Mastering DaVinci Resolve: The Complete Guide to Editing, Sound, VFX, and Deliverables

1. Introduction: Hey, guys. Welcome to this course. My name is Dijo Sengupta, and I am your instructor today. So a little background about me. I'm a huge nerd when it comes to everything film, starting from storyboards to editing to cinematography to color correction, to color grading, to sound, to VFX, to CGI, to animation, to literally every single thing. I can talk about it days after days and I can do it night after night. That's how I am. I'm a little crazy, but like film, and it's my passion. So I did my bachelor's and my master's in films and animations, and I've been working on literally all the softwares for almost 20 years now. Yeah. It's been a long time. And I directed a couple of short films. I directed a couple of music videos. I directed a huge web series on prime video, and I'm super blessed and honored to have all of these movies, series, films get over two to three dozen awards and nominations, including Cans 2024. And I still can't believe it's true. Pinch me. It's a fun course, honestly. This course is this class is for beginners who have no idea of the software called DaVinci Resolve. I'm going to be hand holding each and every one of you guys, providing you the footages and going through each and every single thing as to how to create a masterpiece. Now, yes, I'm going to be teaching the tools to you. I will be, but more than the tools, I will also be focusing on the mentality as to what does a person go through when they sit down, when they start editing. So the tools are important, 100%, but think about it like this. Hollywood editors, when they sit on a feature film, do they think about that I'm going to start training those muscles and teaching you, okay, how to creatively think, how to creatively edit. That is something I'm going to be teaching you. So I'm not only just going to be teaching you editing, I'm going to be teaching you editing to tell a story. How to navigate through the narrative arc is something I'm going to be covering. I'm going to be covering on how to do cuts on a timeline with the story in mind, depending on the genre of the film that you're doing. Is it a commercial? Is it an advertisement? Is it a short film? Is it a feture film? Is it a horror film? We'll play it by the ear. Then obviously, the different popular cuts, such as the JN L cuts, sifting, how to do jump cuts, all of those things I'm going to be be covering how to use transitions. And if you have slow more footages, how will we time remap? Time remapping is something when you see the footages going slow, they're going fast. So I will be covering those as well and when to actually use it. From a mentality perspective, tools are obviously, you're going to see me on the screen doing it tenuously Amab talking and telling you what exactly I'm thinking, but also the tools is obvious. That's the editing part. The one thing I'm going to be covering is sound music because I believe sound is 50% of a film. That's what my amazing professor used to tell me in my college days, and I believe it to the dot, literally. I'm going to teaching you the Fairlight page, which is the basics as without getting overwhelmed as to how to use it, how to use transitions, how to use the equalizer, because at some point, you're going to use the equalizer, how to use it. And are some rules in Hollywood? What are some rules to follow based on, what are the levels for dialogue? What are the levels for music? I'm going to be covering all of those and how to adjust them based on your film, based on your commercial, whatever you're doing. And obviously, I'll be providing BN tire footage for you so that you can download them and practice at your own will, at your own pace. Then I will be covering a little bit on the VFX aspect. So I do specialize. I did have specialization in VFX, but I'm going to be keeping this intro very, very 11. So I'm going to be talking about just the fusion page. Basically, I'm going to be introducing you node to the node side because most people who are starting out are used to after effects, but that is industry standard, but not for Hollywood level VFX. It is important to understand how nodes work. The concept of nodes. We're going to be covering the fusion page in detail as well. But from the basic standpoint, I will be covering the concept of masking, not just teaching you how to mask stuff, but I will be covering the concept. So you can then problem solve yourself and use it on your own footage because every footage is dynamic in nature. Then, obviously, we will be covering tracking and king in case you have some green screen, or if you want to replace the sky, I'm going to covering those basics. Little bit of tracking for motion graphics in case you want to put some stuff in it. Then I'm going to be the last but not the least, I'm going to be covering rendering because that is completely underrated. After you're done, how do you deliver your footage? How do you deliver your movie? How do you deliver your commercial? Depends on where you're putting it. Are you putting it on Instagram? Are you putting it on YouTube? A delivering it to a client? Are you giving it to an OTT platform. So I will be covering each and every one of them and how to go about it. This class is not for people who have fair knowledge in editing, but it could be something that might give you perspective as to how the mentality is for an editor. If you are a skilled editor, you might know most of this, but it could be a refresh for you. And this class is definitely for the beginners who have no idea how to edit, but want to get into the editing gig and actually make themselves available for work in the industry, whether it's at a studio, if it's at production house, if it's at a corporate marketing firm, or if you want to start freelancing, whatever you want. This will help you kick start and you can start your own work into it. Alright? So let's go without further ado, download the footages, grab a cup of coffee, a bottle of water, and let's get started, and I'm excited, and you will have to submit your final edit to me. So let's see how it works out, and I'm always there for you. Use the discussions. You can head me up on Instagram or email, and we can get started. I'm excited for this journey. And let's get started. I'm going to go into my screen, and I hope you are, too. Cheers. 2. The Narrative Arc: Way we do it, we need to edit it in a way to tell a story, right? So that's also where you're directing your overall skills come into play. So how can I explain this? For example, it depends on the genre of what you're doing. If let's say you're doing romantic, so romantic would be somewhere along, um, slow paced, right? The editing, the cuts need to be very, very slow paced. Obviously, you might understand you might not mean if you're a complete newbie, you might not know what cuts mean, per se. So it's important to understand that cuts is basically when there's different, you know, when you're cutting between clips. So that needs to be fast based. Like, you see diferent differen scenes in different different places. Very, very fast. If it's, let's say, like, a romantic thing, you might want to make it more slow paced, make it more lovey. That is something that people will actually enjoy. People will want to, like, relax and understand the emotion of the person A and person B. So it depends on exactly how you plan to tell your story. All right. So, uh, just looking at my points here. So yes, so this is where you take a look at your storyboards and your scripts and your overall genre of the film. And based on that, we do an edit. So what I've done is, um, I have shot something amazing, and I think it does what we're going to be doing is we're actually going to go through a complete edit and showcase how things work, how I edit stuff so that when I edit it, I will actually show you and explain to you why I'm doing what I'm doing, right? So this process is basically to find your story. Sometimes you might see you might derail a little bit from your storyboards and scripts and your short list, which is absolutely fine because this is where improvisation, your skills as an editor will come handy, right? So without further ado, let's go. I am super excited for you guys. I'm gonna be doing everything live. So I'm gonna be showing you the screen and everything right over here. So I'm super excited. So let's go and let's go. Get ready to just 3. Software Walk Around: So basically number one thing that we're going to be doing is I want to show you what I have on my screen. So if you see this thing, I'm going to keep, this thing that you see over here, I'm going to be moving it around. This is basically for you guys to understand what I'm typing, if there's any shortcuts, so you can actually see what this is. So basically, we shot this little short film for this course, especially called Markets basically about a person who is getting into, um, the marketing. He's trying to trade stocks, and he's trying to take a risk, and we're actually going to see whether he fails or he succeeds and whether he actually makes money out of it or not. A so that's something that we will be checking out. So if you see, firstly, as soon as you shoot, guys, as soon as you shoot, the number one thing you need to do is you need to, like, just arrange your footage. That is super, super important, right? So if you take a look over here, we have videos. So we have different scenes over here. We have, um, um, music where we're going to be doing some BGM, which we've added some background music and some sound effects and audio, which is the audio that is recorded, right? So now, what is room tone? So room tone is something we will talk about in the sound area. We will look at mostly right now the editing side, right? So, firstly, if you guys don't know what to do, where to get the software, which is the DaVinci Resolve, which is, like, right here, this is going to be in your main software, right here. This one. And basically, what we're going to be doing is you open your browser, it could be Google Chrome or it could be Safari. So we go to this website called Black Magic Design, right? So in Black Magic Design, you go to this place called Products. You go to click on Products, you click on Deventi Resolve and Fusion software right here. So we have this DaventiRsolve. So this is $295, so we can go with the free one, alright? So as soon as you click on this one, you go to the free download now. You click on that, and you basically do this public beta. This is the one that is free. This is the one that is paid. For now, free is good, right. So if you guys already have this setup, so you can just ignore this particular step, you download Mac Windows or whatever you want. And once you download your download will begin. It's a straightforward process, double click on the EXE or the DNG file and you will have the um, software ready up and going. So what we're going to be doing is going to be opening the software. I am using a MAC, by the way, if you haven't realized it. What we're going to be doing is we're going to be overall going through the software and actually showing you guys what it is. Now, if you're coming from a place which is like Premiere Pro or if you're coming from a place which is like, Final Cut Pro, this is a little bit different. We don't have files that we save. Everything is saved on a database. So when you over here, you can see, like, this is the screen that is open up first. I'm just going to get rid of this. So you can see over here, uh, we have a database. So in the database, this is the place where you will have all your projects, right in this area, right? This is where you'll have all your projects. So, um, you can export, import, new project, open project, and project. This goes a little bit advanced. I'm not going to be covering that. Same thing with Network and Cloud. That is advanced. I'm not going to be covering that. So over here, you can create a new folder, and this is just the slide where you can see the views and stuff. This is a grid view, this is a list view, whatever is your preference. And this is obviously the search to search when you have many projects, you'll be able to search it. Alright, then what we're going to be doing, what I was saying was that we don't really you know how in premiere, you have dot PR project file. So we don't really have files. Everything is stored in a database, which is, if you click the Icon here, you can see, like Reveal and Finder. I will show you over here where Reveal and Finder or Reveal and File exxploorer based on Windows or Mac. Over here, you see resolve projects over here is where all of your projects will be. So again, you don't need to do that. You can just open DeventureRsolve. You'll see your projects over here, right? In case you want to export the project, that is something we'll cover towards the end of the Edit suite, right? So first, we have a simple untitled project. What we will do is we can double click this or let's make a new project. So I'll make a new project. We'll call this market because that is the name of the film that we called it. So we do create. Alright. Look at that. So as soon as you see over here, I'm going to remove myself from the screen, basically. So over here, if you see, I'm going to move this thing over here, so you guys can see the stuff. We have different pages. So we have media, cut, edit, fusion, color, falte, and deliver. So basically the whole point of, um, this is to showcase that you go from left to right. That's the whole point of DivingiRsolve, right? So you start off with media, then you cut, then you edit, then you do fusion. Fusion is basically the place where you do VFX and motion graphics. Color is basically the place where you color grade, color correct. Falte is basically the DivingiRsolves version of their music place, and deliver is basically to deliver your, um, final product to whatever you want. Hopefully, it'll be Netflix for you guys. So let's go page by page. Okay, so we'll do a quick software walk around. So we go to, um, right, so media page over here, if you see, um, this area, this area right here is basically your storage. Basically, this is the Finder, slash um, uh Finder or what do you call it. File Explorer, like in Windows, that's what it's called, right? Then this area is basically your bins. This is your audio. This area is your audio, this area, and this is your metadata. Alright? So you can see over here we have um, these different options. So basically, the way DaventureRsolve works is you can't really move around stuff too much. It's like it's already laid out. The software workspace is already laid out in premiere, you can take out windows and rearrange them however you want. Over here, it's just laid out. So basically, this is how it looks. If you want to close it up like that, you can do inspector is where there's different, um, options for, um, your per clip. So this is a place where we start, um, basically your edit. So keep in mind this top part is your local computer folder, basically a folder structure of your computer. So you can see, like we have Users, GGO, so we have all these stuff. There are desktop documents downloads is over here, right? So what you can do, there are two ways you can import stuff. You can either drag and drop from top to from top to, like, bottom, like here, or you can just open your File Explorer and then there's drag and drop them, right? So the way I like to work, I like to skip this media and this cut. I like to directly go to Edit. So basically why I like to do that is because it just gives I'm old school like that, you can say, it's just everything is laid out over here. But I want you guys to know what each page does, right? 4. Importing Footage: Now, I'm going to move this here so we can create over here, um, new bin. So basically what a bin is basically like a folder. So I want you guys to make sure that you guys know that housekeeping your bins, housekeeping, your files and folders is super, super important, right? So we have videos, then we have some go to start using a shortcut now, which is Command Shift, you can see it on the right side. We call it audio, right? So videos, audio, and that's pretty much it. We have two things right now. In the future, maybe we might do SFX and BGM at a later point. So now we go to videos, and we use Command I, or you can do right click and you can import the media age command I. So what I'm going to be doing, I'm going to do Command I, that'll open up, my finder. What I'll be doing is I'll be taking this video right here. So what I'm going to be doing is, as you can see, I have things laid out in scene one scene two, scene three, scene four, scene, five scene, right. So I have all these scenes laid out. So instead of dragging and dropping each, you know, things like this, what I'll be doing is I'll just open it from right here. So we have Dropbox. I'm going to be going through let's see from Academy. Then I'll just open it. We do filmmaker journey courses. This is the Edit suite, the market, we have video. So we have all these renders. What I'm going to be doing is I'm going to taking all of this and just dragging it to the bottom. So it says change project frame rate. I do not want to change my project framewor. I want to keep my project frame rate as it is, right? So now you can see what happens is, everything is just dumped over here, right? I don't like the way this works. So what I'm doing is I'm going to be deleting all of this. I want my bins, also to be arranged. So what I'm going to be doing is I'm going to be doing we'll call it scene one, scene four, seven and scene nine. Alright, so since I opened it, I'm going to open scene one here, open scene one here as well. Take this drag. All right? Don't cheat. Wget frame rightate. Scene five, scene five, take it, drag scene nine. Scene nine, take it and drag. And then we have maybe a time laps. Now, we make a new bin called Time lapse. Alright? So open that and drag it. All right. So now what you can see is we have videos where everything is arranged properly. With these sliders, you can actually make it big or small, however you want it. So let's make it big for you guys. So basically, as you can see, if I open scene one now, you see how there's different things. So you can double click to actually see. And over here, if you take a look at the right side, I'm going to remove myself from the screen. Uh, this is the inspector. Basically, the inspector has different parameters, Zoom position, rotation angle. Basically, it will rotate the entire thing, right? Then we have pitch is like that. Then we have VRs like this, then cropping. Obviously, we can dropping is, you know, I'm assuming, you know what dropping is. Then we have, uh, we get into all of these in a bit and then endereta is basically what is the codec, the frame rate, the resolution, the audio, and time code, and just more details about it, right? So we have basically done the first aspect of importing the footage, all right? So now basically what we're going to be doing is we're going to be starting to edit. So now the cut page is something basically. It is to quickly sort your footage, right? So basically, if you see this is your media bin, so you have all of these things ready. What you can do is you can just, like, see it all and you can edit it. You can just, like, drag and drop footage over here. But I personally don't use the cut page as much. I directly like to go to the edit page. Reason being, it is much more cleaner and you'll actually understand what exactly is going on over here. Alright? So now, I am ready. Alright, so also I'll be looking over here on my left side, which is my other monitor. Basically I'll be looking at my storyboards in my short list, so I can actually understand what I am doing it. So, right, so, obviously, we start with scene one. Okay, before I get into that, let me talk about the Edit page a little bit. So same thing. This is the media pool. The media pool is basically where all your footages are where all of your footage, audios, then we have it could be music, it could be assets, animation. All of that will be residing, like, right on this area. This is your main timeline area, the entire area. And then on the right side, let me just remove myself. This is your metadata, and this is the inspector, metadata mixer, basically right here is basically the audio. And then Quick Export is something if you want to export something quickly. Now, the way the venture resolve works is these arrows, you see, you can increase them if you want to have a better look as to what is going on. This will reduce the timeline. Same thing over here. If you want to see more options, you can click this down, click this up. Everything is pretty much how I say. It's very limited in terms of customization, but it really helps because it makes you focus on just what you want to do, like, your creative side, right? Why my ears are hurting a little bit. These headphones are after a point, you know, it just hurts your ears because you're hearing yourself continuously. 5. Sifting: All right. What I'm going to doing? I'm going to start, firstly, the other bin that I'm going to be making is I'm going to be making this bin called Timeline Timelines. So I'll move this in the master. So timelines is basically right here your timelines. So timeline is where the edit will happen. So I right click Create New timeline. So we'll call it timeline version one, right? And I'm not going to use project settings. I'm going to uncheck this so you can see what I'm doing. The format, what I'll be doing, I will not be working on four K. I'll be working on 1920 by 1080, 24 frames per second. Monitor is basically what you'll be seeing over here. This is where the monitor is. This is fine. Output, I don't need to worry about this and color, also, I don't need to be worrying about this right now, and I do create. So basically timeline version one gets built. So this is timeline version, you can see Video one, audio one. So this option over here is basically it has displaced tack timelines. So what this does is like a tab, right? It's like a tab where you can have multiple timelines. So timeline, version one, version two, you can keep adding and deciding. So as a trick, I like to keep that on. I'll talk about these track heights in a bit. Let's start dragging footages and seeing what's up. So we have seen one. Let me just scrub through this. So you can see a lot of noises there. So I'm just scrub into the footage. So we have a medium shot, and we have, like, a medium wide shot, I would say. So I'm just, like, sorting through the just seeing which one I can use. So what I'll do is I'll take all of these three. I'm going to drag them right over here, right? So now, the way we can, um, uh, do this is basically fun thing is once you have the timeline, right? So the way we can work is this button right here will basically zoom you out to the entire tannel so you can see all your clips over here. And this one basically zooms into a particular clip. All right. So for example, if I click this and I go like that, it zooms into that clip, right? Detailed Zoom. And if you hover over this, it says full extent zoom. And this is what custom Zoom. So now way the way how you can do it is you hold command or control. So you hold alter option, I need to keep dragging like this. That is one way of doing it. And shift and the scroll wheel is making the video track up and down. Same thing with the audio, depending on where your mouse is. And Shift Z basically puts everything into picture. So even like let's say I have this to open and this to open now, see how that's getting hid out. Now if I do Shift Z, Look at that. It's made over here. So going to remove that up because I want my timeline to be big shifts. Alright? So that's how it go. So now what we'll do is I'll be scrubbing through this timeline. So we can see like over here. So we see over here we have this out of focus shot to him. So what I'll be doing is I'll be cutting right here. Okay? So basically now what this is, take a look at this. Trim Edit mode. So we have this selection mode, Trim Edit mode. Then we have dynamic trim mode, and then we have the Blade tool. So the blade tool is with B. The trim mode is with T. So what is trim mode is basically now, let's say, first, I'll show you what trim mode is in a bit. This process, by the way, when you're just putting things in place so that the story is there, this process is called sifting, right? So press B for blade. See how the icon change? I'm going to cut right here. What I'm doing, I'm going to drag select this part. I'm going to be deleting it. Backspace. Now, you can do that, or what you can do is this thing called ripple delete, guys. Ripple delete is basically it deletes it and deletes all the gaps. So as soon as you ripple delete, look at that. It goes all the way to the end. Same thing, for example, if I have a cut right here, so to cut at that particular time, I use Command B. So if I cut here and I cut B, and then I select this, if I delete, see how there's a gap. Now, Command Z to undo. If I take this and I do ripple delete, that means it deletes the gap as well. All right? So Command Z to also um, undo it. So let's say I'm over here. Now, I personally, I don't want the audio, to be honest. So you can see how when I'm selecting the video, the audio is also getting selected. The way why this works is because this is linked. So linked selection is on. So I'm going to uncheck that. And then I can see how I can select these separately. So I really don't care about the audio here. I just want to see this because I want music over here. Same thing over here also, I don't want the audio, right? 6. Cutting with a Story in Mind: So now, let me just play and see how it looks. So you see how it's slowly coming into focus. So let's see, um. So I think over here, there's a little bit, um, I think the acting might not be the best part over here. So what we'll do is we'll just scrub and see. So you can see, where he's shaking. So you can use this part as a cut. So I do Shift V right here. Shift V to select the clip at the playhead, basically. So what I'll do is I'll just do a cut which is Command B. And over here, what I'll do is, I'll take this close up, I'll move it to the top. Alright? I'll just see. You see how he's turning to the right. So we can use this as, like, a gut. I'm just dragging it, putting it over here. So let's see how this looks. All right, so you see how I just put it over there, right? So now, this is what the trim tool actually does. So basically what we will do is I'll take the B, I'll cut this, and I'll ripple delete it, right? So we see the cut over here. I'm just trying to show you where it turns. Okay, so you see how he turns over here. So I want to make it in a way that when he when he turns, at that point, we do a close up shot, we cut to a close up and he turns immediately. Alright, so let's go back. So he turns and when he turns. But the thing is, he's supposed to turn right here, right? Like, right at this point of time. So I want to trim it over there. So I use T to trim. So you can see if I go up, This is to trim it like this. If I go up like this, I will be trimming inside that box. Understood. So when you're trimming inside, you have to make sure that if you take a look on the top four is the four different the whole clip is divided into four different parts, so you'll be able to see which part I am actually looking at, right? So let's see It turns here. All right. So since I trimmed it out too much, what I'll be doing is I'm moving it right here. So you can actually see when I'm trimming it, you can see, like, how the end of the clip is actually how much is there and how much is not there. So you can see that. I'm going to move all the way here, press A for selection again. Let's see. Alright. Alright, look straight. So that's the point I want. So Command B, ripple do it. So now. Look at that. There you go. No, no, no. He looks up. Now, he looks up, what I'm gonna be doing is I'm gonna Sorry, ripple accidentally. He looks up right here with closing his eyes. So what I'll be doing. Sometimes, what happens is you might miss certain important points, okay? So at those certain points, the best thing is just press the word press the letter M. So that does is creates a marker, like, right here, creates a marker, and it'll tell you what um you can write whatever you want over here. So basically what you can do is you can double click it and you can name it like potential cut point, you know, something like that. And you can also if you want, you can change like the colorle my favorite color is pink, so I'll just do pink. So we see over here there's a cut point. So what we'll do is Look up. Okay, there he goes. He looks up again over there, right? So what we'll do is we'll take the blade tool, we'll cut over here. We'll go to this marker, we'll cut here, take these two, and ripple delete. So what did I do there is I am using his movements to actually cut, right? Same thing over here. When he was looking up, so when he was looking left and then when he was looking up, right? So that's basically what I tell continuity, remember? So let's, um, go to, um, Go to the Start. To go start, you press Home. Alright? That harrow like that is actually the home button. Even I didn't know that's the symbol for home. Okay. All right, so and let's see and play. There are slow movements, which is nice. When we come into focus. Looks left. We got at that point. He's very, very sad. He looks up, closes his eyes, he looks down, looks down again. He looks left, All right. Not bad. Shakes his head. Alright. Okay. So we see this bang. Let's use that as So now, this is where guys I'm, like, so excited to show you guys. So you see this thing right here is where, like, you know, this bang where he bangs the um thingy. So that's where you can actually use those cut points to actually tell a story. And, um, that is all that is the main magic, you know, that's the main magic. That's basically the secret sauce. If you take a look over here, um, sorry, let me show you the screen. If you take a look here, so if you do, by the way, shortcut Command plus, to zoom in, Command minus to zoom out, right? That's just a shortcut that I have. So if you see over here and um to move frame by frame, you pose right arochi or left arochi, right? Left, right. Alright. So you see he looks left. Then I use that at the same point to do a cut. Same thing over here. This cut point over here where I made this marker. He closes eyes. So take a look. That's where your um continuity, your attention to detail actually actually matter, alright? Let's look at that. He closes his eyes, and that's where I cut back to wide again. So now I'm going to move forward. I want to move forward and pop right at that bang frame by frame, boom. So and Shift V, Command B. Alright? So I don't need this anymore. I'm just gonna delete it. Alright. So now we have, um an overall we have an overall, um, edit over here, which is there. Alright, so now, what I'm going to be doing is we're going to go to scene two. So we have, um, Oh, so one thing we forgot to import is audio. So let's do that. So same thing. I would say, what we'll do is go back to Media page. So we go to audio. So we do scene two. So only scene two, scene seven, scene nine have audios, so that's fine. Makes it easy. So let's do that. Scene two. Then we have seen what? Scene seven. I'm looking at the top and just copying a scene seven and scene nine. Alright, so scene two, we have scene two. Okay. We have this one. All right. Scene seven. Audio. Scene seven. Boom, Scene nine. Seen nine. Audio, boom. Alright, so we dragged our audio. Because now one thing which will be fun to show you guys is that the audio has been recorded separately, like, from a mic and not really from, uh, the camera audio. Obviously, Shooting audio separately is makes or breaks, honestly. Film. Sound is 50%, guys. Just know that. Okay, let me just check whether everything is being recorded or not, right? Perfect. So we do. Okay, beautiful. Uh. Alright. Okay. Moving back to the edit. So here use this. So what I will be teaching you guys is firstly, so this is the basics of, um, a sifting, right? So overall to understand sifting. So this is what I mean by cutting with story in mind. So obviously, this guy's very, very pissed about something. He's in extreme extreme distress, right? So remember what I told you guys about, um, Dolly, one of the things which is super, super important is just movement. So this movement doesn't look bad. You know, this cut doesn't look bad. But how do you think this can be enhanced? So obviously we have a dynamic Change over here, which is focus. Um, we have a dynamic change here, which is focus. Then we have a close up, which gives a sense of his emotions. And also this one. Over here, you see this is static. It's nice, but come on, flavor, right? Flavor. We look for flavor. And over here, since we're showcasing the emotion that he's really reallyly pissed, what we'll do is we'll select the clip. Over here, inspector, right? So inspector is basically all the options that you can do to any clip, right? So I'm going to open this up. And you can see over here, transform, we have Zoom, position, go left right. We have rotation, however you want. Anchor point is just to change the anchor. This button right here is to undo. This is to add keyframes and animate, which I'll be talking about later. Cropping, if you want to crop, you can crop. Now, what we will be doing is Dini resolve. The reason why I chose DentiRsolve is because it is smart. What we'll be doing is we will be doing dynamic Zoom. Now, before I get into that, what is important is to understand stuff here. Play, stop, move forward, move backward to the clip, make it loop just so that the clip loops, right? Play backwards. Stop, play forwards, stop. The shortcut is L. K and J. J is backwards, K stop, L is forwards, K stop. If I press L twice, it'll go faster. If I press J twice thrice, the more you press, the more faster it goes. All right. So that's the shortcut. This right here is to show different tools. When you click on it, it turns on. So you can use it for transform Command Z. And over here, we have crop Dynamic Zoom, you can add crop over here as well. Now, but what we said we are going to be doing, we're going to be doing dynamic Zoom. I'm going to turn that on and I will turn this one. Take this one, and I'll be turning it on right here for them from the switch. All right. So now what Dynamic Zoom does is this red is start point, green is stop point, right? Sorry, the reverse green is start, red is stop. So you see so it's going from zoomed in to outwards. You can see there's a slight movement outwards. So we wanted to go inwards because that's the emotion I want to convey. So I swap that with the swap button. So you see it's that easy. DeVitre resolve just makes things super, super easy. I move it more inwards, and move it towards his hand. So you see you can see, like, the keyframe that Dewits always doing. Now, I go here, I turn this off and play. Let's see how it looks. Okay, so obviously I made a mistake over here, which is I wanted it to be a little bit more. So you go towards the end, Automatly the trim tool comes up and you just make it a little bit more bigger. So then like that, right there. And then I just take it forward. Alright? So you see what difference that dolly that overall what difference that makes it breaks it, right? So that's the whole point of, um, this dolly. Now, if this was actually done on set, which is, like, actually take the camera actually gone forward, now, that would have made much of a difference because remember how we talked about how dolly movement is actually better. So since we didn't dolly, I'm using the dolly movement to give that effect, right? So this is basically what cutting with story in mind means. So if you see, like, a simple thing such as this is what makes or breaks, like, a difference in editing. So keep that in mind. So first, sifting was the first part, how we just arrange the clips, right? And then cutting it based on, like, where he's looking at to show that time face is important. So this was not there in the storyboards. This one, where he's like, looking left and then looking right. This is where I made that creative decision as an editor that this will convey more emotion of the director of this guy's, um, facial expressions, right? Now, sorry. You can see 7. J and L Cut: What we'll be doing is I will be introducing something called a J cut N Cut. Alright? So what is a Jacut? So Jacut is when the audio from the next scene, right, starts playing before. So what we'll do is we'll use this as a moment for Jacu his hand where he's like, you know, he's going like that. We'll use that as a moment of um, jacut. So basically, what does that mean? Jacut I want to use that bang, but instead of showing the bang, I will use that as an impact with another sound from the next scene, alright? Now, what I'm going to be doing is I will be showing you guys something amazing, which is this thing called artless dot IO, alright? So basically, what I'll be doing is, I'll be putting these links also downstairs, not downstairs. I said downstairs. I went down in the link in the link below. I'll be giving you. This is a paid subscription, of course. There's plenty of free websites and links that give you access to sound as well, which is copyright free. You can use it however you want. So you can use that as well. I'll be putting some links below. So I'm gonna be using sound effects. So anyway, so what I have done is I have taken I've gone to Artlst dot IO. I've searched Dorbang and I've just downloaded this first thing, right? Once I downloaded it, I put it in my folder. Basically in your Find or iffy exxploe where your thing is. Then what I'm going to be doing is I'm going to DivingiRsolve. I will make a new bin called SFX, right? I open SX and basically, I'll do Command I again to import, and same thing. I open my Dorbank and I pop. Now, what I'll do is I'll use this as SFX, right? So now wait let's see where he's right there, right? This is the point right here. All right? So I'll cut it here. I'll drag this, delete it. So now watch how. All right. Beautiful. Now I can do that, or I can just do, like, maybe just one. I like that. And I'll just take what I did is I held Alt and I dragged it again, right? I held Alt and drag so you can hold Alt and you can duplicate it as much as you want. Now, since there was only this one hand like that, so I just did one, and then what I'll do is and move it like that. All right. So the reason why I don't understand what I'm doing. Cool. Now, sometimes what happens is audio, right? We'll talk about this later. Actually, I'll talk about it during audio, right? So now, boom. So that is what a Jcut is. Reason why is watch this. Ready? It creates a J. That's why it's called a Jcut. So that is why this whole JcutECuT is what it is. ECAT is the opposite, right? ECAT is basically the visual transition happens before, and the audio from the previous scene ends. Understand. So it's basically the opposite. So basically, if it's like this is oh, sorry. This is the J. And if it's L, it would be like this. So basically, the video would stop, and, like, the visual it happens before. So that's you will see an example very, very soon. All right. So now what we'll do is we'll go to scene two. We'll see. So there. So I don't think we can use this clip because I'll tell you why. All right, see this one. Okay. What we'll do is actually, we'll cheat a little bit. So obviously, you can see. So let me take a look at this action. So you see this is one side, and this is the other This is what an OTS shot is. So obviously, you can see in this side, we have um, Ashish basically being there, and on this side, we have Santos here. But you see the door is from the right side of Ashish, right? So this is actually actually breaking the 180. So the shot was actually shot wrong. What we'll see if we can fix this somehow. So we go to the inspector, go to the video, and we'll see if we can flip this a little bit. Let's see how it looks. So minus, I'm gonna take this out. All right. All right. I'll just press B press B, and I'll just cut that. Take this delete this. He bangs it and he removes it, and we see that. So now, obviously, even if you flip it sometimes, you know, things don't actually work. So how do I show the door? Now, in these situations like this is you need to be super, super mindful because after this, let's say you add Santos right? So let's see if I add this guy, So over here, you see, like, the door ideally is on this side, but actually, it does not because it's because I had flipped it is why it worked. Understood. So this is how you can cheat a little bit, but let's be real. Every time fixing it in post doesn't always help. Alright, guys, so keep that in mind. Alright, so I think this worked out for us. So what I'll be doing is I'll just be moving this a bit closer. And what I'll do is there's too much door over here. So this is why I use a trim tool. Remember that? And I'll just drag it towards a little bit to the left. Opens it right there, and over here, I'll just cut. Because I don't want to waste too much time. So see how I did it just a regular delete. I'll command Z and ripple delete. That way it takes care of it. Now, let's just watch the cut. Alright? 8. Walkthrough an Actual Edit: Now what we are going to be doing is Now is going to go throughing the footage. Now, over here, basically what we will be doing is we're going to be doing an Cut over here. So I showed you what a JCut is. Now, through the OTS we will be doing an Cut, as well. So what I'll do firstly is I'll drag both these OTSs over here, right? So I'll just drag one to the top, one to the bottom, and we'll have this one over here. So shift Z to showcase. And now, let's get into the edit. Now obviously, this is camera audio, and this is what we'll do is we'll sync this camera audio with the actual audio which is recorded, right? So we'll go to audio scene two. So we have Santos over here. We'll drag it somewhere down here. And Asit's audio, we'll drag it somewhere down here. All right. So I'm just checking for command, command. I select both these audios. Right click Auto line clips with wave form, sync. All right. Same thing. Take this, take this Autoline waveform. Sync. So now, I'm just going to move this here. The other way to, so one very, very important thing. The D key is to disable it, enable it. So I'm going to disable this one, which is the camera audio. Alright, so this is good. Let me disable this one. Right. So as you can see, over here, I can barely hear them, right? So the levels that were recorded is super, super low. That is still fixable, but if it's too much high, then the audio becomes clipped. That is what being clipped means, right? So you understood what I did over here, right? So you select both the clips and then you auto line and sync with waveform. So now what I can do is I can delete the camera audio over here, delete the camera audio over here. So now I can move this up here and take this, move this up here. So I use Alt or option and move up. That's how I do it. So I'll take this and I will link them together. Sorry. Take these two and link. So now, if I ink. Link clips. So now they are linked. Same thing with this one. I take this one and this one, I will go ink clips. So now they are linked together. Alright? So now obviously, you can see the audio levels too much. So we click on the audio on the audio tab, we'll take the volume and we'll make it to like ten or maybe like 20. So we can start seeing the waveforms. Same thing with this. We'll do like 20. All right, so now let's just hear how things are flowing. Alright, so firstly, obviously, this is not working out properly because you can only hear from my left side. So that's the second thing housekeeping is super, super important, right? So what we'll do is we'll call this SP because I know the surnames. So we'll call it SP over here. We call it AK over here. So what we'll do is I will be moving this down. So first, I don't want to unlink stuff because I don't want to link it at the current moment. Pop. Alright. So I move this down to Santos and Ash just track to over here. So, keep in mind, guys, each scene or, like, each um, how do I put it, each character should have their own track because you'll understand why because of their levels and stuff, alright? And always remember that, um, dialogue should always be, like, Mono. So what is mono, I will get into that in a bit, right? So basically, what I did is I sync these clips for now. Uh, let me just change it. I will talk about what I'm doing at the next lesson. But for now, it is important for you to understand what an CAT is. A also, this is an LCAT, and also you'll understand how I'm going through an actual edit. So this is how I would edit a typical OTS. Understood. Cool. Oba makeup a. Uh, Nifte 4,000 nifty this Nifty, 43 ous, 500. 2000 profits. Jason. Mood email. Alright, so I think the last clip looks the best. So All right. After action, right? So I'm just looking at literally the waveform right now, and I will just go Command B, Command B or Control B. I'm just going to take this, delete it. All right, drag these over here. Same thing with Asit I think. A. Alright, so this is good. So command B again, take that, cut. So take this, I will drag it all the way here, all the way back here. So obviously I'm going to keep Ahi on top because I'm gonna be overlapping them. Alright? So let's see. Now, let's see. So how's the previous scene look? He opens the door, Kachak. Right there, right? So we have Santos right here. Alright, let's see. Caps phone Lara. Okay, caps phone lagoon a phone. Alright. So this is now what I'm gonna be doing is I'm going to be doing LCAT. So obviously, now basically how it was was the sound remains, the sound starts, right? And then the scene changes. Over here, the video remains, the video remains, but the sound comes later on. Understand? I mean, the video comes later on. Phone. So here we have what we'll do is we'll take Ash over here. It Thea phone. So we'll use this part. And we'll delete this, take this over here. And let's see. Alright. Cups of phone phone. Is a phone. A phone. Let me just take this B and disable this for now. Is phony, Don, rather Iris phonyona. So now look at that. RS by phony done RS by phony done Run by phony dune ra, Burna pura. Done rather pura. Alright. So you see, so I cut it over here. RS So now this actually, I ended up making a Jacut only. Sounded by phony done ra, pura. Rather I'll just cut this over here and take this k. God on. Make Nip. Alright. So what I'll do? God on a To. All right. Let's take this. Delete. I mean, not delete it. Disable it, I meant. Abula and C. Bull on A. Tick. Mekavo. Take this Disable this. Ticker Mega v. NIPT. Ticker Mega v. NIPT 23,000. Bulk. Bula AO. A Mega v. NIPT, 23,500. I Mega v. NIPT. An Ihaka. Cups phone phone. Ian phone. Maka. So over here, if you see, what we're gonna be doing is gonna be taking this, like, right here. Santosh little, sorry. Santoso audio, pup. We'll take this one over here. We'll drag these together. Actually I don't need you anymore. Take this one, take it, and we'll move it. Right here. Cow Mega, 50, 23,500. Next tri. Okay. All right. So that, my friend is EcutHO here, if you see over here. Audio comes before the scene changes nifty. Over here, audio the visual stays the same. Three And then it switches. So basically the J and the LCAT are basically the opposite. Next tekNexttek. Another Next week. T Well change it here and over here, we'll take this one enable? And what we'll do is we'll take this one right here. Take this one right here. Neighborhood disable. Quantity 2000. Same thing. Take cut over here, disable, take this enable it. Or actually now. Enable it. Take that, go to this edit point, cut over here, disable it. All right? Okay. Sorry, disable this. Ting quantity? 2000 Hazard na. Profits are con Jason. Tick, MenkaT. We'll use this for meeting ma. Okay. Alright. Tick? MenkalTo meeting you. A chat. We'll take this cut over here to say this. Menkalth meeting you, ma'am. Are. The dialogical. Okay. Really chi the B. Okay, so obviously this is he messed up the dialogue here. So what we'll do is we'll take this pop, pop, take this, take this, delete it. Take this entire thing, move it back here, right? Menkaltho meeting you. Okay. Chilo Are Tick? When you cut down, meeting. Okay? Are Next time. Alright, take this again, disable that. Cut over here, disable unable. At Next time. A next. Alright. So obviously, over here, we see Chito pillow Chito pillow, we just got it over there. Take that. Arna next time. Alright, so here we have this little you can see, like this little gap which is there. So we will fix this, right? Arna RN Nine, we'll fix that. So basically this one and this one. So obviously, we don't require Santos here or here, so I'll just disable this. I'll take this and this and we'll move it here. Alright. Watch how this makes a difference. No, I get next time. Okay, s. Bye. Alright, and let's see if there's anything good over there. All right. So you can use like obviously this doesn't work because this guy actually, if you see he actually walks away, so we have to keep this. We have to end the scene like right here, right? So I'm going to just go up and delete. Look at that, guys. We have successfully made an OTS edit, so I made you guys walk through how an actual edit looks. Let's play it back and let's see how it is. From here. Cups phone phone. Phone Mega volo 50, 23,500 next week. Tika. In quantity? 20000 AzatnaPfits are byconn Japs. Tick When cath meeting. Okay. Really halo. Ti Next time. Okay, hog Bye. All right. So that was guys. So one thing which I did not like this in my edit was 2000 ga quantity, right? So that's so 2000 quantity is not actually his audio. So we'll take that and we'll actually enable Santosa's audio. 2000 car. And we'll actually disable this one. Quantity? 2000 car. Or Hs now. Profits are cone. This moment. So we're not doing like the Next week. T? Ling Gandhi. Alright. So we see, Okay, so it goes back to attention to detail, right, guys, I'm just gonna be dragging it here. Next week. Tik? Ling Gondi? 2000. Or as now. So you see how the way I am doing it, I'm not just focusing on whoever's speaking. Keep that person in the frame. It's also about listening, right? So when you show a person listening to a conversation, that automatically creates a J or an L card, right? So that is what the whole concept of editing is. Now, what you can do is you can keep this or what you can do is you can clean it up. 9. When to Use Transitions: Right. So now we'll talk a little bit about, um, transitions. Now, a transition is usually used when I want to change a scene. So over here, this scene change would be, um, we used a JCut to do a scene change, so we didn't really need anything. The way transitions work is usually two times change of scenes, change of time or change of day. That is where you can keep transition. Now transitions, keep in mind, you don't have to go crazy with transition. Sometimes it can just be a simple fade to black or a simple, um, cross dissolve. It doesn't have to be some crazy transition. Those are good in music videos and super VFX times, but, like, a simple cross dsolve, does it? So let's go to the screen. Let me just show you where you can find, um, your transitions. So you have this place called effects. So you go to effects, and you have video transitions. You have audio transitions, video transitions. Over here, we can do like a simple crossisolve. So what you can do is you can go over here. You can add to favorites as well. Allright? You can add favorites over here. It comes in your toolbox with video transitions. It comes over here. So you can just drag and you can just drop them. So if I zoom in, you can see the transition is like right over here. I can close it, increase it, close it, increasing however I want it to. All right? So that is basically how you add a transition. And you can also go to when you select a clip right, the transition, which is there on the clip, you'll find it over here. So we have a video. We have the transition. So you can do cross dissolve. You can also change the transition to, like, whatever you want. Let's say if I do box now, it creates a box. Obviously, that doesn't look good. So we do, like, a simple cross dissolve. Since there's nothing after, it'll go to black. But obviously, if there's a let's say, I'm going to take this one, hold this all go like this, and then you can get the option of doing it in between. You see if it's in between. That's how cross is always. Obvious This not the clip I'll be using. Understood. So that is the way to go. Let's use let's use an example. Let's do scene three. Go back to the media pull. Scene three, we see he's going here. So we'll use this over here. So we'll use this as a cross dissolve. So do we have scene three audio? We don't. So I can just P. Still this. So I'm just going to scrub through the thing a little bit. So it walks into frame. All right. So up. So what we can do is we can go, like, to collections. Sorry, effects, cross dissolve, I just do like fade to black, fade to black, and then we add one more from fade. All right. So this is because I'm using it for transition of scenes and maybe a little passage through time. To see how that works? That is when you should use the transition. Let's just see the scene, blah, blah, blah. I'm just pressing L to fast forward through the singing. Alright. We see him doing his stuff, blah, blah, blah. Done. Alright, so he's done. I just at a cut point just to know. It just doesn't make sense, so I'll just debate it. Yeah, and then we add one more thing over here. Let's just play it. Alright, he's done. Alright, beautiful. So that is pretty much how you would do um a simple transition. So keep in mind, change of scene, change of time and change of day, or maybe there's an impactful emotional shift, alright? So that's when you use transition effects. Like, for example, how we use the since we didn't use an effect, but you use this as an impactful emotional shift. Boom. See? No. The scene, actually, however, is this scene happens in future. This scene happens in past. So we will be so that's why I used it as a transition because it's a change of time day and also a change of emotional shift, right? So that's when you use transitions. That's what you need to think of when you're doing, like, the storyboards, as well. Sometimes it helps. Alright? So that is done. 10. How to Time Remap: Now what I'll show you guys. Fun fact, right? So you can see, we have the regular bins, and then we have smart bins, as well, alright? So what we can do is, I want to show you guys what time remapping is. So remember how we showed, um, overall, we showed the fact that you can different of shooting in different frame rates. So basically, there's a scene in this film where thing is shot at a higher frame rate. So how can we shoot that in slow motion? This is where I will be showing you how that is done and how we can use that to our advantage, right? Now, I don't personally remember which scene the slow motion is. So that's why I use Smart Bins, all right? So what I can do I go to my go to my media page, go here to SmartBins, right click add SmartBn. Okay. So now what I'll be calling this is, I'll call it slow motion shots, right? So now, what I'll do match all of these properties. So now what I'll do is I will let's see. I'm just seeing the short frame rate is or is not 24 or the short frame is sorry, 120. No, sorry. The media properties, I think we are going to be looking at metadata clip details where the shot frame rate is 24, right? So that is 24, 23.976, we have a couple of them. So you see this is where I would say it is important to make sure you shoot at the same frame rate, B over here you see the mistake that happened in the shoot is some that's audio. The audio is shot at 24 frames per second, but the video shot at 23.97. Even if it's very little, still there sometimes a little lag happens, not much of a difference. 30 frames that will shot in 30 frames. Um, 50, nothing is short. 60, nothing is short. We should have a 12119. Alright we have a 119.88, right? And we create it. So look, now we have created a SmartBn where basically all our slo moo shots are in one place. All right? So now what we'll do is I will show you guys how to time remap. So I go here, I select this. Now here, if you select this, you can see in the metadata, it is shot at 119 120 FPS. So what we'll do now. I'll remove the audio, okay? So I'll just cut this, remove this, actually. I want to take the screen. I'm just using my anarchies to go back. Alright, too late. Okay, so at this point, I want it to be slow, right. So basically what you do is I'm going to remove this meta data. So you see the speed change, this is what it is. But we don't really talk about this inspector here because this is too boring and it's like, too, like, you can't really do much from there. So what we'll do is we will, um, do Command R. Basically what command R is it gives a speed change, and Shift C is basically it opens the curves. So what we'll do is over here, Alright, so at this point, we wanted it. Alright, so now, before I talk about it, how much slow can you go is a super important thing to worry about, as well. So sometimes what happens is, um, a clip is shot at 60 FPS. Sometimes it is shot at 120 FPS, but your timeline is set at 24 frames per second. How do you know how much you should go? The way to know this is super, super simple is simple mathematics, right? Let me show you guys. So if your clip is shot at 120 FPS, you take and 24 frames as your timeline. You go that divided by 120. So it is 0.2, which is you can go till a 20% decline, right? 20% decline is a lot. Same thing if it's 60 FPS, 24, divided by 60. You can go to 40%. So basically, if this is the clip, if I go here, it's at 100%, I can go till 20% if I want. So take a look at that. See how slow it is. Alright? So if I go below this like 5%, then see what happens. You'll get frame drops because there's not enough frames to show you guys, right? So if there's 120 FPL bute moving it even more further away, there's no more frames for you to shoot. See how the frame is dropping? Take a look. Yeah. So we'll go 20%. But for this 120 FPS is too much, so we'll just go 40%. All right, 40%. So we can do that, but this is the way to overall just slow down or clip. Right. But what we're going to be doing is we're going to be doing time remapping. So what is time remapping? Time remapping is when you want a person to be normal at normal speed, and then slow down and then again, go to normal speed. So it'll be normal speed. At the time where he's screaming, we'll slow it down and then we'll move back up to the same thing, right? So we do that through the process of that is called time remapping. All right? Let's go into it, pop up. So I'll put this back to however it was hundred FPS. So now, you can right click and you can do retime controls. This will show the speed change, basically. So when you click here, it'll slow down. You can see the speed over here, it can slow down. So that's what it does. So let's see 100%. At that. I paused it. Over here, I want to add a speed point. So you cl here, add SpedPoint. Ah. Right when he's done, I want to add another speed point. Add another speed point. Alright? So at this point, now what happens is, I can take this and drag it to let's say 40%. So now watch. And just take this, remove this cut. So that is a basic time remapping, right? Piss piss piss. Slow motion. B. Now we can adjust it and now we can take it over here. Or what we can do is we can hold this and we can adjust it without changing the speed, but actually the points in the clip, right? So the top part is to change the speed, the bottom part is to change the point of the clip. So I think that works better. But still, this is not good enough in my opinion. What we'll do is we'll do Shift C is basically what that does. It brings out the curve editor. Oh, sorry. I just going to move this right here. So you can do that, or you can go over here to right click and you can do retime curve. That will bring this. So you can see over here, we have already the retime speed is given the curve, the graph editor is given. So sometimes what will happen is you won't be able to see it. That time you just click on this arrow, retime speed because we have done the retiming of the speed. You select this keyframe, you smooth it out. Select this keyframe, you smooth it out. Take these tangents, bring it closer, take these tangents, bring it closer. So what do you see now it is much more smooth rather than just far points, hard points. See how much more smoother that is. That, my friend is basic time remapping. And that is what is beautiful. When you shoot in slow motion, you can slow down footages, like nobody's business. Alright? 11. Some useful Shortcuts: Alright. Moving on to the next lesson, we have simple symbol shortcuts, right? So mostly I talked about the shortcuts as in when we flew through, but just to summarize, let me just show this Shifts used to bring the entire particular thing into frame. Command plus is Zoom in, Command plus is Zoom out. Again, it depends where your playhead is. This particular thing is your playhead. So, um, if it's like over here, then zoom in over here. If it's like over here, then zoom in here. Alright, so it depends on where your play head is. That is what Shift Z does. Shift V selects the clip, the topmost clip. So if I'm over here, it's okay, that doesn't select that because it's not selected. Sometimes, sometimes it glitches out. Sometimes it only selects the first thing, or a track selector. Alright. That's what Shift V does. What else? Then we have B is blade. B is your blade tool, select that A is your selector tool, T is your trim tool. All right, M is your marker. If you want to add a marker, you can delete the marker. Shift Command M or Control M does a marker, and you can name it immediately as you want. Then we have Command Shift L is basically to have linked selection on. And if you want to link stuff like this one and this one, you can do Command and like that. Then those two clips will be linked together. See you like that. All right. So these are some useful shortcuts. Press home is to go to the beginning and down arrow basically goes to the next immediate cut, and up arrow goes to the previous cut. And once you do this control or command, you can select clips like this with the arrow keys. Like up or down also to select. And if you want to hold all to option go up, you'll make new tracks like that. You can it go down or up. Alright? So here's some useful short cuts. Then we have, um, Command C, Command V is already there for Command and paste. If I have Command C, then Command V, I can past circle up here. Depends on where your playhead is. Then uh Command Z is, um, undo. So that's there. So, yeah, that's pretty much it, guys. That is overall basics of editing. I showed you guys what it does. In the next, um, lessons. I'll be talking about the falte page. Basically, in the falte page, we'll be discussing a little bit about audio and how things work, right? So thank you guys for sticking to the edit. Please let me know if you have any questions now, so let me know if there's any particular thing in editing that you want to know. Alright? Thank you Masym 12. Why is Sound: Okay, guys, what's up? Alright, so the edit is now let's say the assume the edit is done. We have a simple we did. We focused on the way to edit through, um, film, through a story. We went through, certain ways of just, like, doing, like, a dynamic zoom, creating the emotion, using transitions to how JCUt L cut through OTS and also showcased over here and showcased time remapping as well. So now what we're going to be doing is always remember, guys, that sound is 50% of a film, right? So half of it is visuals, half of it is pure, pure audio, right? So sound is super, super important. So this is what we're going to be doing. We're gonna be exploring a little on the Fairlight page, alright? 13. Walkthrough of the Fairlight Page: So what we're going to be doing is, I'm gonna be showing my screen right here. Pup. Alright, cool. So we're going to be going right here in this Faye page. For in the beginning, this might seem very, very daunting for you guys. Extremely extremely daunting. So now, let me just walk through what is. Alright so this entire place, this entire place is basically called the mixer, right? This is called the Mixer. This is where your videos are. This is a control room, overall just gives you overall levels. This gives you the loudness meter. And this right here is your mixers, basically. So, if I drag this out, for example, this is all your mixer. So basically, this thing, like audio one SPAK, this is for example, I should rename it. I'll call it SFX. Let's say SFX over here because we have the door, if you remember, we have the banging of the door. Sorry. We have the door banging over here. So the shortcuts are pretty much the same command plus and, um, command plus and minus. So now, this right here, wow, I need to take off my screen, right? Obviously you guys are not able to see this. All right, cool. Sounds good. All right. So if you see over here on the right side, this is your mixer area. So these are the levels. So you can see SFX, whatever you name right here, whatever you name, like right here on these tracks will get reflected right here on these tracks as well, right? And this is your main master output, which includes every single track. So these tracks become these tracks over here, the vertical ones, right? And over here in these ones is where you add effects on top of it. Like over here, you add effects on each track, for example, this SFX track will have one effect. Santos will have one effect, one effect like over here. Ashish will have one effect over here. So it'll flow through, one particular line that is what each track is separate, which is why people keep each person to be completely, completely separate. So the effects that we have for Santos may not necessarily be the same effects we had to Ashish because the parameters will change because the voice, the depth, the overall frequencies of how a person talks is different, right? So which is why we're going to be showcasing that's why we keep them on a separate track. And it's also a good idea to also keep them, like, overall, just keep them labeled in general, you know? Okay, so, number one, let's see. What we're going to be doing is we will take these track colors I'm just going to put it chocolate for the sound effects. Santos, I will put as yellow, and Ashish, I will put as steel, right? So visually, I know, like, what exactly going on. Right. Now, this is just to select the timelines. This is to just show display grid, overall, just the grids whether you want to or not, and you can just keep it however it is. This one is to display the video track. So over here the video tracks if you want to see, you can see it. I keep it sometimes if it helps me. Like, for example, I know, like this portion was for OTS, so it's just nice to have it. Then what else? We have display video scroller. So what this does is over here at the bottom, it gives exactly at that time. So you can see, like at this particular point of time, you can, drag it around, and it will play accordingly. Same thing if you want, you can do Audio Stroller as one and AudioStroller two as well. So you can see, over here, we have Audio Stroller one.This is SP, and let's say, we can choose AK. So you can see two different waveforms over here that we have. Right? So basically plays, and you just get a nicer view of the waveform. Yeah, 15, 23,500 next week. Te Living quantity? Alright, so that is what we are doing. So this is what basically the fate page is, right? So now, let's choose one little person over here. Let's choose Santos, for example. Alright, so let's solo him. So these buttons over here basically are to solo, which means only this track will be soloed. Only I'll not every other track will be music. Mega, 15, 23,500 next week. Alright, so that is solo. And mute is only this is muted, right? So everything else will play except this SP. Sunday. Alright? So R is to record. We will not get into recording. Recording is a little bit more complicated. So that is that. Same thing you can do S and M S and M. So solo is to just solo that. Mute is to mute that. So basically what solo means is basically muting everything else, right? So you can approach it either way you want. So now what we will do is we will work on a thing called an equalizer. 14. The Equaliser: So what is an equalizer? So if you take a look at this, this is called an equalizer, right? So let's say caps. An equalizer is divided into different bands, right? It's divided into different different types of bands. So this band towards the left over here, this is called the low frequencies. So this is the low frequencies. You travel all the way to mid frequencies, mid frequencies, you travel all the way to high frequencies. Now, the low frequencies are basically the base element, like the boom, boom, boom, like that. Mid frequencies are where most of the dialogues usually reside. High frequencies are the shrill voices. K Like, those are the things that are usually there. So when you listen to a particular person, let's say, over here, we're listening to Santos. 15, 23,500 next week. So overall, I would say his voice is a little bit less. So I want to 15, 23,000. So basically what is happening is I want to just remove some bass elements in it. It'll just clear out the thing. Because what that does is also it clears out a lot of noise which is there. So basically, to do that, what I do is I have to just reduce the low frequencies. So if I enable band one, so see now everything is there present. My I'm doing it on the wrong track, actually. So you can see I did it on the wrong track because I was doing it on the SFX. I need to do it on SP. So this mistake is a good mistake because it shows you how it works, right? This only works on the SFX. So we have got to do SP. So if you see EQ, which is equalizer, I select this one. What I do is I select this, and let me just Plate. Band one. Mega volo. Nifty. 23,500. So you can see a visualization of what it's playing. That was also something I was wondering. Why is it not playing? No, that's just I wonder. Yeah. Mega volo 50. See the difference? O H right now. Profits of icon Jason. So you see how, like, um, what's gonna So if you see like over here, 2000. So the base is very, very high. What I'll do is I'll just decrease the base a little bit, take the second portion, and just decrease it like that. So this is basically the different ways of showcasing like a little bit more smoother. You can do, like, a pointed one. So pointed one is basically something like this, which doesn't make sense for this one. You can do it like this. This doesn't make sense. So we do something like this or something like that. So I think a harsh little bit more harsh is nice. So we'll go like that. Ota no pro we can reduce this part also. So overall, the low frequencies which are not necessary, we can do. 2000 cars. Or now. Profits are by. Let's take this down a little bit. Let's put this also like this there. So it smooths out. So basically, these are the different graphs that you can use to smoke. Japs and. All right, so let's increase the band six, which gives more points, basically. Pop. Increase it up. Increase it up over there. Since his 2000 car. Or xy Azkna You can decrease it, like, right there. Boom. 2000 car. OH AzknaPfits a icon. So if you turn it off, Oxy AzknaPfits a cone Jas NE. See what AzknaPfits a cone. JabsNE So it's unnecessary unnecessary basil voice goes away if you turn on the equalizer. Or H Azkna. Obviously, you'll be able to hear it much better on your own headphones. This okay. OH YazaknaPfits a icon. So just solo this? Right. Jab Sony. Tick? Menkalto meeting a man. Alright, Menkaltoy just play this. ****. Menkalto See the unnecessary bass thing. ****. Menkalto meeting ma. Maybe we can use just a little bit more bass, I think. That is unnecessary. Same thing with three. All right. Tap Sonny. ****? Men caldo meeting him. Alright, so that's what basically an equal Azo does, you can do this for each and every person. So for example, if we take Ashish, for example, so let's remove him. Let's just take Ashish over here, and we listen to him. Sandra So you can see over here, his base is actually low so we have to do reverse for him. So let's choose AK which AK right here, so we chose double click on that. Stick this. Let's hear what he has. So we can increase the base over here a little bit. Alright, so let's hear it one more time. Aris Sandia Pony, Don rabura. See the difference? It one more time. Iris Sandia Pony Dunrabura. His voice is more lighter side. Santosa's voice is more, like, deep. So we can that way, we switched it up and overall, this affects the entire track throughout. So now let's take this and let's hear this with how it sounds with an equalizer. Cups phone phone. I Santa Mega vol 50, 23,500 next week. Tika. Living quantity? 2000 car. Or Azatna. Profits are cone. Jason. Tick, MenkalTmting in. Okay. Inext time. Okay, Josh. Bye. Alright, so that is what an equalizer does. Now, let's talk about what these numbers are over here. 15. Types of Channels: Two, one, one, two. So now, basically what this means is that it is the type of channels which is there. So there are usually three types of channels. One is a mono. A monochannel means it is a single channel, and one is a stereo, which is left and right, right? So what a monochannel does, the rule of thumb is every single dialog needs to be equally spread out in all different channels, right? So if you have, let's say, headphones and if you have, let's say, speakers, mono means it is equally distributed everywhere. So the same amount of volume, same amount of levels is equally distributed throughout. So it is not changing howsoever. You can see that over here, like, if you just see there's only 1 bar, and the other ones have like 2 bars, right? So that is how dialogue should be there always mono. And then the two is basically stereo. So stereo is basically, um, when there's a left channel and a right channel, you know? Sometimes when you watch stuff, it goes to the it's more on the left ear, sometimes it's more on the right ear. So that is what stereo is. Then the third type of channel is called surround sound channel. So surround sound usually comes in two types. There's actually many types. There's 5.1, then there's 7.1, then there's 8.2. So stuff like that. So what is 5.1 is basically usually seen in home theaters or in actual movie theaters. So 5.1 is basically there's three speakers in the front, which is the center center, then front left, front right. Then there is back left back right, and the 0.1 is the base module. So the base module is basically the low frequency, right? So that is what 5.1 is 7.1 is the same. There's seven speakers in total. And then there's one subwoofer, which is the low frequency. Remember how we talked about the equalizer just a minute ago, how equalizers are basically the low frequencies, the base things that 0.1 is basically the base. So usually sound effects and sound effects and, um, ambience, those things are interior because it just gives more texture in the environment, right? So, for example, we see over here in this, um, this particular door bang, let's solo this. You see how there's a two channel over here. You see, these are not on the same level, right? Now, let's say, if you want, you know, for example, you can pan this maybe to the left. So for example, you can take this over here. You want it to only come from the left side. So what you can do is you can pan it to the left here. Or you can pan it to the right. Right. So this is something that I you double click it, you can see how you can you can see how it can be from the center. It can be from the front, it can be from the back. So we keep it center, maybe since there's not much movement on the scene, particularly, so I think center is good. We're using this as a transition. So again, that is something we will that you can do. Eventually, you can animate that as well. That's how people do, you know, like the helicopter traveling and stuff like that. That's you can animate those bands and stuff. That is what it means. We'll get to that at advanced stage. Right now, we're very, very basic right. So that is basically the types of channels. Now, 16. Basic Transitions in Clips: Let's go back to our dialogues, right? So sometimes what happens is you might want to place effects on sound. So for example, if you see, let me just unsolo this and just mute this because I want these to be visible. So So you see how these at the ends, they are just hard hard stops. So basically at these points is basically where you should be adding effects, alright? So a good thumb rule is at the end and then at the beginning of every clip of sound, you should add what is called across it's not crawl across. It's called fade, I think. Fade. Audio, sorry. I'm looking at transit. Yeah. Cross fade. I was right in the beginning. Alright, so cross fade, right? So we can do three D B. DB means decibels, by the way. That is a measurement of the volume of the sound. So let's say we do three like this, like that. So we can do it like this. Or if you want, you can take this off. You can take this little thing right here and you can just go like that and then just go it out like this. So what this does same thing. You can just poop. And then poop, like that. Understands smooth. Same thing like that. Just a little bit here, little bit there. Oh, too much. Sorry. Like that. That's good. 50. Liking quantity? 2000. So again, sudden. So we just, like, do a little bit, do a little bit, right there. Quantity. 2000 car. O H Azna. Profits a cone Jason. ****, when you call them. This is a long one, so we'll take it over there. It's a little one little one and little. Next time. Okay, hos Bye. This is extra, so we can just put it all the way there and just put it down like that. Liking tied the Anything to get next time. Alright, Charles. Bye. Beautiful. All right. So that is how you add some basic effects. Sometimes what happens is a good when they're clips together, maybe you might have different clips together, like over here. What you can do is you can just right click on the cut, add six frame cross fade. So basically six frame cross fade is basically it just fade between both the clips together. So it just like it just smooths out, so there's no, like, harsh beginning or end. So there you go. See? Just smooth. Alright, so that is what, um, effects is. Now, let's add some music to this entire thing, right? Let's add some nice tracks to this entire thing. Alright. 17. Adding Stock Music and Mixing: We have some stock footages, actually, that we bought. No that we bought, we just have. So it's just music. We have some background music. We have time laps, new life. Let's see. So what we can do is, let's open the media pool. Okay, let's open the media pool, open this thing. We'll use audio and we'll make a new bin over here called PGM, which means background music. So again, guys, it's important to always name whatever you do. So let's just put all of these together, right here. So what we can do, let's hear Look at me. I'm just selecting the right one. So we can use this as the immediate initial starting. So what I'm going to be doing is I'll make one more track, add track. So this is how you add a track, by the way. So we're adding a music track. So we have since this is music, we're going to do stereo guys, right? So we add background music. Let's say this is one, since this is the one that we're doing, which one was it? Alright. Perfect. That's what we'll do. Now, sometimes what happens is you are scrolling through it. Let's say I want. This is a very good scene for, like, this part, right? It's beautiful. So now, obviously, you don't want to take there are two ways of taking it. So you can either drag this entire thing and use the shortcuts B and cut it up and stuff like that. You can do that, or you can listen to the entire thing. Let's say, you can use the letter I for making an endpoint like that. Listen to the music a little bit. Nice. Not bad. So we stop here. We put Oh. That is in and out point basically in out point, and then you drag. So that's just like the only that portion gets selected, right? So I'm just going to put it here. I don't need you. I do right click and delete empty tracks. So if there's any empty tracks, it'll just delete because I like to be clean in my overall, um, how I operate. So this line over here, by the way, I showed it to you. This is just to drag in, like, the overall timeline. So now what we do let's hear this. Now, the other thing edit, one thing that I wanted to just put out there is, let me just add a cross dissolve here as well. Like a nice, slow cross dissolve. And what I'll do is I will this shortcut is super, super important. So from the playhead to everything in the front, you do Alt or option Y. So it selects everything in the front. Alright? So let's just use this as an example. So this and everything in the front will be, um, selecting everything in the front. And in the back, I always forget because you don't I usually never need it. But, select, I think, timeline and select clips backward, yeah. Select Command Y, yeah, right, Alt comma y. So it's pop pop pop like that. You select everything back and just that, you select everything front, right? So Alt option Y is backwards. Alt Y is forwards, right? So we take this Y, move everything a little bit forward. So now what happens is, I'll just disable this. So it gives that cinematic feel. Look at that. And what we can do is we can actually, um, take this, start from a little bit beforehand, like this. And let's see. Let's remove the media pull on second. And now let's go from here and play. We'll see how the colors are also here, by the way, so it just easier. Look at that. Nice now. Is it all the way? All right, so you see how the base drops, the base drops like those beat starts coming, and at that point, there's a cut. So let's match this cut. Let's match this cut with this base, right? So this cut right here and this base, let's put it, like align it properly, right here. See this thing? Right here. When the cut comes, immediately the base also drops, alright? Let's hear it. Let's hear it from here. Focus over here, right? Focus here. Nice. Look at that. See? That is my friend that my friend is called. That is called Creative Editing, right? Through sound. Beautiful. Alright, so I muted that, so let's just unmute this in here this part with the bang of the door. Nice. So we use that as a transition to a different song. So just put it a little bit more. I'm just curious to see how it sounds. That's all. Caps. Alright, so I think that one was better, I think. Just end it right there. Like, right here. Pop. Right there. Just at this point, I want it. At this point, I wanted to I want to use this to break this and transition even, like, the song. Here. Beautiful. Look at that. So that is done. So what I can do is now, same thing. I zoom in. I take this little thing, I add a fade, take here, and I add a small little fade. Same thing, guys. Even if it's a small sudden effect, it's just good to just add just a little. Even if it's very minute, just very little. I'm adding I'm pressing Command plus and Command minus to zoom in and Zoom out, by the way, just so you guys have an idea. All right? So let's just hear it. Alright, so now over here, we see like a door open door open, knob, right? Alright, so this is where we can add some nice, um, music, right? So before I get into music, let's add let me talk about a rule of thumb first. 18. Levels and Rules: Alright, so rule of thumb is basically for dialogues. Do not let it go beyond, um, negative ten to negative 6 decibels, right? And for sound, let it be two negative 3 decibels. Here is to show you how what I mean is I'm going to just remove myself and I'm going to go over here, and I'll show you over here. So let's say the music. Alright. So you see over here, this is right now at it is right now, this is what. Negative five is actually going way below, way, way above. So that's something which is not good. We need to adjust that. So. See it is like hitting unity. Unity basically means zero. We don't want it we don't want it to hit the red part because that means it is peaking. It is clipping, right? So we want it to be below that, right? ***** is fine. Mega. We want to keep things on the yellow to the red part. Nifty, 23,000. So like this portion So this portion, we can just take this, go to the inspector. Instead of 20, we can just do 15, right? Since this one wants louder. Caps phone lago. Alright. Maybe we'll do this like 12. Capsiphone. I under phone Mega v, 15, 23,000. So, see, that is at least good. So you have to just make sure that the thumb rule is the levels over here. Dialogue should be between negative ten to negative six, right here. And with music, you can go to negative three, which is up here. All right? So keep in mind that zero is over there. Do not cross zero. Keep it over here. That is how the rule of thumb is, and that is what should be your always goal is just something which is nice to keep in mind. 15 23,500 next week. And this over here, this bus one is your overall levels, right? Living quantity? 2000 car Ozuna. Profits of icon. Japs. ****. When you call thumb? Meeting in my home. Okay, so that is your rule of thumb. 19. How to Look for Music & Important Tips: Now, moving on to things such as stock music, all right? Finding music from afar. So we have this door handle open. So let's use this door handle open to find music. So now, there are websites which are available for purchase as subscriptions, which gives you the right to, like, post stuff on your own YouTube channel or if you have clients, you want to sell it to your clients. So those are some good things which you can use. Ideally, making your own music is always the best thing. But stock music, the thing the way it works is some websites include a lot of copyright things. So understanding copyright is a whole different subject altogether. And when you're going through stock music, understand the rights of the music first. Like, can you use this music to sell it to a client? Can you use this music on YouTube channel? Because the last thing I want for you guys is to face copyright issues or copyright, like, you know, strikes or something like that. I honestly don't want you guys to go through that. So keep in mind that, ask the artist of the song to get the license and then use it, right? There are websites which allows you to post on YouTube. It allows you to post on, use it to sell it to clients and stuff like that. So it depends on what you're using it for. Based on that is what the license is made, right? Now, there's this website called artlst dot IO, so I'm just going to show you guys my screen. So we have artlst dot IO. So I will put the link for you guys over there. So basically, over here, it gives you access to every single thing like music, sound effects, some footage and templates as well, but I usually use it for, like, sound effects, Mindian music. So we needed door open, right? So door open. And we can see like door handles on. That's too much. Definitely not car. I think this one was the best. Is glass. Fridge heavy would end. This is nice. Okay, not bad. There you go. This is the one. I wanted to open. So I take this down the WayFle. All right. So basically now with Artlist, you can, um, use Artlst for, uh, your own projects. You can use it for your customers. You can use it for posting on your YouTube channel. You can use it however you want to, alright? So let me go back to the media page. Let's go to SFX. We had this Door bang and then we'll commandeoimport. And let me just actually open my finder. Let's add SFX over here, and let's go to my downloads and we go here. So we have a couple of more sound effects as well. This one. It's a phone. Door open. Alarm. All right, so we use this one, drag and drop, and it is right here. We go back to phyllite, go to Media Pool, get this Sonic bath same from SFX, and we'll drag it. So this is on the SFX, so we keep it right here. All right. So now let's go here. Then we get rid of the media pool. All right. Let's see where it is. Let's solo this. All right. Right here at this point is where I wanted to open. Right here, Basically, I take this and I just trim it down because I don't need that. Alright, so now you see what this happens. Over here, see, this is a stereo track, but this is the left channel and the right channel, but over here, it's only on the left channel, which is why you can only hear from your left side. So this is where I will show you guys a trick because a lot of you guys go wrong, and this is something which is one of the most basic things of understanding what and how to activate and navigate through your channels. A lot of amateurs go wrong with this, or even there are some experienced people I know they overlook through this as well. It only happens to the left. So what you do is you take this clip, you right click it, and you go to this thing called clip attributes right? When you go to clip attributes, you can see these things over here. So format. So look, think about it like this. The track over here is a stereo track, but the sound that is there is a monosund, right. So basically, we are trying to make sure that it is audible on both left and right. So what we do is you change this to a stereo and you press. Okay. So now, it will be audible on both ends. Se? So now this level is a little bit low. So what we'll do is we'll do like five, which is through the volume. Alright. That's how you do a couple of things. And that my friend, brings the end to the basics of the FalltPage. That is pretty much it just to overall navigate through a couple of things and as to how to do what to do. There's many more things that is there, which I will talk about in advanced courses. By the way, you can do the same thing from here as well. You can go here, clip attributes. You can do it from here as well. So un soolwing it, and this is what we have so far. Let's take a look. Cups phone phone. Phone Mega v, 50, 23,500 next week. Tika. Living quantity? 2000 car OzardnaPfits are icon nine, Jason. Tick, Mikal th meeting. Okay. Ali in hi next time. Okay, Jose Bye. Alright, guys. So that is basically, um, what it is. Oh, by the way, just a quick shortcut Command F to go full screen, Command F to go, um, again, from full screen. And if you go over here, Zoom and zoom out, you can, like, zoom out. Press hold the middle mouse button and move it around and press Z to just fit back to screen, right? So that is the basics of, um, the sound overall. 20. Understanding the Fusion Page: Alright, guys, welcome to the intro to VFX module. I think in this one, we will cover very, very we will just scratch the surface, but we will scratch it in a way that it makes you useful in the industry, okay? We will be covering basically a couple of basic things. We will talk about, number one, what masking and rotoscope is. We'll be talking about how green screen works. So basically, green screen is basically the art of king. So we will talk about that. And thirdly, we will talk a little bit about tracking. So these are the three things which basically scratch the surface into the world of visual effects. So we'll talk about how we can do some basic stuff. And obviously, VFX is such a vast field. People take it truly as their sole responsibility, their sole field. And if there's something that interests you, let me know, comment below. I am that's one thing is my specialization is CG and VFX, right? And let's scratch the surface. We'll do something which makes your work elevated to the next level, right?Vamos, let's go. So I'm going to share my screen over here. So we have this similar timeline that we had made, if you remember. I'm going to scrub through this timeline, blah, blah, blah. Over here, we have this one. So this is the one that we graded, if you remember, over here. So what I've done is I have this scene, which is shot in green screen. So I've taken that, I've taken some in and out points like we had done, and I made this little clip over here. Alright? I made this little clip, and what I did is I did a CST, which is a color space transform. I made it from a S lock 32 Rex 709. I didn't add a lot. I just added a simple white balance fix and like, it was too warm for me. And then also I just balanced it out a little bit. Allright? So this is what I did so far. And what we're going to be doing is we will generate a lot of this, right, of how this looks. So we'll go over here, right click on the clip. We will do generate Lut and a 65 point cube. So remember how online, you get a lot of lots that is available. People will tell you, Oh, you should buy this lot, you should buy this lot. So this is what a lot is. Basically, people grade an entire clip, and then they sell that lot. But see, that's the thing about louts, right? Not every lot works for every single lot. So it is very difficult to create something which is unique for all images because all images are not the same. Hence, do not be a lot pitch. The only ut which is useful is the film print emulation, which is FPE is what we had done for the Kodak 23 83 film look. Which was made for only Sinon film log gamma, which we did properly. So unless until you don't know what that lot is used for, just buying lots to make the image look good without the proper knowledge doesn't make sense, right? So before you buy lots, make sure you're cognizant about that thing. Alright, going back to the 65 point cube, we'll just call it AK green, right? Let's save this to the market we'll save this to the market. We have courses. We have it right here. I'll just put it over here, right here. A green. Alright we'll save that lot. Now, what we will do is I will introduce you guys to this place called Fusion. Now, fusion is something which is very, very, very different, right? So, yes, you can use after effects for this, but I want you guys to know the new software. The new things of how the industry works, which is node based. So that's why I'm scratching the surface because it's a very, very vast topic. I'm just scratching the surface on that. So let me walk through the fusion page a little bit. So we have two different pages. One is the left side, one is the right side. So media in is what the input is and media out is what the output is, right? So, for example, right now in this one, we have, if I just zoom in over here, uh, this is one clip over here. All right? So right click, I can do open infusion page. So what this does is it just creates one input and one output. So that is that. These are a couple of things which are there with some options. We first, we have a background. We have fast noise, text, paint, color corrector, color curves. If you just, like, hover over it, you'll be able to see what these are. We'll use some of these right now so you understand what I'm talking about. Right? Then we have spline, which is when you add keyframes and when you animate, we will use this. Keyframes has the keyframes in it. Metadata always, it shows, um, the metadata of what each clip is. Inspector, we've already been we've already done that, which is like the tools and the things. Let's turn that off. Turn off metadata. Turn off this and keyframes. We will just keep the inspector and metadata on, and we will increase the size over here, right? 21. Concept of Masking and Rotoscopy: This is what we will be doing. We will be removing the uh, removing this green, right? So before this green, I want to talk about what masking is, right? So now, before I get into any of this, what I will do is I will create a background node. So this is a background. So what I'll be doing is I will put this. So if you hit one, it will come to the left. If you hit two, it'll come to the right, alright? Or you can drag over here to the left, drag over here to the right. Now, this background node, I'm going to make this just any just a pink color, for example, because why not? So let's say this media out what we have, this is two and this background is one. See how the little dot over there is? Either do that or you can just drag over here, drag over there. So you can just take this drag over there, and I'll drag over here. So now let's talk about what is masking. What is the concept of masking? Remember how I talked about how masking is basically a cookie cutter? That is what mask is. So let's say this is the background that we have, right? So imagine it on a piece of paper, you have a pink paper. Now, what a mask is, so the shortcut to get any node is shift space, and then you type the node. So now we have polynd. So I just added this node called a polygon. So the way node works, it works from top to bottom. You see this arrow, it works top to bottom. So media in which we're feeding the median, and this is out. So same thing how in the color corrector node, we had over here, we have in point and this is the outpoint. So basically, this two dot is basically what this two is. Understood. So everything will be in between here, right? The only thing in color corrector, you go from sorry, you go from left to right. Over here, you go from bottom to bottom to down. Now, originally, infusion, you actually will flow horizontally, which is like this. But I come from Nuke, which is foundries thing. So I just find it easier to go to go vertically. And that's just the industry standard way, in my opinion. I just use that. Now, background polygon node. So now, the way polygon node works is we have different different things, right? So let's say I add just a random shape. Look at that. It creates white. So what does this do? It creates an Alpha channel, right? So white means it is there. Black means it is not there. So if I go over here, I choose Alpha, this is what the alpha is, and this is the color, alright? So what I'll do is I'll take this output and I'll attach it to the background. And I'll take this and move it over there. Do you see what happened? The shape that I made is now over here. So now if I move, let's say, over here. All right. So that is what a cookie cutter is. So think about it like this. Now, let's say I add another polygon node, and I just do like that. So see there, that's two images. Now, let's say I make it like big. I can change the shape, or let's say if I add like here, add more points, right here. I can add more points over here. I can take this. I can take this little thing over here and edit it like that. So I can keep adding more shape. Polygon one, polygon two. Now, what I can do is take this polygon. You see in the inspector on the right, we have different different things. So what it does, what are masters? I'm getting you to concept of mask, right? So I can take the level, I can decrease it. That is like the transparency. So same thing over here, you can do Alpha channel. So the Alpha is always white and black. So what is white and what is white is there, what is black isn't. All right? So you can see it like this checkerboard means there's nothing there. Alright, soft edge remember how we talked about is basically just to soften the edge. And I'll tell you how that will be useful at that point of time. Invert is basically I can invert it. Look at that. It just makes the invert. I take this one. Obviously, why did not that work? Because it's pink in color. So if I invert it, then it'll it'll be like the opposite. You get me? So take this uninvert this. Look at that. This one, I uninverted. There you go. Now both of them are not inverted. Now, let's just work with one. So let's use this one. I invert it. So now only this portion is not there, that portion is there. So that is basically the concept of a mask, right? So, same thing. Let's say we take this one, for example. Let's take this one over here. So basically, if you think about it like this, if I add, let's say, shift space, a polygon node, so I add it over here. So let's say I take so now nothing has obviously popped up. So let me just decrease it. Let me just make something like that. Alright? Look, the media two out, what has happened to it? I just made a simple mask out of it. Now, obviously, if I take the media in to one, this is the same thing that is seeing. This is the output, right? This is the polygon, and this is the output. Is just uh I'm just smoking it. Like this. Alright. Perfect. As, this is how a simple mask works. So now what we'll do is let's remove this, right? So that is what masks work. And the way to actually do this is, um, when you add just randomly stuff around, basically, for example, this I don't really need to worry about this I can just do a regular, like, just a rough mask. That is what a garbage mat is, right? That is what is the definition of a garbage mat. So that is what masks are. Now let's move on to actually removing this green screen, right? 22. Chroma and Luma Keying: Alright. So in Nuke, we use this thing called a Delta here. Right? So I have a Delta que, I just put that over here. So Delta here, basically what that does before Oh, sorry, before you do a Delta here, first, we need to have you noticed that this is still the log image. So over here, we already have completely Gamma three send into ASL three. So we already have that. So this is already ESL three, so we don't really need to do anything. We can just add this lot over here. I dit it by choosing the edit option and choose the t file that is there, and now my lot file is properly there. So now I have properly converted it. So anyway, so now we add over here Shift space, Delta here, beautiful. Alright, so over here, what we'll do is simple. Scale to fit. Scale to fit. Command F is the. Now, Delta here, simple. You take this. Take this boom. Look at that. Immediately, it is removed. Now, if you take a look over here at the Alpha, you can see, like, the alpha is not really that beautiful, to be honest, right? So now, how do we fix that? So white is good. Black is not there. So if you see over here, we have um just overall, some noise, and the worst thing is this man has curly hair, This man has curly hair, which makes king literally ten times more difficult. But since this is a basic course, I will teach you the tips and tricks of how to do this. Alright. So we have an entire footage of him just going around, you can see, like, all of this curly hair just there. But anyway, so we go to Matt. Now, what we do is over here, I add this thing called again gamma. So what this does is, firstly, I want to decrease the gamma to see where these things are over there exactly where um the um the whites are there. So what I'll do is I'll take the threshold, increase it just like that. So I can get rid of these things. I'll just reset the gamma points. I can see over here. Alright. That's good. Then same thing. We will now increase the gamma to see where these points are outside, and we'll just remove that. We'll just reset it to see how it looks. So we'll just do two we'll just do, like, a simple play, and we can see like over here, this is kind of like how he looks. You can see the Alpha at least is good. We'll take it out. Now we'll take the restore. Take this spin up or just weave it, take the up again. I'm just gonna zoom in through the hair and see, like the hairs like right here. So I want to clean the foreground. Can the background. So just do soft colour. Fine fringe. We do medium. Actually none is good. I'm just trying to see like if there's any fringes or anything which are there. Taking care of the mat. Erode is fine. But what are these artifacts which are coming on him? But we will be fixing that in a bit. And you can see these black black backgrounds. What we can do is we can erode it a little bit. Just a wee bit to see how he is the foreground, the background. What we'll do is, um, now what we'll do is we'll add a simple mask. Basically just something like that. Basically, what this will do is anything Got it. I put it here. There you go. Basically we're removing the So now when I see what I'm doing, how the marks over here are getting edited. So what this is the fact that over here, I'm moving here, I'm taking this over here. Moving here, bringing this here. So basically what I'm doing is I am animating the key frame of the mask that my friend is called otoscopy. You just learned it. So when you move around masks, there are particular points that my friend is called otoscopy. Like, over here, this thing, I'm just going to take these points, move it over here. So you see how it moves eventually with time, so it doesn't destroy anything that my friend is called otoscope, alright? Digging the fringe. So spill is basically if there's any green which is spilling on him, which I can do, like, rare just to, like, make sure it is overall, it is good. So sometimes what happens is there are just, like, these square squares which come because they are a little bit weird in the sense that if, let's say I go over here, to see the Alpha, like on the Delta here. And if I like, let's say, I do like a gain Gamma, I reduce the gain gamma or reduce the gain gamma. So see, everything's pretty much proper, right? Same thing over there, everything is pretty much proper. What we can do is we can see where the key might be going wrong, okay? Let's say we have the ut, we remove the lut and we just check the lt whether that is there's something from there. Take the gain, we can just check to see what's happening. Alright, that is fine. Preblur. We don't need pblur that is okay. Green. So what we do is we try and see if there's something that we can fix. But honestly, the mat looks beautiful and that itself is trying to see if I can restore the fringe. And if I can replace it with hard colour, there you go. I replace one with hard colour and that usually fixes stuff. But I'm just going to see a couple of other areas where he's actually going. So I'm just gonna T. I want to lose too much information as well. So the best thing what we can do is, um let's remove this alpha. Let's put on the lot here as well. So we do edit, E browse. Actually, no, we'll keep the lot on that side only. There's too many lots. I want this part to be completely raw, actually. So this is what we do. We add a background node, and what we'll do is we'll make this pure pink. Alright, pure pink. What we'll do is we'll add a merge node. So merge is basically It merges two clips together. So the yellow is background. The green is foreground. So we take the Delta here, we put this into foreground, and we see like two over here, and we take the background to yellow. Now, reason why I did this is if your matt, if your subject, if your foreground looks good on a random color like this on a photo or a video, it'll be much more forgiving, right? So this is what we just check to see whether the Matt looks good, especially the hair because his hair is so annoying. So we can check over here with the Delta ear seeing we're going to add some fine tuning to see if there's anything we can do. Alright. This is fine. The mat overall, we just clean the foreground a little bit in the background just a little bit. We just clean stuff out. And that's pretty much it, guys. That's pretty much it. Do that. So he looks good on the overall color. Okay, beautiful. So basically, he looks good on, uh, the pink color. So let's just remove this, let's just remove this. And let's put it back here. Alright, so now what we have to do is, in my opinion. So obviously, this one is remove this one. You don't need the polygon anymore. What we'll do is we can now, we'll add a simple merge. And what we will do, guys, is we have a nice footage over here, what I will, I have to import it, actually. I have to import it from Market. We have video. We have Tis. Let's take this one. Paris, you put this so F two to rename it. Two, we'll call it Paris and we'll put this merge right here. Hoop, I hurled shift to do that. This is the background, the yellow is the background, green is the foreground. I'm seeing why this is not being seen. I like that. So you can do it either way if you want. I just seeing the color overall how it is flowing. So sometimes this is what I'm talking about. Sometimes fusion just lyches out. It's because, like, maybe the overall the area is not really proper. This would be background. Here. So sometimes we don't go right. So if this, we'll just do sometimes just a simple key out. Then what we do is we go back to the edit page. Since this already has a nice key, we just take this, go to the inspector, maybe just position it, um, do like a 1.1 with a Zoom, and we just choose part of the Images that we want. And there you go. That, my friend is what that my friend is what keying basically is. So that my friend is what king is, and I hope this makes sense. Now, moving on to the next type of key, it's called a luma key. All right, so we look at another simple little image if we can find. Uh let me see. Alright, so we use this one. Alright, so this will be super, super difficult to do because we'll just so basically what is Lumaki? I gonna put this together. So Lumaki is basically, I do theodia. Lumaki is basically, um difference between a green Chromaki and Lumaki Chroma key or a green screen key removes a particular color. It could be a green screen or a blue screen. Then we have a Luma key, which is you remove the luminance of that particular image. So it could be usually it's used for sky because that is the most luminant. The most the sky is the brightest in the entire image. So you use that for stuff like sky replacement and stuff. So here, I'll just give you a quick example. This is not the best example, but you can do it in two ways, either on the color page or either on the fusion page. All right. So basically what I did is I did a simple luma key before I do that Command P to disable it. Um, I take my media one, like, right here. I take polygon, shift space polygon. Right here. What I'm going to be doing is I'm going to, like, make a mask like that. And All right. What basically I do is you have to do this properly. You have to take mass. I add this plus thing. Basically, what that does is it adds points as it when like you change it. So see me adjusting. So the more time you spend, the more detail it'll be. This is basically what rotoscope is. Like this, like this, like this. This like this, papa pa like that. And by that. So you can see this is what that thing does, and you can see the Alpha for it. And then now what I'll do is I'll just remove this completely. Take this out. And I just invert it. You just take this over here. Take that. Take this one and this one chose. Move side. Then blur it out. Blur this out, take this one, blow this out as well. So you see, this is basically what Luma k is. So again, I didn't really do a good job. So God is in the details, you got to go, like in per like little mountain curve and you got to do that. You got to do it for every single frame, right? Because now, I move let's say I'm over here, I move one frame up. See the sky is moving. You got to take your polygon. You got to move it down. Next frame, move it up. Next frame, move it up. Next frame, move it up. Next frame, move it down. That, my friend is what rotoscopi is, right? So that's where you see, these things moving around. That is what rotoscope is. Now, this is something you can do in the fusion page. Let me just reset the node. The other way you can do it is in the color page. So over here, what you do is you just go over here, click. Clicking this super, super easy. What you do is you turn on the highlights and you like, poop like that. Done. That's how easy it is in the color page. So I take D like that. Use the softness. Use the low softness a bit. High softness also. I go to keep playing with these until you somewhat get a mask, somewhat. And you can change I think. So that is how you key the luminance out, okay? So that my friend is king. 23. Basics of Tracking: Moving on to the next one, which is tracking. So tracking is a whole other ballgame. So what we'll do is we'll take a nice little clip that we have. Let's see, we can use this scene, for example. Alright. Why is it like this? Alright. So what we'll do is basically we will try to track a text based on his head movement, right? So basically, this is what we do. So we go to fusion. The way tracking works is like this. Now, shift space. Simple. There is planar tracker, right? Or let's just use a regular tracker. Tracker. Alright? Now, the way tracking works is we choose a point that we want to track, which is like this. Right? Or maybe, like, choose something which has, like, good contrast or something. Tracker itself. Ery track. Like that. And what we will do is, No, sorry. Before we do any of that, I just want to make sure I need there particular things. Let me just reset. I just remember something I'll tell you what I remember. I reset the fusion composition again. So, uh, over here, you see he's actually walking. So I want the text to start coming from here and play like till there. Alright, so what I'll do is I'll do a cut here and I'll do like a cut here. So I only want this clip to be infusion. So I do plop, right click Open infusion page where is open. So now we just know, like, from the start, it's only this mix. All right? So what we will do is, this particular clip which is there, I will take the color of it. There's a CST. What I'll do is S look, so there's a color space transform, right? B. So what we'll do is we'll take this we'll add a color space tran because by default, it will not have anything. So we'll just do input color space, we'll do Sorry. As we have a three Sena, this will be log two log three. 79, point forward. Alright, there you go. We have a color space transform over here now we add a simple tracker. Now we have this thing called an Iteltrack. What do we choose is this one? Alright. Inteltrak four point is one. What we'll do is now we will just track forward. Track forward. Wow. There you go. It's tracking, by the way. That uses some CPU power, at least, CP GPU power. Almost done. You can see the red line moving by itself. Alright, render completed. Look at that. So now we have the entire track following that part of his head, right? So now we can add a symbol. Either you do that or you can just add like a text, right? So over here, let's say we say hello, or we can say something stock market, buying process. All right. Let me take this. It's gonna put this on the one. I'll put this over here on the second part. There you go. I'm pressed one to do that. Now what I'll do is I'll just do, like, simple track. I obviously can't see anything because over here, we don't have operations set. Operation at. So now, watch this. The text is moving with his head. Obviously, this doesn't make sense, so what we'll do is we'll move it over here, move it over here to the side. What we'll do is we'll change the color to, let's say, black. Then we'll play. So that is, my friend, how you do a simple, simple tracking, right? And now you can see over here I used it for text. You can use it for when there's a camera movement, you can use that for, um, making sure text is stable at a particular place. You can use it for overall just anything. That's how you use tracking. If you want to choose something that you want to track, you click on that, you track it, and then you place text on it, and then that text will remain. I'll follow that position of what you want to track, right? So that kind of is the intro to VFX guys. Um, there is much more stuff which is there in VFX, especially in the film industry. This is just literally scratching the surface because these are the basic things you will need, simple green screen removal, simple understanding of what masks are, and the fact that you will already into the fusion page, which is note based composting, which means it is excellent. And that you know what is foreground, background, what is an Alpha channel, and also we talked about tracking, which is basic text tracking. That is an overall understanding of the VFX side. Again, scratching the surface, guys, right? I know it's still we have over we've spent 50 minutes of just what we've been doing. But still, it is a lot. A lot of people don't know these basic things as to what things does. People are just understanding the tools. Do this, do that, do this, do that. But the concept of how it works is very, very different what is what you learned over here. Now you're at least confident in tracking in text and understanding how to re a green screen as simple as that, right? And play around with the software a little bit, and if you have any questions, if there's any particular side that you want me to take care, let me know. Alright? See you the next lesson of rendering and deliverables. That's going to be super short, so don't worry. It's very, very easy. 24. Final Checks: Alright, guys, welcome to the last module, to the last side of the Edit suite. I think we've come a long way. Now we have made our master edit. We have done some color correction. We have done some VFX. Now it is time to render and deliver. All right? Let's go. So this is the entire edit. Number one thing that you need to always know is you need to do your final checks, right? You need to watch this thing 1,000 times or a 1,000 times, you need to just watch your entire timeline. You need to make sure everything. There's no channels which are like, muted, unmuted, nothing as sort. You need to make sure you hear everything, scrap through the timeline, just see if there's any mistakes. If there are some gaps, you join those gaps. If there's anything stuff like that, you can do. One small quick tip that I found is you go to over here in Edit, there's this thing called Delete gaps. So if you delete gaps, all those gaps will get deleted, right? So delete gaps. See, every single gap gets deleted. Even your intentional gaps get deleted. So keep that in mind. Only do that when it is actually important. Like over here, this gap over here is important, so that's why we will not delete gaps. Anyway, your edit is fine. Everything works beautiful. We ended up in Paris. Amazing. Good stuff. Now, one thing that you have to have to check or you click on your timeline. Number one, you check timeline settings, right? So first, you just check the format. Okay, it is 90 2010 80, blah blah blah, 24 frames per second. Monitor doesn't matter anymore. Output. Okay, everything is perfectly fine. All right? And then one more thing you do, you go to your felt page. You just make sure overall you play through it. You just check out your control room and your loudness meter, make sure nothing is just overly peaking. So everything that way is fine. All right? Then you go to your color page once, make sure to check every single thing is there's no node which is turned off or torn down. So just make sure each thing is just checked properly. All of that is good to go. Then your effects, check the things which you have effects on. Now one thing from an organization standpoint, I like to keep the clips that I have Vf. I like to keep them a different color. So I usually go here right click. I go to clip Color. I make it, let's say, orange or something like that. Like, these two are important. Clip color, I make it orange. So I know overall, these two have VFX in it. That is something which is nice for me, right? That is something which can be easily done. Alright? Beautiful. Alright. Nice. That's good. Now, what you want to do is you want to set an point, you press I Inpoint, and you go all the way towards the end, and you press O. So this is what will be rendered, okay? Then you go to your deliver page. 25. Best Render Settings for different Scenarios: Now, in the delever page, you'll have your custom settings, your overall timeline that you'll be exporting shifts that to see everything. Over here, what I'll do is I'll take the video height down. I'll take the audio height down so I can see an overall just a view of what I'm doing. Now, over here, firstly, you write now from a basic standpoint, if you want something like these things, these are basically codex, and these are very compatible codec which will be available can be done on YouTube, vimeo or whatever you want. So Xtra 65 is fairly new and it's a little bit more compressed. So let's do that. Xtra 65, we'll call this market, right? And location is your brows. Let's say I choose the desktop and I do save. So make sure your format is always quick time. Your codec is h265 or h264. Your resolution is very, very important. Make sure that is the same. Frame rate is the same. Quality. You keep it automatic. DVD result does some great stuff doing that. Your audio make sure the AC is not that compatible everywhere. So click that, choose linear PCM, and bit depth 32 is not required because 32 is float that goes into Advanced audio, which we don't want to get into right now. We just do a simple 16 bit or a 24 bit. That should be good enough, right? And if you haven't changed stuff around, bus one steeo is your main output. Bus is basically a combination of all the tracks, which is the main bus, which is the output. So once that is done, and basically what I do is add to render queue. All right? Once you add to render Q, it'll come over here on the right side, you select it and you render it. Once you render it, this is how it's going to look. It's going to render the entire thing with the sound. I'll show you the percentage right here and, like, the overall the timeline of what's happening and how much time is remaining. It's a fairly small little edit. So see how it's taking time out there. It's because we did some green screen removal, so that'll be slow. So the more processing you do, the more slow it will be always. Keep that in mind. So this is honestly the best Rendo settings. For you for YouTube. So keep that in mind. This is good enough. If you want to go higher, you can always do ProRes. Pros is only available on Mac. So if you do PRs that maintains the quality, there's less compression, so that is good. Otherwise, if you want, um, you can restrict this and you can increase it to 100,000, something like that. But automatic does a good job to start off, this is the best render settings, keeping it simple. Again, there are videos, a lot of videos that do many, many changes. Honestly, as a professional filmmaker, all of this doesn't make that much of a difference. Unless you're delivering for cinema, then it does. Unless there are requirements by OTTs or something like that, then it is important. Otherwise, to get the highest bit depth, resolution is more than enough, automatic is more than enough. Trust me, it will not make much of a difference. You can restrict, but whether it will be visible or not visible is honestly up to the viewer. So I'm just being realistic over here, especially if you're doing Instagram or, like, YouTube. That's basically what it is, right? That's pretty much it. That ends the rendering. 26. Project Archivals: Let's say you want to you're just like OCD about keeping a backup and stuff like that. So how do you access this at a later point, you want to move to another PC or something? So you go to the home Home is where your projects will be like, right here. You right click over here, Export Project Archive, right? So when you export Project Archive, you choose Desktop or wherever you want to save it. You do Save. You add media files, you add your Render case, you add your proxy media, if you want. So it comes as a file as dot DRA, which is DaVinci Resolve Archive, all right? And you do o, and everything gets copied, everything gets built and your archival folder is there available, right here on your desktop, which is right here. Market dot TRA. You cache your media files. Literally, the same path is everything is maintained, pathwise. Proximedia right here. See, the same path is made properly. So all of that is like right here. Alright? 960 by 540 do is Bxymdia. So you can see every single thing is here. Media files and proximedia and your cache and your project. So now let's say you want to if you want to import it, you just right click on your project. Import project. When you import or import project. Once you import project, basically go to your desktop, you choose this DRP, which is a DiwgiRsolt project, right? So that is basically how you export, and you can put that whole folder into your SSD into your hard drive, into your thumb drive and go along with it. So wherever you have DwigRsolt, you have access to the project, right? So that pretty much ends, um, the lesson of the Edit Suite. Alright? Thank you guys so much for watching. We'll see you in motion graphics, where we will play with some lower thirds, play with some, um enhancers and some Golar animations. In fusion. Alright? Take care. Have a good one. 27. Thank You!: Alright, so that ends the amazing long class of Event Resolve. Hope you guys had an amazing experience learning the software. It is free. Use it to your will, and I hope to see fun projects from everything that you've learned and everything that you've created. And whether it's being a freelancer, whether it's being an editor at a firm, I wish you all the EME on Instagram, email me, find me, send me your portfolio. I'd love to see all of your work and where you guys are going. It means a lot for me to have you guys learn this and go through with this, and I hope you got a lot from it. Thank you, and I'll see you around.