolution. If you have in Dot you can click here in the information button and you can see here 1080 by 91810. So I will select those two clips, right click, create a new time line using selected clips. Now I will pitch here, speed changing, and I will not use the project settings because the formaty of our timeline would be a horizontal resolution. So I will click it here in the U vertical resolution to make it 1080 by 982 inch. I will click it creating, and here is our time line. Let's see, this clipping that we have here, the guy back flipping from the wall. We'll select you this clipping. And here, in the speed change options, we have the direction. So this is the forward to say the Farge direction, place the clip Farge. And if I click it gs one, you already know that we are going to have a reverse clippy. We can go back to the normal for g clipping by clicking here. Before I do, you can see here that the Spech is now -100. That means that we have the normal clippy Spech reversg. So I will click here to make it again, goes to 100 Speg. This option is the freeze frame. I will use each later. I will show you how to use each properly. So before we talk about the speech, the Speg is not m tricky. You just make e faster in percent or make it is lower. So if you want, for example, aclipy, two times faster. You put here 200, and you have the aclipi, two times faster. You can also use the frames per second. Clippy has 25 frames per second, as you can see here in the Pile tab. So if you have a 50 frames per second g, you have two SPG. And let's see what the option ripple time line does. I will make it go again to the 100%. I will trim this clip to here. As you can see, if I make dsclipi faster without this option. I will leave you a gap there or if I close this gap by deleting this gap, and if I make dsclip is lower, Dclipi remains with the same duration here. Let's say I don't want it. Let's make each again to 100%. If I click it here in the ripple timeline option, and I change it to make it faster, for example, it will heaple the rest of my timeline and change the duration of my clippy. If I want the clippy to be slower, for example, 53%, Mtine is ripple, it's speci to the right The duration of the clip now is longer. So my clip ends at the same frame as before. If I have the option ripple timeline, check a. And the rest of my timeline is ripple, especially if I make the clip is lower or it's gravity to the left, if I make my clippy faster. How do you use option, that's the freeze frame option. This option is to freeze frame like the name it says. If I go here to this frame, for example, and I want you to freeze frame me for a second then I go here to the freeze frame option. I will click here. It will be split at that position, the clipping, and then we have here a frieze framing. Let's say I want you exactly 1 second. So I will press to go to this edge point. With nothing selected, I will press plus one period. And then I will split the clip pressing C or Control B and selected clip to continue our clipping. So from the freeze frame option, I will go back to the Four R G option and we have the continuation of our clip here after 1 second. So I will plate to see our frizzy frame. And that's it. G option, the pitch correction is an option for when we have it audio attaches it to our Video. For example, I will butch in my time line in Gs lesson 30 that has inaudo track. So I will click in Gs and press F ten. I will select Pach here. For example, g one, I will split you here, delete this one with the delete key. I will split you here again with the C key and the select one and press back spacing. I will press shifty z. And let's watch dispach. Let's hear the viewer here in the let's trim di sparch a bit. The viewer here in the edit page, how it works here. So let's say I want d part of the clip to be half the speg. Let's say I don't have the speech correction checkag. So I will put it here the 50% with the ripple time line checkag, to make my clip e longer. Let's see what we have now. Page As you can see, our alga, edge the pitch change to a very low pitch. That's not what I want. So I will undo by pressing Control Z. And I will check the speech correction for my alga. Don't change the pitch when I change the speech of the clipping. So will will again pitch here 50%. And now let's see what we have here. The viewer hearing the edge page. How it works here. And now if the pitch correction option check at it. I can change the PG to 50% like I have a MG, for example, and the alga remains with the same pitch. Same thing happens if I want the clip to be faster. If I don't have the pitch correction option check at it, I will make my alga to be with a pitch very high. And if I have the pitch correction checked, the pitch will be corrected to match the same pitch of the original alga with the original Spig So, those are the options that we have to make PD changes here in the inspector, but we have much more options to make PD changes with EPT points, for example, using the real time controls that we are going to see in a further lesson. 51. Slow motion style editing: Low motion style editing. That's what we are going to talk about in this lesson. So we have seen the speed change options to change the speed of the clips, and we can make the islo motion clips, and we have three options of is low motion modes in the vent resolving. To access the is lo motion modes. We go here in the retiming scaling section, and then in the retiming process. Here we have the three options that we have, that is the nearest the frame e blanche and the optical flow. Project settings just gets the option that's set in the project settings, as you can see here in the little gear. We go here in the master settings, we go to the bottom of the master settings, and then we have the framing epulation section with the retiming process that has the same options as we have here. Here, for example, we have set the near ST as the project setting for the retiming process. So when we have here the project settings for retiming process, we get you the option nearsT, in this case. So watch we have in each option of these modes of low motion. To look this, we will mute the play back here in the vent resolving. We have here a clip of cars making drifty. Let's watch it. And they have already set it to a slow motion at 50% of the spig of the original spig. And as you can see, we have some stuttering in this low motion. And that's because we are using the default is low motion, that's the nearest, that's the most basic, most simple is low motion mode that we have, that only makes new frames to create the illusion of low motion. So for example, if we have here 20% of the Spig the vent resolve to create this islow motion clipping. Well replicate the near ST frames to create that slow motion. So if I press the arrow here, for example, the right arrow to go for arg. I'm changing to the next frame, the next, the next As you can see, we have a frozen image. And when I press, again, we have the new image, the new framing. I will press the right arrow again, and again, and again, and we have the frozen frames replicated from the nearest framing to create das lo motion. And then in sometime in some position, we are going to change the frame it to the next. So that's the option nearest. That's what a does to create das lo motion inside the vent to resolve. Other option that we have is the frame blend. As the name says, it just blends the frames to create the slow motion. It blends the cente framing, the last framing and the next framing. So if you play here, for example, let's play in the frame blend option. You can see some differenti motion here. It looks more fluid, most of the timing in most of the eclipse. And if we stop here, you can see, for example, that we have some ghosts here and here, for example, here again, and that's because the venture v is blending the frames to create a new frames. If I press here the right arrow, we go to the next framing and next and next, and next, and we have some different framing for each new framing that we have. And that's why the frame blende option looks more fluid than the option near est. So that's the frame blend option of low motion. Each blends frames to create new frames to make the illusion of his low motion when you speed down eclipy. And the last option that we have is the optical flow. It's a special option that you uses artificial intelligence that's inside the dvent to resolve to create new frames between the original frames. Let's see it to here in action. So that's the optical flow option. But as you can see here, we have some problems sometimes with the optical flow option. That's not the best option every time. In this clip, for example, you can see that it is not a very good option. That happens because we have motion here, changing motion, and some high speed, and that is what causes a problem with the optical flow option. This clip, for example, we don't have much motion, much difference from a frame to the order, and we don't have so much details here. And then if I go in d clippy, I have already set it to 25%. And I use the optical flow option. It will be much better than this clipy, with the optical flow. Let's see. We can see a perfect motion here applied, and it is very fluid with the optical flow option. If I go to the nearest option, you will see that it is stuttering. It's not so good. If I go here again to the optical flow, you will see the difference. It becomes much more fluid. Another example where the optical flow won't be very good is this one. Let's zoo in. Let's play this clip to see. You can see that we have a very fast movement of the cars passing in front of the camera, so we can predict that the optical flow won't be a good option to this clipping. So let's make this clip is low motion. So we will change here to 25%, for example. Let's play with the project settings option, that's the nearest option. You can see that the cars stutters in this is low motion option. And now we use the optical flow option. Let's see what we have. When the cars comes very close, it becomes distorted. As you can see, it's not so bad here when the cars are at a distance, but when it comes near to the camera, it passes very fast, and then the optical flow can make some distortions. As you can see here, if we stop you here, sometimes it's not so bad, but You'll decide if you like the distortion created in each clippy. In the next lesson, we are going to talk about the motion estimation option that works together with the optical flow option. It only works when you have applied the optical flow in acclipy, and those options can make it the optical flow work much better in some situations. 52. Motion Estimation: In this lesson, let's take a look in the motion estimation options that we have in the entry solve that works to make a better optical flow is low motions. Here when we have the project settings, as you know, we are getting the option from the project settings. So let's take a look in the project settings, what we have. The motion estimation mode is the Standard d faster. So let's go here again in the motion estimation of dS clippy. Let's click it, and the options that we have here are those options from the Standard difaster to the speed warp. From here, the top option. To the bottom option, we have the faster processing option, but with the less quality and going to the bottom, we have each time a heavier option with more quality. So this option is faster than this one. But he has less quality, and same thing from this one to this one and d one to this one, and so on. This option, the speed warp is obviously the best option. But it is very heavy, very, very heavy. It can crash this yard of inventories of sometimes. This option is only for the studio option, the page option of d vent resolve. If I play here, it doesn't you play needs two cache here. I recommend U to use the cache option here in the playback menu, andre cache is March and the U for Gs line to become all blue. That means that it is cache g. I will turn off the cache here because I don't want two cache Gs clip with the speed warp option. Only want to show you that it's the Davinur resolves to option. So you will have this water marker here. So you can use in the free option only to see the results, but you will have the water marker. That makes it unusable in the free version. The best option that we have in the free version of Daventursolve is enhanced better. This one is a heavy option, but it has the most quality possible in the free version of Davinur resolve. So let's play it to see. It's not anywhere near as heavy as the speed warp option, but it is not as good as the speed warp. You can see here that sometimes you have more distortion than the other options, so you need to choose it carefully. What option you choose from the motion estimation list to create the better new frame is far slow motion, trying each of those options. Let's see G one, for example, Let's play here. Let's scrubby, let's see G one. Surprisingly, the standard faster option looks better here, but we have some cutouts here, some problems. But in the hansae better, we have some other problems here as this very distortion of the car. Let's see another car here. This one. It doesn't work so good in all options, in all situations. Let's see other one here, for example, g one. This one, if I put you here in the hedge better. Let's see here in this part, for example, we have some distortion here. We have some distortion with this building. And if we use it here, the enhanced better, it's not distorting the building anymore. So it becomes somewhat better. That's it. You need to try in your situation in your clip to see, what option works better to use it, but in general, the enhanced better, will deliver better quality than the standards faster and will behavior. 53. Guided Exercise 2: People, in this lesson we are going to make it. The next to guide the exercise of our course. So I will ask you some things. And you will pause the video, and you answer me. Or you can answer without pausing the video. So let's go. The first question that I have to you is where you can see the total duration of your timeline, here in the edge page. And you where you can see the current position of the play Hage, the time code of the current position of the play hedge, here in the timeline. Two questions in one. So let's go answer to me. So we are back to answer this question. Have you answer correctly. Let's see. We have you over here, the total duration of our time our currentul d time line, that's the cars tine, and it says three -1 second and 12 frames. The second question of the one question that we have made we can see the timey code of the current position of the play hag. There are two places where we can see g. G, one is the current position of our play hedging, the timey cogen that says 1 hour, one minus, 12 seconds, and one framing. And here we have also the same time cogen. If we change the current position of our play gi, we can see that the timey code changes. Wait. Why we have it 1 hour? Because our timeline only have it 3 minutes. That's because by de fold the vent resolve uses tymcogy, starting from 1 hour. So we have it here in the start of our Timeline, 1 hour Tam coogi. That's by an historical reason that will not explain here because that's not our purpose here? Explain the historical reason of g Tam coogi is starting from 1 hour? You can change gs in your timeline when you create the timeline. That's not a problem. You ignore gs 1 hour and we have here, for example, one minus and 14 seconds and four frames. Now, the next question that I have to you is about the tumbino mode and the icons that we have here. Want you to answer me. The type of media that we have basic on the icon that shows in the Tbinomoga. Here we have the Tambinomogi. I ask you what type of DS media is Basic on DS icon. You can pause and answer me. I will ask you about another types of media. I will answer to you later. So one basic on this icon, what type of media do we have here? Now let's go to DS one. What type of media do we have here. If it is P X Y icon, And last, I will ask you about this one that we have the Px Y. And we have this other icon here. What type of media do we have? Let's go. Answer to me. So now we are back in for the answers. And let's go to see GS one. One. This icon indicates that we have here a timeline. Same thing we g one and g one, those are time lines, and also we have a timeline here, but little gear we the icon of the time line indicates to us that we have a timeline we fit different settings from the project settings. So that's why we have that little gear there. The second icon that I have SGU is this one. This one indicates that we have an image. So we have an image here here and here, and so on. If you tell me that you could see that it was an image because it has an image extension, I will say to you we can have here, the name changed, for example, B, and without the original name with the extension. So we cannot base your selfie the name of the clippy to find what type of clippy disease, what type of media? Because sometimes we won't have the extension with each. So we need to be based on the icon to discover what type of media we have. One the Px Y indicates that we have a video here with the approximeda attached to it. So we have created the aproximeda by right clicking and you going to generate Proximedia. And this one, we have vigo again with a proximga attached to it. And we have an algia tract attached to this clipping because we have this algia icon. If you have just a tumbin without any icon, we will have vigum. And if you have a algio wavy form like this one, we have nadie. Let's go to the next question. I will go here to the Cutch page because I want to ask you something about the Cutch page. And my question now is, how can you make a fest assembly of a new time line using the resources of the Cutch page. The chip for you is that we have a button. That's the first step to make it our fast assembly. So pause the video and try to answer me which button of the Cutch page we can use it to review our furg and make you a fest assembly. Let's go. So we are back for the answer. Button right here, we have the source taping. And when we are inside you. A Bing, you can click in the source tape, you see all the clips in a sequencing here in the viewer, and you can review by playing the clips or by scrubbing here, or you can scrub it more precisely, using the joggy wheel. And the next step to make the fast assembly, I want you to answer this 12. So let's go try to answer. Okay, we are Becky. Have you answered correctly. So let's go to the answer. The next step to make the first assembly is to use the I and O keys in the keyboard to mark a point where we want you. We need to go to the parch of the Video pch point. So I will press I. I will go to the parch of the Video that I one and point, and I will press O. Answer me, the next step it that we have to do to make our fast assembly. The chip for you is to use. A keyboard short catch to make your insertion that Tine faster. So let's go answer me the next step it to a Peng gs part of the vid to the ge of the timeline. So we are back for the answer, and the next step is to press F ten in the bog, to make our insertion to append our video to the eng of our time line. I have a clickage here. We should not click it here if we are assembling in the time line, to make it faster. I only click age here to show you that the clip have been appended in the eng of the time line. But now I go back to the source tape I continued to make our marks in eclipse with the point and the Ouch point and press F ten. Then we are going now to the next clippy and marking in point and Noche point and press F ten again. And so is the process of making a fest assembly of our timeline using the source tape of the catch page. Now, the next question that's the last you one for you. I will go back to the edged paging, and I will put this clip over here just to make the question for you. And now I will press shift it for you to see the entire timeline. And I want you to see carefully our timeline and tell me what's the clip that I'm inspecting right now in the inspector. Let's go. Do you have the answer? So let's go to the answer to see if you are correct. The clip that I'm inspecting right now in the inspector is the drift two MP four that is d one, and that's because I don't have any clip selected in the time line. And my play hedge is over d clipping, and this clip is the topmost clip under the play Hg. If I don't have a dclipi over here, if I drag dclip two here, and the select the clip that I will be inspecting be g one, g the drift g one clipped. As we can see here, the name of dsclip in the inspector. If I click it dsclipi, for example, now dsclip is in the inspector, besides the fact that I have the play aging, not over dsclip. So it's in the inspector only because it's selected. If we don't have clip selected, the clip that is inspected in the inspector is the topmost clippy under the play age. So this way, we have ended our second guided exercising, and now let's go to the next lessons. 54. Retime controls: Hi, people, in this lesson, we are going to see how to use the thymic controls options that we have in d vent resolving. That's a much better way to make speed changes in our clips. Mainly if you want to make the clip with different speeds in each part. For example, if I went dclipy from dispat to be is lower, and before dispatch to be faster, we can use the thymic controls and D speech points to make it much easier. So while you reset here the seg of dsclip by double clicking here. Now I have a 100%. I want to focus only on dsclip. So you selected those clips and press delete, not back space, delete to close the gap to remove the clips and close the gap. O you press Shift Z to fit dclipi. In the space of my screen, I will close the inspector and the Mija I will make it bigger here, and I will grab it Gs and to use the retymic controls. I will right click in this clipping. And I have here the rtymic controls or better than Gs. I recommend you to use the keyboard charge cuts every time that you can remember each, you have the control r keyboard charge cut you use. You select the clip and press control r or Cang r in the making, here, we have the rhtymic controls. Under here, we have the option in G L little arrow.'s a menu where we can make it many things. We will explain to you the speech points option in the next lesson. The other ones that we have are to reset to 100% or the original speech of the clipping. We have the changing spege, with some predefinit speeds here to choose it. And here we have the freeze frame. That's a option nice to explain to you because when you have the speech frame here in the inspector, when you click in s option that she also freezes the frame. Make some different thing. If you remember, when you click it here, you splitch the clippy and freezes the rest of the clippy. So if I have here, for example, in this parche, and the clicking in the frizzy frame, in the inspector, I have a frizzy frame to the edge of the clippy here and not frizzy frame before dspchy. That's not very good, so I will press control z. And here, as you can see, we have a freeze frame in dspchy of our video and notch in dspchy, not in the sparge. That's a very good thing that we have in the time controls because we don't need you to split the clippy, and you can change the point of your frizzyprame, at any time that you want. So to change the point of this frizzyphme. First, you can drag it over here, to change the point where it starts. If you want to extend our frizzy frame, you can go here in the top of speech point that we have here and grab it and you can extend it or reduce our frizzyprame. So all disparity that you have here between G speech point and G one is a 0%. Speech, so we have here a moving Clippy, and here, we have a freeze frame. And here again, we have the movie clip again, 100% speech. If you want to take out this freeze frame, you can click it here. And you remove freezzy frame. Let's see another options that we have here. I will research this clip by clicking here in the research clip. So we don't have anymore those speech points that we have We'll go here and we have the option to reverse the segment. That's the semi options as we have here. The rewind will make the clip at the end rewind. Let's press shift z. I will go back from the engine. And then it will go again forward. And you can change the position of gs rewind clip. So we have here, for example, it ends here and the rewind. You can extend the g rewind portion by dragging under here, this spitch point, not over here, but under here, So I'm extending to dipty and I go for arg than reg to dS parch and back for arg. You can even change the PG of each segment by using this top part of gs spit point. G one is I spitch point. So if I grab it here, take a look in g -100% because it will change it. So I'm making dispach faster or if I extend you, I make it dispar lower. Same thing with the other parts. For example, g one, I can make it faster by grabbing over here, not under here, and by going to the right. I can make each is lower, as I can see here, and for the last part of the clippy. We don't have here, the spitch point, but we need to go over here. No here that we have the ting option. We go over here when the cursor of the mouse becomes g way and we drag it to make each faster, as you can see here, or to make each is lower. By going to the right. This way, we can change the SPG of each segment separately. So here we have a 72%. Here we have a reverse segment, if it -110%. And here we have a 78%. And to use properly the retimic controls. We need to understand a little better how to use the speech points. So in the next classon, we are going to talk about the speech points of the thymic controls. 55. Speed points: Now in this lesson, we are going to talk about the speech points. So I will reset this clippy by going this arrow and then reset clipping, to show you the speed points. I will press shift the z. Let's say I want to put a speech point at this moment of my video. So I will click in this zero. Almost everything in the timing controls, we do through this arrow. So I will click it here. I can edge a speech point here. That determines that we can have a different spig in each part of the clipping. In this parch, we have and indent spig from this parch. And if I want to puch another speech point here, for example, I will ascribe it to the part that I. Then I will go to this pch of the clipping not this one. I will go here in the arrow. I will puch another speech point. We have here one is speech point. Here we have another speed point, and we have three parts of clippy, that we can change the Spig independently. If I want to change the seg of this part of declipi, I will grab it over here, so I'm changing the seg of this part of eclipi, as you can see here, that indicates the seg of dispatch. If I go here, the continuation of declip, stays correctly between those parts. Same thing with disp here. If I change the PG of disp of the clippy. For example, if I make eight ft percent, the continuation of the clippy, continues in the correct way. Another thing that I can do with the speech points is in g handle under here of the speech point. That changes the frame, where g portion of the clip ends, so if I grab it. G T here, I can see it there in the viewer where my clip in part of the G speech point is ending, and if I release the mouse button, it goes back to show the part where my play HG is currently. So now it has ended before. Because I have dragged the left and the clip continues accordingly in clip. Under here, I can change the frame where each pitch point starts and ends. If I want this 12 eng later, I will grab it to the right. As you can see, I don't change the spe ofs part of the clip because I'm only changing the engine frame, not the speech. The spe, I change it over here. Let's say I want to remove a speech pointy. To make this, I can go here in this part to remove it. G is speech pointy, and I will go to the arrow and you clear speech point. I have you remove that speech point. I can change the SPG by dragging here. For example, if I want to make 100%, I go this. Let's say I don't want to make this, I want to make it easier, I go to the arrow, and I will reset it 100%. It is easier to make dysclip go back to the original speed. And when we are done with the timic controls. I can press again the control r to close the etymic controls, and we can see an icon here, indicating that dysclipy has a speed change. And if we want to go back to the tim controls, we press again the control R. We can access our speed points and change the speed of the segment by dragging here or the position where the segment ends by dragging in the bottom here and we close the rhtamic controls again with the So those are the speech points, easy to use very nice to use two. You can pitch a spitch point where you want and change the SpeG of only that part of the clip with ouch spitching the clippy. 56. Additional Input Size Tips: Hi, people. In this lesson, we are going to see additional chips about the input sizing of our time lining. So let's say we have here a time line with a horizontal resolution. And that's the case here, as you can see, we have a horizontal time line. And let's say you want to patch it here, videoclipse with a vertical resolution. One, for example, let's click in dyslip and press F ten to append to the g of Tamil. Here we have just a problem because we have a petty dold color individual one track. So I will just delete it. I will delete this track you by right clicking here and delete track. And now I will click it here and press F ten. So I have dsclip in the g ofR tame. As you can see, our clips cropagy, because our scaling option, our putc scaling option. By the following the project settings is the few option. We can see here. I will go to the je scaling option and then input scaling, and we have the few option here, that's the scale full frame with crop. I will cancel here. As you can see, if I select this clipan movie down our p, we can see that we have the clipy cropogy. Let's say obviously, I don't want to crop it this way? I want to use the feat option, so I will select this clip and go here to the feat option. I want the clip to appear entirely here in my frame. But let's say I went to P let's say I went to pch multiple clips with a vertical resolution here, and I don't want to go in each clip and change the scaling option. Individually. How can I do to make my work easier? So let's search here by the resolution. I want to search for 1080 by, so I find all the clips in the people being that starts with the resolution 1080 by. And let's say I want you all those clips in the timeline with the Pichi scaling option. I don't need to patchy my clips to the timeline, to make it this option. I can select the the clips here in the Mijapu and change the scaling option of those clips. Actually here in the Mija poo. I will select, as you can see here, we are inspecting those clips from the Mija poo, multiple clips, and I will click in the scaling options to perch Fitch and now I can click again here, not in an empty space of the Mija poo because you will deselected eclipse, I will click you over here, for example, to focus on the Mja poo without in deselecting eclipse, and I will press a ten to puch all those clips to the time line. Already with the scaling option, Fich applied to then. If I press here shifty Z G, review my clipse in the timeline. Can see that the fat scaling option is applied to those clips. And this Cp of select clips in the medapo and changing and attributes of the clippy applies to all attributes that you can change here in the inspector. So if you want to change any other attribute here from the eclipse of D Mijapo, you can select the eclipse in the Mapo, change and attribute, for example, the Zoom attribute, You can perch those clips in the timeline with the zoom change. I will research here because I don't want to change the zoom of the eclipse in D Mapo, and that's it. We can change the attributes of eclipse directly in Dema pu before we puch the eclipse in the T line. 57. Stabilizing videos: Hi, people. In lesson, we are going to see the stabilization section of the Davent resolve with two stabilize video clips. I will show you the stabilization options in three differential clips, those ones that we have here. And how the stabilization option works in each of these clips because the stabilization cannot work well in all situations, and I will tell you in what situations the stabilization is good and in what situations the stabilization is not good. So in the first clip, this one, let's play. We have it here. Just an image not much shaking. So I will put the play age here. I will select this clipping, and in the stabilization options. The first thing that we can do is to just click here in stabilizing. The vs will analyze our clipping, and we will have a stabilization. That's like using a gimbal to require video, so let's see it. We don't have the video perfectly stew like a video record with a tripod, but it is less shaky than the original video. Let's play without the stabilization. And then I will turn on the stabilization again in the middle of the video. Let's see. Without with stabilization. It makes the video more stable, as you can see. This one is another good video to make this type of stabilization. For example, let's play it to see. We have a shake footage. And now I will click here to stabilize the video and let's play without stabilization. And in the middle of the video, I will turn on the stabilization that you dv into resolve, we have made in this video. So shaky, and then we have a more stable video. It's not a totally lockage, but it is more stable. But now let's say I went to make my video, to look like it was recorded with a tripoding, or to say a video totally locking, not shake at all. To make Gs, I need to mark this Cera Lock option, and then I will go to the stabilize option. Again, I need you to click it here for the vent resolve it to analyze the clip and the stabilize again. With the new option, and that's it, it's done, and now if I play the Video, you can see that looks like. I was recorded with a tripog. It's totally stable now. Same thing I can do with GS one if I go to the Comera option and the stabilize. I play. I can see a total locka g Video. But as you can see, if I turn off the stabilization. The video becomes bigger, and if I turn on the stabilization, it is more zoom egy we feel less of the vido. In the framing, and that's because we are using this option zoom. This option makes the vido. Zooming and offi to not show those parts, those black parts, like here, for example, or here, as you can see, that's the result of the stabilization made by Davent resolve. Da venture resolving needs to change the position and the scale and the perspective of the Video. Make it stable. So if you don't use the Zoom option, you will have a dozy black bars in the sides of your vigo to make it the stabilization. And that's why when you use the Zoom, you cut out dozy black bars, but you have less of your vigo in the framing. It's mark zoom eg as the name says. Now, let's see dsclip here. What we have here, and let's understand. In what situations the stabilization of our video, especially if you use the Ceralo option is not a good thing to do. I will select dsclip, and I will puch in the Ceral option, and then I will stabilize the video. You can already see here that the video won't be any good with this option because it is totally distorted. Let's play here to see what we have. We have the mera locking. It looks like it is recorded with a tri body. But to make this that inter resolving needs to starchy, totally dysclipy. And that happens because geosclipy, without it stabilization originally, it has much movement to the sig to the backer here. You can see the Camera man goes to the sig. It changes the perspective, it looks like it is going back. So those movements to the side to the back to our forage, it makes the change of perspective of the video to be badge for stabilization. So your recorded video only will be good to stabilize if you have a video. That doesn't have any movements of the camera, that's not the shaky movement. If you have the camera moving back or forage or to the sides, it's not a good video to stabilize, which will discharge the video as you could see here. To explain the other options that we have you. I will select the clippy. I will take out the meraloki, and we have those options here. They strength if you put to the right. It will be a more strong stabilization, and to the left a less strong stabilization, a weaker stabilization. They smooth if you perch to the right will be stronger to, stabilization, and the cropping ratio is the opposite. If you puch to the left g, it will be stronger, stabilization If you pitch totally to the right, you will have no stabilization at all. Every time you change dos options, you need to click here again to stabilize your VD again to Davici, analyze the VD again and make it the stabilization using those change options. Thing to understand you when stabilizing a clipping is if that clip is a good candidate to be stabilized or not. Then you choose if you want the cameraog, to look like a tri pot video or just without caeralog, to look like a video recorded you with a gimbo. 58. Lens correction 2 options: Let's talk about the lens correction options that we have in this lesson. When you use the lens correction. First of all, you need to know that this option only works without water mark in the estudie version, the page version of the vent resolve. Here in the free version, that's the case here because it doesn't have studio in the name. The lens correction is here, it works, but it will give you a water marking in our video, so it's not usable in the free version. But I will show you a nice option to use besides this one with the ion. So firstly, I will show you dsclip that we have here. Because dsclip has lens distortion, as you can see the lines here, for example, we have a line that should be straight, but because the lens distortion, the line is curvgin. That's the type of video that you could you want to use the lens correction because it has a lens distortion. It is very simple to choose. You just click here to analyze the vido. So DaVinci will analyze the vido, and you apply the correct distortion to counteract the distortion of the lens. In this case, as you can see, DaVinci has applied the 0.266 positive distortion to correct the lens distortion of dis clipping, and the water marker was applied to each. You have the page version, you can even change the lens distortion here. Manually, if you are not dissatisfied with the result of the automatic analyze of Davin resolving. I will click here to reset the lens correction. And now I will show you a nice option, and alternative to the ns correction that works in the free version. To make gs, I will right click in clipping. I will go to open fusion page. We are going to the fusion page. Don't worry with the fusion page now because I will teach you how to use the fusion page in a further section of discoursing, everything about the fusion page, the nodes working. But now I will just show you how to use an alternative of the lens correction, using the fusion page. So with this media in wind selectedy, you can press shifty spacing and type lens space distort Press enter. Now you go to the inspector with DS node selectagy, Lv cheese here and goes to lens distortion model, double click, and you can drag the distortion here to make a distortion or a correction of the lens distortion as you would like, as you can see, D value is a good value to Lav Ds line Swatch stretch. That it. It's in the free version. I doesn't it puts a water marker in our video, and you now can go back to the edge page, and it is done. That's a very nice option to use to make a lens correction in the free version by using the fusion page with the lens distort node. It applies the correction in the distortion option, and you go back to the edge page and that it. It's not exactly the same thing as the lens correction option here in the edge page, but you can do a similar work that we work very well. 59. Resize filter: Now in this lesson, I will show you what's a recis filter. What does it do? So let's put here in this clip in this position. And I went to zoom in her face. To make this, I will click in this button to show the screen controls. I will grab you here the anchor point. As you can see, I'm changing the values of the anchor point here, the x and the y values. So I'm pouching her face. I can turn off the controls here. And now I will zoom in her facing. The chor point, I will zoom mean times, I will hold out for a precisely change in the chor point value. I will grab it here to the left am, here to the right am, and that's it. We have a very big zoom in her face. When we stretch the image, when we give you a zoom in an image. Obviously, the software needs to create new pixels between the original pixels to make that image bigger, because the pixels are being stretchedy out How the software creates those pixels between the original pixels. To make this, the software makes some math or to say some calculation, and that's what the recise filter does. It makes that calculation to create the new pixels between the original pixels of the image when you stretch the image making a Zoom. But as you can see here, in the list of the recise filter. There are many recise filters, not only one, and some filters can be better for our purpose than others. I want to make you some recommendations about the filters that you can use in your projects. First of all, you can try all the filters here to see what happens, for example, if you but this one, you can see late change in the image. If you put the box, for example, you can know it makes the image all pixelatgy. If you go to the Gaussian filter. For example, you have amachs mofer, and the blurrg image. If you go to the nxus, for example, you have an image sharper than the gaussian filter. But also more noisy. But a nice filter that I recommend U to use. That's good in many cases. Is the catch Mo wrong, especially if you have a screen record, like G one that I have here. I have already put here a Zoom. I need to make control Z two and do. I have reset the Zoom for dsclipi because this one is selected. I have made T wrong. So I will select this one and I will take out the Zoom just to show you, I will reset the position by double clicking here two. I will activate the screen controls. Here the anchor point, and will turn off zooming in this parch. Now we will puch in the project settings here. And as you can see, we have some ghosts around the edges off the screen elements here and some noise caused by that ghosts, and that's not a very good look for our zoom, and the recise filter from the project settings that we are using now, let's see here, we go to the image scaling, and you see here the recise filter. We are using the sharper recise filter. The sharper recise filter is such a good filter for screen recordings, like this one, because the elements of the screen will be with those ghosts around the edges. If I pitch here the Ketch Mu ron recise filter, you can see that the ghosts have gone, and we have a much nicer looky when we zoom with the Ketch Mu Rong recise filter. If I go here to the other Clippy, I will pitch here the Ketch Mo Rong filter. As you can see, that filter is not a badge for camera recording, like G one. If you try another filters, you you see that the Ketch Moon deliver is an acceptable result for our Zoom. I recommend in most of the cases that you patch here in the project settings, image scaling, the option custom, then you choose the metody, Katch Moon and save for our project because that's a very good recise filter for many situations. Especially if you have screen recording, that you want it to make a Zoom. And in other situations, if you want something like a pixelated image, you go to the box option, for example, or you try and other options of your recise filter to see what's better for your video clipping. 60. Super Scale (Studio version only): And now in this lesson, we are going to see the last section of the inspector that's the super scale. Here in the video tabby. We have the other tabs still but here in the video tab, the last one is the super scale. This option is available only in the studio version without the water mark. So I will show you briefly this option. We need to activate gs. You can see already the water marker here. The super scale is just an option to try to make it a better looking image when you have a very high zoom applied to that image. Instead of the recise filter that is also applied, the vent resolve we use artificial intelligence to make an enhancement of the image when it is very zoom age. You'll leave it here in the four options, or will activate each. It is very heavy. In your processor, take that in account. I recommend you to use the play Bay render cache option is March to cache the result. So you can play in real time your Video. But we have some options here. You can try those options. One is said to be the best option of the list. You can control the sharpness applied to your video and the noisy reduction, and you can compare the results by turning off it here. You can see the normal recise filter applied. And if you turn now, you can see the result of the super scale. And to be honest, you, I don't like it very much. I don't think it's a very good result of sharpening or to make a better quality when you zoom the image So I would not pay for the page version of Daventur solve the Daventsolv it studio because of that feature. But if you like, it's present here to use it. 61. Searching for timelines and other Clip Types part1: Hi, again, people. Now in this lesson, we are going to talk about how to search timelines in our Mijapu here in the Edge page, because now I have many media here. And many timelines, I have timelines in the master being. I have timelines in other beings. I became a abichi organzg in my Mijapu. Let's say I want to make some organization or to find the medias that I want, but now I want to find all of my timelines. I want to show you a nice way to do this using this search magnifier, so I will click it here to open my search, and I will putch it here in this little arrow. Instead of the salctag bins, I will putch all bins to search through all bins that I have and in the future type. If you have some different option here like the phoneme, that's the def option in the f in the future by, you go to the typ here under here, and now you are searching for the type of media. I will puch here the name time line. Now I can see all the time lines that I have that is 12 time lines, as you can see, three here and far here, three times four is 12. I have a 12 time lines. Now I can open the timeline that I went that is J w the cars time line. Let's say it was not here in the list. It is in the list now, but let's say I just wanted to know what time lines I had here and to choose which one to open. So I will double click in the cars time line. To open it. And that's it, will close here the search. If I want you, I can select you all the time lines to make you my organization. I can open the Bin list, and I can grab the time lines to the master being. If I want you all the time lines in the master bin. Or if I want you in another being like a bin that I can create you here by right clicking the master bin and you go in the new Bin. To create a bin to puch my time lines. I can do you, so I will create you another bin. I will puch it timelines. I will click you here to give the fk O here, I will press control way or common to select all my time lines again. Drag my time lines to this bin, and now I can close the search, and I can click here to see all my beans. If you want to find other type of images using the filter by type. You can type it here, for example, vigo if you want only videos. Now you have only vids notch algos and notch images. If you want to find images, you pch here. If you try to search by image, you don't find you and you need to pch. Is ch to find you the images that are called. That's it. If you want to search for algu, you can't find you only the algos because you will find you also the gus that have algu in each, like those ones. The way if you want to find you only the algo is to create the March beans here in the Bin list with the filter to search or to show only the algo in that is March bean. That's a very easy thing to do. We will explain to you now very briefly, you right click here with these March beings shown in SIG with the Bing list g opened, right click, G is March Bing, you give each a name. In the Mija pu properties, you choose the clip typing. You leave here the rule as is, clip type is, you go to the Aug option. And you create and now you have A smart Ban with only algus, you can right click here and you go to rename if you want to rename it two algus, for example, and you have AS Mart Ban only with algus. If you dg for example, another algus project, it will B here in AS Mart being algus. 62. Showing the focus indicator: Hi again, people. One allege that is very nice for you to know that that can be missing for you is the knowledge about the focus of your panels inside Davo resolve. What's focus? And how can you know which panel or which window is focused at the moment? So focus means the activ panel. At the moment. So if you click in a panel, for example, here in the viewer, everything here in the interface we are calling a panel. Now I have the focus in the viewer. If I press any keyboard short Cutch, it will apply to the viewer. If I click here in the space of my timeline, for example, now I have the focus in the timeline space, and if I press any keyboard short Cutch, it will apply to my time line. Same thing with the media poo, for example. If I click it here. Now I have the focus here in the Mija poo panel. And if I press any keyboard chart Cutch, each will apply to the Mida poo. That's a thing that can confuse Some people because when you have a focus in other panel, for example, here in the inspector, and you press a key combination, expecting to make something in the Mida poo, you won't get to make s. So that's what is the folks. You need to have the folks in that panel, to use the key combinations, the keyboard chart cuts in that panel. But you have a way to show in your interface of the Daventur resolve if you like. What's the panel that is focag, at the moment to the gs, I will go to the Daventor rees of menu preferences, and then user tabbing, and then you check sption, show fox indicators in the user interface. Now we saving. And as you can see, we have a indicator, a red line here. Indicating that is the panel that is focused at the moment. And if I click in the viewer, for example, I have the focus indicator over here. If I click in the inspector, I have the focus indicator here. Same thing with the time line. Same thing with the effects panel here. If you like it, you have this option to know what's the panel that you have the foc at the moment, and if the panel that you want you to have the focus. Don't have it, you just click in that panel, and the focus goes to that panel. 63. Guided Exercise 3 Get used to the timeline's zoom shortcuts: Now we are in the third, guided the exercising of our course. And this one is for you to practice and you remember and Gati usage with the most useful keyboard chart cuts that we have to zooming in Ouchi our time line. In every way, I want to know if you remember the chart cuts. That's not only keyboard chart cuts, but we also use the mouse for that chart cuts. So let's go. I will ask you, you can pause to answer my questions, and then will come back to give you the right answer. Let's go first to one have here a timeline, Let's say I went to see my entire timeline. How can I do this? Answer to me. So to do this to see my entire tmuline, with a keyboard chart catch, I can press shifty Z. It's much usage. It's very useful keyboard chart catch, to see my entire tmuline. I can even see that I heavy and now you going much more than my video so I will trim here, and I can press again the shifty z to see each feat to my screen. And my next question to you is, as you can see, we have here many video tracks with the solids that I heavy put here. I want to see all the tracks on here in the space of my time line. Let's say I want to put all the tracks vertically smaller here. How can I do that? Let's go. Answer to me. So have you answered? To make Gs. I will use the keyboard chart catch with the mouse, shifty and mouse wheel, so I can make the tracks. Altogether is smaller, in sizing, and now I can see all my video tracks. No, but if it's smaller, I can see much of my video tracks, I can grab, and now I can see all my video tracks. Okay. I can do the same by going here in the timeline view options and tweaking Gs Video track height. Now, let's say I went to Zooming in dispare two E with more precision to focus in this party. Very fast. How can I do D? Let's go. Answer to me. And now we are back to the answer to the gs very fast? We can grab a Gs little Doch. And now we have our time line in M zoom eg here? Or we can use the keyboard church Cutch Ouch and Mz W for L zoo or Marzo. But it is lower. And then if I want to click it here, for example, I can ouch in faster. Now let's say I want to change the g of the algo tracks, not the Video tracks. How can I do that? Answer to me. So I hope you have the right answer, to do is very simple. I just need to go with my mouse cursor over the algo tracts here, and I do the same thing as I have made in the Video tracks by Hg Shift and the Muse Wheel. Now with G Zoo of the algo tracks, I can't see the alg WAV forms. So if I want to see the AlgaV forms, I need some Zoom, and that's it. But if I want to see a bunch of the aldo tracks, can zoom out all the way down, and now I can see many algo tracks. And that's it. That's our 30 guide that exercising for you to get us with dozy shortcuts that we have to speed up your editing process. 64. Audio tracks header – part 1: Hi people in Js lesson. I will teach you everything about the header of the Audio tracks. And in the next lesson, I will teach you about the header of the video tracks. So let's go. What we need to know about the Audio tracks. I will make it bigger and make it more space here to look closer to our Audio tracks. I will close the Mija pu and the inspector. The first thing that we have here are the of our track and the solo. The Muti, you know that's to mute our trache. Obviously, you won't hear in Soundi from this trache when it is mutagy. So let's play this trache and mutagy. If I mute track, obviously, I want to hear it. But as you can see, I can hear the other tracks that mutage and that's different from muting the play back in the vent resolve because mute goes to your final export if you export the V with mutedy, track won't be included in your final export. Differentially from muting from here. If you mute from here and not here. You will have in your final export, all the sounds of all audio tracks that you have. And the solo option is the opposite of Much. If you solo dtrake, you hear only dtraky, so I will play here very heavy sound effect and GS Musky, and we will hear only the Musky. If I want to hear two tracks at a time, I can solve both of the tracks, and now I can hear the A two track in the A one track. Let's make it bigger to see the real name of the tracks, the Algo one and the Algo two. And I will not hear the other tracks. A nice thing to do here is to use the shifty shart catch it so I can click in the much of track, and I can toggle the mute of all the tracks at once. If I want to mute some tracks and not others, I can do this. And then if I want to mute all the tracks. Hold shifting and click in anyone. And now I don't have any tracks mutage. Same thing with the other options that we have here. We can hold you shifting, and we have slidy, so I can unsold those ones. And now I will play the Algo three and the Algo far tracks and not the other ones. So, for example, if I play here, I don't hear those tracks because it's not solid. I can hear track clippy from the udotre track because it is solid here in the trache header. Other option that we have here is the lock trache. When I lock track can't move a clip or trim or make anything to that clip. Even the inspector, if I select the eclip can't change any option, any attribute of that clip in the inspector. Because it is locked. If I want to lock the track to accidentally change anything in that track. I can do this, especially if I have already ended the editing process of that track. Another option that we have is the auto track selector that you have already know before. It's useful for some things like a pasting eclip. You can select Acclip here, copy with Control C. And if you want to paste in the Algo far track, for example, you can hold Shift, the select all the tracks, the Auto track selector of your tracks, and you click here in the Auto track selector of the Algo for. And you paste you with Control V. You can deselect each and the hold shift change you click again to activate all the auto track selectors. The same thing applies for the trimming. If you want to tring a clip, and you don't want, for example, to ripple the rest of your time line when you are in the ting agit mode. If you deselect this track, for example, you can triing here. Let's make it bigger. If you trim here, track is not being rippled because it is not activated with the auto track selector. I I activate it and I trim. You can see that ds clip that is after g s point that I'm trimming will ripple to maintain the synchronization of the rest of Mt line. 65. Audio tracks header – part 2: Now this is the second party of the lesson about the track header of the audio tracks here. Another thing that we have here is the option to change the level of the algo of an entire trache. So I will go to the inspector, and if I click it here in dsclip, for example, I have the option in the Audio tab to change the volume of dsclipi individually. So if I change it here, for example, I'm changing the volume of dsclip. Not this one. I will research it. But if I click here in the track header in an empty space. You can see that the inspector has changed it. It says lg two, the name of this algo track, and now I'm inspecting this algo trache. I can change the volume of the entire track, and now I have changed the volume by -6.7 decibels of all the clips that I patch here in this lg two trach. Don't worry now with the dialogue level because we are going to heavy a lesson entirely about this feature. So now let's go to another thing that we have in the track header. That's the type of algo. They are to say better. The type of algorat that we have. It's indicated here with the 1.0 or 2.0. Those are the most common types of algo tract. That means that 1.0, as you can see when I put my mouse over here, it's a trache of type mono. And this one with it 2.0, is a track with typetereo. What's mono and stereo? Mono hystereo, means a trache when it's mono. That the algus can only have one channel, and the channel is like a track inside the trache. If you have it just one channel, that channel in the mono trache will play in both sides, if you have a tereo. De vice to play your algia, for example, a hedge phony. The monotrak, we will play that channel, that one channel, in both of the sides of the hedge phony. If you have asterio speaker, it will play that one channel from the monotraki. In both sides in both speakers, of your hystero speaker. When we have a stereo trach, it has two channels, so one channel is for the left side of your hedge phony, and the other channel is for the right side of your hedge phony, so you can have two slightly different sounds. Only one audio trache when you have an audio trache of the type stereo. You can also change the type of trache by right clicking the trache. And you going to change track type two Mono stereo, or you can change it to another less common types that are available for two. Other nice thing that you can do here with the tracky header is to change the position of the tracky header by right clicking and moving the track up or down. In the case of algo tracks, it is justify your organization. It doesn't change the final mix, the final sound that you have differentially from the video tracks. If you have differential orders in your video tracks, you will have a differential result. 66. Video tracks header: Now I will show you the options that we have in the track header of the video tracks. The first thing is that we have the name of the trache that you can rename it like you can do in the Audio tracks. You just click here in the name and type you what you want. For example, here, I want to put the adjustment clips. So I will put the name adjustment press enter, so I changed the name of tracking for my organization, for my information. Auto track selector works the same way as in the Auto tracks we have seen before. If you want to turn off all the Auto track selectors of the video tracks, you hold shift and clicking any of the buttons. And now you can turn on G one, for example, and G one. And if you ring a clip your delete a clip and close the gap, you will ripple those tracks with the Auto track selector enable it, for example, here. Those tracks moves d one and d one and d one. And the other tracks that don't have the Auto track selector enable them, want move. I will press controls here. Then I will hold shift and click in here to disable those track selectors. And again, I will hold shift and click in any of the tracks to activate the Auto track selector of all the tracks all the seven video tracks that I have here. I will take out here the Ouch point that we have you by pressing Ouch X or option x in the MC. Other thing that we have is the option to disable the Video tracking. So, for example, if I go here, I will turn off the snapping by pressing N, I will go here and Hog Ouchi and turning my mouse wheel to zooming my time line horizontally. And I have here some colors in my editing. Let's plate to see. So that's it. But let's say I want to see some details of some video track that I have made without any other video tracks over each. So I will hold shift in turn my mouse wheel to make smaller my tracks, and I can, for example, disable these two video tracks, to don't see those colors that I have pch here and one, for example, if I want to, and I take out all the colors that I have Puch by disableling those video tracks, that's an option and doing disabling the video tracks. Different from disableling eclipse. Here, I I press shifty z, you can see that we have eclipse all grad, and if I put any other clips here in track, it will be grade two because this track is disabled. Differential from is when we hey. Let's make it again here by holding shift. If we go to the selection mode and select, those clips, for example, in press G, we disable only those clips not the entire trache. Those clips in the trache are not disabled you. And if I put another e clip here, it won't be disabled you because the trache is enabled you. I will press G again to reactivate. Those clips. Other option that we have is the lock tracky that works the same way as in the Audio tracks. One thing that I haven't talked about you, but it works both individual tracks and the audio tracks is the destination track, the destination track. I selected you with the gi outline. If I want to insert you from the Mija pool Ace Individual five track, for example, I will click it here to select GS tracking. Now this track is the destination track, if I want to insert clippy and I can go let's go here, I will close it. These Marge bins to make more space here, I will go to the cars Bin Let's load it clip, I will make it bigger L et's elect just some portion here. The entire clip is 3 seconds. I I put my play G here, for example, with G Video five V track. As the destination track. I can click here in the override clip, and it will be inserted in this track. I have forgotten to change the destination track for the algo track that comes with G Video. I will undo this action by pressing Control Z. I will click it here in the Algo two tracking as the destination track for the algo track. Then I will click you again over R clip. Now my video goes to this Video five track, and the algo goes to the Algo two track. This Audio has nothing, but it is a track. Let's under. I will make it bigger here and last. We have also the two options that we had in the Algo tracks by right clicking. We have you here the Edge track Edge tracks. If I want to edge multiple tracks, I can puch a number of individual tracks and the algo tracks here and choose the deposition of the tracks or the new tracks, the type of the algo trache. And then we click in the Edge tracks to add the tracks. You have here also the option to move the track up are down, and that's different from moving the algo tracks because if you move a video track to a different position, you can have a differential image in that part because the Video tracks that you are above appears on topy of the Video tracks that you are under those tracks. And we have lastly the option to change the trache color, and that's also an option that we have in the Audio tracks. Can just go here and change it, for example, tomy. And you have all the clips in that track, with this color, the lime color in this case. So those are the details about the vigo tracks, in the venture resolving, everything that we can do in the vigo tracks. 67. What are Keyframes and interpolation: Hey, people, in this lesson. I will teach you about what is a ephrame. And what is interpolation. I think that many of you is already used to the concept of a kyphrams, but some of you can don't know what is a kephrami. So I will explain to you in this lesson to don't have any dut. I will use this time line to make the explanation of what is key frame. So let's watch it this timeline from the beginning. That's a work in progress, that I can teach you in a further lesson how to do those editing. So let's touch in full screen, and I will play to watch it this timeline. That's it, I work in progress. As I said, and I will put in Sparty. Let's say, for example, I want you. Or I will use a Sparty here. I will click in GS clip it to inspect in the inspector. And for some reason, let's say I want in Sparty. They clip it to give you a Zoo, for example, or to say in animation. We can use a key frames to create animations. That's the work of key frames to make animations. In this case, that we want to Zoom, and rotate, our image, our Video, we need to go to one party of dvidum, two Sch one key frame for each of the parameters. The Zoom, we need to go here in the diamond the buttom, that's the key frame buttom and such a key frame in this party of dvidu, so I will click here to such a keyframe. Did the same thing with the rotation angle, and now I'm telling with G two dv resolve it, Dan exactly in G point in GS frame. Those values for the zoom and GS value for the rotation angle. Because I have is such a key framing for those values. So first of all, the key frame tells the software that in that point in Dutch frame in the parameter that you had such a key frame. Anti exactly that value. If you want you to change the value here, you can do. You will have dtch parameter, set it to dtch frame. But key frames doesn't work alone. I always need you two key frames to make an animation because we need you to go from one value to another value to make a zoom or to make you a rotation or any other parameter of any other type. Now I need to tell my software in another frame another punch here, for example. Taiwan another key frame. This time, I don't need to click anymore here in the key frame, button, because I have a key frame before in this parameter. So if I change now the value of this parameter here, I will such automatically a key frame for S frame. So I will change it here to make Az As you can see each turn is gi indicating that exactly at that point, we have another key framing that holds gs value for the zoom x, y, attribute, and we can do the same thing for the rotation angle. We can change the value slightly, for example. And now we have a new key frame such for exactly framing, the 10 seconds and G seven frames to the rotation angle and to the Zoom. As you can see if we go scrubbing from position, the 9 seconds and two frames we go from those values that we have such in those key frames, two, as you can see here in the inspector, to the other kprame with the other value. We have a pass the prami, but we can click it here in dz buttons to navigate it through key frames. So we will go to the last kprame by clicking here for this attribute. Now we are over this frame that heavy, the key frames in each. And the interpolation, what is it? Interpolation is just the values that the software creates, as you can see here and here, between those two key frames. The software creates intermediate values for those frames. Between the two key frames that we have such. So the key frame is heavy, the value that we have such in, one for the zoom attribute in this case, in the first key frame, and 1.410 for this next key framing, and between those keyframes, we have interpolatd values, intermediate values. So that's interpolation. And those two concepts makes our animation. If we play here, we have Zoom in that part. A Bach of Zoom, we can zoom more, for example, if you went to Zoom more than two times we put here two point something to zoom more, and then we have interpolated the values between those two key frames. If we play, we can see It zones much more than before. This way, we can use a key frames to create animations, always pitching a key framing a point of dividu, and the other key frame in another point of divide a different value for that attribute. That's the most basic way to create animations of all types. So any attribute that has a key frame button here can be animated using key frames, and that's it. That's the most basic way to make animations, and it is very powerful. Just a last thing here. If you want to remove a key frame, you can navigate to that keyframe, for example, d one, in this position, and you just click obviously here in the keyframe button of this attribute, and you take out your remove that key frame, and you'll lose that value that you have changed it by doing this. 68. Resetting attributes vs Removing ALL Keyframes: Now in this lesson, we are going to talk about resetting an attribute and removing all the key frames of that attribute. So the first thing that I want to you to note is that if I go here to navigate it to my previous key frame, I don't have a key frame in this position because it is gray, so I will click in this button that indicates that we have a key frame in apposition to the left i. If we had a key fhrame to the right, we would have a arrow here in the right Now I'm in a position that we have a key framing. I I double click here in the name of in my parameter. I will resetting this parameter is attribute to the default value in this case is one, that means one time the original size of this clipping. But as you can see, we having to delete the key framing in that position. It's ready, so we have still the key frame there. We have the key frame before this one because we have a arrow in the left im. We can go to the previous key frame by clicking here. Now we are in that position that we have the first key framing. Now, I want to show you what happens if we click in circular arrow to the side of each parameter. Arrow removes all the key frames that we have to this parameter. Clip that we have selected you. So if I click here. Now you don't see any arrows to the side of the key frame button, and you don't see it in ready because it don't have any key frames anymore in that parameter for that clipping. So take care if you click in GS button and you don't want you to remove the key frames. You will press Control Z to undo that action, and you have again your key frames in the place. So that's the difference that I have told you before in another lesson. Between double clicking in the parameter name, and clicking here. If you don't have a key frames, it will be the same thing because you reset the parameter by clicking here and by double clicking the parameter name. But if you click it here, you delete all the key frames for that parameter. You can remove it. Also, all the key frame is for that section by clicking this button over here. If you click it here, you delete all the keyframes of all parameters in the transform section. Same thing with the other sections if you click it. In this button with the plus inside in the cropping section, you delete all the key frames that you eventually have. Cropping section. Another thing that you can do is che edge keyframes for all parameters of that section by clicking in the button of the key frame over here to the side of the name of that section, so you keyframes for all parameters of that key section, and if you go to another part of the Video and you change any of those parameters, As you can see, we have now new key frames for that parameters in that position. It is just needed you to change the value of the parameter, to make another key frame if you already have a key frame before. But I don't want this animation that I have made you here, so I will click in this button over here to delete all the key frames from the cropping section from this clipping. 69. Assembling the Drones Project: Now we are going to make it two steps of the drones project that I have shown you before. This project here that is already edited here, but we are going now to make it from zero. And I want you to follow along with me to practice the knowledges and the skills of the vido editing the vents that you have already learned. So now we go to the drone Bing. We have here three drone clips. I will close the GS Bing list. The first thing is to make the assembly of this video. This is the first stepping. We are going to make Stepp Gs lesson. So I will double click in G first clip to see what we have. We have GS clip here. I want G one to be the first clip. Let's make it bigger to see better here, we can hover over the clips to see which clip which one is. So I want G one. So I have loaded here. We will get g one from the beginning, so I don't need to put an in point here. I will scrub it here through g pointy because I want a transition between gclipy and the next clippy in this point where the clippy goes closer to the water to make it a transition that the movement matches, that's called the amache transition. So I will grab it here. T through S parching and I will press the Ok to mark in Noche Point. Now I will create my timeline with portion of Mclipi. So I will right click here and in the first two options, I will create the timeline with dclipi. I will name it draws F zero and the Hit enter. Now I have my clip inside this new timeline with D part of the clippy Now I will load this clip to the viewer. And I will see exactly here when the drone goes near to the river. I will press the I key to mark a point. I will press plus four period g, enter to go 4 seconds forward. So I will press the k to mark an arch point. I will press a ten to pach my clip in the timeline to a ping. Now last clip I will load in the viewer. I want you from this parch. I will press I to d Part. I will press O, then F ten. Now I have the three clips in the Timeline. I will press shifty z to 50 to the screen. Now let's watch what we have here. The first assembly of our T line, the Raffi assembly. I will play So as you can see, we have here the final of the video. As you can see here, we have an icy match of the images because the movement of the drone, but I will go further and make a transition in a further lesson. That's a transition between those two clips. This one, this transition kuch. I will put another transition, a rotation transition that we are going to learn in another lesson. Here, if you want it, you can trim your clips by pressing to go to the trim edit modem, then you can click in the starch or in the NG of N clippy and drag it to see very heavy, the starching point of this clippy. You can see in the viewer now at the right, and you can see in the left the last frame of the clippy before this one. Same thing here, you can grab it here, and you can make it match even better with those clips. So, for example, if you want, you can select and atg point like this one that you selected because it is green now, and you can press pyog or come trim. One frame at a time. You can press plus or minus and the number of eprams and enter, for example, plus five enter to extend the five eprams in dclipi or minus five enter to reduce dclipi by five e frames, and this way you can adjust the position of the starchy and the g of each clip in your time line. 70. Animating the opening of the Drones Project: And now we are going to make it the animation of the opening of the Drones project. If you remember, we have an animation in the start of the Drone project, that is the animation of the opening the screen. So before I do this, I will delete those empty audioclips that we have here. We don't need it because it is But as you can see, we have the chain icon in those clips, indicating that we have a link between the algoclipy and the videoclipy. So to select you only the algoclipe IgG or option in the machi and I will select you those algoclips, without selecting the videoclipse. I will press backspace and not the delete key because I don't want to reap all my t Now I will zoom in this party of my timeline because I want to focus my attention at the start of my timeline, so I will hold Ouch or option and turn my mouse will to Zooming. I will click to select this clipping, then I will go to the inspector, and I need to cropy. Both the topy and the bottom of my clippy to make it the animation of the screen opening. So if you cropy here party of the video in the topi and another party at the bottom. Need to be exactly at the center because if you pass, you don't croppy that party that passes. And how do you know exactly where you should be with those values to be exactly at the center of the Video, with the video totally close in blacking? As I said before, the croppi attributes are measured by pixels, so we have here if you go all the way up to the right ing. See that we have 1080 pixels vertically. You just need to go and divide that value. It's not hard. If you need a calculator, you can open your calculator and make the division by two. 1080/2 is 500 d forge, so I will put you here 500 dfge, two crop exactly at the center. Here, again, I will put the same thing, 500 df. Now we have it closed in the center, and now to make it the animation. We need to be in the first frame of our time lining. We need to set a key frame for each of the parameters to animate then. Let's say I want to go with my animation. Til 2 seconds of my timeline. So I will click in an empty space of the timeline because I want to move my play hedge, not my clip that you was selected. So I will press plus two period. We can see here that we have plus 2 seconds and zero frames. And when I press enter, I go with my play hedge 2 seconds for rg. And now I select again my clip, and I can set the crop topi attribute and the croppi bottom to the zero. To create another key frame for e21, with the value zero, the screen totally opened. And let's play that starchy off our timeline to see what we have it. We have now the screen opening, that animation, but we can do better. I want to use the softness to not have just that yg edge that we have here. And if you drag the softness to the right. You can see that now you have some softness here in the edges. It looks nicer to me, but we have a problem. If you go here to the starch of your tiny line, you can see that now with the softness option, our softness attribute, not at the zero. Have the screen peng in the starch of your timeline. I don't want it, so I will make a different thing. I will go to this point, for example, let's say here, where the screen is not a totally pend. I will set a key frame for my softness attribute. I will put it in the starch of my Tine, and I will double click in the softess parameter to reset it, creating another key frame at the starch with the value zero. So I will start with my screen totally close, no problem here. And when we go further, The edges becomes more soft because we are animating the softness parameter. Now let's see what we have. We have a nice opening of our drones video to start you with. So that's our first animation in our drones project. And in further lessons, we are going to see how to make it transitions and the other stuff here to make it our time lining nicer. 71. Attributes animation in the Elephant Dramatic timeline: Now I want to introduce you a new project that we have here to practice more, many of the things that you have learned before, and that's the dramatic elephant or the elephanti dramatic timeline. Let's play it to see a wet patchy in full screen mode. Let's plate to see what we have. So we have the elephants there. Then we have an animation of the zoom, some cropping the top in the bottom. We have this gray scale image that you change from the color image to the gray scale, and we have a A speed change. So we will go out of the Fu screen. We have here the continuation of this sane, and then we have the other clip, the Lions clippy with the semi editing it. We have the exactly the same thing as you can see here and here, and we are going to make it just editing in the next lessons. And I want you to make it together with me, to practice even more the knowledge that you already having, to make it a more solid knowledge. What we have you here. We have here some things that you have learned before, like the animation of the Zoom attribute, the cropping attributes, and other type of animations that is not made with key frames. That's the Paging animation that I will teach you to. We have a change in the Spige using speech points. So from here to here, we have a change in spiga as you can see. Have also some new techniques with the compulit modes to learn. And lastly, we have a new thing to learn it. That is how to easily use the same editing that you have made before. Another clipping. Like Gs, you don't need to make every editing here. Again, you have a way to copy and paste that type of editings very easily. And I will teach you in the last lessons of sequence of the lessons about this time line that we are going to make it together. 72. Replacing clips in the Elephant Dramatic: Hey, people, how is it going? Now in this lesson, we are going to learn how to replace e clips that are off line. Let me show you the thing. First of all, I have put in the resources of this lesson, the Elephant dram market GRT Timeline for you to download. So I want you to download you this Ttmuline and imparting your project as I will do here. So I will write click it to impart this simuline here I in the timelines being inside the master. Then I will go to T Lines in Port and first option that has the GRG D vent reyes of the Tine option. Then I will go and find my elephanti dramaki Zoom GRG T line. That's the file that's in the resources of the lesson. I will double click it to load my Tline, and this message appears. I will close this message because it tells me that we have offline media our timeline. Let's see, we have here this offline media, and we can see nothing special here, not any Vg and what that means. When we have a media offline in our Tim line, that means that we don't have the media Di Dach Da vinci resolve is referencing through those clips that you are imparted to our media p. So we have here the Tim line imparted The clips of stamina that are two clips are in part here and here, with the name Leos Napraa in Portuguese and the elephants familia in Portuguese. But those medias g between your medias in your computer, the result we can't find you those medias with those names in the folder that gtin indicates, and that's the reason for the media to be off line. Every time you go to a folder and change the name of a media. For example, if you go to the folder of let's go to the folder of GS Media, for example. O G one, Sunset, I will write clicking and then open file location to go to the folder of GS Media. We have the Sunset MP for here. If I change the name of Clip, I will put you here something, for example. And if I drag this to the time line. This media tells me that it is offline, if I don't have a proximeda, here I have a proximeda, and that's why the media still appears to me. If I click here, right click it and the unlink it proximedia, M media will be offline because the proximedia, won't be there to replace my media anymore. The same thing happens if I change the folder of my media. Be Daventurolv, will not find you the media in the right folder. So I will go back here to the previous name, the sunset. Now if I go to Daventursvi, it can find the media again, because the name is the name that references. So what can we do about those media that offline in our Tani? Let's go here again to timelines, and we need to replace that media by the medias that I have already provided you in the first lessons that are with different names. We right click in dsclipi, Leon is Na Pedra. Then I will go to the replace saltagclip option to replace dsclipi. Then you need to find you between the media that I have provided you in the first lessons. The right clip, I will tell you what's the right clippy, so I will go here in the media and then animals for Here, we have the right media that you need to choose to replace that media, so you will change the onsen Padre by the lions on the stony, that is what it means in Portuguese. I will double click here, and I have again my media here in the time line. The same thing I need to do to media the elephants familiar. I will right click it, then replace saltag clipping, to replace it and I need it to go to the elephant famili. GS one is the clip that I need, so you can click in Gs double clicking, to replace the vinories of you, we accept the clip because it has exactly the same Ty cog and the semi attributes. So this is the semi clip with a different Name, and then we have here our editing again, our clip appearing. 73. Correcting the syncronization of the Lions’ Clip: And now, people, in this lesson, let's take a look in what we have here. If you scrub or play your time line like Gs in this part of the lions clip. You can see that you have a narror of synchronization. Between those two clips, we have one clip here, if you can see in another clip, the face of the lion is to the side and here is to the front, and those two clips that are not synchronized here. Needs to be synchronized. We will understand. Why in a further lesson of G sequence of lessons about TG's editing. But now to fast correct this problem, you need to do the following. Select the dysclpi in the middle, then press back space to delete d clipping, and then press to activate the snapping and go here. Now, hold the AG and grab dysclpi up to make a copy of dsclipy, exactly synchronized g at the same position of the other one. They now trim the starch of this clippy to here to be exactly aligned you with solid color eclipy, and then grab its little icon that we have here, like so and that sit. We have it synchroniza again, no problem anymore. And we can continue with our editing. Ah, that's a very good thing that happened. I think that in some moment I have a message with dclipy. And I have not noted, that it became unsynchronizedy with the bottom clippy. And that's nice because I can show you how to deal with those type of problems. That's easy. 74. Smoothing the animation: And now in lesson, let's make it from the zero along with me, editing of the Elephanti dramatic Zoom Timeline to make es, I will use the yclipi Di was imparted g. With my Timeline dt, I have imparted a Tyne. And the clips. Tse two clips came together. I will select dysclipi and the right clique then I will create a new Timeline dsclip. Well name it Elephant editing and the it enter. And will click in s Lions Clippy Enpres F ten to put it in my time line. Hot and selected the clip the Audio clip Enpres backspace to delete. And a similar duration for those eclipse. So will press G to go to the Ting edit mode. Then I will train this clip here, and I will press shift the z to Fiji in the screen. Now, I'm going to make the editing in this part of the clip that animation of the zoom in the face of the elephant. To make this, I will go to the selection mode, select ds clipping. I will set a key frame in this position for the Zoom attribute, and I will go some frames after and then in this framing, this one, I want to change the Zoom attribute to make another key frame in dpache. So I will zoom in. But as you can see, we need to go to the elephant's face. To make this, we need to work in the zoom together with the anchor point. We can change the anchor point here in the inspector, but I want to go to these transforming controls on the screen, to change the position of my anchor point. We don't need you to animate the anchor point, so I will not put a key frame in the anchor point. You are not with this rectangle that represents the transforming controls here, you can click in this zero and you go to transform, you have another options here that will teach you in a further lesson. So for example, the croppy option dynamic zoom, you have already used a S one, the open effects overlay that we are going to see in the future, the fusion overlay, and so on. So this one is the cor poncho will put two here to centralize the face of the elephant. So when we zoom in, We have the Zoom in the elephant's face. Let's plate to see realty. We have a linear animation of Zoom, but I went to make it an easing of my animation. I went to smoothing my animation at the beginning and at the g. I will take out those the screen controls and to make its easing of the animation. We have seen before something about easing our animations in the dynamic zoom options. But here we need to go to the kyprame, so I will navigate you to my kyphmy, by pressing G zero. Now I'm over the position where I have a achyphramy. F G Zoom attribute will right click in my key frame, and I will easy in diski frame. What easy in means. That means that when the animation comes near to diskey frame. I will slow down is smoothly, not abruptly. Same thing I can do with the first key frame, so I click in the left arrow to go to the last key frame. The previous one, I will right click and then easy Ouchi. It's easy Ouch because it's going chi of disk frame. The other one is easy in because it is going in disky frame. If you want to you can touch in the linear option, that's the de fo option, that makes only that linear animation, and animation with a linear velocity or to say a continuous velocity. Now let's see what we have here. Now our animation is smofer. Another thing that we should know is that when we have a two or more key frames. That's when those options appears when you right click here. If you have only one key frame, you will see only the linear option. You will not see g Zs in or easy option. You only see those options when you have a two key frames. If you have a three key frames, for example, I will put another key frame here just to show. I will go to the middle key frame. I will right click here. Now we have the options to easing because we have a key frame. Before this one. We have an easy Ouch because we have a key frame after this one, and we have the option to easing and Ouch because we have a key frames before and after s one. Then we'll take out this last k frame. Now I want to make an even smooth animation by clicking s button. This button only appears when we have a key frames in the clipping. We will click here to open dpia, we will make more space to see what we have here. Now, as you can see, we have a graphy here, and that graphite shows us the changing values of the zoom x attribute over time. So from here to here, we have the animation. This one is a keyphrame, and this one is the first kyphrame. I will zoom in dispat by holding Auch and turning my mouse. W, I will select only this one to see the handle of diskpra. Handle lets me adjust the animation curve. So I I drag more here, I have even smfer animation at the end of disciprame, because the change of the values is in the vertical axis. So if you have a more horizontal line here, you have A is lower change in the values. So A is momoer animation. Same thing I will do with diskprema, will grab this handle to make dis animation, even smoofer at the beginning. And here at this middle, we have the faster party of disimation. So I will play for you to see and we have gs. And obviously, you can select your keyframes and you adjust your curve, grabbing gs handle, and you are adjusting the animation curve or the smoothing of the animation of the zoo parameter, not only the zoom x, but the zo y and x, because the zoo x is touch is linkage to the zoo y value because of g chain. So if I change the zoom x, animation curve, I'm changing the same way the zo y animation curve. When we are done, we can close this graph key by clicking here again, and that's it. We can make it much more customized animations using the animation curvis graph ky. 75. Repositioning Keyframes: Now, people, let's see here how to change the position of the key frames because sometimes you want to change the timing of your animation. And that's possible. Only here in the edit page, It's not possible in the Cutch page. So that's another feature that we have in the edit page that makes ZT more flexible than the Cutch page. When you have a key frames applied to aclipy, those two icons appears here. Here. This one is the key frame position. Icon, you will click in this icon to see your key frames. Just a note here if your clip is not Zoom E fi. You will not see the keyframes here. You need to have some Zoom to see the keyframes, like this. So I will zoom M and Then those are the key frames. As you can see for the transforming section attributes. If we put another key frames from another section of the inspector. You will see those sections here with its key frames. You can just, for example, if you want to make it, your animation is lower. Let's play our animation. It's a very nice thing to do to review our animation every time we make the animation or we updated the animation. We'll click it here and the play let's say we want the animation to be slower than Gs. I can go here and grab g key frame, and we can see here in this black ctangle. How many frames we are grabbing the key frames to the right now or to the left g. It's shown as ***** v values. So I will put here five frames to the right to make gs lower, and I will review my animation again, and I have another chip for you. Let's say I don't want to always click here to review my animation. Click here and the press space or or click it here to play Then we can do. I will put the play hedge here. I will mark an Ouch point by pressing O. I will go here just before Sky frame me, and I will put another mark with the key, the in pointing. And now I can go here in the playback menu. I will go to play around it two, and I will play around it in two Ouch points. The default keyboard charge Cutch for you there probably is Ouch or option, and the bar But if short cutch is not good for you, you can go here. You just see the name, play around two, play in chuci. Remember name. You need to go to the vents of a keyboard customization. You search here for the name of the comedy, play in hc. So you go here in the sequence of menu, so play B menu. Then play around two. And here you have a comedy to assign it the keyboard chart cutch that you want. You can click here, and you press your keyboard chart Cutch. I use A, and then you save. Then closing. Now I will put here in the Lop option to Lupe my play backing, and I will press A to play around the in and arch points. I can review my animation in Lupe. One thing to know is that we can change the position of our key frames here in the curve graph two. You can grab g to the right to the left to change the position of the key frames, but here you can change the value by grabbing par down, and if you drag deposition of the key frame here, can mess with the value, and that's not a very good thing. So I prefer to use it. This key frame position is space to change the position of the key frame, so I grab the key frame and change its position. As you can see, we are changing the same key frame here. Those are two presentations of the same keyframe. Here, we don't mess with the value of it sky frame. Here, we can heaven select ky frames and grab all of the iprams at a time two or more qui frames, if you want to change the position of the animation. So if I drag to the left, I have my animation sooner without changing the duration of my animation. When we are done, we can close all those spaces, our panels, and that's it. 76. Reversing the animation: Hi, people. Now in this lesson. We are going to make a editing here, that I want to levy in this editing of the elephant Ty line. But it is so important. That I want to show you how to do this. That's about you reversing the animation by changing the position of the keyframes. But if sometime you come here and try to reverse the animation by dragging the kyphrame. You can see that you can't reverse the animation. The kyphramy doesn't pass the other kyphramy. Same with GS one. So to do this, first of all, will make a copy of those keyframes, I will select, then I can press Control C two copy and control V two paste, or we can just hold down the Ouch key or the option key and drag the key frames. And then we have a copy of dis animation. But obviously, we need to reverse dis animation now because we don't want the animation to happen between G key frame and G one. I only want you to have the zoom in here, and then it stops to zoom here. Then here, we need to Zoo Ouch to make the reverse animation. To make g. I will just grab key frame two here near this other one. I will select the other one. I will press control x to catch that key frame, and I will press control V to paste the key frame here. Now we have the opposite. As you can see, let's play. We have the zooming. Let's take out those in and ch points. I have press the Ouch x to remove the inn ch points. Let's go again. We have the zooming, then it stops, and then we have the reverse the zoom che. So that's how we can copy and the reverse phrams here in the edge page. 77. Finishing the Elephants Editing: Now, in this lesson, we are going to finish our elephant drama qui Zoom Tine. But before I want to show you some optimizations that we can do. In our workflow, some features that we have in the edit page that make it more flexible. So I will close here the bing list to make more space for our timeline. I will go to this button that you open some options that we have you. The first option that I want to activate you here is the stacked Tim lins we have now some tabs here with our loaded Tins. Because I want to change between our new editing Tin, the elephant editing, and the last editing that we had you, that's our reference Tine. So I will double click in this timeline to load it Now we have two tabs here. This way, you do not need to go here to open a time line, you are here in the Mijapu. You can even close the Mijapu if you have loaded the time lines that you want to see at the time. And another thing to make it faster to edit it here to alternate between those time lines. I is again by going z button, and then in the vigoVw options. Are in g option, that makes the eclipse loads all the tumbinos in each part of the vigo. And then I will put in g option, that makes it don't show any tumbinos in the eclipse, and that makes the timeline load faster because the tumbinos are heavy to logi, and I will make the same thing for the other Tamila. We change here. This setting is individual for each telne I will go in this one and make the same thing, the simple view without the tumbins. And now if I change the timeline, it loads much more faster. Now to finish our dramatic zoo editing. I will see here what we have. We have a cropping animation in the top and in the bottom, and we have a gray scale image. It comes from a color image and then goes to a gray scale image. We are going to make animations now. We go back here to our new editing. I will press to activated snapping, and then I will go to key framing with panel opened. I want my animation of cropping starting here with other animation of Zoom. I will go to cropping, and I will pch a key framing the crotopy attribute and the croppi barn attribute. Then I will go to diski framing, and I will crop topping. We can activate the retain image position to make our cropping don't be messed by the zoom, so I will go to this position, and then I will make the same thing here. I will put 114, and we will open the animation curve panel. I will make Mr space to see it here. And I want the animation of the crop bottom and crop toppy, to have the semi curvy as the Zoom animation. So I will select both of the key frames. I will click it here to make both key frames smooth, and I will plate see what we have. So we have a The cropping animation, but I will want to select gees. I will zoom in with the atraar option. That will will make more space here. I will drag more gees handle to here, to make our animation smoofer at the eng and faster at the middle. Again, with disciprama, will make the same thing. I will grab the handle here. Will see what we have now. We have. I think it is okay. And now I will close the curves animation panel. Here, I will select those two cropping key frames. I will press control C, and the press Control V two past here. I will make it the reverse of the first animation. I will click in this one, I will press control X to key frame. I will move it d12 here. And now I will pay Control V, the other key frame here, and we have Gs, the opposite. Now I will close this panel and I will make the gray scale image animation. I will again open Gs to see our archy frame. I will position here by pressing any snapping, I will zooming. And what I need you to make. That affects of a gray scale image. In a solid color using a compost mode. That's the color compost mode. Let me show you. I will go here to the effect tabbing, and then the generator. And I will grab a solid color here in disposition, starting disciprame. I will make it g size from disciprame to D one. I will use it as black. Now we'll select it and we'll go to settings in the composite mode. I will put it here. Color, so I will have the blacky color, colorizing our clippy of the elephant, and that's why the elephants clippy becomes a gray scale image because the blacky has no image, the black is solid color. Will will grab it this icon here, this little fader that appears here to make it the way to the next cheeky frame, and same thing I will do for this one, that's the paging and pagoch of clippy. And that means that dis clippy. Will start to appear gradually. And that's why we have a gradual animation of the gray scale image appearing instead of the color image. And the same thing here. The gray scale image goes out. And the color image comes. If we don't use the paging or phagoc, we just go from the color image to the gray scale image abruptly. We don't want it, so I will grab it s here, and I will make a gradual change to the gray scale image, like an animation. Last thing that I want to do is to make it a stronger contrast in our gray scale image and to keep it simple. I will just create a new track over the Video one track, so I will right click here and the edge tracking. This solid color goes to the Video tree track. I want to grab a copy of dclipi, over here, so I will hold down Auch in the keyboard, I will drag it. I will trim dclipi to here. I will zoom out to trim the ge of declip, I will press any again The time I went to toggle, the snap will press, so will grab it here and snap of the solid color. I want to patch g copy of the clipping. The composite mode overlay, so will patch here overlay, and we can see that we have now a stronger contrast of GS video because we have the copy of the video over here with the overlay mode. This technique makes the contrast of the video strong But I don't want so strong, so I will grab here the opacity of dsclipi a little bit less. Then with this clip selected. I will press d to deactivate and see what we had before without a discopy of declipi. Then I will press d again to see what we have now with more contrast. We'll make the same paging here and the same pago for the contrast because I don't want it to kicking so abruptly. And then we have a gs. I will present. We have gs animation. Very nice, very good. Here in the g, we have a Gs, and that's it. Let's plate to see. Nice, that's okay. Now the last thing that we need to do is to make the same thing for the Lions clippy in the next lesson. But now we are going to use a technique to copy all those editings and paste in the onsclipy. Much more easily, we don't need to make all the editing again. 78. Copying attributes to other clips: Now in this lesson, the last step that we need to do is to copy the editing that we have made in the elephant family e clippy to the lions on the stone clippy. To make gs, first, we need to select gs elephant family eclipy. Then we will press control C or command C to copy gs clipi with all of the attributes and the animations that we have made. Then I will click in's lions clipping. But instead of pressing Control V to paste the clip that we will overrite you the other clip. We need to press V. A V is two pasty attributes. I will cancel here. We can also right click here and see the pasty attributes with the V. Keyboard charge catch here in the menu. I will click here or press V or Option V in the M Now I need to tell D venturies of you which attributes I want to paste in other clip that I have a copied from G one. That's no problem if I tell Da venturies of now that I want to paste all the attributes. So I will click here Video attributes to select you all the attributes that we have you. But if you want to paste you, just some attributes and not others with the select select you here, the attributes that you want. For example, the Zoom attributes that you have Animated there and the crop attribute with all of the cropping options that we have, or we can de select any of the options here. Then now that's okay, that's what we te here to paste in dclypi, so I will press Apply. Oh, but before doing this, I will explain these key frames. That's an option for the animation that we are pasting if dclpe has key frames in it. That's very simple. They maintain timing, we'll maintain the position, the absolute position of the key frames. For example, if we have a key frame here and another key frame, 1 second later in gs clippy. The same thing will be pasted here in maintain timing option. The animation will have the duration of 1 second, for example, in Gs example, and if we choose here, they stretch to fit. Gesclipi has, for example, half of the size of dysclipi. A 1 second animation in dsclipi will be a half second imation in dysclipi, because it stretches to Fiji. It will have a relatively size duration of the animation in the clip that we are pasting the attributes. In this case, I can see here that the animation in dsclipi can be pasted with the same timing in dysclipi, because dsclipi has almost the same duration of gescli. That's the reason that I'm choosing the maintained timing. I want the same timing of the animation for dsclipi. If I don't want to each if dysclipi is much smaller or bigger, and I want each to have the animation retime for dsclipi, I will choose the stretch to feature option. I will apply to paste the attributes. And now let's see what we have here. Let's scrubby, and we have the same animation for the Lonsclip. Just to see we have some problem here if the key frame is the sizing. Between those key frames. As you can see, we have made something wrong here in the elephants clippy. I changes the value, and that's because we have this message if it is something here in the animation curve, it's curvag here, and we need to fix it. So I will select gs, I will make it gs way to be linear here in the left g curva here in the right. And the same thing with g one, that's right. I need it to be curve just in the left. So we have a straight line here between those ki frames. This one, I need to change it to G option and grab a little handle here. I will zoom in. I will grab a GS handle because it's a little low. And I will grab a bit down. The same thing I will do if the lions clip, I will click it here to and this panel. I will select this one and click it here. This one is right. I will select this one and click it here, and I will grab handle, and one, I will grab this handle, and that's it. What we have now. Let's see. We have Gs. That's okay. The value is not changing between those two key frames. I will close GS and G one. I will just open G one and Zoom. I need to copy Gs solid color, I will press any two activate the snapping. I will press ang grab here to make a copy. I will position over those key frames of the Losclpy. Now we have the gray scale image or animation here in the Loscypy two. We just need you now to copy the Lions clip over here and make it to be an overlay like GS one. I will hold down Ouch. I will grab it here. I will trim this party, two here, I will press any e snapping. It's a temporary snapping I I'm grabbing something and I press any. We can see that we have the snapping activated, but it is a temporary snapping if I release the mouse button. It's not activated anymore. We can do it. I will select g, and then I will put in the overlay mode. I will grab down the postm the last thing, I will grab this phagen two here and the phago two here. And now we have our animation, our editing, We just need to change the anchor point. I will grab it here in the screen controls. I will make MR space here. We need to select clippy and go here and change the position of the anchor pointy. We can see that we have a message with the copy. The copy doesn't it goes together. So I will select S one to copy the anchor point, and I will press control C. I will select e12 paste to the chor point to the I will press the chev then I will then select you all the video attributes, and I will select the anchor point attribute. That's the only one that I want to paste to here. Then I will hitch apply, and that's it. It's aligned now with the clip in the bottom, and we have our animation, the same way that we had in the elephants clip. So that's it. That's the way to copy and pastat rebuilds in the page, to optimize our workflow when you want to use the semi editing that you had made before. 79. Motion paths on the Edit page: Hi, people. How are you? Let's see here in this lesson. This editing detty, we are going to work on in this lesson, and the next one. Let's play it. So in this lesson, we are going to make this first party, to show you how to make it the motion paths. Here in the edge page. The motion path is the way to make it cv movement of any element that we have. Here we have a B that makes a ca straight line movement. So we are going to use motion Pfs. Here I am in another project. I will change it to my English project to make it from zero gs editing. So let's go here to the project manager. I will go to my folder over here. And then first project, I go to the P being, and I want is clip, the woman with Hatch horizontal. I will right click and create a new time line using GSClip. Will name it Little B. And I will hit enter. I can delete algo clipi because it has no algae in it. I will hold the alga to select only dclipi and press backspace to delete. I will go to the photos beam, and I will grab it the B, my little B here to the Ty line over here. We trin to extend my little B, I will present it to temporarily Snappy the eng of M B to the eng of the clipping. I will select little B because it is too big here in the screen. I will go to the options re time scaling. We have the project settings here that you just fuse the screen. Now, will use it for clippy. Instead of the project settings. I will use the cropping option. But this image of the B is big, is very big, I will make it smaller with the Zoom. If I want to more preciz, change of the attribute, I will hold the Auch and then I will drag it. And that's it, I want the B to be G size, and now I will make it the motion path of the B, the movement with the curvge line. To make gs, I need to be in the first frame to start my animation. I will activate the screen controls of the B, I will grab outside of the screen to starch from here, and now I need to put a key frame in the position x and y. I will go to a frame after this one disposition, for example, and I will reposition my B. And if the screen controls activated as we can see here, have now in here in the screen. G red line that indicates the motion path of R B. We can go to the next frame and move the B again. Don't click here in the middle because it will take you to the last frame, take care. So we need to click here in an empty space, not in Gs dot. While we will click it here, G grab to make another movement of RB. The crop option is making b2b of Set of the screen control. I will change it here again to project settings to make our B to be inside G, our controls. This way I can see exactly the PF that B is following through the screen. I will patch you here to another place to another position. I will reposition my B again, again, and again, And in the engine here before the end because I want to make the B two zooming from this part to the engine for example. So here I will reposition my b to the center, and now we have the motion pathy that we need you or we can work you on motion path to make curva g. To make G, I can right click in any of G dots. And I need to go to the smooth option. Gee, I can have a curvage line and the same finger will do for all of the key frames of our motion puffing, to make a curvage lines. Now when I click in any of the key frames, I have the handles to configure our puffy. Here I have a gravity the little B. I need to zoom in here with my mouse, you will to grab little handle, and I can change the curvings of your motion puffing. We can go to this one and make the same finger if I want you here, I don't want to make To change only one side of our handles, not both sides. We can hold control, and then I can grab you only this one and don't move it the other one. Let's make the same thing with the other positions. I will click in G one. I will zoom out to see better what we have. I want to make it here to be here. I need to zoom in to grab it little handle. I will click in z one, and we can make it those adjustments. In each of the key frames. I will make it in the jump to the next two step in. Sometimes we need to zoom in much more to grab the handles. I think that's a problem here working with the motion paths. In the dit page. It is much more flexible to work with motion paths in the fusion page, and that's why I'm going to teach you about motion paths in the fusion page in a future lesson, and that's it. I will price two fi my screen. I will play to see the movement of RB. I will take out the motion path day screen controls here to see better. Let's see what we have it. The movement of RB is now curvage, not a straight line movement. Very nice, and I can make another nice thing here. That is changing the rotation of RB, to make it looks more alive. Not just A is t B, that's not so good, so I will go here, for example, and make RB two be. Then when I I come to point. I want my B two. Let's go to the starchy. I will patch you a key frame. Let's go to the next 21. G G one, I want you M B to be zwa then in G one, I want my B to be sway. In G one, I want my B to be Cerny Guy. G G one, G G. G one, I want you to be Guy. The last one, I want to rotate g way, then I will put it here and turn my b to the other side and here again to the other side, and here again to the other side. Will click it here to C, the rotation angle prams, to make it more smooth, so I will select all the chi fhrams and I will press in the button to smooth all the chiprams. Then we have gs. Or B have some rotation to make it look more alivey. The last thing is to make it the zoom of R B. F here. Let's say I want to just 1 second before the g of my timeline. I will press to go to the eng. I will the select everything. I will press minus one period. Enter. Now with 1 second before the eng of my Tine. I will select my B. I will right click it here to change the color. I will change to yellow to identify better, our B clipping, and then I will p a key framing the zoom. And in the g of our Timeline, will press the left arrow to go back in one frame. I will zooming RB. The last thing that I need to do here is to pch a solid color, a white solid color over here. I want you to have a 1 second duration. As you can see, we have the chip there in the bottom which says that we have 1 second in the clipping. I will zoom in here to focus my attention to the spate of the timeline. I will select and go to generator to change the color to white. And I will fade in solid color. So we have g like a transition that I will do to another clipping by going to IG. In the next lesson, we are going to make the second part of g editing to finish g time lining. 80. Finding media in your folder structure: Hey, people out here with another lesson. In this lesson. Before we finish the editing of our little B Tine. I want to show you a very useful feature that the Voris has. For you to find media in your folder structure, that's a very good feature for your daily work with Video editing. And also to find media that you have in your Tine in the media pool. So let's see, I want to grab it songy that I have in Tine to another project. I don't remember where I have put this song in my folder structure. What can I do? I will go here in this Tmn that has this song. We have the name of the song here. But we can right click in the song the clip. An clip that we have in our Tin, we can right click and go to the Option Find mijapu or you just select the clip and press O F. I will click it here in this comment The ints grabes me to the being where we have a dsclipi and select dsclipi. And now I know where my Clip is in the Mijapu, if I need it for another time line that chion inside this project. We can also right click in disclpi or any other clip. To know where dsclip is use in our project. I will right click it, I will go to U Then here we have the name of the tine and they start in Tymkog, where my clip is p in my timeline. If we had this clip in other telnes, it would show here in the list. We can also see that we have a redline under here that indicates the portion of the clippy that's being used in our Timeline. As you can see, we don't have in those other clips that we have here. So if I right click here, we don't have the usage menu option because Sklipi is not being used in any time line. And now let's see how I can find you gklipy in my folder structure, in my computer. Because I want to use the gklipi, in another project, so I need to know where this file is in my folder structure. To the GS, I will right click in Sklipy, and then the last option, the open file location. So my file exploder, we whopping with the file selected. Now I have here the folder structure where my FiO is, and I can copy my file to my other folder engine part in my other projects as I want. So that's a quick chippy that's very useful for your daily work with video editing. How do you find your files in your folder structure. 81. Finishing the little bee editing: Now, finally, in lesson, we are going to make the second part of the editing of Little B time lining. The second part has nothing to do with the little B, is just to practice more what you have learned before. So I highly recommend you to follow along with me so you can pause the Video to make each step in your dvt resolving. So that's the goal of lesson. If you have any doutes, you can ask me in the question and you answer section under here, that I will answer you. The best way I can. So let's go. I will putch it clip, the woman applying crm from the starch to g Sparty, so I will press all. And I will press the F ten key to pch in the G of my Tln. We will delete gt algoclipy by holding Auch and then pressing back space. Now, we have Gs, we go from the B, totally whiting, then we have the other clippy. But I want a transition from the whiting, gradually changing to clipping. To make ge, I will focus my attention on this area. I will zoo in with the Achike and the mousy Let's say I want to t you here the fay een from White. So I will grab it, solid color. I will not you grab you. I will train you to extend you. I will press to snap it here in the play age. And now if I put it here, Fach way. Let's see what we have you. As you can see, we don't have a is moth animation of Gs P jog because it's not possible with this control. T Ma is moth animation. We have just a linear animation of the opacity of Gs solid color that is a white color. So I don't want to use the Phagoc control now, I want to use the opacity control in the inspector. I will select the dysclipi, I will go to the inspector. Then in the setting study, I will shrink it here my inspector to make Mispac under here, and I will go to compulsi Modi to animate the opacity of dsclip. Have a key frames here, I will delete those key frames to make it again. So F g point, I will patch a key frame with a 100% of the opacity of gs white clippy. And then here at the engine, I will make each totally transparent to say 0% the opacity with a new key frame obviously. And now I will open g panel to change the linear animation to a more curvge animation. Smooth animation, I will select your disky frame. And I will press this button to make it is smofer going out of disky frame. And this one, I will select and press this button. And then let's see what we have it. Let's say I want this one to go faster at the beginning. And this one, I want to grab it here, to make it goes is lower at the end. I will grab it. T, I can reveal my animation. And we have it. Geez. I will grab. Again, here the handle of this one. I don't want so fast, I will grab you so let's see. And we have it, I want you this way, a bit faster at the beginning and it is lower at the end. So I will close my panel, and now I want to animate the Zoom of Woman applying cream matching Paging animation. So I will disable dsclipi by selecting it in pressing G to see my woman clip. I will put you here in the starch of dsclip. I will make it bigger. I have a message with d one, d one selected, I will press Control Z. I will select this one, and now I have it in the inspector. We will make it bigger, I will puch, a key frame at the start of dsclipy. And then at the enge of dsclipy. I will putch another key frame with the default value of the Zoom. So I will double click it here, to make e one. And then will will go to the animation curves panel, to make each is mofer. I will click. I will select this one, and I will click in this button, and one, I will click in this button, and then I will select you here and make it faster at the beginning, and slower at the end. Let's see what we have. We need to reactivate the solid color by pressing G, so will have this that's nice. Let's close it. The next thing that I want to do is those camera clicks that we have. So we will go to this party, I will make it bigger here the zoom to see better our frame is to move one frame at a time with more control. I want to split my clipping. I will put it in this part here when the woman has already applied the cream. So I will zoom again. Then I will price C or control B to splitch my clipping, I will go one frame, two frames *** I will price C again, I will delete dispgy. Then we have g s. It starts to look like a clicky. We are going to make it. Here again. Let's see here, for example, I will split, go two frames fg, split again, and the let dispare. Again, we are going to make it here, some frames ahead. I will split it two frames ahead, split it again and delete the spate by pressing back spaces, to leave it the gap. I want to leave the gap. I will go back here. I will press the left arrow one time, another time. And then I will animate the cropping attribute of the topi in the bottom. I will go to cropping. And in this framing this position, I will put a key frame in the crop topi attribute and the crappy bottom, and in the next key frame, I will press the left the right arrow. We grab it more or less to the middle or the quarter of my screen. I need to make some softness here to make it nicer. Say the shutter is closing in my camera. So we have g. We have the shutter closing in our camera. And then here we make the opposite. We are going to make a key frame here in the first frame. We need to pch here three to seven, here, the same thing three to seven, the softness, something like gs. In the next frame, we are going to make totally. And I will do the same thing with the other engines and the starts of each of these parts of the clipping. And then now that I have made the animations for the crop top and crop bottom of each of the parts. I have gs. And let's say to make it different from ds party to ds party to ds party. I will change the zoom and the rotation of each part. So I will select a dsc and I will re o key frames. Same thing with disclpy. And then here I will change the zoom attribute without any key frames here, I will just zooming and the rotated dysclipia. If you see here, we are going to need the retain age position option. Here again, with dysclipa, we will and then rotate to the other side, and then retain age position to don't mess with our shutter. So now we have gs. Let's see. Then now we need to put the sound effects of our camera clicking. I will go to Aug then sound effects. I will search for camera. I don't have it here. I don't have it here. I want another one. So let's impart it. I will right click, impart media, and then in the Aug sound effects, I will impart. This camera focusing in shutter, and then I will hear what we have here. I want G one. I like the g one, I will press I, and then here I will press 02 Mark. In g points. I will grab it to my time line. Let's align it with g animation, and then let's play. As you can see, we have here aclipi. That has only one channel. We can see here in the information. We have one channel, that means that dsclip is a ugoclip. So we can't puch a mono udoclip in stereo algo trach. Because will play only in the left. As you can see, or as you can hear. Let's play it. We have playing only in the left, so I will right click here to change the track type two monel and now we have the algo playing in both of the sides. Let's hear. That's it nicely. Let's copy it. I will train it here. Let's copy it by holding lg. I will copy g two here and here, and now we have it effect. Editing. Very nice. And the last thing that we need to do is to grab it. A four color gradent. Let's take out this search. T from here. Let's go to effects. And then generators. I will grab this four color gradent, to here. Let's see what we have. I want to start from here when she makes satisfying fa, will grab it two here. Let's press. We will grab it Fagan 1 second, and the fat 1 second. I want this clip to B the compulsion mode, color with a lessopast. So we have it. And I want to make it this clip from this party. I will press to snap to clipping. I want to patchy. A key frame for the zoom here. I want to zooming ch here. Then I will make it zooming at this part, I will change the anchor point to focus. In her facing. I will centralize her facing. I will right click in button of the key frame and the easy in two easily smoothly my animation. Then I will make the opposite at part, I will puch a key frame here and here, I will puch another key frame if one, and I will easy again. Then we have gs. I just want to make speedy change to make is lower at dispat. So I will press control r to open the timing controls. I will g a spit point at this position, the starting position of the fur color gray clipping. And then I will put another speed point at the eng. And I want to make is lower here at dispari. Let's say 40%, and I will grab under here to change the position of the g of dispati. And now we have g And that C. We have Mj our gins. We can now put the song here. For example, I will go in the Mija P Musky. I will search here for the name of that song that I have searched in the previous lesson. I will impart it. And here in the folder structure, I have say in the Agios folder, Music, the good night Song. That's the song that I want, so I will double click in it. And now we will mark Ouch point here just after the end of my time lining because I want the Musky two end. A bit later after the image disappears, so I will mark in Noch point by pressing O, then now I will use the alg trak to put my Musski. So I will select here the alg two track as the destination tracking. Then if it this Musky select, I will click here in the overri button or I can go to the edged menu, then Och, or I press the FH kid that I have a sind to the overach command. So I will press FH. To get used to the keyboard church catch. And then I have my song there. I will use Paging the starch of declipy, with 2 seconds and the 20 frames. And then let's play our timeline to see what we have here in the ge of my timeline. I want my song to go a bit more, and then I will make a fajo here too and that's it. Let's play our timeline to see what we have. That's it. In the other time line, I have MG a synchronization in this transition here with another part of the Musk. You can do that in your editing. For example, you can adjust the of the motion path of the B, for example, to make it faster and to synchronize the transition with this part of the point. And just another thing that I have noted here is that when we have the ft percent is pig, there is low motion. That's a good idea to use the optical flow option because let's see what we have here. You can see that the Video is not so fluid with the de fool option, that's the near este. So I will open it, I will expand inspector here, and the retiming process of gs clip with g clip selected. I will put here the optical flow. So we have now a more fluid movement here in the slow motion party. Let's see. Very nice. We have finished the little bit time lining to practice, even more the knowledge is that we have learned until here. 82. Getting to know the OpenFX: Hi, people. Let's go to another lesson where we are going to see what are open effects and how to use it. Open effects are effects that we can apply in our clips, and they are bating the vent resolving. And we have many effects here. We will show some of the effects in this section for you to have the examples of using the open effects and to understand how to configure our effects. And where can we find those open effects? Find then we go here in the edit page to the effect tubing and then open effects filters. Here we have the open effects or resolve effects, as you like, that are the open effects that are buting, Dt resolve it because we can find another open effects in the Internet to install it Here in the catch page, to find the open effects, we go again to open effects, and then in the video tab, we have some tabs here, as you can see, here, let's go to the upper part. We have effects, we have effusion effects, but here we have the reserve effects that are the open effects. Here is start the open effects. I will show them here in the edge page, but they are the same effects. They are divided by categories. We have the reserve effects, blur, the color, we have a fume emulation, and much more effects. We can even search for effects here. One thing that's good to say is that the open effects are customizable here in the inspector. Once we apply them to a clip. They are animateable. Another thing that I need to tell you is that not all open effects are available in the free version of the ventures so for example, let's see here some effects that are not present, not available to use in the free version. So for example, the ch effect. If you try to use ds effect in clippy, you will have a water mark as you can see, and to explain what is happening here. When you hover the mouse cursor over the rectangle of a defect, We have a preview of defect apply it to the clip that's under the play he at the moment. So for example, this one, if I over my mouse button over here, we have the light rays, apply it as a preview, just as a preview to the clip of the ballet denser. Here we have the globe effect, for example, and much more. I encourage you to try many effects that we have here and to apply an effect. It's just by dragging and dropping the effect over the clip. Here, I want to show you let's make more space here. I just want to show you an example of effect, that is the blanking feel effect. Here we have a vertical clippy in a horizontal resolution time line, and that's the reason that we have the blanky bars in the sides of the clipping. And let's say, we want to apply some effect to don't have just black bars here. The effect that you will use is the blinking feel effect that I will search here. I will put blinking feel. That's it. It is in the resolve effect slized category. If I put my mouse over here, we can have a preview of the blinking fiel effect in dsclypi, and I will drag and drop in dysclpi, to actually apply the blinking fiel in dsclipi. I will close my search to show all the effects. Now, let's configure what we have in the inspector, the attributes of the blinking fuel effect, and just an t. Here we have the effect tubby that you are now enabled because we have an open effects in the clippy, and you can go if you want to to the Video tabby to find the Video options that you already know, and you can go back to the effect tubby to configure the open effects that you have applied to the clip. So we have here the blinking few effect just to say we can apply man effects to Acclipy, so you can have a list of effects here. We can open the sections of the open effects by clicking the name or we can close it by clicking the name two. Again, I encourage you to try many of the attributes that we have here. But now I want to show you what I like to do with the blinking few effect, what configurations I like to do. So I will go to the Zoom Mogi and I will change it from stretch to timeline. Zoom time line. That only makes the clip in the background to feel the timeline to fill the frame here under the original clipping. And here in the few appearance section. I will use this blendy edges option. Let's see what we have when you blend it with the value one. We blend you much of the clips, so I don't want it. I will blend just a bit, I like a geez way. I will blur the background. I don't want you so much blurred like Gs I like a This way, for example, and the faja Mountie will *** the background with a color. In this case is the color white that's the color that we have here, the Fage color. So I will fade just a *****. I will change the Fage color. Let's say I want you to put some chill here, like some blue. I will it k? And I will just fade a little less make chi subtle. Then I will go to the drop shadow section. And I will hack the shadow strength. Shadow is just a shadow around the original clipping, so I will put it here. For example, I like g. We can change the droppy distance, for example, the droppy angle. I will just not blur so much. G shadow, and that's it. I like it this way. You can try another configurations here. Another thing that you need to know is to temporarily disable and open effects by clicking here. The same thing you can do here in the video tab, for example. You already know that if you click here, you can temporarily disable the transform section. I have already touch it to you and so the same thing you can do here with the open effects. You can also remove open effects that you have applied it to aclipy by clicking in the garbage button. Let's apply another open effects here, that I have tested and it became very good. That's the globe effect. Let's search the globe effect here and the search magnifier. So we have here the globe open effects in the reserve effects L category, let's drag it to our clipping. And then now we have you apply the blinking feel and the globe effect. We can open each of the effects by clicking the name and the other effects will close, will shrink, and we can expand by clicking the name again. I will change here the shiny Trashold. We have Gs. I will mess match with G, you can try this glow effect too. I will mess with g is spreading. Another thing that I want to show you is that the open effects can be applied in different orders, so you have the list of open effects that you have applied in clip, and the order of defects matters. If you have the glow effect after the blinking few, you have a final result L et's different from the final result. If you have the glow effect before the blinking feel, and you change the order of the filters or the open effects. You just clicking those arrows. So I will put the glow effect one position p by clicking the api arrow here. And as you can see, we have a different effect by changing the order of the effects. So let's see, again, we'll put the glow effect after the blinking feel again. And we have gs and with the globe effect before the blinking fiel. Have a different result. That's a first overview of the open effects, and we are going to use some other open effects and the animated the Open effects in the next still essence to make it very nice editing with then. 83. Transform OpenFX: So now, people, in this lesson, I want to show you in open effects, that's the transform open effects and how to use it. And I'm going to show you in the next lessons of this section. Some of the open effects, just to give you some examples of using open effects, how some of the attributes of then work. So let's go. The transform open effects, is at the end of the open effects. We can find each in the reserve effects transform category, or you can search for each. What we'll put the transform open effects in this clipping, in my time line, and let's take a look in the attributes that we have you to understand you how these open effects works. The transform open effects is something like the transforming of the video tab, the transforming section, but it has more options and more control. It gives to you more control. So for example, here we have almost the same thing as we have in the Video tab in the transforming section, like the zoom, the position x and y, the rotation, We have in a different manner, for example, deposition x and y. Here are two different parameters, not only one like this one, and that allows you to make animation separately because you can patch keyframes for this parameter, and the other key frame is for this parameter. Here you have the zoom, and you have the it t and the height separately, then you can also animate and adjust the zoom separately from the wit t and the height, differently from what we have. D dot. The Zoom X and Y works as it and height, the y t being the x value, and the height being the y value. In here, we have some interesting attributes to changing. Let's take a look in the image adjustments. You can crop gen crop. Like in the Video tab, we have the cropping options. But here we have the edge round option. For example, we can round the edge. It's not present in the Videotb. Also have the advanced edge options that allows you to change the ge behavior. That's a very good thing that is not present individuo tabby. So let's take a look. If you just change the zoom here individuo tab, you will have a black area around clippy, and you can change it here in the Divido tabby. Let's reset it. Because the edge behavior here, is always the same. The edges will be transparency, if you reduce the zoom of the clipping, or if you rotate the clippy, you have a blacky area or better, it's a transparent area because if you have something below this clipping, it will appear in this black area. Here in the transformo en effects, you can change it from transparency to reflex, for example. So if I change the zoom here, instead of having the black area around the clip, we have something like a mirror. We have your reflections of the clipi, around itself in. We have your other options, for example, the rep around that repeats the clipa around itself in, and the replicate option just replicates the edge pixels to the edge of the screen. So if you, for example, rot or change the zoom, you always have that edge behavior, and you also have it the global blende option here. Let's reset it we will reduce the zoom just to show you the global blending. Let's change it here, the edge behavior to reflect to make a mirror. And here in the blende option, we can adjust your animate these blende option to make it totally not apply these open effects, or you can apply how few a you are totally applied, and that's animable, like I said. So the transform open effects gives you more control and more options. When you need to make transformation of your clipping here in the edge page. 84. Drop Shadow OpenFX: Now, people, in this lesson. I want to show you the drop shadow open effects. That's very useful to stalze your clips and to integrate it better with the clippy below the clippy that you are putting the drop shadow. So to use the drop shadow open effects, I will go to my fotos being because I want my little B over this clipping, as an example. I will go here. My little B is here. Let's put it over here. Let's hold shift and turn my mouth to make it smaller. So I can see better. My little B is actually not so little. So I will click it here in the zone Ouch. I go to effects to find my drop shadow open effects. So I will search here for drop shadow. Then I will put it in the B. Clip And now, as you can see, the little B has a shadow around it selfie. I can turn off and on the shadow to see the difference, and we can change here, the shadow strength it becomes more strongly. As the name it says. We have the drop angle of the shadow, we have the dropy distancy. If you want the shadow just around the image, you can put the drop distancy to zero, and you can change the blur of the shadow. You can also change the color of your shadow. So for example, it started by the fool as black because shadows usually are black. But if for some reason you want a different color for your shadow, you can change it. So for example, if I want you to patchy a blue here, I can change it to blue, so I can make my little be shining blue here, for example. That's very nice. That's it. The drop shadow effect is very simple, but very useful to integrate an image with the eclipy below. Let's take a look in another example that we can have you. I will delete this little B. I will make a copy of dclip by holding ch and dragging. Let's say I want to make it dsclip smaller here and position over here, for example. And I can drag the drop shadow to this over clip and have a shadow to esz the positioning of dsclip over this one. So is the before and this is the after. It becomes very nice. I can even use the drop gist and CI zero again if I like it. I like it so, for example, and now we have before G after gs. And just a thing two not is that let's delete it and will delete the d clip and p d drop shadow in this clip. So as you can see if you don't have any transparent area to drop the shadow on. It's not possible to make any shadow inside the clippy. So for example, if I change the parameters here, that's not possible to see anything differently here because the shadow is drapid only in the transparent areas. We don't have transparent area here, so that's the reason we can see any shadow being dropidy. 85. Video Collage OpenFX: Another open effects that we have. That's not so trivial to understanding how it works is the video collage. So I will explain you how to use the video collage and to give another example of using open effects in your timeline. So let's go. First of you all, when I hover my mouse over the vid collage open effects, I can see in the viewer that we have four black areas in aclipi behind you, and that gives us a chip of you what we can have with your video collage. Can have it so four videos or another number of videos in the foreground and another video in the background. That's the reason we have here in our time line three videos because I'm going to use the video collage to make a collage with two videos in the foreground and the one video in the background. To do so, I need to put the video collage up and effects in each of it eclipse and configure it then. But instead of dragging the video collage from here to each clippy. I will first put the video collage in the vido above. I will configure the video collage Then I will copy and paste the vid hoolag to the other clips because as you can see, by the foe, we have four videos in the foreground, in my case, I want to make you with two videos in the foreground g and just one video in the background, so we need to change the settings. Now, this clip selected, I will go to the inspector in the Effect Stuby. I will change the number of rows to have only two vids in the foreground with one row and two columns. Note that I'm changing a configuration of the globals tub, not the tile stub. Then now I will go back and click here to give a focus in my time line. I this clip selected, I will press control C or common C in the MAC to copy the clip attributes, and then I will select those two clips and the press O V or Option V. Will select only the plugins option in this window and apply. Now I have the vis cology open effects in the three clips with the sam configuration. Now I need to go to the first clip, and let's say I want the first clip to be in displace. Let's go here in the inspector, and I need to change this list from create background to create tile because I wanted this clip to be a tile and not the background. And to configure this tile, I need to go to Tile already in the Tile one that is this one. The Tile two is the second one. So I went one in the first tile. And then I went to reposition my tile or my clip inside the tile to center the woman here. So I will go to resize content. I will pun the clip a little ***** to the center. And that's it. I I chit the clip, it will be yellow here because I don't have a mark clip under here. You can feel free to explore the other parameters that you have here to crystallize more your video collage. Here, I'm teaching you the basics of using the video collage, how it works. So I will go to the next clipping to make it the second tiles. If it just clip selectedy, I will go to the inspector. Again, I will put the list to create tile. I will go to the tiles again, the Tile te. This one I need to be the second tile. So I will put the tile two option. I will resize my content two pin to the center. Let's see if we can tut it down, we can't, and the third clip d clip in the background is already configured to be the background to create the background, so it will be the background of our collage. That's how the video collage open effects works, and you can feel free to go to each of the videos and change the other options that we have. I encourage you to explore it If you had, for example, a cool with four vids, for example. You need to put each tile in the right places, so you would have here the tile one tile two tile three tile four. Remember that you need, if you change the number of tiles or the style of each tile. You need to go to each clip, that is a tile, change the configuration to be the same. Or if you change the configuration in one clip, you can click in that clip, copy the attributes with a control C, and with V, pasted the attributes in the other clips and then you need to change again the active tile for each clip for each you want to be in the right place, and that's it. 86. Adding music to the Drones Project: Hi, people, now in this section of the course. We are going to make some new edge things in the Drones project team. We are going to edge Musky to the timeline, and we are going to make animations using open effects in the Drones project. So that's the second step that we are going to make in this project. And just to say here I'm doing all the timelines in one project, that is the first project. Because that's the project of my course, but for your organization if you like. It's a very good idea to make each project separately, so you can make the drones project in a separate project and to make so. Just to remember, you can go here in House icon, that's the project manager. You open the project manager. You can then create a new project by clicking here in the new project button. You give a name, you click in create and you enter the new project. So, let's go. I will add Musky to my drones time line now. My drone is from zero. I will close the inspector to make Mar space here. I will press Shift Z two fit to the screen. Let's go here to the Agus being then Musky. I can double click in the songs here to lodging the viewer. And then I will press space bar to here the Musky. That's the Miki that I, I want it from the beginning. As you can see, I have Jimmy. They play By level of the songs here in Da vinci because I don't want you here in full volume. So now if it track is selected, the song selected. I will pch pin here in the timeline to determine t where I want Miski to be inserted, so I will press O here. I want you to go t here. You'll create a new sound track a new algo trache. So right click here in the d new trache and I will perch as hystereo, because my Musky is hysterio. Every time you have a musky song you perch in your Ty line. It will be probably stereo. That means that it has two channels, one that goes to the left sig, and one that goes to the right side. So I will click here in hystero, I will perch and name it to the trache as Musky Now I will click here to choose the destination track as the Musky tracking. And with the clip selected, I will go to O Rach, and then my Musky is here in the timeline, let's play it to C two here. Nice, I will putch a paging here in the beginning of Demski, something like 1 second, g one frame. V nice. In the g, I will make a *** out of Demski ch. I went Demski g. Sometime after the g of the image, so I will grab you here t, a little *****. Let's see how much time we have you after the g of the time line. I will click it here. I will press is nappy in the g of the image. 23 seconds, g and seven frame. Here, we have 27 so. We have 4 seconds of Musky after the ge of the image. I will make the fa out here until here because I want to fade out the image two. I will put it M two here before the fa ouch of the image. I want to make the fa out to start faster and two ge mar softly. To make so, I will go to the Dutch. I will grab it here to make d curvy. We have a faster, as you can see here, I will hold shift change turn my mouth, will to make it taller here. You can see that it is faster here at the beginning and lower at the end. Let's see what we have you. Are you perching full volume here to see again? It's very nice to me, and that's okay. We have our Mussky. Now we are going to make the animations with open effects in the next lesson. Hope you there. 87. Adding OpenFX animations to the Drones Project: Let's go now to make the animations with open effects. And to do so, I will go here to the T line D. I have already made the editions. Just to remember to have those tabs of time lines, you need to go here and activate the display tack the time lines. So let's take a look now. The engine of our timine, where we have the effects, I will press shifty z just to see my entire timeline and to show you how to know if the clippy has open effects to it. We can see here in the left corner of this clip, that we have the effects icon, that indicates to us that dsclip has open effects, apply The other clips doesn't have open effects because they don't have the effects icon. We have open effects only in dclipi, and I will take a look here, I will press Shift Z again two CH Marzom Oguchi and Turn are Mozi. Will play until here. I have splitted two don't have open effects before this part of declipi. So I will play to see what we have here. As you can see, we have some open effects making a nice edgein. We are going to open the inspector and selected dsclipi to see the effects here in the effect tab. And as you can see, we have the radial blur applied to dsclipy. And the camera shake we will talk about the camera shake later. So now we are going to talk about the radial blur, and that effect is the effect that is that some type of Baching here, and here again and here again. And we are also using some animation the video tab with the Zoom attribute. So let's go here to the drones from zero time line to make those effects. We need first to find the bits that we want. So I will in here, and let's go to the sparge. I want you those bits, let's zoom in here. I will press now shifty S to activate the alga scrubbing. That means that if I scrubby, I can hear the alga. As you can see, to find the bits that I want you. So let's hear. I want S Bach to make my edging. First thing, I will split this clip in dispatch. Some frames before S Bach by pressing Control R C. If you have assigned the C key. Let's go to the effect sebing. I will grab it here from the beginning the radial blur to diclip. Let's go to this Bach or just a frame before the start of this Bach. Let's. I will patch a key frame in the radial blur, and I will make it somewhat more strong like 0.500 and so To frames before. I want to make it zero strength. Let's go to the next icky frame by pressing here. I will click here in the timeline. To give focus, and I will press plus H enter, to move my play HGH frames to the right, and I want to go back it to zero here. Let's see what we have it. It's nice, and now I want to repeat that effect to the next bits that's equal to this beach Let's here. Here we have. F. So here I want the effect to be the Mx strength. I will repeat that process in each beach of the Musky to the right. So I will go back two frames. We have the zero here. I will perch a key frame now. I will go for two frames again, and I will perch 0.500 and so. I will click it here plus H enter, and I will go back to zero. And let's repeat that process to each beach. I will fast forward here the video to show you the next step that we are going to making. So do this to each beach. And now let's see what we have here. From here. I want to use you also the video tab to make an animation with the Zoe, so I will go here to this Bach. I will go back two frames. Let's go here to the effects, tabby. And I will go to the first frame of it attribute of the Open effects. Then go back to the video tab. I will puch a key frame in the Zoom option, and two frames Farg. I will make the Zoe a Bach bigger. I will easy and will easy in the first key frame. I will click here and then plus H enter, to go to the right H frame. Here, I will go back by double clicking the Zoom attribute to zero. A will easing key frame two. Let's see what we have it. I want some more zoom, so I will go here to this key frame of the middle of the beach, and I will make it somewhat more zoomed and let's see now what we have it. If you like our editing, Verna, will click here to copy and paste those key frames because the animations of the Video tabby are possible to copy and pasting. So I will select those animations. I will go here to the Effect tabby. I will go to the next beach where we have the key frame of the radial blur. I will click in declip, and then will press Control V to paste. Again, we are going to the next and next and next key frame. I will click in declip. There will paste you with Control V. Again, next next, and next, click in D clippy, Control V. Again, next and next next, click in declip, Control V. Let's see what you have now. Very nice, we can do another one here at the end if you like. I will leave it as it is in that C. We have the main animation of the open effects using the radiobler and the video tab, and we are going to finish the animations of the open effects with the camera shaky in g of your image in the next lesson. 88. Finishing these editings with the Camera Shake OpenFX: And now let's go to finish this section with the camera shake here in the engine of this clip, with some animation. So I will search here for shaky of camera shake. That's it. I will puch it here. And first, I need to change the motion scale to zero because if I don't change it, I will have a motion scale throughout this entire clip. So if you see we have here a camera shake. If you like you can leave it. So but I want each only in the engine. So I'll puch each here at the beginning of the phage alti. I will take out the motion scale. So now we don't have any motion of the camera shaking. I will puch a key framing and to the engine. I will take out this pati just to see the result of changing the motion scale. So I will change it here, just a little ***** the motion scale. I don't want it so fast, so I will change the speed scale without pch a key frame. Don't want you so tags. I will take out the uti amplitude to something like the pen amplitude. I want to some more rotation. Let's see what we have you if the phage again. We have you. G. Not so much, so I will change the motion scale again to something like G. Let's see. Let's make it faster. Now we have some camera shaky that's visible. I want you also to make some zoom at the engines. We go here to the video tab. We'll click it here where we have they start you off our Fach where we are going to put, they start you off our Pach. We have a key frame here. No problem we are going to leave this key frame here. If you would you like to begin from here, for example, you would need to another key frame. To the G to here, for example. I will make it a little bit zoomag, not so much. I will go back to diskey frame, and I will right click it. And I went to easing and Ouch because I have already Eazy g in, so now I went to easy out two to not take out Daz in by clicking Daisy Ouch. I need to go to the option easing and Ouch. And the next one, I went to easy in two. And let's see what we have you with the fade out again. Very nice. So let's see the entire editing of Gs clip of the g of the drawn stim line without the gene to avail our entire editing. So let's see, in full screen. Very nice. I have solve some problem here at the beginning. Let's We have something here. Let's press any two don't snap in here. Let's take a look in the effects if we see some change in the parameters. I will press Shift S to take out the alg scrubbing. I don't want to hear the algo. While I scrubbing now. Let's go to the video tab because in the effects, we don't see nothing different in the beginning of the clippy. And here what we see. Okay. We need to change the camera shaky attribute of Zooming. That's the problem here. So let's go to the effect tab. I will open the camera shaky, and I need to take out the Zoom two crop attribute. So now we have An problem here, we haven't any problem. And we need some zooming here at the end because the camera shaky makes the clip shaky and we have some black areas around it or transparent areas to say better. So I will make from here, the Zoom two crop to be 02 here like a 0.05. I will double click it goes to the def value. So let's see what we have. And very nice. And that's it. We have made the second step of the drones project. I hope that you follow along with me because the purpose of those projects is to improve your editing skills by making some nice editings with the knowledges that I have a passage to you. So I always encourage you to follow along with me. 89. Dance Project presentation: Now in this lesson, we are going to see a project that is the dense project, to show you some creative ways to create animations using open effects, composite modes, and overlays. So I will present you the dense project. In this lesson, but first of all. We need to impart the dense project. I want you to impart the dense project because I have put it in the resources of this lesson, so you can download and impart it in your project. So to impart the dense project, we are going to open the Mijapo. We are going to go to the timelines being, go to an MT space, right click, and then timelines in parch. You go to this first option that has the DRG option. Then you go to the folder where you have saved the dense DRG T line, double click in it. We have the dense timeline parted to our project, and probably you will have some media lines. So you need to go to your time line here. And if you have any media offline, you will right click in that media, go to finding Media Poo option, then your media will be shown in the Mija poo. You can right click in your clipping. Go to the replace selectag clip option. In the folder, you selected the media that you want to attach to that offline media and then open. Now let's see our dense project. To see what we have here. Let's go. Will put it here in the beginning, go to Fu screen, and let's see. So as you can see, we have many effects in this timeline, that we are going to make the next lessons of this section using mainly open effects with a key frames to make animations with the open effects. We are going to use semi overlays and composite modes with those overlays. So let's go to the next lessons. 90. Applying OpenFX to the beat of the song: Now in this lesson, you already have the dancy timeline imparted to your projecting as a reference for the new one, that you will make it the editins. So I will create a new timeline. And to do this, I will select those two clips with the people dancing and the Muse. I will right click in any of those two clips. Then create new timeline using salta eclipse. I will names D, and I will create. Now I have G. I can grab Glip to the sparge. I can trim GS one with the Musk. I will press snap, and I will press Shift Z to fit to the space of my timeline. Let's ding the playback of the Mk to play with a lower volume, and I will play g to see what we have now. So as you can see, we have this beginning of the Musk that I don't want to use. So I will slip the dsclipi. Of the Musk inside itself by pressing g. Now I mean the t edged mode. I can go to dsclipi, with the cursor of the mouse. Like so. And I will slip dysclip. At you, we have the starch of the clippy with those higher peaks of volume. I will hold Shift G and you turn my mouse wheel to make it bigger, to see better the bits of the song. Let's play in this part to see if those bits are the bits that I want. That's not the bit that I want, so I will lip more. I want to one. Yes. I will patch here in the start of my timeline. Let's say I went this first beach higher beach, 3 seconds after the beginning of my timeline. So I will position my play Hg at the beginning. I will click here to the selected the clipping, and I will press plus three periog. And then itch enter. Now I me with the play HG at the 3 seconds position, I will slip it clip. Until here. Because I went to the first beach, to start at this point. After 3 seconds of the beginning of the time line. I will make a phagen in gs clipping. I will grab little Dutch here to change. The shapy of the phagen. So here we have a less volume. And here we have a more volume, this curve of volume, not a linear volume change. And let's see what we have. So in this first beach, I went to insert and open effects to make an animation, and I will use the open effects Zoom blur. So I will go to effects Open effects filters. I will search for the Zoom blur, and it is here. So I will put in this clip. I will go to the inspector. Zoom in here in the timeline by holding Ouch and turning the mouse wheel. And then will change the zoo amount to make it more of theft. I want to G way, for example, and I want you gs to be the max effect in our animation when we have exactly the beach of the song that is here. So I will put a key frame in the Zoa Mount here. I will tap three times in the left arrow to go back in three frames, and then I will put the Zoa amount at the zero. Now we have it g Okay. And let's say to the eng of S Beach here, for example, I want the Zoo amount to go back to zero, so I will double click it here and put zero. Denne. So now we have it g. Okay. Let's use another open effects to make our animation even nicer. So I will search for the Prism blur. Let's search here, Prism blur. I will put it in the clip. Then again, I will put my play head here at the beach, and I will use it the attribute, aberration distance. This one aberration strength. I will make each higher. I will puch a key frame for the aberration distance here at the Bach and also to the blurry strength. The position of the center, I will leave each at the default center that is at the center of the Video. Then I will go back a three frames, and now I will puch the blurry strength at zero, and the aberration distance at zero. Two. Now we have this. Again, we need to put until here, the animation back 20, so I will putt the blurry strength. Choose zero again. The same thing if the aberration distances, so we have it gs now. Let's say I want you back to zero, before the other one the Zombler. So I will position my play head before the g of the animation of the Zombler, that is about here. And then I will pch at zero, those two parameters. And then I will go to the next phm, and then I will take out the phrams, and now we have It's always a good idea to review and change the animation at your W, to make the best animation that you can. And the last animation that I will make it here is the animation with the Dent open effects. I will search here for Dent. I will put it in the clipping. And here at the strength, I want some strength here, but before I need to change the type to a type that I like, that is the type two You can see we have a defect here, the center of the image. I will make each bigger to affect all the image. I will change each here. I don't want so much of gs. Let's see without the dentch, and with dent, I want you less. I will patch you a key frame here at the beach of the songy. I will go back in three frames. Then I will put the strength at not zero because I don't know why not zero for d one. A chip for you is that this one needs to have the strength at 0.333 to make it like the normal image. Now we have g. Then at the end here, in disposition, I will again put the strength at 0.333 to make the image to go back to the normal image, and then we have. You can play with the parameters to make the best animation that you can. But now, let's say we want you to copy dose open effects and paste at the next bit that is equal to d one, that is ds one here. Let's play. We always have those bits repeating, and I want to copy and paste, those animations at the other bits. But to do this, if you click it here, let's go to the selection mode. If you click it here at the keyframe button, you can see and thing. Nothing appears here for you to copy and paste. And here, if you click it here, you can see by going here, you can see the strength parameter. Can access the key frames here to change it. But if you selected those key frames and try to paste it in another place for example, here, if I press control V, nothing is paste. So as you can see, it's impossible to copy key frames and paste when you have an animation of the open effects. I will show you in the next lesson, I work around you to copy and paste animations in the other bits of the music. You don't need to make all the animations again and again and again. You just need to copy and paste it after you make the first animation to make your working much easier. 91. Using Adjustment Clips to copy OpenFX animations: Now in this lesson, we are going to know the adjustment clips, and you use it those adjustment clips to make cops of the open effects animations to other parts of our editings. But first of all, what's an adjustment clippy? It's just a clip that we put over other clips and make all types of changes that's possible to do in a clippy, and those changes or animations or effects. Will be reflected in the clips behind that adjustment clippy. Let's make an example here. To put an adjustment clip in our timeline, we go to the effect tub, then again in effects. And the first option is the adjustment clip. We grab it to the timeline over the clip that we want to make the adjustment. I will put my playhead over the adjustment clipping and here with the adjustment clip selected. I will make some changes to it. So for example, if I change the zoom of my adjustment clip I'm changing the zoom of the clip behind the adjustment clipping. If for example, I go and put it and open effects here, let's put the mosaic blur here, for example. It will be reflected in the clip behind the adjustment clipping. If you will have a man clips under the adjustment clipping, it will reflect every clip behind you, and if you have a clip over the adjustment clip, it will not be reflected in that clip. So the adjustment clip only affects the clips that are behind it. If I grab the play HG out of the adjustment clip, we can't see anymore that adjustment that it applies to the clip behind it. We are going to use this adjustment clip to make it the animations with the open effects, the same animations that we have made in this clipping. But just time, we are going to copy the adjustment clippy to the other bits where we want it to have the same animations. That's a very good work around for the fact that we can't copy the key frames of the open effects. So let's do it. We will align my adjustment clip here to the first beach, that is one that I can see by the wavy forming. I need to align it. At least the three frame is before the beach, so I will put the play head over the start of the beach. I will press three times to the left, one, two, three. So we have covering s. I don't want to go past the next bit. So I will grab it here to trim this adjustment clip before the next ***** of the song. Now I need to disable the open effects that I have put in this clip. So I will click to select this one. I will go to the inspector in the Effects tab. I will click it here in this red dot to disable each of the open effects in this clipping. Click again the clip to give a focus in the timeline area. Then I will just press Control C or comment C in the MCI to copy the attributes of the clip because I don't want to grab again the open effects from the effect stub. I will click in the adjustment clip and press O V. Just a quick and G useful chip for you. If you want to select all the attributes here in the past attributes window, you don't need to go click in one by one. You just need to click here to select all or click again to deselect. Now I will levy all the attributes the selected and just select the plugins because the open effects are plugings, and then each apply. Now I have the same open effects in the adjustment clipping. I will activate it then here. I will click in G zero to reset the Zoom blur, the prismi blur, and the dent. So I have deleted the animations that I had because they were not at the right place and I will make it the animations again. Let's put the playhead at the start of the Bach. Let's go back in three frames. Let's put a key frame in the zoom amount. Then let's grab it here to the left, to make it Zoom, the prismi blur. I will put a key frame just in the aberration distance. I will make it higher the aberration strength. Let's put the aberration distance. Bigger here in this key frame. I will take out something of the blur. Then in the dent, I will puch in the type two. I will grab the size all the way to the right in the strength, I will put something like this farting. And I need to putch a kyphme here two. In the strength, I have forgotten. Now, I go back a three frames to the left 12, three, and I need to put the strength 2333, enter. In the Prism blur, I need to go all the way down to zero here in the aberration distance in the Zoom Blur, I need to put the Zoom amount in 02. A, Remember, I need to reset the zoom that I have made here in the video tab, so I will click in zero. And now let's see what we have here. I also need to make the facts going back to the normal. So I will go again to the facts. I will put my play age at the g of Bach. I will go to Dench. Let's change again the position of the play age to update the values here. Then here I will put it again in 0.333, enter the Presl again, I will put e20 aberration distancing. And in the Zobler, I need you again to put the Zoom amount 20. That's it. Let's see what we have. That's it. The animation is made in the adjustment clipping. If you need to make any changes. I recommend you to make changes in the parameters to see what will look better for you in your animation, and when you are done, we need to make it cops of the adjustment clip. To make it those cops, we need just two in the keyboard or option in the Mach and drag the adjustment clip to make a copy. Let's put it here in the next beach that's equal to this beach. This one is different. I think that we need to know is that if we click it here in this key frame button in the adjustment clippy. It's not possible to see the key frames now, but let's make the other thing that is clicking here in the curvis panel, which activated the curvis panel. Now we can see the keyframes here, to align with the beach. We align the playhead with the beach and then we need to move the adjustment clippy two hey Gs key frame aligned with the play hedge, that's aligned with the starch of our beach. To make Gs, we can just grab the clip if we want to. Or if you like, you can press coma or pyog to move the clippy. One frame it to the left with coma or to the right with pyog that's it. It's a linag We can click it here to close the panel, and let's play again to see what we have. And you can make the same thing with this next *****. By holding out and copying, they are just matched to each of the bits that you wanted to have that animation. 92. Making the opening distortion: Now in this lesson, we are going to make it the opening distortion of the clipping and the Fagin. To make e, we are going to use the Dench open effects again. But I don't want all this time of clippy before the first beach. Let's see. I want to cut something like here. For example, I want you the clip to start here. So I will press to go to the trig mode, and I will grab it here to tr dscpi and ripple the rest of my time line, and that's it. I will go back to the selection mode by pressing A. I will grab again paging of the And before making the paging of the clippy. I will activate the dent, so I have you selected the dsclip. I will click it here to activate again the Dent open effects. I will reset it by clicking here. I will open the dent. I will again use the Type two option. Just a thing I'm using the open effects in dsclip and not in an adjustment clip. Because now I don't want to make any cops of the animation. I just want to the animation in the beginning of the clip. So it's okay to use it here directly in the clip. So, now, let's make again the size with the value one. Let's make the strength. Ngavi, like so. That's not negavi, but we know that our Dutch tt tree is like the zero, so now we are pushing the image back when we have a value lower than Dutch tt tree. We need to push a key frame here in the beginning of the clipping. We can also choose which edge behavior we want. I like the reflexi edge behavior. If you like you can use, for example, the replicate or the wrap around, the wrap around is not so good in this case. Let's stick with the reflexi edge behavior. We just need to go until here, for example, to make our animation, and now the strength will put another key frame with the value 333. Now to make the paging, we are going to grab this thing here to the play gene, and let's play to see what we have now. That's not so good because we need some easing of dimation, and so abruptly, and to make this easing. We have two options. The first option is if you have already sology, the Davin resolve nine chin public i beta version. You can make the easing of the animations of open effects here in the curve panel, the same way that you with the key frames of other panels like the Video panel, for example, but we need to go here to the beginning. And we need to click in the Dent to show the Denty here. We need to now go to arrow and click in the strength. Attribute to show the strength frames here in GS panel. And now I will select those key frames and press GS button to make it mofer. Now I will select only G one to change the GS handle up. I will change up to make it faster at the beginning, and then it will go declarating to the g of the animation. Let's see what we have. It's nice if you can change the parameters and make the animation your way, but I like it so. I will close this panel. And the other option, if you don't have the da venturies of 918, if you have already installed the Davinories of, I will teach you how to make easing of the animation in a further lesson. Because in the ventors vihing, it's not possible to make the easing of the animations of the open effects. It's possible for the Video effects, for example, but for the open effects, it's not possible if you come here to discove panel and try to make g easing of the key frames of the animation. In the ventores VHing, it's not possible, and I will teach you in a further lesson, how to make it easing, using the fusion page of d ventories ing. That's it. O animation of the opening, the distortion animation is done. 93. Combining overlays with composite modes: Now in this lesson, to finish our editing. We are going back to the dense time line to see what we have here. And as you can see, over here, we have some overlays like this one, that's the matrics letters overlay. I appears and then appears fades out. Here, we have another overlay that's a glitch overlay. And all of those overlays, we use it with the compose mod screen that's supposed to be used in every image or video of the overlays that has black areas that should be transparent, like, We have other overlays here like this one, that's the same thing as this one. We have a light leaky here. As you can see, if I z d clip. It appears to see what we have differently here, and this one that I'm using as a transition between those two sines, the Zoomeg and cropd sin and the normal sin. Again, with the compost moody screen. So let's go to the dense editing time line to make it those editins. I will go to the overlay being or better than Gs. I will go to the dense material that has all those overlays separated for us to use it easily. And then will grab it d one, the numbers overlay over here. No, Let's make it smaller here. I will put it from here. I will press I, and then I want to here. I will create a new track to put the overlay, so I will go here in the Ed track. I will select the V T track to make eight as the destination track. And with this clip selected, I will click in this button to put this clip only here. Let's see what we have here. As you can see, we have the beginning of the clip here, so I will slip the clip to a further part. So I will press to go to the tr addit mode, then with gs cursor in the middle in the center of the clipa will slip it. I can see there in the viewer, the first and the last frame of this clip. We have a problem here. As you can see, mistakes happens, and here I have added the clippy with the algu the alg has overwritten our music. So you press controls it do, and again, Now to put only dclipi with doubt the alga by pressing here. Can do g in two ways. One way is to close the inspector, and you open both of the viewers, and here I can load GS and grab from GS button. That's the button of the image only over the viewer of the timeline, and then overachi with the V T track. As the destination track, or I can go back here and the select the Audio one track to not have any Audio destination track. And then with this clip select, I will click in overach press F H. Then we have only the image. Now I will slip the clipping side itself again. That's it. That's good. I good start with many letters. I will make the compassion moda screen. The posture will change it to something like gs. I will zoom in Little *****, and I will make a paging and phage out of the clipping. Let's see what we have now. But now as you can see, it doesn't integrate very well with the gu, so I will make it from here, the starch and animation with the Zoom from this value until here the eng to something like 90 or so. And let's see now what we have. We have this. It's better. I went to some more adjustments here. I will use another open effects, so I will go to effects filters. I went to hear a radial blur. I will put it to here. I can turn nothing and on to see what difference it makes. And I also went to the Gausia blur clippy. Let's see what you have now. I will grab es Pagan and Phago. I will make it the clip more transparent here. Let's see again. It's nice for me now. Let's grab the other overlays to other parts like this one, that's the glitch overlay. We can put here, for example. And three, I will press any snapping. Let's say I want only this part, so we'll put the screen mode here. And we have gs. I will fade you here. Now I invite you to be creative and make the other gins that we have in this dense timeline. As you can see, let's see here. We have some solid colors here like solid color that I have here that I used with the composite mode opacity of 43%. Can use an other adjustment clips like it, one that I have used to make some zoom and some cropping, as you can see, if I disable this clippy, we don't have the zoom cropping that we see here. One that I have used to make some other editions as the rotation angle in the zooming and some effects that I have put here. That's the same effects, the Zoom blur, the prismi blur, the D Here we have, again, some ch leaks used as overlays with the composition mood screen. I have also animated the paste, as you can see, the parameter changing from the beginning to the end. Here I have used that transition that I said to you. This ch leak with the screen composition mode as a transition. And what we have here. For example, we have some copies of the clip here. Those copies are like ghosts that I have made here and here. Changing the zoom and deposition of the clippy using the screen composite mode and the lowering the opacity. As you can see, we have eO animated. If I able dS clippy, it's the face of the woman in dispatch, and this one is the face of the woman in dispatch, as you can see. So we have d animation. And that's it. I invite you to be creative with those knowledges that you have already learned to finish those editings with the dense editing timeline. 94. Changing the color of the styled edge: Another technique that's very useful to do is to change the color of this edge because you have here a greenish edge, and you can change it in the configuration of the prismi blur open effects. And then I want to show you how to change this color, because if you want to stylize, you have more control over your edges, that's possible to do. So to change it this color, I will right click in this compound clip then open time line, then here inside the compound e clipping. I will go to effects then generators, and I will grab a solid color over the eclipse. I will position at the beginning, and I will tri to the engine. I will press any to his snap. And this color, I need to change it to the color that I want to puch in the edge. So let's say I want to puch a gi at the edge, so I will change it to gi here. Now I need to go to the Serene Seb and change the compulsion mode to something like overlay. Now I have this gig, nice. Then I will go back by double clicking here to my time mill or I can go to my Tine Dp and here in this tech Tins. And that's it. We have the result. The reg edge. And if we need to change the color, we go again to this compound clypio pine ty line and change the color of this solid color at the generator tab. For example, if I want it to be blue, I changed to blue, go back to my timeline, and now we have a blue edge. Very nice. 95. Exporting your timeline to a video file with the Quick Export option: Now that you have your timelines edited, it's time to export your timeline to a Video file, so you can distribute that Video file or epilog streaming service, for example, and there are two ways to do this here in the vent resolving. The quick expat option and the deliver page. The quick expat option is not so powerful like the deliver page, but it is like the Nm ss and easy and quicky ex parte option. So let's take a look in this lesson. In how this option works, you can find this option here in the page and in the catch page. And even in the file menu, you can find the quick part option here too. We will open it. And here we have s window with some presets that we can choose to ex part our Video. As you can see, we can't configure the export settings of your video, so we can just choose a preset and export. The main preset that we have here is the h264 and d, the h265 master presets for general purpose. We have you also options like the UTube VMO, Twitter, and the other streaming services. Presets. If you for example, click here in UTube, you will be exporting with the best settings for Tube. You have also the option to plod you directly to D streaming services. But first, you need to sign in D streaming service. For example, in the VMO is streaming service. I'm not signaging, so I have the option to sign in by clicking GS buttons, and then we follow the steps that you are proposing to us. Have you also do the options to sign in here in the Davent resolving menu then preferences. And you go here in the Internet accounts and choose which account you want to sign in here in Da venture resolving. So let's go again to the Quick x part options. Let's take a look in the Tub option. If I click in the Apology directly. I can choose a privacy mode. For example, private public enlisted. We can patch title description, and so Here in the h264 option, and in the other options. If we click in the x part option, we need to choose a folder where to export our file, and then we click Save. So the vents you will part our file. Let's take a look. It's x parting now. It says the remaining timing, and that city will cancel here because I don't want to x part now. Then when the parting finishes, you have your video file in that folder. Another thing that's important to see is that you can select a part of your timeline to x part. If you don't want to party the entire time line, let's say you want to see the result of some transition or some editing that you have made. So for example, let's say I want to select this transition this part to see the result, and to do so, I need to go to the beginning of the part, that I one and press I to patch and in point in that part, and then the other part, I need to press o2p and Ouch point. So now I have selected the dispatch of my timeline with the and Ouch point. And when I go to export my file, I can see here the duration that I'm exporting that he is rounded to 6 seconds. So I'm exporting only 6 seconds of my timeline dispatch. I can also change the points by dragging the or I can go with my play hedge to other part and press O to change the Ouch point or I to change the point. When I want to take out do in and Ouch points, I can press ch X, and now I can export again my entire time line. That's the first option that we have, that's the quick export option. And the last thing that you need to know about the quick export option is that you can save a preset created by you, but you need to use the deliver page to create that preset. It can be very useful to save a presetch. If you want to always to export with some settings that are the best for you, and you use that presech through the quick export option. 96. The Deliver page interface: The other option that we have to ex parte, our timeline to a VGo file is the deliver page. So let's take a look in the interface of the deliver page, and how it works. So over here we have the first part are the first panel of the deliver page. That are the presets that we can choose that are more presets than we have in the quick ex parte option. Here we have space to perch a name and choose allocation to our video file to be exported. Under here, we have all the part settings that we can choose to export our video. Those part settings will change according to the preset that we choose over here. We have also more options under here if we scraw down. Here we have our time line that can be Zoomed in or Ouchi. So we can select a pch of our time line. In the same way that we have a D in the previous lesson. So for example, if you want to select from here, you press the key and two here, you press the key to pch point and Ouch point. To take out those points, you can just click it here and you go to entire Te. Or you can press the tra X button the same way as you did before. After you have configured the part settings of your Video file, you can click in this button that's the edge to render Qe button, to put a render Joby here in the render queue. The render queue can have many rendered jobbis, to render all a chance. For example, if you want to render many time lines at a time, you can load a timeline here, you set the x part settings, you edge that you render job to the render Q, and then you change the time line that you have here, we have a list of time lines, the ten last time lines that you have loaded you. You can choose your time milline here. Or if you don't have it in the last ten time lines, you can go back to the edge page, you open the beam where you have the time lines and you can double click to open that time line, and then you go back to the deliver page. Here I will change it directly from the list. For example, will change it to the transitions timeline. Have now the same settings that we did before. If you want you can change the settings, or you can leave each as the previous timeline that you have added here, and you click in the edge to render Q. So now you have these two jobs to render here. To ones that three ones that we have here are jobs that she was previously completed. We can even click here in the three dots and clear render G jobs. And we see here those two jobs, we can't put as many as we want. Now we need to select the jobs that she we want to render. Click it in the render button. So when we click here the Venturesolv, we will start to hinder those VDO files, and we can't do anything else when the Venture solve is exporting a file. Once it's completed, we can use the venture solve again to make any other things. Just an important thing to note is that you need to change the name of the file before you add to the render queue. Because if you edge with the same name, you will be overwriting the previous file because it's in the same location with the same name. So you change the name here, let's say transitions example, and then you'll press the edge to render queue button. Now you can select the timelines that you want to render and then click in the 97. Finishing lesson and what comes next: Now we are finishing our first part of the course, that is the video editing party. I would like to thank you very much for staying with me throughout this entire part of the course. That's very valuable to me. I hope you have learned many things to master this great software and what comes next. A saying better, what's coming next? You can see that we are hearing a different setup. You haven't to lose anything. That's the color grading section of the course that I'm producing right now. I'm preparing the recording the lessons for About November of 2024. I'm going to release this part of the course, that will be a full color grading course for you, a very in depth color grading course with color management, color correction, color grading. In other words, the full process of the color puse production. But by now, we have finished this first party, we have in many other parts to come that the next is the color grading. We will have the V effects part of the course. We will have the sound designing part of the course that will be very good too. I promise It states energy because I will be releasing those parts in this year and in the next year, so you can dive even more in the vent resolving and learning much more things. Thank you for your attention, for your trust, and if you have liked the the course, please considere making a rating and a review of the course at this moment because that's very valuable to me too. Let me show you really fast how to make a review in my course. Just need to go under here. We are in the projects and resources tubby. We need to go to the Review tubby. You go under here and click in the Ovia Review button, and then you leave review you save it, and then you're helping me a lodge by doing this. And that's it by now. Goodbye.