Video Editing in DaVinci Resolve 18 - A Complete Beginner's Guide

1. Intro Video Editing DaVinci Resolve 18 : Hello everyone and welcome to a W2 resolved masterclass. In this class, I'm going to take you from not knowing anything about video editing to be able to edit your first professional project in Da Vinci Resolve. I'll show you how to edit, color grade, do some animation and sound design in this free software, this class is made for keeping absolute beginners in mind. And I've gone through each step in detail and I provided you with tons of examples. Then by end of this class, you are quantitative enough to know everything about the software we will be editing together. That's why I provided with you all the raw video files that I've used in this class. And why you should listen to me. My name is Eddie saying I'm a professional videographer and a YouTuber for all my video projects, whether it's a client work, my online film-making courses, or my YouTube videos. I'm using this free software. I've been using Dmitry result for the last six years of my professional career. And in this class I'm going to share with you everything that I've learned for the last six years. I'm really excited to share this class with you. So let's get started. 2. Class Project: This quick video is to tell you about the class project. After you've done watching this class, I want you to make a 40 s to a minute long video. In that video, I want to see some creative video transitions, some beautiful color grading, and also some animations. And don't worry, all these things would be taught in the class. You can make that short video from the raw file data provided in the description below. Or feel free to use your own video clips. And once you're done making the video, posted down in the project section of this class. 3. Project Settings: Alright guys, so first thing first, let's open the Vinci resolve. So I'm using DaVinci Resolve, the studio version, which is not the free version, but everything. What I'm going to teach you, you should be able to do that in free version. So really don't worry about that. So as soon as you click, the demonstrators are likened, this thing opens up. I have previous projects here, but I'm going to start a new project. So I would just click here as a new project. Let's say Vinci. There's all 18 class. Let's do create. Then this whole page opens up and I'm going to make it full screen yet. Because in this section I'm gonna be teaching you just few things which is really, really important, such as Project Settings, system setting for Da Vinci resolve some color management technique. I know it sounds horrible thing but just bear with me. So as soon as this page opens up, I am going to go here in the corner saying Project Settings. And it's going to take me to master settings here. So the first thing, what we're going to check his timeline resolution, a lot of beginners, they do this mistake even if you have filmed in four key, your timeline should be in 1920 by 1,080 P in high definition, because the timeline resolution shouldn't be same as the original video. So if you are putting in for k, then it's going to be more taxing on your computer. But if you put in high definition, it should be playing fine. Or if your computer is not that strong graphics wise, you can also play the timeline in seven ATP, but we can just go to high-definition here and then frame rates per second. So you really have to check what frame rate your videos is shorten. But all the videos for this class I have shorted in 25 frames per seconds. So I am going to put here 25 frames per second. And I wouldn't change anything because I'm using Mac here. The proxy media format is ProRes HQ, but if you're using videos, it would be something different. Then Working folders, this is important. So wherever you have been saving all the other media, you can choose the location according to that proxy generation location. So if you are using proxy media, you can choose the location of that cache files. You can choose the location of that because as you're using resolved more and more, the cache file would fill up so you have to keep deleting it. So I have put it here. And galleries stills, I will teach you how to take still. So this would be here. So this is just to let you know that if you find this folder somewhere in your system, you know where they are and what they're for. So now we are done here. I just change the frame rate. And it's really important to change the frame rate in the beginning because once you have imported all the files, then you cannot change the frame rate. So if my frame rate was 24 in the beginning, even if I have imported 25 frames per second, the frame rate would be 24 and I wouldn't be able to change it. So it's really important to change these things in the beginning. Next thing, what are we going to do here? I don't change anything. Color management. If you're using Windows, this color management is fine. But if you're using Mac, bear with me. If you're using Mac, you should be using this color management. And this gives the most accurate color output from resolve to your computer. Because sometimes what happens is that you have edited a project and resolve. You have exported that. The colors looks the same as how it looked in result. But as soon as you upload that on YouTube or any other social media platform or anywhere on the Internet, the color fades off. So that's why this color management setting is really important if you're using Mac, especially the output color of space as the rec seven or nine here. Because I used to just leave it at rec seven or nine scene and it would just look super faded. So really remember to choose these color settings while you're editing your project. And so I wouldn't change anything here. This is all just general settings. I really don't change anything for light, nothing. So what I also do is that if as soon as I have chosen these settings, what I do, I go to preset and then I save that preset. So let's see, Addie them into Rachel class. So I have saved that preset, that project setting in a preset. So every time I'm going to open it up. So every time I'm going to open a new project, I would just go to Project Settings here. This page will open up initially, but then I would go to preset. I would go here, I would go load. So by doing that, what's going to happen is it's going to save me time and then I'll be sure that I have the right project settings. So if I go to color management, all the, all the settings are there. If I go to master settings, this is 25 FPS high-definition, not in for K. And all these things are the same. That's why the project settings is literally one of the first step which you should be changing when you're using result. And if you're using Mac, there's also one more thing you should be changing. You go to DaVinci Resolve here in the corner, you go to Preferences, and then here you should just do auto. And I would go here, Media Storage. So this is like the export file settings, so I have put it here and all the other medias from resolve, all the cache folders and everything. They just go to RD and movies. But you can choose your own path. You can just put add here and choose your own path here. And the most important setting, what I'm going to show you is this one. This, I will just leave here we go to General. If you're using Mac, you should do use Mac display color profile for our viewers. And also take this one automatic, automatically tag or x 7.9 seen direct seven or nine a and yeah, if you want to let the system check for updates, you can do that. But these two are really important to take if you're using Mac. Because again, everything would look really nice and crisp and Da Vinci Resolve really nice and saturated. And if you don't take this on, as soon as you export the file, the files, the output files will be a little bit desaturated. It has happened with me so many times. I spent so many hours researching. Why is my project looking so desaturated while it was looking really pretty and resolved. So yeah, that is because of this, but if you're using Windows, don't worry about it. So yeah, that was the project settings. 4. Overview DaVinci Resolve 18: So after the product settings, I'm going to give you an overview of Da Vinci Resolve 18 because there's so many things in the software and everything just looks so intimidating. But if we go step-by-step really slowly, then everything would be super clear to you. So let's jump into the computer. So as soon as we're done saving the project settings, this is how da Vinci result looks like. So first thing, what are we gonna do? You see these things at the bottom. I am just going to make it full screen. So you see these things at the bottom. So there is media, edit, cut, edit, fusion, color, firelight, and deliver. So what I'm gonna do, I'm just gonna give you a brief introduction about all the tabs here so that it's more clear to you that what is coming in the future sections. The first section where we're going to go is media. This section, the US generally to import all the media from the system. And you have all the media files here, and then you go forward. So by forward, we go to Edit Page. Edit Page is mainly used to trim all the clips and then put them together. But sorry, Cut page, but I do that in the edit page, so I do not use the Cut page. I jumped straight to the edit page because all the cutting and trimming the clips and putting them together, you can do that in edit page. So why should we go to Cut page? And then after editing, we go to the Fusion tab. In Fusion tab, we do a little bit of animation, a little bit of texts tracking is like an After Effects for Adobe. So here you do more advanced work. Something like Sky Replacement or something like text behind the object and things like that. So yeah, we would also discuss fusion as well. So yeah, Wait for it. And the next one is my favorite section, color grading, which is going to resolve this famous for, so we're going to go in super in-depth and color grading. And after you are done with color grading you here you would have everything clear about the software. And then we go to far light. So far light is a page where you sort of edit audio, make your audio little bit more crisp in far like page. And then we go to Export. Export paid out. So it looks a little bit intimidating because there's so many different formats, there's so many different settings. What you should be knowing to have the best output from the winter resolve. And we're gonna go through each tab in detail. So don't worry. So these are all different tabs and we make use of all different tabs one-by-one to have a complete video project in the end. So yeah, that was the introduction to all the tabs and I hope it's clear. If it's not clear, don't worry. In future section, we're gonna go in East tab in detail and we will be editing our entire project. Say it would be super clear to you by the end. So in the next section, I'm gonna be teaching you how to import the media from your computer in the most efficient way. 5. Importing Clips: We are here in Media tab and here I'll show you how to import clips. So I'm gonna be importing a lot of raw clips and I'll show you how to import all the raw clips at once. So I go here. This is where I've saved all the raw files for this class. So I go to Users, I go to RD, I go to Documents, I go to current. You don't have to memorize this. And then we go to da Vinci resolve and then raw clips. So if you have to go through all these steps, so what you can do in Dmitry resolved next time is that I keep all my projects in current projects. So if I'm editing of log, if I'm editing for a client. So I have all these raw footage of separate projects in my current project folder. So what I do is I just right-click and I just do add folders to Favorites. So as soon as I do it, I have my folder here so I don't have to go through RD users logo. I am just going to minimize it so I don't have to go through all that step to find my files. It's always gonna be there in their favorite tab. In my favourite type, I have put current projects, deck stop downloads because a lot of times I download it from Google Chrome, so I don't have to go through user downloads, blah, blah. I have just set up Download folder here in my favorites. So let's go to current project, and then I've also put documents. So let's go to current projects here. And I have all the files here, raw clips. So this is a folder. It has some sub-folders and some sub sub folders. So what are we going to do? We have to drag and drop this in DaVinci Resolve. So these are the folders, they are still in the system. They are not in the winter resolved yet. So if I drag and drop here, what happens is that all the files which was inside this folder, they have opened up and all the sub folders are gone. So I organize everything according to how it makes sense for me, but it's not there. The folder send out here, so I'm just going to go Alt and Z or Control and Z. And what I would do now is that I will drag this iraq left flow folder from the computer to here under master. And now you see what happens master raw clips here. And all the folders are in same manner as how I have saved in the computer edit page. This, this, this. So I hope that makes sense. So you don't have to drag and drop the main for the main raw folder of your project here, just drag and drop under masters. So this is the most efficient way where you can import the folders from the computer. And don't forget to save here and favorites. So that's going to say and he's just so much time. So I can you can also go through all the clips here. But what I do is I go to edit page here and then we start with editing. So let's move on to the next section. 6. Cut, Trim & Add Music in the timeline: So now we are in the Edit tab where the magic happens to Edit tab, in my opinion, is the most important part of Dove interiors are very useful out of mold the whole project. And there is a lot of things that you should be learning in Edit tab. But what I've decided is I would divide Edit tab in three parts. So we will be starting with a really basic things so that it's really clear to you, the basics are really clear to you. Then being an ADU, some here and there advanced things. And if you have any questions while you are learning this project, comment down below, and I would be really happy to help you with. So let's go to the Edit tab. So the first thing what we're going to do is I would be just giving you an overview of the edit tab. Here. As you can see, we have all the clips here. You can see all the thumbnails of the clips. And for some of you, the timeline and everything would look like this. What do you need to do? In my personal choice? I just do the shrink option here in the corner. So I just shrink it so that I have more space here. In my timeline, there is the media pool. So under media folder is all the rock lifts. Then we have effects that you're going to be using these effects. Then we have edit index. I don't use it. Sound library we have, which is also not that important. So if I unclick everything, we also have this much room. As soon as I press media pool, this whole thing comes here. I am just going to shrink it. And let's see. So maybe just, I would just play some clips and see this clip. If I, if I just double-click here, it would play here. So as easy as it is. And sometimes what happens is that if you see here in the corner, I've clicked the inspector. So this is not here and DaVinci Resolve looks like this. So here what's happening is that one playback would be the playback from the raw clips and hear the playback would be from the videos in the timeline. But I really don't do it that way because I don t think that's very efficient, especially if you have a small monitor to work with. So I just go single viewer mode and I go inspectors, single viewer mode, whatever you play, it's going to single-player mode, whatever you play it's going to play. So these are the raw clips. And in my opinion, the most efficient way of just organizing everything is I just put media pool here. And then my media, I can see here you can also collapse it. And you can also change the size of the thumbnails. And you can also just make it a list or make it like that. But I just put it here. And this is 30. You can also zoom in and out. To zoom in and out. You can also just scroll your mouse and it's sort of zooms and, but I just put it to fit. And this is the name of the clip. I have named it stabilization because we're going to stabilize this clip if obviously. And then here is mixer. Mixer is the audio mixer, here is metadata. It's going to show you the information about the clip. So if I click on this clip here in metadata, it's going to show me all the information about the eclipse. It's going to fill them in as two-sixths for the color space is four to two is 25 frames per second. It's not a fork, a clip. It's 1920 by thousand 80. And if you've got an inspector, There's all different options. What you can play with to get the best output and Da Vinci Resolve. And just, there's just so many features what you can do here. And then we go File here. You again get the information about the footage. So I will just leave it to video. And then down here is the timeline. Let's drag and drop the footage and we'll see what we can do. So that was the overview of the edit page. Now what I'm gonna do, I would be just dragging and dropping the clips in the timeline and show you how to edit them for dragging and dropping. I have kept all my files in the basic edit clips, so I would be just opening here. So all the files would be in the description. You can just click the link and you would get all the files. And I would really encourage you to have same folder structure so it's not confusing to you. So what I'm gonna do, I would be opening this first file, the A33, C7, third daily ferry ticket inside again. So we just got our ferry tickets. It's in its day tickers for €15 per person. You can travel unlimited to all the main places here around Lake Como. So say e.g. I. Just wanted this clip until here. So what the long cut way is that what I'm gonna do, I'm just going to drag everything. So let's try it again. So I've just clicked here. And I'm just going to drag this whole thing in the timeline. And I would just make it a little bit bigger. So I have the audio graph here. And then also one more thing. What I'm going to do, I would do just clicking here. And you see. Easy. Now, it's like by just by clicking these options, you can change the graph of the audio. So I would just increase the audio graph here. Just by clicking here you see you can change the view. So I don't like this view. I just keep all my graph in the middle. I just leave it like that. And you can also change the view of this bar. So I like to see the video thumbnail throughout the whole bar so that I know that what video clip is it? Or you can also just leave, it's solid, but I just leave it here. And with this audio waveforms, I turn it off. So if you cannot see the audio waveform, which means that you have not turn this on. And this is for the subtitles which we're going to talk to you about later. This is just stacked timeline, so I would be also showing you later. So here is, so here I have dragged and dropped this clip in the timeline. And here there are lots of options which you can see just above the timeline. I'm going to talk to you about that as I go with the editing. So let's watch this clip again. Our daily fairy typically start again. So we just got our ferry tickets isn't as we can. So as we can see from the audio wave form is that this part was where I said, Can you start again? And here the actual video starts. So I just want this part to be in the main video. So what I'm gonna do, I would just select this. And then I would go here to the blade tool. This is the blade tool and the shortcut here is C. So I would go here, I would just cut this, and then I would also just cut the bottom. So now if I just come here, you can see that there is a little cut. And then what I'm gonna do, I'm gonna go to this arrow here. And then now it's arrow. If I click on the blade, blade as soon as you go on the clip. So I'll go back to the arrow, select, I'll select these two. And then I'll just press Delete or Backspace. So yeah, and then what I'm gonna do, I'm just going to drag this whole filed to the beginning of the timeline. So yeah. So we just got our ferry tickets. It's in Vegas for €15 per person. You can travel unlimited to all the main places here around Lake Como. It's just not going to, it's just not going to. And from the audio wave forms I can see that I just want the clip until here, it's my personal choice. So just for the sake of this class, I will just cut it here. So I'm just gonna go here to the blade tool again, just cut it. Also got the audio and then I just make sure that the cut is there. And then I go here to the cursor so that my cursor has switched back from the blade that I select these two and I press delete by backspace or delete depends on your system. So I deleted that. So now we learned how to trim the unwanted parts from a clip. But in my opinion, it's a little bit of slow process. You have to go here. Then you go cut the clay, then you go here, selected this, that blah, blah. It's a little bit tedious process. And how we can make this process faster is by using shortcut. I'll show you. Shortcuts are something which is going to save your life and it would be a little bit intimidating in the beginning. But the more you practice on results, there would be a point where you don't even have to look at the keyboard and you're just editing like crazy enough flow to get access to the shortcuts. What I'm gonna do, I go here, Da Vinci Resolve keyboard customization. So of course, if you're using results for the first time, your customization would be completely different than mine. So let's go here and show you. So for me, I just use very few shortcuts. And those few shortcuts are lifesaver for me. So I'm just going to discuss those shortcuts just in brief. And then I'm also going to give you a preset what you can import in your computer. So me and you, we both have the same shortcuts. So as we are editing throughout this whole project, I would be just telling you, okay, So now we're pressing I, now we're pressing 0 to have this command. You know what I mean? So yeah, if you just import my own preset, you and me will have the same shortcut and I would tell you how to import those shortcuts. But the most important shortcut here, if you go click on C, which was the cut button, see, if I click here, it is Blade Edit Mode. In your computer it might be completely different. V was the normal edit mode. So as soon as the press V, the cursor comes up. And then a here is zoom out, zoom in. So this is like zoom out and zooming in the timeline. And Q trim start w trim. And I know these things wouldn't make sense, but I would really encourage you to import my shortcuts so that as we're going through the class, the both are on the same page. So at how to import my shortcuts here is that I would just go and export this preset. I would export this one. Davinci Resolve. And I would go to tech startup and I would just save it here. And now what I'm gonna do, and I would also leave this preset in the description below. So what you should do be doing is that as soon as you open keyword customization, you go here, import preset. You go to deck Dexter, Da Vinci, resolve dot TXT, open, enter name, mapping preset. I already have this. I'm just going to keep it to a different name. So now we both have the same preset. So now you have all the preset. Let's jump back in the timeline and now I'll show you how much faster you can do everything what we did and it took Asia's. So I'm just going to close it and I will just delete it. So now if you have to delete your press X, That's going to delete everything. And now if I had the raw file here, so if I play here, I've just clicked here. So now we have nothing on the timeline. Let's listen to this audio again. Daily fairy typically start again. So we just got our ferry tickets. So from here, so this is my girlfriend. From here. I'm just going to start like this because I know that she has started talking from here. So we just got our ferry tickets. It's in Vegas. You see what I did here? Say? If I know that this is the input point, what I have to use for this project. I'm just going to press. So as soon as you press it as a little dot here and this part is unselected. Now if I just drag, because it's been a timeline day tickers for €15 per person. You can travel unlimited to all the main places here around Lake Como. And I just need a clip here. So to put an end point, I pressed, I end. If I went to press an out point, what do I press? You can set right? So now from this entire row clip, we just have this section selected. Yeah. Now what, now what do we do? The move this timeline bar here. We go to this raw clip. It is still selected. If I want the audio and video to be in the timeline together, I'm just going to drag this from here. Or if I just want the video, then as soon as you go on this rock lip here, you have this video option. So you can either drag the video or if you just want to drag the audio, there is a waveform option. You can just get the audio from this raw file. So there are a lot of cases where sometimes we just need the video clip or we just need the audio clip. So just by clicking on either of these two, you can either drag the video or the audio in the timeline, but in this case we want both. So just so how am I deleting this? I'm just pressing Command Z. I'm just going to drag this clip here because I need both. And you see this thing, the link there is like a little link sign here because these two things are from the same clip. That's why there's a link here. So if I click here link section. And now if I move this, now if I just click on the video bar, it's going to also move the audio. But if I unlink things, it's just going to move the video file, not the audio, because they were the part of the same clip. Here, it would say that my audio is lagging -4.12 s behind. And if I keep them together, you see as soon as I drag, it says here how much the audio or the video is lagging or their forward. And if I just go here, now they're together. So that's also a really easy way to just see if by mistake, if you have moved your audio or the video, then you know that, then it's going to show you the red sign that this is how much the audio or the video have moved if they're from the same file. And you can also link different clips together. So say e.g. this video clip and this audio clip was from different files. You could also link them. So you go here, then you go right-click, and then you go Link Clips. Yeah. So because the clips were linked, now they're unlinked. So if I just go here and you can link them, so now they're together. But if I unlink them, now, it's not going to show that red mark. I hope these things make sense because these little things, they're going to save you so much time and sometimes they also save so much work because if I'm editing like a really big project, and sometimes by mistake, I move like an audio file a little bit this way, or a video of a little bit that way, then I have to manually sync them. But if I have the seconds mark there, then I know exactly how many seconds I have to move the audio or the video left or right. So I will be linking them again. So that's how you drag and drop by the shortcut method. And now rebel unlimited through all the main places here around Lake Como. So now what I want to do is that as soon as I'm done. Importing the talking shot, I would be just putting some B-roll clips. So if I see this clip, if I just want from here, and then I keep playing slow motion clip. This clip is already in slow motion because I have filmed this in S and Q mode in my Sony camera. But in the coming sections, I would also show you how you can convert a normal clip in slow motion. So just bear with me. From this clip, there's no audio because it is filmed in SYM-Q mode. So you can see there's no audio here. If I zoom in. So from the shortcuts, you can also zoom in and out of the timeline from the shortcuts that you have imported. Say if you press S, you can zoom in the timeline. If you press it, you can zoom out of the timeline. So I will just zoom in and I would see that there is no wave forms. Unlike There's no wave forms, like how we had in the first clip. So then we can also just delete the audio because it's just taking room in my timeline, so I'll just press X. And then what happens is that in the beginning I decided to import this whole clip. But now I've changed my mind and I just want just this clip from here. Yeah. So now what I would do, you can either go and press C code with the plate to then press V, select this, and then press X to delete yet. But there's also a shortcut for that. So I'm just going to go Command Z, undo. If I want my clips to be citing from here. And if I want to trim this part, what do I do? I press Q. Q was the shortcut called trim start. Soon as I press Q is just going to trim everything on the left side of the timeline. And if I go here, and if I don't want this part, then what I'm gonna do, I'm just going to press W. And by pressing W, magic happens. So it has just deleted the right side of this clip. And now if I want to drag this here, I can also do something else. So as soon as I click in this gap, there is like a light gray bar here. And I press X. This X is also acting as a delete button, and x is also acting as a ripple delete. So what ripple delete does is that it's sort of closes the gap between the footage, so I'll just press X and then it sort of ripple deletes. Or there is one more shortcut way where you don't even have to press ripple delete. So I'm just going to show you. So I'm just going to undo, undo, undo. I would delete the audio, you don't need it. So now what I would do, you can see that here. My cursor is in the selection mode because we have pressed. But there's also one more mode. If you press B, you can see that this red thing moved here. And this is called Trim Edit Mode. So in this mode, what happens is that you can see that my cursor change from Arrow and I press V again to this thing, that is parallel looking thing. What's going to happen is that you would be able to trim this part and my clip would also move close to here. So I'm just going to press Q. You see? So before what we're doing is we're just going to trim with q and then we do ripple delete. But if you are in Trim Edit Mode, then you can just press one button and the clip would automatically move to the clip on the left. And same thing goes for this side. So I'll show you. So if I want to download this clip also in the timeline, I'll just start from here. So I'll just set up input point. I'll press play. And I just want the clip until here. I'm just going to drag the video because there's no audio in this file. So I would be dragging here. Yep. Let's go back to the previous clip. So in this clip, if I don't want this section, and if I am in the Trim Edit Mode because I pressed b, now if I press W, which is the trim end, it's just going to trim things on the right. And also it would move the clip what was behind that to what's left. So imagine it just going to save you so much time. And if I go here again and say, if I want From this part, I don't want this part. I am still in the Trim Edit Mode because you can see these parallel lines. I would press Q, these clips move here. How easy it is to destroy him and cut by just using these few shortcuts. And I will just press Command and S just to save it. So yeah, this is how you can import the files in the timeline. And then you can just trim them by just pressing two or three buttons. Now what I'm gonna do, I'm just looking to import more clips in the timeline. So here I'm talking again. So let's see. So guys 2 min of walking. So guys 2 min of walking into a village. And we already found a nice photo spot, video tripod or camera on the bridge. You have this whole village in the background, so-called. But if you come in the morning, then only can get nice views because I can imagine this place in the afternoon or even around like ten or 11 every super-fast. So what I want to do so guys 2 min of walking. So guys 2 min of walk it. So I would be starting here because I did some mistake in the beginning. But guys, 2 min of walk in village and we already working, so that's 2 min of walking. So guys, 2 min, I'm not sure because I don't see the audio graphs. It's really hard for me to track where I have started talking. And that talking is right. So I'm just going to drag from here. I just press I and I'll just press 0, and I'm just going to drag this file in the timeline. So guys, 2 min of walk in. You see, I'm just zooming in and out by pressing S and a game. So guys, 2 min, 2 min of walk in minutes, 2 min of walking. So yeah, I want this clip from here. So what I'm gonna do, I'm still in the Trim Edit Mode. You can see the parallel lines, so I'll just press Q, easy peasy. And let's see where do I crop, but leave your tripod or camera on the bridge. You have this whole village in the background. So cool. But as soon as I say so cool, then I want to end this clip, so-called. But you can already check from the audio wave forms where you have to cut. So if I want to cut here, I'm just going to press W. And I also want to do one more thing here. So as you can see, all these clips are on this video one line, and all these audio clips are on the audio one line. So what I want to do, I also want to put a clip on top of this clip where I'm saying that it's beautiful. Leave your tripod or camera on the bridge village. And we already found a nice photo spot. Video tripod or camera on the bridge. You have this whole village in the background. So when I see you have this whole village in the background, I want to put a clip on top of this clip. I'm just gonna do it so it makes more sense. So I want to put this clip here. So there's also a slow motion Clippy that audio because I felt minus MQ. So maybe I just want this clip from here play. And then I press 0 output point. And then I'm just going to drag this here. So I still have this thing on. So now what, what's going to happen is that I still have this thing on, which is the chromatic mode. So now if I want this clip to start from here, so now if I press Q, it's also going to cut the bottom part here. So now what we have to do is that we should be going back to the selection mode. So I would just press V, I'm, I've gone back to the selection mode. I press on this clip and then I press Q. So it's going to depress Q. It's not going to move forward. It's going to be trimming at its place, unlike how we were doing before. So you don't get confused between the selection mode and the Trim Edit Mode, because Trim Edit Mode is to cut the clip in-between and move the entire clip to cover the gap. But I just zoom it in the timeline. You have this whole village in the background. And I just want this clip until here. So I'm just going to press W because we are in the selection mode. So you can see what's happening here is that there are two clips on top of each other and whatever clip which is on the top, the software would be displaying that. So if I had, if I had put this clip on the top, the clip underneath would never be visible. So whatever is in the tub, Da Vinci would be showing that. So yeah, I'll just leave it here. I ground so-called. So that was the basic trimming of the cliffs and also just basic way of putting all these clips together. So if I'm doing like a YouTube video, I select in and out points and I just drag and drop them on the timeline. And then I'm using the selection view mode or the Trim Edit Mode just to sort of put them together and keep the best part from the video. This is how you drag and drop in the timeline. So you also might be observing if you're wearing headphones, is that if I already found a nice photos layer, this footage, the audio is just coming from the left-hand side. That is because every time when I'm recording or filming of log, I keep a setting in my mic that the audio just records from the left-hand side. And to make it correct. What do we do? That's the case for both of these audio files. So what I'm gonna do, I go here, I press right-click and go to clip attributes. I got the audio and then hear the audio is coming from channel one, channel two, There's nothing. I would also link the audio here to channel one. And by doing that video tripod or audio from both the files. And if I want to increase or decrease the volume of the audio, if I just zoom in by pressing S, as I'm dragging on the audio bar, I have my cursor turns into something like this and then I can just increase or reduce the volume. So you see 7.50 dB, ten dB decibels is like a unit of sound. So of course, the higher it is, the hardest sound basic us for 15 years too high. So I'm just going to leave it to maybe 2.50 per person. You can be a little bit louder. Yeah. Three points. Yeah. Let's do five or unlimited to all the main places here around Lake Como. Per person you can travel unlimited to all the main places here around Lake Como. And if I had to do the same thing here, I am just going to increase it to five. So you have to remember which decibels you have put this volume two. So now this is how our clips look. So in the first clip there is some audio. We're talking. Second clip, no audio clip know or you're in the fourth clip, there's audio. Again. What I want to do, I want to put a music track in this entire clip. And I want this music track to be a little bit of sort of running in the background. And then hear the music track becomes a little bit louder because there's no voice. And then as soon as they come hear, the music track becomes a little bit lower again. So what are we going to do? If you see here in the folder, I go to music and this is the audio track. What are we going to use? What I would be doing in audio as well? You can do the same method in, press in and out point and then drag it on the timeline. So what I would be doing, maybe I need the clip from here, so I'm just going to press endpoint. And then I know how, how is it going to play? And drag the cursor and maybe plus 0 point here. If you just drag it. There's no audio or video option because this is just an audio file. I'm just going to drag and drop it here. And I'm also just going to bring this a little bit bigger so that I see these graphs. Well. So now you see my audio to his music. Audio one has all the voices here. There's also get U2 with u1, v2 hat this file. And if you can also just add anything on video three, video for video five. So as you add more videos on top of each other, this thing in the corner, they increase it in a break project file. We do that sometimes. So you see what I want to do? You remember here the BTE picks up around. I also think that the audio is a little bit too loud as compared to, because it's in its basic as for fifth as compared to our talking voice. So I'm just going to reduce the zoom it in the timeline by pressing S and reduce the volume maybe -6.12 db. And I can already see here that the beats sort of picks up here. So I'm just going to drag this audio file here. Oh, I think that is the starting point of this audio. So that's why I couldn't drag it further. You see the starting point at this audio. And now what I'm gonna do, I'm just going to make it a little bit bigger. And now what I'm gonna do is as soon as you go here, if I drag the whole thing down, the audio of the entire thing goes down. But I just want the audio to be running in the background here, a little bit louder in this section and running in the background again here. So what I would be doing, I would just make the audio go until here. And then as you can see, This, my cursor is changing here what I would be doing. I'm going to put some key points. Here. I would be pressing Alt or Option. So you see there's this red dot. And I'm going to be putting all the an option again here. Red dot again. Yeah. Now, by selecting this red dot, you can increase the volume of everything after this part. So the more gap you leave, say e.g. there's this much gap in the red dot. It's going to take from here to here to get your volume until 7.14 db. But if I want the Euros, but if I want the audio to go up drastically really fast, I'm going to reduce this gap. But I wanted to kind of fade in a little bit. Don't be like not to be too harsh. So here my audio is 17 -17 db here. I'm just going to leave it to -8.33 and see how it sounds. So let's hear it. So we just got our ferry tickets and they take us for €15 per bird, just going to drag it a little. Firstly, you can travel unlimited to all the main places here around Lake Como. So this is also the mistake. A lot of even professionals they do is that sometimes if someone is talking, they still put this audio, the background audio a little bit louder, which can be really annoying. So I think that it is at a good spot, probably. So I'm just going to hear it again. So we just got our favorite places here around to all the main hear the audio is clear. Here the voice is clear. The audio is also clear in the background. And hear the audio sort of pixel here around Lake Como. So here, if you observe it, I'm just zooming in the timeline. There is a beat here and then there's a bit here. So you really don't have to rely on your listening. You can just see all the beats. And it can be nice to cut the video on a beat. So let's hear it again in place Around Lake Como. So I also want this got to be here. So what I do, I'm just going to move my timeline cursor in the beginning of this beat. And what I do, the easiest thing ever, I'm just going to drag this clip here and done so it's going to delete the end part of this clip and now we have a cut on the beat. So let's see, let's see it again. I think it's a little bit, I think this is the actual beat. So let's go again and then I can also just increase this clip until here. Now it looks nice. And now what I want to do at this speed, I want to lower this volume. So just going to press Alt or Option again, we have a red dot, maybe until here. So maybe the red dot here. So the audio fades in a little bit slower. So I'm just going to put it to -20 db or maybe 21. And then what I would be doing, I am just going to drag, select all these things. And I'm just going to drag it here. So let's see how it looks. 2 min of walk in religion, we already got a nice photo spot, 2 min of walk-ins village, and we already found a nice photo spot, video tripod or camera on the bridge. We have this whole village in the background, so-called. See how cool it looks. And now what I want to do as I am ending that clip here, I also want the audio to fade out a little bit. So there's one way is that you have two points by pressing Alt and you can let it go down, down, down. But we do it a little bit different on do that. So as you move until the end of the clip, you see this white thing here. So what I'm gonna do, I'm just going to hold it, click it, drag it until here like this. So what this would be doing is this would let the audio sort of fade out. So let's see. Leave your tripod or camera on the bridge. You have this whole village in the background. So cool. So when the audio fades out, you don't even realize. So this is a really cool thing. What result has to offer is that you can choose when the audio fades out. And you can also do it like this. So audio fades out in the end. Or you can also do it like this. So audio fades out already in the beginning. So let's try this walk-ins village and we already done a nice photo spot, video tripod or camera on the bridge. You have this whole village in the background. So-called audio fades out and we don't even realize, so this thing is these little fast. Soon as it go here, you can just drag and drop. You can just drag these things to change the volume and you decide when the audio fades out the desert. Like these are really cool things about resolving that. All these things are just there on the timeline. And it's like, it's like a play. That's a really cool thing about Resolve is that all these things are just on the timeline and you just have to know what everything does. Once you're done learning resolved. There is endless possibilities for creativity and the same fade out we can also do for video. So if I go here, there'll video, we can also fade it out. Background, so-called say if you want like a shorter fade out, so-called. Yeah. So these are a few little things to make your footage look more amazing. So now we added music, we sort of dragged and dropped everything. I also showed a few shortcuts for you to trim that, to trim the clips using selection mode and the Trim Edit Mode. So now, as I told before, is that I also want to show you how to convert a normal pace video in a slow motion. So here we go in this folder called 50th peers. The reason why I've written in 50 years is because this footage was shot and 50 appears. The only time footage can look nice in slow motion is if they are recorded in higher frame rates. If you want to know more about it, you can watch my class about camera basics there. I've taught everything about frame rates, making slow motion, making fast-paced video and this and that. So I would just, let's just see this clip. It's like a gourd Dora. It's like a temple for sick people, sick of the religion in India. And it's a footage in Gregoire. Walk towards me a little bit. So you see this footage looks in a normal pace and how do we know it's 50 frames per second is the Click here, so the video is selected. Then we go to File here. And in the file, you can see here the other footage was 25 frames per second, and this is 50 frames per second. So if there's one way to do it in slow motion is say, if I want this part to be in slow motion, I go in 0.0 point. I don't want audio in the background. I'm just going to drag the video. There's still a normal pace video. What I'm gonna do, I'm gonna right-click on this one. And I'm going to go change clip speed. And then speed. I would reduce it down to 50%. Because this is in a 50 frames per second. It can look nice if it comes back down to 25 frames. So let's go here. Let's increase the clip length. This looks nice, but there's also, this is not the most optimum way to make afforded slow motion. I'm going to show you, so I'm just going to delete it. Press X, go to the clip here, right-click on the clip, go to clip attributes here. And then I go to video. And here you see a video frame rate at 50 frames per second. You can turn to to 242-052-34974976. So if in the beginning, if I have chosen the frame rate of the project to be 24, then I would have selected 24, but we have chosen the frame rate to be 25. So I'm going to press 25 frames per seconds. So now I'll show you the magic. So I'm just going to press the raw clip here. So you see now the raw clip is already playing in slow motion. So you don't have to go to the timeline and then reduce the speed. Here, you are sure the video is playing it 25 frames per second. And I'm going to, I'm just going to press in point here because I want this video to hear and out point here. So I'm just going to drag this here. And same thing we can do for the next clip. So every time, even before selecting any point in a, in a higher frame rate video, what do you do? Clip attributes, video frame rates to 24 or 25 depending on what have you chosen as the timeline Setting. So I will just drag and drop the video here so you see what we did was went to clip attributes and change the frame rate of the video. So you see, now when I click on this video here, now it, you see it's 25 frames per second. So we did like in a proper way, the changing of speed. So this has really good, That is how you should do it. And if I reduce a 25 frames per second video into slow motion, so say if I drag this video file. So also one more easy shortcut is that if I want justice video file to be here, what do I do? Press this video file, press Alt or Option, go here, and then just drag it here. So you literally have the duplicate of this thing here. Same thing we can also do for audio. Or if you want, we can also do audio and video together, but this was a 25 frames per second video. And if I reduce the speed of this thing here, Let's say 50%, you have to see how it looks. You see there's how much blur is in the video now. 7. Video Transitions and Text Animation: So I hope you learned some basic stuff in the Edit tab Part one. So now we're gonna be doing a little bit of advanced stuff in Edit tab part two. So let's jump into a system and I'll show you some really cool stuff. In the last section, we did this basic edit. And everything we did was just dragging and dropping in the timeline. We didn't touch anything from this side. Yeah. So there's also want something really important in Dmitry result is the Inspector tab. So what I'm gonna do Avi, we're in file because we wanted to see what type of file is, the frame rates and all that sort of stuff. But we're gonna go to video here. So let's choose a clip. So if I want this clip again here, as I told before, what I'm gonna do, I'm gonna press Alt, click on the clip. And I have duplicate clip of this one. If I want this clip to be a little bit longer than I have it here. So it's just a normal slow motion clip and width without any audio. So then I'm going to now I'm gonna be showing you from this clip what we can do in the Inspector tab, the transformation. These things are really straightforward. Here. Zoom, you can zoom in or out. If I zoom out, there's this black bar here. So if I just type one here, sort of zooms back to normal position. You can change the position of the median x-axis, y-axis. Just pressing undo rotation angle. So this is something what we need now. I'm just going to scroll back from the mouse, so I just would see the whole image. And now if you see here, the video looks a little bit tilted, the horizon. It's like this. You can also hold this and change the rotation angle, but it's, it's, it just goes like crazy. So what I'm gonna do, I'm just going to press these numbers and just drag my mouse now the other way. So I think here it looks neutral. That rotation angle. What do you guys think? Yeah. So I have rotated this clip, but the problem is here, there's some black bars. So what I'm gonna do to remove that, I have to zoom in. So I would say zoom in until here. Yeah. So what did they do? Well, we did some rotation and zoomed in to avoid the black linings on the side. So that's how rotation works. And then anchor point is just the anchor point, like the central point of the video. You don't really need to change anything with that sleeve anchor point to zero, then pitch and yaw. If you do pitch, the video goes like this. If you do, your video goes sideways like this. I would show you when can we use this later in this section? Flip up. Cough course. You can flip the direction. If I flip it, you see the rotation angle sort of becomes more. But yeah, this is how you can flip any image like that. I'm just going to press Control Z and then you can horizontal flip as well. And then smart framing is something as if the software would decide what frame is more optimum. So you see my subject is in the center. That's why the software have moved to subject to the center. But if you choose a reference point Here, let's say I'm just going to put the reference point of this object here. Let's do re-frame and see what the software does. So it has, just put it here. Let's, I'll put the reference frame here. And let's see. So you see, now, wherever I put, that thing becomes in the center. That is just by moving the position left hand, right. So I don't really use it. But it can be handy if you are filming any set of real from this big video. So I don't want this, I would just sort of zoom in. And cropping. Cropping is really important in two ways. So say e.g. I. Need say this a video on top of this one. But I want this video to be in the corner a little bit cropped. So what I would be doing, I'm just zooming in, in the timeline. I sort of zoom this out. Say put this video here. Here. Yeah, just in the corner. Now with cropping because I've selected this video, I am maybe I cropped something from the right. Maybe crop also from the left here. And then I can also change the position. So you can use cropping in 100 different ways. So maybe I'll just put these both the videos together and see how it looks. So cropping is not just for this huge you can just use cropping for anything. Yeah. So that was cropping also with Inspector page. You'll have done cropping if changed all these values. But if you want to reset it, what do you do? If you want to just reset the crop left, you go here. And if you want to just reset crop right here, yeah. But if you want to just change this, reset the whole crop in, you just press here on the top. And if I want to change. The whole transformation, what I did here, I can go here one by one then here, or I can just press here so it's going to reset everything what we did in this section. You see, I'm just going to press Control Z or I would just delete it. That was cropping for use or anything. But whatever change you do, you can always just reset it with these icons. Dynamic Zoom. The software does it by itself. It just looks a little bit weird, like look at it. The software did the Zoom by itself nights kind of zooming out. A little bit weird. I don't use it. Composite. I would teach you this later. Stabilization how to stabilize a footage. This footage looks a little bit more stabilized. It yeah, it's it's a good stabilize footage. But I have a stabilization example. Good example. The audio would be really loud in this one, so I'm not going to import the audio because that's not important to learn stabilization. So if you see here, I'm just going to make it fit so that I have enough room to work with. I can also drag this down so I can see this footage a little bit more. So I'm going to click on stabilization. And then versus here. I can stabilize the footage to just for stabilization and does a really good job. So you see how much it cropped in. So if I have to deselect stabilization, this toggle here, stabilization off. Now it's on. So let's see what happens. It is stabilized because if you see the non stabilized, when you see how much shake was there. But there's also a few different ways also you can stabilize. This was a perspective. If you go to similarity, the software takes him to reference some other things to stabilize. But in this case, let's say now it's sort of doing all the work and stuff. But in some case, similarity works. Then same. You can also choose translation. But in this case I'm just going to press stabilized like this. And cropping ratio, as you can see that it cropped a lot. So if we reduce down the cropping ratio and stabilize again, then we see what happens. Cc, it's not that stabilized, but if I just do cropping ratio here and stabilize again better. And also the strength of stabilization. If I just maybe go here and then stabilize again, the crop is a little bit less. It's not doing anything if I just maybe press it here and see. You can just play with how much stabilization is needed. But what I do, I just use the default option from the DaVinci Resolve because they know the best which what is needed for which footage to stabilize. It is a usable footage because if you see before, you is just garbage. And now if I just toggle it on, stabilized Lens Correction, lens correction wouldn't be in the free version, so I'm not going to talk about it. So these are a few things what you can change in the Inspector tab. So all these things can give you some limitless options to do some video editing. And I told that I would be also showing you, compose it. I'll show you now. So let's jump back here. Yeah. I just need to show you something cool. Like leak. So this is like a light leak effect. Let's, let me do it. It's gonna make sense. So I'll press endpoint here. So I'm just going to press here and directors drag the video. Now if you see here, I just drag the video, not the audio. So I just need this clip onto here. Yeah. So now if I play that clip, See what happens is here around Lake Como. So you see this clickers literally overlaying on top of these two. So this was the normal composite mode. If I do add. Now, if I play it, see what happens. They call it. It looks good, but it's not the best. Where did it go? Composite add or color Color Burn. So these are just different types of how you can manipulate the tougher it and let the bottom footage be visible. But in this case, I just want the fire to be going like this. So what I would be doing is I go to screen. The screen sort of gets rid of all the blacks, what we had here. And it would just let the brighter part to be visible. So let's see again. Places here around Lake Como. And I can also change the opacity if you think that it's a little bit harder. So if I just go here so you see, it's almost vanishing anyway, so I would just leave it sit here and see here around Lake Como. So yeah, that's what compose it does. So it would literally just change the way how the top video would look over the bottom videos. Or if I just go subtract, it's going to look like garbage. If I go soft light, it looks a little bit, it looks a little bit better. But you see here, all the blacks are also sort of still there. Like opacity hundred, you see all the blacks are still there. But in this case, screen would work best because all the blacks are going just a bright area. Is there an I just need the brighter areas are the main places here around Lake Como. So that was it from the inspector section. But we're going to come back to inspect our section. In the next section, we will be learning about keyframing. But before learning that, I have some other things to show you on this side. So inspector section done. Let's come here to Effects. So now we have dragged all the photos this and that. There are a lot of really cool effects in DaVinci Resolve, which you are, which everybody should know because back in the day people would buy presets pack, effects pack online, and then they drag and drop. Sometimes it works, sometimes it wouldn't. But now there's already so many effects in Da Vinci Resolve inbuilt. So first, we're going to go to Video Effects. So for Video Effects to work, I'm just going to keep my cursor in the middle. This is just a video transitions. So how V01, the transition from first clip, the second clip. Easy. If I just drag and drop here, is going to come in between the videos. And I can also change the duration of the effect and see if I can also delete it to deselect the transition period here and press X. Same blur dissolve. So you can just play with everything. It's just so much yeah, you can just play with everything. You just so much fun and it literally takes not even 1 s. There's all these different ways you can do the transition from first clip to the second clip. Just Melians away, look at it. Live as getting stuck a little bit. So using these transitions would also be a little bit taxing on the system. And I'm also doing screen record at the same time. So that's why it's a little bit taxing, but you have to be mindful that it could be taxing and burn away, look like just by dragging and dropping this cool. How cool is that? So yeah, that was video transition or your transition. We're going to come back later. Titles and text. So simple titles, like it's literally just drag and drop all these titles. What I'm going to show you is something basic. You can just drag and drop here. Hi, you know what? I'm just going to mute this audio. It's a little bit annoying. So how do you mute it? Just press here. So I'm just going to mute this track. So you track. So if I mute this track, everything on audio two would be muted if you're making a big project. So basic title, I can just write maybe text. Here. You can change all the fonts and everything color, font, type, size. Tracking is just a gap between the texts. Line spacing. If we text texts to if you want to change line spacing, you can change the line spacing between the text. If all the font-style, all these things you can change. It can change their positions, zoom, rotation and everything. You can just do everything with the text here by just one-click and stroke is you can increase that, reduce the stroke. I just leave it to zero. I use this thing a lot. Drop, shadow. Drop shadow. If like now the shadow is literally behind the text so you cannot see it. But if I bring the shadow here you see. And you can also change the opacity of the shadow. You can also change the blur of the shadow now it's like super blur. Now it's super harsh. So these things like they're just so easy, they can also change the width of the background. So if I just go here, and then I can just go here so you can just set up a background. You could also change the position of this background, change the color of the background, change the opacity of the background. So yeah, there's like tons of options discussed. You can just customize everything with the texts. So I will just delete it. I'm just going to show you something also really cool. So these are some. These are some fancy tech. So let's see how it looks. You see if you want to say zero point something out. These are all inbuilt and resolve like how cool is it? Like? I go to settings and I can just move this here. I can just zoom in and out. So you've got a title here. You can change all the texts and if you go to setting here, you can just change everything. So let's check it out. I would delete it. There's so many like lower third or just different title blocks and look at it. These are all crazy customizable, so you go to Title so you can just change all the text, all the sizes, settings. You can do everything in this one. You can do a lot of things with this title here. There's already so many cool stuff like look at this video tripod or camera on the bridge. We have this whole village in the background. Back in the day, you have to buy these things online and now it's already in result. These are things you can do with the texts. Now we go to generators. Generators. Here. Generators, as the name suggests, you can generate these textures on your timeline. You see, I'll give you a good example. So you can just generate all these things. Maybe put text on this one. So what I want would want to do, maybe I want this clip or maybe not. Maybe I want this clip. I'm just going to bring here on top of this. And if I zoom this out, so if I zoom this out, I can see the bottom clip. Yeah. And I can also do some drop shadow. So now if I go drop shadow in Open Effects, and then I go to effects here to reduce the shadow strength. So you see everything just comes together and meet the whole thing. Look cool. So now we go back to generator. I want to show you some other things as well. So you have gray scale, you have these effects. I usually use solid color for my projects. A solid color. I'll click here. I go to Inspector and then I can change the color type. You can change to here, or you can have different selector. You can also put the color number if you know the color number. Just experimental with this soft produced, like so many things to learn, you can choose any color here. It is just insane how many things are packed into software and how easily available it is everywhere. If you want like a paper texture. Just drag and drop here. How cool is that? You can also maybe zoom this out. Put this clip here, and maybe also put this clip here, and then maybe zoom this out and put this clip here. How cool is that? So now you can put like forklifts in one picture. And it maybe if you want to put text here, there's like limitless options with these effects. Then you go to Effects after generators. And now we can do this by Nicholas effect. You can do this cctv effects, like in some video editing. According to the project, you might need these effects. So say, if I put it here Fi effect on this thing. So you see how cool it looks. They don't have to do any work. Just drag and drop color border. So if you want a border, Let's go in this one. So if you want a border like this, or if you want a glitch like this, if you want to draw an overlay, like these are all these crazy overlays which is just available in Resolve. If you want night vision, if you want a video call effect, if you want a video camera effect is just there and resolve how cool is that? Nothing really fancy. Just drag and drop. And as soon as you say if I just drag and drop the cctv. So these were from the Effects panel. Then I go to the Effects panel. Then you can also change the text. Write texts. Maybe I just write my name, ID, or I don't know, just whatever you want to put. And you can also change this timeline if I just press just something random. So I would just delete this effect. To delete this. I go here. Delete it. Yeah. So we're back to our normal footage and then I go to Open Effects. So here you can do blur if you want to do blur of this video. So I just go drag and drop here. And then we go to Effects, go to Video Effects. And then you can change the blur strength, how much blur you want. So anything you drag and drop from here, then you go to effects and change the settings from whatever you have dragged and dropped. So I will delete this. Zoom blur. We need zoom blur. You will be needing zoom blur in the upcoming sections. So watch out for that radial blur. Just play around with this guys. There's so many things, a lot of things that would be not available in the Resolve free version, but there's also tons of things available in the free version as well. So these were a few other effects. So just play around with these effects guys and you would learn a lot and everything you can just change in the effects section here. So here what we have is the audio effects. So we would be using all these effects when I'll be teaching you about the firelight page. Because this page is dedicated to enhance the audio, change the audio settings, Just improve the quality. Get rid of some errors and stuff. Totally getting in detail. Then I'm using far light effect, but far light tab. But here I'm going to show you also something cool is hang on. I would be dragging and dropping. So I have this clip where I have to do some noise reduction. Because if you hear it, I would just do Philip attributes audio, put it through audio channel one so that we have audio on both the channels that you don't have to do on your personal clip, but you have to do on the clip from this project if you are using my project files, press Okay, and get ready for a large nights. So if you have this map, you see all kinds of hiking thrilled with numbers. And you can choose which number to get up. You see there's a river in the back-end. Because of that, the mic is also picking a lot of noise from the river. So what do we wanna do? We wanna do some noise reduction. So if we go to effects, the just press noise reduction, make sure your audio effects is selected. That's how you would see the noise reduction option. So what I'm gonna do just drag and drop here. So here what they do, the option is default if I just play, hear the audio. So if you have this map, you see the volume is not gone from the river in the back. If I go the hiss, then the software would reduce all the audio of this frequency. I can thrilled with numbers. You can choose which number the noise is gone, but it also kind of damps the voice. So the easiest way what I do is I go reset noise profile. If you have normal, then I press auto speech mode. So here what it's gonna do, the software is gonna do its magic, and it's going to choose only the speech to be audible to the audience. Of course, it's going to do its best to get rid of the noise. But it really depends on the scenario and we'll see how it sounds in this scenario. Epc, all kind of hiking trails with numbers. You can choose which number to get up at. Every number is more steep or it's more here we can here before and after. So if I just do this, decide if you're going to have here before. So let's, let's play from the beginning and see if you have this map, you see all kinds of hiking trails with numbers. And you could choose which number to get up at. Every number is more steep, or it's more like going like this. And we choose to go for 14th because it goes through the forest and off the 14 Hugo. So search for number 18 because you see I was just pressing on and off and you can see how much difference it is, right? So just by doing noise reduction and just go to auto speech models software does a really great job in detecting your speech and getting rid of the background noise. But obviously it depends on the intensity of the background noise. Sometimes if it's too much, the software cannot help. You just have to fill me in a quiet environment, but this helps until some extent. So yeah, that's really great for results. But all the other thing that d S or the D hammer, some local channels and all these things reverb, all the things I use in firelight tab. So this we will discuss in the upcoming sections. But this was it for the edit section, part two. 8. Advance Editing Techniques: So the Edit tab part, I hope you are learning well and if it fits a little bit intimidating, It's really normal. If I had to watch this course as a beginner, it would be a little bit too much as well for me, but what I would do is I would just watch this class again. If you voted for the second time, you're going to cut something more important. If you want it. Again, you're going to learn something which you missed in the first and second row. That's the learning process. But let's jump in the system and start the edit tab part three. So now we're gonna be learning something called as keyframing. So if you are editing with me, go to basic edit clips. We have some clips here. We are hiking here, so I just need a clip from here. So I'm going to press, I maybe press 0. So yeah, and then I have another clip here. I just press, I I press 0. So I'm just going to, maybe this clip is a little bit too long so I just reduce it down. So what I'm gonna do, I press B. So B would switch to the Trim Edit Mode, and then I'm just going to press W. So this part also sticks to the first claim. So as you can see that these both are static clips. I've just imported the video, not the audio because we don't really need it for the sake of this class. So what we can see that this is just a static clip. It's like I've said, the camera on the tripod, then we walk. And sometimes it could be a little bit boring. So what can we do? We can introduce some movement in the clip and how do you do it? I would go to the Inspector tab, select this, and then we're gonna do something called as keyframing. So what is keyframing is, is that Let's go to the Zoom panel. Here. I just press this icon here, this diamond button. So you see as soon as I press it, it becomes red. So what does that mean is that the zoom property of this clip, one is recorded at this position. I'll do the same thing for the position as I am going towards the end of the clip. Let's end of the clip here. I am going to zoom it in. And as I'm zooming it in, I'm going to position my footage until here. So by doing this, you see that red icon appears again. So by doing this, what did I do with that? I have set the zoom and the position parameter at this point at end of the clip to these values. And in the beginning of the clip to 0.1. So as I'm going to play the clip, you would see that these numbers are changing to what we have set in the end. So let's play it. So you see how cool it looks. And we can do the same thing here. So maybe we can do, maybe zoom out. So in the beginning, I'll just put position here and maybe make this clip a little bit longer. Position here. And zoom in and maybe change the y-axis here. Oh, not too much. You see that black bar. We don't want to see the black bar until here. And then as we move here, I want the footage to come back to its original position. So I'll just press one because one was the original position. I press the position of the clip y-axis to be zero because that was the original position. You can change it to any number. So let's go here and now. Samsara, how cool it looks. So this is called keyframing. So you can do this keyframing for everything. Also, I'm just going to show you one mistake. What I was supposed to do. You see, my cursor is here, my timeline cursor is here. But if I crop it, Let's see, Let's see if I crop from the top. I don't see any change in the footage. The reason is because I have selected the clip here. You see the orange highlight around this clip. So the changes would be in this clip. So that's why I'm just going to press Control Z. So that's why whatever clip you want to change, make sure to click on that so you have the clip highlighted. Yeah. So I would be showing you something really cool with crop. You might have seen it in some movies. Some of you might know what I'm gonna do, So yeah. And also crop from the bottom here. Maybe to us and to hear. Yeah. And so, yeah, let's choose the keyframe here. So I'm just going to select the keyframe here. And here. Which means that I'm telling the software that I want these parameters at this point and maybe move here. I want it to be zero. So now you see what's going to happen is How cool is that? So with keyframes, you can do anything. He can do the same thing for pitch and yaw, which I'm going to show you later. So yeah, keyframing can be really handy. It's really cool because just by even, even with a static shot, you can just do so much. And you're gonna be doing a lot of key framing in the upcoming sections. The next thing, what I'm going to teach you is speed ramping. Speed ramping. You gotta speed ramp folder and you have this five clips. Speed ramping is a really cool thing, which is going to separate the beginners and professionals. So that's why I taught you all the basics. So that once you reach to the speed ramping section, you kind of know what is going on here. I'm just gonna give you a little bit of brief here. All the footage, what we have, especially from the camera, never shot and 50 frames per second, but I've converted them into 25 frames per second. So you say it's a slow motion. So maybe I want this clip from here or maybe from here. Yeah, I'll just drag and drop because there's no audio, any values. And maybe I'll just drag and drop. It can be really cool if you can also edit with me. So you can just watch what I did. Pause the video and then edit yourself. And then maybe some drone footage. I go here. Maybe in point here, point here, and then just drag it here. And the fourth drone footage. So here we have four slow-motion clips. Are now, these drone footage are in 25 frames per second, but the first two clips are in slow motion, but he can do speed ramp in any footage. It really doesn't matter, but it kind of looks nice if the flourishes in slow motion. You see, now we have transitioned from the first clip to the second one. From second one to the third one. So here, the foot it looks okay if they are pretty footage, so they look okay. But we have to add some speed ramp first, let me explain you. What is speed ramp? The speed ramp, what it does is that it would let the footage play in a normal speed and then you can wrap the speed wherever you want in the clip. And then you can slow down again and then ramp it again and then slow down again. But speed ramps can be nice when it is at the end of the clip and at the beginning of the clip. So let's show you this clip here. And I'll just show you a basic speed ramp. So I'll go right-click here real-time controls. And then you have to also check real-time curves. Let's just have enough room. So I would just add a speed ramping this footage. Maybe from here I want the speed to be a little bit faster until here. And then maybe slower. Yeah. So from here I want the speed to be faster. So what I would do, I would press this arrow, downward arrow at a speed point. So now I'm just going to zoom in with pressing S. So now we have two different section. In this section, the speed is obviously 100 per cent here also speed is 100 per cent. And then maybe I'm going to add one more point here. Three sections we have, all the three section have different speed points here. And what I'm gonna do go to change speed, maybe let's do 400. So let's play the clip. It looks a little bit here. Maybe we have to increase this V to 800 and C is the speed goes up and then down, but it's not looking that smooth. So what do we do now? You see this point. I just select this point. I'm just gonna get rid of either select this point. And I'm going to select this thing. So what this would do, it would lead it would let me increase the speed of this footage a little bit small. So you see there's a little bit of curve here. You see, here it's just a point and straight lines, straight line. But as you increase more curve, the speed, what we have changed the 400s, so 100-8, sorry, the speed what we obtain is to 800. From hundred to 800. It's going to go a little bit slowly, a little bit smoothly. Yeah, I'm gonna do the same thing here. So we are making like an S curve here. Yeah, So the smoother the S curve, the better the footage would look. So let's see again and see. It's a little bit smoke. And then we can add another speed ramp, let's say 800. And that would be until the end of the video. So here what I can do, click here and make a bigger curve so it's more smart. And just end the video here. Yeah, that's exactly what we're gonna do here. Because it can look really cool when we are putting the speed ramp at the end of the video. So you go here. We ticked real-time control the real-time curves. And I would be doing a speed ramp at end of this clip. So I'll just go, you know what I did right? At a speed points or the speed point is here and maybe say 200. So I want the clip speed to be 200 after here and just make it a little bit smaller. So I have drawn like a big line. You see, it's already ramp up from here. Or maybe make it 400 ramp up here. And then I also want the speed ramp to be maybe here. Real-time controls, real-time curves at a speed point and then change speed to this footage is already a little bit faster. Maybe I will do it to 200 and Sie sagen a bit slower and then see how you go. So also smooth it out. Maybe, or you can also drag and you can also drag the speed points. So we shouldn't make it too big. Just keep it until the end of the video, end of the clip. Now, I just want this clip until here. Now I'm going to introduce the drone clip. So I'm just going to increase another speed ramp. Let's go 400 this time. Smooth it out with this line. You can also change the length, maybe until May or maybe just here. The drone footage. I'll put the speed ramp here. Real time curve. No, that was not the plan. Real-time controls speed 0.800, I would I would be doing just make it smooth as smooth as possible. Because if it goes suddenly 800-100, it's going to look really bad. So let's play and see. And then again, we should be doing, maybe I'll do 800 again. Well, you know what I did, I change the speed of this whole thing to 800. You shouldn't do that. You have to first put add speed point and then change the speed to 800. So it's just in the end. Reset 200. It is just in the end, just over here. Maybe I'll put it again here. It's a little bit of work, but the end result is really cool. So I'll just go 800, make it smooth, smooth as possible. Maybe a little bit like that. Let's see. You see, and before it was just a simple cut between these two clips. And I see we have all these beautiful speed ramping. And if you cut it on a beat, it looks even better. And you see now, so now this clip is taking so much space. So now what do we do? Check the cross here, cross, cross, cross and take this, and take, and take, and take. And also do the cross here as well. So now you're back to normal because we cross it, that doesn't mean that our speed ramp would go away and look at this. It's still there, still looking pretty so speed ramps is something which can separate you from beginners. And I need to show you something. Also really cool because you might have seen a lot of people doing it, which is kind of like a drum drawn zoom out effect. So I just have to find that clip. I think yeah, it's in edit page on Zoom. I have named it. So here the clip is just me flying the drone backward. And I'm sort of revealing where I wear VR actually. But what I want to do in real life, in reality is as soon as my girlfriend says buy, I want to zoom out and go until here. You know what I mean? So I would press an eye point here and then zoom out and maybe go until here. So let's drag and drop this. It's gonna be a really big file. So here we have to do some speed ramping. And we're going to also do a little bit of blur effect, what I showed you before. So I would just go here, real-time curves, real-time controls. You don't need audio, so I need the speed ramp from here, starting from here, and then goes up, up, up, up, up. Maybe it stops here at a speed point. So here's the thing. Even if I do this 800, it's going to look really weird. Check this out. Takes ages to come here, but I just want a quick zoom out for that water. What am I gonna do? Look here carefully. I would just press, I will just select I get rid of this. I will just select this point as one of them bringing it up, you see the speed here is increasing, but speed here is reducing. But don't worry about the speed reduction. My main goal is to reduce the gap. Yeah. And now let's see what happens. Yeah, and I would just change the speed reset to 100. So for this effect to be working, you have to make sure that you have a drone clip or some sort of camera movement in one direction and no change in the angle. So look at this. A bit of drastic change. 100-400773 back 200. So what do we do? Make an S curve. So make it here. Make it a little bigger theater. So you see it's a little bit smoother. Let's check this. It looks nice. But to make it even better, what are we going to do? We're going to go to the Effects tab here and then maybe do zoom and zoom blur CC, V1, this effect on this clip. But as soon as I dragged and dropped here, that effect is throughout the whole clip. Yeah. So what do we do now? Keyframing. Let's go to Effect here. Zoom amount. No, we don't want any Zoom amount. So you see how this works? I have to put it to zero to make it look neutral. Yeah. And then I do Keyframing. And then as soon as I sort of go in the middle, while this Zoom is happening, I can also just press arrow key to scroll through the each frame. Here, I can increase this zoom effect. Here, the value was zero, as you can see here. As we came in the middle, at this point, you see it turns red. Here we have input the value of this much. Then as we go until the end here. Or maybe you have until the end here. I want this value to be zero again, so it's going to turn red. So we have three key points. One here, one somewhere in the middle, you see it turns red, and then one here. So let's play the clip and see how it looks. You wouldn't see the difference, but if you go like each frame, then you see that it actually looks really nice. So all these little things add up in the final clip and now it looks a bit more smooth. If you add like a whoosh transition, it's going to look even better. So Wolf's transition, you can just add it in the audio file. That was like a drone Dynamic Zoom out effect. So yeah, How cool Are these effects like? You really don't have to drag and drop any sort of effects preset. You can just create all these effects by yourself. So the next thing, what I'm going to do is to show you how to make a compound clip. So let's get back to this image and I'll show you how to use a compound clip. So here we have this clip. If I want to add one more clip here, I sort of sort of zoom this out and maybe put it in the middle. Yeah. So now you see that in this timeline there's like four different layers. Yeah. If, if I, if I want to make a change in n in all the four at the same time. I have to go on each clip one-by-one. Yeah. Say e.g. if I want to zoom everything, I lead a bit like this image, this image, this image a little bit. Then I have to change the values in each of them one by one. What I can do with compound clip is that select here new compound. You can rename it. I'll just leave it to compound clip. Now what happens is that. Whatever the clips were in four layers. Now, DaVinci Resolve would treat those clips as one. So now if I want to zoom in, in this image, what I would be doing is if I have to set a key-frame off, zoom in, I just go here. Maybe zoom in until here. You see. Now whatever change you're going to make on this thing, WE will treat the whole for clipped layer as one clip. So that's what compound clip is. So say e.g. we had this drone footage here. Like we have all these effects on this one. But if we want to treat it as a normal clip, we just clip, click here. And now we cannot change. Now there's no Zoom effectors. So like if we go to real-time controls, real-time curves, all the curves are gone. So now it's like a brand new clip for resolve. So yeah, that's what compound clippers and sometimes compound clip is really useful, which I can show you here. So say e.g. we go to Effects. And let's go to video transition. Yeah, Video Transition. Let's go to brightness flash. So I want the brightness flash transition in between these two clips. Yeah. But I also want some other transition as well, which I'm looking for. Maybe this transition. But if I put this transition, it's going to get rid of the brightness flesh. But I want the brightness flash and the other transition at the same time. So what I'm gonna do, put the brightness slash, this slash here. But now you see, watch carefully. What I'm gonna do is select these two Clip, new compound clip. So now these two clips or one clip. So it's like a one proper footage. And now I can put the camera shake, but there's no gap, but there's no cut in between these two clips, the previous two clips. So we have to find the cut ourselves. Maybe. I think the cut was here. You have to find the cut ourselves. And now we put the camera shake. So now we have the brightness and the camera shake together. You see, I can just put another compound clips and now it's a brand new clip for results. Again. Now what can we do? We just have to be really careful with finding the other clip. It's gonna be a little bit hard, but I think it's like the brightest part here. Let's cut it. And then maybe I want to put this transition, or maybe Let's just do this transition. So now we have three clips, one order each other with the help of compound clip. But it's a little bit taxing on your system. You see that's the job of compound clip. It assembles whatever clip you have selected together and treat them as one-click. And that can be really helpful if you're doing any sort of graphic stuff or if you have like ten clips piled up on each other. And if you want to put the same setting and treat them as a one single flip. So then you just put compound clip and you have a whole brand new clip. And if you want all the four layers here back again, what do you do? Right-click. Decompose in place, use clips only. So now we have all these clips back again. So now there wouldn't be any zoom effect because all these clips are here back again because the zoom effect we only applied on the compound clip. But now by doing that, decomposing in place, the compound clip is gone. And now the next thing what I'm going to teach you is copying and pasting attributes. I'm going to show you here. Let's go back in the timeline. So you see here the audio. I press, let's say if I choose it to be four or five decibel, and I want the same setting here, then I want the same sitting on this audio. So what do I do? I press here, I press right-click, I do copy. So copy can be Command plus c, or you can just copy here. And then if I want to paste the same setting on these two clips, I just select these two clips. I go paste and then pressed attributes and paste attribute would be old plus VR, option plus v. So Paste Attributes. And then da Vinci would ask me, what are the attributes you want to be copied? So I can do audio or attributes, or I can just do volume because volume is the only thing I want to be copied. You see now all the clips are in five decibel. The wavelength looks bigger because the volume, original volume of this clip was a little bit bigger, but they all are at 5 db. And same thing we can do for videos. So if you see here, the size of all these clips are little bit different. So I want the size of this clip to be on these to clip, those are the size of this clip to be on these two clips. What do I do? I press Command C, which is copy. And then I press select these two and then Command, or sorry. Then I select these two and then press Alt or Option and v. And then it's going to ask me what are attributes I want to paste from this, from this file to hear. I want Zoom. I don't want position because they both are at different positions, so I just want Zoom. So now all of them are of same dimension. And you can also do with cropping. You can do a lot of different, you can paste a lot of different properties. So if I do crop, if I had cropped to just this thing on the left a little bit. Now if I go, now after we have cropped, I press Command C. And then here Option V, also crop, everything is selected. I go here, Stacy now has cropped all these footage. So it's going to save you so much time. And you can do this. Paste attributes, what we just did now in your whole project, like you did everything, you can just do it. And same thing we can do here. If we want this setting on this part, also the zooming and everything. I just go Command C plus Alt V scale. I also want position crop top, bottom. Does that apply? And let's see what happens. See it's going to save you so much time. So yeah, that was it from the Edit tab. I know it's a lot of things, but yeah, any questions? Let me know. If you master the Edit tab, then everything is easy in DaVinci Resolve. And of course I've taught you a lot of stuff. But if you are confused, just go back to this lecture and watch again and I'm sure you will understand the whole thing. 9. Color Grading Introduction: Hello friends. I hope you're enjoying the class so far. Now let's talk about my favorite section, color grading. Da Vinci resolve with the software, which is by far the best color grading software in the market. There are so many tools and techniques in the software that can make even a simple looking footage looking like straight out of a movie. And that is why I want you to learn color grading in detail. So for the next ten lectures, I'll be discussing about color grading. I'll be teaching you a lot of different techniques to collect grid. I'll provide you all the raw video clips so that you can calibrate with me. So let's get started with color grading. 10. Introduction to Color Tab: We're going to go to Color tab, and this is our first image. But before that I'll give you a little bit of introduction for the color tab. So for the color tab, this is how it looks. If it's not looking the same way. You might have selected clips here, you see, you might have selected timeline. So I just get rid of that so that I have more real estate here to work on. And there's also some lots from DaVinci Resolve or my own lots. So they're all here, so we're not going to use them now, so I'm just gonna get rid of it. There's also media pool. So yeah. You can just change the layout. Just basic things which is not really important, which these things you can just experiment yourself. I don't want to waste your time on something which is not really important. This is a timeline and this would be if you turn on and off this one, this is the setting for whatever you have used. It's going to be, I'll show you so it makes more sense. So whatever settings I have put, it's going to disable that and show me the original clip. And this brings you to kinda, more full-screen is kinda gives more real estate. Here there's more options. There is this option, hand option where you can use move all the notes and stuff. Here. Timeline option this that affects, these are certain effects which is available in the colors, in the color page. And so we're going to use some of them. So lightbox is just going to show the frames and stuff. So what are we going to do? Click, click on light box again. I would get rid of effects. Yeah, if you get rid of no notes also go away. And here you're going to see two things. There's 11 dot here, which gives me the overall view of the node, node system for this particular clip. But if I click here, this is the node system for the entire timeline. So if I want to do like a little setting on the entire timeline, then I can use this to I just, I'm just going to add a new node here. So how do you add a new node in the Vinci Resolve is by pressing Alt S or Option, and S depends on what your system using. So I'm going to press all the ns that gives me a new node and whatever setting and we're gonna do on this node, It's gonna be the setting for the entire timeline. So I am just going to delete that and go back to the individual node. And this is Clips is just going to change the size of my nodes, which is not really important. Then we're going to come down here. So this is how I'm going to leave it here. So we have more room to see our image. And this is not available in the free version. This is the color matching which is not really important if you are studying out. And yeah, so now you're going to come to the important part. So these are the primary color wheels. This is one of the most important section of the color page in result. And we're going to be changing a lot of exposure values using Lift, Gamma, Gain and offset. And then there's HDR panel. I'll give you maybe in one section I'm going to use this because it's not as important and I think it's going to make it too complicated in the beginning. We're going to be sticking to primary color wheels. And we're going to be also sticking to the Log Wheels, which I'll show you in a bit. So this is also just RGB Mixer. So if you just go like this, if you lift the greens up here, lift the green, Live the greens down. That's how it works. So that's kind of showing how the image is looking right now. And this, we're going to have it not be using it. These are the Custom curves which you're going to be using it. And under curves there's a lot, a lot of section here. There's Hue vs Hue occurs. There's Hue vs Saturation. I think there's Hugh was as luminance, luminance saturation. So I'm going to go through all these curves briefly, and I'm also going to show you the function of these curves. So everything, I don't want to explain them already. It makes more sense that when we are actually using them, then I can show you how, what is the function of that. And these spiderweb think we, I'll show you how to use it. It's not as important if you're a beginner, but I'll show you how to use it. This is the selectors. If I'm selecting any thing, any, any color it's going to select in my node. So you see there's the selectors. If I selected, if I select blue is going to select the year. If I select this. And then you can do all sorts of changes. You're going to use all of this and don't worry, this is like a shape creators. You can create a shape and sort of do all sorts of effects in that shape. So I'm just going to go reset node. This is the motion tracker. You're going to use this as well. These things are not that important. This is a blur and sharpness scale, so you can change this. This is kind of the Opacity. I'm going to go through everything. I'm going to go through everything in the tutorial to read, don't worry, these are just some little options which is going to make more sense when you're actually doing it. Here is, here is just a color or a different representation of the primary color wheels. And this is the log watch. If you are coming from Premiere Pro, you would have, or if you have been using Lightroom Photoshop, you would be already familiar with fewer terms like shadows, mid tones, highlights. So these are here, log fields, but we're going to go back to primary views. And there's color boost, saturation, shadows, contrast, like all these things. We're gonna, we're gonna be using it. So it's gonna, it's gonna make more sense. Then on this side, you might not have the same layout, but you just have to click here. So this is kind of the, the keyframing, which I'll show you how it works. And if you go to sculpt, this is really important. And then there's also different types of scopes. There's waveforms, there is histogram, this vector scope. So you're gonna, I'm gonna show you the function of all the scopes. And yeah, I know it might look really overwhelming, but as we would go through all the examples and everything, it's all going to make sense. So yeah, that is it for the introduction to the color page. In the next section, we're going to learn about nodes because for some of you, from, for most of you it's going to be a new thing. So yeah, let's switch to nodes. 11. Introduction to Nodes: In this section, we're gonna be learning how node works, what our notes, first of all. And just, yeah, Just like how can you build efficient node structure? So nodes, these are called nodes. This is one node to node like that. And you can sort of buildup nodes according to what type of color transformation you want on your image. So say e.g. you can also sort of disable and enable node. So say e.g. if I click all these three, and if I press Alt and D, or Command D or D, It's going to disable that these nodes. And if I press this, it's going to enable this node. If I press Alt and D are, if I press, press Option and D, it's going to disable all the nodes. So you see, this is like before. If you want to see before and after, you can just go here. That kinda shows disabled and enables all these nodes. So what are these nodes do? So in each node, you can set up a different setting, say e.g. in this node, I can just do the white balance setting. So you see if I disable this, you see I'm changing white balance in this node. In this node I'm changing the contrast. In the next node, I'm sort of changing the color of the sky. In this node, I think. Yeah, in this node I'm changing the color of some sort of enhancing the color of the image. So that's how you can put different nodes in front of each other. And all the nodes, they have their different function. And how you sort of put them together is also a little bit of pattern. So what happens is that what do I do personally and how it, how it should be done is that, so if you have any image, what do you do first is that this immittance is in front of me. It's image from a GoPro. So what I did was first step was to get the white balance right, get the exposure right, and get the colors right until here, until the first three nodes. My set of footage looks a little bit neutral how it would look to normalize. So say e.g. if I also disable these three, this was the original photo. You see it's kinda washed out. And with these three nodes, I sort of made it look a bit more neutral. And after this, I am sort of also doing sort of color boost. The left here, D or Command D. So this is after this I did it. I did a little bit of color boost. Color boost is here. And that is helping me to give a really neutral look. Once we have a basic neutral from the image, because from each camera, sometimes it could be shot in a wrong white balance. Sometimes it could be shot in a completely wrong exposure. Sometimes they shot in a completely different format, like a log format. So it's like a raw file, really flat profile. So we have to get them in something called as rec seven or nine colors space. So this is Rex 79 color space where everything looks really neutral. And once we have achieved those looks in the first section, indirect 7.9 colors phase. So I'm calling this the first section. Then we would go to a different node structure where we can change the colors. And that sort of is like a color grading. So here what we did was color correction. And now here what we're gonna do is color grading with all these three nodes which are parallel to each other. I'll show you, I'll show you how can you make notes parallel? How can you, how can you make notes and layers with an example so it makes more sense. So with these three nodes, they are giving a color of a certain look to this image. And after that, the final thing was a little bit of vignetting. So I'm sort of making the surroundings a little bit darker. I just kept it extra so that if I want to do some last minute changes, so that's what the node structure is. So it's like literally like how in Premiere Pro, if you're coming from Premier Pro, there's like different layers and you just put layers on top of each other. And in each layer you made a different setting. So that's how, that's what the notes are. These nodes would make more sense obviously when I started bidding example. So what we would do, Let's just start with the codon creating process. So in the first section as the, as I mentioned before, I'll explain you how to get the neutral look. And then in the next section, we'll be doing color grading. 12. Introduction To Primary Color Wheels: Before going straight into color grading, I'm going to explain you the tools, what we are using and why they are using, and what is their function. So it's going to take any, barely going to take time. But it's really important to use that. So what I did was I got a gray background. This is a background which you can get. If you are in Resolve, you go to Effects, you go to generators. Then you go create scale. And then once you have gray scale here, what do you do? Right-click new compound clip. I had this compound clip and I want to show you some things so that It's going to make more sense when we are doing color grading. So here we have this gray, gray scale. There's one side is fully white, one day will fully blacks. And here we had the parade, which was looking super colorful when we were in previous clips. So you see how colorful it looks. And now here there's just a straight line. So we're gonna go to waveform and see that how, how these things, how the, how these tools are changing the colors are changing the brightness level. Because with these tools gonna be changing the exposure of the image. This is the most widest part, and this is the most darkest part, and that's what this line is representing. Everything is linear. And what I would do with Lyft is that if I increase lift, so you see all the white parts are disappearing. And if I go all the way up, the whole screen is wide. So that's what lift does. It sort of lifts the blacks and try to push it more towards the whites. If the image looks super dark, they didn't, then we can increase the lift. And this is the gamma. So let's see what gamma is doing. So gamma is sort of increasing the exposure of the image, but not all the way as how lift was doing. It's mostly increasing the mid tones. That's why there is a little bit of curve, but the curve is a little bit inclined towards the dark side. These are the shadow, these are the blacks. So that's what gamma is doing. And if I reduce the Gamma down, if I go the other way, so then it's sort of darkening the image is not going to darken it fully, but it's going to do its best to darken it. So you see, that's how much grandma goes. It has dark and all the blacks, all the shadows, but the whites here, it remains intact. Yeah. So then what is gain is doing? So if you see again, it's sort of increasing all the white areas. But if I go here, it still cannot get rid of the whole blacks. It's just going to go until here and sort of stops. So that's what Lift Gamma and Gain does. Guinea sort of brightening the image. Gamma is sort of helping that image to go a little bit darker, but not as harsh as the lift, because lift can make the whole thing black. You'll see how harsh lift can be. So if I just go, this is how you reset. So whatever value of tools and you just click here and reset, you see how lift, how harsh that lifted. But if I go all the way up, it can make it wider. So we just going to leave it here. So that's what lift is doing. A lot of you might have moved from Premiere Pro or some other editing software. And there you had these log views, the highlights, mid tones and shadows. So what is the difference between log and primary wheels? So the log v, what our primary wheel is doing is that it's sort of taking all that instead of taking the whole image together and making change in the entire image. And that's what Lift, Gamma and Gain is doing. And what are the difference between these two? So now if you see the graph, What's going to happen is that the highlights, if I swear, if I just increase the highlights, which is also for the whites, you see it's only going to go until a certain point. And if you see my craft, it looks like there's a lot here and now highlight cannot go past this point. You see with our gain, with our game, it could just go until all the way. Same with the mid tones is only going to go until here. It sort of clamped here and here. And this is the shadows you see, say it's not increasing, the whole thing is just, just taking care of the shadows in the image. Whereas these color wheels, they're taking care of the entire image. So that's why I find it easier to edit with my primary wheels than the law of built. And this is also the reason why color grading is more efficient and more natural and resolve. Because of these kind of small, small tools, they play a big role. These tools are not really available in all the softwares. And in this class, you will be learning exactly how this tool works and how can you just change little, little values to get a big difference in the image and everything would just look so natural still, in the end, if it's still not making sense, Do not worry. We'll still go through everything in depth. 13. Color Grading Using Curves: Let's start with our first image. So you saw in the last section that I had a lot of great on this one. So I got rid of everything and I would just put parade here. So the first thing what we would just do is to observe the image. So what I see is that this image looks kinda flat. The exposure is good. It's not super exposure is not super dark. So that's a little less work for us. But I'll still show you if you want to bump up the exposure, how you're gonna do it. So what do we see here? If you see up here, these are the highlights or the whites in the image. And if you see down here, these are the shadows and the blacks. So our goal with every color grading is to get our colors in-between these range. Because if it goes super like this, you see how the blacks looked. Save, I'm just reducing the left. And you see all the blacks is going past this point. Or if I go all the gains, you see all the whites is going pass this border. So our goal is to keep our image in-between this. Here what we see is that the reds and greens are, here, are kind of in the same level in the, in the highlights, in the white part. And you see blues, it goes a little bit higher. So what we can do, so what we can do is that if I go to my curves, and if I go here, just one curve and if I go to the blue line. So as I told in the curves before, that this part is all the whites. This part is all the shadows, and these are all the middle part, which is not supervisor, which is not super dark. And our images sort of lying in this area. So you see it, just look at the graph when I'm bringing this down. So let's see. Now I'm bringing the blues in the same level as the red and green. So if I press Alt D or Command D, you can see the change in our image. Usually, naturally, the image should have looked like this. A little bit higher. So naturally the image should have looked like this. But because of some cameras setting, the blues was a little bit higher. So that was our white balance. So now we need to get more nodes. So how do I structure? My note is that I have, if it's a GoPro footage, what I have is that I have four nodes and then I add on later. So here you can do a node labels white balance. Here, I would be doing primary curves. Primary here. I would do. Here, I will do contrast and we just go here. And you can also do all these three things in just one node. But just, just what explanation of this video, I'm just putting it here and when you're new to resolve, I think it's really important to just get a separate node for everything so that if you have to go back, you exactly know which setting was where. If you want to change it, you exactly know where it was. So after contrast, then what are we going to do is that I'll just leave a note for some final adjustments. Maybe you say color boost. So if I want to enhance the color, color, if I wanted to enhance the color, I'll put it here. Then after this. After this, you can also just get a new node here at a Serial Node, or you can just press Alt S. So I'll just go all tests and this would be the node level. Then look for what look we want. So that's how I'm going to structure it here. And first thing what we're gonna do is we're going to be just gonna get some pop in the image. So what I'm gonna do, bring the lift a little bit low. So you see the blacks are coming down. But I'm also making sure that I don't not going past this point. So I would be just going until here. And then I would also start off expand this game. So all the whites are sort of has gone up a little bit. And then what I would do TC name, it has a little bit of pop, a little bit of bright, a little bit of contrast. If you can say that, then what I would do to add a little bit more contrast. So we took care of all the bright parts by gamma, we took care of all the dark parts with lift. Now what I want to do is that I want to bring the overall image a little bit lower. So everything which is lying between the most brightest and darkest part, I'm going to bring it a little bit low. So it goes. So I'm still going down. But I'm also making sure that I'm not passing this line. So I would just go a little bit higher with my lift. This is how you play. So just because I set up my left in the beginning there, that doesn't mean that it should be there throughout the whole time. It really depends on you, how you want your life to be. Tonight you see the image, there's a little bit of contrast there. If you see that here, if you see here the shadows are a little bit more visible. If you see here, you can see like it's more visible, it just looks a bit more lively. Now, I would see if I need to add contrast or null just to get a little bit more pop. So what contrast does is that you see this, just, just look at the graph. It's going to open Lewicki, it's going to open the graph a bit more. Contrast. We would increase the whites a little bit more and reduce the blacks a little bit more. So you see it's sort of opening the image a little bit more but still staying, still in a kind of control the way that my blacks there. I'm just looking at her hair and just seeing if the blacks are not popping out. So I'll just go a little bit. Not really too much. I think it's already yeah. I mean, it kind of looks okay. Oh, maybe not sometimes you just I would just reduce it down or sometimes you just not even like it's not a hard and fast rule that you really have to do it, but I'm just showing you all the functions, then what you can do. And next is that what say If I increase the contrast here? And I'll show you a really good use of contrast in the later sections. So I would just leave the contrast here. I don't think they really needed. Yeah, I will just reset the node here. I don't think we really need it. Then what I would do, I would go, oh, I press all day because it got this selected. Here. I still see that the image is a little bit desaturated. So what I'm gonna do, I'm going to increase the color boost. I am not touching saturation because you see, look at the graph, what happens if I touch saturation? Saturation is only it's, you look at the sky. So I did saturation, say until 100. But if you look at the sky, the sky was barely, The sky was not as much saturated as how her skin was. Like, really doesn't look that balanced. So what I'm gonna do here, I'm just going to reset the node. I would do color boost and really gradually I go color boost. Cc here it looks, the whole image looks kind of more saturated, so I'm just going to do color boost a little bit until here. Yeah, that looks about right. Maybe just until here should also look natural because we still have to add a few more colors later. So yeah, that was color boost. So now we have achieved a neutral look. Could have also done this in just one node. I think it is just more clear and let it looks more clean. So if I just go Alt and D, so it's just going to de-select all the thing, deactivate all the nodes so you see how much we have gotten, how far we have gotten. So everything just looks how because I was there I felt in this video, so I kind of remember that this is how it looked. Actually. This was a little bit desaturated. This also I felt in a flat profile and GoPro film in a flat profile, then I have more flexibility to change the image. But if I already filmed in a neutral profile, then I wouldn't have that much flexibility to do male more changes with any camera. Try to, try to film in the, more, in the most raw profile as possible so that while, while doing color grading, you have more options. So just activating this lookout. It already looks so cool. What I would do is that I would go to looks, I'll just going to put here. Then first thing I was thinking is to get these colors out, the, get these, get these more popped up. So what are we going to do if I go here curves and then here versus here? So what is the hue? Hue, if you change the color, here, it sort of changes the color of the entire image you see because now here all the image is selected. You see huge changes, goes through different shades. So if I select blue and then change the hue, is going to show me all different shades of blue. So that's what we're going to go in this curve and see what colors of blue for the sky or what colors of this orange thing we like. See if I just personally I went to Hue vs Hue. If I just press here than it already shows there in the graph, does this color lies? So I would go a little bit higher. So you see now instead of showing all the colors which was associated with the same color or pattern associated with orange. So I can get, I have the option to get all these fancy colors. But what I would be doing, so this is going to more green side. I would sort of get it a little bit like very little pinkish. You see the color difference. Now what I would do, I would also get more saturation just, just here. So then what I would do here, I was here versus hue. I have to search for Hue vs Saturation. So here what would happen is that if I increase the graph like this, the whole graph saturation goes up. So I just need to select this part. It selects here as well. I'm going to ask that off, make it a little bit more broad so it's looking not that harsh. As I go up. You can see that the saturation, this thing is increasing. You see, and if I go before and after, Here's our gain more colors out of the image. So yeah, that looks about right. And now what I would do, I want to change the color of the sky. So I can probably do it in the same, I can probably do it in the same node. But then this whole things would look a bit messy. Because if I do a sky as well, It's going to be here. You can obviously change the color of the sky. But I don't want it to be messy because if I have to change some settings, then I know exactly where my colors are. So what I would do, I would make up parallel, parallel node here. So add a parallel node. And what parallel node does is that it's kind of taking the output from this, from this notes. If I just put these two here, just to avoid Can you, just to make it be more clear. So parallel node is taking all the information, not after we have colored graded here. It's taking information from this node. So whatever our final color swatch here, that's what inflammation is going to this node as well. I'll give you an example. So if I select the color of the sky here, and if I just make it say pink. So that was information which is stored in this node. And this one here, the information is coming from here. It has nothing to do with here. So even if I go here and select the sky, it will still select the blue area. So it doesn't matter what color it changing because technically it should have selected the red area or pinkish area, but it's selecting the blue area because that's how the image looked when we when this was not there. Yeah. Does that make sense? That's why we use parallel node to change the colors. But later in this section, I'm also going to show you we use add layers. If they add layer that has a completely different functions. So we're going to, I'm going to tell you later. So here I'm going to change the color of the sky because it's looking a little bit dull. So I select here, I'm just going to broaden this so that, so that it can also change the color of similar blues and all over the image. So we are in hue versus hue. So we have to change the shade of blue. So I would go up to make it a little bit more teal to see if I go down instead of going this way, a little bit more teal. So all these changes has to be really subtle. It does not have to be crazy, or the color grading looks really bad. So we just go here and let's go before and after. You see we are getting teal in the sky. And the next one, what I want to do, I also want to maybe change the color of the water or maybe sort of enhance the color of the water. So what I do, add node, add another parallel node. And I would go here, but we don't have to go in here versus here. We have to just enhance the color. We don't have to change the color of the water, so we're gonna go Hue vs Saturation. I go here. And then I'm going to increase the saturation. This is going to expand it a little bit. So all the different shades of blue there color is also going up. You feel before and after you see how much color we are getting. Say, if I just deselect everything, we have changed. This one. We have changed the color of here, and we have changed the color here. So we are sort of kind of getting somewhere. So I would just go here. I would also look, these were, what was these reds, I can say or I'll just do a read. This was blue sky, can say non-labeled hot. This was sky and this was water. We have each node four different for different things, whatever color we have changed. Here, it looks good. I just think that her skin is getting a little bit too unnatural color. Just maybe what we can do here is that I'll show you a new trick. Now we are getting the output from all these things. And because we have changed these reds that also kind of changing her skin color a little bit. And it's not really it's looking a little bit orange-ish. So what I would do, I just wanted the huts to be orange here, not her skin color. So what I would do, I would just add another parallel node. And then now I would select her skin. So we're gonna go to this selector here. It's a new trick. So you have to see this. So it's a selector, it's kinda selecting her skin I just pressed here. But how do we know what is selected? I can see my note that something happened. But to see what all things it has selected, I go here, you see it's selecting her skin but not all the way. It's not like super proper because I'm just pressing and dragging so that it selects all the skin. And see, I'm just pressing here and dragging that. Now you see what happens. I have this whole chart. So here what we would be doing is I am going to expand this a little bit. So as I'm expanding, you see all these all these edges. I'm not worried about anything else being selected as I'm expanding because I know that her skin would have gotten different shades. So now I have just her skin is selected. And I want to also get, because you see now they are all the same color. So it's also selecting the other things in the image. So what we will do, we'll try to play with saturation. So if I go here, it's sort of selecting more things. If I were just going to play around with this and see what all things, if I make it a little bit smaller, they are literally the same color. So in this case, I really don't think we can separate them. What I would do, at least I don't want the floor. I want a full body. And now what we will do, we'll just play with the luminance. Luminance is just the brightness value. So this is going to select the brightest oranges in the image, and this is going to select the darkest. And our image lies somewhere here. So you see the roof is more brighter than her skin. But now at this point, a lot of her body is coming as well too. They are literally, they have the same light. So what I would do this kinda nodding and Butler about it. Just let her my main priority is that her skin is selected or not. So skin looks good, kind of. Skin looks good. And here what we're gonna do in an odds ratio, so the blur, instead of add a little bit of blur. So these edges are not super sharp. And likely clean whites does increase everything a little by little. So now we have all our skin selected. But then the problem is we also have these things selected. So what are we going to do? We're going to draw a mask around her body. So, so what we can do now is we have to draw a mask. And for drawing a mask, we need another tool which is here. So I'm just going to zoom out and use this pen tool to draw a mask around her body. Now, it's only going to select this area. So if I choose this, you see, it's only selecting whatever was selected from the qualifier in this area. But if I go here, you see the thoughts are sort of selecting the hot. But I would just keep my image here. And now. I just need to change the color of our skin to get rid of these lines. You can just press this, you can just press on some other node. Go back here, it's going to stay there. I'm sorry. What what are we going to do? It looks a little bit orange. So we have to reduce the orange. So there's a few different ways, but the easiest way is to do this in offset. Our skin is somewhere here. Yeah. Like somewhere here, orange-ish. So what do we do? We push this metal button in the opposite direction. It's gonna kinda compensates and keeps an, brings the orange back to on the bluish side. So it's going to make, it's going to make it come in the middle. So now if you got before and after, It's not a lot of different, but it's a really minor difference, but now skin looks a little bit more natural. Yep. So that's what, so what we did was we selected our, selected the color from our image. Then we moved hue, saturation and luminance to select the perfect, to select everything what we could in her skin. And then with this to reserve draw with the pen around her body just to put it in the middle. We sort of drew around her body just to select this path, not the huts. But now the problem is, if I play this video, she is running around. So at this point half of our bodies there, half a body is not there. So what do we do? Yeah, you heard it right? I would just go in the beginning. And now we're gonna do some tracking. How so tracking what tracking would do is that this shape, what we have created. This is going to track her throughout the whole image. The tracking is here. And I would keep my clip here all the way in the beginning. And then I will try to see if it could track or not. In most cases, they do, in most cases they don't. So let's try it. So I just press the play button. You see, after this point the movement is so bad that it couldn't track. And I also think that why is it zooming out? So let's de-select 3D and rotate, and let's try to track again. Yeah, that looks pretty good. So that's what we have to do if it's not tracking well, you can select the select these things and see because I was seeing that, because our body is changing, the track was also sort of going this and this and that. So that's why I sort of got rid of the 3D and now it's kind of a bit more simple. Yep, She's not going out of bed. There's maybe 11 frame. That's a different clip. So there's maybe one frame where she goes out of the picture. So now we did all the tracking, but I still find that there's something missing. So this was our hear frame. I just wanted to add a bit more contrast, but I also don't want her hair and these things to be super dark. So what do I do? What I can do is that I can add another mask. So I see that the image looks pretty good. But I also see that in these areas, there's a lot of it's not that, it's not that popping, There's still a lot of contrast. What we can add. So that would be the last step. So what we can do is that I'm just going to make another sort of big circle around doors. And now we don't drink to track because it's gonna be like kind of a rough thing. Because all these shadows are already a bit too much. But all the things up here, they need a little bit more juice. I would just keep my shape here and I will just increase this to, I will just increase this to get more blur. Do it probably here. And now what I will do, I will just reduce the brightness. So I just go in the curve here, select y because that's the luminance, that's the brightness value. I'm just going to pull it down. Now what is this doing it that instead of pulling down by instead of pulling down the girl. So I will just go back, back, back. Then. I selected this. You see my note, it's showing that it's selecting this part of the image. But what we want to do is completely opposite of economic changes in these parts. So then we go here in Word. So now if you see here, you see that all the other parts are visible. Let's go a bit more up. So now we go here. Or what we can do, just let the, let the blacks down a little bit, get the brightness a bit more here. So you see now just with that tool, I'm getting more detail in this area. I'm getting more shadows here. There is a little bit of her hair also in the shadow. But I don't mind because if I if I go here, I'm just scrolling in and out from the mouth screen to do that. If I go like that. Then it just looks, it just looks like a little, a little sphere. A little sphere. So that's why I am sort of increasing the blur. And I would like it to be a bit more darker, not too much. Because I don't want I don't want these things to be super dark. Then maybe I have to expand my shadow. Probably go down a little bit here, maybe. Yep. And now I see before and after. It looks a little bit nice, more popping. So yeah. I think what do you guys think is, does this looks good? So let's see before and after. So I'm just going to press Alt and D or Option and D. Yeah, we got quite far. There's just a GoPro image so you can get so much out of it. So yeah, let's go through again and see what all things we learned. So I'm just going to deselect everything. So first thing what we did was white balance because I didn't want it to match everything. You wanted to get the most neutral image possible in the beginning. So we did the white balance now that selecting everything, because I selected this, the first thing what we did was change the white balance. And then we went to the primary curves in the second node and change the exposure. So, yeah, so sort of the image looked a little bit flat. The blacks looked a little bit lifted. So I sort of brought the blacks down, sort of gave more pop with that again here. Change some things with the offset, with the, change the exposure with the offset. And then next one I tried something with contrast, but yeah, I don't have to do it. So if you don't have to do it, you don't do it. So that's why color grading is a lot subjective because there is no hard and fast rule. Whatever depends on your taste. You should go with it. And then here I did some color boost. Is so much difference already. So this was just like how neutral it was looking through my eyes. And mind you the color of the water that was the same. I didn't do any color grading. That's how it was. Like. You see the sky looks kind of neutral. And then we did some color grading. So here we went to the huts, just popped the color in the Hertz needed a bit more to the orange side with these Hue vs Hue. Didn't go too far. And because I was doing that, that also changed the skin off the girl. Then X to change the color of the sky. It's the angle before and after. These are all really subtle, subtle changes, but they still make a lot of difference. And then I enhance the saturation in the water. I didn't change anything because the color of the water was already looking so nice. And all the things what we did was from these curves. Here we isolated her skin first with the selector and then set off with the help of the offset. We have sort of brought it opposite to the orange side so that it can counteract and make it look more neutral. And then in the end, I added a little bit more contrast in these areas without changing anything on the subjects. If I go before and after, easy to just buy these little tools, there's so many possibilities. And in the next section we're going to change the colors with the help of just this selector. And I'll show you a few more techniques to get the best color from your image. So let's move on to the next image. And meanwhile, if you have any questions, please write down in the comments below, or just reach out to me on my social media so that I'm really happy to help you out with. So yeah, let's move on to the next one. 14. Color Grading Using Qualifier: So guys, in this section, what I'm going to show is completely different and how we color graded just using curves in the last section, this would be completely different. So let's start. So I'll give you a little bit of background of this image. That is short on DJI maverick pro to. This is shot in decent, unlike decent it like at a different format in which the drone requires the video. And it sort of, it, it makes the footage a little bit flat, so that in color grading, we can choose our own way of collaborating. But the only problem with these flat images are, is that it looks flat to me. So I don't really know. In reality, how exposed was it that because whatever exposure value I'm going to change, it would only be very subjective because that's what I think how bright it was that day. So to avoid these confusions, that result gives us a tool called color space transformation. And that would transform the decent unlike photo or decent unlike video. To wreck seven or nine, that's going to help us to obtain the original image, how it looked while filming this. So what I would do, I would make 45 nodes here. White balance. I'm not sure if we're going to need it. Primaries. Here, here would be the kernel space transformation, color space transformation. And here I will just put extra, if I need some extra changes before the coolest race transformation. And once we have this transformation done, then we're going to start going into looks. So here we were gonna go say Look, whatever it comes. So whatever comes. So, yeah, I would start with the color space transformation. So in these cases, you always first start with color space transformation because you want to see how the image actually is and how the image actually looked that day. So you go to effects the third color space transformation. This drag it on this node. Here. Here we have input color space. So input color space is the space. What lot this image has been shot at. So this was DJI D Gamma. So to use this property, you should really know what settings that camera has shot the footage. So these are like, and we're gonna input gamma is rec 709, which is the same as our timelines. It's not really going to change anything. But you see just with one click, how much we are changing. So you see just before and after. So it's still really neutral. Look how it would have looked through our eyes. But I see that there could be a lot done here because the rates are all over the place, but we can still get a lot of our greens and the blues. And red is here out of the place because if you see this area that's a little bit dark. So we also going to take care of it in a bit. So first, let's just change the exposure of the overall image. So to change the export of the overall image, we're gonna go to primary color leans cause that's what we learned before. So what I am going to do, I would go to My Parade and you have to see these settings. Sometimes your graph is not that bright, or if it's like this, you can go all the way here. Yeah, I want wire RGB curve. The reason is that because here, if I am changing the exposure, this thing going down, it's going to annoy me so much because it's already here. So I'm going to take care of this later, but I still want to see where my overall image is going. So keeping this in mind, I would bring the lifts down just to see if I'm not crossing the line. I know it's getting super dark here, but we're going to take care of that later. But you see, just with this, you see how much blacks we have gotten in. And then next one, what we do, we're going to increase again because I think that the overall image is looking a little bit dark. So increase the image. So we're not going to be bothered about this. We are mainly bothered about this one, so I don't want this to clip over this. So I can push this image maybe probably, you see as I go just two or this, you see the clouds is getting all blown out. So I am just going to leave my image here probably. Yeah. And then I'm going to bring the camera down just to get the blacks a little bit more pop out. Yeah, probably here. I'll just lift it a little bit because I see that my image is going to low here in the shadows. Yeah, that looks about right AC. If I go before and after, just look at the luminance, how it was like this. So how it was like this before. And our main goal was to expand it to throughout the whole exposure, expect from it without sort of blowing everything out. So let's go before and after. So this was before and just many do after you see how much we can get information out of our image. So that's why it's really important to film in log profiles. So now we have got like a basic kind of look. It still looks pretty good. Just for commercial work. This already looks so nice. And we're gonna do few things extra. What I would do, I still think it's a little bit dark. So I would just increase the exposure. Quiet more probably until here. And then if you see this whole thing is clipping, so don't freak out. Now I would go to extra here and do something. Well maybe I'll do node level extra one, extra one. And then because we're going to add one more extra after this. But you'll see that my sky is clipping like crazy. So what I can do is that these are all highlights. If I reduce my gain, the whole image goes down here. This is the time where I would use my highlights. So I would go to the log profile and all the bright areas are where my highlight is clipping. I will just reduce the highlights down. So it's, it's barely doing any sort of difference in the, in the, in these areas. But it's making my clouds come back to neutral. And if you see the graph, it's not doing, it's barely doing some changes. It's doing some changes here. But our main goal is to bring it back here. So that's why we use highlights. So before it was all blown out and I brought my highlights back so I can bring it down. Let's say until here. Let's say, Yeah, so it looks kind of still be here because I want this image to be like really poppy sort of commercial look. You see, what's happening is that we're sort of losing the contrast in this area. Yeah. But by Beach also sort of blows out. So what I would do is that I would do another selector, and this time I would go to my selector here. I would go to my selector here. And what I would do is that because I just want to put highlights in the most brightest area. So I'm going to select this. And I'm going to choose the luminance value. So I'm going to choose a luminance. Just select this one. So I see that what's happening, the dominance is also obviously the brightness of the image. So illuminance would only help me to get down the highlights in the most brightest area of this image. I don't want the highlights to be down everywhere. I just want my highlights to be down in these areas because they are the brightest. What I also did was I sort of increase the softness. That helps me to select the images better. So I want my oldest sky to be selected. So now you see, now what's going on is that I am just retaining the information just in the sky and a little bit of sand, you see. But my graph still looks a little bit blown out. So what I'm gonna do, go back in primaries, reduce the gain a little bit. Probably here. You see the, what they did here was I would just go in brief, so I was changing the highlights of the image. But he was also affecting the highlights everywhere because this is also, There's also a bit of highlights here. There's also a little bit brighter, brighter part of the image. So what I did was with my two selector tool. And luminance is the brightness value of the image. So I just selected with this tool, I just selected the brightest part. And I use this tool, the soft, to select it better because it's gonna be super harsh now. And it's sort of selecting even the sky a little bit. It's not just selecting the clouds. They thought selecting a little bit of the sky as well. So yeah. Now you've seen before and after. So we're still retaining all the information. This is the kind of natural look. From this image. And later on we do the color grading. But let's see how far we have come. So if I just go Alton, D or Option and D, You see my changes in the image. And I know this area is a little bit dark, but we're going to take care of that later. So now the color grading process. So here, what are we gonna do? We're gonna do color grading in a completely different day. It's gonna be kind of similar, but maybe not similar at the same time. So you have to see that here, I'm going to enhance the values of reds or change the color of this one. So let's see what we can do. So node label, all those go red. And now what I would do, choose the selector tool and just rub it around here and see what all thing it can select. So I just go ahead and highlight two. Yeah, it's selecting all the huts. And I would just move around and see how far I can go. Not so easy if I'm going this far, then selecting more things. We just go until here. Then I will just scroll on my saturated because I think it's already selecting it pretty good. Yeah, I think I'm selecting all the hot, probably throughout the whole image, but you see all these little things which is also selected. So now maybe our luminance can do the magic. So if I try to go more this side so that it selects only the brighter parts. Just do it a bit more soft. You have to really like just play around with these three tools to select what you really wanted to select. Maybe this is going to close it. Yeah, yeah, yeah. I think we are getting there. So here I have just selected just this much color, whatever is in displays that can only be celebrating the screen. Now to make it a bit more clean, what I do, I increase the ratio, increase the blur ratio, increases all these a little bit so that there's no like a harsh line next to the things. Cilia. Now what we do, whatever changes you're going to do is only going to change the things which is selected. So we are going to be changing the hues. So we change the hue last time with this graph, but we already have all the selections. I can just change the colors with this one. So let's see. I want it a little bit more orangeish. Maybe. Let's do 51. And these are all subjective, like you can just make it how you want to make it. Then I would do a little bit of color boost is easy if I go all the way, It's making it look a little bit fake. So maybe I go say 75. Yeah. So if I go before and after, you see It's sort of just like it's like literally coloring a box. I'm just coloring the huts. Yeah. So that was one that was the reds. Now what I would do, I would also change the color of the sky. So I'll just go parallel, say node labels, sky. But I think if I select the sky, there would be other things which are similar color to the sky that would be also selected. So I really don't mind if I select this guy just here. But I also want to open this up. Now, just until here. I think that was really good selection. Oh yeah. If bagels saturation a little bit, it also selecting the ocean, but I don't want it to select the ocean. Then maybe the luminance can do their magic. So you see, you just have to play around with these things. You know what I can do? I can select Yeah, I have just my sky selected. What I can do to get rid of this selection, I can just put a mask or the sky. So it's sort of just choosing my sky. So what I would do, I would go here, get my mask on. Let's go down C30. And now I can just change the color of this thing. So sky, we go towards just changing color here. Not too much, maybe 50 psi. So let's see. Where do you see there is a little bit of a boundary here which looks super weird. So what I'm gonna do, I go here. And then inside and outside. Get it a bit more soft. You see? Now, let's go before and after. It's still looking a little bit weird. So what I'm gonna do is change the yeah, Just make it look a little bit more neutral so not let it select. Yeah. Let's see, before and after. You've changed the color of the sky. Now what we're gonna do, add node, Let's go parallel. And we're going to change maybe the color. We're going to just enhance the color of this whole thing. So let's see. I want to make it a little bit bigger. Go a bit more. This side. There you go. Just, you just have to play around with these things and see what all things you can select it. I don't want my sky still be there. Just go in and out ratio black glaze, clean whites, clean blacks, everything up and let's see what we can do. So here, I don't want to change the color, I just want to give more juice. You know. I also want to increase the highlights here. Let's just call it before and after and see I changed the color boost and the highlights. Now if you see the clip you see before and after, you're getting so many things selected in the thing. Yeah. So these were the three color things that we changed. You see, the whole image kinda changes. Because our main goal was here to just get the most out of this image and make it look more poppy and more commercial. Like. Yeah, that looks good to me. And what I would do, I think that here there's a bit more, too much highlights. So what I would do, I would just reduce the gamma a little bit more. Yeah. See, one node can make so much dear friend Jess, our primaries can make so much different. So whatever you're doing here, you can always just go back and change these values. And then next one, what are, what are you gonna do? Is we're going to take care of this part. So I'll just get one more node. And I'm gonna go to the end here. We're going to select something called a gradient. So what would a gradient do? All the things which is not great. That's gonna be all the things which is not great that we're gonna be working on them. They want a softer output. So you see, now what we can do. We can increase the exposure. So I just go in the middle. It's increasing exposure completely out of the screen. So what you're going to, let's bring it more in and see. Though. I would also go here because it will select, I can do whatever I want in this section. I would be increasing the shadows probably. That's a bit too much. So I am gonna go maybe here and probably tilt it that way. Yeah. So what do you guys think? This is before and after? I think that's a little bit too much or you know what? A little bit too much. So I'm just going to reduce my show. Yeah. Or yeah. That looks that looks pretty good. So what I would do, I still didn't track my sky. It's not a super crazy movement in this image, but yet I just, just for the sake of it. So yeah, that was it for this collaborating. So I will just go through it again and see. So the first thing, what we did was I'll just deselect everyone. So the first thing what we did was color sprays transformation because I wanted it to be in rec center line. So I did that. And the next one, what we took care of was primaries. Primaries just boosted everything because that's what I wanted to get. Here. I went a bit too much because I want it like the pop the image and white balance. We didn't do it because it already looked kind of okay even with the crafts. And then the next thing what we did was because I saw that the sky is blowing out. I sort of reduce the highlights also from the sand. If you see here, you would see that there's more details coming back in. And then we did the color grading. So that was the image which is a proper XOR line width, contrast boosted. And so next thing what we did took care of the red on the huts, increase the highlights there, increased the color booths there. And we took care of this guy, made it a little bit more teal Tracy, with collaborating, you don't have to push it too much or it just looks so artificial. Especially with sort of travel images or commercial images. Not too much. But I'm also gonna show you later In which situation where you can push or if you have a client which demands to be like a dramatic image. There is a specific type of videos that you can do. Obviously you can do on this one, but it's not really going to look good. We took care of this guy, coming back to this image, take care of the sky. And here I totally forgot or the water. Yeah. You see? If I don't know, I would never know. So here, the water yeah. We took care of the colors. So this is what colors we did after our rec seven or nine transformation, this. And then lastly, we took care of the shadows in the corner. So yeah, that is our complete image before and after. So let's play it and see how it looks. It looks pretty good. I hope you're learning a few things from this section. In this section we did color grading by just the selector tool. So we didn't use the graph like how we use in the first time, we use the selector tool. So I hope all these things are making sense. But if you have any questions, please reach out to me. 15. How To Use Contrast And Pivot Tool: I'm going to show here a tool which is going to help you to reduce the brightness or to gain more, gain back a bit more information in the image. There's not a collaborating tutorial, but if your camera has the ability to retain the highlights, we can take care of that and result. So here, I would increase the contrast. And then if you see pivot, what I would do if I increase it to zero, towards zero, it's going to increase the contrast a bit more. It's going to make the brightest part more brighter. It's going to make the darkest part more darker. But if I go up, but if I move the pivot to the other side, it's going to bring the brighter part and the darkest part on the same level. So you see, I went to zero, it was like that and I went to one. It is like this here. But now there's also one more thing what we can do, you just hold this. That's all I'll bring it down. So if you're going to bring this side down, you're going to bring more highlights. And if you're going to bring more this, they're down, you're going to bring more blacks. And so you see, I would just sort of bring it in the middle and then just change the x. Plus I'm showing you all these things in one because in one node because I just want to show you how much exposure and everything you can just retain by just looking at these graphs. So it was in the beginning, look, it was like here all the way. So we have already gotten this much information from this little information, what we got in the beginning. So what I would want is with the help of left, I'm just going to bring down a bit more, bring down Gamma a bit more. I know it's getting a little bit darker here, sort of pushing it a bit too much. And just increase the highlights a little bit. Dizzy if this goes above this, the highlights already sort of blows out. So I am just going to leave it here. And now I would go to the log curve because these areas, they still look a little bit dark. They will go to the locker when I would increase the mid tones. Mid tones are, as I showed you in the graph before, it's just going to increase the exposure of specific region. And I think these things, they all belong to that specific region. So I'm just going to increase the Midtones until it starts to blow out. So you see, our image was like this. We got it here. If I increase the shadows because there's no shadow in this image anyways. So I would go, I think I put you in a bit too much. I would go just until here. Still we got so much information from this image. Just by these tools, you can increase or reduce the exposure. But obviously in the end depends on what camera you have shot on. But yeah, I hope it all makes sense. Now let's move on to the next image and I'll show you one quick way to color grade and this one. Let's go. 16. Color Grading Using Qualifier Preset: So this is a new image. So here we see it looks kinda balanced. But from the parade, you can see that there's a lot of highlights, a lot of exposed area, super exposed areas here. So what we can do make for now it's probably white balance. I would do primary. Just extra overall. If there is something wrong. Here, we'll do look, maybe another node. Just overall. If we want some other changes. So what we can do here first is I would reduce, bring this back in the picture. So we are in log v yields. I will just reduce down the highlights. They see, reducing down the highlights. It's only affecting the highlighted area. It's not affecting the image at all. That was the good part about also this tool. If I just go all the way down, you see just the highlighted area goes down. But if we go and reduce the gain, is it brings the whole image darker. Yeah. So what we can be doing here, there's not much really to do because it's already a little bit clipped. But I want to, but I wanted to have a little bit more contrast. So what I'm gonna do, I'm just going to play with Gamma and Gain. Reduce it down here. Increase the gain. Probably here, and reduce the highlights a bit more. So let's see how far we have got enhancing all the colors instead of making the darks a little bit darker, the brights a little bit brighter. So my subject is also great in getting brighter. Yeah. It looks good to me. So I will jump straight into the looks. And then in the end we can do some global adjustment. Because I, my goal is to get kind of like a dark theme in this image. So the image goes like this. Maybe. I'll choose this as the hero of frame. So the image goes like this. And I want it to be like how they have in the horror, horror movies, but a bit more suspense kind of look, suspense film looks so for this one, the graph is still green, too happy. So what I'm gonna do, We can use the selector from here, or we can use the graph, the hue versus hue. I select the grass and then do the changes. There's also one more way. So I go to color, I go to preset, and then I select greens. So yeah, so if I go here just to see the selector, it only selects all the green in the image. And if I go to the selector, you see it has already done it's own work and select it all just the greens in the image. But I can obviously move it here and here obviously depends on how I want it to be. And if I go more this way, it's going to give more saturated look. Yeah, So that's how it's selecting all the greens. It selected all the reasons, but I can always just change the values and get more out of the image. But I see that it's also kinda selecting my subject. So I would go sort of softness in probably until here. That looks about right. What I want my greens to be is I can just change the value of greens from here, from here. So I would go a bit more this side. So I don't want it to be super dark green. We want to have a little bit more yellowish look. Yeah. That looks about right. Yeah. And then I also I see that her jacket is looking super saturated, super dark. Wilson wanted to change the color and change the values, change some values in that I go to parallel. Now, I will just select a read from here and let's see if my tracker and select it. Looks like it did. It did all its value, then it's just selecting red. That's the only reading the image. So now what I can do is that I go here. And now what I can do is that I can reduce the highlights in the red, so I can just go here as well, get the highlights down so you see. And I also want to change the color of the red. Not green, but something which is not super popping up. It looks a little bit weird because I think I've pushed my greens a little bit too much. Maybe around if T2 is fine. Yeah. I'm here. They're probably lead dilates. Go up a little bit easy. You just have to see the image and see how it looks. You. Yep. That looks good. And now what I would do, I want it to be like a bit more moody, a bit more dark. So here I will just reduce the overall exposure of the image here. And then I also want it to be that blacks to be a bit more black. This just the look what I'm going for. That's why I'm pushing this image a little bit more. But it's totally subjective and it depends on you. So this was a global adjustment. Maybe I want it to be a bit more dark. So what I'm gonna do, I go to my SDR curves, don't freak out. And just toggle around. So these are the weeds or you can just toggle around. I'm looking forward to lie. This one is here. So what I'm gonna do, I'm just going to try to reduce down the light and see what it does. If I play from the beginning, the reds are looking at a little bit too much. So I would just reduce down the saturation and say, yeah, let's see from the beginning, Let's totally subjective how it's looking, but it depends on how you want it to look. So just by changing few values, if you already have a usual clip, you can, just by changing a few values, you can get the colors, how you want, how you, how you want the mood, Turkey. This was the before. This is after. You can go through it one by one. So we didn't really change the white balance because I thought it was pretty okay. I took care of this highlight in the primaries and sort of reduce the, reduce the gamma a little bit, increase the gain just to get more pop in the image. And then extra, I didn't do anything for the look. I changed the color of the grass here, manipulated some color of her jacket. And overall, I wanted to have a bit more dark and moody look. So I just reduce the brightness with the help of these curves. So I reduced the highlights from here, I reduce the whites. And I also went to HDR panel and reduce, and reduce the here the light. And then we ended up with this. I think it looks pretty good. What do you guys think? It's from here. We got until here. So yeah, that was it for this one. And in the next section, I'm going to show you how you can transform this image to this. 17. Color Grading Using Offset Tool: This image was shot from the Sony A7 S3, and I was filming in log profiles. So first thing what I need to do with the color space transformation. So this label the node what? White balance primaries. First thing cause phase transformation without asking any questions as we go, this input color space was these things you really have to know. Because if you don't know, then the whole image can be something completely different. Input gamma was Sony as log three. So you see them with one-click. It's easy. Just with one click, I can already get how my image was looking exactly on that day and how I filmed it with all the recordings and stuff. So you see the white balance. It is super spot on. So that's why every time and you're filming really makes sure that the white in the image are white, are looking white. This will just add some extra step in the post-processing. And sometimes if it's not shot from a good-quality camera, it might be really difficult to just get those natural colors. So if you just have to make a commercial look without any sort of cinematic look than what we would do. As you can see here, we still have a lot of things, what we can play around, kind of we'll see, we'll see because this is the overall luminance over our light brightness image. I think I can just give a little bit of pop and bring the shadows and the darks down a little bit so that her hair is a little bit more black. So I'm in the primary. Let's go here. Let's try to bring the left down until here and maybe gain a little bit up. Let's see before and after already adding a little bit of pop in the image. Yep. And then our next thing, what I can do is I'll just increase the gain a bit more. Yep. It's giving like a really good clue on her face. But then I also see that this part is a little bit more bright. So what I'm gonna do, I would just make another or just to wait an extra. So we're going to reduce the highlights on this. So just as how we did before, I'm going to select luminance and it's gonna choose the most brightest part of the image. Probably this. And then I'm going to make a, make it a little bit softer. And then from there I reduce the highlights. So I have all these paths selected with the help of luminance. And then what I'm gonna do, I go to the log curve, I reduce down the highlights. You see my image was here, that my image was not my middle of summer here. With the help of this, I can reduce down the highlights. And did it change anything you see? It's that are bringing more details in her clothes. It's sort of bringing more detailed look at the clouds binary. Or maybe I reduced it too much. Maybe just suddenly. It looks kind of okay. So if we go to just, if you just deselect these two, let's see what we have done. This is what the image looked up, the color space transformation, and we have gone here. So if you just want a commercial look, this is already like it's looking super nice. And it's also because how we shot it in the camera. So it's always really important to shoot it with the most neutral colors as possible so that you have less drama in post-processing. So now it looks pretty good. What I would do now is that I want to make it a little bit of cinema kind of look. So what I want to do is I want these to be kind of blues and a little bit dark. And I want the overall image to be a little bit dark. And that's it like more like a joker. Look if you, if you know what I mean. You might have seen that look in a lot of movies. So what I would do for that is I am going to bring my offset down. Yeah. Because I want more blues in the background. But if I select this, this, this is just a white color. So it's not really going to select anything specific. So that I can change the color. Or even if I go with the graph with the hue versus hue. If I select here, it's like it's barely going to do any difference in the thing. So that's why I'm just going to go to Offset and bring their overall image to the bluish side. Let's see what we can do. So I am bringing not like super blue, but a bit more towards the teal and a bit more towards the teal and green each side. So let's see if we can make that happen. Yeah, that looks about right. Let's try to as the green side. Yeah. That looks about right. What I also would want to do, I would also bring down my gamma a little bit. I'll bring down my grandma and increase the weight any to see the picture without anything. So primaries, I would bring down the gamma a little bit more in this case. Because now we are going for more sort of drama, more dark look. So overall, it kinda looks okay because also if you see her whole body is, her whole face is also greenish. So now you're going to use a layer node and water layer node does, is that you're gonna, you're gonna see if I do parallel. Nothing happens. If I do layer. What is, what it's doing is go over here. What it is doing is just adding an extra layer on this image so that they don't see this image at all. So it's like an OpEx subject, which is sort of just sitting on top of this node, just not letting me see what this node is doing. And if I select something in this node, then it's only going to affect that thing and leave the overall image like this. So I'll explain you. What I would want to do is that if I deselect that, I see that her face is also kind of greenish and it has blended so much in this image and I don't want that to happen. So what I wanna do, layer node, and I would just select her face and see what we can do. So the first phase is selected. If I go here you see all the other things are also selected. So what I would do, I would try to get rid of this thing by the negative selector. But if I get rid of the building, It's also just going to move it around her face because because we want this face to be selected, that's like the most priority. I really don't care about the outside things because that we can take care of that later. I can still move around and see what are the things that you can just get out. Let's just zoom in. Faces good. With the saturation. Let's see if we can just move around. Oh, no. Yeah, maybe saturation and luminance is going to help. If I go more this side, because her face is the brightest in the video. Maybe you can help me to select that, but there's a few things which is not really helping me to select everything. Video. I think this is good. We can always just put a mask on her face and just let it track, but the roads are fine. It's not really in the picture. I will just increase these two. Everything is nice and soft. It's not sort of blown out. And now if you see it just looks a little bit vague here because we're going to take care of the buildings later. But if you see it, just her face just looks a little bit kind of odd one out because also I think that the face color is not really proper. And that's also a problem with Sony. That the face is more towards the face. Colors are not supernatural in Sony. So what do we do right now is that we go to vector scope. And this is a really good tool just to get the perfect face tone. So what I'm gonna do, I just go here, show skin tone indicator, safe. Our skins are somewhere here on this, exactly on this line, which means that we have selected the perfect skin tone. So what I am going to do, I'm just going to move the offset and see what's changing. So if I move it here, you see this little thing. This little guy is moving away from this line and my main goal is to bring this little guy on the line. Would just go a bit more towards the pink side. And it looks kinda okay, but it still looks like it's sort of kind of popping out too much out of the whole image. So what I'm gonna do now is that I want to, I want this node to be blended in, in the background. But first, I need to just select her body. So what I'm gonna do, I'm just going to make a mask around her body. Let's go, go, go here. It's only going to choose what's in the image. So I'm just gonna go here and let's see if it can tracker because that's the most important thing. So I would go to the tracking panel. Let it go track. That kind of does an okay job. Let's drive it to rotate in 3D and see what it can do. Yep, I see that her face is kind of Let's go track backwards and see. Oh, I think we have to get rid of that. Now. Let's go here. Let's drag back again. Sometimes these tracking can be really annoying. I think that looks pretty good. Her hands were moving out, but it should be fine for the most part. So now that we have her face ready, her face is kind of popping out of the green so we have to blend it in the background. So what did we do? You go to here, to the key legal here, and then c0 output gain. I'm just going to reduce it a little bit. So you see now her face is kind of blending in the background, but it's not popping out that much that how it was popping out before, you see, it was like this before. Then we have when we raise it to say one, that's a bit too much. Maybe if we reduce it down to 0.5. So yeah, if he just with these two nodes, we changed the whole image. You see it's like a more sort of commercial, not a commercial look, but more sort of cinema look. And if you wanna do take care of her clothes so you can do another node. But I'm not going to explain that in this tutorial because you can just do it by herself. Choose another parallel node, and just take care of this closed so you can change the exposure, change the color of the change. With change the color of the clothes, it heals and you can do just everything. Here. Let's start again. What did we do? So first thing we did was color space transformation to get into rec center line color space. That with this one already looked so good. The next one we took, we went to primaries, just brought the blacks down. We made the gain a little bit up, also brought the gammas now in just to get more details around her and on her face. And then the also sort of increase, the reduced the highlight because her clothes was popping out. Just a little bit of minor change, but we sort of reduce the highlights a little bit. You can always just go a bit more lower just to see how it, how it was. Probably here. Then what we did, we went to the loop section. So I didn't do anything in this note. I don't know why an overall we wanted this look. But then the problem was her face was also sort of getting this color. So I went here and I made her face pop out. And I can do one more thing because we have her skin selected. And I think that what I can do is I can go here. So this is a tool which canal, which is going to soften your skin or it can add more detail. If I go the other way, you see that instead of adding more detail in her skin. But if I go a little bit back and go a bit more this side, some sort of adding a bit more softness in our image. If I go back and forth. Yeah, that looks about right. Yeah, so this is how we can achieve a cinematic look as well. So just by going into just making it first, maybe just bring the image back direct 7.9 curve space. And then when you go to overall, and then when you go to just make two nodes, you can bring the offset to whatever value you want. And then you can select the faces of people so that it's also not about blending in the image. So here we're going to move to the next image and then I'll show you something really cool in this image. I don't want to, I'm not going to explain you everything because it's literally the same thing what I did before, but I'll just go through the image really quickly. So here I changed the color space transformation, so it brought it back to wreck seven or nine. I would just go to the parade. So in the beginning I just had this much inflammation and we expanded the image to this much. But I wanted to expand a lot because there's a lot of room in the shadows, quite a bit of room in the highlights. So I went to the primary color wheels and I did something, brought the lifts down, brought the highlights down because it's a little bit too bright outside and a lot of light coming. And then I still thought that I still need to give more juice in the image. So I said I've used my contrast to make it a bit more brighter. But here I'm rotating the pivot to get more contrast in the image so you see how much just this contrast is helping this image out. The blacks are becoming blacks. And there's more, the brightness is becoming a bit more. The next thing what we did was brought my image to more sort of greenish tones of you not going blues at all. And then selected my subject out of this. And here, here what I'm doing is I'm sort of using complimentary colors. So here, because my image was all green, I'm going the opposite way to make a bit of contrast in between the image. And then what I did was I still thought that there's a lot of light here outside for coming from outside. It looks a bit weird. So I sort of reduce the lights down with the HDR panel of the whole image. I think it's a little bit too much. But yeah, it's really subjective. So I went here and I chose the light to come down a little bit. I think I went a bit too much. And one thing I didn't do probably here was too soft and our face, I think. Oh no, I actually did. So I soften a little bit more. I just thought. So usually it would look like this. You see all these some sort of pimples and stuff. So I would just reduce it, make it a little bit more soft. Yeah. So that is how the image looks. And this is how it looked before. So yeah, this is how it looked before the colors phase transformation. So this looks like a commercial loop. Really popped really high contrast, district seven or nine colors space. But I did something to put more colors, put more drama in the image. So this is how we can color grade the images. We're going to move to the next section and then I'll show you also something completely different. 18. How To Get Perfect White Balance: One thing I also wanted to show you just an easy white balanced tree because we have not really learning about white balance because I had barely any images with the wrong white balance, I found one. So here there's two different ways to change the white balance. The first and the easiest is you go to the primary color wheels, select this thing because you can also change the white balance with this one, the temperature and tint. But I would go here, this is a selector and this is going to automatically choose the best white balance. But the only thing you need to do is to select the widest, select the whites in the image. So that in an ideal world, what part of the image would look white color? I think this was why it's if I just select that color, just with one click, you have chosen the perfect white balance. And there's another way to get perfect white balance. What I explained you before, I go to the, I go to the Custom curves. I can already see that the rates are a bit too much. Green tea is kind of in the middle and there's no blues at all. So I can just increase the blue because I want to make the blue go a bit more higher. So I'm just going to increase the blue and make it come to the same level as my red. So you see now there is a bit too much blue. So I'm just going to increase the greens a little bit. Make it come to the same level as I'm just going to make it come to the same level. So now you see the whites are kind of getting a bit more closer. But here, bring the red down a little there. So now you see all of them are kind of in the same level. And we go from this to this though sometimes the auto white balance don't work. So that's when you can use these curves. So yeah, now the image looks balanced. Do you see the red star here, the greens are here and the blues are here and before it looked like this. So that's what I was saying, that even if your screen is not color calibrated, just by using the scopes, you can already sort of color correct the image. Color grading would be a little bit of problem. But you can still color correct? All the images that you see before it looked like this and now it'll look like this. So now we're going to move to one of the last section of these. So now I'm just hoping that you are following the whole thing. And yeah, I'm really glad that you are enjoying this course if you're still watching. 19. Color Grading Using LUTs: In the next lesson, we're going to talk to you about how we can color grid using lots soil. So that is in this section, what are we going to do? I'm just going to put four nodes. White balance looks pretty good. I am not going to do white balance, but I would still leave a note before node level. This would be primaries. This would be something extra if I want to take care of something, this would be the lot. And this would be three or bot. And this would be over. Here. My image is sharp, pretty good. I think there's everything, all the reds, greens, and blues are in the same level. The highlights is pretty good. So this is how, this literally how an ideal parade should look like. But because I didn't shoot it in a log profile, I really made sure that my exposure is on point, my white balance is on point. So yeah, this was not shot in a log, this was just shot in an S in a tone in my camera and I have just made an auto setting so that I could get the best output from the camera. So yeah, that is a primary veal, but I would still want to get some contrast in this one. So what I would do, I can see that there's a little bit of room left here for my blacks to go down. So I am just going to push it down, maybe just until here. And then I'm gonna go down with my gamma and see how far I can push it down before it's sort of crossing the line here, but it is not. So let's see how far we have come. They can already kinda bring a lot of inflammation here, a lot of information on the mountains by just reducing the gamma is the. And now what I'm gonna do, I'm just going to put a load on top of this and see how it looks. So I have a lot of lots specifically for rec seven or nine. I can give a few. Let's also in the comments, also in the description below, so you can download that and also use an collaborated with me. So what I would do, I would set off, choose a different one than usual. So I would go here. What do you guys think of this one? That's a little bit of strong light. Or maybe let's just try this one. So I go with this one. I know it looks awful. So what we can do, as I mentioned before, I go here to the keys, maybe make the gain to 0.5. It looks pretty good. It's sort of changing the color of the sky. Here. You should already understand what the light is actually doing. So it's sort of changing the color of the sky, is also sort of changing the color of the greens a little bit. I think that's it. Sort of bring this leg is a little bit boring. So let's try some other load. Let's go with blood 16. Yeah. This is kind of okay. Yeah. I think this looks pretty good. So it sort of also bringing the contrast down off the whole image as well. And the sky is kind of greenish, you can say, yeah. So overall, instead of making the image a little bit green, but also increasing the colors and stuff. So yeah, that's how you can just edit with a lot on all this change the opacity of the load by c0 output. I'll just show you one more example of how we can use lots. Here. I'm just going to quickly, do you see how perfect it is? Let's just look so beautiful. So what I usually do, I put the lot first and then image and then I change my primaries according to that. So I would maybe just put this lot already. Looks so cool. What I'm gonna do here, I'm just going to bring the lights down a little bit of room, or maybe the Gamma down. I want it to be black and I want this to be super dark and moody. But this lot, it's kind of giving it. I'm liking what it's doing. But I want to do something more on this one. Yeah. I'm really liking what it's, what it's doing. What I'm gonna do because I want a dark and moody look so I might not touch the exposure because you see if I touch it again, instead of making it more happy image, I'm just going to leave it here. Yeah. So even if you have applied a lot, after applying the lot, if you just like what it's doing, but if you want to add something extra, you can. So what I would do, I would sort of make it a bit more dramatic here. So I would bring it more towards the green side. Yeah, that looks really, really good. Yeah, I really like that. Not super green, maybe. Just until here. So here my overall image is kinda green, but I also want, but I also want green in the sky. And all the bright areas is controlled by gains. So if I just increase the green here, instead of increasing the green, you see it was before and after how dramatic it looks. And I just want her jacket to pop out because it's just getting too much green. So I'll do add layer and then maybe either select through this way. Oh yeah, that's not bad actually. Or maybe let's try to select it via the preset and see what it can do. Mirror was it color? Preset, Preset treated here, red. So easy now it's also selecting the whole of the ground. That's why sometimes it's just nice to do it yourself. Yeah. I think that was the only part of her jacket which was visible. So you see now her jacket is a little bit visible. What I can also do is increase the gamma to make her jacket a bit more visible. But sort of reduce the saturation because they shouldn't pop out too much. But just a little bit tonight I see how or maybe a little bit more saturation though. So you see how cool it looks. So what we did here are lots, we applied the lots are just gave us until this part. But we also wanted to add something extra, adds some more drama in the image. So we sort of went to the offset and the offset down to degree two, broad the opposite down quite a bit. But I was still missing some greens in the shadow, in the highlights. So what I did, I pulled some greens down or I'm going the other way. I pulled some greens up in the image to make it a bit more dramatic. You can make it, you can just push it as much as you want to see. And then what we did because my I want it to person the girl to pop out. I said off, pull the green a little bit here. And then what I can do one more thing. What I can do one more thing here is that I want the subject to be a little bit bright enough. So I would do it here. Maybe go a little bit like that. And now what I can do, stickiness and bring the brightness a little bit higher. So what I would do, let's see if it's doing anything. Yeah. It's kinda but I don't want it to be too much. I just want it to be here. Yeah. I think that looks good. Because I don't want my subject to be blended in the background. And what I can do, I'll just go here. I'll try to track it. Dragging it. The most tricky part, because it doesn't depend on u. If the image is super sort of weird, JavaScript, save the image a superset of view, then it's not going to track. So let's look at again. Yeah, that looks pretty good. So we had this simple image like this, really simple and we got some thing like this out of it. So now you know, this tool can do what? We can do what? So now the only tricky part is to use which tool where to get the perfect output. So yeah, it's more about practice. You just have to keep practicing. And if something, If one way doesn't work, try the other way. If that doesn't work, try the other way. Even for me. Sometimes getting a look. It just takes so much time because I have the look in my mind. But just getting that and just getting to that final position is just takes so much time. Can be frustrating sometimes, but that's how you learn when you are trying to achieve that look next time, then you're going to do better. And one thing I want to show you is that because say e.g. I want to put this grid on some other clip. So what I would do is I would do go grab still. I have my gallery. I already saved all these things. And if I want to put this look maybe on this image, then I go here and I go Apply Grade C. It's the same look, but because we have a super sunny day, the location is completely different. It just looks so different. So that's why one light cannot work with all the other images. If I want to put this, if I want to put it on here, it just looks so bad. I want to put here, or this kind of works, but yet still. So that's how you can just right-click and apply grade to everywhere. Or if you want to export this screenshot, or if you want to export this screenshot, you just go right-click and you go Export. And then you can just export the screenshot as a JPEG file. So there's a lot more other things to be learned in Resolve color tab. And yeah, it's just an amazing tool. And once you just know the basics, you can just do so much out of this. So yeah, I hope you enjoyed the class and for the project, I want you to select any three clips from whatever I have showed you. I just do your own color grading and submit it to me. I will be glad to give my input. Maybe also help you to get more guidance in the loop, what he wanted and how it will get it. 20. Fusion Tab: So Fusion tab, it is a little bit complicated than the Edit tab. Then the color paste tap. It is not that complicated. It's just not that much used with the da Vinci resolve user. But Fusion tab has so many cool features which can just take your videos to the next level. So to go to Fusion tab, I'm just going to drag and drop one clip in the timeline in the edit page. And then we're gonna go to the fusion to go here, I'm just going to click this clip because they would be doing few things on this clip, infusion. And for fusion, you just go click here. So I would be just giving an overview of this whole page. So Media, I'm just going to bring these two things down here. So it has the same node system at how we had in the color grading page, all the media pool, how you had in the edit page affects clips and all that sort of stuff. Clips, we don't need nodes. We can get rid of the nodes. Click on the notes, the notes up here and here are just, here are things which is not that important. All the keyframing is here. We are not really going to use it. These are a little bit too advanced things. Buddy, I'll give a few more examples of everything, what we're going to use infusion as we go through this project. So this is a node and I'm just gonna get rid of the effects tab. I'm just making more room so that we have enough room to play around. Here. What we're gonna do, if you see here media out, there is media in, media in. If I just press here, this dot, this is the media in, and this is the media out. This is the final output. They both are the same now because we have not done any effects in-between. So this is the input. We put all the effects here and then the output. So what I usually do, I just make it as one page because I don't really need to see how my footage looked before. It's not a color grading paid, so I don't think there's a need for that. But if you scroll here on the timeline, you see that this whole thing is the clip from here until all the way in the end. And all these numbers, they are denoting the frames in the image. So each image would have certain frames. So here it is at 40 friends. Then it goes forward t1 and t2 83 848-058-0805 like that. And these yellow dots, these yellow lines are the lines which is the end point. What we selected in the edit page. Here. That yellow line is this point, and this yellow line is the output point, which is this thing. This is the raw clip. Fusion is also showing the whole timeline. And yellow line, and yellow line is here in this timeline. So what are we gonna do? You're gonna go all the way in the front and I'll start with something really basic. But you can also do an edit tab, but I'm just going to show you here that you have a little bit of better idea of how fusion works. So I would just de-select anything. I'll make sure nothing is selected. Then I'll press here. So here are also some commands. Its background, fast, nice texts. Let's start with text, something really easy. Here's a text node which is open, but I have to insert it in between these two. So what I'm gonna do, this is the end point and this is the output. So I'm going to drag this output to the output of median one. So as soon as I leave the mouse, it makes a merge node. So my merge node is here and text is here. So the input here and the texture is merging here and then it goes to the output. But I don't see anything here because I have to press inspector. Inspector works the same as how it works in the edit page. Let's I'll just write text here. Caps Lock is on. You can change whatever font you want. Let's just try this one. It really doesn't matter. Yeah. So with text, you can just change the size of the text. You can change the position of the text here. I'll just keep in center. And let's do a few animation. To do an animation, what I'm going to do, I would select the text node and then I'll go here. So this is called rectangle. Select here, the rectangles sort of attaches itself on top of the text. And what is rectangle is doing is if I move the rectangle, everything inside the rectangle would be visible, whatever it takes, I'm going to write, if it's inside the rectangle, then only it's going to be visible. So what we can do, we can do some animations from this. So let's select the rectangle. And here it's like all the dimensions and stuff for the rectangles. So if I change the height of this one, Let's go zero. And if I make a keyframing how we did in the Edit tab, let's do here. And if I go here, and then if I want the height to be here. So now if I go all living in the front, the texts appears. So if I go to the edit page is going to show you more clearly see the text appears. And we can also do a lot of other stuffs to say, if we do say soft edge, you see, so now it's going to fade in and go up. We can also do something else. If I hear AMD can also change position of that triangle here. Let's put it here. If I go here, then I make it here. You see why it didn't change? Because I have not keyframe the center, the position of the rectangle. So I'm just going to move it here so you see the red dot up here. So it means that this parameter is applicable at this frame. And if I go here, then I am going to move this rectangle here. So let's see. We see in adult period is going to be more clear. To see this is just a basic animation. And if I want to do maybe say a drop shadow, what I can do is that I select Text and then I press Shift and space. So as soon as I press Shift and space, this whole new section of effects stopping the frame. So what I'm gonna do is maybe a drop shadow. Drop shadow. Now it's sort of under the texts that drop shadow. Drop shadow. I can just change the in fact, I can just change the setting of the drop shadow, how we used to do the edit page. Now, even better. So all these things you can do in the Fusion tab. So this effect is fine, but now maybe we want to do something a little bit more advanced. So let's jump into that. So we are back in edit page. And you might have seen a travel map animation. A lot of YouTubers, they use it and they do it in fusion or any other video editing software like After Effects or so. So let's see where the map animation, map animation. This is my screenshot. So I have just downloaded the screenshot from Google Maps. And I would, well, I have to select this screenshot and go here. But after I've selected the screenshot, I'll just also maybe increase the duration. Deselect the screenshot go to fusion. So in fusion, What's happening now is that this is the input, which is the map, and output is whatever effects we're going to put it here. So the first thing, what we're gonna do is why is it two legs? Yeah, there is actually two legs. So the first thing what we're gonna do is choose this option called background. So if I select the median and then I press background, the background comes here with a merge node. So input and background are coming together here, and then they go to output. But with background, It's a whole, the whole image is black. So what we should be doing to make, to draw lines on the map is you press shift and space. And then we do mask. We just type mask and then add mask paint effect. So as soon as I do mask paint effect, the background disappears. And now if I click something on the image, there are like I can draw, I can draw my own lines here. But we don't want to do that. We want to draw straight lines and stuff. So what we would be doing is we're going to choose this polyline stroke. So maybe we want to draw something from here until here. Yeah, So what I'm gonna do, I'm just going to zoom in in the map. So I had selected the polyline option. And what I would do, I would just press Command or Alt and scroll in the frame. And then now I've left the command and then I can just scroll up and down. And here I have drawn the polygon here. So what I would be doing, I'm just going to make a line on this road like this. But you see that there is, I don't like this color first of all, and there is a lot of blur here. So what can we do? You go to mosque paint, brush controls and reduce the softness. It's totally subjective. But I don't like the softness and I can also, I also want to make the brush stroke a little bit thin. And I want to change the color because it looks pretty ugly to me. So what I'm gonna do, I would go here and maybe choose some bright color, maybe red. Red looks good. So I would choose red. So the background is under the mask paint. And we are painting this map with the mask pain. So we go up, up, up. You can also make turns in the polygon like that. And then we go maybe here. You can also zoom in a bit more if you want it to be super precise. We have our drawing on the map here. So now what we're gonna do is I want this line to be starting from here and should go like this. There's this until here. I just want to show like I'm going from point a to point B. So then what I should be doing is I go all the way in the front. And then what I should do, I should go here to Stroke Controls. And you see this write-on effect. If I go back, it's sort of rights on and off, I go back. Then what do I do? Keyframing. You see, you see, once we know the basic of keyframing, we use it everywhere. So I'm just going to select this parameter at this point. So it really depends on me how long I want this animation to be. So maybe until 100 frame. Here. I'm just going to do finish the right tone. So let's play this. Go up. And then it goes there. Yeah, sounds good. It was that easy. And now what I'm going to do, I also want to do some drop shadow just to make it look more 3D. I'll select mask paint, I'll just press Shift and space and then drop shadow. That's one another press drop shadow. You see I did a little bit of mistake. I shouldn't have done drop shadow here. I should have done drop shadow under the background. So the more you do, the more you're going to know how this fusion thing works. So I would go to drop shadow here and then I would reduce the blur just to see where my thing is. So the shadow is a bit further away, so I'm just going to reduce the draw distance. So now it looks a bit more better you see before and after. And then, once you go here, what are we gonna do? We're gonna put some and he mentioned here, so we're going to put some location icons. So I will just drag and drop here. I'm just going to, I'll just increase the because we don't need the sound panel. So I'm just going to increase this so that we have enough room to see what is going on. Then just going to press the lower, I can reduce the size of the location. I can maybe put it here, maybe here at the starting point. So the IFG in the size of this icon, but I also want the same size on this icon. So what do I do? Go to Copy. Go on here, right-click Paste Attributes and what do I want to paste? I don't need crop. I don't need position because the position of that icon would be different. I just need the zoom and the scale, scale x and scale. Why? You see it has the same size as the bottom one. And now I can change the location of this one. It's that easy. And then what do I do? I'm just going to reduce the size so that it's not taking enough room because I have some other thing in my mind. I go to Effects. I go to titles. I'll just choose a basic title here. Maybe say point a and 0.0, 0.1. Let's say I'll just change the font. It really depends on how you, whatever font you want. Here in drop shadow, you can see that it's I cannot see the point the texts really clearly. So I would just yeah. Just by moving the shadow at minus four, you can already see so much points. So here is without and with the drop shadow. And now what I'm gonna do, I'm gonna change the position of this point to maybe here, 0.1. Maybe you reduce the size, or maybe just put it under the thing. We just put it here. I would just, I want this, I want this for the entire animation. And then what I want to do, I just want. Another text of the same size, and it should just say 0.2. So what am I going to do? Just make a duplicate. So I'll just press Alt or Option and then click this point and move up. So it's just going to make a duplicate of this whole thing. Yeah, so now there are two points here. And you're going to see it. If I move it up, you see 0.1 and 0.2. So easy, just by using these little shortcut is going to save you so much time. And I just need to write a point to and done. It would have the exact same setting, exact same size, and also the drop shadow effect. Now if I play it easy, It looks cool. But I personally think, and I just want that animation until here. So I'm just going to select all of them and just press W, which is the trim out. It's going to trim out everything here. So yeah, let's watch the animation once again. Yeah, that looks nice. So I just want to give some dynamic movement in this animation. So what I would do, I would select everything Right-click, new compound clip. Yeah, just name it map. And he mentioned Create. Now it's an independent clip for results so I can do any changes on this. So what am I gonna do? Keyframing the best thing ever? I would press Zoom, maybe position, maybe pitch, and your view, you have to see what am I doing? So I would leave everything like this here. And as I'm going here, I'm going to maybe zoom in this March and maybe change the your point. Change it like this. That looks like kind of a 3D map. Maybe a little bit more, change the pitch. If I do a little bit more, you'll see these black things coming up. So I would not push it too much, maybe just under layer and see what how it looks. See how cool it looks. Yeah. I can also change the rotation angle, the position. It really depends on me. But this already looks really nice. If you want to watch full screen, you just press P. Because he how cool it looks. So we have taken the help from fusion. We did the initial animation, and then we did compound clip. And now this is like this. So now let's move on to fusion back again and I'll show you something really cool. But before that, I need to get something from here. So you go to raw clips, raw clips folder go to fusion. And I need this photo. So I maybe need this from here or maybe from here. Not too much, probably just round here, that should do the job. So I would select this clip and then go to fusion. You see this entire clip. This is the end point and this is the out point. This is a clip. I don't want it to be too long, maybe just around here. Maybe a little bit long. So what is our goal in this project is that here I want to have a text that is attached to the water. So it should look like the text is underwater. And this is you can do on the infusion, not in edit page, not in color grading. So that's why we need fusion to just do these extra stuff, extra animation stuff, which can take your footage to the next level. So press Shift and space. Then we do planar tracker. That's the planar tracker is chosen. So yeah, that is a planar tracker. And we are also making sure that our timeline is all over here. So timelines crawler, and here what do we do? Add them on the first frame. I just press set. Yeah. The second thing, what I'm gonna do in the pattern at Cracker, I go to hybrid point areas. I'm not going to track with just single point. I want to various different points to be tracked on this image so that I can attach the text on that plane. So I'm just going to be tracking the surface of the water. Maybe just here. And then what do I do? I just track it. So this you just press which says truck to the end. Let's go tracking and see what's happening. So sometimes it wouldn't track because the motion type is perspective. Sometimes perspective works, sometimes it doesn't. Usually in my situation, I prefer translation. I'm just going to select translation and hopefully tracks. Oh yeah, it goes until here. So you see all these white, white, white. Well, these are the key points of this track. So I would go all the way here just making sure that everything is tracked. This truck is easy if the surface is not moving too much, but it cannot track sometimes if it's like a lot of crazy movement in the frame. So once my planer tracker has tracked the water, what do I do? I go here from track, I go to corner pen. And what Corner Pin would do is that corner twin would make a surface on which you can write the text. So I would just make Corner Pin of the same dimension wherever I wanted to, right? And then here, I'm just going to press text and text. I'm just going to drag the output of the texts to here to input. And then I just write maybe text. So yeah, do you see texts written somewhere? Icu? It's here. So what am I going to do here? You see that there's not much option to move the text, which is here. So what do I do? I choose another option, I choose another tool to change the dimension of these texts which is lying here. So what am I gonna do? I press Shift and space and I go trans form transfer XF. And this, what is this transform is gonna do? It can help me to change the size of the text. It can also help me to move the text. I am not going to do pivot. I'm just going to move the text here. So you see if I go further here, the texts that of disappears. That is because the Corner Pin is just until here. But if I move them, maybe corner pen here, then I can move the text also here. So you see I can move the text and the position of the text. If I think that it's not layered on the water properly, I can change the angle of the text by going to plan our tracker and just moving the corner pen. But I think it looks pretty decent. And one more thing, what am I gonna do? I would introduce drop shadow. So again, shift and space, drop shadow. So it's really not that technical like fusion. A lot of people get scared from fusion. So I'm just changing the text parameters, just changing the drop shadow parameters so that it looks more real. I'm just going to change the distance. Maybe here. So it looks like it is in the air and the reflection is underwater. So yeah, that's what I was saying is that some people are really scared of fusion, but it is not that scary. Like if you understand the basics, you can do a lot of stuff. So now it's the time to play and see if it actually tracks on the water. Food is a bit jittery because it's taxing on the computer and I'm also recording at the same time. But let's play again so you see how cool it looks like the text is floating on the water. So this is how you can attach objects to anything. I could have attached this text on this sand or I could have attached this texts on this one. And I'll show you one more example so that you are sure that what am I saying is correct. And I will select this thing and then press Shift Space. Play in. Our tracker. Tracker is here. And now what do we do? Go all the way in the front and this press set. And then here I need hybrid point area. And then I'm just going to select this church and tracking it does a really good job. Then you have a lot of contrast between the subject you are tracking and the background. So you see now the background is a little bit faded, a little bit desaturated. These things sort of pops up in the middle. So that's why it's really easy for the software to track this. But if it's something really complicated, the software would be struggling to track it. So we have to be really mindful of the thing which you are tracking. So here what I'm gonna do, I will change it to translation and then track to the n. Should be fine, I guess. So you can use like these effects in any of the videos like tracking to the object. And it can look really, really cool. So I would go in the front and then I would just press text. I would go to Text here. Texts and I'll just type owner. Once it has tracked, you have to go here and go corner pins so that then you can select the surface on which you have to write the text. Then I go to Text, just right. Maybe text here. Yep, text is a bit small, so I would introduce transform, key Shift Space transform. And with the help of transform, I can increase the size of the text. You see that? I don't think it's a bit aligned because my corner pain is acting weird so I have to keep them together or my text is sort of going all over the place. We see if I make a proper rectangle, then my text is proper. Then I would just do like a drop shadow. Drop shadow looks pretty good. I reduce the blur. Maybe reduce the drop distance. And then maybe I can move the text. Oh no, not pivot. I can move the text maybe here. Maybe attach it to the Church and we'll see how it looks. Can be so cool. You can attach anything. Do this. Instead of text. You can also attach something else. So I would maybe just delete this. I go to media pool and let's go to map animation and drag This. Anything you drag would be like a node here. So you see as soon as I drag the arrow, it has this weird shaped because my planer transform is a little bit weird, but I have to reduce the size of this thing a little bit taxing on the system. If you reduce it like that. And then you have to play with corner pen to have like a normal shape of the things. This looks okay here. What am I gonna do? I want this location icon on top of a church. So we can attach anything. You can also attach a video which is playing here. So transform. Maybe on top of the church. I want just here. And let's see if it tracks so easy. Just by plane or truck or you can just attach anything to anything. So you can also attach a video or attach any sort of animation anywhere in a video as long as it's tracking Good. So yeah, that was it for tracking. But if you want to learn a lot more about Da Vinci resolve fusion, I have made a DaVinci Resolve at once class, which is in DaVincis 17. But it's still everything is the same where I teach you about Sky Replacement. Where I teach you about green screen effect, where I teach you some crazy stabilization method. So to access that class, go to my profile and check out my Da Vinci resolve at once class. But this was a basic introduction. It's going to give you a good starting point to learn everything about fusion and to be excited about fusion, to be wanting to learn more. 21. Fairlight Tab: In this section, I'm gonna be teaching you how to use firelight tab to get the best audio possible. So what I'm gonna do in the edit page, I have this, so I would select this and then go too far light. And I'll see that this audio is in audio one. Yeah. So what happens is that whatever changes, I'm going to make an audio one, which is audio one here. All the audio in this section in this line would be changed. Does this setting would be applied to all of them? So what I recommend is that what I do with my YouTube videos is that if I have to do a voiceover and if I just want the audio of the voice-over to be edited, I sort of put them in a separate audio line. So here I would just make it audio three. And I'm just going to zoom out of the timeline to see if there's any other audio and audio three, that is not the case. So I'm just going to zoom in again by pressing S, go too far light. And now my audio is in audio three, this one. So let's listen to the audio first and then I'm going to teach you what all things I'm doing to enhance this audio a little bit better. But if you're not a cycling firm, don't worry, you can get a day pass for the theory. And with this path, you can explore almost all the villages around Lake Como will share with you the most beautiful town to visit in our upcoming videos. So that's the audio and it's really simple. Far light tab. I don't have to do anything here. Everything is gonna be here. So here I see audio one, which is for the first line of audio, or U2 is a second. But we don't see audio three. So if I drag it here than it is for audio three, so we're gonna be doing a lot of changes here. So how do we change any setting? Because I don't see any graphs, I don't see nothing. Very easy. First thing I'm going to be doing is the order. The order I want is effects EQ and d y. Because first we're going to change some effects, then we're going to change the equalizer. Then we're going to change the d, right? So I'm just going to set it up here. And then how do you put effects on the audio is by effects panel here. So you see this plus, as soon as I press plus, it shows me a whole range of options, whole range of settings, what we can tweak on this audio to get the best output. Then we have some dynamics, some audio enhancer, compressor, expander, limiter, all this stuff which we're going to go through later. And then we also have equalizer. So that's exactly what we're going to do. First we're gonna use some effects. Then we're going to use some equalizer. And then we're going to do some dynamics. So that's a sequence what I've set here. So for ethics, the first and foremost thing, what we're going to do is press plus here. The first and foremost thing, what we're gonna do before going anywhere is go to my Edit tab and press normalized. So what normalize does is that It's going to increase my audio level until the extent where the audio is not blowing out. So if I go normalize here, but if you're not a cycling fab, don't worry, you can get a day pass for the theory. And if I check on the audio bar in all your three, you can see that the reds are very less. But if you're not a cycling firm, don't worry, you can get a day pass for the theory. And with this path, you can explore almost. So that was a system normalizing the audio until certain level. But in my opinion, I still think that it's a little bit loud. So I am like the software literally just increase the decimals until how they wanted, Until how much they want is I'm just going to go into 3.14. But if you're not a cycling firm, that sounds, the level is pretty decent. So I have just normalize the audio and then I go to the firelight tab. Go here, select a three. First setting. What we're going to change is go to here plus then we're going to look for restoration. So we go to restoration, and then we go to d'Azur. So what does the hazardous? So DSR will reduce all the S and all the harsh from the audio. So first thing what we can do is listen to S only. But if you are not valid, Let's, let's, let's play again. But if you're not a cycling firm, don't worry, you can get a day pass for the theory. This is just playing all the essays. But if I just press, if I just leave this S here, I can also change the intensity of how much it's going to compress the essence. But if you're not a cycling fan, don't worry, you can get a day pass for the theory. And with this pass, you can explore almost all the villages around Lake Como will share with you the most beautiful town to visit in art. We can also change the position here and keep listening to the audio and see that at which position. Your essays lie. So at 2,000 hz or 4,000 hz. But if you're not a cycling firm, don't worry, you can get a day pass for the theory. I think in my opinion, my voice lies somewhere 2000-4 thousand hz. But if you're not a cycling firm, yeah, I think it's looking good here, especially for a female. If you praise a lot of than the software would sort of compress it and would not make it super hard for the audience to hear. Because sometimes if someone's voice, there's a lot of essays, it can get really annoying in your ears. So that's what the hazard dose, the first step is that the second one, what we're going to do Vico here to Dynamics, figure too far light effects. And then we go to soft clipper. And soft clipper, what is it going to do is just going to give a bit more body to your voice. Let's listen to it. But if you're not a cycling fan, don't worry, you can get a day pass for the theory. And with this path, you can explore almost all the way. And let's go to soft Dr. But if you're not a cycling firm, don't worry. You can get a day pass what it has. It has given my voice a little bit more base, a bit more body. Because if I hear before, check this out. But if you're not a cycling fan, Don't worry. Yeah, let's do with the soft clipper. But if you're not a cycling fan, Don't worry. Yeah, that's what soft soft clipper does. It sort of increases the base and your voice and makes it just gives it a bit more body so it feels a bit more complete, a bit more neutral as soon as you see here. You also check here that you can see the list of all the effects you have had. So you can just click on this, you can just click on this little icon here. Then you can just change the values. So it's like really you can just go back and forth. And after putting these two effects, this was the effects. Then we go to the equalizer. So we're just going to click this blue line that opens up my equalizer. And here I'm just gonna give you a brief introduction. So all the areas here is the base, and all the areas here is the soft voices like this, and all the high pitched voices. So what are we going to do? We're going to keep everything in control here. So we go to band one. So as soon as I press than one, it already sort of clips out the audio, the extra base from here. And normally you don't have a lot of base. You see the frequency. Normally my voice, everything below 80 or everything even below hundred. I don't need it because my voice is not going to go there. But if there's anything in the background which is a bit more lower hertz than that, then it's going to remove it. So let's listen to. But if you're not a cycling firm is not going to do, don't worry. You can get a date part. It's not gonna make any difference. But anything above that, which is not my voice, it can just get rid of that. So that was that. And then the second point here or maybe I'm just going to keep it to 98. And maybe the second and the third point here. What are we going to do here? Is that for the second, I would just make it like this. Now. I would make it like that. So here what do we do? We have to reduce all the harsh sounds here. So how do we listen to heart sound? You have to keep this all the way up. Then you listen to the heart sound and wherever you can catch that harsh sound, you pull this down. So let's play the audio here. Yeah, this looks a bit better. But if you're not a cycling firm, don't worry, you can get a day pass for the theory. And with this path, you can explore. Obviously, there's a lot of harsh voices here. But if you're not a cycling fan, Don't worry. I'll just reduce this part. And to reduce this part, what do I do? I would just pull this here and then the Q factor. You see, if I do the Q factor like this is just sort of reducing this point. You see? So let's, let's listen to it again. But if you're not a cycling fab, don't worry, you can get a day pass for the theory. And with this, at this point, I'm just going to reduce it down a little bit and listen. But if you're not a cycling fan, don't worry, you can get a day pass for the theory. And with this, it's getting a bit more clarity to my voice. And the same thing I'm gonna do for the three. I would just go the queue, increase the Q factor a little bit. But if you're not a cycling firm, don't worry. But if you're not a cycling Pfam thing is the harshest here. So what I'm gonna do, bring this point a little bit lower as well. Don't worry. But if you're not a cycling firm, Don't worry. It's a really minute change. But if you are listening on a big speaker or if you're listening on a big home theatre, then you're sure that your audio is not going to blow out. And then here also, what am I going to do is increase this a little bit and see how it sounds. But if you're not a cycling dislike that don't worry, you can get a day pass for the theory. And I can feel that it's giving a bit more clarity to my voice, but it's not that noticeable. But if you're paying attention, then you can say that there is a bit of difference. So this is the basic structure. I keep my equalizer too. And I think you should do as well, because all of our voices are lying somewhere between these regions. And if you take care of these points, your audio would sound a bit more crisp. So that was it for equalizer. Now, we're gonna go to dynamics. Dynamics is this one here. What do we do? All the way in the front? Turn on compressor and see what happens. But if you're not a cycling fan, don't worry, you can get a day pass for n. We can also do the expander, just turn on the expand or maybe turn on the gate. And now it's going to take care of all the other noises which we don't want. But if you're not a cycling fan, Don't worry, can also change the value of these things of the compressor with the threshold and the threshold here. But I sort of leave it in this structure because in my opinion, it just sounds very neutral and I don't want to experiment to March, then my audio is going to sound more edited. And here now my audio sounds pretty crisp. It sounds like it's recorded almost in a studio. But if you're not a cycling firm, don't worry, you can get a day pass for the theory. And with this path, you can explore almost all the villages around Lake Como will share with you the most beautiful. You see how cool it sounds. So guys, that was it from the firelight tab. And if you have any questions, let me know. And now we're going to move to the last tab, which is the export tab, because that is also really important because you have worked so hard on the entire project. And now the export time, and if you choose the wrong setting, then that might be a problem. So I am going to show you the most optimal way to export any video file. So let's jump into the system. 22. Best Way to Export Videos: Now that you have to export the file, so what are we going to do is say e.g. if you want to export the first sequence that we had before, just from here to here. So what are we going to do? Press here and go here. So this is the in and out point for the video files which we want to export. So once we have selected in and out points and we go here to deliver. And you see there's a lot of options here as those X4 custom exports, H.264, hypertension, these are all things which you'd really don't need. Prores know, YouTube or Vimeo. Youtube and winning Vimeo their own settings. Dropbox, they have their own settings. But you really don't need to use any of this. The easiest and the best possible output is what am I going to show you now? So you go to H.265. So as H.265 is a video codec where the video, it does not loses its quality, but the file sizes are smaller. So say e.g. if I export something in H.264, the file sizes is almost two or three times more than the file size of H.265. So I'm just going to go to H.265 and then browse. So browse, I, I've saved all my files in DaVinci Resolve exports. I just save it here. So here in this file I'm just going to make a new folder. Now Vinci Resolve class Create. And then here I can just name the file test. Yeah, I do save. So this is the location, this is the name of the file. Single clip, render. I don't change anything. Export Video, it's really up to you. I do it for QuickTime, but if I have to use the video for Instagram or so, then I use it for mp4. Because sometimes I don't know if I export in quick time. I don't hear the audio if the video is for Instagram, but usually I use it for our use QuickTime here. Codec I do is to o65 here. And then I just keep this as it is. Resolution what I do. So you might remember this, all these videos, they were in high definition, they were not in Forky, but I still export in for k. Why? Because as soon as you upload it on YouTube or any other social media platform, The software is already going to compress it. The platform is already going to compress your videos. So why not give the best quality as possible so that even if it compresses, you're not losing too much quality. So yeah, that's why I fill them all my videos in high definition, but I upload all of them in for k. Ultra HD, frame rates is 25. What we had before and quality. So here what I do, I have a rule of thumb that I restrict the quality to 50,000 if I'm filming at 25 frames per second, if my project was at 50 frames per second, I would restrict the quality 200,000, So I would just go 50,000. Is it 50? It is 50,000. Then I don't change anything here. I don't change anything in advanced setting. I just leave everything colored space tags same as project gamma attacks, same as project, because we chose all the right settings in the beginning of this project. Remember the rec 7.9, AN all that sort of stuff. So we chose the right setting there. That's why we don't have to do anything here. Then here, then this Add to Render Queue. This is added and then you can just do render. And if you want to export multiple projects, say e.g. if I also want to export this file, I can also just press in and out here. So say e.g. if this was a complete separate video project and you also want to export them together, like render them together. Then you just do test one. This, so this would be exported as test, and this would be exploited as test1. I would leave the setting the same Add to Render Queue add. And then if I want both of them to render together, I just press Command or old, select both of them and then render. And they're gonna render simultaneously. And if I go into the system, I can show you the video properties. We go to Exports, DaVinci Resolve class. This was test one. I'll just go get info and C. So you see it is 76 mb and it is for k, 30 s clip, and it is H.265 as well. So yeah. And this file is also for k and H.265. This it was just 136 empty. That was it from render settings. You really do not have to use any of this. Just go to H.265, master and export in for k, not in high definition. If you have to export an Instagram or TikTok than in high definition. But other than that, YouTube, Vimeo, and all the other platforms exporting for k, trust me. 23. Conclusion DaVinci Resolve 18: That was it for video editing in DaVinci Resolve, I really hope that you enjoyed the class and got a ton of value. If you have any questions, please let me know. You can also connect with me on my socials and link them down below. And don't forget to post your video projects as well. I'll see you in the next class.