iPhone Filmmaking - Create Cinematic Videos From Your iPhone

1. Introduction: Hello everyone and welcome to the iphone filmmaking course. In this course, you would learn everything about filmmaking from an iphone. This class is for absolute beginners and I'm going to be teaching everything to everyone who has no experience in videography whatsoever. In just a few hours, you would be turning yourself into a professional videographer. My name is adding, I'm a professional videographer and a photographer. I am a course creator, I am a Youtuber and I am a freelance videographer, and I do videography for living. And I have taught everything to myself by myself by watching tons of Youtube tutorials, by reading tons of blogs, and by just gathering information from wherever possible. And that's why it took me seven years to get to the place where I am, which should have literally taken me six months. That's why I make these online courses so that I can teach you in the easiest possible way so that you don't have to waste time watching different Youtube tutorials which has no direction, no practical examples, and no structure. Let's get started with this class. 2. Class Project: For the class project, I would encourage you to film a 1 minute video. In that video, there would be some cinematic sequence and I would also want some sort of logging in that video. I want you to use an external mic, or if you're using the iphones mic, then just film where there's not much background noise. I want 1 minute video, which would be a mixture of cinematic video and that video can be in your house, like how I showed it in the course or that could be outdoors. And before you start this class, all the video clips that I've used in the editing section that is linked in the project resources. 3. 1. The Basics Of Videography: Welcome to the first section of this class. I would be honest, the thing, what I'm going to teach now can be a little bit boring because we're going to talk about some technical terms. And these technical terms would help you immensely in videography. And of course, if you are someone who has no idea about what he should have, speed, aperture frame, reds per second, do not get over them. I'll try to explain it in the easiest possible way. And even if you cannot understand now, we would be doing tons of examples in the upcoming section. So by end of this class, everything is clear to you. So let's get started. 4. 1.1 Frame Rates Per Second: The first term we're going to discuss is frame rates per second. What is frame rates per second? Frame rates per second is usually referred as the number of individual frames your camera is filming in 1 second. Say for example, if your video camera is filming at 24 frames per second. Which means that your camera is taking 24 frames and combining them together in 1 second. To give you the video output, I'll give you an easy example. Imagine a flip book with drawings on each page. If you flip through the pages quickly, then you realize that the entire section becomes a video. And that's exactly what framer it is. In the flip book case, each page represents a frame. The faster you're going to flip, the smooth the video becomes. The slower you're going to flip, the more jittery video becomes. And that is exactly what is happening when we are filming a video. Say for example, a ten frames per second video looks like this. A 24 frames per second video looks like this. If we are seeing something with our own eyes, we are seeing something close to 24 frames per second. Whatever is happening around us, we are seeing it at around 24/second And that's why when I showed you 24 frames per second video, it looks quite natural if we bump up the frame rate, 260. This is how the video looks. I don't know if you're observing, but as you can see that as I'm increasing the frame rates, the video is becoming more smooth. You can see the difference between the video. 24 frames per second looks a bit natural, but 120, it looks a little bit more fluid, a little bit more smooth. So that is what frame breadth is doing to manipulate the video. But then now you're going to ask why do we even have different frames per second? So the thing is that if you're filming a normal video, a normal pace video, like what I'm filming now, I'm just talking to you. I'm not using any slow motion or I don't need any crazy jittery effect in my video. I would be filming at 24 or 25 frames per second, or sometimes television shows. They also film at 30 frames per second. If you're filming for Instagram, Tiktok, like all the social media platforms, you film at 30 frames per second because the video looks a bit more smooth. But then now your question would be then, what is the use of 60 frames per second or 120 frames per second? So say for example, if we are filming at 60 frames per second, now you have the ability to slow down that footage to half. If you slow down that footage to half, the video would be playing at 30 frames per second. So this is how a slowed down 60 frames per second video looks like when we reduce the speed to half. What also happens is that if 1 second video clip off a 60 frames per second, if we convert that into 24 frames per second video, now that clip becomes a 212 second video. That's the benefit of filming at higher frame rates per second. If I'm filming a video at 120 frames per second, then I have the ability to slow down that video five times. The rule of thumb is if you have to film a normal pace videos, film at 24 frames per second. And if you have to film a video which you might later convert into a slow motion video, film at 60 or 120 frames per second. But now your question would be, what if I filmed at 24 frames per second? And then I want to slow down that video. If I slow down a video of 24 frames per second to 50% then this is how the video looks. So now the video is playing at 12 frames per second, which is not really natural to our eyes. And that's why you see the jitters. That's why the higher the frame rate of film you have the ability to convert that video into 24 frames per second. If you want a slow motion output from our videos, our goal should be to film at the highest frame rate and then just slow down until that video is playing at 24. Later on, we're going to do a lot of examples. We're going to go out and film normal pace videos, slow motion videos, so the frame rates per second would be super clear to you. 5. 1.2 Shutter Speed: Let's move on to the next parameter, which is shutter speed. Shutter speed in videography is the amount of time the camera shutter is open, shut. Speed is usually recognized by numbers which says 1/50 1/60 1/10 1/1000 For example, if I'm filming something at 1/50 of shuttle speed, which means that the shutter is open one over 50th of a second while filming that video. Why shut speed is so important? Let me give you a more clear example of what shutter speed actually looks like. This is a photo which is clicked at one fifth of a shut of speed. You see how the shutter is taking a little bit longer to click. And this is the photo which is clicked at one or 100th of a shutter speed. You see how quickly the shutter is open and shut is closed. That's what shutter speed is. Why it is important in videography is if you see this video, this video is filmed at one or 1,000 of a shut. If I do any movement, it would be super jittery. You, even if I'm just moving around the frame, it would be super lagging, moving on a purpose so that I can show you how jittery everything looks. Shutter speed cracked up. And if we see closely now, you would see that there's a lot of jitters. And that is because the camera is filming every movement. Let me give you a very simple example here. In this case, we are filming at 24 frames per second. And I've kept my shutter speed to 1/50 which is almost a double of the frame rate. And as you can see the propellers on the drone, it looks very natural to our eyes. It looks exactly how it would look when we see, with our bare eyes, how a propeller would look when the drone is flying. And the reason behind that is one 50th of a shutter speed is giving enough motion blur in this image. But if we crank up the shutter speed to 1/5000 you can see how unnatural the image looks here. In this case, the camera is trying to capture every single movement of the propellers and it is not looking very natural to our eyes. That's why when you're doing sports videography, you should crank up your shutter to 1 hour, 251/300 But if you're filming a normal pace video, you should be keeping your shutter speed to 1/50 1 hour 60, or 1/100 In videography, there's a rule of thumb. If you're filming at 24 frames per second, the shutter speed should be double of that. The shutter speed should be 1/48 or 1/50 If you're filming a video at 60 frames per second, the shutter speed should be 1120 or 125. And we're going to go through all these examples later where I would be filming in different scenarios and I would be setting up the shutter speed, then you would know exactly what I mean. But if you're filming at 24 frames per second, and then you bring the shutter speed down to 110. This is how the video looks. You see now what's happening at one tenth of a shutter speed is that my camera shutter is open for a little bit longer. That's why the camera is taking the entire movement in one frames, and that's why you see all these blurry movement. That's why you should always follow this rule of thumb that whatever your frame brick is, film at double the shutter speed. That's going to give you a smooth footage which wouldn't be as jittery as when we discussed about 01:01 thousand of a shutter speed. And it wouldn't be as blurry as one tenth of a shutter speed. And shutter speed is also doing one more thing. Say for example, if I am filming at one 1000th of a shutter speed, the shutter opens and closes really quickly. Which also means that the amount of light entering the camera sensor is less in a videography or photography as well. If you increase the shutter speed, that's going to reduce the exposure. If you reduce the shutter speed, say I'm filming at 1/10 then the exposure would be much higher. Shutter speed is doing two things. First of all, it's giving that motion blur to your footage. It looks a little bit more cinematic. It's not making 23. You're not making it too blurry if you are filming at optimum shutter speed. What I explained with the rule and shutter speed is also increasing or reducing the exposure of your videos. That is the main job of a shutter speed. 6. 1.3 ISO: Now, the next term in videography is so you might be wondering that in the iphones app camera app, there's no mention about short of speed ISO and all that sort of stuff. Yes, and that is why the videos which is coming out straight out of the iphone app is not that good. Later on, we're going to talk about an app in which you can tweak all these manual video settings and get the best video output. Let's talk about ISO. To explain the ISO, I'll give you an example. Say for example, if you're trying to read a book in a dark room, it's dark, you cannot see anything clearly. What you can now do is that turn on the light and increase the brightness of the light. As you increase the brightness of the light, you can see the book. You can see the text on the book. That is exactly ISO is doing. Say, for example, I went with my phone in a dark scenario. Now, if we are filming in manual video settings, I would increase the ISO in the phone, and that would help me to see things which were darker before. Iso can be recognized by numbers such as 1002003120002000030000 in each camera. There is a limitation, whether it's a mere less camera, an iphone, there is a limitation of what is the higher number of the ISO. If you are going outside and filming in a broad daylight, I will try to keep the ISO as low as possible, because that time I don't want the camera sensor to be too sensitive to any sort of light. But if I'm filming indoors in a relatively darker environment, then I'm going to sort of increase the ISO until my exposure looks quite natural. That is what ISO does. But the thing with ISO is it also has a catch. You might have seen some videos from your iphone that if you went to a dark room, you can see everything clearly in the video. But then you also see a lot of grains, and that is what ISO is doing. If you bump up the ISO over certain value, you start seeing grains in the video. That is also a limit. What you should be mindful of, every camera doesn't matter how expensive they are, every camera has an ISO limit. If you go over that ISO limit, you start to see grains and iphone has that as well. And later on when we are using the app where we tweak the video settings manually, then I'll show you how to control the ISO and how much higher you can go so that you can still have good video without any grains. In brief, ISO improves the capability of cameras to see in dark environment, but at the same time, it also introduces grains if you bump up too much. 7. 1.4 Aperture: The next term we're going to be discussing about is aperture. In the iphones, we cannot control the aperture even in the manual app. But it is handy to learn about aperture numbers because all these three lenses in your iphone would have different aperture numbers. To explain aperture in basic terms, I'll give you an example. You see the pupil in your eyes. If you go outside, the pupil becomes smaller. And why it becomes smaller is because it doesn't want too much light to go in your eyes. Because the sensor in your eyes now is not needing too much light to come in. If you go in a dark room, the pupil becomes bigger, and that time it is allowing a lot of light to come inside for you to see clearly. And that is what aperture also does. If you would have seen a professional ****, you can increase or reduce the aperture depending on the environment you are filming. Aperture numbers are recognized by numbers such as F 1.4 F 2.8 Yeah, it goes all the way to F 22. If I show you the camera sensor, this is how the aperture looks at, 1.8 You see how wide it opens all the way, and if I bump up to F 22, the aperture closes. So now it's not allowing a lot of light. And all these iphone cameras, the better model you get, the lower the aperture number is, and that means that your cameras are good enough to film at low light. We would discuss about the properties of these cameras in the upcoming section. So that would help you understand the limitation and the capabilities of all these cameras, because that is the most important thing you should be knowing. Because once you know the limitations, then you can avoid filming or manipulate your filming to get the best video output. So yeah, Aperture, lower the number, The more light it lets in the camera. The higher the number, the less light it lets in the camera. Now, the aperture also does one more thing. Usually in the videos, the more cinematic it looks, how they say is related to how much is the amount of blur in the background. You see this video. This video is filmed that two aperture, you see how much blur is in the background and the same video is filmed at 16. Now you see all the blur is gone. That's what also aperture does. If you go to the cinematic video in the iphone and if you go down to F two, you would see the artificial blur. Of course, that is not the **** aperture changing, that is the AI in the phone doing that. If you bring down the aperture to F two, you see the amount of artificial blur in the background. But if you increase the aperture, 5.5 or six, now you see a little bit natural blur in the background. Yeah. That you can also play around in the cinematic mode later on when we go outdoors. Then I'm going to show you how you can manipulate the blur as well and when to use which lenses to fit which environment. In short, two things aperture is doing. First thing is it's controlling the amount of light hitting the sensor of the camera. And the second thing is it also controls how much there would be blur in the background. I hope it's clear to you now let's move on to the next parameter. 8. 1.5 White Balance: Let's talk about white balance. What is white balance? White balance is a property of camera to retain the whiteness in the picture. For example, if you are a videographer, you would be filming in different scenarios. In some scenarios, the whole environment would be super yellow. That's when you can tweak the white balance to make the whites look white in that image. It can also be the other way. In some scenarios, the whole environment would look super blue. And that's a time when you can tweak the white balance in your camera to make the whole image look neutral. White balance is usually measured in Kelvins. And these Kelvins, they range from 10,000 Kelvin to 2000 Kelvin. A 10,000 Kelvin image would look exactly like this. So you see how much yellow we have in the frame, and a 2000 Kelvin image would look like this. At the moment we're filming at 5,100 Kelvins. But now your question would be, how can I make the use of this video setting to make it videos look good? Let me explain to you with some examples in this scenario, this is how this image looks. You see this wall is supposed to be white, but it's not white. Now what we do, we reduce the white balance to around 3,500 kelvins to make the white wall look white. Now you can see that the white wall is looking bluish. To make it look neutral, we increase the white balance to go towards more warm sites. Now 3,900 kelvins is helping me make the white wall look white while the ambient light is blue. In this case, the wall again changed to yellow. I have reduced the white balance all the way down to make it look white, which is blue. If it's not yet clear to you about how you can use the white balance, will go outside and film a lot of examples and will also tweak the White Balance setting as well. And the app which I showed you now, that's an absolutely free app and we have a full tutorial about that app. So don't worry about all the things, what she just saw. The inbuilt camera app of the iphone doesn't have a white balance setting. That is actually a problem because a lot of times you would be filming in different different scenarios, That is a time when the camera's white balance is changing automatically. And that looks not very professional because a lot of times you would see a color changing from pink to green the image while in one shot. And that looks a little bit weird. You would have never seen in any movies that the color of the image is changing throughout the whole clip. So that's why it's really important to set the white balance to consistent number depending on what environment you're filming. So say if I'm filming indoors, I'll set the white balance according to how the ambient light is. And when I have to film outdoors, I'll go outdoors first, I'll set the white balance and then I'll press record. That was it for white balance. 9. 1.6 Video Resolution: Video resolutions, you might have heard, a camera can film in four high definition. Some cameras can film in eight K. But until now, iphones are limited to four K. What is a 4k4k is a video size. High definition is also a video size which is half of the size of four K. High definition size is one line, 20 by 10804. Size is 3840 into 2160 in the iphone, if you have to film a video, I would recommend to film in four K. And the reason is because if in the post production, if, when you're editing and if you want to zoom in in the video clip in certain clips, then you can still zoom in and retain the video quality because video was already sharp when you filmed in four K. But if you have filmed the video in high definition now, you don't have that much room to crop in. Now if you crop in, the video looks not that sharp. That's why it's always recommended to film in four K. But now the problem is if you're filming in four K, the video size would be also double. Because now you're filming this big video instead of filming half the size of the video, that's the trade off when you're filming in four. But the video filming app, what I'm going to teach you later, has an option to film in four K proxy. That property would give you the capability to film in four K, and at the same time the file sizes wouldn't be that big. But if you have an option, if you have enough space in your phone, rule of thumb is film in four K. 10. 2.1 iPhone Camera Settings: In this section, I'm going to tell you how to get the best video setting from your iphones video camera. First of all, what we need to do is go to the setting. If you go to the settings and then type her camera, then go to the fourth option where there's this camera button. Go here. Now you are in the camera setting. The first setting from the top, you would see there's a thing called for in the format you should be choosing high efficiency. Then the iphone would be recording at the optimum video quality compatible. You shouldn't choose it. And then you should also put Apple Progress Rod. This is for photos, but for video capture, you should do Apple progress as well. You can also see that it's telling you under the Apple Progress, there's some texts showing you that the video size would be much bigger if you're using Apple progress. But yeah, we'll just keep that as an option. Now, just toggle it on and then the next one is Record Video Settings. Now everything what I talked before would come in handy. Let's click on that. The first one is 720 high definition at 30 frames per second. If you don't have the Pal options, what you need to do is just toggle this on show Pal formats. I have turned it on, and these are the video settings. So the first one is 720 P, but we are not filming at that. If you are low on space, then you can actually choose 1008 high definition filming at 25 frames per second. Or if you're just filming for social media film at 30 frames per second. Because as I discussed before, in social media, the 30 frames per second, it looks not too smooth but also not too jittery. It's a good balance if someone is just watching on social media such as Instagram, Tiktok. But to get that cinematic look, you should be filming at 25 frames per second because that is the frame rate where all the movies are shot at. Yeah. If you want to have a nicer look, which is not looking too smooth than film at 25. But just to make my Instagram stories, I usually film at 04:30 frames per second. See there's an option of high deferential, 60 frames per second as well. You can film in this format if you know that you would be changing the video to a slow motion video in the editing. Because now if you choose 30 frames per second, and if you want to slow it down, you can only slow it down maybe I think 20% because if you slow it more than the video frame rate would be playing back in like ten frames per second, which looked like this. But my optimal frame rate per second and resolution is here at 04:30 This gives me enough video resolution, enough video quality so that even if I crop in, the video wouldn't lose the quality 30 frames per second. If I'm just making stories, or if I have to film my cinematic video. Or if I have to film like a Youtube blog, or if I just have to film some content for my social media, have to make it look a little bit more professional. I'll film at 04:24 frames per second. Here it's giving a little bit of overview of what the file sizes would be. Now we scroll down. I don't do HD R videos because they just look not natural, they just look to edited HDR video. I don't do that. Yeah, here the settings would be the same as how it is on my phone. Now we have chosen the optimal video settings if you have space four k. If you don't have space, choose high definition. But always fill my 24 or 30 frames per second. Never at 60 unless you have to do slow motion. Let's go back now. You have the option to choose record slow motion later when we go in the video app of the iphone, then I would show you where the slow motion is and you have the option. Now you see high definition at 120 frames per second, or high definition at 02:40 frames per second. Now if you film at 02:40 frames per second, you can reduce the video by ten times and make it play at 24 frames per second. Whereas if you film at 120 frames per second, you can reduce the video size only five times. That's the good part about filming at higher framers. I would also show this exact thing when we are going in the iphones camera app. Yeah, I don't really use the slow motion from here. I use the Filmic Pro app, which we're going to teach later. But yeah, this is just for people who just want to film from iphone app. They don't want to buy any other external video recording app. Just do at 01:20 because 240 is almost too much slow and then record. Sound Of course, preserved setting. These are the settings which would be preserved in your iphone. Every time you open the camera, it's like if you've toggled any of these settings of then every time you open the camera app, the settings would be reset. Camera mode is creative control. Just keep these settings how I have here. I don't do not Night mode. Portrait, zoom. App photos. Yeah, some settings are also for photos. But just keep the settings like how I have here. Then we go back, use volume for burst. This is for photos scan. This is this grid grid I'll show you. Are these lines, the white lines. The ones. Yeah, that is really important because later on we're going to also talk about video composition. That's the time when the grid lines would be really important, then mirror front camera, I don't do it. If you're showing a text in the camera, the text would look mirrored. Don't use mirror camera and view outside the frame. I'll just toggle it on and prioritize **** correction. You should turn it on because sometimes in the wide angle lenses they give too much fish eye effect. And that's when the **** correction would be handy. Just toggle it on macro control, you have to toggle it on because iphone 13.14 camera is also macro, which means that you can just go super close to subjects and still film it. Macro control would automatically switch to the macro **** if you're going too close to the camera. But I'll show you this later. Toggle this on as well. These were a few video settings. Now we would go to the camera app. This is my camera app. And because we chose the Prores option to be on now we have on the left corner up here, progress as well. If I just tap on this, then it's going to show you how many minutes of progress recording you have left, which in my case is 6 minutes filming in progress In the iphone app, it's going to take a lot of space. I would recommend not to do it. I would show you an app later. If you want to get subscription of that, you're welcome to. That's going to save you tons of space. I'll switch off Prores now, but if you want to have a good video quality, then you can turn on Prores. What Prores usually does is that it's kind of filming the video in raw format. And then once you're doing like professional color grading or if you're doing like heavy color grading on the footage, the footage would look really good. But if you're just filming like a Youtube blog or something for your social prores is really not that necessary. You can just explore the video in cap cut, put some nice filters and the video is done. It's that simple. That was pros. If you want to use the flash, I don't really use it because it just looks a bit weird in the video, I usually keep it off. Then on the right hand side here, you see the four options. This was the option what I chose before. If you click on four, it's high definition back to four K. Then if you click on 30, which means my iphones default filming mode is 30 films per second, that's what I've chosen. If I go here, it goes to 60, 24. These are few options which I'm given. I usually keep it at 30, but as I explained before, the video settings, you can choose according to your needs. Here you have different lenses in the iphone that's a wide normal and three X. Oftentimes what we do is that when we are filming here, I'll show you myself when I'm filming here. And if I'm at one X. And if you want to zoom people zoom in here from this, you shouldn't do that. You should keep it at one. And if you have to zoom in, go through the three X **** because my **** is activated. It's not the digital zoom. But if I'm at one, if I'm zooming in with my fingers like this, then it's giving me the digital zoom. Especially when I'm recording. Let's record this. And then if I do this now it's digitally zooming. Other than that, if I just go three times now, the zoom **** is actually filming. You have to really keep that in mind. I had to also show you the slow motion. Let's go swipe this side. This is the slow motion. This was the slow motion what we chose before. You can either choose high definition 120 or 240. I usually do 120. And then once you record, say I'm going to do some movement. And let's play back the video you see now it's going in a bit more slower version. And if I have to go even slower, let's do that as well. Now let's check the video I'm really curious to see now. It's going like almost ten times slower than how it was before. These are some of the slow motion option with the iphones. I usually don't go 120 frames per second. I'm usually filming at 44, 60 frames per second. Because then the video quality is also pretty good. The high definition video quality in the iphone is not the best. If you're looking that video in your laptop or on television, you can see that the video is all falling apart. If you have filmed in high definition, but four K is crisp, if I have to film in slow motion, I usually do 120 high definition. I just go four K 60. But if you don't have enough space film at high definition, or I would tell you this app later that can help you solve the problem. Time lapse is what we do before time lapse. I'll explain you one more thing. Say for example, I am filming this monitor. Yeah. As I'm going here, the iphone is constantly changing the exposure. Yeah. But if I have to lock the exposure on my face, what I would do you see this bracket here? It's coming up. I can reduce or increase the exposure. If I just scroll down with my hand on the screen, I think that would be a good exposure to film. You don't see the surroundings, but you see me super clear and that's the priority and the main subject. I should be really properly exposed. Once I have adjusted the exposure, I can film. And now the iphone shouldn't change the exposure. But if I go up here, the exposure is still locked. You see, the exposure is still locked to how I adjusted according to my face. But if I didn't do it, then I have chosen the exposure here. Then if I go here, the exposure is changing. It really depends on what your goal is. Usually, if I have to film professional video, I click on myself and keep pressing the screen until I get this notification that autofocus and exposure is locked. Now the exposure is locked, nothing is changing. In my opinion, it looks a little bit more professional than the exposure just changing every time wherever you pan the camera. Now if I go in my camera app, my goal is to expose the inside. I would just click here and then I would make sure that I'm increasing the exposure of inside. And also I'm making sure that if you see on the right hand side, the image is not blowing apart. Because if I make it too exposed, you see how it looks. The inside is kind of exposed, good, but the outside is falling apart. So I'll just keep the arrow here and then kind of increase the exposure until here. So now in this case, if you see I am kind of exposed. If this is a shot, I'm kind of exposed evenly. Obviously, this side is still shadows because I cannot bump up the exposure of this side without the outside exposure also blowing out. You have to keep a balance. But I have done tweak this manual sitting in the iphone so that the exposure stays consistent. Even if the sun comes out outside and it's too bright, the exposure stays consistent. Now with the exposure lock, my main goal is to make the inside a bit more darker and the outside properly visible. You see I have locked the exposure here. Now I would go again here. This can be like a more dramatic shot. You might have seen in movies that inside looks a bit more darker and the outside looks a bit more brighter. Yeah, that's what we're doing right now. But if my setting was set in auto exposure, then the iphone would do its best to light me because phone would detect that I'm the main subject in this image. That's when this whole swiping thing of exposure comes really handy. All these things you can just do in iphone camera app. You don't need a fancy third party app to record this. Let's show you another example of the autofocus and auto exposure lock. If you see this mug, nice and pretty in the center, if I have to film this, I'll record this. Now the mug is in the center, The exposure is okay. It's an auto exposure. And if I bring the mug up, the iphone suddenly focuses on the background, which looks not so pretty. Whereas if it was the mug here, it looked pretty. If I have to just focus on the mug, I'll just click here. The iphone has fixed the focus. I'll just adjust the exposure, not too much because I have to also keep an eye on the floor on the left hand side that is not falling apart, just until here, so people can still see this mug. Now where my focus is locked, exposure is locked. If I pick this up, you see the focus is still locked. You don't see the background. That makes the footage look super cool. You can use this in a lot of sequences. Now, let's go to the time lapse. For time lapse, you can change the lenses with time lapse. Also what I say, if I record the time lapse, if I just have to make a time lapse of myself, what I would do is I would just lock the exposure and the focus because most of the time, if you're taking a time lapse of a sunset. And if you set up the focus on a mountain while taking time lapse. If you don't lock the focus, then while the time lapse is going on, the focus can shift to a person who comes in the frame or to a cloud which comes in the frame. That's why when you're taking time lapse, it's really important to lock the focus and lock the exposure. That's what I do a lot of times and the results are just amazing. Like the time lapses outcome, What you get from iphone is just mind blowing. Now what can we do is that now that our exposure is locked here, let's lock it down. You can press this arrow up here, and now you can increase or reduce the exposure from here. It's almost acting as a camera. That's what we do in cameras as well for time lapses. I think this exposure would be nice once I have said the exposure, I'm just going to make the time lapse, time lapses. It's really important to lock the focus and the exposure. Once we are done, then I'm just going to unlock the exposure, bring it down to zero. I have explained you time lapses, slow motion. I explained you now is the cinematic mode, You see everything what we discussed in the other section, in the previous section where I was going through all the basics, now everything comes in the picture. I was also talking to you about the F stop the aperture, which changes the blur in the background. Now we are in cinematic mode. In iphone 13, which I have. In the cinematic mode, you can only film at 30 frames per second. You cannot go 24. The footage might look a little bit fluid here. If you see, because the iphones AI is extremely good. It's focusing my face and making the other things blur. All these blurs are artificial. It's not the blur from the **** because if it was the blur from the ****, the logo which is here, that would be also visible. That would be also in focus. Because my face and the logo is in the same plane. This is the thing where the AI in the iphone fails. But eventually, I think in future, they might make it good. Now if I go and click on the right hand corner to corner to the F, if you see this dot, the iphone also recommends that this dot looks more natural. But in my opinion, once I go to 5.6 or 5.7 then the blur looks a little bit more natural. I'll show you some of the examples of filming in cinematic mode when we go outside. And here it shows the depth you see in the right hand corner. Depth means the amount of blur in the background. Okay guys, so to understand the iphone cinematic app, let's show you this example. As you can see here, I have chosen the hot in the background as my focus point. And all the leaves which is in the foreground, they look quite blurry. But if we go to the normal video, this is how the leaves look. This is how the leaves are captured in the foreground by the camera without being manipulated by the AI of the phone. Now, when we go to cinematic mode, you see now iphone is doing some weird things to make things look blur in the foreground. And some of the leaves is still in the focus, Some of the leaves is not in focus. That is not really looking professional. To fix this, what I would do, I would go to the left side corner and the top here, and I would reduce the focus to about six or seven. Now it looks a little bit natural, but still in these cases I would recommend just not to use the cinematic mode because you see like in focus on lies or not. But if I'm filming myself now, you would see that the blur in the background, it's a little bit too much. The closer I come, the more blurry it becomes. Because now we are filming at F two in the portrait mode. In my opinion, it looks a little bit unnatural. And if I bump it up to say five or seven, this is how the footage would look. If you want that blur in the background, do not never film at F two, the footage would look super artificial, go to five or seven and now the blur would look a little bit natural. But still if you have like some really thin things popping out of your face or popping out of the subject, the iphone would make it blur. So it's really unreliable. But you just have to be careful and it can make the footage look nice. But yeah, you just have to be mindful that not everything would be picture perfect when you're using cinematic mode. Because what is happening is that now the AI, the software, is generating the blur. It's not the blur which is coming out from the **** itself. So that was the iphone video setting in the iphone inbuilt camera app. So these are the best settings, what you can use for the most optimum outcome. 11. 2.2 iPhone's Camera Explained: Before we move any further, I want to discuss about the cameras in the iphone. Whenever you're filming, always make sure that if it's possible, film from the rear cameras, not the front one. Because the front one, it's okay. It's good to make Instagram stories from this, but if you have to film a dedicated video, I wouldn't recommend to use this one. The reason is because the quality of the front one is not good. You see, it's such a small camera, the sensor is super tiny. Whereas the back one, the sensor is super huge. The bigger the sensor, the better the video quality, better the camera is capable of filming in low light. Now let's discuss about all these three cameras in your iphone. The first one is just a normal camera, a normal wide angle camera, which has the aperture 1.5, which is quite impressive. The lower the aperture is, the better it is in filming in low light. That's what we discussed before. The lower the aperture is, the more blur would be there in the background. This is where the aperture comes in handy. Now, the ultra wide **** of this camera has the aperture 1.8 The wide **** has the aperture of 1.5 and the ultra wide has 1.8 Which means that the ultra wide wouldn't be as good as the wide **** when filming in low light. That's what I do as well. Whenever I'm filming indoors or in low light, I just use the normal ****, Not the zoom ****, not the ultra wide ****. And the zoom **** in this camera, which is also called telephoto ****, has an aperture 2.8 When you're filming in low light, really don't film at the telephoto **** because as you can tell, the aperture number is a little bit higher, which is not the same as the wide or the ultra wide. Yeah, that is why it's really handy to know the camera of your iphone so that then you can know the limitations of these cameras. 12. 2.3 Cinematic Mode : Now that we have learned about the basic camera settings and about the camera app in the iphone, I'm going to go outside and I'm going to show you how you can still capture beautiful videos by just using the portrait mode in your iphone. And of course, I'm going to be doing a voice over on the entire process, so let's get started. So we're filming everything here in portrait mode, and I have kept the F stop to 6.3 and that would be consistent throughout the whole video. And in this shot, I'm locking the focus at this point so that I can get a certain effect which you're going to see soon. So I'm just marking the floor on the ground so that I can through there. As I'm walking away from the camera, that spot stays in focus and I am becoming blur in this shot. I am not doing any focus locking, I'm just trusting the cameras auto focus to track me. In this shot, I'm doing the same. As you can see, the foreground is looking blur in this shot. I am also keeping the same settings here. I'm using the three x zoom ****. That just gives me a different perspective as you can see in the shot, is that there is a blur in the background, but it's not too much, it is not looking too artificial. Even if I'm taking close up shots, the subject is in focus and there is a slight blur in the background that gives somewhat professional look here. In this shot, you would see that the auto focus is not doing a perfect job. It's, it's jumping around. Every time when you're filming, you have to make sure that you're playing back the footage already at the spot because you don't want to come back home and then see the results and realize that nothing was in focus. 13. 2.4 Practice Exercise: Now I have a task for you now. Your goal is to go outside or even in your house to film a sequence entirely on the portrait mode of your iphone. If you don't have portrait mode in your iphone, film with a normal video camera app. And the reason why I'm telling you to film is because I want you to practice. Because a lot of times there is a lot of information at the moment and it is so overwhelming to remember everything. And the only way you can remember everything is by filming a sequence. That sequence can be you making a coffee, you going for a walk, you working. It would be a sequence of five shots, minimum of five shots. Film at different angles, film whatever you know. Until now, you don't have to perfect everything. You don't have to know all the compositions. Just film at whatever you know until now. And do. Finish this task and then move on to the next section. In short, the task is to film a video with at least five different shots. And you should be filming in cinematic mode. If you don't have cinematic mode in your camera, then just film in a normal mode. 14. 3.1 External Audio Recording: Let's talk about the audio from this phone. So Mike's in these phones, they are pretty decent. If I'm filming in this room, if there's not crazy background noise, the audio sounds pretty okay. But if there's a lot of noise in the background or if I'm further away from the iphone, the audio is not that great. To fix that, we have some external mics. I'll show you how these mics work and what all different types of mics are there in the market. The first one, what we have is this road wireless. It has a cable which goes straight in the iphones. If I just plug it in, the mic is attached and the audio should be working fine. Now I am filming with this mic from my iphone and you see how good the audio sounds. The cool part is that I'll just show you one audio without this mic and I'll show you the difference. This is the audio without any from the mic of the iphone, which looks pretty decent, but it's not as good as these mics. It's super easy to use guys. You just have to plug this in the iphone and the mic does this magic. The cool part about this mic is that it also comes with another receiver which operates with Bluetooth. I can just put this in the camera, then I can just record this like how I was doing in previous examples, and the audio would be coming super crisp. This is from road. The road is a really nice company for mics. Then there's also a mic system from DGI where you can also just plug in the receiver. And then you have these transmitters, what you can make a wireless mic from. You can also buy these Lav mics from Broad as well, or any other company. All of these receivers, they have a slot for these lav mic. Now this mic would be working with my iphone and giving me a really crisp audio quality. I'm going to be using this throughout the entire video. I use for everything what I filmed from my iphone. I use this for my stories. I use this for some Youtube logs. These are just super handy. Who would have thought that with iphone the video quality would be so cool and you can disconnect any mic super easy. Whatever mic you buy, always make sure to go through a proper tutorial from that mic. Because all these different brands, they have their different setting, different apps. So yeah, just search on Youtube, how to use, how to have the perfect setting from that audio. Because sometimes if you put on the mic, the audio can clip super bad or audio can be super audible. Always make sure to have everything prepared before filming in terms of these mics. 15. 3.2 Tips For Better Audio: So now we're going to talk about some of the audio tips that can help you save your audio when you're filming from an iphone. So in this case, the mic is literally sitting on top of the camera. If you are filming something like this where you have to attach the mic on top of the camera, you don't want your audience to see the mic in your hand or as a live mic, then I would really recommend you to come as close to the camera as possible. Because if I go far away, you see now I'm talking, my tone is the same. But you cannot really hear that clearly because there's also a lot of ambient outside. So here we are filming with a road wireless me on the iphone. So every time whenever you're filming, keep the mic close to your face. If you're putting a lav mic, keep it here. Not super far away because if I bring the mic far away, you see now my mic has started to pick up more of the surrounding noise. One more tip. Whenever you're filming outside, always make sure that your mic is pointing in the opposite direction of the noise. So say for example, if there's a busy road in front of me, I'm going to point my mic like this rather than standing like this and pointing the mic towards the busy road. Because it's going to pick a lot of noise as well because these are all directional mics. So the range of these mics are, they go like this, so it's going to pick up your voice, but it's also going to pick up a lot of noise which is in the background. So always make sure to face the mic opposite of the noisy background source. Right now we're filming indoors with the mic attached on the iphone, The road wireless me, it's not the mic from the iphone. The audio is pretty decent. But as I go further backwards, there's also a lot of echo in this room. And now you can hear a lot of echo because the distance between myself and the mic has increased a lot. Now what we're going to do now, we're going to be using the transmitter. And I would also use the dead cap so that I'm also going to use a dead cat which comes with this mic. So that if I'm sort of blowing any wind from my mouth, it's not going to affect the audio. So let's try, The next audio would be from this transmitter, and I'll keep it close to my face. Another audio test while I'm using this transmitter as my main mic. So you see as I'm keeping it close to my face, the audio sound super crisp even if there's a lot of echo. Because this mic is catching my voice first before any echo comes back. So that's why it's really important to reduce the distance between the mic and your face so that you can get a crisp audio. And even if you use a lav mic or if you're logging with the mic on the camera, keep it close to your face. But sometimes people keep it this close and then it's really bad, so don't do that. And then also sometimes people sort of tuck it in their clothes and then it's doing this. If you are sort of trying to hide the mic and you put it in your jacket, then the whole the sensor of the mic, it's rubbing against your clothes. And that is the last thing you want in your audios. I hope that this whole audio section is clear to you and you can implement these tips in your daily filming routine from your iphone. 16. 4.1 Video Recording App Tutorial: Now is the time where you would be learning about the black magic cam. It is an absolutely new app at the time of filming discourse. It has been just two days since it's released. So yeah, consider yourself lucky because it has all the features that any paid app would have in the market. Let's click on the black magic. This is how the app looks, so I would just tilt it this way. That's me here. This is an overview of the app. So the first thing we're going to start is from the left hand side top here, it says ****, which is 26 MM MM is millimeters. The less the millimeter is, the wider the **** is, the more the millimeter is, the more zoomed in the lenses. For example, if you come here on the right hand side here, it says 26 millimeter. If I go to the 13 millimeter, which means that my wide **** is activated. The ultra wide **** is activated. If I go to the three x the telephoto ****, the zoom **** which is 74 millimeters, that's what it says in the corner here. Then FPS, what we discussed before framed its per second. Everything what we have learned in the past is going to come super handy. If something is confusing, you can always go back to the basic video settings section. Yeah. Then you would know everything. Here is the frame rates per second. You can choose to 2,530.24 you cannot choose to 60 frames per second because there's a reason, and I'm going to talk to you about that in the upcoming minutes. Short of speed, 1/33 here. Remember the rule of thumb in videography. Every time the short of speed should be double of the frame rate. Here what we're going to do as we are filming in 24 frames per second, we would bump up the shutter speed to 148 or 150. Let's leave onto 148. Then next to it, came back to that. Yeah, let's leave onto here. And then I can also just lock it with this lock icon here. Now, after shutter speed, we would be going to iris. I don't know why it says iris, but it's usually the number which is the aperture. The aperture. The higher the aperture is, the less light comes in the camera. Remember, the lower the aperture number is, the more the **** opens, and then the more light comes in the camera. But iphones, you cannot change the aperture number because we are filming at 77 MM. The aperture is 2.8 If I switch back to the 26 MM, then the aperture is 1.5 That's for iphone 13, Pro max, if you're using iphone 14. If you're using iphone 15, all these aperture numbers would be different. But just to let you know, we discussed before as well that because of these aperture numbers, which **** is suitable for which environment? Because lower the aperture number, the better it is in filming in low light. The higher the aperture number, the not so good it is in filming it low light. Next to the aperture is this timer. If I press record here, that's just going to show us how many seconds or minutes it's recording. It's really handy because there has been previous apps where even if I'm not recording, I'm just pointing the camera and I almost forget to record. Now I can see this red text. I know exactly that. Oh, I'm recording actually, I can just press the record here next to the tim Er. We have the ISO feet discussed before as well. The more we increase the ISO, the brighter the image gets, the more we reduce the ISO, the more less bright the image gets, higher the ISO is, there's more chances of having grains in the image next to. So see whatever is pressed here, whatever is selected here, there's this blue background on that thing. If I unpress that, then the ISO meter also goes from the side. If I press ISO again, you see this meter comes on the side. You can just get rid of it. Just like that. Next to ISO is white balance. White balance, we discussed before as well. I also gave you a few examples, but don't worry, whatever I'm teaching you now, we're going to be going outside and filming some videos From this, You would know exactly what all settings I have put to film certain videos. But yeah, let's come back to white balance. So obviously you can change the white balance by just scrawling this wheel, or you cannot be bothered about changing white balance, just switch to auto. Whatever the scenario is, the iphone would be changing the white balance by itself. Now the ideal white balance should be 31, 40. But if I go show you the outside stoop, right? But the white balance now is 46 60. The white balance would keep changing. Now it's making the white walls look white. And the white balance has changed to 43 50. But this is not the most professional way to change white balance. What I do is I wouldn't lock it. I go to these different scenarios, I choose a wide balance which is suitable for this environment. I think 4,500 is pretty good, but sometimes you really have to tweak it manually with the scale. But that's white balance and tint is also the color temperature. The higher you go, the more pinkish the image looks. The lower you go, the more greenish the image looks. Sometimes your scenario can look super green or super pink. Then you can change the scale to complement the colors that's gone next with tint, it says four K, which means we are filming in four K. And here it also says 52% which is the battery of the camera. Let's go to the bracket here. Next to the battery percentage, that's the bracket. Now it can get a little bit complicated, but just bear with me. It's so crazy that this app has all these features for free. Let's click on the first option, which is this circle with some lines. This is, doing this is giving me this zebra lines in this image. What this zebra lines is that say for example, if I put it to 95% which means is that if something in the image is of 95% brightness, then you would see the zebra lines. You know that, that part of the image is overexposed and you need to tweak the video settings to make it come down. You see, I can just reduce the ISO now to get rid of the zebras. Those are called zebras. The line, what you saw now, I'm sure, is that nothing is overexposed in this image. Let's go back to the zebra. That's why if you're filming a professional video, I think it's important to turn on the zebra lines. The main reason behind is that sometimes in the screen of the phone, you cannot tell if something is bright or something is not so bright. That's why with the help of zebra lines, you would exactly know which part of the image is super bright. Yeah, if I reduce down the zebra lines, then it would that whatever part of the image which is brighter than 80% of the image, then the zebra lines would show. But usually I put the limit to 95% In just an ideal world, I put the limit to 95% If something is really bright, then it's going to show me that, oh, that is really bright, you have to do something about it. That was the first option, Zebra line. I'll just turn it off for the sake of this tutorial. Then we go to this where there's a human and there's a focus option here. What it is showing is that this is called focus peaking lines. It's red now, which means it is showing. Is that what part of the image is focused? If I bring it here, you see this part of the image is focused. But if I press here now it's going to show me that this part of the image is focused. This is also really handy when you are actually filming in manual video settings. Then you exactly know what part of the image is in focus. Because obviously the screen of the phone is too small. It's hard to tell sometimes which part is in focus, which part is not. That's when this focus peaking lines, they help you to tell you which part is in focus. This is just the intensity of the color. If I go really low, then the things are still in focus, but the intensity of the redness in the focus area is less. If you go super high, then it's going to show you exactly what places in focus with full on intensity. That's focus peaking. Then if we go below that, now it's going to show me grid lines. These are grid lines. You can also change the color of these lines. You can also select all of this if you want or not. It's totally up to you. But later on when I would be filming outside and I will be showing you different different compositions, then these grid lines would come in handy. But for now, I'll just turn it off because now it looks like too much chaos. After the grid lines, there is something called the crop mode. Sometimes people want to put these black bars on the videos. Obviously, you would be putting them in the edit. This function is showing you that this is how your image would look. If you are putting black bars, you can change the ratio of the composition. Whatever movie you see on Netflix or wherever you see it, they all have these black bars on the top. If you're like square video, this is how it's going to look. If you're filming a 9/16 video, this is how it's going to look. But if you have to film a vertical video, I would recommend you to just film like this. But yeah, let's get rid of it. This is literally just giving you the cropped version of how the image would look after that. Now we have another bracket if you want to keep something in the frame at just that particular position. This is a little guide to tell you that this is how the frame would look. And if you want to put something in there, you can put it, Giving you all the information about this image and the lots. If you have installed any lots, you can put it. But I don't think we would be using this because we are not really filming in raw format. Let's get rid of it. I would also get rid of all these parts. Yeah, that's what these settings are on the side next to the setting. There's this option which also has an A saying next. Well that is the auto focus and manual focus. Now my focus is changing. You see now the minimum focus distance is 18. If I go up here, the minimum focus distance changes to 66. If you want to do manual focus, you can just go like this. And if I just press here, I would change the minimum focus distance. You see how my focus is shifting. This is when the focus speaking comes in handy. I can just increase that and then I can change the focus of the subject. It's really handy because sometimes when you're outside it's too bright, you cannot really tell what part of the image is in focus. The manual focus would come in handy most of the time. Any cameras, they tend to focus on things which is brighter in the image. But sometimes you don't want the things which is the brightest in the image to be in focus. You want the subject to be in focus. That's when the manual video settings comes in handy. But with the focus, if I press here, you see the bracket F. If I just keep clicking, then it locks the autofocus and auto exposure. That's exactly how the inbuilt iphone camera app also does. If I just lock it again, then the focus changes. But if I keep pressing it, keep pressing it, you see it locks again. I would just keep the focus auto. At the moment, I would go to here, this is showing me exposure. If I want my exposure to be higher, if I increase the exposure, the ISO number increases as well. This is just an exposure meter, which in my opinion, it's not really useful. You can just change the ISO directly. I would just get rid of it. Of course. This is the Record button, which is also really important. And here is the important stuff. This is the stabilization under the record. If I press it off, you see my image becomes a little bit wider. If I do standard, the image crops in. That is because if you want the stabilization in the image, the iphone would crop the image a little bit to let the software do its job to make the image look stable. There's different, different levels of stabilization. More extreme you go, the more taxing it's going to be on your phone. If you have iphone 13, 14, 15, that shouldn't be a problem. But if you have iphones lower than that, then the image feedback would lack. If I switch the image like this, the feedback would come in half a second. But for this case, I just keep it to extreme because it's working. Why not just have a nice and stable footage after stabilization? This is the inbuilt zoom feature of this app. Now, the app is not mechanically switching between the lenses, it is digitally zooming the image. That's what the app is. This is if you are making a movie, then you can change the scenes and name the scenes, but that's not really important for now. That was the settings on the right hand side. If you go to the extreme right hand side, then you will see the camera here, where we are now, if you see the media media is all the things what I have filmed in this app. I've not filmed much because it was just released yesterday. Now if you go on the extreme right hand side, we go to the settings or before going to the settings, I'm going to, just going to give you a bit more tour of this place. Here you see the audiometer. It is showing that the iphone microphone is on. If I attach any other microphone, it's going to tell me the other microphone is on. This part tells me how many minutes I have yet to record. Now I have 1 hour and 31 minutes which I can record, and I have 96 gigabytes available. My iphone is 512 gigabytes, and that is 20% of the entire memory. This is a histogram. Histogram tells you what part of the image is bright, what part of the image is dark. If I go more towards the dark side, you see the shadows pot increases. If I go towards this slide, you see highlights. Just the brightest part is speaking. But if I show the app the normal image, it's going to show that there's enough bright parts. There is enough dark parts in this image. Histogram is also important, but if you're a beginner, don't worry too much about it. Don't make your life too complicated. Now what we're going to do, we're going to go to the most important camera settings, which is here in the right hand corner. Says settings. Let's go here. First thing is it is showing me the record section. After the record, we go to the code on the right hand side, Codec is really important. Let's go in there. And here you have all different video filming options. The best option, in my opinion, is Apple Pus 422 proxy and Vc 265. There is a really simple reason behind it. Apple Porus 422 proxy is a format which is filming in really high quality and it is filming in 422 color, which is a ten bit color bit. I'm not going to explain you exactly how it works, but this is an image format which is closer to raw video format. If you filmed something in this image format, then you can put heavy color grading on your iphone footage without the footage falling apart. But if you have filmed in just a normal video format, then you cannot do super heavy color grading because then your image wouldn't look that good. Yeah, also the thing with four to 210 bit color format is that if you film something underexposed, then in editing you can tweak the image to look normal. If you film something overexposed, you can reduce the brightness without the image falling apart. But if you have just filmed in a normal video format, then you cannot retain the exposure, you cannot bring back the exposure. That's why the 42210 bit format gives more video information to the software as compared to the other formats. That's why the size is bigger. Just for example, if I go to Apple Pus 4444, which is the highest quality in which you can film, and then I go to camera. Then if you see here in the middle in this little box, it shows that you can only film for 12 minutes. If I go back to settings, I go to Apple Pros 422 proxy. Here it shows you can film for an hour and a half. Really cool, If I go to Settings and if I go to 265, go back to camera. Now you can film for 5 hours and 26 minutes. Also The good part is that in iphone 13, you can film at 60 frames per second. When you are in four, not four Ps, just in four K. But if you switch to four Ps, Apple Prores, then I go to camera, then the frame is maximum is 30. Let's go back to 24, and that's why H 265 is handy as well. The best video settings for you I would recommend is to start filming with H 265. It's not going to take enough space. You can still film in four K, and you can do somewhat basic color grading and still make the image look really pretty. Speaking of color grading, we're going to be talking about color grading in the phone. We're going to be talking about color grading in the computer. Don't worry about that. But yeah, in short, Apple four to do proxy if you want a heavy color grading. But if you're a complete beginner, start with H 265. After the video codec, we would be keeping the resolution to four k. After that, we're going to move on to color space in the color space. This is really important. You should keep your color space to rec 709. Because you might have observed by now that if you import your video clips which was shot in iphones camera app, they look a little bit desaturated in any video editing app. That's why from this app you should record the video in rec seven oh nine, because your iphone app is recording this video in Rec 2020. That's why I recommend people to use an external app, because that can help you to record in Rec 709. And Rec 709 is the same color format which we usually use in any professional cameras. Once we go back, time code display record run because I want to see when my video is being recorded. The whole thing turns red. Time lapse recording can turn it on if you have to record time lapse. If not, keep it off. Because if you turn it on and if you're filming something, everything would be recorded as a time lapse. Yeah, I would just turn it off and now I would move to the camera section. I would just keep these settings the same. Also, one thing when you have I should have told this earlier, but when you have just installed this app, it's going to ask you to allow the microphone and allow the camera and allow the photo gallery say yes to everything. Let's go to the audio. I haven't changed anything and I'm still getting really good audio. Focus assist was what I showed you before. The peaking lines. I go to colored lines. That's what it shows the focus as the colors we chose as red, you can choose as black, green, blue. But I choose red because red. You can see in all different types of environment guides, capacity was the grid lines. The rule of third lines, you can choose the opacity. I think I would do 50. Let's go back to S. D, my play. I don't do any changes here. The display histogram, you can turn up the histogram, the histogram, what you saw on the site. That's going to go out, but I just keep it because I want to see if something is crazy over exposed. I keep all the other settings the same. Then I go to media from this app. You can also upload on the cloud into resolve cloud, but I don't do that. If you want to upload it, you can choose either you want to upload the proxies or the originals. And here this is really important. Save clips to app and photo library. You can also choose in app only, you can just access the photos from the app. Lots, I'm not going to discuss now because we are not really filming in a raw format. I yeah putting any lots here because whatever lots were going to be editing, we're going to be editing in the in resolve and in the phone with my blots which is absolutely free with the class. Don't worry about that black magic cloud, that's my e mail, I'm not going to reset about this open black magic cam setting. If you go in the camera in the phone, then you can choose what all things you want it to be accessing. That's that. I think I've covered everything from this app and I think the lots is on. I'll turn it off. Yeah, it's a really interesting app and everything is free. It's beautiful. I still cannot believe it that this app is free. You can do everything from this app. If you have any questions, just let me know. That was the black magic cam app for you where you can film everything in manual, video settings for free. Now let's move on to the next section. 17. 5. iPhone Filters: So here we are outside and I'm going to explain you video settings, what you can implement in your iphone in different different scenarios. So the first scenario is obviously you can see me in a broad daylight. And let's talk about some video settings because this is just a normal talking shot. I'm filming in four K proxy, and my frame rates is 24 frames per second. And I have kept the ISO as low as possible, because we don't want the camera sensor to be sensitive of the light, because if I bring the ISO high, the whole image would blow out. But as you can see, the shortest speed is not at the desired value, which is double of the frame rate. So in this case, the shutter speed should be 148. But if I put the shutter speed to that value, the whole image would fall apart. So this is where I have kept the shutter speed, double of the frame rate, which is 1/48 and you can see the image is falling apart. To fix this, we have a solution here. I introduce you to the neutral density filter. You might have heard this, you might have seen other creators using it. These are an essential tool if you are into videography. Nd filter acts as a sunglasses for your camera. You can use it when the outside environment is super bright and it would help you to shoot a desired frame rate and at desired shutter speed. So now we are able to keep the shutter speed at 01:48 And now if I move my hands like this, you can see that there's a lot of motion blur. There's not crazy jittery movements as how it was when we cranked up the shutter speed to 13000, which is insane. But these filters are usually for my main camera, which I'm filming on. So how can I attach this? There is a DII technique. The first thing what I did was I got this thing from small rig which kind of clips on the camera. So there's also one more thing about these filters are they have a few parameters. You see how big this is. This diameter of the filter is 82 millimeter. And in the market there's a variety of different sizes of ND filter. Some filters are 55 millimeters, some filters are 57, 62. All my camera lenses have these 82 millimeter diameter. So that's why I have a few of these MD filters, few other filters for more professional use. But I didn't want to buy another set of filters specifically for iphone. So what I did was I got the small re clip and this had a diameter of 52 millimeter. And I don't have any filter which is 52 millimeter. So I got this step up ring which can extend from 52 and make the 82 millimeter compatible on any 52 millimeter rig. And I also glued them together. So now I have a setup which I can put it on the iphone and once it's clipped on, now I can just put the filter on the top. There are a lot of filters in the market, which is specifically for iphone. You don't have to do this DIY, but I didn't want to invest in extra set of filters when I already have the 82 millimeter filter. And now I can just use this filter for my camera and my iphone by just doing this little technique. Now when we have put the filter, that would help us to get better image quality. There's also one more variable in these filters. There are some neutral density Stop. It's not just an ND filter, it's a neutral density variable filter. What variable means is that if it's too bright, you can just turn this thing on the filter and it's going to compensate. The light variable filters have different, different stops. The lower the stop is, the better it is to filming when it's not too bright. As it gets brighter, you can just increase the stop. I have two set of these filters. One set is from N D two stops to five stops. That is good when it's like overcast. One filter I have is from N D six to ND nine. That is useful when it's super bright outside. Now, with the help of ND filter I can keep my shutter speed at 01:48 and get some cinematic footage. 18. 6.1 Filming Indoors Part 1: Hey guys, so in this section I would be teaching you what camera settings to use in different different scenarios. So the first scenario is here where I'm filming indoors. There's not much ambient light as how it was in the previous sections when it was super sunny. So because of that, we're not using any ND filter. So whatever footage you're seeing is just with the phone, there's nothing on top of the phone. And of course for the audio I've attached a road wireless. So let's start with the video settings because we are doing just a normal talking shot. I have filmed at 24 frames per second. And to get enough motion blur, you see these motion blurs to get enough of motion blur so that the footage looks a bit more real, a bit more cinematic. I've kept the shutter speed to 1/48 The ISO is around 1,000 It is not the ideal, but what you can do, the light here is not the best. Iso is around 1,000 Maybe it can go a little bit more. The autofocus is working on the camera. I haven't pressed the screen of the camera to set manual focus at a position because it's just difficult if you are filming yourself. But if I'm filming a subject which I know that that subject would be in the focus, then I can just press it. So yeah, it's working as an auto focus. And the white balance is about 5,000 because that's what is looking good in this scenario. So those are the video settings, what you would be using when you're filming indoors. 19. 6.2 Filming Indoors Part 2: So in this scenario, guys, I have to light up this place. But as you can see, all the zebras are popping out. Because I have put the zebras on with this option. So I have set my zebras to 95, whatever. If there isn't any exposure increment above 96% you would see the zebras line. First job is to bring the zebras down. So what I'm going to do, I would go to the ISO and I'll try to reduce them as much as possible. As I go to the lowest ISO, which is 34, all the zebras are gone. That is very good. Now, I also think that the white balance, the table top of my kitchen, it looks a bit more greenish. I would just reduce the white balance and probably keep it here. And then next to the white balance, you would also see tint. I would go to tint and I would increase the tint. The higher, the more pinkish the image becomes, the lower you go, the more greenish the image becomes. I would go to a value where my kitchen top close to white. I would just set up the focus somewhere here. Now we would be filming. You see just when we change the scenario a little bit from the couch to here. You have to change the exposure because there's a lot of light coming from outside. Of course, you have to change the white balance because the light was a little bit yellowish here, the light is a little bit bluish. You have to make sure that the whites in the image, they look white. You always don't have to be 100% precise because even if there is a little bit of fluctuation in the white balance, you can always change them in post. But if there's a lot of fluctuation, if the whole entire image is looking yellow, then it's a bit difficult to retain the whites, the image in post. That's why I recommend people to set up the wide balance as close to the ideal wide balance in real life, in the camera. That's the video setting. The shutter speed has not changed, the frame rates has not changed. We have just reduced the ISO because there was already so much light coming from this side. I just re, check the video and I think that my face is a little bit dark. In this scenario, I would just increase the ISO. Of course, it's going to also brighten up the sides, the windows, but that we can take care in post, which I'm going to teach you later as well. Let's try filming in this scenario. That's the thing with filming with iphones, there's no flip screen. So you always have to check and go back and forth to be getting the best video output. But whatever the darkness is on this side, whatever shadow is on this side, that we can take care in post so you don't have to worry about it. But if it's too dark, then it's a bit difficult like how it was in the first scenario. And if these parts are too bright, then we can also take care of them in post. In post, I mean like in editing. And now let's go through even more darker scenarios and then I can show you how you can tweak some video settings to get good shots. 20. 6.4 Filming Outdoors Part 1: Outside now. And we have the exact same video settings as how we had in the previous scenario. As you can see that everything is just blowing out here. What I'm going to do, first thing, I would reduce the ISO to the lowest that can retain some brightness. Then I would also change the wide balance. These things are supposed to look white here. What I would try to do auto and then see how much the wide balance change is required. And then what I would do, I would just lock at this position. Then my white balance is locked at 5,405,040 And now I can still see that there's a lot of zebras here to take care of that. I would, because now if I come in front of the camera, you can see that there would be a lot of brightness all over my face to take care of that. One thing I can do is increase the shadow speed. If I go at about maybe 1/500 then it's a bit decent. And now if I film myself, it should look good. But now we have changed the exposure using the shadow speed. Now we are not following the rule of thumb, which is the frame rate, which is the shutter speed, should be double of the frame rate. In this case, the ideal shutter speed should be one or 48, because we're filming at 24 frames per second. To keep the ideal shutter speed, we have to use an ND filter. Let me just go and grab it. Here I have the ND filter. Now I can just take care of my shuttle speed. I would go to 1/48 because I have a variable ND filter. I can just twist the ND filter to become more strong. I would just go here until the zebras are gone. Now we have the ND filter on my iphone, and now we have everything in control. Our frame brace is 24, shutter speed is one, or 48. We have took care of, we have taken care of the white balance. The ISO is as low as possible, and this is what you should be doing and if you are filming in much brighter scenarios. So for example, in the last, in the previous chapters, I showed you that it was super sunny and that was the time when I used more stronger ND filter. If you are a beginner, beginner, you don't have to invest in an ND filter. But if you're serious about filmmaking, I think that's a really good thing to invest in. And there's tons of brands of N D filters you can buy if you don't want to do the DIY, what I did, or if you already have 82 MM ND filter or a 77 MM, then you can use this DIY technique to use the same ND filter what you use on your cameras. So yeah, in the scenarios we took care of, we took help from the ND filter to keep everything good and now we have nice motion blur in the video. So even if I move around, the footage wouldn't be that much jittery. And now let's take you to more complicated scenarios. 21. 6.5 Filming Outdoors Part 2: Okay guys, here, I had a funny idea. Now I want to film a slow motion video to film that. What I have to do first, I was filming in Apple Prores 422 proxy. And I can film, I'll show you with this setting, I can only film at 30 frames per second, but I want the video to be even slower. So what I'm going to do, I go to settings here and then I would just change my video codec to H 265. I'll just press here. Now when I go to camera now if I go to frame reds per second, I can fit, I can film at 60 frames per second. And if you see my shutter speed, my shutter speed, I've already doubled to 120. So now we are following the rule. I think we are. Good to go. Let's record this. All the other video settings I would be keeping the same because increasing a slight shut speed didn't really have too much effect on the exposure. So let's film this. So now I'm filming at 60 frames per second. And if I do any sort of movement, you will see that the video is looking a little bit more fluid, a little bit more smooth. And that is really normal when you're filming at 60 frames per second. But if I have a 60 frames per second video, then I had the ability to slow down this video to 2.5 times in post. And we are filming in four K, so we have a crisp video with a slow motion. And that is not filming in Prores, because iphone 13 doesn't have that option, iphone 15. So if you have iphone 15, then you can film in 460 frames per second in Prores, but not the 13 or 14. But yeah, here's how this video looks when we reduce it down 2.5 times in editing. So as you can see, the slow motion is here. 22. 7. Composition & Framing: What is a composition? Composition is just a fancy term of framing. The frame of your video determines how beautiful, professional cinematic the video is looking. And that is why, for any beginner, videographer is extremely important to master framing. How do you master that? First, you should know what are the rules, what are the basic techniques of framing? And then you just have to practice so much. The more you practice, you're going to reach a point where you have the eye for the perfect frame. The framing is always subjective, but the more you practice, the more you're going to be master at it. And that's going to really separate your content to any beginner person who's just starting in videography as well. 23. 7.1 Rule Of Thirds: First rule of composition is the rule of thirds. Some of you might have heard about it. What is a rule of? Third, see, every time when we are filming, you really do not need to put things in center, like how I am almost in this frame all the time. The framing looks much better. If you place the subject here, here, here, or here. Why is that? Because that actually is giving room to viewers to see rest of the frame. These rule of thirds are also applicable when you're doing a vertical video. In vertical video, you shouldn't place yourself in the center of the frame. You should always place yourself here or here. But speaking of rule of third, you should also keep an eye for symmetry in the image. A lot of times, rule of third is not applicable if the framing looks super symmetrical. A lot of times it's more handy to keep the subject in the dead center if everything around it is symmetrical. Because if you put rule of third there, then the whole beauty of the symmetry is gone. 24. 7.2 Leading Lines: The next rule of composition. What you need to keep an eye for are leading lines. Here are some of the examples of leading lines. You always have to make sure that the leading line is focusing towards the subject. It's not going the other way. Because then that leading line is becoming too distracting for the audience. I can understand it can be overwhelming for some of you. But take one composition at a time. Maybe just go outside and just film Rule of Thirds and just film that, just keep an eye for that, you know. And then when you come back then you can see the footage, review your own footage and see what could have been better, what could have done better, you know. And now when you're watching any movies, any Youtube videos, or any creator, then you can see their videos and really judge that in how many clips they have used the rule of thirds. So I would really recommend you to just practice, practice, practice. And I'm sure if I can learn it, you can learn it too. So that was it for composition. Let's move on to the next section. 25. 7.4 Medium Shot: Now we're going to move to medium shots. Medium shot is the most common shot used in filmmaking. You don't have to be a filmmaker to use all these shots. Medium shots is not as wide as wide shot and is not as close as close up shot. Wide shot is an introduction to a subject which can be a person, an object, a landscape, who is the main character in that scene. White shot is showing the audience how that character is interacting with the environment. These are the few examples of a white shot. In these shots that you can still see the subject, see their body language, see how they look, you can see that how they're interacting with the environment. Here the focus is on both the things, the environment and the subject. And some white shots can be a close up white shots. Some white shots can be a wide white shots. Now once you're done with white shots, we're going to move to close up shots. 26. 7.5 Close Up Shot: Up shots are super creative, I love taking them. And close up shots are the shots which is going to give more information about the subject, about some details in the subject, the audience. A close up shot also brings that intimate relationship between the character and the audience. The close up shots can also show the characteristics of the subject to the audience. Which could be missed when you're framing the subject in a wide shot or a medium shot. That is why all these shots are so important. If you're a beginner, you can try a sequence by starting a scene with a wide shot where you're giving more information to the audience. The location is, what the location is, and how they should feel. How the scenario is. Is it super bright day, is it overcast day? Is it raining? Is it indoors? Outdoors, all that sort of stuff. And then you move to the medium shot where you're introducing the subject. You are showing how the subject is fitting in that environment. Once you have shown that, then you move to the close up shot, where you show some of the details which is in the subject or which is in the environment that could be missed in a medium or a wide shot. That is how you can plan a whole sequence. Start with a white shot, then a medium shot, and a close up shot. 27. 7.6 Practice Exercises: Can be a good practice for go out and film these three shots off a sequence. These shots you don't have to just fit three shots in one sequence. Sometimes he can do two wide shots in the beginning, three wide shots to show the environment from different angles. And sometimes you can do more medium shots. Some medium shots can be a bit longer. Medium shot can be a bit shorter. Then you can give more information to the audience with close up shot. And close up shots doesn't have to be one. For example, in wedding videos, they do a lot of close up shots to show the costume, to show the jewelry, to show the outfit of the person. That's why just one shot of each angle is not enough. Sometimes you have to really practice that, then you become master of that. Sometimes some filmmakers also do this thing, they go the other way. In the beginning, you show a super close up shot of something. Now the audience has already seen the detail, but now the audience will be curious that where is this taking place, How my subject looks? I want to see more of that. That brings more curiosity in the sequence. Sometimes filmmakers start with super tight and close up shot and then they go back show the subject in that environment, but the audience still haven't seen the entire environment. From close up, they move to the medium shot and then in the end they go to the wide shot. And now the whole suspense is. Release that oh, this was the place you can just play with all these shots to tell good stories, how you have to master it. Just practice, practice, practice, Trust me, you're going to be so good in no time. 28. 8. Camera Movements: In the previous sections, we have learned composition and framing. Where you know how to frame a subject, how to frame a shot to make it look prettier, to take your shots to the next level. Now is the time to introduce some movements in the shots. In this section, I'm going to show you a variety of camera movements that has been used in films since ages. So let's get started. 29. 8.1 Pan: First movement is pan. Pan is literally panning from left to right or right to left. You're just holding your camera and then you're just moving left to right and right to left. Pan is usually used to give viewers more information about what is not just in the static frame, but also what is in the surrounding areas. It's a really basic movement and a lot of mistakes what beginners do is that they pan really quickly. Because of that, the viewers don't get enough time to consume everything, what was in the picture. Whenever you're panning, just go really slow as if your camera is on a mount, on a machine and it's going with a really steady pace also. Yeah, steady pace is also really important when you're doing any movement. It's not that you are panning really fast in the beginning and then you make it slow. Pan usually gives a lot of information to viewers about what is in the horizontal frame. 30. 8.3 Push In: Now we move on to another movement which is one of my favorite, the push in shots. In pushing, you are moving closely towards the subject. Why is pushing so important? Is because pushing allows the audience to know what they have to focus on. Pushing allows the audience to get into the story. This is how you should take a pushing shot. Here, I'm just holding the camera and I'm walking really slow towards the subject. While I'm walking slow towards the subject, I'm keeping my feet really firm. I'm doing that famous ninja walk so that there's not any jitters in the video. One thing you should be keeping in mind while doing a pushing shot is the footage looks extremely pretty when you are, first of all, using a wide angle ****. Second thing, as you're pushing in, you see in the sides of the frame that some of the foreground is also going out of the frame. It gives that three D dynamic look in the video. If you just push in in a normal plane, it looks okay. But if you push in when there are surrounding things and they're passing along the frame, that looks more creative. 31. 8.5 Push In - Tilt Up: Next movement would be pushing with a tilt up. This is how you can take this shot. The first step is at position A, Your camera is facing downwards. As you're walking really slowly, you're moving your camera a little bit up. Why the shot is super creative is because here you are moving intowards the subject, but you're not showing the audience the subject already in the beginning. The floor or the ground is in the frame in the beginning. And now you're building a curiosity within the audience that, oh, what's coming? What's coming? What's coming? And then at a point, they see the subject. 32. 8.6 Push In - Tilt Down: Here. We're going to do pushing with pan down. A lot of times we are facing the sky and then we are bringing the camera down to, again bring the same sort of curiosity what we did when we were doing pan up here at position A, my camera is facing towards the sky. As I'm moving close to the subject, my camera comes to the subject. 33. 8.9 Few Extra Tips: These were some basic movements you can practice with your iphone. But the only thing to keep in mind is that whatever shot you're taking, if you have to walk in, in case of pushing or push out, you have to do that ninja walk. You have to walk extremely, extremely slow. Because a lot of times when we're filming, everything looks really steady in our phone. But as we are importing the things in the computer, then you see, oh, there's a lot of jitters and all this stuff. That's why you have to be really careful with your firm feet. The next thing is that whatever movement you're doing, make sure to do those movements for at least five to 6 seconds. Because as we are pressing the record, the first second is a little biitaryns. We are turning off the record. The last second would be also a little bit in between material. That's the material you would be using for the videos. That's why it's really important to film whatever shot you're doing, whatever flow you are in, film it for at least five to 6 seconds. One more tip, doing these shots in slow motion, which means you have to increase the frame Rads per second. I would recommend to go for 60 frames per second. So that when you slow down these shots, whatever jitter movements were there, they could be eliminated. A three things you need to keep in mind. For feet, film for five to 6 seconds and film in slow motion. 34. 9.1 Filming a Cinematic Video - Part 1: So guys, we are here outside filming with my friend Nick. So we would be filming a cinematic video. So first shot, what I would be doing is that Nick, you are riding the bicycle from there to the right, and this is an establishing shot, so I want to show people how does the environment look, you know, and where is my subject riding the bicycle, which is the forest by the way. And here I would be using the same techniques, you know, the pushings, the tilt up, tilt down, what I've taught in the class. So let's start with the first shot. So what we can do is that you can already start writing from there, so it's like you're in the flow. And then I would be just here in the corner and I'll be running behind you. And also I'm filming everything in four K 60 frames per second. So then in the post I can just slow it down. And now I was also thinking to take like a front shot of you. Yeah, so first we showed the audience how the environment looks, but you also want to show the subject. So now we can do the same thing, but from here. And I would be walking backwards and I'll be showing you, yeah, this time I would be switching the **** from ultra it to the wide ones. A little bit slower? A little bit slower? Yeah. Yeah, I keep going. Is everything clear behind me? So those two shots, now we move on to the next one. So the two shots, what you saw that was not with a gimbal first of all, that was with the black magic app. And I did the stabilization to extreme and all the footage just looks like you're filming on a gim bo. So what I did was I made this tripod a little bit longer like this. And then I was keeping the camera close to the ground and I was just running behind the bike. And it looks so cool, if you are serious about filming from an iphone, get a sturdy tripod because you can also do a lot of shots of you just setting up the tripod and walking shots like what I showed you before. So that was the first shot, running behind the subject, and the second shot, I did the tripod like this and I was just running like this. Just like this, following the bike. And you see just with these little movements, you can get such a cool shot later in the post. We're going to slow down the 60 frames per second video, 224 frames per second, and then it's going to look super crisp. Now, I think we're done with here. We'll go to some other location, and then I'll show you more close up and more medium shot. So let's go guys here. What am I doing is that Nick would come, Nick would ride here. So I'm filming him writing and stopping. And then he would just go and do some things there so we would film everything. But now what I would be doing is I am sort of sliding from left to right when he comes Stop. Stop. And now you can get off and put the stand like like that. Yeah. Can we do the stand one more time? I'll just take a little close up. Do on and go look at the videos. Blur, Man, you see guys, that's what I'm talking about. The cameras are so good and I'm just using iphone 13 Pro. If you have iphone 14 or 15, imagine what all shots he can get. Now, I would film you walking towards the water. Yeah, then for this shot, what I'm going to do, this is how you can be creative. Instead of taking a shot like this, close to the ground. And once you're close to the ground, then you have the grass in the foreground. And that creates a lot of depth in the video. So I'm just going to turn the camera this side now. I'm just doing a follow shot. So go in and you can stop and take off the bag. Just just from there to one. And so we have taken all the roles and now I would just want him to take the camera out of his bag. So we'll just film some close up detail shot. 35. 10.1 Editing on iPhone- CapCut: In this section we're going to be talking about cap cut. Of course, you might have heard about the software. And the coolest part about this software is it's absolutely free. At least the features, what you get in free version. It's almost unbelievable that how can they make it free? Let's jump in in our phone and start using Cap Cut. And I'll show you some of the basics of the software because there's so many things to explore. And once you know the basics, then you can just experiment with everything. Let's start cap cut here. This is how the icon looks off. Caput. I'm just going to open it. If it's your first time using it, there won't be any project here. I have a lot of project because, yeah, I use this app all the time here. If you go at the bottom left corner, you would see edit template inbox, and me is my profile. Then I'll go to the edit, there's nothing really fancy. Then you go to the edit, then this page comes. What page was there in the beginning? Then if you go to template, which is next to edit, you have all these templates. What you can make your videos about. A lot of templates are for the pro version, but we'll try later, also for the free version. But let's go to the edit, and let's start with basic editing. I would click on New Project here. Let's click on New Project. As soon as I click on the new project, all my gallery shows up. I recently went to Amsterdam, so I have a lot of videos from here. We have to edit maybe 22nd video because this is just to show you how this app works. I would be doing multiple select. You see the little circle at the corner of each video clip? I would just press on there, 2345. It's insane. Easy. This app, I'll show you six. And then here now I've selected 15 clips for this project. Let's see how many we're going to use. Once we have selected everything. I've selected 16, actually, once we have selected everything, if you see on the right hand bottom corner, it shows in blue box at 16. That's what I'm going to press now, add 16. Now as soon as they click Add, this page appears. I'm not going to give you all the information about all the things now because it can be a bit overwhelming. But as we go through the project, as we're going to use all the tools, then I can explain to you about that, rather than doing the same thing twice in here. What you would see if I just scroll on the timeline, Capco has put all the clips together with each other. Let's jump onto the first clip. I'm just scrolling, scrolling. I would just scroll, scroll, scroll. And I'm just checking which part do I need. Maybe I would just need me sitting here. What I'm going to do now that I would be at the end point of the clip, I'll just press on the clip. And then you can see that the clip is highlighted with this white borders. Once I have selected that clip, then I would go on the left hand corner. And then I split what this did was now it has split the long clip into two parts. Now I'm going to select the previous clip like so then if I see at the bottom right hand corner next to the camera tracking, there's an option called delete. I'm going to delete it. Delete all the unusable one then I'm just going to scroll. I would be just ending this clip here. I'm going to do the same thing, split and then delete this part because I just want this part to be usable. I would just delete this. As soon as I delete this. The next clip, which was the following clip that just closes in the gap, which is really cool, I would also just split here, split here after I think it literally took me 5 minutes to just chop off the clip, and I also deleted some clips which were not really needed. Then once you reach to the end, say here, I'll just have to chop off this clip. I hope that the split and deleting is clear to you. Once you reach to the end. In the free version, they also add this cheeky logo in the end. We have to delete that as well or it's going to be in your final export. I have my time line ready. Let's see if they have any audio. Once we have the timeline ready, what we're going to do, we're going to add some music because I just want to make it like a short log. I pressed Add Audio Here, and then I will go to sounds which you can see in the. Left corner. So I'll go Sounds if you want, you can link your Tiktok account. If you link your Tiktok account, it's going to give you all your favorite sounds. I'm not going to do that now. I would go to a library. Here on the top here it says log. But then the thing with cap cut is that all the audios, what you see here you can use for Instagram, Tiktok, I think also for Youtube shots. You can use for your Youtube channel like the main, if you want to make a long form video for Youtube. But then you cannot monetize content. If you are someone who has a channel which is monetizable, you cannot monetize it because all these songs are not copy right, free. I think once you upload on Youtube, you get this, strike that. This song, the revenue would go to the owner or something like that. So you just have to keep that in mind. But if you're just doing it for fun, it's totally fine to use this songs. Let's click on Log and let's choose the music. Oh, I already like this one. The first music, I like it pretty chill. What you would be doing is that if you like some music, you can also save the music which is next to the download icon like this. But if you like some music, what you can do, you can just do plus that is going to add the music in the time line here, you see on the top there's this video and at the bottom there's this Music. Let's play it and see if it sinks to the. I'm seeing here is that you can also zoom in in the time line by just how you zoom in anything in the phone, just by using two fingers. But I want this music to start here. If I see in the graph, the music is starting here. I'm just going to click on the music. Then you have the split option again, split on the left hand corner. And then I'm just going to delete the first part. Then I have to move this music. I'm just going to press on the audio, so you see it selects, then I move the music At the beginning of the timeline, it moves to the next section. Yeah, probably here. Let's see what happens. Let's see what happens. You see how fast the timeline is moving. So I'm just going to zoom out so that, yeah, it's not a bit squared. Scary when this happens. When you see this at this point I see that there's a little bit of beat. This is where I'm going to move to the next frame here I would do split. Now I did want cutting, but the second cutting would be according to the beat of the music. Here I would cut again. This is also really effective way to make your videos interesting is by cutting at the beat of the music. That's what I'm going to do for the next 5 minutes. Let's just fast forward this now. After 5 minutes, I've cut the music according to the beat here. As you can see here, I don't want the music to be so loud because it can be a bit distracting to what I'm talking. What I'm going to do here is I'm going to click on the music. Just once you can see the white borders around the music. Then I'll do fade. Fade would do, is that here I can do fades as I'm doing fade out, the volume of the music should be going below. Let's see. I, I have a paparazzi. See here I am talking to the camera here. I want the music to be muted or faded out here. What I would be doing is I am just going to click on my music track and then fade out. Or I can also see if I can do something with the volume here. You cannot do anything with the volume. What we can do, hang on. I have another plan here. What I can do is I go select a key frame. What is a key frame in video editing is that if I want a video setting at 5 seconds this, but then at 7 seconds, I want the video settings to be this. That's why I select a key frame at 5 seconds and 7 seconds. And then I can change whatever video setting I need on the five second and whatever video setting I need on the 7 seconds. As we progress with the time, the video setting would go up to a position what we have selected here. When I'm talking, I'm just putting another key frame. As you see, if I scroll through the timeline, the volume reduces. That's the magic of key frame, like fewer back. You cannot do all these things in your phone. As I would scroll back, back, back, I would just have to move this audio file a bit more longer until the end of the video. And let's go back to our current clip. As I see that I have stopped talking here and the roll starts, I would put another key frame and then I would go here and as the roll starts where there's no audio, I'm going to bring the audio back to 100. And let's see, crazy, all these things you can just do with the phone. I have a paparazzi following me. It's a bit annoying, but that's the part of being famous, what you can do. I think the audio picks up again, and here I want the audio from the video to be going down because the audio from the video is a little bit annoying. I would just reduce the audio from the video down so that people can listen to music. This is how you can just edit a normal log. What we did was first we chopped out all the unnecessary parts, and then we added music. We added key frame to the places where we want the music to be lowered down or the music to go up. All these sounds are available in put. You can also use music videos from your iphone. Here I have the sounds section I was here in audio. Here we are in the sound section, and the sounds were on the left hand corner, what we used in the beginning. Now let's check extracted once. If I press extracted, it's going to extract audio from the video is in my iphone. How cool is that? Let's see if I have any video. Maybe this video import sound only. I have selected this video and then I'm going to import sound only. Now the audio from my iphones video has been imported here. What I can do can just delete this audio clip. Now there's different audio. Let's play Perform up here. What I can do is that as we can see, that one audio is ending and one audio is beginning, I can add a fade, say you go here at the bottom and click fade as I'm fading out. You can see this little graph here, You see this little graph, it pops out. And that is helping the audio to be fading out softly rather than just abruptly cutting it. That's like a basic log edit thing. You can also introduce voiceover. You might have seen a lot of Tiktoks, a lot of reels of voiceover on Just Roll. That's what we can try now as well In audio, I am still in the audio section. If you see the options at the bottom, if I press voiceover, it's going to be recording my voice while the video is playing whatever is displaying in the video. I can just have my voice on top of that. Let's try that out. Voiceover is on the right hand side, bottom. Let's try it. Tap or press or hold to record. I'm just sit in 321 here. The video has started playing and I am looking at the big boat. It looks really cool in the sun. Now, once I'm done talking, I am showing my camera in Amsterdam. And this is also my camera and this is my friend who is filming with a gimbal. He's a really good videographer and I think that would be the end of the voice over. So let's press the voiceover off again. Let's first stop and see what happened. What did I do? Let's here the video play here. I have the voiceover. So I'm going to just do the fade out again with the volume. I go here and then bring the volume down and the keyframe here. You see how easy it is, you don't have to do any animation, just drag and drop it down on the things. That's what transition is. You can just explore so much, it's just so many options in cap code and it's free. It's insane. Look how easy is that to make cool videos on your iphone for free. It's insane. Yeah, that's how you can also add voice over. Now we have mastered the audio section. Every time you have to go back, you just have to click this thing in the left hand corner, Click this arrow to go back. We were in the audio section which looked like this. And these are all the important things. What you need to know. Now let's move on to some transitions because they are trendy. I'm just going to zoom in in the time line I would be doing effects. Yeah, let's click on this square here. What did I do was you see this block? White blocks. I'm just going to click on that. And then it's going to show me all the Trendy transition. But as you can see with all these effects, it says Pro in the left hand corner. I cannot use that because I have to pay for it. Just not just trending. There's like overlays camera, there's blurs. There's different light, there's just so many things and it is just super overwhelming for anybody who's starting out. What I'm going to do, I like glitches transition. I would just go to glitch and then I'll select the stroke two. Yeah, go to select that. Clips are too short for creating transition right now, I'm just going to reduce the time duration. Let's see, are you ready for it? How easy it is. The transition was pretty quick. How easy it is, you don't have to do any. Let's add another transition here. It's so much fun. I would be just doing trending now, pull in. It's like the most common push in transition. Let's try that. As you can see, there's a cap cut icon in between the two clips, which means there is a transition applied. So let's try this. How easy, let's go see how easy it is. You don't have to do any animation, just drag and drop it down on the things. That's what transition is. You can just explore so much. It's just so many options in cap Cut and it's free. It's insane. Now what we're going to do, we done with transitions. Let's go over Lip over lay. Is you put like a background in the video or something like that. And what we would do with overlay, I can just put this real. I've selected this reel which is 32nd, 30 seconds long. If you see all the videos in my gallery, that's all from my client here. I can also put a video in the corner here. The video Klook. This is just an overlay, is just that you can just drag and drop another video if you want like four videos, you can just put them together one after the other. I would just delete that. Let's go back. That's overlay for you. There are a lot of video effects that you can be doing. Let's go in video effects, let's do Smart Sharpen, which is on the right hand side top. Let's go Smart Sharpen, and that's going to smart sharpen my video. It's not looking the best, but let's do the back light flash. As to this, there are so many things now, it's like shaking the object. There are so many transitions that you can do. The cool part is once you go back, you can decide how long you want that effect to last. It has selected, not the entire. So you can bring it up down depending on how long you want the transitions to be. So I'm going to delete it because I'm not a big fan of it. And there's also some body effects. But let's try. I've never tried it. Let's try it. That looks scary. You can still choose in which part of the video you have to use this, it's crazy. Let's go back. That was effects for you. If you go to ratio, then here you can decide the size of the video. Nine by 16 is for Tiktok, Instagram. Then you have for Youtube, four by three. All these, it's just different sizes. I would just leave the size how it was initially and then we go to filters. Filters is also really impressive in cap because you can do any color grading on your iphone videos just with one click. Once you have selected any of the filters, you can just reduce or increase the intensity. Here we go to portraits. For every genre, there is a different lot preset. You can say life. You can just explore around. You can also adjust the video quality. Next to filter, there is a thing called adjust. I was here, then I clicked here at. You can just adjust the contrast saturation and all the stuff. This is in a pro version, the video reduce flickers, reduce image noise. I would go to adjust. There's a lot of things what you can do. Yeah, just play it out because I believe that the videos from iphone is already super nice. If it's filmed in proper exposure, all you need to just do is put some filter. My favorite filter is where was it? This one dispatch. Then I reduce the intensity. If you want to see before and after of the filters, you just click on the image, then it shows before. And then I tap out, it shows after. That's how you can put the filters. If I just scroll through the timeline, you see the filter is gone. You have to just hold this thing and just drag it all over the time line. Now, the filter would be applied on all the images? Yeah, this is pretty nice, pretty easy. Now, you have some stickers, like some emoticon, You can just put any of this and then you can click them and then drag under the clip, They would be here. You see, I wouldn't do it. But yeah, I'm just showing you the options here. Once we are done with that canvas is just which, if you have a short video and you want to put some background, you can just put like a Christmas background or you can just put a normal color like that. I wouldn't do it. Let's keep the video to normal setting. One of the most important thing about I forgot was the text tool. It is next to the audio. I've showed you all the essential tools in cap Cut now except the text. Let's go to text. If you want to add text, I can do Amsterdam here then once you have typed that, now you see the text is here. As soon as this pink thing appears, the text appears. Now you have the option to stylize the text here. What we're going to do style, then you can choose different types of fonts here, different types of setting. You can also choose different types of font. We would go on the left side of the style font here. My favorite font is this one. But Intro, there is thousands of fonts. It is crazy. It can be a little bit overwhelming for anybody, beginner. But yeah, it can be a little bit intimidating for beginners. But let's this font, and I just want this font until here, I'm just going to click on this split and delete every effect. You can choose the duration of the effect. Once we're done with the effect, let's go to stickers. You can put more cheese. Now is auto caption. This you might have seen also in a lot of videos. Let's press auto caption. And now the Tiktok would be generating captions. I would just keep the settings normal. I would go start and Tiktok would take insane fast. And it would take just a little bit of time to introduce some captions. Now you can see that, let's check the caption thing that I have not done many times before, but today is one of those days. These are the captions. And you can again, choose different styles of the caption. These are the templates you might have seen in a lot of Tiktok videos that that is how they appear. So I'm just going to check, click the Quick brown fox, this one in the left corner, because a lot of captions are in pro version, but I think the pre version is also good enough. Let's try this. Once we do the caption, it's going to go to ending up with a different. It's going to go to all the captions, whatever setting we choose. And there is a lot of things what you can do, you can stylize, you can do effects, you can do a lot of things. You can do this. You see now also mentioned this is just a minor thing to be explored in cap cuts. It has just so many things to be explored. That was captions for you. That's one of the important things to remember. Yeah, I think we have covered all the basics of cap Cut. I hope that it's not overwhelming for you. We started with just cutting out the blog, then we added music. Then we used keyframe to lower down the music and up the music. And then we added voiceover. After voiceover, we did some filters, some color grading. After that, I showed you how to do captions, how to do text. Now, whatever project we have, if I just export it, to export it, there is a arrow on the right top. You click that, it is exporting. If you are not in a Pro version, you can export in high definition, which is 1008 pixels, not in four K. But that's still good enough for social media. So that's exploited, it is super quick. I don't share directly to Tiktok from here, Instagram. I just press now your project is saved here. You can go back anytime to do some editing, do some changes. Yeah, that was cap cut for you and I hope that you like this tutorial and as I said, there are just so many things to be explored in this free app. It's just super easy to download it. Just download it and destroy different stuff. You would be so surprised that insane amount of options. But yeah, whatever I have thought, maybe practice that first and then we can go from there. 36. 10.2 Editing on iPhone - VN App: So now that we have mastered cap code, the only problem with Pct is that you cannot import lots in this app as of now. So I have also given you a tutorial of another app which is called N app. And from this app you can just import the lot, my lots, which is free with this class to your videos. So here's a tutorial for that guys. To use lots on any videos in your phone, you need to download this app called VNa. I have downloaded this VNa. It's on the top here. This is how this app looks. It is absolutely free for your first 99 projects. I'm just going to do another project here. I've just used for, it's a pretty, pretty decent video editing app with this one. Say I want to collaborate this footage, I'll just go to here. If we see in the left hand side bottom corner, there's an icon called filter. I'm going to press it here. I would just press Add to add new lots. I'll just, I've already imported the lots in my phone, so it doesn't matter if you have Android or Apple import the lots first in your phone. Before opening this app, I would go to this file app where it's going to show me all the saved files. So I'm just going to go here. I have saved that lot here, the LCO lot pack in the audio section. I don't know why did I save it in audio section in audio folder, but it is there. I would just press here and then I would select all the lots a lot. What I have it is in cube file, that's why it's reading those. And then I'm going to do open, then I would save it as a new folder, I would just lots. Then it's going to appear as a new folder in the app here. If you see next to your original there is test lots. Now if you just click on these lots, you can see the lots being applied to the image. What I can do now, if I go here, if I think that the lot is a bit too intense, I can reduce the intensity of the lot all the way to zero or until here. You can do a lot of changes like this. This is super easy to use and super handy and all the lots, what I have made it super useful to use on even iphone Samsung. It would work on any camera. If I just put the intensity until this, then 75, the lot is applied. So this is how you can use lots in the phone. Now, if you want to export this file, you see on the right, if you see on the right top corner, there's an export arrow. You just go here. You can choose the frame rates if you want, but I would just do manual and then I'll export it. It just gets exported in seconds. So this is how you can use lots in your phone. 37. 11.1 Project Setting: All right guys, so first thing first, let's open at resolve. I'm using anti resolve, the studio version which is not the free version. But everything what I'm going to teach you, you should be able to do that in free version. Really, don't worry about that. As soon as you click the resolve on this thing opens up. I have previous projects here, but I'm going to start a new project. I would just click here as a new project. Let's say Davinci resolve 18 class, let's do create. Then this whole page opens up. I'm not going to make it full screen yet, because in this section I'm going to be teaching you just a few things which is really, really important. Such as project settings, system setting for winter, resolve, some color management technique. I know it sounds overwhelming, but just bear with me. As soon as this page opens up, I am going to go here in the corner saying Project Settings. And it's going to take me to Master settings here. The first thing, what we're going to check is timeline resolution. A lot of beginners, they do this mistake. Even if you are filmed in four, your time line should be in 1920, 5,080 in a high definition. Because the time line resolution shouldn't be same as the original video. If you are putting in four K, then it's going to be more taxing on your computer. But if you put in high definition, it should be playing fine. Or if your computer is not that strong graphics wise, you can also play the time line in 720 P, but we can just go to high definition here. And then frame rates per second. You really have to check what frame rates your videos shot in. But all the videos for this class, I have shot it in 25 frames per second. So I am going to put here 25 frames per second. And I wouldn't change anything because I'm using Mac here. The proxy media format is Pros HQ. But if you're using Windows, it would be something different. And then working folders, this is important wherever you have been saving all the other media. You can choose the location according to that proxy generation location. If you're using proxy media, you can choose the location of that cache files. You can choose the location of that because as you're using resolve more and more the cache file would fill up, so you have to keep deleting it. So I have put it here and gallery stills I would teach you how to take still. So this would be here. This is just to let you know that if you find these folders somewhere in your system, you know where they are and what they are. For now we are done here. I just changed the frame rate. And it's really important to change the frame rate in the beginning because once you've imported all the files, then you cannot change the frame rate. If my frame rate was 24 in the beginning, even if I have imported 25 frames per second, the frame rate would be 24 and I wouldn't be able to change it. It's really important to change these things in the beginning. Next thing, what are we going to do here? I don't change anything. Color management. If you're using Windows, this color management is fine. But if you're using Mac, bear with me. If you're using Mac, you should be using this color management and this gives the most accurate color output from resolve to your computer. Because sometimes what happens is that you have edited a project in resolve, you have exploited that the color looks the same as how it looked in resolve, but as soon as you upload that on Youtube or any other social media platform or anywhere on the Internet, the color fades off. That's why this color management setting is really important if you're using Mac, especially the output color space as rec 79 A here. Because to just leave it at seven oh nine scene and it would just look super faded. Yeah. Really remember to choose these color settings while you're editing your project. I wouldn't change anything here. This is all just general settings. I really don't change anything, nothing. What I also do is that as soon as I have chosen these settings, what I do, I go to preset and then I save that preset. Let's see, a resolve class. I have saved that project setting in a preset. Every time I'm going to open it up, every time I'm going to open a new project, I would just go to Project Settings here. This page would open up initially, but then I would go to preset. I would go here, I would go load by doing that. What's going to happen is it's going to save me time and then I'll be sure that I have the right project setting. If I go to color management, all the settings are there. If I go to master settings, this is 25 FPS, high definition, not in four K, and all these things are the same. That's why the project Settings is literally one of the first step which you should be changing when you're using resolve. If you're using Mac, there's also one more thing you should be changing. You go to a Inter resolve here in the corner. You go to Preferences, and then here you should just do auto. I would go here, media storage. This is like the export file setting, I have put it here and all the other medias from resolve all the cache folders and everything, they just go to Adi and movies. But you can choose your own path. You can just put Add here and choose your own path here. The most important setting, what I'm going to show you is this one I would just leave. Here we go to general. If you're using Mac, you should do display color profile for viewers. Also take this one automatically tager 79 scene to 709. If you want to let the system check for updates, you can do that. But these two are really important to take if you're using Mac. Because again, everything would look really nice and crisp in the winter resolve, really nice and saturated If you don't take this one, as soon as you export the file, the files, the output files would be a little bit desaturated. It has happened with me so many times and I spent so many hours researching why is my project looking so desaturated while it was looking really pretty resolved. So yeah, that is because of this, but if you're using Windows, don't worry about it. So yeah, that was the project settings. 38. 11.3 Importing Clip: We are here in media tab. Here, I'll show you how to import clips. I'm going to be importing a lot of rock clips and I'll show you how to import all the rock clips at once. I go here, this is where I have saved all the raw files for this class. I go to users, I go to Adi, I go to Documents, I go to Current, you don't have to memorize this. Then we go to Domitil, have to go through all these steps. What you can do in Dominiolve next time is that I keep all my projects in current projects, so if I'm editing of log, if I'm editing for a client, so I have all these raw footage of separate projects in my current project folder. What I do is I just write Click and I just do add folders to favorites. As soon as I do it, I have my folder here so I don't have to go through ad users, blah, blah. I'm just going to minimize it so I don't have to go through all that step to find my files. It's always going to be there in the favorite tab. In my favorite tip, I have put current projects desktop downloads. Because a lot of times I download from Google Chrome, so I don't have to go through user downloads, blah, blah. I have just set up download folder here in my favorite, let's go to Current Project, and then I've also put documents. Let's go to Current Projects here. And I have all the files here, Rock clips. This is a folder, it has some subfolders and some sub sub folders. What are we going to do? We have to drag and drop this in the winter resolve. These are the folders, they are still in the system, they are not in the winter resolve yet. If I drag and drop here, what happens is that all the files which was inside this folder, they have opened up and all the sub folders are gone. I organize everything according to how it makes sense for me, but it's not there, the folders are not here. I'm just going to go all or control. And what I would do now is that I would drag this rock clip flow folder from the computer to here. Under now you see what happens. Rock clips here, all the folders are in the same manner as how I have saved in the computer edit page. This. I hope that makes sense. You don't have to drag and drop the main raw folder of your project here, this drag and drop under masters. So this is the most efficient way where you can import the folders from the computer. Yeah, don't forget to save here and Favorites, so that's going to save you just so much time. You can also go through all the clips here, but what I do is I go to Edit Page here and then we start with editing. So let's move on to the next section. 39. 11.4 Cut, Trim and Add Music: Now we are in the Edit Tab where the magic happens. Edit Tab, in my opinion, is the most important part of the viners, where you mold the whole project. And there is a lot of things that you should be learning in Edit Tab. But what I've decided is I would divide Edit Tab in three parts. We would be starting with really basic things so that it's really clear to you, the basics are really clear to you. And then we going to do some here and there advanced things if you have any questions while you are learning this project coming down below. And I would be really happy to help you with. Let's go to the edit tab. The first thing what we're going to do, I would be just giving you an overview of the edit tab here. As you can see, we have all the clips here. You can see all the thumbnails of the clips for some of you, the time line and everything would look like this. What do you need to do? Like in my personal choice, I just do the shrink option here in the corner. I shrink it so that I have more space here in my time line. This is the media pool. Under media pool, there's all the rock clips. Then we have effects, we're going to be using these effects. Then we have edit index, I don't use it, sound library we have, which is also not that important. If I unclick everything, we also have this much room. As soon as the press media pool, this whole thing comes here. I'm just going to shrink it. Let's see, maybe I would just play some clips and see if I just double click here. It would play here as easy as it is. Sometimes what happens is that if you see here in the corner, I've clicked the inspector. So this is not here. And the winter result looks like this here. What's happening is that one playback would be the playback from the rock clips here. The playback would be from the videos in the timeline. But I really don't do it that way because I don't think that's very efficient, especially if you have a small monitor to work with. I just go single view mode and I go inspectors single view mode, single view mode, whatever you play, it's going to play. So these are the rock clips. In my opinion, the most efficient way of just organizing everything is I just put media pool here and then my media I can see here, you can also collapse it and you can also change the size of the thumbnails. You can also just make it a list or make it like that, but I just put it here, this is fit. You can also zoom in and out. To zoom in and out. You can also just scrawl your mouse and it zooms in, but I just put it to fit. This is the name of the clip. I have named it Stabilization, because we're going to stabilize this clip obviously. Then here is mixer. Mix is the audio mixer. Here is metadata. It's going to show you the information about the clip if I click on this clip here in metadata, it's going to show me all the information about the clips. It's going to film in 264. The color space is 422, is 25 frames per second. It's not a four K clip, it's 1920, 5,080 If you go to inspector, there's all different options, what you can play with to get the best output in the winter. All there's just so many features what you can do here. Then you again get the information about the footage. I will just leave it to video. Then down here is the timeline. Let's drag and drop the footage and we'll see what we can do. So that was the overview of the edit page. Now what I'm going to do, I would be just dragging and dropping the clips in the timeline and show you how to edit them for dragging and dropping. I have kept all my files in the basic edit clips. I would be just opening here, all the files would be in the description. You can just click the link and you would get all the files. And I would really encourage you to have same folder structure so it's not confusing to you. What I'm going to do, I would be opening this first file, the 8337, our daily ferry ticket. That again, we just got our ferry tickets, day tickets for 15 euros per person. You can travel unlimited to all the main places here around Lake Como. Say for example, I just want this clip until here. The long cut way, is that what I'm going to do. I'm just going to drag everything. Let's show you again, I have just clicked here and I'm just going to drag this whole thing in the timeline. I would just make it a little bit bigger. I have the audio graph here. And then also, one more thing. What I'm going to do, I would be just clicking here, you see. Now by just by clicking these options, you can change the graph of the audio. I would just increase the audio graph here. Yeah. Just by clicking here. You see you can change the view. I don't like this view. I just keep all my graph in the middle. I just leave it like that. You can also change the view of this bar. So I like to see the video thumbnail throughout the whole bar so that I know that what video clip is it. Or you can also just leave it solid, but I just leave it here with this audio wave forms, I turn it off if you cannot see the audio wave form, which means that you have not turned this on. This is for the subtitles which we're going to talk to you about later. This is just stack time line which I would be also showing you later. Here I have dragged and dropped this clip in the time line here. There are lots of options which you can see just above the timeline. I'm going to talk to you about that as I go with the editing. Let's watch this clip again. Our daily ferry tickets. That again, we just got our ferry tickets. As we can see from the audio wave form is that this part was where I said can you start again here the actual video starts. I just want this part to be in the main video. What I'm going to do, I would just select this. Then I would go here to the blade tool. This is the blade tool and the shot cut here is I would go here, I would just cut this. Then I would also just cut the bottom. Come here, you can see that there is a little cut. And then what I'm, I'm going to go to this arrow here. Now it's arrow. If I click on the blade, it's blade. As soon as you go on the clip, I'll go back to the arrow. I'll select these two and then I'll just press delete or backspace. Yeah, then what I'm going to do, I'm just going to drag this whole file to the beginning of the timeline. Yeah. We just got our ferry tickets. A tickets for 15 euros per person. You can travel unlimited to all the main places here around Lake Como. It's from the audio forms I can see that. Just want the clip until here. It's my personal choice. Just for the sake of this class, I would just cut it here. I'm just going to go here to the blade tool again. Just cut it. Also cut the audio, and then I just make sure that the cut is there. Then I go here to the cursor so that my cursor has switched back from the blade. Then I select these two and I press delete by backspace, or delete, depends on your system. I deleted that. Now we learned how to trim the unwanted parts from a clip, but in my opinion, it's a little bit of slow process. You have to go here the cut the clip, then you go here, selected this, that blah blah. It's a little bit tedious process and how we can make this process faster is by using shortcut. I'll show you, shortcuts are something which is going to save your life. It would be a little bit intimidating in the beginning, but the more you practice on resolve, there would be a point where you don't even have to look at the keyboard and you're just editing like crazy enough flow to get access to the shot cuts. What I'm going to do, I go here in to resolve keyboard customization. Of course, if you're using resolve for the first time, your customization would be completely different than mine. Let's go here and show you. For me, I just use very few shortcuts and those few shortcuts are lifesaver for me. So I'm just going to discuss those shortcuts just in brief. And then I'm also going to give you a preset, what you can import in your computer, me and you. We both have the same shortcuts as we are editing throughout this whole project. I would be just telling you. Okay, Navi pressing. Navi pressing to have this command. You know what I mean? Yeah, If you just import my own preset, you and me would have the same shortcut and I would tell you how to import those shortcuts. But the most important shortcut here if you go click on which was the cut button. If I click here it is Blade Edit mode. In your computer, it might be completely different. V was the normal edit mode. As soon as we press V, the cursor comes up. And then A here is zoom out is zoom in. This is like zoom out. And zooming in in the timeline and trim start, trim end. I know these things wouldn't make sense, but I would really encourage you to import my shortcuts so that as we're going through the class, we both are on the same pit. How to import my shortcuts here is that I would just go and export this preset. I would export this one zoo. And I would go to Desktop and I would just save it here. Now what I'm going to do, I would also leave this preset in the description below. What you should be doing is that as soon as you open keyboard customization, you go here, import preset, you go to desktop Winter resolved Open Name Mapping preset. I already have this, so I'm just going to keep it to a different name. Now we both have the same preset. Now you have all the preset. Let's jump back in the timeline. And now I'll show you how much faster you can do everything what we did, and it took ages. I'm just going to close it and I would just delete it. So now if you have to delete, you press X. So that's going to delete everything. Now if I have the raw file here, so if I play here, I've just clicked here. So now we have nothing on the timeline. Let's listen to this audio again. Our daily ferry tickets that again. So we just got our ferry tickets from here. So this is my girlfriend. So from here I'm just going to start like this because I know that she has started talking from here. So we just got our ferry tickets, day tickets. We see what I did here. So if I know that this is the input point, what I have to use for this project, I'm just going to press, as soon as you press, there's a little dot here and this part is unselected. Yeah. Now, if I just drag ticks timeline, day tickets for 15 euros per person, you can travel unlimited to all the main places here around Lake Como. I just need the clip here to put an point. I pressed and if I want to press an outpoint, what do I press? You can state right now from this entire rock clip, we just have this section selected. Yeah, what do we do? We move this time line bar, here we go to this rock clip. It is still selected. If I want the audio video to be in the time line together, I'm just going to drag this from here. I want the video. Then as soon as you go on this rock clip here, you have this video option. You can either drag the video or if you just want to drag the audio, there's a waveform option, you can get the audio from this file. There are a lot of cases where sometimes we just need the video clip or we just need the audio clip just by clicking on either of these two. You can either drag the video or the audio in the timeline, but in this case we want both. How am I deleting this? I'm just pressing command and I'm just going to drag this clip here because I need both. You see this thing? The link there is like a little link sign here. Because these two things are from the same clip. That's why there's a link here. If I click here, link section. Now if I move this, now if I just click on the video bar, it's going to also move the audio. But if I un link things, it's just going to move the video file, not the audio, because they were the part of the same clip here. It would say that my audio is lagging -4.12 seconds behind. If I keep them together, you see, as soon as I drag it says here how much the audio or the video is lagging or there forward. If I just go here, they're together. That's also a really easy way to just see by mistake. If you have moved your audio or video, then you know that, then it's going to show you the red sign that this is how much the audio or the video have moved, if they are from the same file. You can also link different clips together. Say for example, if this video clip, this audio clip was from different files, you could also link them here. Then you go right click and then you go link clips because the clips were linked, now they're unlinked. If I just go here and you can link them now they're together. But if I unlink them now it's not going to show the red mark. So I hope these things make sense because these little things, they're going to save you so much time. And sometimes they also save so much work. Because if I'm editing like a really big project and sometimes by mistake I move like an audio file a little bit this way or a video file a little bit that way. So then I have to manually sync them. But if I have the seconds mark there, then I know exactly how many seconds I have to move the audio or the video left or right. So I would be linking them again. So that's how you rug and Rob by the shortcut method now travel unlimited to all the main places here around Lake Commode. So now what I want to do is that as soon as I am done. Porting the talking shot. I would be just putting some B roll clips if I see this clip, If I just want from here. And then I keep playing, it's a slow motion clip. This clip is already in slow motion because I have filmed this in S and mode in my Sony camera. But in the coming sections, I would also show you how you can convert a normal clip in slow motion. Just bear with me from this clip. There's no audio because it is filmed in S and mode. So you can see there's no audio here. If I zoom in from the shot cuts, you can also zoom in and out of the timeline from the shot cuts that you have imported. If you press, you can zoom in in the timeline. If you press A, you can zoom out of the timeline. I would just zoom in and I would see that there's no waveforms. Like there's no waveforms like how we had in the first clip. Then we can also just delete the audio because it's just taking room in my timeline. So I'll just press X. Then what happens is that, okay, in the beginning I decided to import this whole clip. But now I've changed my mind and I just want just this clip from here. Yo what I would do, you can either go and press C with the plate tool, then press V, select this, and then press X to delete. Yep. But there's also a shortcut for that. I'm just going to go command Z. Do if I want my clips to be citing from here. If I want to trim this part, what do I do? I press Q. Q Was the shortcut called Trim Start. As soon as I press, it's just going to trim everything on the left side of the timeline. If I go here, if I don't want this part, then what I'm going to do, I'm just going to press W. By pressing, magic happens, it has just deleted the right side of this clip. Now if I want to drag this here, I can also do something else. As soon as they click in this gap, there's like a light gray bar here. And I press X. This X is also acting as a delete button and X is also acting as a ripple delete. What ripple delete does is that it closes the gap between the footage. So I'll just press X and then it's ripple delete. Or there is one more shot cut way where you don't even have to press ripple delete. I'm just going to show you. I'm just going to, I would delete the audio. We don't need it now. What I would do, you can see that here my cursor is in the selection mode because we have pressed. But there's also one more mode. If you press B, you can see that this red thing moved here. This is called trim edit mode. In this mode, what happens is that you can see that my cursor changed from arrow, I press again to this parallel looking thing. What's going to happen is that you would be able to trim this part. My clip would also move close to here. I'm just going to press, you see before what we're doing is we're just going to trim with Q and then we do ripple delete. But if you are in trim edit mode, then you can just press one button and the clip would automatically move to the clip on the left. And same thing goes for this side. I'll show you if I want to download this clip also in the timeline, I'll just start from here. I'll just set up input point. I'll press play. I just want the clip until here. Yeah, I'm just going to drag the video because there's no audio in this file I would be dragging here. Yeah, let's go back to the previous clip. In this clip, if I don't want this section and if I am in the trim edit mode because I pressed B. Now if I press W, which is the trim end, it's just going to trim things on the right. And also it would move the clip which was behind that, towards left. Imagine it's just going to save you so much time if I go here again and say, if I want from this part, I don't want this part. I'm still in the trim edit mode because you can see these parallel lines. I would press this clips move here, how easy it is to just trim and cut by just using these few shot goods. I would just press command S just to save it. Yeah, this is how you can import the files in the timeline and then you can just trim them by just pressing two or three buttons. Now what I'm going to do, I am just looking to import more clips in the time line. Here I'm talking again. Let's see, 2 minutes of guys, 2 minutes of walking in this village, and we already found a nice photo spot. Leave your tripod or camera on the bridge. You have this whole village in the background. So if you come in the morning, then only can get nice views. Because I can imagine this place in the afternoon or even around like ten or 11 going to be super pack sun is from that side. So what I want to do, so guys, 2 minutes of walking, guys 2 minutes of walking. So I would be starting here because I did some mistake in the beginning. Guys 2 minutes of walking in village and we already walking. So guys, 2 minutes of walk. You know what, to walking, guys 2 minutes of 2 minutes. I'm not sure. I because I don't see the audio graphs, it's really hard for me to track where I have started talking and that talking is right. So I'm just going to drag from here, I just press and I'll just press and I'm just going to drag this file in the timeline. So guys, 2 minutes of walking in Village. Judge, I'm just zooming in and out by pressing. And so guys, 2 minutes, 2 minutes of walk in, 2 minutes of walk, 2 minutes of walking. So yeah, I want this clip from here, so what I'm going to do, I'm still in the trim edit mode. You can see the parallel lines. So I've just press easy. And let's see, where do I crop, but leave you tripod or camera on the bridge. You have this whole village in the background, so cool. But as soon as I say so cool, then I want to end this clip. So cool. But you can already check from the audio wave forms where you have to cut. So if I want to cut here, I'm just going to press W, I'm cut. And I also want to do one more thing here. As you can see, all these clips or are on this video one line and all these audio clips are on the audio one line. What I want to do, I also want to put a clip on top of this clip where I'm saying that it's beautiful. Do tripod camera on the bridge village. A nice photo. Spot your tripod camera on the bridge. You have this whole village in the background. When I see you have this whole village in the background, I want to put a clip on top of this clip. I'm just going to do it so it makes more sense. I want to put this clip here. There's also a slow motion clip with that audio because I filmed the S, and maybe I just want this clip from here play. Then I press Output Point. And then I'm just going to drag this here. Yeah, I still have this thing on. What's going to happen is that I still have this thing which is the trim mode. I just want this clip to start from here. If I press, it's also going to cut the bottom part. Yeah, what we have to do is that should be going back to the selection mode. I would press, I have gone back to the selection mode. I press on this clip and then I press que. It's going as a press que. It's not going to move forward, it's going to be trimming at its place, unlike how we were doing before. So I don't get confused between the selection mode and the trim edit mode, because trim edit mode is to cut the clip in between and move the entire clip to cover the gap. But I just sum it in the timeline. We have this whole village in the background and I just want this clip until here. So I'm just going to press W because we are in the selection mode. Yeah, you can see what's happening here is that there are two clips on top of each other and whatever clip which is on the top, the software would be displaying that. If I had put this clip on the top, the clip underneath would never be visible. So whatever is in the top, Davinci would be showing that. So yeah, I'll just leave it here in the background, so cold. So that was the basic trimming of the clips and also just basic way of putting all these clips together. So if I'm doing like a Youtube video, I select in and out points and I just drag and drop them on the time line. And then I'm using the selection view mode or the trim edit mode just to put them together and keep the best part from the video. This is how you drag and drop in the timeline. You also might be observing if you're wearing headphones, is that already a nice photo, this footage? The audio is just coming from the left hand side. That is because every time when I'm recording or filming a log, I keep a setting in my mic that the audio just records from the left hand side. And to make it correct We do. That's the case for both of these audio files. What I'm going to do, I go here, I press right click, I go to Clip Attributes, I go to audio, and then here the audio is coming from channel one, channel two, there's nothing. I would also link the audio here to channel one by doing that video tripod audio from both the files. If I want to increase or decrease the volume of the audio, if I just zoom in by pressing as I'm dragging on the audio bar, I have my cursor turns into something like this. And then I can just increase or reduce the volume. So you see 7.50 B ten D B decibels is like a unit of sound. So of course, the higher it is, the higher sound is. They take us for 15 euros too high, so I'm just going to leave it to maybe 2.50 per person you can travel. Maybe a little bit louder. Yeah, three point. Yeah, let's 25 unlimited to all the main places here around lacoe per person. You can travel unlimited to all the main places here around lacoe. And if I have to do the same thing here, I am just going to increase it to five. So you have to really remember which decibels you have. Put this volume two. Now, this is how our clips look. In the first clip, there is some audio. We are talking second clip, no audio. Third clip, no audio. In the fourth clip, there's audio. Again, what I want to do, I want to put a music track in this entire clip. I want this music track to be a little bit of running in the background. Then here the music track becomes a little bit louder because there's no voice. Then as soon as we come here, the music track becomes a little bit lower again. What are we going to do? If you see here in the folder, I go to music and this is the audio track. What are we going to use? What I would be doing in audio as well, you can do the same method. Press in and out point and the drag it on the timeline. What I would be doing, maybe I need the clip from here, so I'm just going to press point then I know how is it going to play, drag the cursor and maybe press 0 point here. If you just, there's no audio or video option because this is just an audio file. I'm just going to drag it, drop it here. I'm also going to bring this a little bit bigger so that I see these graphs. Well, now you see my audio two has music Audio one has all the voices here. There's also video two, video one, Video two has this file. You can also just add anything on video three, video four, video five. As you add more videos on top of each other, this thing in the corner, they increases in a brick project file, we do that sometimes you see what I want to do. You remember here the beat picks up. I also think that the audio is a little bit too loud as compared to a tickers for 50, as compared to our talking voice. I'm just going to reduce, zoomed in the timeline by pressing and reduce the volume maybe -6.12 decibels. I can already see here that the beat pick up here. I'm just going to drag this audio file here. I think that is the starting point of this audio, that's why I couldn't drag it further. You see that? The starting point of this audio. Now what I'm going to do, I'm just going to make it a little bit bigger. Now what I'm going to do is as soon as you go here, if I drag the whole thing down, the audio of the entire thing goes down. But I just want the audio to be running in the background here, a little bit louder in this section, and running in the background again. Here, what I would be doing, I would make the audio go until here. As you can see this is my cursor changing here, what I would be doing, I'm going to put some key points here. I would be pressing Alt or option. You see there's this red dot and I'm going to be putting Alt option again. Here. Red dot again. Yeah. Now, by selecting this red dot, you can increase the volume of everything after this part. The more gap you leave, for example, there is this much gap in the red dot. It's going to take from here to here to get your volume until say, 7.14 decibels. But I want, but if I want the audio to go up drastically, really fast, I'm going to reduce this gap, but I wanted to fade in a little bit. Don't be like, not to be too harsh here. My audio is 17 -17 decibels here. I'm just going to leave it to -8.33 and see how it sounds. So let's hear it. So, we just got our ferry tickets. It's day tickets for 15 Euros per person. Just going to travel person you can travel unlimited to all the main places here around Lao. Yeah, this is also the mistake, a lot of professionals they do is that sometimes if someone is talking, they still put this the background audio a little bit louder, which can be really annoying. I think that it is at a good spot, probably. I'm just going to hear it again. We just got our very places here. All the main ad here. The audio is clear here, the voice is clear. The audio is also clear in the background here. The audio picks up says here, around Como here if you observe it, I'm just zooming in the timeline. There is a beat here and then there's a beat here. You really don't have to rely on your listening. You can just see all the beats and it can be nice to cut the video on a beat. Let's hear it again in places around Como. I also want this cut to be here. What I do, I'm going to move my timeline. Cursor. In the beginning of this beat what I do, the easiest thing ever, I'm just going to drag this clip here. And done, it's going to delete the end part of this clip. And now we have a cut on the beat. Let's see it again. I think it's a bit, I think this is the actual beat. Let's go again. And then I can also just increase this clip until here. Yeah, now it looks nice. Now what I want to do at this speed, I want to lower this volume. Just going to press alter option again. We have a red dot, maybe until maybe the red dot here, the audio fades in a little bit slower. I'm just going to put it to -20 decibels or maybe 21. Then what I would be doing, I am just going to select all these things and I'm just going to drag it here. Let's see how it looks. 2 minutes of walking village and ora nice pot spot. 2 minutes of walking in village and or a nice pot spot, video tripod or camera on the bridge. We have this whole village in the background, so cool. See how cool it looks? Now what I want to do as I am ending the clip here, I also want the audio to fade out a little bit. There's one way is that you have two points by pressing Alt and you can let it go down. But we do it a little bit different. Do that as you move until the end of the clip, you see this white thing here. What I'm going to do, I'm just going to hold it, click it, drag it until here like this. What this would be doing is that this would let the audio fade out. Let's see your tripod or camera on the bridge. You have this whole village in the background, so cool. So when the audio fades out, you don't even realize that this is a really cool thing. What resolve has to offer is that you can choose when the audio fades out. And you can also do it like this, audio fades out in the end. Or you can also do it like this, audio fades out already in the beginning. Let's try this walking in this village and we already a nice photo spot, video tripod or camera on the bridge. We have this whole village in the background, so cool audio sort of fades out. And we don't even realize these little as soon as you go here. You can just, you can just drag these things, change the volume, and you decide when the audio fades out. These are really cool things about resolving that all these things are just there on the time line. It's like a play. That's a really cool thing about resolving that. All these things are just on the timeline and you just have to know what everything does once you're done learning resolve. There's endless possibilities for creativity. The same fade out we can also do for video, if I go here, the video we can also fade it out. Background, so cool. You see if you want a shorter fade out, so cool. Yeah, These are a few little little things to make your footage look more amazing. Now we added music, we dragged and dropped everything. I also showed a few shortcuts for you to trim the clips using selection mode and the trim edit mode. Now as I told before is that I also want to show you how to convert a normal pace video in a slow motion. Here we go. In this folder called 50 FPS. The reason why I've written it 50 PS is because this footage was shot in 50. Of. The only time footage can look nice in slow motion is if they are recorded in higher frame rates. If you want to know more about it, you can watch my class about camera basics there. I've taught everything about frame rates, making slow motion, making fast paced video on this and that. Let's just see this clip. It's like a Gurdwara, it's like a temple for sick people. Sick is a religion in India. It's a footage in God, maybe even here in walk towards me a little bit. Yeah. You see this footage looks in a normal pace and how do we know it's 50 frames per second? Is we click here, so the video is selected, then we go to file. Here in the file, you can see here the other footage was 25 frames per second, and this is 50 frames per second. There's one way to do it in slow motion is if I want this part to be in slow motion, I got opt, I don't want audio in the background. I'm just going to drag the video still a normal pace video. What I'm going to do, I'm going to right click on this one and I'm going to go change clip speed then speed. I would reduce it down to 50% because this is in a 50 frames per second, it can look nice if it comes back down to 25 frames. Let's go here. Let's increase the clip length. This looks nice, but also this is not the most optimum way to make a footed, slow motion. I'm going to show you, so I'm just going to delete it. Press X. Go to the clip here, right click on the clip, go to Clip Attributes here, then I go to Video. And here you see video frame rate, it's 50 frames per second. You can change it to 242-523-4976, in the beginning. If I have chosen the frame rate of the project to be 24, then I would have selected 24. But we have chosen the frame rate to be 25. I'm going to press 25 frames per second. Now I'll show you the magic. I'm just going to press the rock clip here. Now the rock clip is already playing in slow motion. You don't have to go to the timeline and then reduce the speed. Here you are sure the video is playing in 25 frames per second. And I'm just going to press in point here, because I want this video here, outpoint here. I'm just going to drag this here. Same thing we can do for the next clip, every time, even before selecting any point in a higher frame rate video, what do you do? Clip attributes. Video frame rates 224 or 25, depending on what have you chosen as the timeline setting. So I would just drag and drop the video here. You see. What we did was went to clip attributes and change the frame, Brad, of the video. When I click on this video here, now you see it's 25 frames per second. We did like in a proper way, the changing of speed. This is really good. That is how you should do it. If I reduce a 25 frames per second video into slow motion, say drag this video file also, one more easy shot is that if I want just this video file to be here, what do I do? Press this video file, press Alt or option, go here, and then just drag it here. You literally have the duplicate of this thing here. Same thing we can also do for audio, or we can also do audio and video together. But this was a 25 frames per second video. If I reduce the speed of this thing here, let's say 50% you have to see how deter it looks, you see there is how much blur is in the video. Now you see it's not looking that smooth. That's why you cannot reduce the speed of a video which is already in 25 or 24 frames per second. You can on reduce the speed of the video which is in a higher frame rate like 5,000 200. Like that. I'm just going to delete it. Yeah, that was it for the editing tab, part one. This was literally the basics of what you can do in the edit tab. Even if you know just this much, you can still do a lot in the winter resolve. But in the upcoming section, we're going to dig deep in the edit tab and I'm going to show you some really, really cool things. So stay tuned and let's move on to the next section. 40. 11.5 Transition & Animation: I hope you learned some basic stuff in the A part one. Now we're going to be doing a little bit of advanced stuff in it. Tap part two, let's jump in the system and I'll show you some really cool stuff. In the last section, we did this basic It, everything we did was just dragging and dropping in the timeline. We didn't touch anything from this side. Yeah. There's also something really important in the resolve is the Inspector tab. What I'm going to do a word in file because we wanted to see what type of file it is, the frame rates and all that sort of stuff. But we're going to go video here. Let's choose a clip. If I want this clip again here, as I told before, what I'm going to do, I'm going to press Alt. Click on the clip. I have duplicate clip of this one. If I want this clip to be a little bit longer then I have it here. It's just a normal slow motion clip without any audio. Now, I'm going to be showing you from this clip what we can do in the inspector tab, the transformation. These things are really straightforward here. Zoom, you can zoom in out. If I zoom out, there's this black bar here. If I just type one here, zooms back to normal position. You can change the position of the video. X axis, Y axis. Just pressing undo, rotation angle. This is something what we need. Now, I'm just going to scroll back from the mouse, so I just would see the whole image. Now if you see here, the video looks a little bit tilted. The horizon, it's like this. You can also hold this and change the rotation angle, but it just goes like crazy. What I'm going to do, I'm just going to press these numbers and just drag my mouse the other way. I think here it looks neutral. The rotation angle, What are you guys saying? Yeah, I have rotated this clip, but the problem is here, there's some black bars. What I'm going to do to remove that, I have to zoom in. I would say zoom in until here. Yeah. What did we do? We did some rotation and zoomed in to avoid the black linings on the side. That's how rotation works. Then anchor point is just the anchor point, like the center point of the video. You don't really need to change anything with that sleeve anchor point to zero. And if you do, the video goes like this. If you do the video go sideways like this. I would show you. When can we use this later in this section? Flip. Of course you can flip the direction. If I flip it, you see the rotation angle becomes more. But yeah, this is how you can flip any image like that. I'm just going to press control Z, and then you can horizontal flip as well. Then smart framing is something as the software would decide what frame is more optimum. You see my subject is in the center, that's why the software have moved the subject to the center. But if you choose a reference point, I'm going to put the reference point of the subject here. Let's do reframe and see what the software does. It has just put it here. I'll put the reference frame here. Let's see Now, whatever I put that thing becomes in the center. Yeah, that is just by moving the position left and right. I don't really use it, but it can be handy if you are filming any reel from this big video. I don't want this, I would just zoom in. Yeah, cropping. Cropping is really important in two ways. Say, for example, I need, say, this video on top of this one, But I want this video to be in the corner a little bit cropped. So what I would be doing, I'm just zooming in in the timeline. I zoom this out. Say, put this video here. Here. Yeah, just in the corner now with cropping, because I've selected this video, maybe I cropped something from the right. Maybe crop also from the left here. Then I can just also change the position. So you can use cropping in like 100 different ways. Maybe I'll just put these, both the videos together and see how it looks. Cropping is not just for this huge, you can just use cropping for anything. Yeah, that was also with the inspector page. You have done cropping, you have changed all these values. But if you want to reset it, what do you do if you want to just reset the crop left? You go here. If you want to just reset crop, right, you go here. Yeah, but just reset the whole cropping, you just press here on the top if I want to change. Whole transformation. What I did here, I can go here one by one, then here or I can just press here. It's going to reset everything. What we did in this section, you see I'm just going to press control Z or I would just delete it. That was cropping for you anything but whatever change you do, you can always just reset it with these icons. Dynamic zoom. The software does it by itself. It just looks a little bit weird. Like look at this, the software did the zoom by itself. Nights zooming out, it's a little bit weird. I don't use it, compose it. I would teach you this later. Stabilization how to stabilize a footage. This footage looks a little bit more. Stabilize it. Yeah, It's a good stabilized footage but I have a stabilization good example. The audio would be really loud in this one. Yeah. I'm not going to import the audio because that's not important to learn. Stabilization, if you see here. I'm just going to make it fit so that I have enough room to work with. I can also drag this down so I can see this footage a little bit more. I'm going to click on stabilization and then here I can stabilize the footage to just press stabilization. Does a really good job. You see how much it cropped in. So if I have to disselect stabilization, the stable here stabilization of now it's on. Let's see what happens. It is stabilized because if you see the non stabilized one, you see how much shake was there, but there's also a few different ways also you can stabilize. This was the perspective. If you go to similarity, the software takes into reference some other things to stabilize. But in this case, let's see, Now it's doing all the warp and stuff. But in some cases, similarity works good. You can also choose translation, but in this case I'm just going to press stabilize like this and cropping ratio, as you can see that it cropped a lot, we reduce down the cropping ratio and stabilize again. Then we see what happens. You see it's not that stabilized, but if I just do cropping ratio here and stabilize again, it's better. Also the strength of stabilization. If maybe go here and then stabilize again, the crop is a little bit less, it's not doing anything. If I just maybe press it here and see. You can just play with how much stabilization is needed. But what I do, I just use the default option from resolve because they know the best what is needed for which footage to stabilize. It is a usable footage because if you see before you just carpet and now if I just toggle it on stabilize **** correction wouldn't be in the free version, so I'm not going to talk about it. So these are a few things what you can change in the inspector's tab. All these things can give you some limit, less options to do some video editing. I told that I would be also showing you compose. I'll show you now. Let's jump back here. Yeah, I just need to show you something cool, lightly. So this is like a leak effect. Let me do it, it's going to make sense. I'll press point here. So I'm just going to press here and I just drag the video. Now if see here, I just drag the video, not the audio. I just need this clip tip here. Yeah, if I play the clip, see what happens here around. You see this clip is literally overlaying on top of these two. This was the normal composite mode, if I do add, now if I play, see what happens. Como, it looks good, but it's not the best. Where did it go, Composite add, color, color, burn. So these are just different types of how you can manipulate the top footage and let the bottom footage be visible. But in this case, I just want the fire to be going like this. What I would be doing is I go to screen screen, gets rid of all the blacks, what we had here, and would just let the brighter part to be visible. Let's see again, places here around Como. I can also change the opacity if you think that it's a little bit, if I just go here, it's almost vanishing anyway. I would just leave it here and see here around Como. Yeah, that's what composite does. It would literally just change the way how the top video would look over the bottom video, subtract, it's going to look a garbage. If I go soft light, it looks a little bit better. But you see here all the Blacks are also still there. If I go pace hundred, you see all the Blacks are still there. But in this case, screen would work best because all the Blacks are gone. Just a bright area is there. And I just need the bright area, all the main places here around Como. That was it from the Inspector Section, but we're going to come back to Inspector Section In the next section, we would be learning about key framing, but before learning that, I have some other things to show you on this side. Inspector Section Done. Let's come here to effects. So now we have dragged all the photos, this and that. There are a lot of really cool effects in the winter resolve, which everybody should know because back in the day people would buy like preset effects pack online and then they drag and drop. Sometimes it will work, sometimes it wouldn't, But now there's already so many effects in the winter resolve in build. First we're going to go to video effects. For video effects to work, I'm just going to keep my cursor in the middle. This is just video transition. How do you want the transition from first clip to second clip? You see the F just drag and drop here. It's going to come in between the videos. And I can also change the duration of the effect. You see if I can also delete it. So just select the transition period here and press X. Same blur, dissolve. You can just play with everything. Yeah, you can just play with everything. It's just so much fun. And it literally takes not even 1 second. There's all these different ways where you can do the transition from first clip to the second clip. Just millions of ways look at this computer is getting stuck a little bit. Using these transitions would also be a little bit taxing on the system. And I'm also doing screen record at the same time. Yeah, that's why it's a little bit taxing. But you have to be mindful that it could be taxing, burn away. Look at this just by dragging and dropping. This is cool. How cool is that? Yeah, that was video transition, audio transition. We're going to come back later. Titles and text, simple titles like it's literally just drag and drop all these titles. What I'm going to show you is something basic you can just drag and drop here. You know what? I'm just going to mute this audio. It's a little bit annoying. How do you mute? Press here. I mute this, track me. If I mute this track, everything on audio two would be muted. If you're making a big project, basic title, I can just write maybe text here. You can change all the phones and everything Color, phone type size tracking is just a gap between the text line spacing text to. If you want to change line spacing, you can change the line spacing between the text, all the font style, all these things you can change. You can change the position, zoom, rotation, and everything. You can just do everything with the text here by just one click stroke. You can increase or reduce the stroke. I just leave it to zero. I use this thing a lot. Drop shadow, drop shadow. Like now, the shadow is literally behind the text. You cannot see it. But if I bring the shadow here, you see. And you can also change the opacity of the shadow. You can also change the blur of the shadow. Now it's super blur, now it's super harsh. These things like they're just so easy. You can also change the width of the background. If I just go here, then I can just go here. You can just set up a background, you could change the position of this background, change the color of the background, change the opacity of the background. Yeah, there's tons of just options. You can just customize everything with the text. I would just delete it. I'm just going to show you something also really cool. These are some. These are some fancy text. Let's see how it looks. See if you want to say point something out. These are all in, built in resolve like how cool is it like I go to setting and I can just move this here. I can just zoom in and out you go Title here. Here you can change all the texts. And if you go to setting here, you can just change everything. Let's check it out. I would delete it. There's so many lower third or just different title option. Look at this, these are all crazy customizable. So you go to titles, you can just change all the, all the sizes settings. You can do everything in this one. You can do a lot of things with just titles here. There's already like so many cool stuff like look at this, leave your tripod or camera on the bridge. You have this whole village in the background. Back in the day you have to buy these things on line and now it's already in resolve. These are things you can do with the text. Now we go to generators, Generator here. Generators, as the name suggests, you can generate these textures on your time line. I'll give you a good example. You can just generate all these things, maybe put text on this one. What I would want to do, I want this clip, or maybe not, maybe I want this clip. I'm just going to bring here on top of this. If I zoom this out. If I zoom this out, I can see the bottom clip. Yeah, I can also do some drop shadow. Drop shadow in open effects. Then I go to effects here to reduce the shadow strength. You see, everything just comes together and make the whole thing look cool. Now we go back to generator. I want to show you some other things as well. You have gray scale, you have these effects. I usually use solid color for my projects Solid color, I click here, I go to Inspector, and then I can change the color type. You can change to here, or you can have different selector. You can also put the color number. If you know the color number, just experiment with this software. There's so many things to learn. You can choose any color here. It is just insane how many things are packed in this software, how easily available it is, everywhere. If you want like a paper texture, just drag and drop here. How cool is that? You can also maybe zoom this out, put this clip here, also. Put this clip here. And then zoom this out and put this clip here. How cool is that? Now you can put like four clips in one picture. Maybe if you want to put text here, there's like limit less options with these effects. Then we go to effects after generators. Now we can do this binocular effect, you can do this CTV effects, like in some video editing. According to the project, you might need these effects. Say if I put C effect on this thing, we see how cool it looks. We don't have to do any work, just drag and drop color border. Let's go in this one if you want a border like this or if you want a glitch like this, if you want a drone overlay. These are all these crazy overlays which is just available in resolve if you want night vision, if you want a video call effect, if you want a video camera effect, it's just there and resolve. How cool is that? Nothing really fancy. Just dragon drop. As soon as you say, if I just dragon drop the CTV. These were from the effects panel. Then I go to the effects panel. And then you can also change the text. Write, maybe I just write my name A or I don't know, just whatever you want to put. You can also change this timeline. If I just press just something random, I would just delete this effect. To delete this, I go here delete it. Yeah, we're back to our normal footage and then I go to open effects here. You can do blur if you want to do blur of this video. I just go drag and drop here. And then we go to E, we go to video. Then you can change the blur strength, how much blur you want, Anything you drag and drop from here. Then you go to Effects and change the settings from whatever you have dragged and dropped. I would delete this zoom blur we need zoom blur. We would be needing zoom blur in the upcoming section, so watch out for that radial blur. Just play around with this guys. There's just so many things. A lot of things would be not available in the resolved free version, but there's also tons of things available in the free version as well. So yeah, these were a few other effects, so just play around with these effects guys and you would learn a lot and everything. You can just change in the effects section here. So here what we have is the audio effect, so we would be using all these effects then. I'll be teaching you about the far light page. Because this page is dedicated to enhance the audio, change the audio settings, just improve the quality, get rid of some errors and stuff. We'll be getting in detail when I'm using fire light effect but fire light tab but here I'm going to show you also something cool is hang on, I would be dragging and dropping. I have this clip where I have to do some noise reduction because if you hear it, I would just do clip attributes. Put it to audio channel one so that we have audio on both the channels. That you don't have to do on your personal clip, but you have to do on the clip from this project. If you are using my project files, press okay and get ready for a lot of noise. If you have this map, you see all kind of hiking trills with numbers and you can choose which number to get up. You see there's a river in the back and because of that, the mic is also picking a lot of noise from the river. What do we want to do? We want to do some noise reduction. We go to effects. We just press noise reduction, make sure your audio effects is selected. That's how you would see the noise reduction option. What I'm going to do, just drag and drop here here what we do, the option is default. If I just here the audio, if you have this map, the volume is not gone from the river in the back. If I go his, then the software would reduce all the audio of this frequency hiking thrills with numbers. You can choose which number the noise is gone, but it also damps the voice the easiest way what I do is I go reset noise profile. If you have to back to normal, then I press auto speech mode. Here what it's going to do, the software is going to do it and it's going to choose only the speech to be audible to the audience. Of course, it's going to do its best to get rid of the noise, but it really depends on the scenario. And we'll see how it sounds in the scenario. You see all kind of hiking thrills with numbers. And you can choose which number to get up. And every number is more steep or it's more. And here we can hear before and after. So if I just do this this side, you're going to hear before. Let's, let's first from the beginning and see if you have this map. You see all kind of hiking trills with numbers and you can choose which number to get up and every number is more steep or it's more like going like this. And we choose to go for 40 because we go through the forest after 40, we will try to search for number 18 because I was just pressing on and off and you can see how much difference it is. Right? So just by doing noise reduction and just go to auto speech, software does a really great job in detecting your speech and getting rid of the background noise, but obviously it depends on the intensity of the background noise. Sometimes if it's too much the software cannot help. You just have to film in a quiet environment. But this helps until some extent. So yeah, that's really great for resolve. But all the other thing, the DSR, the hammer, some vocal channels and all these things reverse, all these things I use in fire light tab. So this we would discuss in the upcoming sections, but yeah, this was it for the edit section, part two. 41. 11.6 Advance Editing Tools: The edit part three. I hope you're learning well. If it's a little bit intimidating, it's really normal. If I had to watch this course as a beginner, it would be a little bit too much as well for me. But what I would do is I would just watch this class again. If you watch it for the second time, you're going to catch something more important. If you watch it again, you're going to learn something which you missed in the first and second trial. That's the learning process. But let's jump in the system and start the edit tab part three. Now we're going to be learning something called a key framing. If you're editing with me, go to basic edit clips. We have some clips here. We are hiking here, I just need the clip from here. So I'm going to press, maybe press, then I have another clip here. I just press Y. Maybe this clip is a little bit too long. I just reduce it down. What I'm going to do, I press B. B would switch to the trim edit mode, and then I'm just going to press this part also sticks to the first clip, as you can see that these both are static clips. I have just imported the video, not the audio because we don't really need it. For the sake of this class, what we can see that this is just a static clip. It's like I've said, the camera on the tripod. Then we walk, sometimes it could be a little bit boring. What can we do? We can introduce some movement in the clip. How do you do it? I would go to the inspector, Tap, select this. Then we're going to do something called a key framing. What is key framing is, is that, let's go to the zoom panel here. I press this icon here, this diamond button. You see, as soon as I press it, it becomes red. What does that mean? Is that the zoom property of this clip, one is recorded at this position. I'll do the same thing for the position as I am going towards the end of the clip. End of the clip. Here I am, zoom in. Yeah. As I'm zooming in, I'm going to position my footage until here. Do you see the red appears again? By doing this, what did I do was that I have set the zoom and the position parameter at this point at end of the clip to these values in the beginning of the clip to 0.1 Yeah, as I'm going to play the clip, you would see that these numbers are changing to what we have set in the end. Let's play it to see how cool it looks. And we can do the same thing here. We can maybe zoom out in the beginning. I'll just put position here. And maybe make this clip a little bit longer. Position here. And zoom in and maybe change the y axis here. Not too much. You see the black bar, we don't want to see the black bar until here. Yeah, Then as we move here, I want the footage to come back to its original position. I'll just press one because one was the original position. I press the position of the clip Y axis to be zero because that was the original position. You can change it to any number. Let's go here. And now zooms out how cool it looks. This is called key framing. You can do this, Key framing for everything. Also, I'm just going to say, you won't mistake what I was supposed to do. My cursor is here, my timeline cursor is here. But if I crop it, let's see. If I crop from the top, I don't see any change in the footage. The reason is because I have selected the clip here. You see the orange highlight on this clip. The changes would be in this clip, that's why I'm just going to press control Z. That's whatever clip you want to change. Make sure to click on that so you have the clip highlighted. Yep, I would be showing you something really cool with crop. You might have seen it in some movies, some of you might know what I'm going to do. Yeah, I also crop from the bottom here, maybe. Here, yeah, yeah. Let's choose the key frame here. I'm just going to select the key frame here and here. Which means that I'm telling the software that I want these parameters at this point. As I maybe move here, I want it to be zero. Now you see what's going to happen is How cool is that with key frames? You can do anything. You can do the same thing for pitch and which I'm going to show you later. Yeah, key framing can be really handy. It's really cool because just even with a static sort, you can just do so much and we're going to be doing a lot of key framing in the upcoming sections. The next thing what I'm going to teach you is speed ramping. Speed ramping, you go to speed ramp folder and you have like this five clips. Speed ramping is a really cool thing which is going to separate the beginners and the professional. That's why I taught you all the basics so that once you reach to the speed ramping section, you know what is going on here. I'm just going to give you a little bit of brief here. All the footage, what we have, especially from the camera, they were shot in 50 frames per second, but I've converted them into 25 frames per second. You say it's a slow motion. Maybe I want this clip from here or maybe from here. Yeah, I'll just drag and drop because there's no audio. Anyways, maybe I'll just drag and drop. It can be really cool. If you can also edit with me, you can just watch what I did, pause the video, and then edit yourself. And then maybe some drone footage. I go here, maybe in point here, out point here and sing drag it here. And the fourth drone footage. Yeah, here we have four slow motion clips. The drone footage are in 25 frames per second, but the first two clips are in slow motion. But you can do speed ramp in any footage, it really doesn't matter. But it looks nice if the footage is in slow motion. You see now we have transition from the first clip to the second one from second to third on the footage. Looks okay. It's like they are pretty footage. They look okay. But we have to add some speed ramp. Let me explain to you what is speed ramp? Speed ramp. What it does is that it would let the footage play in a normal speed. Then you can ramp the speed wherever you want in the clip and then you can slow down again and then ramp it again and then slow it down again. But speed ramps can be nice when it is at the end of the clip and at the beginning of the clip. Let's show you this clip here. And I'll just show you a basic speed ramp. I'll go right click here, Real time controls. And then you have to also check real time curves. Let's just have enough room. I would just add a speed ramp in this footage. Maybe from here I want the speed to be a little bit faster until here and then maybe slower. Yeah, from here I want the speed to be faster. What I would do, I would press this arrow, downward arrow at a speed point. Now I'm just going to zoom in with pressing. Now we have two different sections in this section. The speed is obviously 100% here, also speed is 100% Then maybe I'm going to add one more speed point here. Three sections. We have all the three sections have different speed points here. What I'm going to do go to change speed, let's do 400. Let's play the clip. It looks a little bit weird. Maybe we have to increase the speed to 800 and speed goes up and then down, but it's not looking that smooth. What do we do now? You see this point I'm just going to get rid of, I just select this point and I'm going to select this thing. This would do it would, it would let me increase the speed of this footage a little bit smooth. You see there's a little bit of curve here. You see here it's just a point and straight line. Straight line, but as you increase more curve the speed, what we have changed to 400 are the speed, what we have changed to 800, 100-800 It's going to go a little bit slowly. A little bit smoothly. Yeah. I'm going to do the same thing here. We are making like an S curve here. The smoother the S curve, the better the footage would look. Let's see again and see. It's a little bit smooth. And then we can add another speed ramp, let's say 800, and that would be until the end of the video here. What I can do, click here and make like a bigger curve, it's more smooth. And just end the video here. Yeah, that's exactly what we're going to do here because it can look really cool. When we are putting the speed ramp at end of the video here, we ticked real time control, real time curves. I would be doing a speed ramp at end of this cliff. I'll go, you know what I did right at a speed point. So the speed point is here. Maybe say 200. I want the clip speed to be 200 after here. And just make it a little bit smooth. So I have drawn like a big line. You see it's going to already ramp up from here, or maybe make it 400, ramp up here. Then I also want the speed ramp maybe here. Real time controls, real time curves, add a sweet point and then change speed to the footage is already a little bit faster. Maybe I will do it to 200 and see start with little bit slower and then see how you go. Also smooth it out. You can also drag the sweet points. We shouldn't make it too big. Just keep it until the end of the video. End of the clip. I just want this clip until here. Now I'm going to introduce the drone clip. I'm just going to introduce another speed ramp. Let's go 400 this time. Smooth it out with this line. You can also change the length or maybe just here the drone footage. I'll put the speed ramp here. Real time curve. No, that was not the plan. Real time controls speed 0.800 What I would be doing just make it smooth, as smooth as possible. Because if it goes suddenly 800-100 it's going to look really bad. So let's play and see then again, we should be doing, maybe I'll do 800 again. You know what I did? I changed the speed of this whole thing to 800. You shouldn't do that. You have to first put at speed point and then change the speed to 800. It's just in the end, reset 200. It is just in the end, just over here. Maybe I'll put again here 800. It's a little bit of work, but the end result is really cool. I would just go 800. Make it smooth, smooth as possible. Maybe a little bit like that. Let's see, before it was just a simple cut between these two clips. Now you see we have all this beautiful speed ramping. If you cut it on a beat, it looks even better. Now, this clip is taking so much space. Now what do we do? Check the cross here, cross, cross, cross, untick this tick. And also do the cross here as well. And now we're back to normal because we crossed it, that doesn't mean that our speed ramp would go away. Look at this, it's still there. Still looking pretty. Speed ramps is something which can separate you from beginners. I need to show you something also really cool because you might have seen a lot of people doing it, which is like a drone zoom out effect. I just have to find that clip. I think it's edit page, drone zoom. I have named it here. The clip is just me flying the drone backward and I'm revealing where we are actually. But what I want to do in reality is as soon as my girlfriend says by, I want to zoom out and go until here. You know what I mean? I would press Point here and then zoom out and maybe go until here. Let's drag and drop this. It's going to be a really big file. Here. We have to do some speed ramping. We're going to also do a little bit of blur effect. What I showed you before, I would just go here. Real time curves, real time controls, we don't need audio. I need the speed ramp from here, starting from here, and then goes up, up, up, up, up. Maybe it stops here at a speed point. Here is the thing. Even if I do this 800, it's going to look really weird. Check this out. Takes ages to come here, but I just want like a quick zoom out for that. What am I going to do? Look here carefully. I would press, I get rid of this. I would just select this point. As soon as I'm bringing it up, you see the speed here is increasing, but speed here is reducing. But don't worry about the speed reduction. My main goal is to reduce the gap. Yeah, Now let's see what happens. Yeah, and I would just change the speed, reset 200. For this effect to be working, you have to make sure that you have a drone clip or some sort of camera movement in one direction and no change in the angle. So look at this, a bit of drastic change from 10470073 back 200. What do we do? Make an S curve. Make it here. Make it a little big. Here, se, it's a little bit smooth. Let's check this. It looks nice. But to make it even better, what are we going to do? We're going to go to the effects step here. And then maybe do zoom, zoom, blur. See, we want this effect on this clip, but as soon as I dragged and dropped here, that effect is throughout the whole clip. What do we do now? Key framing. Let's go to effects here. Zoom amount, we don't want any zoom amount. You see how this works. I have to put it to zero to make it look neutral. Yeah, and then I do key framing. Then as soon as I go in the middle while this zoom is happening, I can also just press arrow key to scroll through each frame. Here I can increase this zoom effect. Yeah, here the value was zero, as you can see here as we came in the middle. At this point you see it turns red. Here we have input the value this much, then as we go until the end here, or maybe, yeah, until the end here. I want this value to be zero again, it's going to turn red. We have three key points, one here, one somewhere in the middle, you see it turns red, and then one here. Let's play the clip and see how it looks. You won't see the difference, but if you go like each frame, then you see that it actually looks really nice. All these little things they add up in the final clip, and now it looks a bit more smooth. If you add like a ooh transition, it's going to look even better. Woo transition, you can just add it in the audiophile, that was like a drone dynamic zoom out effect. Yeah, how cool are these effects? Like, you really don't have to drag and drop any effects preset. You can just create all these effects by yourself. The next thing what I'm going to do is to show you how to make a compound clip. Let's get back to this image and I'll show you how to use a compound clip. Here we have this clip, if I want to add one more clip here, I zoom this out and maybe put it in the middle. Yeah, now you see that in this time line there's like four different layers. Yeah. If I want to make a change in all the four at the same time, I have to go on each clip one by one. Yeah. Say for example, if I want to zoom everything a little bit, like this image, this image a little bit, then I have to change the values in each of them one by one. What I can do with compound clip is that select here, new compound. You can rename it. I'll just leave it to compound clip. Now what happens is that Whatever the clips were in four layers. Now Anti result would treat those clips as one. Now if I want to zoom in in this image, what I would be doing is if I have to like set like a Cre key frame of zoom in, I just go here, maybe zoom in until here. You see now whatever change you're going to make on this thing, anti would treat the whole four clip layer as one clip. That's what compound clip is. Say for example, we had this drone footage here. We have all these effects on this one. But if we want Davinci to treat it as a normal clip, we just click here. Now we cannot change. Now, there's no zoom effect. Or if we go to real time controls, real time curves, all the curves are gone. Now it's like a brand new clip for resolve. Yeah, that's what compound clip is. Sometimes compound clip is really useful, which I can show you here. Say for example, we go to effects. Let's go to video transition. Yeah, video transition. Let's go to brightness. I want the brightness transition in between these two clips. Yeah, But I also want some other transition as well, which I'm looking for, maybe this transition. But if I put this transition, it's going to get rid of the brightness. Yeah. But I want the brightness and the other transition at the same time. What I'm going to do, put the brightness, brightness. But now you see, watch carefully what I'm going to do. Select these two new compound clip. Now these two clips are one clip. It's like a one proper footage. And now I can put the camera shake but there's no gap, but there's no cut in between these two clips. The previous two clips, we have to find the cut ourselves. Maybe I think the cut was here. We have to find the cut ourselves. Now we put the camera shake, now we have the brightness and the camera shake together. You see, I can just put another compound clip now. It's a brand new clip for resolve again. Now what can we do? We just have to be really careful with finding the other clip. It's going to be a little bit hot, but I think it's like the brightest pot here. Let's cut it then. Maybe I want to put this transition, let's just do this transition now. We have three clips, one over each other with the help of compound clip, but it's a little bit taxing on your system. You see that's the job of compound clip. It assembles whatever clip you have selected together and treat them as one clip. That can be really helpful if you're doing any graphic stuff. If you have like ten clips piled up on each other. If you want to put the same setting and treat them as a one single clip, then you just put compound clip and you have a whole brand new clip. If you want all the four layers here back again. What do you do? Right click, decompose in place, use clips only now we have all these clips back again. Now there wouldn't be any zoom effect because all these clips are here back again. Because the zoom effect we only applied on the compound clip. But now by doing that decomposing in place, the compound clip is gone. Now the next thing what I'm going to teach you is copying and pasting attributes. I'm going to show you here. Let's go back in the time line. You see here the audio. Let's say if I choose it to be for five decibel, I want the same setting here, then I want the same setting on this audio. What do I do? I press right click, I do copy. Copy can be command plus or you can just copy here. Then if the same setting on these two clips, I just select these two clips I go past and then preste attributes and Paste Attribute would be Old plus or Option plus V, Paste Attributes. And then Vinti would ask me what all attributes you want to be copied. I can do audio attributes or I can just do volume, because volume is the only thing I want to be copied. You see all the clips are in five decibel. The wave length looks bigger because the original volume of this clip was a little bit bigger, but they all are at five decibel. Same thing we can do for videos. If you see here, the size of all these clips are a little bit different. I want the size of this clip be on these two clips, the size of this clip to be on these two clips. What do I do? I press command C, which is copy. Then select these two. And then I select these two, and then press Alt V or Option V. Then it's going to ask me what all attributes I want to paste from this file to here. I want zoom. I don't want position because they both are a different position. I just want zoom now, All of them are of the same dimension. You can also do with cropping, can do a lot of different, you can paste a lot of different properties. If I do crop, if I had cropped just this thing on left a little bit. Now after we have cropped, I press command C and then here option also, everything is selected. I go here. Now it has cropped all these footage. It's going to save you so much time. You can do this. Paste attributes, what we just did now in your whole project, like with everything, you can just do it. Same thing we can do here if we want this setting on this part, also the zooming and everything. I just go, come on C plus old scale. I also want position crop, top, bottom, this that apply. And let's see what happens. You see it's going to save you so much time. Yeah, that was it from the edit tab. I know it's a lot of things, but yeah, any questions, Let me know. If you master the edit tab, then everything is easy in the win to resolve. Of course, I've taught you a lot of stuff, but if you are confused, just go back to this lecture and watch again and I'm sure you would understand the whole thing. 42. 11.7 Fusion Tab: Fusion tab. It is a little bit complicated than the edit tab then the color paste tab. It is not that complicated, it is just not that much used with the injuries of user. But Fusion Tab has so many cool features which can just take your videos to the next level. To go to Fusion tab, I'm just going to drag and drop one clip in the time line in the edit page, and then we're going to go to the Fusion here. I'm just going to click this clip because we would be doing a few things on this clip. In Fusion For Fusion, you just click here. I would be just giving an overview of this whole page Media. I'm just going to bring these two things down here. It has the same notes system as in the color grading page. All the media pool, how you had in the edit page, effects, clips, and all that stuff. Clips, We don't need nodes. We can get rid of the nodes. Click on the nodes, the nodes appear. Here are things which is not that important. All the key framing is here. We are not really going to use it. These are a little bit too advanced things, but I'll give a few more examples of everything. What we're going to use Infusion as we go through this project. This is the node, I'm just going to get rid of the effects tab. I'm just making more room so that we have enough room to play around here. What we're going to do, if you see here media out there is media in media is if I just press here, this, this is the media in, this is the media out, this is the final output. They both are the same. Now, because we have not done any effects in between. This is the input, we put all the effects here. And then the output, what I usually do, I just make it as one page because I don't really need to see how my footage looked before. It's not a color grading page, so I don't think there's a need for that. But if you scroll here on the timeline, you see that this whole thing is the clip from here until all the way in the end. All these numbers, they are denoting the frames in the image. Each image would have certain frames. Here it is at 480 frames. Then it goes 4818, 2803, 8048, 5805 like that. These yellow dots, these yellow lines are the lines which is the point, what we selected in the edit page here. That yellow line is this point. This yellow line is the output point, which is this thing. This is the rock clip Fusion is also showing the whole time line. Yellow line and yellow line is here in this time line. What are we going to do? We're going to go all the way in the front and I'll start with something really basic, which you can also do in edit. But I'm just going to show you here that you have a little bit of better idea of how Fusion works. I would just deselect anything. I'll make sure nothing is selected. Then I'll press here. Here are also some commands. It's background fast. Noise Text. Let's start with text, something really easy. Here's a text node which is open, but I have to insert it in between these two. What I'm going to do, this is the point, and this is the outpoint. I'm going to drag this output to the output of median one. As soon as I leave the mouse, it makes a merged node. My merged node is here and text is here. The input here, and the text here is merging here. And then it goes to the output. But I don't see anything here because I have to press inspector. Works the same as how it works in the edit page. I'll just write text here. Craps lock is on. You can whatever font you want. Let's just try this one. It really doesn't matter. Yeah, with text you can just change the size of the text. You can change the position of the text. Here, I'll just keep in center. Let's do a few animation. To do an animation, what I'm going to do, I would select the text node and then I'll go here. This is called rectangle. Here the rectangle attaches itself on top of the text. What is rectangle is doing is if I move the rectangle, everything inside the rectangle would be visible. Whatever text I'm going to write. If it's inside the rectangle, then only it's going to be visible. What we can do, we can do some animations from this. Let's select rectangle here. It's like all the dimensions and stuff for the rectangle, if I change the height of this one, let's go zero. I make a key framing how we did in the edit tab. Let's do here. If I go here and then if I want the D to be here. Now if I go all the way in the front, the text appears. If I go to the edit page, it is going to show you more clearly. You see the text appears. We can also do a lot of other stuff. Say if we do say soft edge, you see now it's going to fade in and go up. We can also do something else. Can also change position of the triangle here. Let's put it here. If I go here, then I make it here. You see why didn't change? Because I have not key framed the center, the position of the rectangle. I'm just going to move it here. You see the red dot appears, which means that this parameter is applicable at this frame. If I go here, then I am going to move this rectangle here. Let's see in edit page, it's going to be more clear. This is just a basic animation. If I want to do, maybe say drop shadow. What I can do is that I select text and then I press Shift and Space. So as I press Shift and Space, this whole new section of effects in the frame. What I'm going to do is maybe shadow drop shadow. Now it's under the text drop shadow. Drop shadow. I can just change the, I can just change the setting of the drop shadow how we used to do the edit page. Now even better, all these things you can do in the Fusion tab, this effect is fine. But now maybe we want to do something a little bit more advanced. Let's jump into that. We are back in edit page. You might have seen travel map animation. A lot of Youtubers, they use it and they do it in Fusion or any other video editing software like after effects or so. Let's see where the map animation. Map animation. This is my screen shot. I have just downloaded the screenshot from Google Maps and I would I have to select this screenshot and go here. After I've selected the screen shot, I'll just also maybe increase the duration to select the screenshot. Go to Fusion Infusion. What's happening now is that this is the input, which is the map, and output is whatever effects. We're going to put it here. The first thing what we're going to do is why is it two legs? Yeah, there is actually two legs. The first thing what we're going to do is choose this option called background. If I select median, and then I press Background, the background comes here with merge node. Input and background are coming together here. And then they go to output. But with background it's, the whole image is black. What we should be doing to draw lines on the map is we press Shift in space and then we do mask. We just type mask and then add mask paint effect. Soon as they do mask paint effect, background disappears. Now if I click something on the image, I can draw my own lines. Yeah, but we don't want to do that. We want to draw like straight lines and stuff. What we would be doing is we're going to choose this polyline stroke. Maybe we want to draw something from here until here. Yeah, what I'm going to do, I'm just going to zoom in in the map. I have selected the polyline option. What I would do, I would just press command or old and scrawl in the frame. Then now I've left the command and then I can just scrawl up and down here I have on the polygon here what I would be doing, I'm just going to make a line on this road like this. But you see that I don't like this color. First of all, there is a lot of blur here. What can we do? We go to mask paint, we go to brush controls and reduce the softness. It's totally subjective. But I don't like the softness. I also want to make the brush stroke a little bit thin. I want to change the color because it looks pretty ugly to me. What I'm going to do, I would go here, maybe choose some bright color. Maybe, yeah, red looks good. I would choose red. The background is under the mask paint and we are painting this map with the mask paint. We go up, up, up. You can also make turns in the polygon like that. Then maybe here you can also zoom in a bit more if you want it to be super precise. We have our drawing on the map here. Now what we're going to do is I want this line to be starting from here and should go like this, this, until here. I just want to show like I'm going from point A to point B. Then what I should be doing, I go all the way in the front. Then what I should go here to stroke controls and you see this right on effect. If I go it rights on and off I go back. Then what do I do? Key framing, once we know the basic of key framing, we use it everywhere. I'm just going to select this parameter at this point. It really depends on me how long I want this animation to be. Maybe until 100 frame here. I'm just going to finish the right on. Let's play this go up then it goes there, Yeah. Sounds good. It was that easy. Now what I'm going to do, I also want to do some drop shadow just to make it look more. Three D. I'll select mask paint. I'll just press Shift and Space and then drop shadow. As soon as the press drop shadow, you see I did a little bit of mistake. I shouldn't have done drop shadow here. I should have done drop shadow under the background. Yeah, the more you do, the more you're going to know how this fusion thing works. I would go to drop shadow here. Then I would reduce the blur just to see where my thing is. The shadow is a bit further away. So I'm just going to reduce the drop distance now. It looks a bit more better. You see before and after the. Once you go here, what are we going to do? We are going to put animation here. We're going to put some location icons. I would just drag and drop here. I'll just because we don't need the sound panel. I'm just going to increase this so that we have enough room to see what is going on. Then I'm just going to press the lower icon, reduce the size of the location icon. And maybe put it here, maybe here at the setting point that I have changed the size of this icon, but I also want the same size on this icon. What do I do? Go to copy, go on here, right click Paste Attributes. And what do I want to Pa? I don't need, I don't need position because the position of that icon would be different. I just need the zoom. And the scale. Scalex and Scaley, you see it has the same size as the bottom one. And now I can change the location of this one. It's that easy. Then what do I do? I'm just going to reduce the size so that it's not taking enough room because I have some other thing in my mind. I go to Effects, I go to titles. I'll choose a basic title here, maybe say Point at 0.1 let's say. I'll just change the font. It really depends on whatever font you want. Here in drop shadow, you can see that I cannot see the text really clearly just by moving the shadow at minus four. You can already see so much point here is without and with the drop shadow. Now what I'm going to do, I'm going to change the position of this 0.2 Maybe here 0.1 maybe reduce the size. Or maybe just put it under the thing. Maybe just put it here. I want this for the entire animation. Then what I want to do, I just want. Another text of the same size and it should just say 0.2 What am I going to do? Just make a duplicate. I'll just press Alter option and then click this point and move up. It's just going to make a duplicate, this whole thing. Yeah, now there are two points here. You're going to see it. If I move it up, you see 0.1 that was 0.2 Just by using these little shot skirts, it's going to save you so much time. I just need to write, say, 0.2 and it would have the exact same setting, exact same size, and also the drop shadow effect. Now if I play it, you see it looks cool. But I personally think I just want the animation until here. I'm just going to select all of them and just press which is the trim out. It's going to trim out everything here. Yeah, let's watch the animation once again. Yeah, that looks nice. I just want to give some dynamic movement. In this animation, what I would do, I would select everything. Right click. New compound clip. Yeah, just name it, Map Animation, Create. Now it's an independent clip for results so I can do any changes on this. What am I going to do? Key framing. The best thing ever, I would press zoom, maybe position pitch, and you have to see what am I doing? I would leave everything like this here. As I'm going here, I'm zoom in this much, change the point. Change it like this. It looks like a three D map, maybe a little bit. Change the pitch. If I do a little bit more, you see these black things coming up. I would not push it too much, maybe just until here. And see how it looks. You see how cool it looks? Yeah, I can also change the rotation angle, the position, it really depends on me, but this already looks really nice. If you want to watch full screen, you just press, You see how cool it looks. We have taken the help from Fusion. We did the initial animation and then we did compound clip. Now this is like this. Now let's move on to Fusion back again and I'll show you something also really cool. But before that I need to get something from here. You go to rock rock clips folder, go to Fusion. I need this footage. I maybe need this from here or maybe from here, not too much. Probably just around here should do the job. I would select this clip and then go to Fusion. You see this entire clip. This is the point and this is the outpoint. This is the clip. I don't want it to be too long. Maybe just around here or maybe a little bit long. What is our goal in this project? Is that here I want to have a text that is attached to the water. It should look like the text is on the water. This is you can do only in Fusion, not in edit page, not in calibrating. That's why we need Fusion to just do this extra extra animation stuff which can take your footage to the next level, press shift and space. Then we do planar track. That's the planar tracker we've chosen? Yeah, that is a planar tracker. We are also making sure that our timeline is all the way here. Timeline scroller here. What do we do? As I'm on the first frame, I just press set. Yeah. The second thing what I'm going to do in the pattern at track, I go to hybrid point areas. I'm not going to track with just single point. I want various different points to be tracked on this image so that I can attach the text on that plane. I'm just going to be tracking the surface of the water, Maybe just here. Then what do I do? I just track it. This you just press which says track to the end. Let's go tracking and see what's happening. Sometimes it wouldn't track because the motion type is perspective. Sometimes perspective works, sometimes it doesn't. Usually in my situation, I prefer translation. I'm just going to select translation and hopefully tracks. Oh yeah, it goes until here. You see all these white, white, white, All these are the key points of this track. I would go all the way here just making sure that everything is track. This track is easy if the surface is not moving too much, but it can track sometimes if it's like a lot of crazy movement in the frame. Once my planar tracker has tracked the water, what do I do? I go here from track, I go to corner pin. What corner pin would do is that corner pin would make a surface on which you can write the text. I would just make corner pin of the same dimension wherever I wanted to write. Then here I'm just going to press text. I'm just going to drag the output of the text to here to input. Then I just write maybe text. Yeah. Do you see text written somewhere? I see it. It's here. What am I going to do here? You see that there's not much option to move the text which is here. What do I do? I choose another option. I choose another tool to change the dimension of this text which is lying here. What am I going to do? I press Shift and Space and I go form transform. What is this transform is going to do? It can help me to change the size of the text. It can also help me to move the text. I am not going to do pivot, I'm just going to move the text here. You see. If I go further here, the text disappears. That is because the corner pin is just until here. But if I move maybe corner pin here, then I can move the text also here can move the text, the position of the text. If I think that it's not layered on the water properly. I can change the angle of the text by going to plan or tracker and just moving the corner pen, but I think it looks pretty decent. One more thing, what am I going to do? I would introduce drop shadow again. Shift and space drop shadow. It's really not that technical Fusion. A lot of people get scared from fusion. I'm just changing the text parameters, Just changing the drop shadow parameters that it looks more real. I'm just going to change the distance. Maybe here it looks like it is in the air and the reflection is on the water. Yeah, that's what I was saying is that some people are really scared of Fusion, but it is not that scary. Like if you understand the basics, you can do a lot of stuff. Now is the time to play and see if it actually tracks on the water. It is a bit jittery because it's taxing on the computer. And I'm also recording at the same time. But let's play again. You see how cool it, it looks like the text is floating on the water. This is how you can attach objects to anything. I could have attached this text on this sand or I could have attached this text on this one. I'll show you one more example so that you are sure that what am I saying is correct. I will select this thing and press shift space plan, planar tracker is here. Now what do we do? Go all the way in the front and this press set. Then here I need hybrid point area. Then I'm just going to select this church tracking. It does a really good job when you have a lot of contrast between the subject you're tracking and the background. You see now the background is a little bit faded, a little bit desaturated, and this thing pops up in the middle. That's why it's really easy for the software to track this. But if it's something really complicated, the software would be struggling to track it. You have to be really mindful of the thing which you are tracking here. What I'm going to do, I would change it to translation, then track to the end should be fine. I guess you can use like these effects in any of the videos like tracking to the object and it can look really cool. I would go in the front and then I would just press, I would go text here. Text, I'll just type once it has, you have to go here and go corner pin. So that then you can select the surface on which you have to write the text. Then I just write maybe text here. Yeah, text is a bit small. I would introduce transform, key shift space, transform. With the help of transform, I can increase the size of the text. You see, I don't think it's a bit aligned because my corner pin is acting weird. I have to keep them together. My text is going all over the place. We see if I make a proper rectangle then my text proper then I would just do like a drop shadow. Drop shadow looks pretty good. I reduce the blur, maybe reduce the drop distance. Then I can move the text pivot, I can move the text, maybe here, maybe attach it to the church and we'll see how it looks. Can be so cool. You can attach anything to this instead of text, you can also attach something else. I would maybe just delete this. I go to media pool, let's go to Map Animation, and drag this. Anything you drag would be like a node here. As soon as I drag the arrow, it has this weird shape because my plan transform is a little bit weird. But I have to reduce the size of this thing. It's a little bit taxing on the system. Maybe reduce it like that. And then you have to play with corner pin to like a normal shape of the things. This looks okay here. What am I going to do? I want this location icon on top of a church. You can attach. You can also attach a video which is playing here, transform maybe on top of the church just here. And let's see if it tracks just by plan or tracker. You can just attach anything to anything. You can also attach like a video or attach any animation anywhere in a video as long as it's tracking. Good. Yeah, that was it for tracking. But if you want to learn a lot more about Davinci Resolve fusion, I have made a Davinci resolve advance class which is in Davinci 17, But it's still, everything is the same. Where I teach you about sky replacement, where I teach you about green screen effect, where I teach you some crazy stabilization method. To access that class, go to my profile and check out my Davinci resolve advance class. But this was a basic introduction. It's going to give you a good starting point to learn everything about fusion and to be excited about fusion, to be wanting to learn more. 43. 11.8 iPhone Colorgrading: Now that we have learned the editing part in the venture resolve, it is time to move to the most interesting, my favorite section, the color grading in collaborating. I'm going to be teaching you everything in the simplest possible way, and there's tons of things what you can do in collaborating, in the venture resolve. But I would be taking it really slow and I would be giving you just enough information to be having a cool look on your iphone. Really, do not get overwhelmed or really do not be confused at. Oh, I didn't talk about that thing. Oh, I didn't talk about that thing. I would be giving you just enough information to get started with color grading, and achieve some really great cinematic look. Let's get started. Let's start with what we have in front of us. If I move my mouse here, I have just made it full screen. If you see on the left corner top, there is a gallery. This gallery would be handy later. I'm going to show you when to use that because we are not using that. Now, if you press lots here, then you have all the lots and Dani also has their own lots, which we're not going to use in this particular project, but you can always just try. There is so many lots. And whatever lots you also install in your computer, they're going to be stored here. I have my lot pack here as well, but I would teach you to edit without lots as well. And then with the help of lots. And then you can decide, anyways, we were at lots. Next to the lots, there's media pool, all the files, what we have in our project. Next to media pool, we have clips. If I press clips, then there's a little thumbnails of all the clips, what we already have for this project. Then if I just press it, it goes away here. I wouldn't press clips because then the area where we have to work, which is the mid, this main display that becomes a bit smaller and you cannot make it super big. I will just get rid of the clips. I would also get rid of the media pool. We have enough room here now. If you press Z or Z, the whole image fits here, which you can also control from here. These things, I'm going to explain to you later what they are. You don't need to worry about them. Now here you see this panel is called the Color grades and Fusion Effects. If you unclick this, then all the effects which is there in the image, that would go away. And this brings the image to full screen. This is not needed yet. If you go on this side, quick export is even. You just explode from the color page, which is not needed. Now, timeline. If you press time line, you see here we have the whole time line here. All the clips here they are. In these bars, you can just move from one clip to another. We're going to go to the second clip just to give you an overview of the time line thing. After the timeline, there's nodes. These things are called nodes. I'm going to explain you later how nodes work. You get rid of that, you get rid of the noise, and then there are some effects which I'm going to show you later how to use them then. Lightbox is just a little thumbnails of all the images. So that can give you an overview of the entire project. I'm going to turn off the effects. This would be my display for now because I want big real estate here to be so that I can see the what I'm working on once you go down here. I'm going to explain these later or they're not really needed now. But if you click on this circle, then the primary wheel comes up here. The wheels, the four wheels. They are called primary wheels and they are really important in the winter result. When it comes to collaborating. This we would learn as we colgate everything. Then after the primary there is HDR. We don't really use it, but I'll still show you some of the usages so that you know how to use them. We don't use RGV mixer because this is for collaborating, which we do it later, then this wouldn't be available. If you are on a free version and I'm going to teach everything which is in free version. So don't worry, these are curves. If you cork your custom curves, and this is just a normal curve, if I go here, then it shows me hue versus hue versus saturation. If I click the next one versus luminance, we would be also using these curves to get the desired look after these things are not really important, but I'll still show you. We go back to here now, this is just to get a full screen of the curves. We want a full screen. If we have a dual screen, I can control the curves here and see what is being changed on the next screen. This is for someone who has a dual screen. I would just close it Every time where you see this as we discussed in the edit section. Everywhere you see this, this is a reset, all whatever you have selected. If you just press this, it just resets everything. This spider web is also for color grading, but we're not going to use it now. This is a really interesting tool. Qualifier here. Qualifier helps to select specific things. See if I go here, it's going to qualify all the greens. You see, how do we see what is selected by going here. If we go here, you see highlight. I click that, now, you can see that all the greens are selected. All these grass is selected. Once everything is selected on, all these things are selected, we can just change. And once I do this so I can get rid of the highlights, then once we go here to the primary color, then you see the hue here. You can change the color just of the grass that is really, we're not going to color grade like this, but that's why the qualifier tool is really handy, which we are here, then this is the selector window. If I go here, select the circle, then everything which is within the circle would be affected to whatever change you put. We're going to discuss that later. Now you see on our node, the circle tool, if I just click here, reset, that's how I reset this after a circle. The tracking tool, we're going to use this as well. This would be useful to track the circles or Windows, whatever is there. Then magic mask, I'm sure it's not in the free versions, we're not going to use it. This is how you can increase the blur in the image or make the image sharper. Yeah, with the blur radius. I would reset this by clicking here. This is to choose the key output. Here, I can just show you now. You see I have put this lot here. Yeah, if I just reduce the key output, you see the opacity of the lot on this image reduce. If I go here, if I go two times, then the lot becomes twice. This is before and after. I'm going to show you before and after all the stuff as well. We don't really use these things, don't worry about that. Let's tell you a little bit about the primary color wheels, or let's go here. First in the scope. If you don't see these scopes, then you have to go here, Click Parade. That's going to also show you the wave form. It's going to show you the Cro scope. But for this project, I think the parade is the most important. And I'm going to explain to you what is this displaying? Here's an easy way to explain parade. This graph shows where is the lights in the image lies, where does all the lights in the image lies here. This white thing displays the overall image position. Here are all the brighter areas. Here are all the darker areas. From this information we can see now here is that the reds are mostly in the dark areas, but reds are not super high, the greens are a little bit higher. But if you see the blues, the blues are mostly in the brighter areas in this corner. That's exactly what we are seeing here in this image. You see there is a lot of blues and they are the brightest areas in this image. That's what we see here. If I show you the other clip here, you see just the blues are super high in the middle because the light is a lot in the middle section. Same as the greens. The greens are super high here because this is the area which is the most lit and there's not much reds. A little bit of red is coming from my yellow jacket. The whole image lies with a pretty good exposure. This also helps you to determine if the image is properly exposed. With the help of lift is usually used to reduce the brightness of the image. It's going to make the darks more dark. If I reduce the lift, you see how how it's bringing everything down below the zero line. I'm just going to reset it. That is the job of the lift. Lift is just going to make the dark areas more darker then gain is going to make the bright areas more brighter. In the graph, there's all these bright areas in the middle, which is this section. If I go higher, I just have to drag this wheel. You see the brighter areas is becoming super bright. Now you see all our images falling apart. Everything has crossed this line, And this is not really desirable if I reset the gain. Comes here, gain usually is making all the brighter areas more. Bright gain would be affecting all these upper limit areas and the lift would be affecting all these lower limit areas. Gamma gamma affects the middle section, everything which lies between the darker areas and the brighter areas. If I increase the gramma, just scrawl it like this, you see our whole image is lifted. It's not really peaking up super quickly as how the case was in gain, but it's making the image a little bit brighter. You see when I increase that, how different the graph is as compared to when we increase the gain. If I increase the gain, you see just the brighter areas went bright because the darker areas are still stuck here at the darks. I'm just going to reset it. While with Gama, it took the whole image up. Also, the darker areas went up. Same with the lift. If I bring the lift down, you see the brighter areas are trying to stay here, but that's not really the case. But they reach a point where the brighter areas are still visible. But the lift is just, all the dark areas is becoming so dark that the whole image becomes dark. That's basically what lift gamma and gain color wheel is doing. It is manipulating the brightness and the dark in the image. You can change the exporter of the image just with this. You can also do some color grading with the gain if I click my mouse here in the middle. If I move this white thing more towards red, then what it's going to do is that it's going to make the brighter areas red. You see how red is peaking up here in this graph. If I make it blue, you see just the blue goes up because blue is going up. All the contradicting color, which is red, that goes down. The same thing with Gama. Red with Gama, all the things which was in the middle, that's going to go up. You see how the whole red graph is going. Same thing with left. Every darker areas, all the shadows is going to become blue or teal. If I bring it towards blue, if I go like this, it's going to go here. That's how you can play with lift gamma gain but we're going to use them properly. Not like this in a few minutes. Yeah, that was lift Ga and gain which is the most important part of the winter resolve. Then if you see here temperature and tint. This is to maintain the white balance of the image. If I go this way, the whole image becomes blue. If I go this way, the whole image becomes yellow. This is taking care of all the colors in the image. It doesn't matter if something lies between the gain gamma or lift section. It's going to make everything yellow or blue. Same thing with the tint. It's going to make everything green or everything pinkish. Just going to control Z, undo it. What contrast is doing, if you see from the graph, contrasts main job is to make the bright areas brighter and the dark areas darker. If you see here, that's exactly what it is doing. If I increase the contrast, you would see the whole color width is going to expand. You see how big it's becoming? Now we reach a point where there's almost no colors in the middle. There's just brighter areas and darker areas. I'm just going to reduce the contrast. Pivot is how soft or harsh my contrast would be if I do this. You see now the image is not really falling apart because my pivot is super high. But if I do like this, now my image is super bright. I can also play with pivot and contrast to make my image come to a desirable exposure. But we're going to discuss all this later midtones and details. This is really handy when it comes to color grade iphone videos, because a lot of times iphone videos they give that super sharp look. It's like fake sharpness. The software does its job to make the image look sharp and more crisp, and sometimes it looks too artificial. That is where if you bring the myths in the negatives, the whole image becomes a little bit softer. And that gives more cinema look to the image rather than having an artificial look. I would just reset it every time. Whatever changes you have done here, if you want to reset it, just right click anywhere and do reset all grades and nodes. That's exactly what is here. And then color boost, we would be using color boost as well. Color boost is to increase the saturation of the image. You see color boost in resolve it does its job better than saturation. Because here, if I increase the color boost, the saturation which comes in the image, it looks quite natural. But if I With saturation, the whole image falls apart. I have to do color boot zero. If I do saturation, you see it's also affecting the contrast in the image. It's also making the darker areas more darker, whereas color boost is just enhancing the colors. Nothing else. Every time if you have to increase the saturation in the image, go with color boost, not with saturation, then shadows is if there are any shadows, it's going to make the shadow areas brighter. And same with the highlights. If there is a highlight, highlights are all areas which is bright, so it's going to take care of the highlights. Saturation, we discussed hue is something which gives different shade to a particular color. If I go here, then all the colors would have different shade. But usually we use hue when we have selected a particular color and then change the hue. These are some important things which you need to be knowing to be editing. Now, once we are done here, then we go to the nodes section. What exactly are nodes in the winter resolve? Nodes is usually just a layer of settings what you have put over each other in a color grading system. Say for example, if I add another node. To add another node, you can either right click where is added cereal nodes. Cereal means that it comes next to each other. If I do control Z, there's also a shortcut to add nodes and that can be done by option plus. If you do option plus, that gives you a new node. What happens is that if I say made a setting here, made this image blue. This whole setting would transform to this node. And then whatever setting you're going to put, say for example, you made the gain green. Whatever output you would see, that would be the mixture of this first and this first. Whatever we did, we did things the other way. For example, I did the greens, then the blues here. Now the image would look a little bit different than how it was before. It's like doing a paint on a wall, and we did first blue, then the second paint was green. Instead of doing the other way, just think of it as different paint on a wall. If you paint a wall blue and then green, the outcome would be completely different. Rather than putting green first and blue second, then the outcome is completely different. But I would give you a good work flow of how to use these nodes to have the best output possible. Yeah, let's start with color grading and whatever comes, we will discuss through that. This is my first clip. You can toggle through the time line here. I would just check with clips here. You see this is my first clip, just going to take it out. The first thing, what we do is that in the winter resolve color grading is that we first take care of the exposure, the colors. Then once we are done taking care of the exposure, the white balance the colors. That first section is called color correction because we are bringing the image how it looked through our eyes when we are filming the image. Once we are done with color correction, then we do color grading. During color grading, we are giving a certain look to the image. That's the time when we're going to manipulate some colors, make yellows reds, or make greens dark green or light green, things like that. And then we're going to do some final touches. First was color correction and then color grading. Now in my initial lots I would be doing color correction here. Maybe I can say you can also label the node node, label white balance. In the first node we would do white balance and you can also just move the nodes here and then add node serial node here. We would be doing node level exposure. I think our white balance is pretty accurate. And how do you see the white balance is pretty accurate? Is you have to search something in the image which is white in this, in this image. It's not. Maybe I can show you a better example. Yeah. Say in this image if I have to set up the white balance, there's a few different ways. First way is to just do this manually. You do blue or green or that. The second, I'm just going to reset this. The second way, select the speaker and then you go to any area in the screen which looks white. The shoes here are white. If I just click there, the white balance would reset itself. You see? Now this is how the image looked in real life. Now, as soon as I just clicked here, the white balance made the whites white in the image. But let's go back to the first one. Now we have labeled our next node to exposure. Here we're going to fix the exposure. We would see what is required in the third step to do the color correction. After this, then we would start doing the look. Means that what blue you want that image, would it be more dramatic, Would it be more bright and happy that we're going to do it later First, as I told we're going to be doing color correction. You'd be so surprised that with iphone footage the pro is what we shot in filmic pro. You can do so much. Let's try to do the white balance. I would just see here in my parade, because here, everything looks fine. Because in some cases, the white balance, as you can see here, the image looks a little bit bluish. Here, the white balance looks a bit different because our main goal is to bring all of this together. But we're going to calibrate this image in a bit. But let's focus on this white balance. Everything looks fine. If it's not broken, we don't touch it. Exposure for, let's take this clip as a master frame for exposure. I still think that my eyes here, they are a little bit hidden under the shadow. What I would be doing, you can also see here in the parade here at the bottom, that some of the things are touching the bottom here, which means that the blacks are crossing their limit and the black is a little bit dark then how it should be here, I would just increase the shadow a little bit. Just move the lift as well. If I move the lift, this whole parade would move here. I'm just focused on the white portion here because I want to move the whole image exposure, not just the red, green, or blue whole here. I'm focused here. You see if I'm increasing the lift, the whole blacks, they become grayish. If I bring the lift down, the whole blacks become black. But I would leave it, say until here. You see this is before and after. How do you do before and after? If I have my mouse selected the exposure node, then I would just do Alt or command plus D. You see now it deactivates this node. And then I press it again to see how much life we have brought in the image just with one click increase the gain, which is not really required. But I just want to show you if I increase the gain, all this, my jacket, which is the brightest area, they would just blow out. Let's try. You see the area which is not that exposed here. Here, They're not blowing out. The first thing which bull blows out is my jacket here. But I would just reset it. And same with gamma here. My jacket wouldn't blow out, the whole im exposure would go up. So you see the whole image exposure is going up. But we don't want it. I think where we are here, it looks pretty good. Let's do before and after again. Think we have brought some life in the image and we can always come back. What I do is I would just do a basic exposure correction here. Basic white balance here. And once I do the look, if it's not looking good, I can always come back here. What I would be doing, I have a feeling that I might increase the exposure a little bit more here. I have a feeling that I am, the subject is exposed, but the surroundings are also too exposed. It's distracting. What I would do here is that pay attention. I would go here to the window section. Just click on the window. Then if you see all these shapes, we can bring all these shapes in our image. We do this, there's a square shape. You can just change this. We want circle, I want to highlight myself. I would just scroll the mouse back to zoom out. I would just select myself. If you see this node, it's selecting me. If I go here to the highlight, it would show exactly what is highlighted suppress this. I am highlighted. Just bring it a little bit more. I don't want the surroundings. Now you see the edges are a little bit harsh. What I'm going to do, I would just bring this. We have sharpened the edges. Now whatever setting we're going to change, it's going to slowly blend into the surroundings. I would just unselect the highlights. Now what I have to do is I have to darken the surroundings I am selected. If I go here in the curves, I go to the main curve here. This one. If I bring this down, just click here in the middle. If you have to change exposure of anything, the overall image, just bring down here. Because if you bring down this one, this is going to bring the highlights you see here. It's bringing down the top one. If you want to bring this up, it just brings up here. But I want to change the exposure of the whole image. I would have to bring down here. In my case, I have to bring the exposure down of the surroundings. What I'm going to do, I would just reset it with this arrow. Where was it here? What I would do with the circle selected, I would press here, which is inward. What is it doing now? If I go here in the high light, you see it's selecting the whole surrounding except me. I think I would have to reduce the blend because I want myself to be exposed. Just here just to unselect highlight. Now the whole surrounding is selected except me. Let's go back to the curves and now we can reduce the exposure you see. Now what's happening is that the whole focus of this whole picture is towards the subject. If you do before and after, you see how much difference we have made, we can also just bring the exposure down a little bit. Let's go before and after. I am unchanged and you can bring back the exposure of the surroundings. Yeah, this is what color correction is. Now we're going to go to color grading here. What we would be doing, we would get three nodes. In all those three nodes, we would be doing some color grading. Just bear with me here. What I would be doing is I would be labeling this node, saying, I'll explain you now with the custom curves. I would go here, this is something called hue versus hue curves. What he means is that, huh, brings different color patterns of same color. For example, for yellow, if I have to change the hues of yellow, it can change to red, or it can change to green, but it cannot go to blues. But if I have to change the hue of the blue, it can go to green, it can go to darker blue. You see all these things I'll explain here. What we would be doing is, first of all, I want my sky to be a little bit tele. As soon as you open this graph, this selector tool comes here. You see on my forehead I would just the blues select here. As soon as I click on the blue here, this graph shows where this color lies. I can just move now this to change the color of the blues. You see how cool is that? If I go up towards more teal side, you see how dramatic I can make the blue. And mind you in the image, just the blues are changing, nothing else. If I want the blue to be more sky blue, I can also bring it and then it goes to more purple, or I don't even know what this color is, but I want my blues to be here. Let's go before and after. I don't know if you can see if I press it goes back to normal size. If I zoom in like this, the image goes zoomed in. But if I want to scroll up, I need to select command and then scroll up. Then the whole image moves up and then I can zoom into the sky. Let's see, the sky is blue and now different color. Press Z goes back to normal. Here I have changed the color of the blues, but now I want to change the color of the greens. Now select the greens here, I will select the green here. You see it's bringing it here with the hue versus hue curve. Your main job is to change the colors in the image to get the desired look. This is what all the filters they do. They literally just change the color of whatever is there in the image. Let's try either. You can get more warm look by bringing the greens to more yellowish. I'm bringing more here. If I go to a red, it becomes red. But if I go here now it becomes a little bit more warm. You see now it was green more warm here. What I would do, I want this color pattern. To all the colors which lies here. If I go here, all the greens might change into this color, or you can also do it the other way. Now here, all the greens, you want to be proper green here, our image still goes to teal here, but all the greens are a bit darker green. I think I like this one, but color grading is really subjective. I like this one. You see now the color was here a bit more warm. Look, I have bring the greens to green. Now what I have to do, I want these yellows to be a little bit orange side. What I'm going to do, click here. I can just change it to any color. It looks so fancy. Look at this. But I would just go a bit, the yellows, teal yellow to more orange side. Maybe it's a bit too much, I think. Just go a little bit down. That's the thing with these curves that even a slight change can do such a drastic change. You have to be really mindful that you're not pushing the look too much. Now you see if I just bring the reds, like you see the color of my face because my color of my face falls around this area. If I bring this up now, then you'll see the disaster. But this is just for example. Now what I also want is to select my face and get a little bit of red. They're very slight. Let's go before and after. Yeah, this looks nice. Press said, that looks nice. But I think now is that maybe we need a little bit more contrast in our image contrast. I think I've pushed the gamma a bit too much. Maybe we need to bring the shadows a little bit higher. Gamma may be a little bit up. Yeah, that looks good exposure. Also, I want to do one more thing here. What I would do, just add another node. I think there is a little bit of brightness here which needs to be coming down. Because you see here, all the reds are crossing this limit. Reds are coming from this, because it's from the same family. Red, yellow, they're all from the same family. I need to bring this down. What I want to do is I just want to select the brightest areas for this. We're going to go back to color grading because I just wanted to touch on this thing. I just want to bring down the brightest area. What are we going to do? Go here to qualifier. Now here we would work with something called a luminance. What luminance does is that luminance is the brightness value of anything in the image. This qualifier is whatever you qualify here, It's just going to select that. We are going to bring the luminance up, up, up. Or maybe just press the highlight first so we can see what's happening. Now we have to go until it's just select these things which are crossing the edges, just these things. If we want to make it a bit more softer, you go L soft. Now it's making everything soft. We're going to go a little bit more. Yeah. Now it's only selecting everything which went over this line. If I do this now what can we do is we go to DR. Grade. Like all these clips are already in the descriptions. You just follow these steps because you're going to learn a lot. You go HDR curves. Now this is where you go lights and reduce the exposure. Just when you reduce the exposure, you would see that this whole thing is coming down. But we don't want to do too much because now everything is in this range, but it looks a bit weird. We're going to reduce down a little bit. Its still looks natural. Yeah. Before and after. Yeah, that was a thing what you can do to bring back the exposure of the things which is out of exposure. Just like really particular things. We're going to go back to the curves, we're going to go back to the color wheels we were in, the hue versus hue. I don't think we have any other color in the screen in the frame which needs to be changed. Because if I change this, nothing happens because none of these colors are existing here. I'll just do control Z. Now, what do we have taken care of the hues? Yeah. Now we have to take care of the luminous, luminous, as I said before when we were doing this is the brightness value of a thing here. What we would be doing is we're going to add another node. But this time we are not going to do serial nodes, We're not going to do Alt plus we're going to do a parallel node. Parallel node would take input from here, let me draw it. I would just right click add node and then parallel node. We'll add another one, Parallel node. Why I didn't do the serial node? If I did the serial node, then this image would be the input of my next image of the hue versus luminance, which we're going to do. Now. I'll explain to you what that graph is, but this image would be input of that. I don't want that, I want the color corrected image to be the input of whatever color grading we're going to do now. Because until here, our image is color corrected. Our image looks exactly how it was looking when we were filming things. That's why I want this to be the input. I don't want any color manipulation, which we did here to be going here. But at the same time I want mixture of all these nodes to be the output of the final image. Yeah, we're going to go to hue versus luminance label node versus luminous here. What we would do is that as I said, luminous was the exposure. The brightness value of a frame here in versus luminus. If I go here, you see versus luminous curve here. The luminus luminous can change the brightness value of particular color. First what we want to do, we want to enhance the skin. I want myself to be popping out. I'll just click here. You see if I increase that, it's going to just increase the brightness of this particular color. If I reduce, its going to reduce the brightness, this is what you should do every time if a human is in the frame, increase the luminance of reds and that's going to make them pop out of the background. If I go before and after, it's a really slight change, but you wouldn't notice if I don't reduce the luminance of the surrounding. Now for me to pop out, I'll just increase this a little bit. You see before and after you see my forehead. Before and after that is the luminous. Now I want to bring the brightness of the greens down. What I'm going to do, click here it is. Here I would be just doing this graph here and reduce the brightness of the screen. Now you see before and after. While you reduce the brightness, it also brings a lot of details in the image. You see this was before and this is after, mind you, because I'm doing this, you see how much I'm popping out. You see I want to go down a little bit more just until here. Then I also wanted to reduce the luminance of the blues because they are in the background, but I don't want them to be too dull just until here. Because my main goal is to reduce the luminance of the greens so that the subject pops out. That looks fine. Also, my jacket, I think it's a little bit too bright. Just my jacket, you see in the yellows family. I'm going to still keep my face to be brightened up, but I want this jacket color to be dark. You see reduces the color of the yellows. But now I'm thinking my face is a little bit too pink. Now we go back to Hughes, go back to hue versus hue curve. Maybe reduce really minor change. You wouldn't see it, but there is a little bit. Now what can we do? Select these two and then if we do command and D before and after this, this is after. After you see. But just with two notes we can do so much. Now we go to hue versus saturation versus set. This is the second curve from here you can also do, I would recommend to do versus the new versus min and saturation. You can do in whatever pattern you want because it's from this output. It doesn't matter what changes you make, it's not going to affect this. Yeah, now we are Q versus saturation. Same curve here. What I want to do, I want the blues to be a little bit low because, yeah, they're a bit saturated. If I go here, you see the color fades in. If I go here, it's too saturated. I'll just go here. I'm not sure about the grains, but maybe I can also reduce a little bit. It's a really slight change. You see if I go like this, the whole picture change is really slight change but I think rest of the things. Or maybe I'll just select my face and see if you see I can increase the saturation of my face. Yeah, maybe I will do that also. Maybe yellows a little bit, just very slight. Should we do before and after of the entire image? If you want to deselect everything, all of these and then press command plus you see how much change we have done in this phone footage. Insane. Let's play this image. This was the before we did the circle here, right? The circle here. If this circle was small, say this was the circle. I want this circle to also track me. Just for the sake of example. Then what we would do, we would go here, this is the track. Then we would select everything and play. Now it's the circle will track me and it would be there wherever I want. You can still change the shape of the circle and it's still going to be, I think you have to track again. Go here, track, then now let's go here and then see image full screen. Yeah, that's how the image looks. To go to full screen, you have to go Command plus, and then you press Scape, and then you come back. Now we have to do one final thing is the press Alt plus. You go to the primary color wheels, and then you reduce the details. You're bringing the sharpness, the fake sharpness. If you see my face, the fake sharpness down, everything becomes a bit more softer. Press Z, maybe. Let's look at full screen. Everything becomes a bit more softer in the image. If you see before and after you go this command plus D, look at this, how much change we have done. I still think this circle is a little bit small, so I'm just going to make it a bit more bigger. Yeah, that looks nice. What do you think? Now what we have to do is whatever changes we have done here, we want the similar changes to the next image, but we don't want the exposure, the wide balance to be there. What we can do first, we have to take a screen grab of all the settings. How you do that? You go to the image right click and grab still all these. Whatever you would take would be in our gallery. Yeah, I will just do this so that we have more room to work here. Bring the nodes here. Now we move to 44. 11.9 Fairlight Tab: In this section I'm going to be teaching you how to use flight tab to get the best audio possible. What I'm going to do in the edit page I have, I would select this and then go to far light, I'll see that this audio is in audio one. Yeah. What happens is that whatever changes I'm going to make in audio one, which is audio one here, all the audio in this section, in this line would be changed. This setting would be applied to all of them. What I recommend is that what I do with my Youtube videos is that if I have to do a voiceover, and if I just want the audio of the voiceover to be edited, I put them in a separate audio line here. I would just make it audio three. And I'm just going to zoom out of the time line to see if there's any other audio in audio three, that is not the case. So I'm just going to zoom in again by pressing go to far light. Now my audio is in audio three, this one. Let's listen to the audio first and then I'm going to teach you what all things I'm doing to enhance this audio a little bit better. But if you're not a cycling fan, don't worry. You can get a day pass for the ferry. And with this pass, you can explore almost all the villages around Lake Como. We'll share with you the most beautiful town to visit in our upcoming videos. That's the audio, it's really simple, far light tab, I don't have to do anything here. Everything is going to be here. Here I see audio one, which is for the first line of Audio two is the second, but we don't see audio three. Yeah, if I drag it here then it is for audio three. So we're going to be doing a lot of changes here. How do we change any setting? Because I don't see any graphs. I don't see nothing very easy. First thing I'm going to be doing is the order. The order I want is effect EQ and DY, because first we're going to change some effects, then we're going to change the equalizer. Then we're going to change the Y. I'm just going to set it up here. Then how do you put effects on the audio? Is by effects panel. Here you see this as soon as I press. Plus it shows me a whole range of options, whole range of settings, what we can tweak on this audio to get the best output. And then we have some dynamics, some audio enhancer, compressor, expander, limiter, all the stuff which we're going to go through later. And then we also have equalizer. That's exactly what we're going to do first, we're going to use some effects, then we're going to use some equalizer. And then we're going to do some dynamics. That's a sequence, what I've set here for effects. The first and foremost thing, what we're going to do is press plus here. The first and foremost thing. What we're going to do before going anywhere is go to my Edit tab and press Normalize. What normalized does is that going to increase my audio level until the extent where the audio is not blowing out. If I go normalize here, but if you're not a cycling fan, don't worry. You can get a day pass for the ferry. And if I check on the audio bar in audio three, you can see that the reds are very less. But if you're not a cycling fan, don't worry. You can get a day pass for the ferry and with this pass you can explore almost. So that was the system normalizing the audio until certain level. But in my opinion, I still think that it's a little bit loud, like the software literally just increase the decibels until how they wanted, until how much they want to. So I'm just going to press go to 3.14 but if you're not a cycling fan, don't worry. That sounds. The level is pretty decent. I have just normalized the audio and then I go to the far light tab here, select three. First setting, what we're going to change is go to here. Plus, then we're going to look for restoration. We go to restoration, and then we go to D. What does DSR does? Dsr would reduce all and all the harsh from the audio. First thing what we can do is listen to only if you're a wait, let's play again, but if you're not a cycling fan, don't worry. You can get a day pass for the ferry. This is just playing all the S, but if I just leave this S here, I can also change the intensity of how much it's going to compress the S. If you're not a cycling fan, don't worry. You can get a day pass for the ferry. And with this pass, you can explore almost all the villages around Lake Como. We'll share with you the most beautiful town to visit in our play. You can also change the position here and keep listening to the audio and see that at which position. Your s lie at 2000 herds or 4,000 herds but if you're not a cycling fan, don't worry. You can get a day pass for the ferry. I think in my opinion, my voice lies somewhere 2000-4 thousand herds if you're not a cycling fan. Yeah, I think it's looking good here, especially for a female. If you praise, then the software would sort of compress. It would not make it super harsh for the audience to hear, because sometimes if someone's voice has a lot of S, it can get really annoying in your ears. That's what DSR does. The first step is that the second one, what we're going to do, we go here to dynamics, we go to Far light effects, and then we go to soft clipper. Soft clipper, what is it going to do is just going to give a bit more body to your voice. Let's listen to it, but if you're not a cycling fan, don't worry. You can get a day pass for the ferry. And with this pass, you can explore almost all the, let's go to soft drive, but if you're not a cycling fan, don't worry, you can get a day pass. It has given my voice a bit more bass, a bit more body, because if I hear before, check this out. But if you're not a cycling fan, don't worry. Yeah, and let's do with the soft clipper, but if you're not a cycling fan, don't worry. Yeah, that's what soft clipper does. It sort of increases the base in your voice and it just gives it a bit more body, so it feels a bit more complete, a bit more neutral as soon as you see here. You also check here that you can see the list of all the effects you have had. You can just click on this, you can just click on this little icon here. Then you can just change the values. It's like really, you can just go back and forth after putting these two effects. This was the effects. Then we go to the equalizer. We're just going to click this blue line that opens up my equalizer here. I'm just going to give you a brief introduction. All the areas here is the base. All the areas here is the soft voices like this and all the high pitch voices. So what are we going to do? We're going to keep everything in control here. If you go to band one, as soon as you press band one, it already clips out the audio, the extra base from here. Normally you don't have a lot of base. You see the frequency. Normally my voice, everything below 80 or everything even below 100. I don't need it because my voice is not going to go there. But if there's anything in the background which is a bit more lower hurts than that, then it's going to remove it. Let's listen to But if you're not a cycling fan it's not going to do don't. You can get a day pass, it's not going to make any difference. But anything above that, which is not my voice, it can just get rid of that. That was that. Then the second point here, or maybe I'm just going to keep it to 98, the second and the third point here. What are we going to do here? Is that for the second, I would just make it like this. I would make it like that here. What do we do? We have to reduce all the harsh sounds here. How do we listen to harsh sound? You have to keep this all the way up. Then you listen to the harsh sound. And wherever you can catch that harsh sound, you pull this down. Let's play the audio here, hang on. Yeah, this looks a bit better, but if you're not a cycling fan, don't worry. You can get a day pass for the ferry. And with this pass, you can explore all you see. There's a lot of harsh voices here, but if you're not a cycling fan, don't worry. I'll just reduce this spot. And to reduce this spot, what do I do? I would just pull this here and then the fee, if I do the Q factor like this is just reducing this point. You see, let's listen to it again. If you're not a cycling fan don't, you can get a day pass for the ferry. And with this, at this point, I'm just going to reduce it down a little bit. And listen, if you're not a cycling fan, don't worry. You can get a day pass for the ferry. And with this, it's giving a bit more clarity to my voice. The same thing I'm going to do for the three. I would just go increase the Q factor a little bit, but if you're not a cycling fan, don't worry. If you're not a cycling fan, I think it's the harshest here. So what I'm going to do, bring this point a little bit low as well. Don't worry. If you're not a cycling fan, don't worry. It's a really minute change, but if you are listening on a big speaker or if you're listening on a big home theater, then you're sure that your audio is not going to blow out. And then here also, what am I going to do? Just increase this a little bit and see how it sounds, but if you're just like that fan, don't worry. You can get a day pass for the ferry and I can feel that it's giving a bit more clarity to my voice, but it's not that noticeable. But if you're paying attention, then you can say that, yeah, there's a bit of difference. Yeah, this is the basic structure I keep my equalizer to. I think you should too as well. Because all of our voices are lying somewhere between these regions. And if you take care of these points, your audio would sound a bit more crisp. That was it for Equalizer. Now we're going to go to dynamics. Dynamics is this one here. What do we do all the way in the front, turn on compressor and see what happens, but if you're not a cycling fan, don't worry. You can get a day pass for that and we can also do the expander. Just turn on the expander or maybe turn on the gate. And now it's going to take care of all the other noises which we don't want, but if you're not a cycling fan, don't worry. And also change the value of these things of the compressor with the threshold and the threshold here. But I leave it in this structure because in my opinion, it just sounds very neutral and I don't want to experiment too much. Then my audio is going to sound more edited here now. My audio sounds pretty crisp. It sounds like it's recorded almost in a studio, but if you're not a cycling fan, don't worry. You can get a day pass for the ferry. And with this pass, you can explore almost all the villages around Lake Como. We'll share with you the most beautiful, you see how cool it sounds? So guys, that was it from the fire light tab. And if you have any questions, let me know. And now we're going to move to the last tab, which is the export tab, because that is also really important because you have worked so hard on the entire project. And now is the export time. And if you choose the wrong setting, then that might be a problem. So yeah, I'm going to show you the most optimum way to export any video file. So let's jump in the system. 45. 11.10 Best Export Settings: Now we have to export the file. So what are we going to do? Say for example, if we want to export the first sequence that we had before just from here to here. So what are we going to do? Press here. Here. This is the in and out point for the video files which we want to export. Once we have selected in and out points, we go here to deliver. You see there's a lot of options here. 264 Custom exports, S264 hyper. These are all things which you really don't need. Youtube Vimeo, like Youtube, and Video Vimeo. They have their own settings. Dropbox, they have their own settings. But you really don't need to use any of this. The easiest and the best possible output is. What am I going to show you? Now you go to 265. 265 is a video codec where the video, it does not loses its quality, but the file sizes are smaller. Say, for example, if I export something in 264, the file sizes is almost two or three times more than the file size of H 265. I'm just going to go to H 265, then browse. Browse. I save all my files in. Davinci Resolve exports. I just save it here in this file. I'm just going to make a new folder, Davinci resolve class create. Then here I can just name the file test. Yeah, I do. This is the location, this is the name of the file. Single clip, render, I don't change anything, export video. It's really up to you. I do it for quick time, but if I have to use the video for Instagram, so then I use it for MP four because sometimes I don't know if I export in quick time. I don't hear the audio if the video is for Instagram, but usually I use it. I use Quick time here. Codec I do is 265 here and then I just keep this as it is resolution. What do you might remember? All the 0, they were in high definition. They were not in fork, but I still export. Why? Because as soon as you upload it on Youtube or any other social media platform, the software is already going to compress it. The platform is already going to compress your videos. So why not give the best quality as possible that even if it compresses, you're not losing too much quality. Yeah, that's why I film all my videos in high definition, but I upload all of them in four ultra frame rates, is 25 what we had before. Quality here what I do, I have a rule of thumb that I restrict the quality to 50,000 if I'm filming at 25 fs per second. If my project was at 50 fracs per second, I would restrict the quality. 200,000 I would just go 50,000 is a 50? Yeah, it is 50,000 then I don't change anything here. I don't change anything in advance setting. I just leave everything. Color space tag, same as project gamma tag, same as project because we chose all the right settings in the beginning of this project, remember the Rex 79 A and all that sort stuff? We chose the right setting there. That's why we don't have to do anything here then. Then just add to render, this is added and then you can just do render if you want to export multiple projects. Say for example if I also want to export this file. I can also just press in and out here. Say for example, if this was a complete separate video project, you also want to export them together, like render them together, then you just do, this would be exported as test. This would be exported as test one. I would leave the setting the same ad to render ad. Then if I want both of them to render together, I just press command or old. Select both of them and then render old. And they're going to render simultaneously. If I go in the system, I can show you the video properties we go to export the Winter Reserve class. This was test one, I'll just go get info. And it is 176 megabytes and it is 4/32 clip. It is 265 as well. This file is also 4.265 This was just 136 M B, Yeah, that was it. From render settings, you really do not have to use any of this. Just go to S 265, Master and export in four K. Not in high definition. If you have to export an Instagram or Tiktok, then in high definition. But other than that, Youtube, Vimeo, and all the other platforms export in four K, trust me. 46. Thank You: That was it for this course. I really hope that you got some value from this. If you have any questions, let me know if you like this course, give a review down below, because that would help this course to be discovered by other students. As always, if you have any questions, reach out to me on my socials or just comment down below, I would be super happy to help. Thanks again for watching.