Video Editing with DaVinci Resolve on the iPad (free version)

2. DaVinci Resolve iPad Intro : Hello everybody. Welcome to this tutorial, which is focusing on DaVinci Resolve for the iPad. Couple of things before we get started, I'm using an iPad, third generation. So some of the functionality is limited because da Vinci resolve for the iPad is designed for the M1, M2 chips and mine, isn't that. So there are some limitations as to what can happen. Also, this course is using the free version of DaVinci Resolve. So again, there are lots of things inside of the app that are limited or that you can't use because you have to purchase the in-app purchase. It's 84, 99 UK pounds. I'm not 100% sure what it is in dollars or any other currency, but I'm sure you guys can find that out. I've decided to use the free version because I'm a filmmaker, I'm a film director and I use DaVinci Resolve on the laptop and on a computer exclusively when I'm editing and color grading my work and I wanted to see if the iPad is comparable. So da Vinci resolve our billing this as a comparable system to use. I think it's definitely a great addition to the Da Vinci Resolve black magic ecosystem. It's definitely a great addition for that Pipelines. If you're already using it on the computer that you can then jump onto the iPad whether you're traveling, you're on a train or you don't have access to your machine, you can then finish on here. The reason it works so well for me on the newer version of the iPad is because they're USB-C. So if you have the USB-C iPad, you can then plug a hard drive into the iPad and you can edit off the odd drug. That's another little, I think it's a really great addition to the I pi because it gives us lots of flexibility when we're editing. So if like me, you shoot lots of content in for K or eight K or full HD. The iPad storage can be somewhat limited. And obviously it's really expensive to have clubs, sports, or if you use this on iPad with an external hard drive, gives you lots more versatile too, okay, in this course, what are you going to learn? So you're going to learn firstly, very simply how to download the app, find the root folder. We're going to navigate around the app, so we're going to see what's in there. We're going to see what it offers on the free version. You'll learn how to edit your own content. You will learn how to edit multicast content. So two or more cameras will also learn how to color grade it, and then how to get that out and export that to various different sources. Okay, Let's jump in. Let's get editing. And I'll see you at the end of the course. 3. Downloading Davinci Resolve for the iPad: This is Da Vinci Resolve 18 for the iPad. So first thing you're gonna wanna do is pop over to the app store and search da Vinci resolve for iPad. So I've already pre done this. I'm just going to load that up. And you'll see over on the right, it says da Vinci iPad opened up. So I've already downloaded this, but let's have a look at some of the features. So DaVincis building itself as a full editing and color grade solution for the iPad. Now look at these images. It looks pretty impressive. It looks very much like it should on the desktop. So you can do lots and lots of things that you can do. And the idea is that you can work between two different workflows. So you can start on your desktop or move over to your iPad and vice versa. Let's have a look at some of the specs. So there's quite a long list, but apparently, according to this, it's exactly the same as working on the desktop as well. So you've got Cloud compatibility, you've got full color grade, you've got AI tools for creativity, tells you what compatible models I now, I have a third-generation iPad. So this is billing for the M1 Pro or newer. So I will have some limited functionality on my version. You may have the same. Let's pop down to the data collection part. So as you can see, it is a paid app, but there is a free version which I will be using. The paid app is 84, 99 pounds. So I'm not sure what that is in dollars, but I'm sure all the App Store will tell you. So if you click Download, Now, in the next session, we will open up and we'll have a look around and see what features are in there. And then we'll start editing a project. 4. Opening DaVinci Resolve for the first time iPad: In this tutorial, we're going to look at opening Da Vinci Resolve for the first time and what you're presented with. As soon as you open it, you will see this panel. This is the cook page. Those that are familiar with Da Vinci Resolve will already know this page, but I will go through with you and we'll go through all the buttons and see what they do. Also, you have the color page. Again, we will do a separate tutorial on color grading and Watson, the color page. In the cup page though this is we're going to do your main editing tool. You have media, but we don't have anything at the minute, so we'll re-look at this. You have sync. Again. I'm gonna do a tutorial on sinking different types of media. And our transitions, we have lots of different transitions that we can use when we have two types of media. And we have lots of different title options, from lower thirds to scrolls to digital glitches, et cetera. As we're on the free version of the iPad, some of these may not work, but we'll figure that out as we go along. Also, we have an Effects panel and again, some may not work. There may be part of the paid version of DaVinci Resolve on the iPad, but again, we'll go through it, we'll have a look. We'll figure it out along the way. Over to the right. We have our expert panel so we can export masters, we can export ProRes HQ. We can send it straight to YouTube or Vimeo, or we can share it via Apple standard AirDrop style sharing system. If we move across, we have our full-screen mode. This is where we can preview all of our footage. Again, we don't have any footage in, so we can't preview anything right now, but this will come in really handy when you need more real estate. We also have our inspector, which is the top corner. Again, we don't have any footage in there, so there's nothing to inspect. So we'll look at that once we import some footage. If we go down to the little home button in the right corner, you'll see our project page pop-up. This is where we can Import Project, export projects, create new projects, and just see what we have in our iPad on what we have open, etc. So I'm just going to rename this DaVinci Resolve tutorials. And you'll notice I've got two projects in here, so I've got this one which we're working on right now. And another one that I've been working on, and I've been swapping between my iPad or my laptop just to really work on the integration. If I right-click this though, you'll notice I get some more information so I can open it, read only, I can close it, rename it, et cetera. I'm going to close this. So that's got rid of that project just so we're not cluttered, so we know what we're working on. Okay. If I bring my information up, so Command die, you'll get information on my predicts that tells me the timeline and how many times I've got, et cetera, et cetera. So this really looks like Da Vinci Resolve on the Mac or on the PC. I've also got network and I can Cloud sync as well. So if you're using the Cloud, you can use your iPad to be part of that editing pipeline. What we're gonna do now we're going to come out of this page. I'm going to go back to our cup page. If we go down to the bottom, you'll see our timeline. This is where we will put our footage in, start our editing process. So again, I'll go into more detail as we actually have footage in the iPad. If we go down to the bottom right corner, we'll see I get icon. And what we have here is our project settings page. This is where we can change our timeline resolution. We could change our aspect ratio. We can look at the image getting cooler management so we can tell DaVinci of how we want it to handle color. And I'll go into more detail in a later tutorial around that because it can become complex really quickly, because we have the free version of DaVinci Resolve and I have an iPad third-generation, which is not the M1 Macs chip, which is what they recommend for da Vinci resolve. I can only go to 1920 by 1080, which is HD. I may upgrade my iPad on future. I don't know. Let's see how we get on working within DaVinci Resolve most of the projects. I deliver our ten ATP anyway, so that doesn't really worry me at this stage. On the left side, we've got some other settings which we'll go into more detail as we progress through this course. So let's just cancel that because I don't want to save any of those changes will come out of that. And in the next session, we'll start looking at bringing in media. And we'll start looking at how we edit and color grade that media. 5. DaVinci Resolve root folder iPad: In this session, we're just going to quickly look at the root folder. So if you open Da Vinci Resolve and you click Import Media, so we'll just go to a folder. This will bring up my iPad settings. So if you go down the left, you'll see on my iPad, click that and you'll see DaVinci Resolve is now installed its own folder. Inside of this, if we click in there, you can see we've got photo library imports, we've got clipped cache, we've got fusion, we've got we've got proxy media. And all those were the things that come with Da Vinci Resolve. If you ever need to find anything, you can see that it's just inside of this folder. Have a click, have a look. Okay, in the next session we're going to start looking at importing media and how we edit that inside of Da Vinci Resolve. 6. The colour panel overview DaVinci Resolve iPad: In this session, we're going to look at the color page. So first thing we do is we open up a new project and we are going to bring in some media because we need some media that we can then access all the functions and the color page. So I'm just going to import some media here. Scroll down to my hard drive. So one of the great things about the iPad, three or newer, the USB-C iPad is you can put a hard drive in and work off that. So that's what I've done. It's going to ask me to change my frame rate to the clips. I'm just going to do that. Let me drag this on the timeline. So we'll just click it and drag it in. There we go. I'm just going to scroll through just to make sure that everything's working. Yep. Everything is in there. So this is a log image, so it hasn't been graded yet, right? Let's pop over to the color page and let's have a look around. In the top-left corner, we've got a gallery, so there's no still. So what you can do is you can do your color grades, create stills, and then apply those to other clips, which is really useful and it just close that down. Also, what we have here is we have a panel. If I select that, you'll notice I've got all of these looks a lot means lookup tables. So that's a color profile that you can pop onto your footage that will then replicate certain types of cameras. So I'm in the Black Magic Wand right now because Blackmagic make Da Vinci resolve and they also make their own cameras, you can drag the lot across onto the image or you can just scroll on the load. And it will give you the color profile so you'll see exactly what it would look like. So this is an array log direct 7.9. So that's what the color grade will look like. Loops are really useful if you want to get a really quick base color grade to start working with, or you want to start looking at color transform profiles around, go into a bit more detail in that, in another one. So all I'm doing is just going through the notes and I'm just looking to see which color profiles are like and what they're doing to my image are some of the really harsh summer be really subtle. And again, that's for you to decide on the style and the quality and the look that you want. You've got a range of cameras from red right through to DJI. You've got separate film looks, HDR. They all come a standard built-in and they're all located in your root folder. If we go across to the right, you'll see we have a node's panel. Nodes is where we will do our color gradients. So our first node is our actual image. If I just full-screen that you can see our image and we'll add notes as we go and I'll show you that in another tutorial down at the bottom, we've got all our color panel. So this is where all the magic happens. So the first one down at the bottom are actually, let's go to our Effects versa. If we look at our effects, what we can do now is we can put effects on our image, on our edited version. I'll go into effects later on because some of them you'll have access to, some of them you won't have access to because this is the free version, the paid version, then you'll have access to everything. In the top left you have a viewer panel. We can see different views. You can see the current view, you can see play heads, etc. If we move across, we can have an a and B. So that's if we have more than one clip on the timeline, we can see both clips side-by-side, so we can see any changes made. If we move over to the top right, we can turn our color grade on and off. We can look at our sound and we can also change the way we view our project. So we can look at our RGB, we can just look at red, we can look at Greenway, can look up brew. I would leave that alone personally. Okay. Let's jump down now into the color panels. So we have our qualifier down at the bottom. So as you can see, we can have off qualifier, power window, dust removal, Open Effects, color chart, et cetera. We'll go into a lot more detail in this as we start color grading separate clips. I just want to give you an overview for now. Right? So we have in our color palette, we have our Lift Gamma, Gain, and offset. So this is where we will do our primary grades. So this is where it will lift. The image, will look at the mid tones, will look at the shadows. We can color boost it. We can do shadows, highlights, we can saturate it, we can contrast. And all those wonderful things that we can do to make up our image, to make it pop a little bit. If we move cross, we've got an HDR scope. So each jar, again, very similar, but we have a little bit more latitude moving across. We have our custom curves. So this is where we can change the brightness. If I just move that up, you can see the image gets a lot brighter. And again, top of the curve is highlights. At the bottom is a low lighting in the middle is the mid tones. And we've got different configuration of that so we can look up the Hue vs Hue and the Hue vs Saturation, et cetera. So the hue is the color, the actual color of the image is made up of. And again, we'll look at that in a little bit more detail as we start color grading some clips. And in another session, I'm going to actually call a grade this particular clip as well. The custom curve is a really powerful tool. I use this all the time and we will definitely use it in our color grade. We can also have a pop-out menu here so we can see curves, so saturation versus luminance, we can also have other configuration. So we can have Hue vs Hue saturation versus luminance, et cetera. And that's just in the three dots and the expanded near the three dots at the top of that panel. If you just have a quick look down, then now we're just going to move over now to our color whopper. And there are different views in here. I personally use the hue saturation one. This is a fantastic tool, especially when you want to highlight individual curves. So e.g. if I want to highlight it, the green of the ruffles, I wanted to highlight the red of the curtain behind. This is the tool I would use. It looks really confusing, but I promise it's super simple. The next one across is our power window. So this is where we could create power windows. So we could e.g. create a window around her face and just highlight that area of her. Or we can just touch up the red e.g. and have it affect only that red and not the red in the whole image. I'm gonna do a separate tutorial on power windows later. Let's move across and we have our tracker where we've got nothing to track. So again, I'll do another tutorial and movement across. We have our blur. And again, that's where you blow the image. And then if we move across here, we have our key. So we're not really going to use the node key in this tutorial. But again, as we start progressing through DaVinci Resolve, I'll start adding these tutorials in so we can really see the extent and how powerful Da Vinci Resolve is on an iPad. I do have some reservations about the power of an iPad because it is an iPad. But let's see, Let's move forward and let's see how good it is if we move across as well. We also have our Camera Raw. So let's go back to beginning Camera Raw. If you have a raw image, this isn't row, so all of this is grayed out. So I don't have any options here, but if your image is wrong, that means you can change all of these parameters in here, so you could change the quality of it, you could change the color profile, et cetera. Okay, So back in the main color panel, you will see that down in the bottom corner you have your scope. So in your scopes, this is where you can look at what the color is. So what are your changes doing in real time? So as I start changing the red or increase in the red in the image, the red and the color scopes will come up. So it's a really great indicator as to what the image is doing and whether it's in those broadcasts, safe perimeters. In the next session we'll jump into actually do some color grading. See you there. 7. DaVinci Resolve multicam edit on an iPad: Okay, In this tutorial, we're going to look at how you multi-camera edit using DaVinci Resolve for the iPad. So I've opened my interface and we need to bring in some media. So I'm gonna go to either import media or go to My Media tab and bring some median. So I'm going to import a folder. You'll notice it goes to my iPad and you'll notice I've got a new edition called Samsung with the iPad, third-generation plus USB-C, you can put a hard-driving. So I have a hard drive in here. I'm going to go down and pick one of these folders. So we'll pick the animals one. And all I need to do is just click Open. What that will do is that will bring everything in. If I don't wanna do that, I can get the information on them. I can rename them here. But for the sake of this tutorial, what I want to do is just open and bring it all into. I click Open and everything, all comments or audio, camera one and camera two. And you can see each camera has different content in there. So there's camera one, camera two. And I'm just switching between them using the tab in the top left corner. So let's have a look what we have here. So we have camera one has my information. I'm just going to rename this has less numbers at the end, so we'll just call it camera one. Let's go across there and make it a capital C, so it doesn't look awkward. There we go. Select all of my media. Go to my sink been. And you'll see now I've got something called a sink view. So I can either sink via timecode, which is what I've actually done here. I can sync the audio wave form. So if I just click that, that will analyze all the content and it will sync the audio waveform. So I've canceled that because I know this is Cynthia time code, but I could sink in and outputs as well. So I'll go back to timecode now. Click Sync super-quick. Everything syncs up. Everything is blue. I know all of that works. So now I know that's in-sync. What I need to do is I need to get this into my timeline. So I do is I go to one of my bent and you'll know it's sink because it's got a little blue Sync are in the corners. I'm just going to drag all of this in here. So all of that median now is in my timeline. And you can see the individual clips on the bar at the top there. Okay, Brilliant. So what I need to do now then, because this obviously is just one clip, I need to then create a multi-camera sink edit. And so the way to go back to the beginning of my clip, which is played out to make sure it is actually working before we do this. Excellent, Although that's plain Berlin. Let's create a multi-component. So I'm just going to go to the point where the beginning of this clip is. So get rid of all that fast at the beginning. And I'm just going to create a marker. So if you can see on my timeline, on the left, there is a magnet, there is a little microphone, There's a marker, and then there is create a new track. So I'm going to click the marker there, and then I'm going to click that marker, name it, so I know exactly what I'm gonna do here. So this is just start here and I'm going to change the color. So I have a cooler system. Excellent. We know where the static clip is. We could trim this later, so I don't need to multi-camera all of the stuff that we're not going to use. I go over to my sink in the top-left corner and you'll see all of my clips. I only have two clips here. I have a wide and a close-up, and then I have the audio. I'm going to deal with the audio later. So what I do is I play the clip, find the bit that I want. So I want this bit here. So it gives me a five-second clip already. So I just select it and drag it in and it will instantly be where it needs to be on the timeline. So there we go. And as you'll see, it'll have a red box around one. Or number two. I can drag the handles across to make it bigger or smaller as a clip. So I can do that on the timeline. I don't need to re quote that answer, just play the clip and then I'll keep watching. I'm going to find the next clip that I want to put in. So I want that clip there. It gives me a five-second handle already. We just play that to make sure it's right. Yep, there's drag that in and it's instantly sync and it's instantly on top of the other clips, so it's non-destructive. So I can always delete this clip, go back and just have the white clip if I want that. I'm watching through my track number two has a red barrier around all of that. So that means That's the one that is playing. Again, I bring the next one in. Now one of the frustrating things about this is once you bring a new clip and it does stop the plane of the timeline. So I find that a little bit cumbersome personally. But it is what it is and it's something that we just have to deal with. So I'm just going to extend these handles out before I bring this clipping. So those numbers are the frames. Just bring that in. So I've just brought that on the wrong track there. So I'm just gonna delete that empty video track by going to the track right-clicking and delete it. I don't need three video tracks. I'm gonna got two clips. Play that and that is how you create a multi clip editor timeline in the sink been using Da Vinci Resolve for the iPad. Okay, so you'll notice that I've got a third track, which is camera three on here, but that's actually my audio. So this is a joule audio sync piece of work. So I'm just going to extend all of this out because I know it's time coded. I know everything matches up. So I go to the beginning of my clip and I'm just going to pull this end. So I'm just going to drag that down to the bottom. So already now it's created an audio track and you'll see in green, I have my audio which was done on my audio recorder. So that was a lapel mic on the dancers here as they're talking and explaining the movement. The blue is just the camera audio, so it's not great audio, really, as you can probably hear throughout this clip. So it really is that simple to do a multi-camera edit in DaVinci Resolve on the iPad using the quote page in the free version. Obviously, it won't be as quick as using a laptop or a desktop term because it is an iPad. So the process of power isn't as quick. But having said that the M1 Macs chip is supposed to be phenomenal, I don't have one of those, so it is taking a little bit of time for mine to render and do all the necessary things it needs to do. Have a go, have a play, start cutting your own multi-camera sequences, and then let me know how you get them. 8. Editing in DaVinci Resolve iPad: Welcome back everybody. In this session we're going to look at editing. So the first thing I'm gonna do is I'm going to input my media, but I must warn you, this is quite a long episode. So what I will do is I'll speed parts of it up because you don't need to watch me editing once you've grasped the basics. So first thing I'm gonna do is I'm going to input lots of content for a trailer. So I've recently cut a new trailer and this is the content I've used. I will put the trailer at the end of the video so you can see how I did this. These clips here, these are raw clips because again, I keep saying this, but because I've got the free version, I can't edit row, so let's just delete those. Okay, So all I'm gonna do is I'm going to start looking through my clips. So none of these and are fully color graded yet some of them have been, some of them haven't been. But let's just look through to see what we have. There is just a range of different clips that I've filmed over the past year. So I'm creating a new promo for my company, which I do every year, so just updating that. So we have our timeline down here. So what we're gonna do is we're just going to check. So that's locking our playhead, which we don't want to do because if we lock our playhead, we can't move anything at all. Let's just unlock that. But before we do that, let's just have a look at what else we have in here. So we have some titles. So I'm going to need a title, so I'm just going to drag that in. So let me just pull up there. As you can see, just says basic title because that's what you get when you edit individually is all but don't worry because when we go to our inspector in the top right corner, we can then edit that and change that and change all the parameters of that. I'm just checking that everything is there. So yeah, that is on my play head. I've got two video tracks there now. So there is my basic title there. It's on video track two. Let me just have a look for some more footage so I'm back in my footage. Let's scroll down. And basically all I'm doing is I'm going to start building up a narrative. So I'm going to start building a story on my talent and through the footage I have. So what I'm gonna do is I'm going to trim my title because I don't need it. The default 5 s, that feels a little bit long, so I'm just going to do that. So I trim that by just tapping it and pulling it across. So in my inspector, you'll see I've got all of my contract here, so I'll select this. Now. I have an Apple pencil, so I'm using my Apple Pencil. I also have a keyboard and great news. The keyboard shortcuts work on the iPad. So if you are already familiar with DaVinci Resolve or you have a keyboard, you can then use your keyboard to speed up your editing workflow. So all I'm doing now is I'm just repositioning this, just going down through some of the parameters. So as you can see, we can change the color, we can change the position. We can track it. We can zoom in. We can change the rotation angle, which I'm not going to do because that'll just looks a bit bizarre to me. So let me go down. I can add a shadow. So I just changed the color of my shadow. So let's just give it a blue actually, let's do the outline. Let's give it a blue there, a blue stroke. And if I just increase that, let me increase it to the max. So you can see that that is going round. So I'm just going to give that a nice subtle outline. And then I will go down to my shadow, give that a white shadow is that so this is just blurring out, but obviously increase my offset. So this is almost like light is coming from the side. So you can almost trick it to look like you have a lie on your texts. So I'm just going to do that. We just play around with this. Change the blur tool. I get that where I want it. Yeah, that looks pretty good. I could also do it as a value, but I'll use the slider with my Apple Pencil. This also works with your finger as well. If you don't have an Apple Pencil, so please don't feel the need to go out and buy one just to edit in this program. Just playing around with my offset. I really think it's worth taking the time to do this, so you're happy with it. Just changed the color of that. So I'm just going to change the color of my tracks so I know that this is text or I like to his Alex change the color of my tracks so I know what's on what track visually by looking at it straight away. Okay, so now I've got my title. I'm going to start looking for some footage. I'm going to import some audio because I like to cook to audio. So if I'm making a promo, I want to get the beat right. I want to get the flow. I would really want to set the pace and I don't have a great deal of audio in here, so I'm just going to use one of these from another project that I've been working on. It isn't necessarily the music I would use, but it serves the purpose for what we're, we're trying to do here. Now, one of the things that is a little bit tricky sometimes I found on the Vinci Resolve iPad. He's actually bringing audio into the timeline. So sometimes it sticks and it doesn't quite work. So I'm just playing this room now. You can probably hear that in the background. So as you can see, I'm dragging this in and nothing. This is a bit of a quirk that I've found, so you just have to persevere with it. Let's just try a couple more times. And if it doesn't work, we'll restart and we'll bring this back in. So there's still a few little bugs that may select the audio was there. And let's see if we can just bring this in separately by just dragging across. No, there we go. There's always a way to get the audio and so it's not in the right place. It's pizza. Put that at the end of the track there. So what I'm gonna do is I'll select the audio and I'll just move that across. Underneath will pop up there. So we'll just give that a play and that's definitely Plane. Excellent. Now what I might do is I might find a nice beat where it kicks in. Oh, that feels, would just keep listening a bit more. There we go. That looks like a good beat to start some visuals. So I'm going to cook that there with the little scissors icon at the top of your play head. Move that across. Let's just have a listen to this. We go and we're playing. So what I might actually do now is I might move this across and then pull that out and just have this be where the actual visuals kicking our clean all this up later. But there we go. That's where I want my first visual to kick in. Okay, so I'm just going to create a marker there. So double tap that and just give myself a little note here. So visuals. We go here. I like to give myself a little markers just so I can get myself notes as I'm working. So all I'm gonna do now is I'm going to go through my footage, find a clip that I really want to start my promo width. So just looking through, so this is probably the most time-consuming bit of your editing process is looking through all your content. I actually really like it. But it is denote does take a little bit of time. We're just going to pull that in and out. And now there we go. So it's defaulted to underneath the clips. Let me just move all this across and it's out a little bit of a shuffle. We go, so just trimming the edges of here. So select that trim that there. Let me just double-check by right-clicking and that's where I want that. And then I'll just trim that across, helps move the whole clip term that across. So it can be quite fiddly, but that is editing is played out. Make sure that that works where I want it to be. Gray. So that's there. So let's select the next clip. So what I'm really looking for is to really show the variety in difference in the type of work that I make. So I've selected a range of clips that show events like this chap here shows an actual narrative work. It shows performance. There's some dancing there, some music in there, et cetera. So really want to show the breadth of the type of work that I've worked on this year. So as I'm building this promo up, potential clients or potential audiences see the breadth of our work. So when they want video of a performance, e.g. they can then go, Oh, we know somebody that just performance. We've seen this trailer, et cetera, et cetera. So I'm just finding the in and out points. So all I'm gonna do now is I'm gonna go through all of these clips and we're going to build up a trailer that's around about a minute long. So you know how to bring clips and you select your clip, it opens up in your viewer. You trim your handles so you just pull it in. The left, drop, pull it in from the right, find a bit of the clip you want, and then you pull that into your timeline and so on and so forth. So what I'll do now is I'll speed this bit of the process up until we have a timeline and then we'll start looking at what other things we can do inside of the cup page in Resolve. So I'll just super speed this up so we get lots of clips on the timeline. And then I want to show you a really cool feature inside of the cup page. So here we go, just trimming these clips and just popping them in. So what's really interesting about this, these are different quality of clips. If I go down to my viewer and you can see I've just clicked my little icon there, which looks like for three lines with dots. And I get all of these interesting options so I can crop it. I can create a Zoom and manual zoom. I can do the opacity. So let's just put that on there. Let's have a look at this clip there. If I pull that in like this, what this will do is this actually create a zoom effect on my clip. I can also stabilize my clips if my clips a little bit shaky. So can you see that Zoom out there? Well, that's the this that I put on earlier. So let me just take this out. There we go. Let me just watch these clips a little bit shaky as you can see. What we can do inside of. Resolve is go to our stabilized click Stabilize clip that I'll analyze it so it might take some time. This is a really high-quality clip. This is showing for K, but there you go, you can see it's done something. Let's just scroll back and play that. And you'll see that this has been a cracking job at stabilizing that clip. So if you've got a slightly shaky footage, an issue. So one of the other quirks in resolvers if you've got a clip that is linked, so that's not linked, but when I delete the audio, it deletes all of the clip. If I select one audio, it's deleting all of the clips. So that's a little quirk in resolved. Hopefully they'll fix soon, but for now, all we can do, we can mute that track so we don't really need it for this book. Just double-check that clip and I'm going to keep scrolling through, keep building up my editing, keep checking, watching. So a lot of editing is watching the same clip over and over and over. And just making sure that everything is adding to that story is adding to what the message do you want to tell everybody? One of the great things in here is I've got instant color grading options. So what I can do is I can select this little color wheel here. I can select my clip. If I click Auto Color, it will give me an auto colored clips. If I just go to this one. There we go, There's the clip and I'll just go over here and that's like auto color that you see. It's autocatalytic and it's not doing a bad job. If you're in a rush and you don't have time to really do a full grade on it, which we're gonna do with these clips anyway, also cause a great option. So let's try it on a couple of different clips with a couple of different lines. I really liked that it's really changed the tonal contrast of the image. So I could just pop over into the cold page to a few more little refinements. And that would look absolutely brilliant. Okay, so I'm gonna keep editing this. So I'll speed the video up a little bit now until we build up a picture. All we're doing now is just assembling our edit timeline to our draft edit so we can watch the whole thing back. We can make sure we've got the energy of the piece, right? We've got the flow of the piece, right? You're really building up a visual story so that your audience or your viewer or your potential client, e.g. really gets a sense how you put things together, how you tell stories, because filmmaking is storytelling, editing is also storytelling. So you're, remaking the stories that you've shot. So all of these clips were shot in isolation, separately from each other, so they weren't designed to go together really. So I'm having to rebuild a narrative of all these different narratives. So when you're making a trailer or a promo film, you really want to select the best footage that you shot during your year or during your month or whatever the content is that you're using. For your promo, you really want to show a wide range of the work you do. So you really want to show your skill level. So to know if you have any moving shots and you put your moving shots in there. If you have any shots that particularly standout or really interact with a camera that can elicit feelings and emotions in your audience. That's also really great. So let's just speed through this edit now. So we just build an upper bed getting down there, making sure everything stabilized, making sure everything is in the right place. We might move all this around. I might change the music once I've watched it. Because again, a lot of these processes, you're in the moment you are LET and you're thinking you're building clips. You're creating a visual language, but it might not be quite right. So you might get to the end of your edit and I kind of go, okay, the music doesn't feel quite right or that clip doesn't sit right there. So all you do is you swap it around, you move it around, you change everything up really. Then what you really want to do is you want to find a dynamic clip to finish your trailer on, so something to end your clip. So I really liked this one. Let me just have a look at this. This is a move on again, it's a little bit shaky even though I did it on a steady rig so I can go to my stabilizers settings there and I can just do that. And that just took a little bit of time so I'll smooth it out across. Fantastic. Okay, so is there anything in the music where I want to stop? So I'm just listening to the music now and thinking, is there anywhere, any place I can fade out or any places I can eat naturally dips and paste. So I can just create an ending that will just create something to finish. So that's where my play head is. Can I fade out there? Let me have a look. Is there any other clips that we could then put in? This is quite a nice color. It's just quite upbeat and jumping and happy. So maybe I'll finish on this. Just pull my in and out points. And when it looks, the camera looks pretty good. So just drag that in and that's a little bit long. So what we'll do is we'll get to the end there. And we'll just cut that and get rid of that n clip because we don't need that. And then what we will do is we will just tidy this up, chiming in, trimming out. And then we will jump across in another session and we will get all of this cool, graded and ready to export and upload online. All I'm doing now is I'm just adding some dissolves just to fade in and fade it out so it doesn't just stop as a straight image. So I made my transitions in the top panel you can see I've got video, I've got audio, I've got famous, haven't saved any favorites yet. But the way you save a favorite is you just hover over the clip and there's a little star at the far right side, just click that and that will instantly be in your favorites. And again, there's a little quick but sometimes it doesn't quite add. So let's do an audio one first to see if that I'll add onto it. There we go. So there's our audio for it. I didn't select that, so we'll just pull that across. There we go. So we have an audio fate on the end of the clip there, and I'll clean that up and move that across. Let me just select that. It's not going to move for us. That's moving the whole clip. Not to worry, we will figure this out as we go along. Again, there are a few little quirks inside of the app version which will of course be updated as the guys at Blackmagic design or updating the software. And all these little quirks and kinks will get ironed out. So let's just go to the front of the clip. There we go. So that works. Just going to watch all of this through. Let's just check that there. Again, I've got my parameters up here. Just looking about the color palette, see if that works. Trip over to the color page a minute. Let me just have a quick look at what's going on over there with the scopes. Great. So let me just go back. Okay. I think that's going to clear up really nicely, but if I'm totally honest with you, I might just do the auto color because it looks great. It feels like it's got a really nice tonal range. It gives it a really interesting kind of pallets. Let me just go through these and again see how the color is looking to know what I really liked, that it really brings out those colors in the background. Let's try this one. How will this one respond to the light? It's very different. Okay, yeah, that truth be told. I've used this clip in the actual film, and it looks just like that. And I spent ages color gradient. So that's a really, really interesting process that Da Vinci Resolve of developed there. Okay, Brilliant. So what I'm gonna do now is I'm going to keep working on this because you will understand the premise of how to edit inside of Da Vinci resolve on the iPad. You don't need to see me click buttons and do all of that little fatty stuff rarely. So what we'll do is we'll fade this out. And then I will, at the end of this video, I will show you the the promo that I ended up with using specifically the iPad to edit it altogether. I like to say the first in the record label in the world. Thank you. Thank you. 9. Colour Space Transform DaVinci Resolve iPad: Okay, So we've done basic color grading and you'll understand node structures and how to use the Lift Gamma Gain caboose, et cetera. In this one, I want to show you how to use another tool in the Effect menu called Color Space transform. So if you create a new node, go to Effects. Scroll down and you'll find color space transform. It's in Resolve FX color. Just drag that onto your node and you get this wonderfully confusing pop-up. So let's have a look at this. So input color space. So firstly, you input the color space in which you recorded this. So I shot this on a Canon. So let me slide down to cannon gamut, and then it'll give you some further options. So I shot this in log three. So what that's done now is as giving me an incident color grade based on the timeline important on da Vinci resolve on their color system. It's magic. What we can do now though, is we can change the output color space so we can make it look like it was shot on another camera. So if I scroll down, first of all, before we do that, let me show you the different tonal mapping method so I can change the way that, that colors interpreted via this color space transform. So by default is at Da Vinci result. But if you look at what I'm doing through these tonal color map, as I change it, it changes the way cooler is handled. I'm just clicking through these without any thought really just to show you the difference. So let me bring that back to Da Vinci. Let me slide down and let me show you some of the other things. Truth be told, I very rarely touch all of the other sub controls. Really. I just use my color space transform and I use that as my base for when I'm editing my footage or my films or whatever it is that we're editing because it gives me a really strong, solid foundation and it saves me lots of time having to adjust the color boost and the tonal contrast and the shadows and all of that jazz. Okay, so we're back in our color space transform. So what we can do now is if we just have a quick look at this, It's not that far off actually, so it looks pretty good to me. It needs a little bit of refining. And a lot of this is about stylistic choice now. So it's about what do I want this image to look like? How do I want to present it, and what is the color palette that I'm working with? So back in my color space transform my output color space. I might change this to something like an array wide gamut for e.g. the array camera, which is a high-end film camera as we know. Or I'll change it to black magic. So I shoot off black magic as well. So Blackmagic Jen three. And then if I go down to black magic for k, That'll give me a color palette is if I've shot back and black magic for k. So that's really good if you're using multiple cameras and you want to match the color space. So then I can go into my loops, which is over on the left panel, go into my Blackmagic Design and I can put a look on here to gain further enhance the color and further enhance that look. Now that's a little bit too bright for me, so let's have a look at the other ones. So that's black magic to wreck 709. Obviously you can see that that's overexposing and that's done some really crazy weird stuff to that image, which we definitely, definitely do not want. So what we're gonna do is, oh, here we go, another one down at the bottom. So black magic to video three, again, it's really brought out the red tonal contrast, but our subject is still overexposed, so you have to use this sparingly. You can't just chop this lot on and then export your video and go, okay, everything's perfect and fine. You're going to need to do a little bit of work that actually doesn't look horrendous. I could just pull this down, pull down the highlights, give it a little bit and mid-tone color, and that would be virtually good to go. So that's the color space transform. I encourage you to have a play, have a look at it, see how it affects your footage. Don't just sit alone one, you know, take some time and really play with the different ones. If I turn my adjustment soft, you can see that actually what I've got is quite a flat image though, but I've got a different color space, so I can now use that as a base for editing. E.g. hope that's been useful. I hope that all makes sense. If it doesn't, please do reach out to me and we'll have a chat. Otherwise, have fun, enjoy. And I will see you in the next session. 10. Basic Colour Grade DaVinci Resolve iPad: Okay, Let's jump over to the color page and do a basic color grade. So we're in the color page now and I have this clip here which is shut off, a Canon R5 see, and it's in log. And as you'll see, it looks quite desaturated, so it needs a little bit of color. So the first thing we're gonna do is we're going to create a new node. If you go look up near where the hand is at the top, there's a little icon with two nodes. Click that and that will give you a new node. Or you can right-click if you have a mouse or a keyboard attached. So down in the bottom, we're gonna look at the primary colors. We'll, we're gonna do a little bit of color boost. So I'm gonna go quite quick through this because I think color gradient is really great when you learn it yourself. We're going to speed through and I'll talk you through my process. So I'll do my little bit clubs, I'm going to do it a little bit of contrast there. So have a play with them and then see what you can come up with in terms of the color looks or play with your Gamma, you'll lift your gain, et cetera, offset does all of them by the way. When your color grading, if you change the offset, it will do the whole image. Let's jump over to HDR. Now, what we're gonna do is we're just going to look at the shadows. So I'm just going to play with the shadow wheel at the bottom, you'll see me moving this slider can then go to the darkness. So just adjust that a little bit and you'll see you'll get real-time feedback with a color as you're editing. Just going to change my hue, which is the color moving that just look at the contrast a little bit more just to get a little bit of definition separation, Let's look at the detail there and you'll see straight away in the scopes and the parade on the right. That's giving you real-time feedback. Let's jump over to the Custom curves, create a new node. And we're just going to lift the top end, pulled the midst down a little bit and just pull the bottom end in the shadows a bit. So really separating subject from the background. So foreground and background there. So that's looking really nice. Let me just have a look at my node structure there. So I'm just gonna change the color space. If I right-click, I can go to my color space and I can look about Joseph. But when I do a separate tutorial on color space transform, we can understand that a little bit more, but very quickly I'm just checking what the color space is in this one. Whilst I'm working, I keep coming out, so but let me go back in. There we go. That's looking great. I really liked the way that looks in terms of a really simple, quick color grade. But let me go to my my curves and my Hue vs Hue. Just have a look at that. Do I want to adjust any of that? How does that work? Let me just undo that now so I can mute a node by tapping in the bottom part of that panel that just mute this so I can see exactly which bit of the color grade is doing what. So by muting them doesn't take away the color, but it actually just keeps you there. Wanted to show you this very quickly, so I've muted them, I'm back onto my log image in the primary colors. We'll, you'll notice a little a in the top-right corner. That means auto color grade. So if you click the little a, that will then give you an automatic color. Doesn't always work. Doesn't always do what you envisage it will do, but it's definitely worth looking at. So back into my nodes, I'm just going to pull up some more information and just make sure that I'm going to reset them all. I'm just going into each node and I'm just going to reset grade or I can delete the great actually because I've shown you the purpose of creating grades and adding fine adjustments to each one. So let's just go into our node tree so we always leave our firstNode alone. That's what happens when I click the Auto button. Now that for me is massively overexposed and it doesn't look right. But you'll see in your node you have an a for automatic. So let's pull up the information on that again and we'll just reset that. So when you are called a great independent on what kind of lie or what type of lights you have on your subject or in your scene. So I found that automatic works really well. You're in daylight or you're outside. I found automatic doesn't work as well when you have lights on a subject. So this is a monologue to camera. So we have lights on our act as separating the foreground and background. So automatic, it's just giving me an automatic what it thinks is an automatic car space, it doesn't quite work. And you also lose a lot of control in terms of what you want to do. But it's good if you need a really quick fix or you need to see what's happening within that class-based. Okay, in the next session we're going to look at some of the finer tools within the core space. Panels such as coal transform, and a few other things. 11. Power windows and mask tracking : Okay, let's look at power windows and tracking what are they and what do they do. So I'm in my color page here and we have an edit. So I'm going down to my tracking and I've just created a circle window that I'm just adjusting this around the face of our subject here. So I'm just using the little handles and pulling that across. I'm just making it a little bit softer. Just make sure it generally covers the face. So now I'm going to click this inverter here. So what will happen now is if I just give you an extreme example, everything outside of that power window will be affected. Everything inside won't be affected. So that's what our palmar window is used for. So now, if I want to affect some notes, if I just do a really quick basic color grade. So I'll just lift this up here and I'll just go into the mid section, dropped the gain down a little bit. So drop the highest down. You can see I'm dropping the background down, dropping her down, and then I just go there. And if I just reverse that, you can see instantly where those changes are applied. So if I go outside the window, her face is still really bright and radiant and the background is a bit toward off. If I reverse that round, she becomes dollar off and the background becomes much brighter. Now what happens if the person moves? So we created the power window. What happens if the person moves? We're going to jump over to the tracker window. And what we're gonna do is we're going to track this action. So what da Vinci Resolve does is it inside the mask, it finds some key points to latch onto. So we track as I've just clicked, play forward. So that's playing. And it's tracking the vignette as she's talking and doing her speech to camera. So we'll just let that play to the end. So here's an interesting tip. If you didn't start your clip from the beginning, you will have to reverse track it. So all you do is you click Reverse tracking and that's just where it says tracker window underneath you've got some play pause controls. So I wasn't if this was in the middle of the clip or at the beginning of the clip. So rather be safe than sorry, track forwards, track backwards, and that's a really good track of her face. So now all of that color change that I've done on her face will follow her as she moves around the screen. So it's basically stuck to her face. This is a phenomenal tool from Da Vinci. Resolve is an absolute game changer. To be able to do this on the iPad, have a goal for yourself. Bring some footage in, put a mask on it, track it. You can do this with anything from an object through to a person, etc. Let me know how you get on and I will see you in the next session. 12. 3D Keyer iPad: In this session, we're going to look at the 3D Qia, a couple of pitfalls and a work-around. Okay, so I've got these green screen images here already imported into my cup page. I'm just going to select that and drag that in. And as we know, that creates a timeline. So there we go. We have 3D camera. Go to my Color page. I'm just going to type 3D key in here. There's a couple of ways you can do this, but I'm gonna show you the way that I prefer because I find it gives me much more functionality. So 3D, there we go, it's there. I'm just gonna drag that in. Now, what is this? This is in effects. Note if I just click that and I'm going to reconnect these up between the green lines. So from node number one, connect that up and then my 3D care connect that to my output. So therefore, I'm creating a nice trail across. What I also need to do is with the three dots at the top, I'm going to click Alpha channel and I'm going to click the blue to the blue. So I need an alpha channel and connect the blue on node one to the blue on the key, because those are my alpha channels. That means when we get rid of the green key, it will have a transparent background. So I can then put that onto another surface, which I'm also going to show you. What I do now is I go down to my picker and I'm just going to draw around the object. And as you'll see already, that gets rid of the green. So you can play around with this, try different strokes to get the best key and the best map around our subject. So I've just got that there and that looks pretty good already actually. But I can do if I was if I go over to my 3D Kia, I can refine all of this information. I'm actually quite happy with x. It's done a really, really great job. But what we'll do is we'll have a look at some of the features in our 3D care. I'll show you what the use. You can play around with these when you're doing your green-screen or 3D keen, e.g. so we can do some key adjustments here so we can adjust the tolerance, we can adjust the softness. If we go, we can change the color space. D spills a really good one because I've just feathers the edge out a little bit. So if you have got a little bit about this bill that I'll get rid of it. If I move down to my map finesse, you can see I can just clean my blacks a little bit. So my blacks is my transparent background. I can clean the whites as well just to get a really nice key in the output, I can just change the alpha output so I can just see if there's any over spill. I generally work in the final composite, put whatever works for you. So that is how you do 3D key in on the iPad. Individual resolve, super simple, this one. So what I'm gonna do now is I'm just gonna move this on to another truck. I bring in another image in and I'm going to 3D key this. And I'm going to put up a woman inside the computer. So again, I create a 3D keynote. Now if I drag it straight on to the green line, instantly connects it for me. Create my alpha channel. Excuse me, Can it goes alpha channels, apartment connected that hope there. There we go. I'm just moving down to the MID spill. I'm just playing with how I want to get rid of that green screen. But again, I need to collect my alpha channel. Now you'll notice there's a green hue and a green line around computer green screen. So if I use my D spill, you can see already it gets rid of all of that and that's a really good quick key. And again, I can go down, I can just look at different options, but I'm going to go back, highlight my lady. I'm going to bring in, look at this really interesting quirk here that's going to happen now. So as I start cropping, put her there, look what happens as I go across my screen. So there's my key. I bring the woman and she's there on top. Now as I start going down, it starts getting rid of the image behind now it shouldn't do that because I've created an Alpha channel. This is a really weird quirk. The Vinci Resolve ipad. Don't worry though, I have found a solution for you. But let's do a little bit of troubleshooting whilst we're here. So let's just look at the global map. So if I create a rectangle mat here, and I just go there around there and I invert this. There we go. There's our lady there. And I go back to my image. Almost works, but look, there's a black line at the top of her and one at the bottom of her. It's a really weird quirk. I don't know why it's doing it, but again, let's find a solution. So what we're gonna do is in our color page, we're going to create a new node. First of all. But before we do that, let me just have a quick look around this system here. There we go. Let's drag her across where we want to just zoom in a little bit. So what I'm trying to do is get rid of these black bars at the top and the bottom. Don't know why they're there. All the ones he says, this should not happen, it should not do this. It might just be a quirk, individualism, but let me get rid of that mat inside of the 3D care first of all. So what we're gonna do is we're going to create a new node. There we go. We're gonna go to our mask power window. And I'm just going to create a new power window. I'm just going to use a rectangle for now. I'm just going to make sure it's covered. Just give that a little bit of a softness on the ad. So all I've done is I'm just covering our subject of it. And I'm going to click my icons here just to make sure that if you look at my node, it's the green-screen that selected everything inside of her is selected. Just going to position her in place. There. Again, I'm using an iPad version so it can be a little bit clunky sometimes when you're using power windows or you're using high render effects. If you have a new iPad Pro with the new M1 or M2 chips, that they are much, much faster. But don't let that stop you using Da Vinci resolve. So we're just bringing out a woman over. So I've just created a little bit of transparent background excess want to fader. And as you can see, I can zoom her around. Just position her where I want her and I could create a background behind her as well. So I could move her up and create another background. But what we've done is we've used the 3D care. We've put our lady on our computer screen and we've found a workaround for a really bizarre quirk, individually solve for the iPad. Hope that helps. Love to see what kind of work you guys are making, how you're using the 3D care in if you can solve that little quirk in a different way, please do share it with the group. And I will see you in the next session. 13. Additional Resources: In this session, we're going to look at unlocking some additional resources. I am super excited about this. I can't tell you. We know we have our cook page and our color page. So now what I want you to do is with your keyboard. So get your keyboard up or get your additional keyboard, or you're going to click Option Command K. If you're on a Mac, this is then going to bring up your hotkeys shortcut. So in your hotkey shortcut, go to the very far right, and scroll right down to the bottom. And at the bottom, you're going to see, let me just find it down here. You're going to see Show page. Can you see that show page just going to click Show page. I've already done this. But what Da Vinci has done is they've hidden all of the other pages that you would find on your laptop. So all you do is click shift and a number. So I've gone shift one, shift two, right through to shift seven. So that opens up all of my seven pages on Da Vinci Resolve. You decide what system works for you. Again, once you've assigned that click Save, watch what happens now? Shift one brings up my media page. This is phenomenal guys. If I click shift to it brings up the next page, which will be my cup page. Shift three is my Edit page, and I always work in the edit page. I'm going to do a whole host of tutorials on this. Shift forward. Bring up the next page. Shift five, shifts 6.7 e.g. now, I can only assume that the Vinci Resolve of hidden this because they are still testing some of these features out. So some of these might not work as expected. But again, what you can do is you can always shift and that number. And when you press that number, it will go away. So you've got your fair light page, you've got your deliver page. Essentially, you have the full functionality of Da Vinci Resolve the laptop. Again, the caveat is, I don't know how all of these will work, and I assume Da Vinci and black magic of hidden them because they're still working out some bugs. So if you decide you want to open all of these tabs, you can always press Shift and that number to get rid of them or to hide them if they do become buggy. Okay guys, in the next session I'm gonna go through all of these additional tabs. I'm going to show you what they do, how to use them. And then we will start using them for LET more content. See you in the next session. 14. The Media Page vs The Cut Page: Okay, So we've unlocked the additional resources and we've opened up the media page. So let's have a look what's in here. So we're just going to input some footage. So I'm just going to go into this folder here. I'm just going to import all of this footage. If I select that one. Select all and important than all of that footage is inputted straight into my media pool. So all I'm gonna do now is I want to select the clip and just drag that into my timeline. And you'll see, whoops, let me just do it one more time. Drag that into my timeline and you'll see I have a timeline sets up. The media page doesn't have the full functionalities. If I just go over to the left, you'll see I can change my media settings. And what I can do is I can just play about with this so I can see my timeline wave forms. I can see the image on my video. I could play with the high etc. So it doesn't have the full functionality of the immediate page in the da Vinci resolve for the MacBook or for the PC, e.g. a. Guess because of computing power. And they're still developing this. So we have our video and our audio tracks separately. This is something I like much better in the media page. Then they cope page I can, using the tools at the top, very similar to the page, I can shrink and grow my timeline so I can see everything that's on there. When I'm working, I can have an expanded view or I can have a macro view. E.g. I. Can increase the real estate so I can decide which way I want. I've still got the standard export settings. I can do a full screen preview, etc. So when I'm developing, I usually like to work in the media page when I'm on my Mac, I generally don't work in the media pay in the cup page on the on the computer. The inspector is great because you've got all of the inspector feature, so that's in the top right corner. So as you go down, you can see you have your image stabilization, et cetera. Again, I can make my timeline bigger just by dragging the three dots at the right side. I've got all of my Effects panel. I've got all of my different resources like my texts and so on, that I would have if I had this on the PC. So on first glance, it doesn't have all of the features, but it looks pretty similar. Again, I find working in the media page when I'm working on my computer much more conducive to editing especially quickly. What's great about this though, is I can separate audio out very easily, which I can't do in the cup page. It's not. So if I want to start adding effects are I want to start developing a much more narrative sound score. I can do that much easily in this tab. Also, what you'll see here is it's really easy to bring your media in. So whereas on the cup page you have a lot of Pfaff. I think when you are bringing immediate in here, you have all of that functionality. Super easy. I can adjust the size of my viewer. So when I'm looking at things, I can adjust the size, I can adjust the type of thumbnail I want to say I can search specific thumbnails. I can order them in specific odors or they'd be filename, meal name, etc. So my first impressions is the media page is really, really interesting. What I'm gonna do in a moment though is I'm going to compare it to the cup page on the iPad because the media paid him the cup page on the desktop version. A very, very different. So they're completely different to what they are on here. So there's quite a lot of similarities here. Okay, so let's just go to the code pages, have a quick look. So on first glance, it looks virtually the same. It looks virtually the same. It looks very similar. What I have here though is I have a sink been I don't have a sink been in our media page. So that's a little bit frustrated, but that is very similar to the desktop version. I don't have a sink been in the desktop version on the media page. The iPad version, if I'm at 100% honest, I think I'll probably use the cook page should do most of them editing. And then when I want to do some fine tuning, like I want to play with the audio or I want to create a little bit more complex audio timelines. I'll do that over in the edit page. So it's a really, really great addition, is just not quite where it needs to be now that could be for a couple of reasons. First reason it could be because I'm an older iPad, so I don't have full functionality. Or it could be that it's not quite ready to release yet. So Blackmagic, still working on this part of the interface, which is why it was hidden inside of the hotkeys menu. Having said that, it is fantastic to have all of the tabs to be able to jump between them, to be able to refine your workflow, really start using the iPad, especially the newer models, as a really powerful editing interface that you can jump between your laptop on your iPad if you need to. And if you don't have a laptop, you can create professional, fully graded, fully treated videos inside of your iPad and Da Vinci Resolve. 15. Right Click : In this session we're just going to look at the right-click feature. So I'm going to open my project here, and I've already got some content inside of my timeline. So what I want to do is I want to add some additional features. So if I hold my Apple pencil on there or I hold my finger on, it brings up the right-click option. What you can't do is take it off. You have to keep it held on and then navigate up to the bit you want. You can change your speed. If I jump over to the media page and I showed you how to access the media page in another tutorial. Same thing. Right-click. Hold your pen on that to get the right-click and you get lots and lots of options much more than in the cockpit so you can work out how to jump between the two of them. So really quick video, I thought was really useful just to show you how to do the right-click. Also, if you're in the media page, you can adjust the speed inside of the timeline again, right-click or just speed. You also have the full functionality of what that does. So you can create freeze frames. You can also generate optimized media. So if you have some footage and your iPads, an older one, and it doesn't quite work as effectively as it should do. You can generate optimized media, and that will make it run a lot quicker. You can render it, you can copy, you can create new compound clips and I'll go into more detail, some of those in a later tutorial. But for now I want to do a really quick one to show you how you can access the right-click feature and what that unlocks that appears to be hidden inside of DaVinci Resolve. 16. Light Rays: In this session, we're going to look at the light rays feature. So I'm going to jump to my color page. I've already got an image in here and you'll notice that there's some lights in the background. So if I press Shift F, I'll get my full-screen view. If you've got a keyboard, but I'll leave this on. There you go. There's a full-screen view there, but I'm going to leave mine on standard view so you can see what's happening here. So all I'm doing is I'm drinking light rays on. So if we go back to my node view and there's my light rays there and you'll see instantly, it's taken a ray of light from those light sources. So if I increase that up there and I just increase the threshold again with anything that is effects. I always think little is more, but I'm going to go through all of these settings with you so you can see what they do. So obviously I can change the angle. So if I've got a light source coming from a certain way, I can stretch that out, I can soften it. I can also increase the brightness. And one of the really great things is I can change the color of this. So if I click the color, that will then give me options to change it. So if I just click it a yellow for now, again, incredibly subtle. It doesn't make the whole image yellow. I've got different composite moles I can use like in my inspector in my cup page or my edit page, e.g. let me just go back to the admin because I want to add this in. I can blend between the two. So the original image and the new image, I use this feature all the time when I've got lie in shock or there's a lump somewhere. And it really emulates the effect of having a filter or having like a polarized entire type filter on the front of your camera. It's really stylized. It just gives you a really nice stylized look as a really quick tutorial into light rays. It's part of the free version, so have a go, have a play. And again, please do share your results with me and the class. I'd love to see them. 17. Masks Pen Tool: In this tutorial, we're going to look up masks and specifically the pen tool. So I've got an image here that I've brought in. So this is an image of me. All I'm gonna do. First of all, I'm going to put this on a separate town. I'm so I'm just using the cook page and the color page for this puts on time. I'm too. So here's my image. So the first thing I'm gonna do is I'm going to create a new node because we like to have new nodes for our effects. You're gonna give it a really quick color grade. I wouldn't normally call a gradient like this, but for the purpose of this tutorial. So you can see it because obviously it's quite a dark image. I'm just going to do a really quick a curve on it here just so we can see it. Okay, that looks like we can say all. So what I'm gonna do next is create a new node and then I'm going to put my mask on here. So if I just scroll down to the bottom and I go over to my mask settings, which is at the bottom. It's a little bit of a circle, and it's next to an eyedropper. Let me just quickly rearrange these nodes so we can see where everything is. In. There we go. So okay, at the bottom is my circle and you can see I've got square, circle, line, pen, etc. So I'm just going to get my pen tool and I'm going to draw around me. So if you have the paid version, there's a much easier way to do this, but we don't. We have the free version, so we do it the old-fashioned way. So I'm just going to speed all of this up because you don't need to see me draw around myself for 10 min. This correct that. So I'm just literally using my pen tool and going round the outline of me. So I'm going around the genes, around the shoes, up the leg and back down. And all I'm gonna do is I'm going to complete this mass. So once I attached the two dots up at the end, if I just go around here, there we go, Just, I'm doing these quiet raw fish. I would refine it a little bit better if I was doing it for a job or something. There we go. That mask is now done. As you can see, lots of little dots around me, but there's no separation between me and the background, so it still appears. So what, what could be happening here them? So as I've said in a previous tutorial, once I've cut my shape out, whatever that shape is, whether it'd be a square and I'm going to do a tutorial on, on different masks for you. Eat it and separate it from our backgrounds. So what I need to do is create an alpha channel. Now I've made really obvious mistake here. So once I click my alpha channel, you'll see in theory that should separate my foreground and background. But nothing's happened because I've just realized I've made a really simple mistake. It's super easy to fix. I wonder if you can spot it before I tell you what it is. So have a look in the node panel. Okay, so what I've done is I've put my mask on the wrong note, so I'm just going to disconnect everything here. Move this all around, connect the green up, so the green up, so that's my flow. Connect that up. At 1 min, my pen tool start working. Let me just move that across, get these are connected. Actually, actually I found a better, I'm just going to delete that, connect these up, connect that up there, and connect my alpha. And as you can see, nothing's happened. That's because I've turned this node off. Oh, my alpha channel hasn't taken. So what I'm gonna do is I'm just going to reset this node. Da Vinci can be a little bit glitchy. If you have an older iPad like I do, sometimes it doesn't quite respond as quick as you would like or it freezes. So that's what's just happened for me. So I'm just going to quickly redo this, connect my alpha channel if it decides it wants to connect. So even if I start to isolate, you can see on my node I've isolated the foreground or background. It's very tiny, but you can see everything's gray and I'm not. There you go. Once my notes connected, you can see I now have a transparent background. So what I can do is I can then use this shape on a different image. So what we'll do is we'll jump back to the cup page and I'll bring this image in. The moon landing with Neil Armstrong. And I'm just gonna put myself on there. So instantly I'm in there now I can resize this and I can move this around and all of those things. But obviously, I don't look like I belong in the moon landing because I'm full color. I mean, I don't have a shadow and all those things. And again, for the purpose of this tutorial, I'm just showing you how to do this. If I was doing this for a job, obviously I would fully color grade it. So we'll just do a really great now. So we'll just drop the color down. We'll play with the highlights and the shadows will look at a contrast. I mean, obviously if I was doing this for a job, I would do this a little bit better and it would take me a little bit longer than the length is Utah, but it's really to show you guys how to use the pen tool on your iPad. It's a super powerful tool to use. Again, if you get to the point where you are limited and you want to upgrade to the paid version, there is a much easier way and I probably will upgrade at some point as I start using this in my workflow. But for now the free version, absolutely does everything I need it to do. Okay, So that's a really quick tutorial on how to use masks and the Pen tool. I'll do some further tutorials using different types of masks for you so you can see how the different ones interact. Hope that's been useful. See you in the next session. 18. Masks Basic Design: In this session, we're going to look at masks and some basic design tips. I've opened Da Vinci Resolve. I'm in the cup page, but I'm going to open the edit page, so please see the tutorial where I show you about the additional resources. So I'm going to jump over to my edit page, open My Media Pool. What we're gonna do is we're going to look at how we can then cut out some images and create some new designs. So I'm just going to bring these boxes in here. And I got these images from Unsplash if you want to follow on with the tutorial with your own images. So I've got two layers. Obviously, I can't see my bottom layer because it's masked by my top layer. So what I need to do is I need to cut these out. So first thing I'm going to do, let's have a look at the inspector panel. And we're just gonna go down So I could crop my image. I've selected the wrong one. Let me select the top one. Just crop my image there, but it doesn't quite do what I want it to do because obviously in my boxers are on an angle and I want to be a little bit more precise. So let's reset that and let me just reset the one at the bottom. So how are we going to do it? Well, let's have a look, see if there's anything in the inspector panel that can help us here. So we have our composite mode. And this might do some really interesting things I could play with the opacity. It looks great but doesn't quite do what I wanted to do, but might be useful somewhere else. Color Burn, again, really interesting, but not quite. That's an interesting effects difference. Doesn't quite work for what I want it to do, but I've already got an idea where I can use that effect on something else. So let's reset love that, bringing it back to normal. So we're going to jump into our color page. Let's create a new node. We go just move that across. So I got a little bit more real estate. I am using a keyboard with my iPad. So if I press shift f, I'll get a full screen preview where I can work on if you don't just close everything and move everything around. So I'm now in my mass and I've got the pen tool and I've just quickly draw a shape around my box, just zoom in so you can see that isn't perfect. We're going to refine it in a minute. So don't worry about that. Now, that's my full screen just looking at that. So all I'm gonna do is I'm just going to pin the corners a little bit better, move that across. Then what I'm gonna do is I'm going to click where I want to add a new marker. There. Let me move across to this corner. Just refine that a little bit. Click, click there. Move that in. I'm going to go down there, up to the top corner. And again, I'm doing this super-quick. When you do yours, you'll be a little bit more refined than I am, I'm sure. But again, for the purpose of this tutorial, I don't want to spend too long because I know the whole point of view do these tutorials is to learn something new, not to watch me do it. So I'm pretty happy with that. It's nearly where I need it to be. Move that across there. I'm not going to worry about that a little bit for now. There we go. Oops, just pull that back. Fantastic. Okay. So we've got our shape. We've cut round it. Yep. Why isn't anything disappeared? Why is that bookstore there? So let me have a look what's happening in here. So I've clicked that, so that's not happening. And I look at my node and that tells me it should be transparent. What is going on? Really simple. What have I forgot to put my alpha output channel on. So all I do go to my three dots, click, add alpha, output, drag that across. Wallah. There you go. So now we have our mask and our box. Again. I know what you're thinking. I could do this in Photoshop. Why would I use Photoshop when I can use DaVinci Resolve, just going to soften the edges a little bit of that. Move back to my Edit page and it's there. Obviously you would color grade all of this up yourself. I'm just doing this to show you. But what I want to do, I've clicked my Foursquare's in the top left corner and I'm gonna get rid of my inspector. I can move this around. Full screen there is, as you can see, just going to rotate this around. I'm doing this in no particular order. I'm just messing around, just pulling in different positions just so you can see. The capabilities of this. For basic design work, Da Vinci Resolve is brilliant, not what it's designed for at all. Why not utilize the tools as you develop them and find them? And there's no hard and fast rule that says you only have to use Da Vinci for editing videos. I use it for doing photos and do it for editing my social media posts and creating images and all that because I'm a photographer as well. I get high-quality images and I make them work. So there are two boxes here though, don't forget. So let me create a new pen and I'm going to show you how to highlight the other box and a work around that. I found this isn't the only way. There are lots of other ways. So I've just created this mask here. I'm not going to do this crazily good. I'm just going to do it really quick so you can see it back to my Edit page. And the problem is they're linked because they're on the same note that on the same track. I don't want them things I want to do them independently. So let me delete that, go back to my Edit page. And what I'm trying to do now is I'm trying to duplicate this. No, but it doesn't seem to want to duplicate for me, so that's not an issue. Go to the media pool, read drag that clip in. So let me select that drug, but in just pop that on top. There. There we go. And all of a sudden my bottle ones disappeared because I still have my mask. So let me jump back to my color page and redo that process. So create my mask and I'm going to do this really, really quick. Create my alpha channel first so I don't get into the pickle I go into before. Select my pen tool. And I'm just going to quickly draw around this. I'm gonna give this even less attention than I did the first one. Again, just to show you how this all works. So just get rid of that. So I know they're on separate layers. I knew that anyway, but it's always good to check. Just going to full screen. Again, I have the keyboard, so Shift F helps me do that. Let me just stretch this out here. And again, just super quick, just so you can see WhatsApp prelim. Yep, that looks pretty good to me. I'm not going to spend too much time on that. Go back to my Edit page. And as you can see, it's independent, so it's now on a separate layer. So think of editing like a cake. So layering in the cake. So whatever is on top is the thing that I see first and it's the thing that will be on top of everything, but I want to swap these around. So all I do swap the layers round. Now my boxes underneath my little box isn't any, so I can start building up collages are different kinds of effects with this. And again, you would color great these and you would add shadows and do all those things for yourself to make it visually how you want it. If I jump back to the spectre, let's have a quick look here at what's going off. So if I go to darker mode, I can try different effects out and I really, really encourage you to do this. You can always undo it. If you make a mistake, you can always go back with the bottom areas in the left corner. Actually, a really great way to learn Da Vinci and the interface. And what they do is just to play with things. To note. You might think, Oh, that's not quite what I want. Then you're doing another job and all of a sudden you go, I wanna go back there. I want to go use the difference on this job. I want to use the invert or whatever that effect is. I hope that's been useful. I don't spend a whistle-stop tour. Please do leave me a review and share this course with other people. Don't forget if you want to do any class projects. I'm super excited to see what you've done and I'd really love to see them. Hope everybody is well and I shall see you in another session. 19. Generating Opimised Media: In this tutorial, we're going to look at what happens when you import footage into DaVinci Resolve and it doesn't play very smoothly. So I have sum for k footed here in its burrow. So rho dot bro, which is Blackmagic footage. And as you can see, it's stuttering as I play it. I'm in the co-pays. If I right-click, I don't really get any options to solve this. If I go to my Edit page and remember, we've assigned edit pages in a different tutorial. If I right-click and I hold on to that last slide up and I'm just looking for generate optimized medium for some reason. I'm not seeing it here, but I could render this in place. So if I rendered this in place, is it will do what I need to do. But I found generate optimized media. Just going to click that. And this might take a little bit of time depending on what iPad you have, and also depending on how big the clip is. But this has taken about 10:15 seconds. So that's done. Now what you'll notice here is it makes a slightly smaller image, but it is playing absolutely at the right speed. So it's doing everything didn't need to do in terms of allowing me to edit. So the next thing to look at then is what sizes this. So if I just go back to my export settings, so again, I've covered this in a different tutorial, how you create an export window. I have open my Export window. So what I'm gonna do now is I'm just going to type the file name of this. There we go. So that's typed when I save that to a location, I'm just going to save that to my I called Dr. uh, my films setting, so put it in there and just export that. So I click Add to Render Queue, and that's going to put it in my render queue in the top left corner of the screen. But top-right is you're looking at it, render it all. So that would then render that clip out. And as you see instantly it goes back to a full screen preview. Let's go into the export settings and we'll find out where that file is gone. And then what we'll do is we will look at the file size. So I'm in my profile setting and there it is, There's my film. Let's just play it. So it absolutely plays correctly and does everything it needs to do. There we go. So let me come out of that. And if I just bring up the settings and go down there and look at the info. There you go. You have all the info now because I have the free version, mine is only exploiting at 19:20 by 1080. If you have the paid version, it will explore the full resolution that your clip is. In this case, it would be four K. Hope that's useful. See you guys in the next tutorial. 20. The Deliver Page iPad: Hello everybody. In this session, we're going to look at one of those hidden features, the deliver page. So the first thing I'm going to do is I'm going to turn my deliver page on. So that's Shift and whatever key I've designated it for me, I've done seven. So it goes in a sequential order. So let me have a look what we got here. So we're in our edit page and we've created a little rough edit. So if I just scroll through, you can see that's a rough edit. So these are in no particular order. I've just done it to illustrate that once you have your edit, you can then export in different ways. So of course we could use our quick edit and that gives us generally a good array of things we want to do. If we want a little bit more control, I go over to my deliver page and look what we have here now. So here we have our timeline. We have some thumbnails, so some clips. We have a preview of the actual edit. On that side. On the left side, we have all of these options. So first thing we can do is we can change our filename. If I just call this trailer for now, then what we can do is we can change the location where we want to save it. If I go down here and I save it to my uploads folder. So I click that, that will then go there. I also have some more settings. So in my export Video setting, I can have a range. So I don't just have to export to QuickTime or MP4. I can export to a lots of different ways if I just click Quick Time now, say I don't want hate to six for a much more stronger codec. Upper progress. So that's an industry standard codec. It will be quite a big file, so I do recommend saving it to a hard-drive unless you have one of those iPads that has a lot of space on there. Then also what I can do is I can choose which type of progress file I want. So I might go ProRes 444, icon, network optimization. It obviously, I don't really have the options here. It's giving me the options. That's really interesting. I shouldn't be able to export beyond 1926. I have a free version book. I can export to a high resolution showed this was shot for k, So I can export to for k. I could x-bar Alpha channels and all that kind of stuff. If I go below here, I never ever really touched these settings, the advanced settings, because I don't shoot in cinema scope and all those things, but you can have full control of all of that. Let me just close that down now because we don't want that. Excuse me. That's the wrong one. Close that down. This is a great one so I can have my subtitle settings. So if I've got some subtitles, I can bring them in so I can have them as a separate file embedded or burned into the video. I don't have any subtitles on this film, but if I did, it gives me an option to export them there, which you don't get when you use the Quick Export. And also I have this Vimeo feature. That's because I have Vimeo upload directly embedded in x over Vimeo Pro account. So that's that, that's in your custom export. You've got your standard Master. You've got high pediatric age six to five, pro wrestler. You have a separate progress folder there. You can also go to YouTube, which is in your Quick Export Settings. What's really great though, is you can export to other editors. So say you don't work on da Vinci, on your MacBook or on your PC, but you work on Premiere. You can export this to Premier, so you can explore in from Premiere and export out to Premier. You can also export to Avid if you are an avid user. And then we have some protocols here where we can export protocols and we have these options down here, et cetera. So let's just go to H6 to fall for now. Once you switch between them, you have to change the titles if I just go there. So all I'm gonna do now is I'm gonna click go to Render Queue. So you're almost done now. So that's taking it from our left panel over to our right panel. And it's here in the top-right corner, which is an Export window. So what I can do is I can align jobs up. So if I've got several different films I'm working on, or several different timelines. I can add each timeline with separate settings, individual settings to this render queue. And then all I do once I, I'm ready and I'm happy with that. I just I've decided where it's gonna go. Let me just go back there. That's going to a different folder. So I'm just gonna go to there and upload again, hoping that once I've decided where it's gonna go, I go render all that is now rendering. And you'll see at the top you get a little percentage. So it will say 1% of apps are exited. I'm just going to stop that because I actually don't want this valve because it is just a draft to illustrate this whole process. But you can then render it to wherever you want to render it in the best possible settings. So you're not stuck to the settings in the Quick Export feature like you were previously. Hope that's been useful. I'll keep adding more tutorials as da Vinci and black magic key. 21. The Fusion Page: In this session, we're going to look at the Fusion page. So first thing you need to do is you need to enable that in your settings. I'm just going to import some footage here. So I'm gonna import quite a big file. So let me just go down and find Sleeping Beauty there it is. And I'm just going to import some ungraded footage there. So just open that. So that will change the timeline settings that will input here. Let me just drag this into my cup page timeline. I'm just going to select a tiny little clip for this, so that looks about right there. So let me just trim that in to get that clip there. Then what we're gonna do is we'll create another clip. So we'll just maybe four or 5 s worth of clip just so we can demonstrate how the future Patriot Act. So I've got my clip, I've deleted that. It's all there. Doesn't have to be perfect because it's to illustrate what we want to do. Okay, Wonderful. So next thing we're gonna do is we're gonna jump over to the Fusion page. Now, the Fusion page, there's a milliner one things you can do and I can't possibly show them all, but I'll show you around. And then we'll do some key things. So the first thing we have here is a very, very different page layout. So we have our canvas in the top right corner. We have another canvas in the top left. We have some media, so we can import media like we can in the media pool. I've already got some media in. We've got some effect very similar to the page, Edit page and the color page. We've got some effects that we can use in here. We also have our node structure. So quiet like the color page, the Fusion page works in nodes. I can have a clip setup. I can turn my clips off, I can turn my nodes off. I can strip all of this back to give me a little bit more real estate here. But what I'm gonna do is I'm a term I know is back on because that's quite critical for when we're working at me, turn everything else off. So what would we have here? We have our median In one and our media out to our media is our media. So all we do is we double-click something and it drags it in. So I've just double-click the text in the header halfway up the page and that's created a merge node. So sometimes what you have to do with fusion is you have to merge effects into it. So the merge node, let me just undo that. But the merge node is quite important and I'll go into that in more detail in another tutorial of how we can merge lots of, lots of effects. We can also paint on there. So if we want to add some animated paint, as you can see, I'm just scribbling on my image there. So that's another one, that's one of the pre-built menus in the middle, just there, just above the node color corrector. So I've just dragged this color corrector in and you can see it's not connected to anything. So if I just do a really drastic color shift here, let me just change the hue. There. Nothing happens because the media in the media out to each other, but they don't connect to look color corrector. So what I need to do is I need to undo that link. So I need to pop back there. Let me undo this link here. So just drag that to my color corrector. And then I need to drag my color corrector to my media out. There we go. And obviously, I've done a crazy hue on there, so it looks like it does. But if I just move this around, you can see how you can use a color corrector inside of the node system without actually affecting the clip itself. So it's much more flexible. It's definitely a different way to think about this in terms of your editing process. So let's go up to the top right, so we have our spline. I'll explain this in a different tutorial keyframe. So we can use key frames like we would keyframe or an effect. We can keyframe the inside of the Fusion tab, movement across, we have our metadata, so we know that metadata is information pertaining to the kit. We also have an inspector as well, which is very similar to all of the other pages that you're working in. So that just gives you key information. We can change our camera size. Now I've got a fork, a canvas, and attend AT image here. Because I wanted to show you the depth of what can be done so you can see different. So added bonus tended to be versus for k in terms of size of image, etc. So there's a whole host of things in there. What I encourage you to do is to have a play, have a look around direct sum nodes in, see what they do. Some become really obvious and really apparent, some less. So. What I will say with this, because I'm using a slightly older iPad. It's quite processor intensive, so it's prone to crashing. So if I just click the little grid up top, I get all of these functions so I can do a color transform on there. So this is black magic for K for teacher, if I just select that there, this is where it starts to get a little bit unstable for me with an older iPad. So I click that, you can see it is it gives me a color character on there. Then I can start working inside that node. I wouldn't necessarily call agreed in diffusion because there's a whole color panel design for that. But again, if you want to look at the color space in which you're working, you could do that really easily inside of Fusion. Because I've put this color on it though. It's going to start running a little bit slower. It's going to be prone to crashing. If I start adding different effects onto my node structure. There we go, It's just crashed. I knew that was going to happen. Let me just reload that backup and we'll jump back in to fusion again and we'll just finish off that tour around what it actually is inside of that page. When it loads backup, it will load backup into the cook page. So you might need to jump back over to the Fusion page or you might need to re, turn that on and then go back into the Fusion page from there. Again, have a play around, see what you can come up with. I'm going to do a series of tutorials using some basic Fusion page techniques so you can start integrating that into your workflow. Again, I'm somewhat limited because a, it's the free version of B. It's an older iPad, but as I upgrade my equipment, I'll start adding more tutorials in. But again, just understand that we are limited to the technology in which we're working on. I hope that's been useful. And I will see you in the next session where we're going to look at green screening using the Fusion page. 22. Fusion Delta Key: In this session, we're going to look at green-screen using the delta k in the Fusion tab. The first thing we need to do is we need to make sure the Fusion tab is highlighted and I've got mine on Shift and the number k, So you'll have yours on whatever you've chosen. First, I'm just going to put my green screen image in here and I'm going to move that up to track two because we're in a transparent background. Just put my image here and these images are just off Unsplash so you can get them and have a look. So this is mountain in Japan and then I have my gouache is I'm just going to drop that down a little bit so we can see when I delta qi, my green-screen. Great. So I jump over to my Fusion page and I've already given you a tutorial on, on what we have in the Fusion page. So what I'm gonna do now is I'm going to go into my effects. I'm going to search for delta. There we go. We have delta care. I'm just going to drag this on, or if I double-click it, it will appear in my node sequence. So I'll double-click that. And there is, it's already attached there. So the next thing I want to do is I want to then key migraine out. So all I do is I go over to my inspector, go to my background color and get my color picker there. As you can see, I can do different colors, so I'll just drag that on to my green screen. Because this is an image. It's done a perfect key. If this wasn't necessarily any metric, might be a natural green screen that you've put up somewhere. You might have to fill it with the greens and the blues and the balance, et cetera. But because this is a digitally created image, it's done a super job Already case. If I just go back to my page and you'll see my image is already appearing behind it. So I'm going to do is just zoom in and out. So I'll just get a nice frame of that there. And it's always been a dream of mine to go to Japan. That's why I've got this image here to remind me that one day I need to go and do that. As you can see, it is really that simple. So it's just in the Fusion page. And again, I'm just playing with my green key just so you can check that there's any difference. So you can always jump between the two pages and check, is that ki ri, is there any green spill, et cetera. So when would you use this green-screen? Delta K? I use it for a range of different phases. So you're, I'm not great with Photoshop, so I'll use it if I want to do an image or I want to do some basic image editing, you might also use on 40. So if you are doing presenting or you've got a green screen background behind you when you're talking direct to camera, you can then superimpose a background on there. Anything that has a color green or uses a green-screen, you can use this technique for, I find this personally much better than the chroma key. I will show you that in another tutorial, but for now, that's the delta qi in the Fusion tab. Hope that's useful. See you in the next session. 23. Lens Flare Paid Feature: In this tutorial, we're going to look up lens flare now, Lens Flare is a paid feature, but I want to show you if it's worth upgrading because honestly, I still don't know myself. So I've got an image here that I've brought in that's got some lights in shot. So you can see that I'm just going to go into my effects panel. I'm going to put lens flare. And of course, I get this really beautiful Da Vinci Resolve studio graphic over it, which does somewhat ruin the effect. But we'll press on and we'll see where we get to. Okay, so what do we have here? So in Alan's here, we have different lens flare presets and options. So I could go for a headlight, I could go for a sci-fi look. There's absolutely loads of them and you guys can play with this and see where you want to get with in terms of your final image. I can also then select a different kind of source output so I can have it look at the final image. I can have it look at the mask and so on and so forth. Okay, So this seems like an interesting image that we'll try this. So next, if I go down, I can reposition it because obviously I don't want it in the middle of my image because there wouldn't be a lens flare in this image really. So rarely you'd need some kind of more light based sauce or like an outside lights, you might have a lens flare from a street light, e.g. but if I put this off the image, as you can see, if I adjust the brightness, it still affects the rest of the image. And again, I think anything like this subtler is better, so I'm just going to change the color. So let me give it a blue light. Again, very subtle. It's just giving me a nice blue cast if I just move this across and I'll move this around so you can see the effect it's having severe just move this back in shot again. And I change that to a darker blue. There we go. As you can see, it's not changing. A white light blue is given a Blue Castle blue hue across if I just left, you can see that they're okay. So let me just reposition this again. I don't mind a little bit of light leaking into the frame. Again, this isn't really the best image to do it on. I really want to demonstrate the effect more than the image really. So again, I can mask the threshold. I can use the virtual light source size. Hi again, I have my light of image. If I go to my composite modes, you can see certain things have really interesting effects. So it automatically goes to add because it's adding this into your image. If I just dropped down to my elements, I can also play with my aperture effects. I can play, let me bring that back in for the position and again, so you can see what's happening here. A lot of these are really, really subtle and they're not obvious that not happen, happened in to the live. So you can see in the bottom corner there, I've got a lens reflection happening there. So I'm just playing with my aperture blades. They're super subtle. But it's, again, it's the subtle things that I think that really make images pop. Again, if I pop down, I've got some elements. At the minute. I've got goals one, so I can start playing with the different artifacts on screen just to layer up this imagery is very similar to what you would do in Photoshop. You will layer it, but I'm doing this inside of this one effect. I can create a starburst effect and I can play with the size. So again, if I'm outside and it's a sunny day, I might want to create some lie flares from the sun. Again, we know there's no sun in this room, but I'm going to put this in just so you can see the effect there. So I've taken amount of screen because obviously have a bright sun in this dark room. And then I can start just playing with the sliders and just getting an effect that I want to, I can just split the balance. I again, I quite like subtleness that peaking in almost could be from a window. So let me just change that to blue because it's a very cold day where this image was taken. So I'm just going to slide that across. I've almost got this sci-fi style light leak image happening. Coming from the top corner there. Have a play. Don't, it's free to put the effect on your image or on your video. You will get the big da Vinci Resolve sign, obviously. But again, you can make the decision whether it's worth upgrading or not. I'm gonna do a couple more effects that are the paid version. So you get a much more comprehensive overview of what those effects do. And again, I'm still undecided as to whether I want to upgrade. I know I've said it before, but I have an older iPad or some features aren't available to me anyway. So when I upgrade, I might not get all the features. So it might be something that I do when I upgrade my iPad in the future. But we will see, we will press on, we will keep trying the effects. And we can go on this journey together. 24. Light Reflection Paid Feature: Okay, Let's have a look at the lens with flexion, which is again a paid feature. So I'm in my color tab right now and I've got my notes open and I've got my effects open-air. So I'm just going to put lens reflection on there. Get my beautiful Da Vinci Resolve studio logo. Okay. What is the lens reflection? So essentially, it's like when you are filming through glass, gives you a reflection on your image. So let's just have a look inside the effects library and we'll see what we can come up with Soviet isolation controls so I can isolate different layers. If I go to the extreme, you can see that what it's doing is it's taking the light in the room and it's just reflecting that back. But it's play with the Gamma have look what that does. Again, super subtle. We can make it a little bit smoother. So it's less obvious and less nodes, but we can change the color filters. We have a look in here and I just go for this turquoise color. I can just give that an ice cold a look down there. I can also shrink and grow that morph operations if I just turn that off and on, you can see subtle differences. I'm a massive fan of less is more. So I'm just going to use them off a mountain. Very, very subtle. That one I'm not really seen a great deal of difference there. If I just scroll down now we can see the inside my global control so I can change the global brightness. I can move my reflections across. So again, depending where I want the reflection to be, I can just blur that a little bit. I can animate, fires it, et cetera. I can make it extreme and I'm using the extreme so you can see the actual effect because sometimes it's really hard on a small screen to see the small differences and I'm just moving that around. I really like this effect. And truth be told, I do use this effect quite a bit when I'm editing on the desktop version of DaVinci Resolve, which I've got the full studio version. Because he adds another layer, I wouldn't necessarily use it on this type of club. More of an outside clip if I'm filming through a window or I want to create a very specific look. So again, I'm just going to add to my color codes and I've given it a blue coat and this is really replicating. If you had a filter on the front of your camera or if, again you wanted to simulate a bit more reflectiveness and brightness. So again, I can create this anamorphic style look. As you can see, I can de-focus it so I can give it a blur. I can stretch that out. I can do this stretch fall off and whatnot. It doesn't quite work on this image. Let me just change this secondary colors. I can turn that yellow, which actually like much better if I'm honest. So this is my reflection three brightness that I'm playing with my reflection element for now. So again, have a play, scroll up and down on the buttons and just see what happens when you, when you move these sliders, you can always undo it. Now you can always delete it, start again. The whole purpose of showing you this is, as I've said many times, is it worth the upgrade is 85 pounds UK steel and I don't really know where it is in dollars, but I imagine it's a similar price in dollars. I can't really make that decision whether it's worth it or not. I am still unconvinced. But I think it's really important that if you're gonna make that decision, that you haven't informed decision. So you know exactly what these extra features can do. I wouldn't want anybody to buy it and then be really disappointed, etc.. Just to say, I'm not affiliated to black magic or DaVinci Resolve. I use this software professionally in my filmmaking, editing career and I think it's really powerful, which is why I brought this course to the iPad. Hope that's been useful and I shall see you in the next session. 25. Face Refinement Paid Feature: So Vinci Resolve, worth the upgrade are the features that we get when we pay for the upgrade. Do they weren't the upgrade? Let's have a look at some of those features and you guys can make a much more informed decision. So I've just imported this image here of this older Chapman. I've got this from Unsplash wrote, check it out. It's a great free resource trauma due to poverty, my color page. And then I'm just going to open mine no panels. Let me just rearrange my real estate here. I've zoomed this image in so we can see and you'll understand why I've done that in a minute. So I'm gonna go to my nodes. I'm in my effects and I'm just going to put face. You got Beauty. I'm going to put beauty in. So I'm going to bring that in and that creates an effects don't. And I get this lovely little warning pop-up of the ventricles. Julia require do I want to go blah, blah, blah, blah. I'm gonna put not now and look what happened. You get these really beautiful Da Vinci Resolve studio logo on your image. But let's ignore that for now. Let me clear this up and let's have a look at this beauty feature dose. So essentially it does what it says on the tin. It beautifies inImage. Again, it isn't suggesting that you are not beautiful. This old man is a very beautiful woman. Okay, so what we're gonna do is I'm just going to tell about these little features for you here. So let's just play with the blur radius there. And again, if I go to the extreme, you can see what that's doing. If I drop the edge threshold down, you can see what that's doing. So really it's the face enhancement tool, this beautiful feature. I think it's wrongly named, if I'm honest, that's for black magic to figure out. So all I'm doing is I'm just going down these little features and I'm just pulling them across, looking at them, just kinda really checking out what that is. So I'm gonna delete that. And I'm just going to put another feature which I think is absolutely bet is called face refinement. So I'm just going to do it. Beauty filter. I'm going to bring this effects node n. And of course I get my little warning sign again. And I'm just going to disconnect and reconnect. Those are word of warning. It might pause your iPad here depending on what version you've got. Mine often crashes, and it already feels like it's becoming a little bit unresponsive. So I suspect it's going to crash any moment now, but we will carry on up. It crashed. Let's carry on. So all I do is I click Analyze and that will analyze my face and it will give me the ego as predicted, mind crushed. So now we're back open. I'm just going to analyse my face refinement. So that has told the image there's a face there. So this is smart AI. So if I just do this somewhat randomly, so you can see the effects taking place in real time. Again, this is more of a refinement tool. So you do this on your subject if you are just refining the image, I wouldn't use go into the extremes. I'm just doing this. So you can see the effects that are happening here. So let's just have a guess. If I'm just moving the shadow and you can take the shadows if I go that way, you can see where the light is bouncing. So I could just have a shine removal which I really like. If I go down to, I can reach my eyes. And I could just kinda play with the eye. And again, sometimes it these less is definitely more. I'm also going to click these drop-down menus and I can go into my lip retouching. That isn't really working on this subject because it's quiet, even light in any way, but it's another option there. Blush retouching. We've got four heavy touching to me, touching lots and lots of options here that with a few tiny little tweaks, can really make an image pops. It can really make your person pops. Again. You can use this on an image, but you can also use this on footage. If you have an interview or you have a subject, can you see it? And it's not quite how you wanted it or your actor had a bad night or if it's yourself, like I do a lot of my videos, I'm not getting any younger. So sometimes it's nice just to do a little bit of refining, just to make the camera love you a little bit more. So that's one of the paid features in the update. I'll do a series of videos on the other page, images. And then between us we can decide if it's worth upgrading. Hope that's been useful, and I shall see everybody in the next session. 26. DaVinci Resolve iPad final thoughts: Well, that's the end of our Da Vinci resolve editing on the iPad using the free version. Honestly, I think I will definitely upgrade to the paid version once I've upgraded my iPad, I don't necessarily think it's worth upgrading the iPad just to have DaVinci Resolve paid version. I definitely see the value in adding it to a workflow because I already edit on my laptop that I can then use the iPad as part of that process. I think it's a really great editing program for first-time editor. So if you are looking for an introduction to editing or you've, you've progressed from your native editor like iMovie or Windows Movie Maker, et cetera. I think this is definitely a great next step in our evolution. Also, if you are on your editing journey and you want to progress up to more professional editing software. This for me, definitely a step in the right direction for that. So what's next? When I do upgrade to the paid version out upgrade, these costs are, so if you've already paid for this course, you'll get the upgrades for free. So please don't worry about that. And again, they won't be relevant if you don't read, they'll only be relevant if you do. I'd love to connect with all of you. I'd love to see what projects you're working on. I'd love to see have you found using it on the iPad and what quirks and what workarounds, youth and etc. My name is Wayne sales and that's what I'm at social media, please do, get in touch and I'll follow back and we can continue our editing journeys together. Take care everybody.