Transcripts
1. Get Started Now!: How do you make a video? Where do you start? If you're unsure, that's okay. Video production is hard and many have been scared away by the complexities and ambiguity or the idea that they have to spend a lot of money. I'll teach you how to use the camera you own and free video editing software so that you don't have to spend another dime. If you do want to invest in some gear, I'll give you some recommendations as well. I'll teach you the fundamentals of video production so that you can start making your own videos from start to finish. I'll recommend some gear and apps that will help you achieve higher quality video and audio recordings, teach you to light, what light does, how to shoot, and what settings influence image capture from phones to professional cameras, and I'll walk you through editing and exporting in two of the most popular video editing programs used by industry professionals. This course is broken up into 15 lessons of varying length with homework assignments designed for hands-on experience and helpful resources like reference materials, gear, and reading lists, sound effects, color presets, and transitions for free. You'll be making your own videos in no time.
2. Beginner Gear: Hi. My name is Rico. I'm a video production professional who has been in the industry for a bit under a decade. I'm going to help you gain the knowledge needed to start on the path of making your own videos and films. Whether you're looking to start your career in film making or you want to make videos for YouTube. This lesson is for you. One of the things that stops most people from starting is the feeling that they're not ready. Not ready in terms of knowledge or not ready in terms of equipment. Gear acquisition syndrome is a thing and something we'll talk about later. But for now, let's talk about what you really need to get started. You already have it. Your phone has a great camera on it. Most phones today produce a better image than most professional cameras did just a few years ago. When you imagine a good camera, you might think of a huge box on an operator shoulder or you may have seen a smaller, usually black camera with a bunch of stuff attached to it. In reality, you have all you need to get started and it's small enough to fit in your pocket. Remember, content is king. Story trumps image quality every time. If you have a story to tell, tell it. Don't worry about gear just yet. Hone your craft if story telling instead. To do that, you need practice and you can start now. What we're going to talk about is how to get the most out of the camera you already own. It's been said that the best camera is the one that you have with you all the time. With that in mind, many different companies base their entire business model on making that camera look and sound better. Mobile film making is a thing, it exist here now. FiLMiC Incorporated is the company responsible for filming pro. The app that helps you get the most out of your phone's camera. We'll talk more about apps in the next module. But I wanted to bring them up for the simple fact that they hold a yearly film making contest with over $100,000 in cash, gear and software prizes. To reiterate a contest for films shot on phones. If that's not a good motivator, I don't know what is. The feature film unseen was shot entirely on an iPhone. Of course, the best film making is done with more than just a phone. Let's get into that. The three main things that are going to help you get the best quality out of your phone are some lenses, a microphone and a tripod. All of these things are relatively cheap, not completely necessary, but definitely recommended. First up, lenses. When it comes to lenses, there are two main ways to use them. Cases or cages and clip on. The phone cases I'm referring to will have a mount to which you connect the lens. Moment is a great company to mention because they make phone cases and produce a bunch of lenses. Fish eye, Wide, Tele, macro and even anamorphic lenses. If you have a popular phone, they most likely have a case for you. It's sleek and convenient, but can be on the pricier side compared to the universal options. Clip on lenses are great budget item. You can find some good ones starting from $20. Most of them are two in one or even three in one. Having different lenses allows you to have a different look and feel for different scenes. This will give you more options and creative freedom. Remember that a piece of gear is just a tool to help you tell your story as best as possible. A different lens gives you a different perspective, to help you get past the limitations of a defined focal length. Once you choose your lenses, experiment with them to get a better feel for what kind of image your camera can produce. That way, you can better imagine your scenes during pre-production. The next thing you have to think about is sound. This is a shotgun mic. You might have seen a bigger version of this attached to a stick, professionally referred to as a boom, being held in the air by someone wearing headphones. The way is shock and Mike works is very derivative of its name. This kind of microphone picks up audio, much like the conical shape of a shotgun blast. This is the video micro by Rode, and it's what I use when filming with my phone. It has a small footprint, which is perfect for running guns scenarios. It comes with a dead cat. It gives you a big improvement over the sound provided by the on-board mics on your phone. This is great primarily if you're situated in front of your camera, but can also help you record Foley. Foley is the term used to describe the process of recording sound effects to add to your project after the initial filming. This is great to add sounds that you just couldn't capture while focusing on capturing the dialogue. For example, ambient sounds or footsteps. Shop in mics aren't suited for long distances. In those cases, a better option would be a lavalier mic. Lav for short. There are cheap lavalier mics for your phone, where your phone becomes the audio recording device. Since you're shooting with your phone, you'll need to have a second phone on hand for a wide shot. Having a friend to help or an extra phone could save you some money. But if that's not an option, there are other solutions. A more expensive lav is the tascam DR-10, which provides power and records to a single device, which is useful in staying lightweight and reducing the amount of stuff you have to operate. Next is stability. Let's talk about using tripods with your phone. First, you'll need a tripod mount. Tripods are built with cameras having a quarter-inch screw hole in mind. You'll need a method to connect your phone to the tripod. This is a cheap and simple solution that gives you a quarter-inch thread and a colt shoe which is pretty standard for mounting things to your camera. In this case, an on-camera shop in mic. If you'd like to invest a bit more into your phone camera solution, there are cages made for your phone, which you might find suitable. The solid construction is very nice. It gives you a bit of extra protection, as well as a few mounting options for different devices, like an on-camera light, a microphone, and even lenses. Now that you have a tripod mount for your phone, you need a tripod. Preferably something lightweight, like the famous gorilla pod. Or if you need something with a more traditional height and a decent head, a tripod with a small footprint. Manfrotto and Ben Rodes both make very light video tripods. Tripods can get pretty heavy given that they are built for some pretty heavy loads. But luckily, we don't need to. The Gorilla Pod is great for vloggers. On top of being used as a traditional tripod, it allows you to mount your camera to almost anything and can act as a makeshift rig as well. A rig is a piece of equipment that aids in the stabilization of handheld shots. If we're talking about stabilization, we have to talk about mobile gimbles. A gimble is an electronic stabilizer which works by stabilizing different axis with the help of a motor. A few years ago, this stabilization was done with the use of devices like the Steadicam, which worked by balancing the weight of the camera using counterweight. This made them pretty heavy. Some people having to resort to jackets that attach the steady cam to your body to help with the weight. Nowadays we have tech solve most all of our problems. Camera stabilization included. Gimbles having become more and more popular, have also become smaller and smaller. The most popular mobile gimbel is without a doubt, the osmo mobile. Currently on its third iteration, this little device will cost you around $120, but will give you smooth shots, unattainable with hand holding. This device will connect to your phone wirelessly. Their app gives you a few extra features that utilize their hardware. If you want to shoot handheld, the most stable way I've found is to hold the camera at about eye level with your elbows pointed out. This is specific to phones. You might see a lot of recommendations for handheld camera shots that say keep your elbows in. If you were dealing with heavier equipment, I would say the same thing. But this seems to be the best fit for phones. Here's your homework assignment. If you've taken an interest in using your phone as a camera and plan on getting some or all of this equipment, I highly recommend getting acquainted with it. You need to know your gear to be able to perform at your best while shooting. If you've got the lenses, take a couple of shots of the same scene with the different lenses to understand the differences. If you've got the microphone connected and make sure it's working as expected, then take a couple of shots of you speaking. This will help you understand the quality and the limitations that you might face. If you've got either of the tripods, practice placing the tripod, mounting your camera, and then framing your shot. Then break it all down and do it again in a different location. This will give you practice and help you gauge setup time. I also recommend practicing the handheld shots. That way you understand what's most comfortable for you and what you like best. See you next time when we talk about the apps.
3. Beginner Apps: We talked about mobile film-making here. Now I'd like to talk to you about the software that's going to help you put it all together. If you're going to be on the goal app, you might be interested in the mobile editing approach, but we'll touch on computer editing as well. I briefly mentioned FiLMiC Pro in the previous module. I highly recommend this app to get the most control over your camera. In my experience, I've found that Android gives you more native control over your camera than iOS. That being said, there are Android devices out there that don't give you much control either. FiLMiC Pro is here to fix that. Filming Pro is the most comprehensive app that is for camera control. To put it simply, this app gives your mobile phone camera their controls and features of a professional camera. If you're going to be primarily shooting on your phone, this is the app you want. It's a paid app, but it's hard to argue that it's not worth it. If you take into account the money you're saving, not buying a camera, and $15 doesn't break the bank. You can see a list of features and controls that FiLMiC Pro gives you if you download the evaluator app. If you want to shoot right now without spending a $ or more, you can. I of all people know that film making can get expensive. Feel free to get started now, and understand what you need in the process. Next are the programs that help you edit, NLEs. NLE is the abbreviation of Non-Linear Editor, and is the term used to describe editing programs. The term comes from the evolution of editing physical film. Initially, physical film was edited linearly, which basically means one roll of film at a time while watching it from beginning to end. With the introduction of computers, editors were able to edit non-linearly. Eventually film was for the most part, removed from the process. Some of your favorite movies and TV shows did their part in keeping physical film from dying off completely. Breaking Bad, for example, was shot completely on film. Now back to the topic at hand NLEs. First up, premier rush. Rush is a simpler version of Premiere Pro, made for phones and tablets. It's very intuitive, allowing you to import your footage, add titles, and adjust colors. Not to mention it has the basic tools you need to cut, add music, and even experiment with time remapping. This is the best program that I can think of from all the editing. If you find that it's not to your liking, there are alternatives for both iOS and Android. Another app I find extremely useful is VSCO. You might have heard of them. They got their payment initially by making film emulations docs for different cameras, for use in photo editing programs. Then they spread to the mobile phone industry. They have great Color Presets and photo editing features for mobile devices. A while back, they introduced the ability to edit video the same way you can edit photos. I often utilize this program with the proxies saved in my phone when recording with my drone, and with the quick videos I take to post to social media. The program is powerful enough to edit 4K videos. You'll find that color really helps to portray a mood, and VSCO will definitely help you speed that process up. If you want more flexibility and power, you might find yourself wanting more than what these mobile options have to offer. Let's talk about other solutions. I mentioned that premier rush is based on Premiere Pro, one of the most famous and at least out today, have immediate composer has seniority, but Premier has a better learning curve in my experience. Premier Pro can be purchased through the Adobe subscription-based model at $20 a month for premiere only, or $50 a month for the entire suite, which contains post-production software like After Effects, the powerful sound editing program audition, not to mention Photoshop, Illustrator, and there are other powerful programs. This is something that you'll have to look into and see if you can justify the costs for your particular situation. I've been using Adobe products since I was a kid, and can say that the CC suite is my workflow of choice. If you're looking for a cheaper option, look no further than DaVinci Resolve. Resolve is the industry standard for color grading, and over the past years has evolved from a color grading suite into a full fledged NLE. Resolve version is a free all-in-one and NLE with editing, motion graphics, color grading, and audio editing tools. The lite version has a few limitations. Nothing that will hinder you from finishing a project, but you won't have access to noise reduction, motion blower or high resolution exports. If you need those extra features, the studio version can be purchased for a one-time fee of 299. If you're in the market for a better camera, black magic design bundles the studio version of resolve with the purchase of one of their cameras, which can be a deciding factor for many. We'll talk more about cameras in the coming modules. These are the two NLEs that I've personally used and own. They each have their benefits and drawbacks, but I can definitely recommend both of them. If you don't like either of these choices, there are a few other NLEs out there, like I have mentioned, are the Media Composer, which has a very similar pay model to Adobe. There are also other options like Sony Vegas, iMovie, Final Cut and Windows Movie Maker. These vary from simple to advanced, and I recommend you spend some time researching to find what suits you and your workflow best. Everybody has a different way of working with varying complexities to their workflow. Overly complex programs can slow you down, while similar programs can hinder your creative freedom. You need to find the balance. See you next time.
4. Lighting Theory: Before we can hit "Record", we have to make sure that everything looks good. I'm going to show you how to turn this into this. Let's talk about lighting. First, I want to get into theory, and then I want to get into how you can recreate some of these lighting setups with minimal gear at home. The most common lighting setup is a 3-point lighting setup, which consists of a key light, a fill light, and a rim light, sometimes referred to as a kicker light. Let's talk about these in more detail. A key light is the main light. It lights you subject the most. Lighting is important because we're looking at 3D objects in a 2D format. Light cast shadows which help you understand [inaudible] , the same way that shading does in a drawing. So we set the key light at an angle to that the features of the face casts a shadow on the opposite side. Shadows are tricky. Since we don't want to cast a shadow on the background. We can raise the light up, so that the shadow isn't passed directly behind the subject but toward the ground instead. Another thing that helps with shadows is adding some distance between the subject and the background. Now that we have a key light on the subject, we want to stop in the shadows. So we'll introduce a fill light. A fill light will be placed opposite of the key light to fill in any of the harsh shadows cast by the key light. Being careful not to match the intensity of the key light, so that we don't eliminate the shadows completely. Remember, shadows are what give us 3D information. We just want to make sure the hard, less flattering shadows are soften. Now that the front of the subject is lit, we can add a bit of separation from the background by adding a rim light or a hair light. We've placed the rim light behind the subject to add a lit edge that help separate the subject from the background. Especially, if the colors are similar. The rim light is placed at an angle. But if you want to turn the rim light into a backlight, to light the entire edge of your subject, place the light directly behind them. It's a good idea to make sure that your subject stands out from the background by selecting the appropriate color wardrobe. But, if that isn't possible for whatever reason, a kicker light can help in this situation. I mentioned that this is sometimes called a hairline, because instead of the rim of the shoulder area, this light is aimed more towards the subject's head to light their hair. This kind of lighting differs slightly from rim lighting because the light is placed above the subject instead of the edge, to add light and texture to dark hair. If rim lighting isn't enough to separate the subject from the background, you can also add a background light, converting your 3-point lighting into a four-point lighting setup. I want to briefly mention another style of lighting. Most names in lighting are pretty descriptive, and this one is no different. Clamshell lighting, usually utilizes bigger lights than what I'm currently using. But I wanted to give you an example, where you have two lights angled like an open clamshell, or one light and a reflector, for more even lighting. This setup is often used for glamour, beauty, or fashion shots. Since I mentioned reflectors, let's talk about them for a second. Most reflectors have two sides, a silver and gold side. The silver side is for basic reflections, while the gold side will add some warmth. Some even come with covers to add to the variety of there use. A reflector is a great tool to have because it can be used even without purchasing lights. You can reflect the sunlight or use it to fill off your key light. Definitely, something to look into and not crazy expensive. Worst-case scenario, you can use a whiteboard. Now, I want to talk about ring lights. They're great for even lighting, which is good for things like macro shots and can be used to give a soft, flattering light for faces. I personally really like the results of ring lights. It's like a mix of a 2-point lighting and clamshell setup, giving you nice symmetrical lighting without any harsh shadows. A ring light can reduce the amount of light to use and they create a cool catch light. Catch light, is the term used to describe what's reflected by the eyes when the subject is lit. Different lighting setups have different catch lights, which can add a little extra touch to certain shots. The last bit of lighting I wanna talk about is practical lighting. A practical light is placed in the scene. Not necessarily to add light to the subject, but to help with the idea of lighting the scene, basically, it's less jarring for our brains to see light in the scene as well as the subject. It's a little weird to see a fully lit subject and no light sources interview at all. So we talked about lighting theory. I recommend getting some lights of your own. But for those of you who can't or don't want to just yet, let me show you, how you can recreate a 3-point lighting setup at home with minimal gear. I'm going to light our subject with some household lights and see what kind of results we can get. Here are two lamps that I have in my room. One is hard and one is soft. I chose the harder one is the key light because it will cast darker shadows and we'll use the soft light as the fill. Since it's not as intense, We'll have to move it closer. This is currently a 2-point lighting setup but we can swap one out with the reflector and use it as a practical light and we have a pretty simple 3-point lighting setup with a practical light. If you have access to some daylight, you can use that as well, for even better results, combine day light with a reflector as a fill. If you're shooting outside, try to shoot at a time of day where the light isn't directly above you, as that angle of light doesn't pass the most flattering shadows. Now's a good time to bring up diffusers. A diffuser is a piece of equipment that disperses light evenly to minimize harsh shadows. I say piece of equipment but you can use paper, plastic, or even some leftover fabric. Daylight can be pretty intense at times, and a diffuser could come in handy to soften that up. A large diffuser is referred to as a flag. One more important thing is, color temperature. I'm sure you've noticed that lights have different colors. Some more orange and some more white or blue. This is referred to as color temperature, it's measured in Kelvin. It's important to adjust your settings accordingly. Warmth is orange while cold is blue. The likes that I use are bipolar and range from 3200 Kelvin to 5500 Kelvin, 3200 being tungsten and 5500 imitating daylight, 5500 Kelvin is pretty standard for white any higher, and it leans towards blue. Most default camera apps on phones adjust color temperature automatically. This can be good for the average user but can cause undesired changes in temperature during recording which gets boiler shot. I recommend manually adjusting this setting to keep it locked. If you're unsure of the color value, the auto white balance tool can help. All you need is a white or gray reference point. The last tip I can give you about shooting outside is, golden hour. Golden hour refers to the first and last hour of sunlight in the day, where the sun gives off a nice, soft, warm light. That's it. That's the basic info. Keep these things in mind and experiment to see what you can come up with. Your homework assignment is to arrange a 3-point lighting setup in at least two different places. That way, you can get used to understanding different scenes with different lighting setups. If you want to make it a bit more challenging, experiment with practical lighting and compare the before and after. See you next time.
5. The Exposure Triangle: Hey guys, I just wanted to say that this is one of the more technical lessons. Feel free to pause or re-watch. It's a lot of information. Don't feel bad if you don't get it on the first go. That being said, let's get into it. One of the first things you should understand when it comes to shooting is the exposure triangle. It looks something like this. The exposure triangle is about balancing the three different things that influence the amount of light that's captured. Let's go over the three points. ISO is the measurement of light sensitivity made by the International Standards Organization, hence, ISO. It refers to the sensitivity to light for film and imaging sensors. Some cameras using an ASA rating for sensitivity. It's basically the same thing just made by the American Standards Association. ISO looks something like this. The key thing to remember is that the lower the ISO, the lower the sensitivity.Increasing the sensitivity can be helpful in darker scenarios, but it will increase the noise in the image. This is because by making the camera more sensitive to light, you also make it more sensitive to the variance of light, which equals more noise. Ideally, you want to aim for lower ISOs. This will depend on your situation of course, but don't needlessly increase the ISO. The second thing we can talk about is aperture. The aperture is the width of the lens opening. Wider lenses allow more light to be captured. The wider lens, the faster it is. You'll hear terms referencing speed a lot. Fast, slow shutter speed. The aperture or speed of a lens is measured in f-stops for photo lenses and t-stops for cine lenses. Lenses are labeled by their widest possible aperture. The lower the number, the wider it can open up to. They're able to be stopped down by something called aperture blades, which close to control the amount of light let in. This works a little differently and cell phones, but the same principle of limiting light applies. My phone, for example, has an aperture of 1.5 and can be stopped down to 2.4. The widest aperture I've heard of is F0.35, and that's insane. f-stops under one are extremely rare. Remember, the lower the number, the wider the aperture. Here are some common minimum stops. Another thing that aperture has influence over is something known as depth of field, sometimes abbreviated as DoF. It refers to the area focus on a horizontal plane as it moves away from the camera. You might have seen videos or photos where only the subject is in focus and everything else is blurry. That is considered a shallow depth of field. If everything is in focus, that is considered a deep depth field. Lower stops produce a shallow depth of field. This is something to consider when lighting your scene or composing your shot. The third part of the exposure triangle is shutter speed. It refers to how long the shutter stays open during a frame. The shutter is like a door that opens and closes during the capture of a frame. We know that video is made possible by a persistence of vision or in other words, a bunch of pictures displayed in fastest session to create a motion picture. These are commonly referred to as frames. Shutter speed was originally measured in degrees, but I'll get into that in another course. I'll save you from the complexities. For now, know that until you use more advanced cameras, you will almost always see shutter speed measured in fractions of a second. If you want regular looking motion blur, the shutter speed, should be half of the frame rate. If it's too fast, the motion will look choppy, too slow and the motion will look blurry. Half is the sweet spot. If we want to keep the shutter speed at the rate of half a frame and we're shooting at 24 frames per second, we'll settle on 1/48th of a second. I'll digress for a second to say that for film, I highly recommend shooting at 24 frames per second. Every film that you've ever seen was shot at 24 frames per second, and almost always with a shutter speed of 1/48th of a second. Shooting at 60 frames per second, and then down to play at 24 frames per second is how we get slow motion. It's commonly referred to as over-crank, which references the hand cranking of old film campus. If we want natural-looking motion blur while over cranking, then we should shoot at 1/20th of a second. Keep in mind that this will affect your lighting, allowing much less light to be captured. Adjust accordingly. Photography has a bit more leeway when moving around the exposure triangle. But videos a bit restricted by trying to keep the regular looking motion blur. You might have seen pictures where it drops of water are frozen in the air. Those kinds of pictures are produced by using very fast shutter speeds. Leaving the shutter open for a very brief period of time, recording almost no movement. If we look back at the triangle, we can see that using a very fast shutter means that we need a lot of light, which can be obtained by using a wide aperture. If we don't have a lot of light, we can increase the sensitivity. If we have a wide aperture, we can lower the ISO for less noise, and that's what this is all about, finding the balance. Apps like Filmic Pro allow you to change your shutter speed, frame rate, ISO, and more. The native camera apps don't give you much control, especially in video mode. Auto exposure isn't really advised because it can often overexposure highlights or under expose the shadows. So let's recap. Moving clockwise on the exposure triangle will capture more light. Each side has a respective caveat. Moving clockwise on the shutter side, will give you blurry motion. Moving clockwise on the aperture side, will give you a shallower depth of field. Which can be desirable at times, but makes it harder to keep things in focus during movement. Moving clockwise on the ISO side, will give you more noise. Knowing these things will help you navigate around the triangle. For example, in the daytime with a slower lens like an f/4.0 or f/5.6, there's still enough light to have a low ISO of 100-200, and the 1/48th shutter. If you had a fast lens open to say f/1.4, even with an ISO of 100, you would still have to limit the amount of light. If you don't do it by stopping down, then you have to adjust the shutter speed, which will give you choppy motion. The same lens open at f/1.4 at night is your friend, because you have a limited amount of light and you don't want to increase the ISO to avoid noise, and you don't want to use a slower shutter speed because of the blur. Remember, that these settings help you capture light. In cases where you don't have much wiggle room to move around the triangle, you have to adjust the level of light. Dynamic range is the term used to describe the range of light to dark a camera can capture. Phone cameras have become increasingly better, but this is one thing and it's difficult to improve due to the size of the camera. Phones don't have great dynamic range. It's better to have manual control to fine tune your shot. If you have control over the settings one way or another, your homework assignment is to practice and learn how to find balance within the triangle. If you don't experiment with different lighting situations so that at the very least, you understand the auto exposure settings of your device. See you next time.
6. Premiere Pro - Introduction and Panels: By now, you probably have a ton of footage and are wondering, "How do I put this all together?" I'm going to show you the basics of Adobe Premiere Pro and DaVinci Resolve. Most analyses are pretty similar, so don't worry if you're using something else because the concepts will transfer over. Let's get started. Guys, I have to preface this with saying that these are professional programs, meaning it can get pretty complicated. I'll give you a broad overview, but there's no way for you to effectively utilize these programs and their power without putting in time. You don't become a good driver by knowing where the pedals are and how to turn the steering wheel but by putting in the hours. Spend a lot of time in these programs. This is not a recommendation, it's a requirement. Aside from those cases where a movie was stuck in pre-production for years, post-production is the longest part of the film making process. Since we'll be spending most of our time here, you need to know your way around your program of choice. More detailed lessons will be released in our future courses. But for now, let's open up Premiere Pro. Right away, we see the home screen. Like most home screens, there are just a few things and it gets to the main point of new project or open project, but I want to talk about these just a bit. We have home here, which is the default area where you'll open up your home screen. But if you go to Learn here, there are quite a few tutorials here that you'll see. One of them is, or one section I should say, is hands-on tutorials and then the other ones are tutorials on the web. Like it says here, these open up in a browser, and you can go to all in-app tutorials. These here are actually like step-by-step tutorials inside the program. So if you open up one of these tutorials, it'll actually open up the program to walk you through some of their tutorials inside the program. There'll be a little panel, it'll tell you what to do and then you can move things around in the program and it'll say, "Hey, good job, you did it, let's move on to the next step." These are really good if you want to try to get more acquainted with it. Like if you really want to start moving stuff around and have something tell you what to do. I'm going to give you a broad overview. There are quite a few of these tutorials and some of these are like 20 minutes long, 13 minutes long and stuff. If you want to get some more information, definitely check some of these out because these are provided by Adobe, they're free. You can definitely train yourself through watching some of these tutorials, but I'm just going to give you a brief overview so that if you want to learn yourself, basically what I'll tell you is enough so that when you open up the program, you'll know where everything is and you won't feel too lost. Let's go to the next tab here that says, sync settings. Sync settings is just a way for you to sync settings across different devices. If you have a desktop and a laptop and you want to have the same settings on both, this is a quick way to make sure that you can just open up the program really quick. Go to sync settings, sync your settings, and then they're synced then you go to your laptop or whatever. That's that but this is the main area. These are your recent projects and what we're going to do is go to a new project. We don't have any projects that we can open yet. Actually before we go to new project, I want to talk to you about Open Premiere Rush project. I mentioned Premiere Rush as an app that you can use on your phone to do a basic edit. It's really simple, really intuitive. I like it a lot. It's provided through the Creative Cloud subscription through Adobe. Basically what this does is you can start an edit on your phone to make sure that you have all the stuff that you want laid out and like a baseline for what you want to do. Then you can open that premier Rush project and it'll be converted into a Premier Pro project and then you can do some more advanced editing on your desktop or on your laptop, or basically on a computer so that you're not so confined to your phone or tablet. We're going to open up a new project. This is the new project window. Most of this stuff can stay the same, but I have a specific folder that I'm going to navigate to where I have already created a new project folder and project folder. We're going to select this folder. We'll name this new project. We'll name that new project. I'll go over some of these settings real quick. All of this stuff can pretty much stay where it's at, but the most important setting here is the Mercury Playback Engine. Basically like it sounds, the playback engine that Adobe has created to help you play files inside of the program. You see here it says software only, but mine says in blue here it's highlighted GPU acceleration and in parentheses it says, CUDA. CUDA is the framework that my graphics card uses to use hardware acceleration. If you don't know what that means, that's fine. In layman's terms that means that your graphics card is being used to speed up the program. Because I have a pretty decent graphics card, I want to make sure that my graphics card is being utilized. So I make sure that the Mercury Playback Engine uses GPU acceleration. If you have a Mac and I think most Macs have AMD graphics cards, this would say Metal or also OpenCL if I'm not mistaken. There are different ways to utilize your GPU and different kinds of frameworks for hardware acceleration. But basically, just make sure that it doesn't say software only if you have the option to not say software only. If you see this, it's probably because you don't have a graphics card that can be utilized, but just double-check and if you see this, you can select it and then that will help speed the process up. Scratch disks can stay as default so wherever your project is located, these files that may be created will also be located in the project file or in the project folder. Ingest settings should be off. I'll go over this really, really briefly because this is just something that you might need in the future but I just want to talk about it really quick. Ingest is basically if you're copying from a card, when you import the media into Premiere, it will make a copy on your hard drive for you so that you don't have a copy of a footage first. I know that a lot of people like to make their own folder and sub folder hierarchy. So do that as you wish. But the other setting that will be more useful, this feature here, transcode. I'm going to talk about codecs more in the export settings video to tell you how to export your project and how to get the final file. But basically, there are file formats or codecs that are used for exporting and there's some that are used for editing. A lot of devices, especially phones and most drones, I should say, record in a Codec called H.264, which can bug down your system if it's not a very powerful system. One way to help yourself with that is to transcode it into another file format. The two editing formats that I would recommend are Apple ProRes or DNX, if you need to do that. That's only if your computers is behaving super, super slow when you're trying to edit your footage. Maybe try this and it could help you out. But for now, we're going to leave that off. Like I said, everything can stay the same, stay on its defaults. We'll open up a project. This is what Adobe Premiere looks like when you first open it up. It's a lot of gray. There's not really anything shown. I'm going to talk about these different windows and what they do. First off, I want to talk about these panels and how you can customize it. Up top you'll see that I've selected editing. I have some other ones here that you won't see. You won't see 4K wide and you won't see custom single. That's because these are my custom workspaces and you can take a peek and this is how I like to work. It looks similar, but this is just showing you that you can customize it. If we go to editing, I want you guys to choose editing because then you'll be able to follow along exactly as I have it, which means that you won't get too lost in these panels, but these panels are customizable. You can do with them whatever you want. You can even detach them and move them to another area or you can undock them. If you want to move this to like a second monitor or something like that, then you can do that. But we're just going to reset to save layout and then we're going to work here. This is how we're going to work so that you guys can follow along. Some of these are empty and they'll say something like no sequences, no clips and that's because we don't have anything in the program yet. Premiere tries to be as simple as possible in that, it'll give you like a little note here, import media to start or dropped media here to create a sequence. This is the project window, you can see here. There are other tabs in this panel that they call this a panel group and these are different panels that you can have here that you can actually just get out of them if you want. Let's say that you don't want the libraries when you can close that panel and then it's gone. Like I said, customizable, but let's get into it. Import media to start. There are many ways to do something in Premier, there are many ways to skin a cat. I'm going to show you the way that I like to do it and in the future you might find the other ways that you like to do it. Whatever works for you. People edit in very different ways. I'll show you my preferred way of doing it and then in the future you can explore and learn the different ways to do it. But the easiest way I find is to just double click. Import media to start, we'll double-click here in this project window. These are actually some files that are provided by Adobe for training purposes. Let's go ahead and just import these. You can see that I can drag and drop like that, or I can select a couple or I can like Windows Explorer because this is your explorer window, whether it's Mac or whether it's Windows. You can control, click a couple of files and then this will populate and you can just do those files, but we're going to do all of them. Importing this way will import the files into the root area. You see that it's importing here. This is the main area, but I'm going to Control Z and I'm going to show you how you can keep a hierarchy if you have a folder hierarchy. You see that this says footage. I can import that folder and then that folder will import and then I'll have these files in a folder. So if you have a specific hierarchy that you like, then you can keep your folders and sub folders. But I'm going to go back and I'm going to do this because I want to show you one more thing. One thing that you can do in this window, is you can preview the files and I'm going to show you how to do that. Before we even get to timeline, I'm going to show you how you can preview the files. One way that you can preview the files is by double-clicking, and then it will open up in the source window. We saw that earlier that said no clips, but now we have an actual file in here and we can press "Play", and that will play that's short clip. We can play this, and we have this file here, and we've got a few files but the problem with previewing this way is that you have to select every file, and that can be a bit much if you're looking for something specific. What I'm going to show you is a way to do this more easily, and at a glance. The good thing about the source window is that you can change the resolution if you need to, and you see it in a bigger screen, I should say. But if we go down here to the project window, we can see that there's a thing called icon view. If we hit "Icon view", we can see our clips here with the thumbnail being the first frame. But the cool thing about for me here is that, you can hover over and you can scrub through to see the entirety of that clip. When you're scrubbing, you'll see that there's a little blue line at the bottom, and it'll show you where you are in the clip so that for reference later you can remember all this part right here is towards the center. If we're going here, right there is where I want to start it, for example. You can make these bigger, but only so big. If you do want to see it in a bigger screen, you can double-click it and it'll open in the source window. That's how you would preview your files from your project window. One last thing that I want to tell you about panels before we move on is that, if you do need to scroll through a lot of footage, and you still want to have that preview, any panel that you have in Premier Pro can be maximized by hitting the tilt key. As long as you have this blue highlight around it, that means that panel is selected, so we'll go ahead and hit the "Tilt key", and now this is maximized and now we have a lot more room to look through some clips if we need to. Let's go back. Remember that you want to have this outlined because if you select on the toolbar, for example, if I select this on accident, and I hit the "Tilt key", then I just maximized this tiny toolbar for no reason and it looks like I lost everything if you don't see that right away, so you're just like, Oh crap, what did I do? You just maximized the wrong panel. Let's go back to list view, because that's going to be easier to navigate, and like I said, Premiere does this thing where it tells you what to do, or it'll tell you that something's not there. There aren't any sequences, which means hints you need to create a sequence, and the program window, which acts like the source window, doesn't have a sequence to preview. This one says, drop media here to create a sequence. That's what we're going to do. We're going to select all of this footage and we're going to drag and drop it here and that creates a sequence for us, and it's that easy. Like I said, Premier is pretty easy at first, it's easy to get into, it's hard to master their professional programs, there's a million ways to do these things, but for the most part, Premier tries to help you out especially in the newer versions where they have some tools to help you and to make it easier. But we're going to sort our stuff by color, which is basically sorting by file type, because there is a different color for every file type. Now, we see that our sequence is up top, it has a slightly different icon and that's just so that we don't get confused with all of our clips. Our clips have a little icon with film and audio wave form. It means that this clip has audio. If it doesn't have the little waveform, it means it's just a video clip. This has a bunch of audio and video tracks, that means that it's a sequence. If you double-click the name, you can change the name, but if you double-click the file, it'll open up in the source view, and if we double-click the sequence, it will make sure that we go to that sequence. That's helpful if you have two sequences and you want to go between them, then you'll have more sequences here, but more on that later. I want to show you one more way that you can import your footage to the timeline. From the project window, you can select and drag and drop it into the timeline, or if there is no timeline here, you'll have that little message that says, drag footage here. But another way that you can do it is, from the project window or from the source viewer, you can, let's say you open up a file, you can take this file and drag it to the program window, and then you get this nice little GUI, Graphical User Interface where it lets you know how you're going to put it in. As opposed to trying to figure out by just dragging it and then maybe using a modifier key to change, you see that changing, to change how it's going to react when you let go of the mouse button, you can just drag it to the corresponding section of this window. You can see that it says insert before, after, overlay will put it over top of the video, replace will replace the current video, overwrite will place the video in any clips that we're underneath, will be overwritten. That's the basic. If I do that here, you'll see that those clips are now gone, they were overwritten. That's the normal way of just like dragging and dropping, is to overwrite. If I take a different clip, that's maybe, this clips a little longer, so you'll definitely be able to see that I will overwrite a bunch of clips there. That's the default from dragging. But if you go here, the center is insert and what that looks like is just putting it in. I'll undo and I'll move the play head because this is actually relative to the play head. If you have it in between a clip, it will actually split that clip. If you take a look there, now that clip is split. The beginning is that clip, this clip that we inserted and then end of that clip. I'm going to undo. This might be more comfortable for you, if you like seeing a visual representation of what might happen as opposed to modifier keys. The arrows also tell you what's going to happen but you have to remember. This icon here will lets you know that it's going to replace. But if you find yourself having a hard time with the timeline here, what you can do instead of dragging and dropping here, you can drag and drop here, I'm going to undo, this is really useful if you're looking through your clips, and you are like, I like this clip and actually I only want to start the clip right here. Well, you can mark the in and then you can mark the out, and now that clip is only this long instead of the entire clip. Then you can take it from the source window and drag it to the program window, and following the play head, it will do what you want to do and you have that cut already. This end here will be cut off, and this beginning part here will be cut off. This can save you cutting on the timeline, if you would like to go one by one. You watch the file, you're like, yeah, right about here? Then move over right there, and then drag and drop into the program window. I'm going to undo that. You can clear the in and out if you want to reset that, by right-clicking here, clear in and out, and now that's reset. That's just one way that you can go about importing footage from the project window to the timeline.
7. Premiere Pro - Navigating the Timeline: Okay, so now that we have our clips in the timeline, I want to show you how to navigate around the timeline. This thing here is the play head. The play head shows you where in time you are. You can see the time markings here. This says 44:22. At 44 seconds, frame 22, that's where we are, around where we are. But we can zoom in by pressing the plus key, which is not my favorite way of doing it. My least favorite way of doing it is messing with this. You can move that and stretch that and the focus of this will be relative to the play head. If you zoom in really, really close, it's just going to zoom in where the play head is. I'll show you how that works by moving the play head. Then now we're zooming in over here. But my preferred way of doing it is just holding the Alt key and scrolling. By scrolling, we can zoom in and zoom out, and that feels a little more natural, I think. Because in most programs the scroll wheel is zoom or the scroll wheel plus a modifier key is zoom. In this case it is Alt. We'll move the play head to one of these tiny clips here and we'll hold Alt and we'll scroll. The Alt scroll wheel differs from the other scrolling in that it follows the mouse and not the play head. The play head's here and I move my mouse over here to this tiny, tiny little clip and I'm going to scroll, scroll and we'll see that that clip is revealed. Wherever your mouse is, is where that scroll is going to orient but that's only with the Alt scroll. Another thing that Alt scroll does and it'll be really helpful in navigating the timeline is moving over to the tracks area. We see that it says, "A 1, 2, 3, V 1, 2, 3. A for audio, V for video." If I hover over this first video track where we see that our videos are, so on the left side of this divide here, you can see that this area is the timeline and then this is divided. This is where we have our tracks. We'll hover over the video track, Alt, scroll and look at that. Now you can actually see thumbnails. This is really helpful when you start editing because now you know that this thumbnail is the beginning of the clip. I know that this first frame is this thumbnail and this first frame right here is this thumbnail. When you start cutting and moving stuff around, this could be very helpful. Now that we have our timeline, I want to start talking about cutting. You see this tool that's selected is the arrow tool or the selection tool. It works a lot like your mouse. Knowing how to navigate in your operating system of choice is going to be pretty similar to moving these things around. The same way that you move a file around in your operating system is how you would move a file around with the selection tool. Let's just grab this clip. I'm going to click it and I'm going to hold and drag. Now that clip is out of the way. I'm going to Control Z and put that back, and I want to show you something here. Pay attention to these three or four clips right here. I want to show you what happens if you drag and drop over top of those. You can see through the file for a second while I'm moving it and I'm going to let go. Those files disappear. They're not under the file because if I move it back, they're gone. I'm going to Control Z, Control Z and I'm going to show you how to move a file around without deleting the other things. I'm going to zoom in to show you a bit more. Let's look at these four files right here. This is where I'm going to be working. I'm going to take this file right here. These temples or pyramids. I'm going to take this file and I'm going to hold Control when I drag. I'm going to select, hold Control and then I'm going to move it and you see that the line is different, and I'm going to show you. I'm going to let go of Control and that's how it looks normally and when I hold Control, you see those little arrows. What that does is just move that clip out of the way. Instead of deleting this clip like it would have, like if I do that again, if I put it over top at the beginning here, you can see that now this clip starts here so it's boom and then it starts right there. But if I wanted to reorganize my clips, let's say the clip of the kids running, I wanted that after the temple or the pyramids, I'm going to click, move it over, hold Control before I let go and now that's reorganized. There's an empty space but it's easy to get rid of the empty space. You can just select the empty space and delete it. Sometimes you might have a different way of doing this. Like if you want to, let's say, you want to make this space smaller or you want to get rid of it all the way, you can do it. Instead of deleting, you can select all of these files. Then you can just move them over kind of how you would with other things. It's intuitive to use this selection tool. This is the tool that you're probably going to be using the most. I actually want to talk about the tool right next to it. Since we are selecting all of these files, I just want to briefly show you what this tool does. You saw how I had to select all of these files and then I had to move over. This tool right here is the track select forward tool. What this does is wherever I click, everything to the right of where I click is going to be selected. I don't have to select it all first and then move it. That looks like this. See that? That can do most of the work for me. Let's say that I move those files over but I want to make a space here for whatever reason, all I have to do is click here and now this file and everything to the right of it is selected. I'll show you that. Again here or here or here. That can be helpful if you're trying to move a bunch of stuff around and that works on all the tracks. Let me go back to the selection tool and let's say that I have some of these on the second track right here, if I do the track, forward, select, I can still move all of those files. That could be a useful tool. But let's go back to the selection tool and let's talk about cutting. We talked about moving files around and that seems pretty easy. The same way that that seems intuitive, cutting is pretty intuitive if you're using the selection tool. You basically take the end of the clip. Let's watch this clip, and real quick shortcut Up, Down takes you to the beginning and the end of a clip. That's a quick way to navigate. I want to go to the beginning of this clip and I want to watch it. We're going to watch it. We see the kids running. Then it ends right there. But let's say that we only want a couple seconds of that. I'm going to, right there, right after his hand passes by. I want to stop right there. I'll just take the end, select it, and you see that it turns red and I move the end to here. Then that's it. That cut is done. There's empty space, but like I said, with the selection tool, you select and delete. That clip is now our desired length. We're going to undo and I want to show you how you can do this without having to always delete. If I redo that, you can see that this space is there, I select it, I hit delete and then that's how I fix it. If you do that for every cut, you're going to spend a lot of time clicking and deleting and you don't want it to do that. You want it to do it by itself. You make the cut and it's done, the cut's done and then you can move on to the next file. The way that you would do that, is holding control and what holding control does, while you have the selection tool selected, is make it so that instead of just making that cut and leaving this space, if you hold control, the red cursor becomes yellow and we'll do the same cut to the same area, the same play head. Boom! That empty space is gone and that's called a ripple edit. This would be a regular edit and a ripple edit would get rid of the empty space. I introduced this term ripple edit because you're going to see it quite a few times. If I just use the selection tool and I make this empty space, or actually I won't do that. I'll do this, I'll select this clip, and if I want to delete it, I can hit delete or I can right-click and hit clear and clear, we'll get rid of the clip. But right under clear, is ripple delete and that's that word again, ripple. We see that word ripple and what that means is that any change that is made is going to trickle down. Any change that is made to the timeline is going to affect the rest of the timeline and when you have a ripple edit, if we go back to the selection tool or make sure the selection tool is selected and you have a ripple edit, it does the same thing. The changes trickle-down and the reason that I bring up this idea of ripple edit, is because there's a ripple edit tool. It's the next one in line. It's what we're going to talk about next. That's basically what I just showed you with the yellow cursor. But Selection plus control is just a modifier key to access the ripple edit tool. You can select the selection tool and then switch over to the ripple edit tool. But a much easier way to do that, is to hold control and make that ripple edit change and you can do it the other way as well and it will move that clip over. If you wanted to make it, it's full length you could do that and other clips will move over. Because if you didn't do that, then it won't let you do it because that clip is there. So we'd have to move this clip over or move everything over. There are a couple of ways to do that. You can use the track board select tool, move that over, selection tool, and then take the edge and then do that. But see that's a lot of steps. You don't want to do that. Like I said, you want to be able to just move the end of this clip and everything else falls in line. To do that, you need to do a ripple edit. Let's say that we have a clip, we can see that this clip is slow. It's not playing in real time and we have a couple of clips like that that might not play in real time. Some of these are in slow mode and some of these are regular. Let's say that we have a clip or what's this clip? Let's say that we want to take this clip because this clip is in slow mode, and this clip is short. We want to make this longer. But we only have so much clip here. We can right-click and we go to speed duration. Again we see ripple edit, shift, trailing clips and basically what that does, is when I increase the speed here, or I should say, decrease the speed so I'm at 50 now. If I don't click that, then what happens is this clip is longer, but it stops there. If I do that again, actually let me show you what happened there. If I use a track board select tool, move this out of the way, and I extend this that clip was actually longer, but it didn't move the clips over because we didn't select the ripple edit. That's one way to do it, or we can just use the ripple edit tool and extend that. That's why I wanted to show you that tool, because it'll save you a lot of extra steps and it will save you a lot of extra time. But let's go back and let's do that again. We're going to go speed duration and we're going to click ripple edit, and we're going to change this to 50 and now premier has slowed that clip down a little bit longer. We can do it even more like if we wanted to go to 25, that might be a little excessive. It might look a little weird. But I want to show you just a quick way to fix that. If you wanted to mess with time remapping. It's a little choppy, but premier has this cool tool where you can right-click. You go to time interpolation, and go to optical flow. What that does, is premier tries to guess what's in between those frames. This clip is slowed down to 25 percent. It means that it's only got so many frames to work with and it has to try to figure out what to do. If we do optical flow, we see that this is red. Anytime we have red, yellow, and green. Red means that your computer's trying to do this on the fly. It's trying to do it in real-time and if you don't have a really strong computer that can slow your system down and won't play as smoothly as you want it to and the quick fix for that is to just hit the Enter key and it will render. I hit Undo and I'm going to change the time interpolation to optical flow again. It's green because it's in my Cache. I'll go to sequence, delete render files, and it'll turn red again. I'm going to hit Enter and pay attention. You'll see that it's rendering. Renders really quick, and now it's green. The three colors, green, yellow, and red. Red, of course usually means bad or stop and that looks really smooth. From what we initially had that looks much better. That's how you mess with speed and the reason I wanted to talk about speed, is because speed is another place where you'll see that ripple thing. Back to the editing real quick just to recap the selection tool. Let's say that you move this clip here, you have this clip here and this is where you want it to start playing. If you know that you want to play this clip all the way to the end. You can have your play head here, and you can just move this and you can delete that, and then delete this and that's one way to edit. Or you can use ripple edit tool and then make changes all the way down your timeline. One more thing that I want to talk about while we're editing is the tier, the rolling edit tool and it's like the ripple edit tool, because it has a ripple function. In that it affects the clips down the timeline. We're going to select that. I'm going to show you that I have here. These two clips, and I can change the out point of one, which will consequentially change the end point of the other. So now this clip ends earlier in this clip starts earlier. I didn't have to move anything around and if I try to do that with the Selection Tool, that would've been extra moves. So that's why you want to learn about ripple editing and that knowledge will transfer to other editing programs as well. DaVinci also has a ripple mechanic. Moving on, the reason that I showed you these tools, the Selection Tool, which intuitive because it works like a mouse and, then these ripple functions is because there is a Cut tool. But this isn't the best way to edit because you can make your cuts and, then you have to change your tool back to the Selection Tool and select what clips you want or you don't want it, so you don't want that one and then you delete it. Now there's that space and you delete that, or you can select and hold shift while hitting delete. That will be a ripple delete. But still you don't want to make cuts and then delete if you know for a fact where those cuts should end. But I will show you where you can use the Razor Tool just so that you know what situations it can be used for. So to show you how I would maybe use the Razor Tool, I'm going to do a combination of the Razor Tool and the speed tool and that will show you why you might want to cut out a particular part of a video without making an edit to it. So this is one clip. I'm going to select it with the selection tool. That's one clip, you can see that, it's from here to here and I just showed you how to change the speed of a clip. Let's say that we have this clip here and we like this movement here in the beginning and, then we want to speed up and go to the end here. So what we can do is we'll take the Razor Tool. So we can click there and then we'll click around here and, then we will select this file and we're going to speed this file up to 100 percent. That makes that file really small or really short, I should say and, then we play and, then that's what happens. So that's it. That's an okay result. We can may be speed it up to like a thousand. We don't like the choppiness of it. But that's where we can do that trick that I showed you. Optical. We'll hit enter and that smooths it up. That's one way that you can use the Razor Tool where you wouldn't necessarily want to do a ripple edit there. But since we're talking about cutting and doing some speed changes, I want to introduce one more tool. That is the Rate Stretch tool and that's under the Ripple Edit tool as well. For these you have to click and hold and then that tool is right there. Instead of right-clicking speed duration, what you can do is just kind of go to the end here and, if you pay attention, it will tell you the new frame rate right over here. If we zoom in, it says kind of small, 425 percent. If we want to make it even smaller and we zoom so it's 2,000 percent. So that's another way that you can change time and this is useful if you know that you want this to be a second or so. So you go from 54 -55, one second that's where I want to be and you don't necessarily know the percentage to make it happen. Because that's a weird number, 869 57 and that would help you and you would just select and get rid of that. So that can help you, instead of trying to do some guesswork by going here. Actually, I want to just talk about briefly another use for the Cut tool. Let's say that you have a clip that's very long and it's changing like a drone clip, for example, where you flew over something. There was something interesting right in the beginning, and then it was boring, and then there was something interesting at the end. So we would take the Cut tool, and we would cut the beginning, cut out the middle, and leave the end and then we would just get rid of it. That's another use case for the Cut tool. So I discourage using the Cut Tool because, for the Razor Tool, because I feel like it develops bad habits of cutting and then deleting the empty space. So I would recommend using the Selection Tool or the Ripple Edit Tool. But a shortcut to do that, if we zoom in here, instead of selecting the end and then holding control, and then going to here and then making that edit. We can just hit Q then that will do the edit. On the other end, it's W. So again, move your Playhead to where you want it. I'll do it on this one. So we see this person walk by. Let's say that we don't want to start the clip as they walk by, so we'll go there. Q, that clip starts there and let's say we only want like two seconds or however many seconds of this and then we will hit W and then now that clip is short. That's how you would ripple at it using the shortcuts. So that's how I recommend that you should get into it because once you start cutting a lot of clips if you are trying to cut and then delete the empty space, it will take you twice as long and, if you get used to the shortcuts where you're just like right there, boom, right there boom right here. Right as he touches it, right before he touches it I want to start there, and then we'll go right there, and it touches it one last time and then it finishes right there. So let's say that you want this kick right before the kick starts right there. Boom, this clip right here. It's cool that it reveals this temple here, this pyramid and right as the sun. So let's say that. We see it but we don't see it. I want to start right there, then soon after I want the sun to come out, and then after the sun comes out, I want it to end. That's how you can start cutting the clips on your timeline and do it in an easy way and develop good habits of not wasting time. Because you're going to have to do that tons and tons and tons of times on your timeline. Next we'll move into titles.
8. Premiere Pro - Titles: So moving on, we talked about editing, we talked about the tools, we talked about the windows, so now I want to talk about titles. Like I said before, Adobe has this way of trying to help you out, trying to make it easier, I can say for once that when I first started using Adobe or Premier, I should say, it didn't have a lot of these features to help me out, so I just had to learn how to do stuff, and that's where you see like this tool that I didn't go over, the text, the type tool, that tool is for creating custom titles. But nowadays, the beginner doesn't have to make custom titles. You don't need to learn how to do that, because Adobe provides a bunch of free presets and I'm going to show you how to access those right now. We'll go over to window, and we'll go to essential graphics. This will open up a window where you have a ton of options. You can scroll through these and find what you like, but what I'm going to go to I'm just going to show you an example of basic title on background. I can just select this, and I'm going to move this to the front, hold control, and now I have this title here. You can see that it's done for me. The way that I would edit this is click this and in the essential graphics panel, we have a lot of options. So we can left justify this, we can right justify it, center justify it. We can make it transparent by changing the opacity. We can center it to make sure that like let's say it's little bit offset, we're like, uh-uh, I am trying to guess where the center is, let's say that you're trying to guess you're like, right there, you know, like, let's double-check, boom, boom, centered. Easy. The way that you would change this is double-click and type whatever you want and then that's there. I'll show you a cool feature that the type section has is if you select all of this you see that it's lowercase, and if we move over here we see this little thing right here, it's hard to see into my mouse, this is all caps, boom, all caps. You don't even have to retype it, and click "Caps lock." So super easy. To change the font, you can just scroll over the font and it'll change it for you. So really easy. You can just click the drop-down and then you have a bunch of fonts, and then you can click a font and select what you want. The appearance section of the essential graphics panel is where you'll select the color. So let's say that we want this to be, we'll look over here. Say we want it to be blue, it's blue now. Then let's say that we want a white outline. Well, in most graphics programs, outline isn't referred to as outline, it'll say stroke, and even some of the effects that you see later will say stroke as well. So stroke here, we'll turn that on, oh sorry, let's select that stroke, turn it on, bump up the width to 10, now we have a stroke. So that easy, that simple. If you want to give your text the background, I don't recommend it, it'll look absolutely horrible, but let's say that you want it for whatever reason. You can do that. You can even do shadows and other things. So this makes life easier. I didn't have this when I first started using Premier, I had to do everything manually. I'll show you how doing it manually works, just to show you the Effect Controls area. So this panel over here, Effect Controls, we'll click it and then we can see the same stuff that we see here, over here. If we dropped down, we see these options, but they're separated everything's a little different, it's not as easy like this stuff is all right here there's no like centering here, you would have to go to the position and then reset the position or scale and then adjust the scale, and this is a little bit more complicated. You don't need to do this because you have your presets and you have your essential graphics panel, but the reason that I bring this up is because I want to introduce the idea of Effect Controls. So one more thing before we get into that, I know that this looks a little daunting, a little scary, so we'll hide it for now. One more thing about graphics, one of the things that we can do is place graphics over top of something. So I'm going to delete this, and we'll get rid of that empty space, we'll go back to central graphics and it says edit, so it's empty, don't feel lost, you didn't lose it, just go back to browse here, and instead of a title, I want to show you a basic lower third, and we're going to do a left lower third. So let's say that for whatever reason you want to label this area, you want people to know what this place is, or you just want to add some kind of text that's not in the center, you can just take this lower thirds here, and you can place it over top. That's going to be with a transparent background. So earlier, we had our title that was over black, and this is going to be over video, and it'll be a transparent video besides the title. So that's how you can do a title over a file or if you want to do your basic thing here, do that, and this is over black. Anything that is empty is going to be black in the program window, so we'll bring that back. But if for whatever reason you needed black, specifically, you can go to new item and you can create a black video or a color matt if you want a specific color, let's go to color matt and we can do red, and we'll name it red. Now, we have this thing here, we can drag and drop that there, and now we have red. So that's a color matt and that's the idea of a color matt or black video if you need it. But let's go back to this way that I use to edit titles and using the Effects Controls thing. So we're not going to edit any titles here, they're right here and this is the title options in the Effect Controls panel, but we don't need this, so I'm going to shift delete that and delete this title, and next, we're going to talk about using the Effect Controls panel to adjust transitions.
9. Premiere Pro - Transitions and Keyframes: While we're still talking about editing, I want to introduce the idea of transitions. Transitions are nice to smoothly go from one cut to the other. While we're here, let's say that, that's okay, we might like that. But if we didn't like that, there's a way to smooth that out. If we go back, let's move this a little further. Let's move this to there, actually not that far, right here. A little bit more. If we wanted to smooth that out, you could mess with the timing, but another way is to just add a transition. Transitions really help with getting a nice, smooth, flowing edit. I'm going to show you where the transitions are. I told you earlier that premiere tries to make everything easy for you, and it does that with transitions as well. There's a special way that transitions work and we're going to go over that now. We're going to go over to the effects and we're going to look at video transitions. There's a lot of them here. I encourage you to go in and see what all of them are. But the most common transition, is probably the cross dissolve. I'm going to show you that now. You can use this search bar to look for something specific, if you find something you like in the future, and you're like, ''Oh, I want that particular thing'', you can search for it if you remember what it's called, and it will find it for you. Anything that has that word, this is Crossfade, this folder here, is such as these things here, but we're looking for dissolve, cross dissolve, and I'm going to take this and I'm going to drag and drop right there. You can see that it will either start to the left, start to the right, or right in the middle. I want it right in the middle. We see that there's a line that goes diagonally across here. That is an indicator of the mix between those two particular clips. If we play, it smoothly fades into that other clip. If we want to extend that, all we have to do is click this transition that's inside the boundaries of this clip. This is the clip and this is the transition. You can click the ''Clip'' and you can still mess with the edit if you want it, it'll get rid of the transition. But you don't want to click the edge of the clip, you want to click the transition. We click the ''Transition'' and we extend it, or shorten it, let's shorten it. That was really fast. Let's delete this. I want to show you something, I'm going to do a transition here. This particular clip ends soon, so we don't have a lot of time to mess with it there, I'm going to ripple edit here, I want a lot of extra clip on the back there and maybe do the same here. I want to show you how you can extend this cross dissolve to be really, really long. Actually, hold on. I'm going to show you one more tool really quickly, I skipped it while we were talking about editing. I'm going to press ''Y'', and this tool comes up. The Y Tool is the Slip Tool. The reason I want to show you this tool is because if I click this here, if I zoom out, you can see that my selection of the clip is towards the end of the clip and the transition will only work up until the end of the clip. What I want to do is, take my selection and move it over. What that does, is that without changing the end or the beginning timing here of this clip, I can move the part of the clip that I want to use. Let's say that I want to use the beginning part and I still cut off the end part, that whole end part is gone, but I can basically slide that clip. I'm doing it here in the source window to show you a visual representation of what's going to happen. Because if you use this Slip Tool on the timeline, you won't notice. Let's select this, I'm going to get rid of it and I'm going to show you that this tool here, does the same thing. I want to use the beginning of the clip, and I know that it's the very beginning because there's a little arrow here. This clip doesn't have an arrow and there's no arrow at the end of this clip, so it lets me know that it's not the end. This little arrow right at the top left of this clip, is to indicate that this is the beginning of the clip. This is not the beginning of the clip, and this is not the end of the clip, and this is the end of the clip. The reason I did that is because I wanted to extend the clip to show you how the transition could work. But that is a good tool if you have something where you want to do some timing or something, where there's like an audio track, and you have the cuts to the music and you don't want to change those cuts. You can just select this tool and you can keep the same timing of the clip. It just change what parts of the clip you use. You are like, I know I actually want to start right there, cool, and then you start right there. But we're going to do that and we're going to press ''V'' for the Selection Tool, and we're going to go to ''Cross dissolve'', and we're going to bring that here. Now that I have much more clip going this way, which is visible here, I can take this and I can extend it really long. Now, right from the beginning, there's this long transition. You see that? Long transition. Or if I wanted a short transition, short transition. Or we can get rid of the transition completely. boom, and it's a cut. That's how the transitions work. I'm going to get rid of this such as cross. I'm going to go back to video transitions, and I'm going to show you just some of the other ones. Dissolve is probably the most common transition; additive dissolve, cross dissolve or film dissolve. Film dissolve would do real quick, just to show you, and I can drag over top of the previous transition and it'll change. What a film dissolve does, I'll extend this to show you, is that sometimes there are highlights in a clip that when the transparency is happening, it stands out. Let's look at cross dissolve, and it differs. If we go back, the light part of the house stands out a little too much. If we do cross dissolve to compare, we see that now it looks a little different. Sometimes when you want a particular part of the previous clip to stand out, you can change the dissolve, and that's cross dissolve right there, you can see how the houses look, and that is film dissolve. There are other dissolves like additive dissolve, which means that the bright parts will really, really be bright or non-additive dissolve would make all of the dark parts, so the dark parts of the clip are what's being meted out. Here we see that there's this weird effect. These are the dissolves and this is the easy way to add a transition. I am going to quickly show you these two, dip to black and dip to white. Dip to black will just go black between those two clips. If I move this over to the beginning of the clip, right there, what it does is, right at the middle point, that line that I talked about earlier, that's going to be the black point. The reason I bring this up is because I want to show you how you can change this, if you wanted to. I'm going to click this and I'm going to go to Effect Controls, and Effect Controls, since this is selected, I'll click away nothing. Click The File, we have the file settings, and if I click The Transition, we have the transition settings. In a transition settings, we have this nice little feature that says, Show Actual Sources and now we see our clips and we have this timeline thing here that we can drag and move. You don't see any changes here but that's because they're reflected up here and if you look. This is useful if you wanted to do something where, let's say that this clip, you wanted it to end on black and then fade into the clip. Well, what's happening is that the clip stops here, but the clip keeps playing and this is the midpoint. You can mess around with this transition and you can start the black at 50 percent, which means that it will cut to black and then fade. I'll extend this to show you how this is going to happen. See it cuts to black and then it fades from black there. This is just the timing of the dip to black, and you can do the same thing with dip to white if for whatever reason you needed to. Right? That's the regular transition. It dips to white, but if you needed to flash to white, then you go to 50 and it will cut straight to white and then fade out. That's kind of how you would mess with transitions, and like I said transitions are easy because there are this kind of layer on top of clip. One more thing about transitions is that if I pick this one out and I go back to the Project window, I want to look for some audio. So there should be some audio here. This is the audio that Adobe uses in its tutorial and I'm going to use it to demonstrate how you can add some transitions to audio as well. We see here. Let's see what we can do here. I'm going to go into Effects. It's going to go to Audio Transitions and I'm going to show you transition called Exponential fade. One thing I might not have mentioned earlier, constant power has like a blue outline around it and just for the sake of this explanation here. I'm going to show you Cross Dissolve. Also has a blue outline around it. Basically, what that means is that this is your default transition. You can apply a transition with a keyboard shortcut. If you go to sequence, apply Video Transition, apply Audio Transition. You can either use the shortcut or you can select this particular option and it will apply a transition. If you look here, I will right-click Cross Dissolve and it says, "Set Selected as Default Transition." If I do that here, now that's my new default transition. But I'll put it back to there and I'll close this out. Constant Power is the default transition but I'm going to show you Exponential Fade first. If we take another, listen here and we look at the audio levels. We can see where those audio levels are, ramp up here, around here and then it'll be right up here. That's pretty loud, right? If we, for whatever reason want to soften that up, we want to make it softer, ease into that sound, that drop. We can take this Exponential Fade, will bring it over here, we'll extend it a bit, right there. Take a listen. Nice and smooth. Remember that in the transition this line is like the display of the transition at what point. If we take another listen and we monitor the audio levels, we'll see that right around this point right here is where we'll start to hear some audio. But let's take a listen, right there and we'll remove it and compare. That can help, much louder. But you can also mess with the audio levels. We'll get into that in a second, but what I want to show you is this Constant Power transition and what it's used for. So we have this and it goes into right here, some more notes. I want to show you a nice little trick. A good way to use Constant Power and if you need to shorten this up for whatever reason. Let's say that you have your cut down and you know that the music should be a bit shorter and you don't want to add any footage or you don't have any footage and you have your timing down for exactly how you want it, but you need to shorten the track up. What you can do is, let's take another listen here. Have those notes here and right there, right? What we can do is, we'll take the Razor Tool and we will, I'm going to cut right there and I'm going to go back to over here. I'm going to show you how I can bring this over, take a listen. That's pretty good. I did a good job of picking that spot where it matches up. But if we wanted to make it even smoother, we can take this maybe extended a little bit, and if we remember how transitions work, this track is actually going to start right there, and it's going to ease in as it's mixing with this track and this track will be completely gone right there. So this is kind of a mix of these two and much smoother. That's with, without, right, born after. That can help smooth things out. Another use for this is if you have two clips that are of different volume. This little line right here, this is the volume line. If I don't move my mouse, you'll see that it says 0 dB. That is decibels. if We grab it, we can make it say minus 14 db. Obviously this is much louder than that. Even just looking at the levels. What we can do is leave this constant power and it will smoothly transition for us. That's one way to do it. The only problem with that is, you have to have this cut. You don't always want to have extra cuts in the audio because then you're basically making copies of those files. If we have an affect on one file, this file won't have that effect because you have basically two instances or two copies. There is one thing that I'll show you really quick. If we go to effect controls, this is where your effect would be. You can go to master, and that works for both video clips as well. That's how you can add an effect to the entire file. Anytime there's an instance to the file it'll have that effect, but that can be a little complicated to keep in mind for the basic user and making a bunch of cuts just to change the audio is a bad habit. I wouldn't recommend doing it. There's another way that you can mess with audio. I'm going to put that audio back. I'm going to show you this area over here. We can see just by the wave form that this is probably the loudest part of the audio track. If we compare with the beginning, which is really low, and we have this dip right here that's low, but this is definitely the loudest part. Let's take a look. Very loud you can see by the audio levels that it's very loud. Let's say that our edit doesn't warrant that loud music. We can turn the whole thing down or if we wanted to change the audio levels over time, we could use keyframes. What I'm going to do is I'm going to hold control. I'm going to make this a little bigger actually so that you can see it. I'm going to hold control and I'm going to make, you see that arrow and see how it changes. When you let go. That is just for moving the audio. I'm going to hold control. It changes. I'm going to make a point right there. I'm going to make another point right here. Another one right here, and another one right there. What these are is keyframes. A keyframe is basically a value at a particular point in time. This is the same because they're all the same value, this is zero. As we move over, nothing changes. But these keyframes can be changed by grabbing them and moving them. You can see on the bottom there it says minus 12.3. We can take the other one down and move it minus 12.3. It moves to the side as well, which can be a little annoying. You can hold shift and it will lock it in place. We can move it down to 12.3 as well. But you see, I'm having trouble getting there and right there. That can be a little troublesome. Especially if you have a weird number like 12.3. What I'm going to do is undo that, and I'm going to show you how you can grab this line right here and just bring it down. Then that will change both values. You can move it ever so slightly to get back to 12.3 or whatever you want. But that way these match. This is linear. This is a very straight edge. You can see it's just like boom, straight across and then back up. Let's take a listen. That sounds pretty good. Nice little ramp up at the end there. That was nice, especially since the audio track has that already with our key frame, it just goes in perfectly. But like I said, these are linear, these are straight. Let's say that you don't want it to be that straight. Let's say that you want it to be a little more rounded. We can take this, click it, and we can right-click. This option here, you'll start seeing this term a lot if you're using keyframes or if you use some other programs. This is basically like a mathematical equation on how to smooth something out. We're going to do auto bezier because it's on linear bezier is if you want to control it yourself, but auto bezier, we'll try to figure it out for you. That's what it comes up with. It goes out a little bit more and then it goes in. We can do the same thing here. Auto bezier. You have to be careful sometimes with auto bezier because it might dip it down where you don't want it to. We want this to stay the same. We can take this end here, this little blue dot. That's actually a line right here that we can adjust and make that straight. We still have our curve there. It's just ever so slightly different, but that could help, especially in some graphical situation, because these keyframes work for other things as well. We'll get into that a little later. But keep in mind that these bezier curves can be very useful. We can do that here. We can select two or more at a time, I should say. We can do auto bezier and it'll do both. Again, we'll have to try to change this to make sure, see they're both selected. So I'm changing both of the values at the same time. We don't want to do that. I'll undo. I'll just select this one and fix that one to where I want it. Now we have the same thing here. That smoothed certain things out. Ever so slight change, but it could be useful, could come in handy. Keep that in mind with the bezier. We're going to go ahead and move on. I'm going to get rid of this so that no audio plays on accident while I'm going to talk to you guys. Next we'll move into affects.
10. Premiere Pro - Using Effects: The last thing that I can tell you, the last thing that I can show you is effects. We talked about using transitions, and the transitions were located in the effects panel. I'm sure that when I open this up, you saw a bunch of extra stuff here, and this extra stuff is effects. There are some presets for something like a title or something like a transition. These presets are more like preset animations for effects. An example being the picture in picture, I can show you an example here. Let's maybe take this one and let's just throw it on somewhere. So that's a little weird. But that's just a pre-made animation. I just wanted to show you an example. So that's what the presets are and you can explore and discover things in here that might be interesting. Maybe like a beveled edges bin, let's see what that does. Maybe you like that look, maybe it's not just like a clip of nature, but maybe it's an emotion graphic and you want this look. There's a lot of things in here that can help you do something quickly. But we're going to go ahead and undo that, and I want to show you more of the video effects. This is where you can find some really cool stuff. Under distort, you can do something like lens distortion. Let's say that you want to imitate some crazy wonky lens. You can do that. You can add a bit of curvature. Or let's say that you want to fix a fish-eye lens, then you can do the opposite. Fish-eye lens look like that sometimes. Weird. You can fix the curvature of lenses and this might be helpful if like you shot on a GoPro or something like that. But that's just one if you wanted to mirror. To give you a more accurate representation of some of the more interesting things that you can achieve using the mirror effect, I decided to use one of my own personal eclipse, and I have that imported right here. This is a clip that I took on a trip to Atlanta. This is downtown Atlanta, and as you can see, it's one of those stereotypical drone fly overs of the city. This has its own vibe, as you can tell. Like this is has its own look. But using the mirror effect, you can achieve something that is much different, and we're going to go ahead and bring this mirror effect onto this footage. We see that it turns red. But nothing's changed and that's because we haven't changed it here. I'm going to show you a both parameters do. But first we're going to start with the reflection angle, and I'm going to move that to show you that that's what it does. If we get it right at 90, this is the interesting effect we have, and I'm going to go ahead and render that to show you what that looks like, and let's take a look at that. That's pretty interesting. It is abstract, of course, but it has a much different feel to it than what we were looking at before. This particular effect can be stacked. We will do another copy, and I'm going to change this value, the reflection center. It says 4,096 because that is the width of this particular video. I'm going to go ahead and bring that to the center, and I know that half of 4,096 is 2,048. So we'll get an exact center, and I'll render that to show you, and that's interesting. We can go ahead and take this bottom copy and we'll flip this around to show you that you can get yet another look. Again, this might not be the most practical effect, but it is one of the things that I can use to demonstrate that when you have something and you start experimenting with one or more of these effects, then you can really start to get creative. You might not know what you want to do with the clip that looks like this, and you start messing around with some of the effects to see what they do. Then before you know it, you have some crazy otherworldly abstract art kind of thing. This is what I mean by going in here and experimenting and trying to learn what these effects do. Because it mirrors pretty straightforward. It's understandable what mirror does, it's a reflection, but it's not until you apply it to something that you can actually see what kind of interesting results you can get. We can even click this maybe so you know that's really weird. These are some things that you can do and start messing around and experimenting guys like this is me, flipping stuff around. Again, experiment, stack things up, see what you can come up with. You might be surprised with what you find. But let's go back. This is where you'll find the interesting stuff, and one of the interesting things is actually not a feature that distorts but corrects. If we watch this file, it's jumpy. Probably shot from like a helicopter. I'm going to extend that just a bit, just so I can show you how this works. So we see that its jumpy, and if we look over in this distort area, we have this warped stabilizer. I'm going to take this and I'm going to drag it here, and this is probably one of the effects that you're going to use a lot. It's going to stabilize and we're going to go ahead and play. Look at that. That's just super smooth. That can help you a lot and that's under the effects. If you wanted to make any changes to the parameters of this plug in or this effect, I should say. All you have to do is go to your Effect Controls and you can kind of poke around in here. Under method there are four; position, position scale rotation, perspective, and Subspace Warp. What Subspace Warp does it's going to try to move certain parts of the video to make it less shaky. Maybe one particular part of the video moved more than the other, then you would use this perspective is more if you have like really wide angle lens where there's a lot of perspective distortion. If you don't like the way it looks, you can change this or you can turn down the smoothness or turned up the smoothness. There are also certain effects like here, No motion where let's say that you need the video to not move. This particular clip is not a good clip to give you an example because what Warp Stabilizer does is it takes a lot of points on the footage, tracks those points and tries to move those points ever so slightly to make the entire image smooth. When you're doing smooth motion and you have something like this that has parallax, you can still get desirable effects. Really quick what parallax is, we look here, we can see these kind of power lines or something. We see these things here and if we keep an eye on this, as we move, we can see that those things don't move too much. But everything that's closer to the camera moves a lot. That is just kind of the normal perspective of things that things that are further away move less when you're moving. Kind of like in a car or something. That's what parallax is. When you have something that has a lot of parallax and you try to do the no motion on it, you're going to get some really wonky effects. Can see that it looks like the trees in the rooftops are swaying. That's because it's trying to move those pieces of the image to stay still but because there is so much motion, it has a hard time. What we see is the front. That looks crazy but the back doesn't look too bad in terms of like staying still. But again, that is a horrible example. I wanted to show you an example on some footage that is more suited for the No motion. Let's move over here, and I want you to pay attention to the edges of this clip because our eye wants to go here, this is where the action is. If we look at the center, we just see the image but if we look at the edges, we see that this particular shot has a bit of push. We see that these leaves this car kind of move out of frame, and that's because it's kind of zooming in. An example for using this particular effect in the No motion mode would be, let's say that you have this clip here that is very still. It was shot on tripod and the neighboring clipper shot on a tripod. You want this handheld shot to also look like it was shot on a tripod so that it kind of blows with the other ones better. Well, if you take the Warp Stabilizer effect and drop it onto here, by default, it's not going to do much. This shot is pretty still already and it keeps the push because it's just smoothing the motion, it's not stopping the motion. But if we move over to No motion, that shot no longer moves at all. You can see by the frame of reference on the car or the leaves, very still. That's what the No motion option can do for you and it can be pretty helpful if you need to make some adjustments to a shot. It can rescue shot. It can take a shot that you thought was unusable and kind of bring it back to life, so to speak. Moving on. I'm going to delete this and let's continue. The Effect Controls panel is where you can get rid of effects. We have the Warp Stabilizer on this video and it's looking pretty smooth. We can select and delete and it goes away and now we're back to our shaky video. But that is a really good effect. I recommend using it. It's called Warp Stabilizer and this is the Effects panel. This is where you can mess with those effects. The same way that key-frames work with audio. If you remember how I clicked around on the audio track and I kind of lowered the audio and then brought it back up. You can do the same thing with effects in the Effect Controls panel and I'll show you how that looks now. I'm going to go to color correction and I'm going to show you tint on here. This is black and white and that's what the tint does. It's by default black and white but you can change the colors here if you want, but we're going to leave it at black and white. I'm going to show you how you can change this over time, the same way that you can change volume over time on an audio track. I'm going to show you how you can change this over time to have a specific effect. I'm going to click here Toggle animation. It's hard to see here, but those key-frames show up again, this little blue dot means that there's a key frame it says, add, remove key-frame. I'm going to turn this down to zero. Then I'm going to move forward in time here and I'm going to turn it back up. Now it slowly goes to black and white and a combination of effects here and key-frames here can really yield some good results. Experiment and see what you can come up with and if you remember that there was that thing, Bessie that I showed you, you can do the same thing. You can click here, and I'm going to show you Ease Out. What that does. It means that this value is going to change more slowly than it normally would. Then I'll do on this one, Ease In. That's an easy way to add some smoothness and you can mess around with stuff like that. Like I said earlier, take a lot of time to try to just experiment and be in this program, live in this program for a while. Whenever you have some free time, experiment, or if you have some footage that you're really trying to do something interesting with and you don't have your edit perfectly planned out, you can mess around with some of this stuff and see what you can come up with, and this is where the creativity comes to mind. You might throw an effect onto a clip and you have no idea what it does, but then when you see it, it sparks an idea, and then you tweak, and you add some key frames, and then you have this really interesting result. This is where you can really start to control the effects and have good results. Another effect that I want to show you that is going to really help you out and I want you to spend a lot of time just messing around with it and try to figure out how it works is lumitry. Lumitry can be dragged and dropped from the effects. But as I said earlier, Adobe Premier tries to be as helpful as possible and tries to knock down those barriers of entry in a sense where it doesn't want you to feel like you have to learn a crazy amount of stuff before you can actually do anything. So the same way that they created the essential graphics panel to add some graphics, and some titles, and some overlays, so that you can start putting titles in your videos and not have to spend a bunch of time on something as simple as titles, they've also created a panel like this for lumitry, and I'm going to show you how to access that now. You see how lumitry is on. I dragged and dropped it, and the traditional way to edit an effect is in the effect controls. But since this is such a popular effect and everyone uses it, and it's used on almost every clip when you have a final edit, they wanted to make it easier. I'm going to delete it, and I'm going to show you window lumitry color. Then we have this window here, and this window is basically the same as the effects, but it's a little bit more well-organized. This window's open and it shows you the lumitry controls. But as you can see in the effects, it's not placed on the video yet. I'm going to delete tint as well. The way that you would place this effect on the video is actually just automatically. I'm going to show you how I'm going to make a change here. I'm going to just make this warmer. Then it immediately places the effect on this. If I move, let's say that I move over here. Let's say I want it to be more contrasty, and you can see the effect controls doesn't show that there's lumitry on it. But if I increase the contrast, it adds it. There are a lot of sections to lumitry because it's such a powerful tool, but it's self-explanatory. Temperature, if you remember, we talked about color temperature when we were talking about light. We can just warm that up and make it a little more yellow. Or let's say that we want to make it even more green. Like it's mostly green, but let's say that we want it to be even more saturated, we just go to saturation, and we bump that up, and then some of the blues come out too. We can bring the shadows down, so the shadows are darker. The blacks are blacker. The whites can be whiter, or we can bring the lights down, and we can bring the highlights up. This is where you start to get a look. Like if we reset, that's the original and we can add some contrast. Maybe bring down some exposure a little bit, we can add a lot of contrast, and a lot of saturation, and warm it up, bring down the blacks. That's an interesting look right there. If we wanted to change some of the tint maybe, maybe we want to mess around with that. But we can do a lot of messing around, and that's just the basic correction. There's creative, which has some looks that you can cycle through and see if you like anything here. Then some effects here like sharpen, let say that you wanted to sharpen that so that it's a little more clear. Vibrance is interesting because vibrance will only increase the saturation of colors that are vibrant colors. What that means is that if there is a beige, like this color. There's a color there, but there's not really a color there. The sky is so light that it's not really blue, it's just like gray. It doesn't bring those colors up, but it'll bring the colors of the blues and the greens up, or the yellows. That's what vibrance does and it can be used in conjunction with saturation. There's more crazy things like curves but we'll get into that in another lesson when we talk about color grading. There's color wheels which can help you add like a tint to maybe your shadows, so this is shadows. Let's say you want blue in your shadows, you can add blue to the shadows, or red to the shadows, mid tones and highlights. There's this here, which can help you isolate a color. So if you want to select green and then you say, I want my greens to just be a little less saturated. Or maybe I want my greens to be more purple. You can see that the colors are selected here. You can move that around, and then you can see what that does. It selects a color. Well, we can reset that. Actually let's reset the whole thing, and I'll show you that you can select the greens and make only the greens really bright, and you can change the color and saturation of that. Again, you can move this around and make sure you have the right selection. You can widen this up, and you can do some interesting things here. Add some contrast. This will help you select the specific color if you want to have a specific look. The final thing is vignette. You can add a vignette and you can see that it's really dark on the edges but you can change the midpoint, change the feathering, and then from here you can adjust and that's on. Again, that's weird color because of the green, but we did that again. It has a certain look. One last thing that I can tell you about effects and using different effects. We talked about the lumitry color panel, and I mentioned before that there are these other panels, like we have the essential graphics panel. We have this luminary color panel, and we have one more panel that I want to introduce. It's the essential sound panel. When you start messing around with some of these audio effects, and you start to get to know what these things do, you might find it easier to work with the essential sound panel. Because this is basically a streamlined make your audio sound better Panel. We have dialogue options, we have some of these effects like loudness. You can turn these off. You can do some really interesting things here. They make it really simple, so clarity to make it sound clearer. They have some presets here that you can mess around with. You can mess with some repair settings, if your audio sounds bad and you want to make it sound better. If it's really low, you can mess with loudness. This is where you can just get in and really quickly make some changes to your audio, like rebirth. They have warm voice, thicken the voice, they have quite a few presets. These presets here for clarity like that public radio sound. You can do some interesting things, you can get some interesting effects. You can add clarity or remove clarity with some of those presets, and this panel will help you a lot. Because this can be a little overwhelming. I'm scrolling through these, there's tons of these audio effects and if you don't know any of them, it's going to be a lot to go through and try to learn by messing with everything. It's one of those things that's really helpful for the beginner, so that they don't have to learn a bunch of things before they can start making cool videos. That's one of the things that I said before that Adobe has this way of minimizing the barriers of entry because when I first got started, I didn't have any of these essential panels. So I had to go in and mess with everything to see what everything does and without having to do a million Google searches and stuff like that. These panels can make your life easier and let you quickly at a glance, see what are the main things that you want to do. Like the essential graphics panel. You can have all of your essential panels here and it can be really helpful for the new user. Keep that in mind. That's the basics of Premier. We talked about workspaces, we talked about importing and editing. We talked about titles, we talked about transitions, we talked about audio specifically, and we talked about effects. Some of the specific ones being warp stabilizer and lumitry, and that's what you're going to be using. These are the main things that are going to be at your disposal when you're editing. You're going to live in here sometimes or you're going to just live in the timeline for large section until you get your cut down. Then you get your cut down and then you're going to want to change the colors, and you're going to be messing around in lumitry for a while. These are the main points. If you feel like it was a lot and you want to go through those hands-on tutorials that Adobe provides, feel free. But that's the basic information. I hope it was understandable, I hope it was useful. I hope you liked it, and your homework assignment is to spend a lot of time in these programs. Get some of that footage that you recorded during the previous lessons. Get that imported into Premier and start messing around with it. Make some cuts, select the best parts, start making some color changes, start adding some effects and see what you can come up with. In the next video, I'll show you how to export your video with the correct settings and we'll talk a bit about formats and codecs. All right guys, see you next time.
11. Davinci Resolve - Media Tab: By now, you probably haven't ton of footage and are wondering, how do I put this all together. I'm going to show you the basics of Adobe Premiere Pro and DaVinci Resolve. Most analysts are pretty similar, so don't worry if you're using something else because the concepts will transfer over. Let's get started. Guys, today we're going to be learning about DaVinci Resolve. I have to prefix this with the usual. These are professional programs and it can get pretty complicated. I'll give you a broad overview, but there's no way for you to effectively utilize these programs and their power without putting in time. You don't become a good driver by knowing where the pedals are and how to turn the steering wheel. But by putting in the hours, spent a lot of time in these programs, this is not a recommendation, it's a requirement. Aside from those cases where a movie was stuck in pre-production for years, post-production is the longest part of the film making process. Since we'll be spending most of our time here, you need to know your way around your program of choice. More detailed lessons will be released in our future courses. But for now, let's get acquainted with Adobe Premiere Pro and DaVinci Resolve really quick. I want to talk to you about why DaVinci might be a good option. One there's no subscription, so if you do pay for the full version, you pay once. There is the regular version, that is the free version, it's referred to as here it just says DaVinci Resolve 16. It's sometimes referred to as DaVinci resolve light, DaVinci Resolve studio is the one that you pay for it has a few extra features like HDR grading, it has extra plugins that you can use, it has noise reduction, it has high resolution exports. But for what you get with the light version, there's no better free option that exists right now. This is just an amazing piece of software, it's an NLE and non-linear editor. It can do visual effects, motion graphics, it does color correction, it does audio post production. It is a huge application and that's why I'm going to go over it briefly and not in too much detail because DaVinci Resolve themselves, provide a lot of training. But I just want to give you a brief overview so that you can jump in and not feel completely lost. But if we go to, if we look around here, we can probably find Training. Here, like Adobe, they provide quite a few tutorials for you to learn about the different things that you can do in DaVinci they have two separate fusion, section, tutorials that are quite long there about an hour a piece, two separate audio production tutorials. They have quite a wealth of information and knowledge here that you can learn from. But I'm going to give you again the brief overview and you're going to be able to jump in and move things around and start exploring the program for yourself and even start putting together edits and stuff like that. Let's go ahead and jump into DaVinci Resolve. What do we see here? We see that it says Untitled Project. We see that we have a project called Training that I created ahead of time. We see some buttons here like Open, New folder or New project. New folder is for organization purposes. New Project is very similar to untitled project. Untitled Project is a premade project with the title Untitled project. That is you can just open up a project really quick and jump into the program as opposed to going to the New Project and being prompted with a name. Create New Project and then you would put the name here. We won't do that. We're going to go and open up Untitled Project because I want to show you how that works. But first I want to just talk a little bit about the menu and stuff here. We have this little slide bar that is for the thumbnail size. You can also change the way that you sort these here. You can get more information on the project here. This will pop up here. You can sort them by tiles or by List view and this might be useful if you have a ton of projects. But I like the icon view. You can also search for a project and you can search for it with different things like the notes that you might have added to the project, the format of the project, or the name of the project. I'm going to go ahead and close that. The last thing that I want to show you is this little secret, hidden thing here and these are your databases. I have two, my local one is my personal database with my personal and work projects. I created this training database, so that we would have less clutter. This is where I have this Training project here. What you see here is basically an online server. What this is is an online database and I don't have anything connected here. But if I wanted to, I can do New Database, and I can go right here to PostgreSQL, and then I can set up the location you see IP address in names and stuff here. If I wanted to connect to an online database or if I wanted to create an online database and I can do that as well. But I'm not going to do that I just wanted to show you that in case you needed that in the future. Or if you wanted to organize your databases by personal and work or something like that. If you wanted to have multiple databases so that you don't get anything mixed up. Then you can also do new database, and then do a disk database, and create a disc databases where you would create a new database Connect. If you have, maybe you have a coworker or something like that that's coming over with his own database. Then you can just connect to his database that's maybe on an external hard drive or something like that. Those are the database features in the database section. But I'm going to go ahead and hide that and show you how this Untitled Project works. Again, New Project will prompt me for a name. We don't want that. We just want to jump right in. Let's go ahead and jump right in. What do we see here? We see that there are tabs at the bottom and the default tab is the Cut tab. I'm going to navigate away from the Cut tab because I want to go from left to right, and we'll go to media, and this is the media tab. But before we get into the Media tab, let me talk about the other tabs and I want to just give you a breakdown of what everything is. The Media tab is where you would import all of your media. If you're following along from the Premiere Pro project, this Media tab is like the project window. This is where you import all of your footage and you start to create a timeline and stuff like that. This is the first step of creating a project. I like doing it this way because this is what I'm used to. The Cut tab, which is the next one over, is actually a new implementation. This is a new feature of DaVinci Resolve 16, DaVinci Resolve 15 did not have this, and you can see that we're on DaVinci Resolve 16 here. We'll go over this in a second, but it's tied to the Edit tab. The Edit tab is like an NLE. I'll take a small pause here to tell you that every tab in this series is almost like its own program. The Edit tab is the non-linear editor. The Cut tab is like a simplified version of the Edit tab, this is a very simple non-linear editor. The Fusion tab is like Adobe's After Effects program, which is a program that has a bit of 3D functionality, compositing, keying, and other more advanced tools like that. This Fusion tab is actually a separate program that's been integrated into DaVinci Resolve. Blackmagic Design are the owners of DaVinci Resolve and they're also the owners of Fusion, and Fusion used to be a separate program. To be more precise, it is still a stand alone program that has slightly more features than the built-in version of resolve. But this is still a very powerful section of resolve and we'll talk about that later. If we continue with the Adobe analogies. This is like your loo metric panel, but on steroids, DaVinci Resolve was initially a bull on color grading suite. That was what they got famous for. They were the industry and still are the industry standard for color grading, and they just in recent times have expanded on the program. Initially it was only a color grader, and then it became a color grader and non-linear editor. Then it was integrated with fusion and fair light after that. It became a very powerful program because each of these tabs is like its own program. This is like your loo metric panel. A little history is that the loo metric panel was actually developed from a separate program that Adobe had called Speedgrade. Speedgrade was Adobe's color grading suit. They ended up getting rid of it and they just built most of the functionality of Speedgrade into the elementary plug-in and panel and all that. But this is where you would do your color correction and your color grading in resolve, like you would do your color grading and color correction in Premiere in the loo metric panel or in the elementary plug-in. Fair light is like Adobe Audition, which is its own dedicated audio editing in audio design program. That's basically what fair light is as well. The Deliver tab is just your export settings. That when you're done with your project, the project goes left to right. You get your Media in, you get your Cut, you add effects, you get your final look, and then you sound design and you export. Let's go through these were on the Media tab. Let's talk about how we can import footage. Before we get into actually importing, I wanted just to familiarize you with the media tab, as well as some of the basic theory of the way that DaVinci Resolve works. What I mean by that is that there are certain things that are present in every tab. If we look here, we have our source window, and if you don't know what that is, the source window is basically a window that lets you preview files before you put them in. We'll also talk about program windows when we get to the edit tab, but the source window, or the source viewer is basically a viewer for files, so that you can preview them. This can be resized, this can be moved, these panels can be adjusted to your liking. But there is one thing about these panels that might not be immediately understandable, and that is this little thing here, this arrow and this monitor here. They work the same, they are basically opposites of each other. If I click the monitor, it will turn into the arrow, and you see this arrow over here, will turn into the monitor. But what these things do is basically when the arrow is present, it means that you can expand. This panel right here, this is the basically the Media Browser or Media Storage as it's referred to in DaVinci Resolve. You see that this is lit up here, this is highlighted, and this is grayed out. It only highlights when I hover over it, same as over here, audio, metadata, and capture. Anything in DaVinci Resolve that is hidden is gray, and if it is open, it is white. If I click that, it goes away, you see that it's gray, metadata comes back, and then now that is highlighted. Whatever panel we have that has this button here, we can expand it to the full length of the monitor. I'm sorry, the full height of the monitor. Let's expand this and we'll see that now this panel goes all the way down to the full extent of the monitor. That's why it has this little monitor symbol. We can also hide this, the same way that we hid the database tab or panel, we can hide this as well by clicking that, and then that turns gray, means that it's not available, or that it's not showing. We open that back up and then we shrink it. We click the monitor button. We see here that we can hide this as well. This little button is for hiding the panels, and this button is for expanding the panels to the height of the monitor. That is present throughout every tab of DaVinci Resolve. If you feel like you need to move something around or change it, or personal customization, or for real estate, or what have you, then that's how you would do it. You can change from icon view to list view, with these buttons here, they look the same as in the project window. This is your sorting button, and this is your search, of course. The three dots is extra options for that particular panel. But let's go ahead and start importing some things. We see that it says ''no clips'' in media pool, and if you're following along from the Premiere tutorial, there was something similar in Premiere, that said something like, ''add profiles'' or something like that. What we're going to do is go over to the Media Storage panel, right here and yours might look a little different. What I mean by that is that I have all of my hard drives here. I have a cache drive, I have a bunch of different hard drives, and I have also this drive letter that doesn't say much. These drives have a name, and it' obvious this is five terabytes, six terabytes, 14 terabyte. This one is empty. What this one is is my removable storage. Sometimes I like to throw a file in immediately just to take a quick look at it, and that's how I would do that. I have added my external hard drive as an actual drive. Yours will look different, I think you'll have just one drive and if you want to customize it, all you have to do is right-click and ''add new location'', and then you can add a new location. Your favorites, if you list a drive as your favorite or a location as your favorite, can be found here. Let's go ahead and import some footage. I'm going to navigate to projects, work, coffee, and here I have some footage. If you remember that I said that this is the previewer. I'm going to show you one neat little trick that I really like about Resolve that, it's not even a trick, it's more like a feature, I'll call it a feature, that Resolve has that Premiere doesn't have. If you're in Premier and you want to preview a file, the way that you would do that is double-clicking, and we'll double-click here, and then it would open in the source view, as the same as it does here. But the one feature that I really like about Resolve that is an advantage over Premier, is that in Premiere, if you want to preview a lot of files, what you would do is in your project window, you would expand this and then you would scrub through these. This works the same as Premiere. We would click a file and then we can scrub through the file. In Premier, another feature that they have is that you can hover over the thumbnail, and you can preview on the thumbnail. Just like I'm doing here. You can see that this clip, I'm going back and forth and I'm previewing on the thumbnail. But there is one feature that I like that is if you go over here and you enable Live Media Preview, it will automatically switch to whatever you're hovering over, and then you can go back. You see that I have this highlighted. By the way, orange is the highlight color of Resolve that is prevalent throughout the entire program. Whenever there is a highlight, you can see that down here the tab is orange. Whenever you have orange, that is the highlight. You see that I have selected this clip. If I move away from it, I can scroll through the thumbnail. I can scrub on the thumbnail, and it will be reflected on the source viewer. If I go to a different clip, so if I go to this boiling water clip, and I hover over it, I didn't click anything. It just automatically knew that I wanted to preview this. It moves it to the source window, but as soon as I move away, it will go back to my selected file. That is a nice little benefit over Premier, because it's pretty much the same. Like I said before, these nonlinear editors are almost all the same, but I really like this feature because I feel like it saves me a couple steps, if that's enabled. Again, that's up here on your source view, the three dots, Live Media Preview. Also if you wanted to reset your workspace back to the defaults, let's say that you were moving things around earlier when I was talking about that, all you have to do is go to Workspace and go to Reset UI Layout, and that will reset your UI. One thing that I like to do, this is just me personally, is I like to enable the full-screen window. That's simply because, Resolve has the tabs located on the bottom, and if you're making a big movement from maybe up here something and you want to change tabs, your mouse is up higher, when you come down, you might overshoot and if you overshoot, then you'll expose the toolbar. But if you go to full-screen window, that doesn't happen anymore. You can see that I'm trying and it won't work. The only way to show your toolbar after doing this is to press the Windows button. But that can make you feel a little more comfortable in navigating around the program. That's what I like to do, you can follow suit if you wish. You see that I've reset my UI, so these are small again, but if I make them big, that works. I think that by default that might be on. Just keep that in mind if you'd like that feature. I'm going to go ahead and mute this, so that I don't have any sound over me while I'm talking. Let's go back to importing the footage. We talked about previewing the footage and how easy it is to do that in Resolve. This is the folder that I would like to import, and there's many ways to import. You can just drag and drop and that will add it, and I'll undo that. I'll show you that you can do that with many files if you right-click and ''add into media pool'', or you can drag and drop many files, or the last way to do it, is to select the folder, and you can do any of these options here. You can ''add into media pool'', or if you would like to add this subfolders into media pool, it will create bins for those subfolders. This is going back to that thing I said about people having their own folder hierarchies. If you have a specific folder hierarchy that you like and you want to keep, then you can just navigate to the folder itself, import the folder and create bins and it will keep the folder hierarchy. I'm going to just bring in, these three clips. I have a timeline and project that I have created already, but I just want to show you how. I would bring those in, then select these and I create a timeline using these selected clips, and I will do that. I'll click here. I have this window here is prompt and I'll move it down. What this does is just a few basic settings. The number of video tracks, the number of audio tracks, the audio track type. If it should use the selected mark in or out, I'll cancel real quick. That's from you looking at these file. If I look at this file and I decide that I'm going to only use from here to here. I can mark the in ahead of time and mark the out ahead of time, and then when I make my timeline, It will by default use the selected mark in and out. That means that that particular file will only be from there to there. That's a nice feature if you are looking through your files and you like to set your in and out point ahead of time. But some people like to just do that in the Edit tab. Teaches us own, but that is just one little feature that, DaVinci Resolve does have. This is a very simplified timeline creation. I know that premier can be a little scary when you create a timeline, if you don't let it automatically create a timeline for you, because you'll be presented with tones of presets. This is a very simplified window, but if you did want to get really detailed into how you are going to create your timeline, then you would go to use custom settings, and then you would be presented with these four tabs that you can manipulate to your liking. Again, just looking through these really quick, most of this stuff can stay as it's defaults, and that's what basic settings would do, but you do have a couple options here, like mismatched resolution files and stuff like that. Take a look at this and see if you want to set up a project in a very specific way. I did mention in one of the previous videos that you should try to shoot at 24 frames per second and you can also select your timeline frame rate to be 24 frames per second. But this is just kind of the custom settings window and if you find that you use the basic settings, and then you wanted to change something, the way that you would change your project settings is to go down here and look at this little cog here. I'll let it pop-up, says project settings and then you can go into here and you can adjust some of the project settings that are default. Like I said, most of these settings can be left alone, but some of the settings that you might have to change or that you might want to change is frame interpolation. The way that resolve figures out what to do in between frames. If you are following along from the premier tutorial and you remember that I slow to clip down and then I used a feature called optical flow. They have optical flow here. Nearest is the fastest, but it's not the prettiest. This is so that it doesn't slow your system down and then later you can on a file by file basis, you can change the real-time process. But if you knew that you were going to be retiming on the entire timeline or in the entire project, then you can set the project defaults to be something else. That might be something that you use in the future. You can set presets, if you find that you are, let's say always working at a specific resolution, you can change your default project preset to be at that resolution. That's all that you might be changing when it comes to this stuff. Actually color management, if you wanted to do a LUT, which is the long name of a LUT, is a lookup table. If you wanted to do a LUT for the entire project, maybe you know that every single file is from one camera and you want to apply the LUT right away so that you don't have to add those individually, you can do that here, but we'll talk more about LUTs' when we get to the color tab. This is the project settings Window. If you needed to change anything that's more technical than the project settings, the other settings would be found under DaVinci Resolve preferences. The things that you might want to take a look at here are memory and GPU. If you want to make sure that your graphics card is being utilized for hardware acceleration, this is where you would do that. If you're following along from the premier tutorial, you'll remember that I did this as well. This is an NVIDIA graphics card, so it's using the CUDA processing mode, but OpenCL is also available and this is what you might be using it on an AMD graphics card. That's just double-checking. This should be on by default. If you find that it's running slow and you want to double-check, you can double-check here. You can allocate the system memory and you can tell DaVinci where to store the cache files here. Under video and audio, IO, which is input output, you can select your audio device, and this is good if you have more than one audio device, which I do. I have speakers that are connected to the computer and then I have an audio interface that's good for outputting audio to some speakers and recording inputs. If you needed it to select your particular audio device, this is where you would do it. The last thing that will be useful to you, I think is going to be under Internet accounts. I'll talk more about what this is when we get to the deliver page. But this is basically logging into your YouTube account, logging into your Vimeo account so that when DaVinci is done with a render, it can upload it for you. You'll learn moving forward that sometimes your render will take a long time and you don't want to wait up and then upload it, or you don't want to just upload it first thing in the morning. This is a quick shortcut/tool that you can use to upload for you. But that's it about the settings. I don't want to get too deep into the settings and lose you, but that was me talking about project settings. If you need to change something about your timeline again, project settings has a timeline option here, timeline resolution. If you needed to change something here after the fact and preferences for system wide settings. But we have our timeline here and our timeline that we created again was doing this creating timeline using select clips. The timeline that we created can now be accessed through the Cut tab and the Edit tab. We'll talk more about actually editing on the next video. For now, I just want to show you how I'm going to back out of this. The way that I would do that is to go home. I would go to training. It'll ask me if I want to save. This is what I was talking about earlier where this project is actually named untitled project and that is also reflected up here where it says untitled project. It's asking if I would like to save the untitled project. I'm going to say no because I don't want to save that project. I have a project ready for you guys. I'm going to hit "Don't save". You'll see that the new project is loaded up. I have some audio here. I have a timeline created, and I have some folders with a nice hierarchy inside, outside and this is the project that we're going to be working with. I will stop here and we'll talk more about editing in the next video. See you then.
12. Davinci Resolve - Cut and Edit Tabs (Part 1): Guys, so here we are in the cut tab, and if you remember, the cut tab was actually the default tab when we open up the program. I want to quickly talk about the cut tab, but we're going to talk more about the edit tab because the edit tab is the full-on program while the cut tab is a simplified version of the edit tab. You won't be able to use the cut tab to its full potential without initially knowing what all the things in the edit tab do so that you can familiarize yourself with all the tools at your disposal. Really quickly I'll talk about how the cut tab is a new feature, but it's basically a mix between the media browser and the edit tab. It is a simplified nonlinear editor, and it has just a few tools, it has your browser here, but this is more like your media pool browser. It's not actually a media browser or media storage browser. But you can still import files into the program without having to go to the media tab. That is, if you have a folder open in Windows, or if you have a folder open in Mac OS, then you can import the files directly into the program by dragging and dropping. If you remember in the previous video, the media storage tab was like a built-in browser, but you can actually just open a folder and drag those files into this area here, and you will import the files. We have files here, so I'm not going to do that. I'm sure that you can figure that out on your own. That's simple, just locating files, dragging and dropping them into the program is simple enough, but what we're going to talk about is, really quickly, what we see here. We see a program viewer, and the program viewer is our timeline. I mentioned that we would talk about a program viewer when we get to the edit tab, but we also have it in the cut tab. What a program viewer does, how it differs from a source viewer, is that the program viewer reflects what's on the timeline. If I move this over, you'll see that this file is laid out on the timeline and I can keep moving, it's actually quite zoomed in, and that's one of the things that I don't like about the cut tab, is that there's not really a zoom function because it assumes that you're trying to make cuts, so it tries to show you the whole file so that you can make quick cuts and move things around. But you can see that this is just files on the timeline, and I'm scrolling through, and I can scrub this way, I didn't want to do that, I can scrub this way, and this would be like if I wanted to get a more of an overview of the timeline. But this still is also not zoomable. This is what I mean by it's a simplified version of the nonlinear editor. But again, I wanted to show you how this is the program viewer and it does switch, so if I double-click a file, it turns into a source viewer in that, now I have this file selected and I can go through this file, but if I click back here, then it's a program viewer. It's [inaudible] , and that's cool. It's by default in program viewer mode, like I showed earlier. But if you did need to check a file one more time, you can double-click the file, and this will become a source viewer. We have some buttons here, and you'll learn what these buttons do when we talk about insert options in the edit tab. Let's go over to the edit tab and then we might jump back towards the end. Let's go to the edit tab. This is where you're going to have your power. This is where the magic happens, this is where you're putting everything together. We see that we have a source fewer, because this is the file that I most recently selected and this is the program viewer, and if I scrub through the timeline, you see that the program viewer changes, and if I double-click a file, here, you'll see that the source fewer changes. That is a perfect example of the differences. Because you haven't seen them side-by-side yet, this is a good representation of how these work. We only had a source viewer in the media tab, in the cut tab, you have one viewer and it switches between the source and the program, and in the edit tab, that's where you have the traditional source viewer, program viewer. This is very normal, this is native to non-linear editors, you're going to find this in premiere, you're going to find it in resolve as you can see here. You'll see it in final cut, you'll see it an avid, it's everywhere. This is the way that people work. Let's talk a little bit more about what we see here. Again, these are adjustable, and if you need to pull something in, if you need to look at some of the metadata, you can click metadata. I'm going to open up mixer to show you that the audio mixer comes up and I can stretch this out. I can make this bigger, and this is one of the few tabs that you can't make the height of the monitor, but that's okay. I'm going to hide that and I'm going to talk more about what we see here. What do we see here? We see a toolbar that we'll talk about in a minute, we see our media pool again, and we see some other things up here. First, let's talk about these tools. If you're following along from the premiere tutorial, these might look a little familiar, but I'm going to go ahead and go over these again for those of you that aren't following along. Selection mode. This is also referred to as the selection tool in premiere and in some other programs, but basically, selection means that your mouse behaves like a regular mouse. It means that it behaves like a mouse in an operating system where you would expect to be able to click a file and then move that file. This is a way that you can edit, you can take these files and move them around, and you can click the edge and then drag the edge. You can see that when I do that, these ends come up, you see like a white outline, what that is, is if I double-click this file, you'll see that this file has a marked in and a marked out. What the white lines are, if I go to the edge here, is the full length of the clip, you see that the edges where I'm at, where it's green is the marked in, and this is the marked out, but the why outline around it is the full extent of the clip, and that's nice. Premiere doesn't have a similar feature where it represents the entire clip to let you know for reference where the clip stops, but that's okay. All [inaudible] are slightly different in some of the benefits they have and that's why people prefer one over the other. But I really like this feature, I think it's a nice feature to let you know that you have that much to work with on the ends there. It's good for transitions so that you know how much you have left to use for the length of your transition and stuff like that. Let's talk more about moving things around. We can move the edges, like I said earlier, and that is a cut. You've now changed the end of this clip. But the problem with the selection tool or the selection mode is that when you take an end and you move it, whether it's the beginning or the end, you create empty space. The idea of selecting empty space might sound weird, but logically, especially in a nonlinear editor, it works. I can click the empty space, and then I can delete that empty space, and then all the files move over. I'm going to undo that, and I'm going to show you that I can do that over here as well. That's how the selection tool works. You can grab things, but the changes aren't reflected on the entire timeline. I'm going go ahead and zoom out and show you that. If I make a change here, the rest of the timeline stays there. The way that I could do this is select all the files and move them over. I will open this up so that you can see that. These are adjustable if you need to adjust them. One feature of Resolve is the double-click is usually the reset button. If I go to where I can move it, see so I go back. I go to where I can move it and I double-click, it will reset that for me. You can move this down if you wanted to. But I wanted to show you the full timeline because I wanted to show you that if I make a change to something, it creates empty space. You have to then delete the empty space to continue to make your edits, and if you want to do that, that's fine but there is a simpler and faster way to do that. The Selection tool is good when you're moving stuff around if you have to move stuff around to a different track. I know a couple of editors that when they're looking through stuff, they like to move something up. If that is a clip that they're going to use later, that's just a quick way to mark it so that they can come back and do something specific with it. We're going to put it back. You see really quick, I'll show you that you will see that these are linked and we'll talk more about that in a second, but I just wanted you to note that when I move, I click one file, I just click the top and it selects both files, and if I move it up to a different track, it moves the audio to a different track as well. The Selection tool is good for moving things around like that. If you need to grab a clip and let's say that you're going to mess with this later, you have plans for this clip, you can just pull it out to the end, leave it here away, and then maybe close that gap. Then that is your way of knowing that this clip needs some work or something like that. But I'm going to undo that. I'm going to talk about the next tool in line. The next tool in line is the Trim Edit Mode. Really quick, these tools, I'm calling them tools, but Resolve refers to them as Modes. You can see that this is Selection Mode. This is Trim Edit Mode, and this Blade Edit Mode. That's just one of the differences, but you can use the terms interchangeably. I'm going to talk about the Trim Edit Mode. This is similar in terms of like grabbing an edge, but I can't grab a file and then move that file, I can't drag it up. This is more for editing the time of the clip. This tool is dedicated for changing the end in the beginning of the file and stuff like that. I'm going to show you that I can grab the edge of this file and I can move it in, and again, we see that highlight of the file where the file ends, but we also see that the rest of the timeline moves. I'm going to just do it right here and show you that, that works on both sides, and that's nice. That is a nice feature to be able to make an edit and then that edit is done. Premiere has this feature as well and it has this tool as well, but the way that you go about switching between them is a little different. In Premiere, you can use the Selection tool or the Selection Mode and when you grab an end, you can hold a modifier key and then that would change the Selection tool into the Trim Edit tool momentarily. The way that you would do that here is by pressing the shortcut key of that Mode. The Selection Mode is the A key and Trim Edit is the T key. I'm going to be on selection and I'm going to show you that if I grab this edge, normally it would do that. I'm going to undo, I'm going to grab the end right here and I'm going to move over and I'm going to press "T" and it will turn into the Trim Edit tool or the Trim Edit Mode. If I let go, it will go back to the Selection tool. That's like a toggle between the two. I'll undo, I'll do that again. I will do a regular edit and then I will hold my mouse button and I will press "T," and it will switch to the trim edit and you can see that it's highlighted in orange on the toolbar. I'm still holding my left-click. As I release, it goes back to the Selection tool. That's nice if you like using the Selection tool or if you just happen to be moving something around and then you want to make a quick trim edit, then you can do that and then keep your Selection tool selected. I'm going to undo and show you that, that works both ways. If you are on the Trim Edit Mode and you go to make an edit and you need to keep that empty space, then all you have to do is press "A," it will switch to the Selection tool, and as you release, it will go back to the Trim Edit Mode. That is a nice feature if you need to jump between these two because you will be using these two a lot. I want you to develop a habit of using the Ripple Edit tool for editing the timing of a clip, because it will save you time. If you have to delete empty space all the time, you're going to waste time. If I click a "File" and I hit "Backspace," it will leave empty space as well, and then you have to delete that empty space. Or if I undo, undo, I can hit "Delete in Resolve," and that is a Ripple Delete and it will do that for you. But still, you don't want to have to make extra steps if you don't have to. I said ripple and that is what this is referred to as in other programs. It says trim edit, but that is basically a ripple edit if you are familiar with that term. Making ripple edits is the way to go because that saves time. You don't have to delete anything. Everything is moved for you and that's nice. I'm going to undo those. I'm going to talk about the next tool that you can use to edit and that is the Blade tool, I think is what is referred to as in Resolve. Some call this the Razor tool, the Cut tool or the Blade tool. In Resolve's case we say Blade Edit Mode. This is the tool that I want you to use the least. There is a use for it, but the reason that I say that I want you to use it the least is tied to the same reason why I want you to ripple edit or trim edit so that you don't waste time. The Cut tool, I feel like people gravitate to the Cut tool or the Blade tool because when they think about cutting video or editing video, they think about cutting. I think that's like an ingrained idea from the times of film when you use to cut film, because you had to actually physically cut it, that people think when they're making an edit to a clip, they need to use the Cut tool. I guess logically it makes sense that like if it was a roll of film, you would want to cut the piece out. If this was the clip that we were going to cut, we could make a cut here and then make a cut here and then I'm just going to hit "A" to go to my selection tool. Then this is the clip that we have. If we cut this out, that's nice that we have this clip timed, but we also have to delete these two ends and if we don't ripple delete, if we do a regular delete, that means that we have to hit "Backspace" and then select and then hit "Backspace" again. I'm going to undo that, undo that, and I'm going to show and remind you again that the delete key is the Ripple Delete instead of the regular delete. That'll save you a step, but still you don't want to waste time on unnecessary steps. People do edit like that, I've seen people who will take the Blade tool and then make a cut, and then make a cut and then delete and then delete and that is a waste of time. The one reason that you could use the Cut tool, let's say that we have something here at the beginning, like right here. We have the part where he's pouring it in and let's say that we want to use that, so we can cut this and then later on in the end of the clip, see how it's turned. That's like a different shot. I can cut here and then I can delete the middle and those are like two different shots if we compare. Because the pen turned. So that is a use for the Blade tool, where you cut a clip so that now there are two different clips. That is a totally viable and common situation. But I don't want you to use the Cut tool and start editing the wrong way. So that is the Cut tool or the blade tool. I know I say the cut tool often, that's what I'm used to saying, but in resolve it as the Blade Edit Mode. These are the tools that you'll be using. You won't be using this, so I won't go over it. This is a little more complicated. This is dynamic trimming. Basically, what this does is, it allows you to edit on the go, but it's a little complicated, so I don't want to confuse you with that. Let's move over to these tools. These are your insert options. The first one says "Insert clip", this one says "Overwrite clip", and this one says "Replace clip". These are also available through your F keys. So F9, F10, F11, which is nice because they're right next to each other and they're in the same order here. So you can look here and you know that 9-11. You can remember that this one is this one, this one is that one. What these do, I'll demonstrate here. I'll select this clip. Actually, I'll select something a little different, so I'll select this clip. What this clip is, is a blurred picture of the unroasted coffee. I selected an in and out already because I like that last one. So this will be inserted with the marked in and the marked out. I'm going to insert it right here and I'm going to insert it by pressing this button, then it inserts that clip here. If I double-click here, you'll see that the play head is on the end because that's the end of the clip and this is the beginning of the clip. If I move the play head there and I double-click again, you'll see that the play head is reflected there. If I move again, it's not reflected. Double-click, it's reflected there. That is the insert clip function. But there's also the overwrite clip. Overwrite clip is what dragging and dropping does by default. So if you take a look at this clip here, you'll see that if I grab this clip and I bring it in, it shows me where I can place it. But when I place it, wherever I place it, that deletes this clip. It's not underneath this clip, if I move it up, it's not there. It's gone, it's deleted, It's been overwritten. I'm going to go ahead and undo and I'm going to move my play head there. I'm going to hit ''Overwrite'' and show you that that's the same thing. You might not use this often, but if you do want to overwrite for whatever reason, that's how you could do it. Another way that you can use these buttons is the Replace clip. Replace clip can be a little finicky and the way that it works, it's not immediately understandable. So I'm going to show you that this clip is selected and this is a long clip and then this clip is a short clip. I'm going to hit replace and it's going to replace that part of the clip with that clip. But it's not the same as an overwrite. If I do overwrite, you'll see that the overwrite is there. What it's trying to do is that it's trying to use the in-and-out of this clip. Because if I go here, you see that that is the full extent of the clip, because this clip also has the full extent of the clip. I didn't mark the in and out for this clip. So what I'm going to do, is I'm going to undo that. I'm going to delete this clip and I'm not going to ripple delete, I'm going to regular delete. I'm going to insert that clip, so that I have this clip here. Then I'm going to select this clip and I'm going to select this long clip. This is the one that we just deleted, and I'm going to show you how replace works, when this clip is longer than this clip. You see that in the Source View this clip is still selected. So I'm going to double-click this to make sure that this clip is selected. I'm going to select this and I'm going to hit "Replace". You'll see that this longer clip is actually cut to the size of that small clip, and if we hit ''Play'', we'll see that, that is just that small clip of the length of that small clip. So that's nice if you have a similar shot that you want to replace with another shot, that is how you could do that. I'm going to undo that. I'm going to close this gap and undo that and delete this empty space, and go back here. So that's what these tools do. That's how the "Replace" works, the "Override" works and the "Insert" works. But if we go back to clip really quick, we can see that these look a little different. This says append, this says ripple overwrite, this says close up, this says place on top, and this says ''Source overwrite''. We don't see those here. But I'm going to show you how you can access those features, with a nice feature that Premier and Resolve have both of them. That is, you can take a file from here, make note of where the play head is. I'll put it right here. You can take a file from here and you can drag it to the Program Viewer. This nice little graphical user interface shows up this GUI and it has all of the options besides the crop. So it has insert, overwrite, replace it to fill, place on top, append to end or at end and ripple overwrite. These are a couple extra features as opposed to the regular overwrite, ripple overwrite, will overwrite that file and then move the other files. So this file isn't cut. The file that was previously there, is overwritten and then these files move over. I'm going to undo that, and you can mess with these insert options, if you want to learn a little more. Append at the end, will just put it at the end, place on top, will put it on another track. This is a nice way to mess around in the timeline. If you like seeing a representation of what's going to happen, this might be a little bit more comfortable for you. So check this out, and if you like this workflow, be my guest, feel free to work however you like. But I will show you that you don't have to do it from the media pool. You can actually double-click a file and once it's in the Source Viewer, you can just click and drag the ''Source Viewer'' to the program viewer, and that's a way to do it as well. That's what these tools are. These are your insert options. That is the ''Insert Options'' user interface. Once you get the hang of these tools, then the Cut section becomes a lot more usable because then you realize," Oh ,I can just put these in however I like." So that's what you could do here. The Cut tab does have some of the other tools that the Edit tab has, like the titles, which we'll talk about in the next video and the transitions. Let's go ahead and go back to the editor tab and really quickly talk about transitions.
13. Davinci Resolve - Cut and Edit Tabs (Part 2): I'm going to pull up the Effects Library. In the Effects Library, we see that by default it's on transitions. The toolbox here shows the Audio Transitions, Video Transitions, and further down it will show some of these things like Titles, Generators, and Effects. I'll show you that now by scrolling down. We see some transitions, some titles and stuff, and some generators and effects, but I want to talk about the transition. I'm going to show you the default transition, the Cross Dissolve. We know that it's the default transition because of the orange here, and we know that the default Audio Transition is the Crossfade because of the orange. If you find that you like the Dip To Color Dissolve better, all you have to do is right-click and set as standard transition. You can also favorite it and then it will show up in your Favorites section. I'm going to show you how this works. To do that, I'm going to zoom in real quick. Since I'm zooming in, I'll talk about the zoom features here. Here is the Full Extent Zoom, which will zoom out. This is the Detail Zoom, which will zoom almost all the way in. This is the Custom Zoom and this is how you can zoom to your liking. This is just using the tools up here, but you can also scroll holding the ALT key, and it will behave like Premiere. I'm going to go over here and I'm going to go to trim edit and I'm going to trim some of the end here, some of the beginning here. I'll do the same here, somewhere in the middle, right around there. Do the same here and here. I have a marker, hit that on accident and will delete that. If we go here and we scrub through, we can see that these three files are completely different. This file, fire turns on, and this file, it's boiling, and this is really boiling. Actually, I want to show you another way that you can use the trim edit actually is among trim edit and I can slide this over. You can see that the interface comes up. It's a four up is what they call it. I want to make sure that the beginning of this clip as the fire. I actually wanted to start as the fire's coming up. What I do is go there. You see the left, that is the beginning, the right is the end. We had it before, I'll undo. Right at the end, the fire started and that's why we saw that at the end. I just got to make it so that the left window has the fire, so right there. If we go back, then we can see that come out. I think that I'm actually going to make it shorter because they're still pretty long. These are slow-mo files so they're quite long. Do that and I'll do that. If we play again, we'll see the fire starts and then it cuts and it's boiling and that's a hard cut, jump cut, another jump cut. I'm going to show you how the Cross Dissolve can help smooth that out. I'm going to just drag and drop, and I will let it play. That is very smooth. Again, from one to the other. If you wanted to make those longer, all you have to do is extend, and that will be much smoother. That is a simple demonstration of the Cross Dissolve. Very smooth. That can help you transition between clips and you can do some interesting things like this. Or if you just wanted to have a nice transition into the next clip, you can do that as well. That's a nice simple transition. That looks shaky at first, so we can trim the shakiness. Right there. Still a little shaky. Really long clip. That's just a nice transition. But if you wanted to have a different transition, if you wanted to have a Dip To Color, you can just change that by dragging and dropping over. Actually, let me select that. I'll do selection tool. Now that that's selected, I'll do that again and that will change. Now it is a Dip To Color. Those are the transitions that you can implement into your editing. These are nice. There are quite a few options if you wanted to change the color of this transition. If we go over, the way that you would do that is by going to the Inspector tab. The Inspector tab is basically like your effect controls if you're coming from Premiere and then you just double-click the color. Just making a really bright color so that you can notice the difference. That's how you would do that. The Inspector tab is also useful when you get down to your Effects. I'm going to just jump to Effects. These aren't the effects that you are actually looking for. Adjustment Clip is like Adjustment Layer from Premiere. Fusion Composition is like it sounds, a composition for fusion. But what you're looking for is actually Open Effects, and this is where you can start doing things to clips to make them have some effect on them. Open Effects is just basically like Plugins. These are the effects that you're going to be looking for. What I mean by that is like a box blur. I'm going to throw that on here and you see that the box blur is applied. If I wanted to adjust that, I would just go to the Inspector window. Actually let me select the clip. This is the blur. I had the transition selected and that's why you can see Dip To Color, but I'm going to select the clip. One of the things that you'll change for this box blur if we go to the Effect is that the Border Type is on Black, and that's what makes it have that weird edge. But if you're going to replicate in Premiere, I think this is called Repeat Edge Pixels, but it's basically the same thing. It's just repeating or replicating the pixels on the edge so that you don't have that black outline. We can turn off our effect here and turn it back on. I encourage you to look through these effects to see what we have. I know that the free version of Resolve is slightly limited here, but definitely spend some time looking at these effects. I can just go through here really quickly. If you're following along from the Premiere tutorial, there were two things that I told you that you would probably be using often, and that is the Lumetri effect or plugin and the Warp Stabilizer effect. One was for stabilization and one was for color. You won't be using those effects as effects in Resolve. If we're building off of what I talked about earlier when we talked about using Warp Stabilizer, we're talking about stabilizing a shot. The reason that I'm bringing this up is because we're in the Inspector panel right now and I want to show you that I'm selected on the Open Effects section of the Inspector panel, but I'm going to delete the box blur effect. I'm going to delete this filter and then that Open Effects thing goes away and it takes us to the video area. There's also an audio area where you can do some effects as well. The audio area if you remember from Premiere is your Essential Audio panel. This is where you can do some things like equalizer, changing the pitch, changing the volume. If we look at the video area, this is where we can change the opacity. This is where we can change the blend mode, which I encourage you to mess around with. Let's move around here. I actually want to go, what's here? I'm going to take this clip. I'm going to move it over top here and I'm going to change the opacity. I'm going to show you that that's in the midpoint. But if I change the blend mode to Color Dodge, that's going to be a much different look, and that's dependent on the opacity. I clicked Divide and I changed the opacity, then you see that that is definitely dependent on the opacity level as well as the blend mode. Color will only add color where you want color. These are different blend modes for opacity, definitely take a look at those. I'm going to just put this back here and I'm going to reset that, reset that. I hit the reset button here, but if you go to the name, I can double-click the name of the thing that I changed and it will reset. Again, 27, double-click the name, 100. This is where you can change the scale or the zoom level. I'm actually on the wrong area right here. The zoom level, and the position, and stuff like that. I'm going to reset these, and I'm going to show you what I was talking about earlier, which is the stabilization. That is here. You can stabilize using a couple different modes. You can select "Camera Lock", which is basically no movement, if you're following along from the Premier tutorial. In warped stabilizer, there's an option that says, "No Movement", that is the camera lock option here. You can change a couple of the settings here, the strength, the smoothness, and stuff like that. You can also do some lens correction, which is just built into the inspector panel. This isn't an effect. This is what I mean by you're not going to be using the same effects that you would in Premier, because that's actually just a different section. These effects are more for getting an actual effect going, a more powerful thing than just the basic things that you would be doing on a clip. Resolve kind of knows that some of the basic things that you would be doing are some Lens Correction, some stabilization, and they also have this tool called Dynamic Zoom. I'm going to show you what Dynamic Zoom does. I'm going to close this stabilization. I'll turn it off. I'll double-click Dynamic Zoom and this pops up. It says, "Linear". There's some ease options. This is basically adding a zoom to your file without the use of key frames. I'll show you what that looks like by going to the beginning of this clip. Actually, I skip that clip and go to the beginning of this clip. I'm going to zoom in. I'm going to go here in the Program Viewer, right at the bottom left of the program viewer. I'm going to show you that this is the way that you can go to Dynamic Zoom. Right now it's on Transform, but if we go to Dynamic Zoom, we see two things here. If we unclick that, then we'll see the result. This is the options. Click it and then it's off, and that's the result. I'll show you that that has a zoom just by clicking Dynamic Zoom. It's off. There's still some shake there, actually. I'll show you that that is correctable with this Stabilize. Actually, I'll cancel that. I'm going to go to Camera Lock. Stabilize. Now that's stabilized. There is no movement there. There's a little bit of jitter there. That's fixable by changing the modes. But I'm just going to go ahead and leave it like that. I will show you that you can stack the stabilization in Dynamic Zoom. I'll turn on the Dynamic Zoom, and now we have some movement as well as a stabilized shot. That's what you might be doing most of the time. Those are some things that can save a shot. If the shot was shaky, you throw these two effects on there, and it makes for a much more usable shot. I'm calling them effects because that's what I'm used to calling them, but these are just kind of like inspector options that you have here. If we go to Dynamic Zoom again, and I want to show you that the green is where it starts, the red is where it ends. It's simple as moving this or maybe we want to go here or we open it up and let's say that we start wide, that's really wide. We start wide and then we end really close on those bubbles. Maybe right there. Now if I turn that off, it zooms in for me. That's really nice because that removes the process of adding key frames. You could do this by adding key frames, but it would be a much more difficult process. I really like that Resolve try to speed up the editing process by adding a feature like Dynamic Zoom. We can change the ease on there, but I'm going to turn this off. I'm going to show you how you would do this with key frames. The two values, I should say, that I would be changing are the zoom and the position. I'm going to create a key-frame by going here and going here and then I'm going to move forward, and I'm going to zoom in. Then I'm going to move. That's a very similar effect to what we did, but that's four key frames and quite a few clicks. You can also add ease to these curves, if you didn't want it to be linear. This is linear here. The way that you could change your key frames once you've added key frames, if you see this clip here on the bottom, there's a key frame button and then there's a curves button. The key frame button just shows the key frame. So if you wanted to mess with the timing of that key frame, and if you wanted to add a curve adjustment, then you click the curve, and then you can click a key frame, and then you can add here your curve options right here. So you can add a smooth. I think that's ease-in and ease-out and this is just ease. Then you can take this, you can move it like that, or what I was trying to do is select only one key frame. You can grab this point and you can manually adjust your curve. But we're going to go ahead and reset that and get rid of those. I just wanted to introduce the idea of key frames, and show you that there is a way to avoid key frames with Dynamic Zoom. But I'm going to go ahead and close the inspector window. I'm going to hide the effects library as well. That's the Inspector panel and the effects library. They go hand in hand, as well as adjusting your transitions and stuff. But I did skip over these. Just going back to how you would work in this environment, when you're doing all of these things, that's when these things might come up. You're going to be using this very often as you're bringing files in and as you're cutting. Only later when you really start moving things around in a certain way, will you need these other things. I mentioned before that I wanted you to take a look at how I was moving this around. I told you that I pop it up to this second track. You can see that this track here is moved up, but this one is also moved down. So when I drag it, I'm moving the video to a different track. But because they are linked, the audio is also moved to a different track. The way that I would go about moving one or the other is I would hold Alt, select only the video, you see that there's the orange highlight only over the video, then I would move that one file. I would do it that way because these files are still linked. You can see that they are still linked by me moving this, and then it'll show a time discrepancy. This file begins eight seconds before the audio begins. That's nice. That's what linked files do. But if you didn't want to hold Alt every time you're doing that, and you imagine that you are going to be doing that a lot, then what you can do is you go over here, go to Linked Selection. Now anytime that you click a file, the files are still linked. I'll show you how that works. They're still linked, you still see that discrepancy. But I didn't have to Alt click. That is just turned off now. Linked Selection is turned off. I would have to do that to select both files or if you Alt click where Linked Selection is off, you'll select the Linked Selection. That's what this little button does, the Link Selection here. That's kind of nice if you know that you're going to be doing that a lot. Another thing that's up here is the snapping. I'm going to go ahead and turn Link Selection back on. One more thing that I'll tell you about Linked Selection is that if you don't want the files to be linked, because this is one file on your computer, right? This file that you have that is your video file has the audio built in, but they are two files and you might have to edit them separately for whatever reason. The way that you would separate those is right-click and you would uncheck Link Clips. Now these files are separate and Link Selection is on. If I click, I only click one, I only select one. I'll show you that here, it selects both. These are linked. You can see by the link icon there, these files are linked, this file is linked to the audio. But if I click here, these are no longer linked. So I can only click one at a time. Even if I Alt click, it does not select the other one. I will undo. Now they're linked. Link Selection is off and I Alt click and it will automatically select the linked file. But if they're not linked anymore, this doesn't happen. But I'm going to turn this back on. I want to talk to you about this little magnet here. I'm going to grab this play-head and I'm going to show you that when I get close to an edge here, it's going to jump into place. What we refer to that as, is snapping. If I go here, it snaps, boom, right into place. Do that here, boom. If I take a file and I move the file as I get closer to that edge. Boom, it snaps in place. The reason that I'm bringing that up is because this snapping function actually works with the next things that we're going to talk about, these markers and flags. Actually more so, just the marker. This can be a little troublesome if you're trying to get to an exact point. I'm going to zoom in really close and these lines up here, these are frames, these lines by the play head. I'm going to zoom in as close as I can get and show you that the minimum jump that we can do is one. I'm going to take this and I'm going to move it and you can see that it one, one, one, but when I get close like within three, it will jump and you might not want it to jump. You might want to turn this off so that you can get one frame, and then you maybe take your trim edit and then you bring it in one frame. Turning this off we'll help you get really precise with what it is that you're doing. That's just is wanted to show you that in case you're really in, deepen the timeline and you need to just shave one frame off, that is how you would do it more easily. You could just move one frame and then you don't snap. If you're using the keyboard to go one frame and that's arrow keys left and right, if you're using the keyboard to move one frame then you don't have to deal with snapping, but if you're using your mouse, then you might want to take off snapping. If you want to jump to the edge of a clip, then the up and down keys will bring you to the next clip. But I'm going to turn that back on. Position lock is similar, I'm going to zoom out. Actually, I'm going to click this to zoom out, position lock. Another shortcut actually really quick before we start talking about position lock is home and end. Home will take you to the beginning of the timeline and will take you to the end. I'm going to go to home and I want to talk about position lock. Position lock is an interesting tool. Premier doesn't have this and I don't remember seeing something like this in a different non-linear editors, I want to quickly talk about it and that is that position lock differs from the track lock. If I go ahead and lock the track here, then I can't do anything. I'm going to use the selection tool and I'm going to show you that the bottom track isn't locked. When I grab this, I can move and that video track is locked. But if I lock both tracks, then I can't do anything, I can't change anything, I can't do any edits at all. This track is completely locked, nothing can happen to it. I'm going to undo the track lock and I'm going to show you position lock. That is a little different because now if I use the selection tool, I can still make changes but only a couple. I can change the beginning and I can change the end. I can change the timing between the two clips as well, but I cannot move these two another track. I can't move them laterally left and right, but I can move the edges if I wanted to and this is an interesting feature. I think that it's very situation-specific, you might be timing something to like a track where you want maybe this image right here to be right there, but it doesn't matter so much where the change happens here, then you can do a position locks so that the video can't be moved to another track. You can't move it out of sync with the like a time code or something like that. This is a very specific use case, but I did want to explain it so that if you do find yourself, maybe you accidentally click it and you're like what the hell is going on, then it's because maybe you accidentally click that. But moving on, the last two things that we can talk about, the marker and the flag and these are just tools that are supplemental to your editing. If you have a specific area where you need to do something, you might mark that particular point in time. Let's say that right here, maybe I needed to do something here. Then what I could do is mark, then that point in time we'll have this little note here. I haven't named the marker but if I name it, I can name it hand and then now that marker is named hand and it has the time and that goes in hand with snapping. While I'm moving the play head, it will snap to that marker so that you can easily find that marker. If I'm not on the marker, you don't see anything and while I'm at the marker, you get this little display. If that bothers you, maybe you don't want it right now, then you can always turn that off by turning off show marker overlays. Maybe you're just making a bunch of markers, but you don't want to actually see them just yet, that's how you do that. Flagging, I'm going to go ahead and clear this marker here. I'm going to select the clip and clear all and those are gone. A flagging is similar to marking, but flagging is like marking a clip. If I take this clip here, select it and I hit flag, now this entire clip is flagged and you can click that, and then you can put notes for your flag. Whatever you need and the color as well. You can remove the flag, we're going to remove it and I'll show you that you can flag with a different color as well from here. Maybe you want this flag to be yellow and you can do that, and you can make a note and that might be helpful for organization. But again, these are the main tools that you're going to be using. These are just supplemental. These are more like a workflow thing, you're not going to be using these as often and I'm going back go back to the blue. If you need metadata on a clip, again, you can do it here, you can pull up your mixer for audio volume and this is your paner, this is just where you're sounds coming from. You can see that there's two, there's left and a right. If this was a five point one track, then you would see five dots but this is just your basic audio mixer, you can solo a track, you can mu to track from here, but you can also do that here. You don't need this to be out but that's it. We'll talk about the sound library when we get to the firelight tab, but this is what you're going to be doing. These are the tools that you're going to be using and this is the process that's going to happen while you're in the edit tab. We'll talk about titles and tie them to fusion and how titles work. Really quickly, I will show you that here we have some titles. If we go to the effects library, we have some titles and you can see that these have a t on them, and these have a little thunderbolt and these have a thunderbolt and that's fusion. Fusion powers same of these title templates, these are creating custom titles. This is creating a custom fusion powered title and these are your title preset. We're going talk about fusion and how to use the titles in the next lesson. See you in the next video.
14. Davinci Resolve - Fusion Tab: Let's talk about fusion. What is fusion? I mentioned before that resolve is a bunch of programs rolled into one. For the most part, that is true for every tab. This is an NLE, this is a color grading suite, this is an audio design software. Fusion itself is like a few programs. Fusion has some 3D elements to it, compositing, keying. It's a very, very powerful tool. The reason that I bring that up is because I don't want you to try to learn a very, very powerful tool or program while you're in the process of learning another very powerful tool and program. Fusion is hard even for me, and I've been in the video production industry for quite a long time, and fusion is very complicated. One of the reasons that fusion is as complicated as it is, is that fusion uses a thing called nodes. Nodes look like this. You see that this little thing here that I'm highlighting, this little box has this line and this line connects to this. This is what is called a node workflow. You might be familiar with something that is a layer-based workflow, and that is when something is underneath something, it is affected by what's on top of it. Then whatever's on top of that affects the file underneath it and everything else often, unless it's like dealing with Alpha stuff or anything like that, but for the most part, in a layer-based workflow, whatever is on top has like the hierarchy, and that is what is visible. If you have a file that doesn't have any transparency, whatever's on top is the only thing visible and you have to adjust as you go. You can add adjustment layers and stuff like that, but with a node-based workflow, you can actually branch out from one thing to affect like three things and then you can merge nodes, and it's very, very complicated. I really highly recommend that you come back to this later. The beginner doesn't need to learn fusion. The reason that I say that is because there are a lot of fusion presets for you to use where you don't even have to open the fusion tab. This can just stay closed, and if you're going to learn the node-based workflow, I recommend that you learn the basics of nodes inside the color tab because the color tab is a lot simpler than fusion. What we're going to do is we're going to go into the Edit tab real quick, and I'm going to add a title, and I'm going to add a fusion preset title. I'm going to do title in a box, just a random selection here. I'm going to move my playhead over and you see that that is a 3D box that is generated in fusion with lighting effects and everything. If I hit "Play", you'll see that it's already animated for me and it has text. If I open up, I'm going to go back, if I open up the inspector tab, it is very nicely and neatly done so that I can make adjustments to this particular title without having to go into fusion, and you can see that this is, it says, long title in a box, no need for fusion. I'm going to click this, make sure that it's selected. You can see that I can make adjustments to the color. I can really do most of the things that I would want to change through the inspector. The reason that I want you to get used to doing this, this way, and I want to keep you away from fusion is because this seems simple enough. It's a 3D title which is more complicated than a regular title, but you wouldn't expect this to look like this. That's what that looks like. You see all of this stuff, this spider web of things that is all used to make this title. You can see that there's box color which shoots out to four different locations. It says long, long, too short, short 2, merged 3D, and then there's a main text and a main light, and emerge 3D note again, this is 3D1, 3D2. There's a backlight which is your light source for 3D things, your keyframes, stretcher, and output, and the output, you see that this box here goes out to media out. If I move this, you can see that this goes there and then this goes there, and I can close this, but the point that I was trying to make is that this is quite a few things. This is like over ten different nodes that you need to make this title as opposed to a very nice and neat interface where you can just type in what you need, change the font, the style of the font, change the colors, the depth, everything that you need, you can do it from here. You can even add motion blur if you wanted, and then you can really get a nice effect going, and you can change the quality of the motion blur. You can really do most of the things that you need, if not all, through the inspector panel, that's what's really, really nice. The inspector panel is where you not only adjust effects, but you adjust the presets you address the transitions. This is your, if you're following along from Premier, this is your effect controls. Definitely get used to just adjusting presets. You have a ton of them. They look great. It'll save you time, and it'll save you from the hassle of a node-based workflow in fusion. I'm going to go ahead and delete this one. One of the things that you might have noticed is that this clip, we looked at this clip infusion earlier, and now it has these little stars. These little stars are to notify you that this is now a fusion comp, the way that you would get rid of that is just going to clip, or actually fusion. I'm sorry, not here. The way that you would get rid of that is to go to Fusion, and then you would go to fusion, reset composition, then when you go back, that's gone. If that's annoying you or you don't know what's going on there or if it's causing you to have to try to cache or something like that, then you can go ahead and do that. But again, use the fusion titles. These are huge time-saver. The other texts titles that if you wanted to create your own, I can bring this in, and this is a regular title and you can see that it's updated in the inspector panel. I see things that I can add a drop shadow. If I zoom in here, I can add some shadow here, offset it. You can get a look going or whatever you want. You can change the color. This is a very basic title. It still has a lot of the same things that another title would have where you can change the background color, the stroke, the shadows and stuff like that, but if I delete this and I open up a fusion power text title, that's where you can really do some cool interesting things. There's a lot more options that you have here. You have your texts options, you have your tab spacing and your advanced controls, but you also have other panels here, your layout, you have transform. You can also add motion blur here as well, if I can remember where it's at. Right here. This is where you would add motion blur if you needed to add motion blur. This is all the different panels and all the different options that you have for your fusion title, which can be a very powerful title generator. The reason that I mentioned motion blur and I brought a lot of attention to the motion blur is because you can't add like a motion blur effect or open affects box blur. I can't add a box blur to a regular title. I can add a box blurred here, but if I go to like a regular title, just the non fusion power title and I move over, I select and then I go to open effects and I go box blur. I can't do that. You see how it doesn't let me. If you wanted to add a blur to a title without adding an effect to that fusion powered title and delete this, and I'll show you that you can actually just like change the softness of this particular title or the text I should say. If I go to here, and I go to softness, then I can change the softness on the x-axis and the y-axis, there's a lot of tools here to help you really get an interesting super customized title like you want, and you can pair this with key frames. You can key frame this value. Show you that again, I'm going to move forward here. The very beginning. I'm going to do this, I'm going to do this, I'm going to add glow key frame, key frame, key frame and then I'm going to move over, then I'm going to change this value zero, change this value to zero, change this value to zero, and show you that over time. I have that animation change, it's trying to cache, so it's taking a second. You can definitely get a very custom look by adjusting these values and adding key frames. Text plus, if I go back, is definitely the more powerful title generator as opposed to text, because it's powered by fusion, but remember, you don't have to make simple titles like this because you can always use the presets and get some really cool 3D titles. Not all of these are 3D by the way. They have other titles like a title draw on, right? Let's do that and take a look at that. This is more like a motion graphic, and that's really nice too. There's tons of stuff in here. They're customizable. If you're going to be doing titles, definitely look into the presets that you have, but that's the basics of title generation and using the inspector panel to adjust those titles, but unfortunately, I cannot recommend you get into fusion at this point in time. Next, we are going to be talking about the color tab, and that is where resolved really shines, so make sure you stick around for that and I'll see you on the next video.
15. Davinci Resolve - Color Tab (Part 1): Welcome to the color tab of DaVinci Resolve. Today we're going to talk about the tools at your disposal in the color tab, as well as some effects that might not be considered a color thing, but that you still have at your disposal while in the color tab. First, let's talk about what we see here. I'm going to go ahead and close this gallery because there are no stills created. I'm going to close that to make this bigger. Let's talk about nodes. What do we see? This thing here. It looks a little different than the fusion node, but we still have that line and it comes out to this point here. This is what I mean by this is different. It's going to be unusual. As a beginner, it might not be unusual because you're not sure exactly what usual is. But if you're anywhere past a beginner like intermediate or if you've ever worked in a program like Photoshop or anything like that, then you might have experienced a layer based workflow. This is not that. It might work similar to a layer in certain instances, but you'll see what I mean as soon as we start doing things. This is a node. What we see here is that we see green and blue. We see that the green part has a line and the blue part does not have a line. What these are called are pipelines. They're called pipelines because if I were to add a node, which I'll do by pressing Alt S, it adds a serial node. We'll have a line and I'll show you that we can connect this line to that line. These are pipelines and you see how that turns gray. Basically, what's happening here is that the pipeline is like a direction. If we remember that our fusion thing looked like a spider web, you can do some really crazy things. Like if I add a parallel node, you'll see that this adds a node that is in parallel, actually I'll do it this way, in parallel to this one. This is like a merge node or parallel mixer. What this does is that I can do an adjustment here and I can do an adjustment here and they'll mix. Then I can keep going from here. Then from here I can also add just a regular node and I can keep doing things. But I can also make a selection here and then I can add a special kind of node called a outside node. That will- and you'll see that this automatically connects and that will be the opposite of this selection. We'll talk more about all of these things in a second here, but I'm going to delete that and I just want to go back to here. Basically I wanted to familiarize you with the pipeline logic and we'll talk more about what these are in a second. But basically the simplest way to describe this pipeline workflow is that green is RGB information and blue is Alpha information. RGB is color and Alpha is transparency. Again, we'll dive into that in a second. But first, before we even get into the tools, I want to show you how you would use LUTs in DaVinci Resolve. Because the beginner can use LUTs to prevent them from getting too deep into a crazy color grading workflow. I'm going to show you what that looks like on a different example. I'm going to go over here. This, you can tell, is flat. It's not very contrasty, and this isn't a pleasant look. But you can get a pleasant look by going to LUTs. My particular camera is a Blackmagic design camera, so I can go to Blackmagic design. I'm going to go to list view, because it's going to be easier for me to find the LUT that I need. What a LUT is is a lookup table. A lookup table is basically a correction for your footage that is predetermined. There are certain color standards that you might become familiar with in the future. One of them is Rec. 709, which is the standard color for TV in the sense that everything has to adhere to a certain color standard when it gets to the broadcaster. This is the color standard that is selected. I'm going to look for my camera which is a Blackmagic Pocket 4K, and I shot in film. I'm going to show you two of these LUTs. These are the tools that I would use. I'll show you really quick how to add that to favorites. I'll add these two to favorites. These are the ones that I would be using most often. I'm going to click one and we should be able to- actually if I do this, I might be able to click and hover. If I look for the one, I can scrub and do that. I'm looking for Blackmagic Pocket filmed to video, that is filmed to video. Or if I wanted to do a custom grade, I can do extended video and that's not as strong. This is video and I'll go to list. I will click just that. This is video, this is extended video. You can see the contrast difference there. Video is basically like Rec. 709. This is like the correct black levels. Extended video is a little softer and it's so that you can add your own grade. Actually, that's the wrong one right here. Those look very similar, but I want this one. That's so that you can add your own grade. It gives me a little bit of room to affect the image so that it's not crushed as much. You can tell by looking at the waveform. If I go here, you can see that that changes. This is basically your highlights and where they reach. You don't want them to reach a maxed out state and they're getting really close right here. This is like white, and you don't want it to be white. You can go here and then you can make your adjustments later. That's just one example. What I'm going to do is actually I'm going to go to phone here. This is the way that you can quickly jump to another timeline so that you don't have to go back to the edit tab. I'm going to go to phone. This is something that I shot on my phone previously. I already have some corrections on it, I'm going to reset that. This is with no correction at all. I want to show you that I also have one of these. If I go to Filmic Pro, I have a deLog and deFlat. I'm pretty sure that I shot this in log. I'm going to double click this, and that is my adjustment. Or maybe it's on flat. Maybe it's flat. No, it could be logged. I think I shot that on log. These are some corrective LUTs. I'm going to go ahead and favorite those so that they're in my favorites. These are some corrective LUTs for my phone. I shot my phone in a flat profile provided by FiLMiC, so they provide the LUT to do the automatic correction. This is much closer to what I want then if I were to disable this node. I'm going to disable this node by pressing "Alt D" and that disables the node. This is what it looks like normally, and that's with the LUT. It's a little dark so I can bring this back up. If I wanted to bring the shadows up I could and I can start messing with this here as well. If I wanted to make it dark, I can make it really dark and I can start messing around with this. If I wanted to Reset it, I can Reset it here. If I right-click the point, I can also get rid of that point. If I have more than one point, right-click gets rid of those points. That's the Reset button. I just wanted to show you that sometimes you have a LUT for a different type of footage, and you might have to throw that on there. I also have a LUT for my drone footage that will bring my D-Log drone footage to Rec. 709. These are things that you might be using. You might find the LUT for your camera. Most of the time you can find the corrective LUT for your camera for the way that it looks. This would be a corrective LUT. If I turn it off, Alt D, turns it off, turn it back on. This is to get it looking more normal. If you shot something flat, you're not going to have a lot of color, contrast, and stuff like that. This just saves you time by bringing it to a more natural level. So that's that. You can also have a stylistic LUT. These are corrective LUTs that I have right here, but there are also stylistic LUTs. What I mean by that is that, I have this pack here, and this is a LUT pack by this guy who basically tried to copy LUTs from VSCO. If you're familiar with the VSCO, he took some of those LUTs, and he made his own version. I will add a serial node because this is my corrective LUT, so I want to have one after that. I'll make one in sequence. I'll make the next one that. I can double-click this and that is a stylistic LUT. That's not necessarily corrective, but it's more stylistic. If I turn this off, these are all of them off. If I hit "Control D", that turns one of them off. If I hit "Alt D", it turns all of them off. If I turn that one off, that is with nothing but turn that initial corrective one back on that is with my correction. That's the correction right there and then this is the stylistic LUT. I can show you that with something else as well, maybe something here instead. These are more stylistic. This is just to add some flavor as opposed to adding correction, because no one wants to look at that, but this is much more pleasing. That's just the introduction to the idea of LUTs and how they can help you out. Some of them can be corrective, some of them can be stylistic. You can stack them. You can use more than one and get some interesting looks. I'm going to go ahead, and Reset this node, and I'm going to Delete that node. That's the idea of LUTs. LUTs can save you time. LUTs can be very helpful. If you aren't going to use LUTs and you want to do things by hand, that's where these tools come into play. I'm going to close this, and I'm going to tell you about these tools here. Also really quick navigation thing. Sometimes you want to get this really big and the simplest way to see and to look really closely at your footage is to press "Alt F" and it will maximize this. This is called cinema view. You can press "Control F" and it will really maximize it to full-screen view, and you can press "Control F" to come back out and "Alt Left" to get out of the cinema view. Of course, that is dependent on your operating system. I say control because I'm on Windows, but it's command on a Mac. You can also do this manually. This is your clip view. You can get rid of your clip view right here. Turn that off. This is your timeline view. You can get rid of your timeline view by taking that off. Then you get really close to what that cinema viewer is like. I'm going to put those back on just so I know what I'm looking at. I wanted to show you that in terms of navigation that can help you out. Let's start with this over here because I pulled this up. This wasn't initially visible. I think it was like this. This is your KeyFrame editor. You'll find that sometimes you have to do KeyFrames for color adjustments just because maybe something happened where some light changed or something. If it's not a perfectly set up scene, then you might have to do some keyframing. This is where you would do your keyframing. We discussed keyframing before, but again it's just this little diamond here will create a KeyFrame. You can move, create a KeyFrame, and depending on what it is, you can drop down and find out what you want to change. You can even create a KeyFrame. Maybe that shouldn't have been the one. What should I do here? See these are Windows. I don't want to do Windows. Maybe Color Corrector, and we can do this. Then we'll move, and then we'll move this down. You'll see that, that automatically makes that change for you. I'm going to undo, undo. Just wanted to remind you KeyFrames are available, but we won't go into that right now. What I wanted to show you is that by default, the KeyFrame is here. But something more useful is the scopes. Information is useful as well if you need some information on the clip, but you're probably going to be using the scopes. These aren't collapsible. These three things, you have to just choose one. If you don't want to look at scopes, you can just keep the info up, you'll ignore this maybe, but you can't get rid of it. If I click that, it doesn't go away. You don't get more real estate by getting rid of this. This is one of the few panels that you can't get rid of. I'm going to leave it on scopes. This is my Parade scope, but you can also have a Waveform. You can have a Vector scope which is good for skin tones. You can have a Histogram. You can also have Chromaticity. This one's probably the most boring to me. I would never use this. You might have seen this when you see something about monitors having a specific color spectrum or whatever. This is the one that I've used the least. What I use often are these two. Sometimes I'll use vectorscope. You can go here and what you can do is customize it a little bit. You can do two times zoom, so it'll stretch this out so you can really see what points it's reaching, and you'll see more if I really make this maybe contrast, you'll start to see those colors come out. This image isn't good, but it's so that I can get some information here on the scopes, and I can bump up the saturation. We'll talk about that in a second, I just want to show you this. You start to see these colors, cyan, blue, magenta, yellow. Look over at the yellow area, and you'll see that if I turn on skin tone, that is the skin tone area. If you need to try to adjust skin tone, this is where skin tone would be, and you can start to use that as a reference. See that skin is too magenta, and you can also see that in the scopes that we want to be somewhere there. Then you can make your adjustments that way. But I'm going to go ahead and reset this. I just wanted to show you that this is a tool that you can use to reference skin tone, this might be useful. But we're going to go here, we're going to go to [inaudible]. This is RGB, red, green, and blue. You'll see that here, red, green, and blue. This is your luminance, and we'll move over to this area. This is raw footage, so I could manipulate this footage here in camera raw. I'll show you what that looks like. I'll turn this to clip and I'll show you that I have some adjustments here that I can mess with. I can mess with contrast here. But this most likely won't be available to you because this is a specific file format. You see that it says, blackmagic raw because I have a blackmagic pocket and I shot this in raw. That's why this camera raw is available. But I'm going to reset this. I just wanted to show you that that's what that control does. But we'll move forward, this tool here. I want to show you that if you were to have a color chart, these color charts look like this, and you can select your color chart actually. Go here, here, they have tons of different color charts. This is a way for you to automatically set your colors. By default they have the x-ray ColorChecker Classic. If you can imagine that you have this card on screen, basically what you would do is you would go here, color chart, and then you would match it up, so wherever your card is, you would put this there, and maybe find the spot, so that these points line up. Then the program would make the adjustment for you so that it is as close to real as possible and you can set your Gamma and Target Gamma, and stuff like that, your color spaces. This is a really helpful tool. It speeds up the process if you have one of these, but if you don't, that's okay. These can get expensive. I think they're a 100 bucks for a card, but it could save you some time in the future if you wanted, and this is where you could utilize that. I'm pretty sure Premiere does not have anything like this built-in. You would have to install an aftermarket plugin to use something like this. This is nice to be built-in like that for you to set your colors to the correct levels, but we're going to zoom past that and we're going to go to the color wheels, and this is where you'll be spending a lot of time. We have some other things here like, RGB Mixer. You won't need this, and we have the Motion Effects. This is one of the things that you won't have in the lite version. You won't have temporal noise reduction, you won't have spatial noise reduction, and you won't have the ability to add motion blur in the color page. I'm not sure about the edit page, but I'm going to assume that you don't have the ability to add motion blur in the edit page on the lite version as well. That's what these are, and you are going to live here. This is where you're going to be spending most of your time. I just want to talk about what these things are. Primaries Wheels, basically, Lift, Gamma, Gain. This is Shadows, Mids, and Highlights, and that is actually visible here, Shadow, Midtone, Highlight. These are your Log Wheels, and these are your Primaries Wheels. They look exactly the same, besides this little thing here that shows you a bit of your luminance level, if I'm not mistaken. Yes, that's your illuminance level for that adjustment. I'll reset that. I think it's also the amount of influence that it has. If you go to here, you can see that the Gain has a ton of influence over the entire picture. Lift also has a lot of influence, but you have to make the adjustment yourself. I'm going to reset that, and I'm going to just demonstrate the difference between these two wheels, and then I'll get into what we can do using those wheels. First, I want to go to primaries. By the way, if you're coming from Premiere Pro, these color wheels are very similar to lumetri's color wheels. They work exactly the same. Except that in primaries, when we make an adjustment, I'm making an adjustment to purple, a very strong adjustment to purple. To reflect that I actually want to go here and I want to make my histograms be my output histograms. I want this to reflect like this as well. We can see the scopes here. But we can see that the red and the blue jump up really high and the green gets smashed down really low. That's for making an adjustment to just one of these parameters. If I reset that, and we look here, we can see that they're pretty even, and I can make an adjustment and they start to change and it'll change all the way. It brought the greens all the way down, and if I bring the greens up here, I get some really crazy looking stuff. That looks almost like some artwork or something. This looks like I did this on purpose my be, for some specific reason. If I were to reset that, and I go to the log, and I do the same thing, you'll see that I can really push this [inaudible] max. I'll get a purple, but it stops at a certain level. Like this here, I'll go to waveform as well. You'll see that it's adjusted only here. If I go, I reset and I do that back on the Primaries, if we take a look at the Waveform, we'll see that purple gets adjusted across the board. But if I go to log and I do that again, purple gets adjusted only in the highlights. Then if I do green in the shadows, it gets added only in the shadows. The midtones don't get affected as much, and I can just add purple or something here. You see that they're separated, and you can see that here as well. That's what that does. If you want to make some adjustments, you might want to pick log over primaries because you want to target a specific area. We'll reset that. If I start doing something, and I add maybe some blue to the highlights and some red to the shadows, then I can start getting certain look and maybe I add some contrast here. That's a little too much. That's a weird look. But I just wanted to demonstrate how I can target a specific area because if I try to do that using the primaries, then I'd get a really different result. You see that that's much different. But I'm going to reset that, reset this, and I want to talk about how we can do different adjustments. The two things that you might be adjusting when you pull a clip in are the color temperature and the contrast. I'll just reset this whole node. The beginner would benefit from using auto color. We see that this image is flat. What we can do is allow resolve to try to figure out the best colors for you. A little tip is that if you move forward and you have some skin tone and some extra elements, it can give you better results. If you have a hand in the image where resolve thinks that that's some color that should be pushed towards this color, it might give you a better result. I'm going to do it now and you'll see what the result is. I'm going to go back to the beginning of this clip where there's no hand and I'm going to do it again, and it will change slightly. I don't know if you noticed that, but I'll go back to the hand and I'll do it again, and that changes ever so slightly. That could help. That's not a bad image. That is close, it's crushed. There's really low black levels. But I wanted to bring this up because I wanted to mention that resolve works a little differently now. In the previous editions of resolve, when you made an auto color correction, you would see it reflected here. They're not showing that anymore, and I can't reset my auto color by doing anything here. I'd have to reset here, and then do it again. Another thing was if you did the auto correction and then you noticed because you could see the value before. If you liked it, it was just a little too strong, you could make the adjustment. But now you start off at base zero even with an adjustment. It might be better, it might be worse, who knows. I just wanted to make a reference to how it was in the past. But I'm going to reset this node. I'm going to do the auto color, and I'm going to show you that here, this little scroll wheel that's sideways, is your luminance value for that particular section. Lift again is like your shadows, and like I said before, this is dark in the shadows. We can just take this and we can slide it over slightly. Then we get to a value that we like. Maybe we think it's a little too bright so we can bring the highlights just down a little bit. That could be pretty good. That's using your auto color and just a little bit of adjustment here. I'm going to reset this grade, and I'm going to show you how I can bump up the contrast here, and then I can pivot, to also get a result that I like. I can adjust the saturation. Little bit less contrast, and pivot. I wanted to show you pivot and the use of pivot because right now I'm adjusting the contrast through the very simple contrast adjustment. If I double-click contrast, it'll reset, double-click pivot, it'll reset. I'll leave the saturation right around there. But basically what pivot does is that contrast is usually in the form of an S. You might have seen when I was doing earlier and I made a little a little S shaped. I'm going to show you that I have put a point here. I bring this down. This by the way, is a curves adjustment and the lower end is the shadows, the higher end is the highlights. This is a representation of where the information is at. I'm going to add some contrast by bringing up the highlights. I brought down the shadows a little too much. I'll show you that off looks like that, on looks like that. I can make an adjustment here and I can get an interesting look. I can also just bring this, actually, I'm going to delete this, I'm going to bring this over. I'm going to make my S here, to show you that. That's how that works. Maybe that's a little too low. Also bring this over. It looks like an S. That's an S curve. An S curve is a contrast curve. You see how I was moving some of these things around. What pivot does is a margin of the points of the S are moving up and down. If I wanted to make this darker, I would move my lower point down and my upper point down. If I change the way the area where that S curve is, you change where those points are and that is your pivot point. It is basically the point in where the contrast center is moved. It's hard to show here because of the way that this editor works. But again, if I bring this up, really contrasting that looks almost like what I had. Then I can just move the pivot point up to make it darker and down to make it brighter. Once I have a nice luminance level here, I can bring that contrast down, and that's more desirable. You can also adjust your saturation. That's what these things do. Your hue, if you remember, is just the color. That's really strong adjustments. But I just wanted to show you that you can really go really crazy here. If I double-click that, it resets. Those are some adjustments that you can do, but some other things that you can do here that aren't immediately visible even if you're moving around trying to navigate. Bars, by the way, I didn't go over. But it's just another way to add some color. You can get very precise because you can use your scroll wheel to add color in a specific area and it's like in 0.01 increments. You can see that I can add just the ever so slight adjustment. I'm going to reset that here and go back to this. I want to show you, I didn't go over it. The auto color here will figure out the color, but the white balance will also figure out the white balance for you. That's a little too much because this is gray. It's reflecting some blue where outside, so it's reflecting a bit of blue sky. I'm going to undo that. I'm going to try to go maybe somewhere here. Still a little warm. But you can try to find a gray area, and that will help you get your white balance. That's the auto white balance tool. But what I want to talk to you about is how, now that we have a initial adjustment compared to what it was before. That looks much better. We can go even further. I'm going to zoom in here and I want you to take a look at the beans. I'm also going to go here and I'm going to go to number two. We're on number one and that's the contrast pivot saturation hue. I want to go to two, I want to show you now that we have temperature adjustments. I won't do the temperature adjustment just yet because I feel that the thing that you're going to be using the most is mid tone detail. What mid tone detail does is it adds a little bit of roughness, a little bit of texture to the mid tones to bring out some of that detail. I'm going bump this up and you're going to see that some contrast is added to the beans. You don't want to be too heavy handed with this because it is bringing the highlights out of the beans and that could be too much. I'm going to reset that, the default value is zero. We can just bump it up to like maybe 25. That's what it looks like. That's before, that's after, before, after. That's nice. That adds a little bit of extra detail. You don't notice it too much. But if we also add some sharpness, then we'll get a really nice look. We'll add some sharpness later. I'll talk about that in just a second. But I did want to show you that you can change the temperature here by hand. If you wanted to make a slight manual adjustment, you can, if you're having a hard time with the auto white balance, you can try to figure this out yourself. Tint is like you and that it will change the color. But if we go back, hue is of unlimited, where you can keep going all the way to the blue channel and back to the blue channel. This is the full spectrum of color in terms of like shifting everything over. I'm going to reset that. What we see here on tint, it's not the same if you're following from the premier tutorial, the tint effect that I mentioned in premier is not the same as tint in these adjustments. What I mean by that is that, this tint doesn't tint it a color of your choosing. This tint is more of a photography color based idea of tint in that one way is magenta and the other way is green. If temperature is yellow and blue, tint is magenta and green. Then combining these two, you can make the correct adjustment. If we needed to make it more blue, I could bring it down, and then I can also add some green into that blue using tint, or I can add magenta to make it purple. Or if I make it yellow, I can add some magenta to make it like an orange, or I can add green and it's like a yellow green. I'm going to reset those values. I just wanted to talk about those real quick. Color boost is if you're following along from the premier tutorial when I mentioned color vibrance. Vibrance is more of like a high saturation targeted adjustment. What I mean by that is that if you use color boost or if you use vibrance, only the colors that are very strong are going to pop. If I bump this up, we see that there is a lot of orange in magenta skin tone color added here. This gets really yellow, but also like some green starts showing, we even have like green noise. Of course I bumped it up all the way. We see that there's a lot of like blue here. I'm going to reset this and I'm going back and I'm going to change saturation and show you that it does not behave the same way. One, color boost is a very strong adjustment. Two, it targets vibrance more than it targets overall color. But you can use that as well if you need to, some shadow adjustments in some highlight adjustments. We're going back go back to one. We like our contrast here. Maybe we want to add a little bit more saturation. Maybe we want to add some tint if we wanted, maybe like just a little bit of orange in the shadow. We can get a nice look that way. That's how you would use these tools, here.
16. Davinci Resolve - Color Tab (Part 2): Some other tools that you can use that you have at your disposal are here. I mentioned the curves adjustment, so I won't talk about that. One thing I will mention is that you can just kind of bump this up and you can add some illuminance to your image by bumping this up just towards the center. These curves adjustments in resolve are really nice they feel great to work with, I'm going to get rid of that because I'll show you that if I go to a lower adjustment here, it compensates for that. It knows that I only want to make this jump here. This is a very strong adjustment, but in other curve editors, you might find that even going down here, it'll stay like this. I think that maybe I can turn something on here. I can't make it behave like other curve editors, but just know that this is a really nice, this is my favorite curve editor because it doesn't do a big like loop here. Definitely feels natural. Actually I can show you, you see how this behaves like that? That's how a curve editor would normally behave, doing an adjustment like this, even like right here, it would still start to like curve up there. That it had just, this is so much nicer, so keep that in mind. You'll get a lot of precise edits using resolves curve editor as opposed to another one. I'm just going to click through these here, and by clicking through these here, I want to show you that they're the same as these things here, and that's what everything. So if I'm over here and I'm on the primaries wheels, and I showed you that the log is the third one. If I click the third one here, it takes me to log, if I click the middle one, takes me to bars, and that's the middle one. These dots are just for ease of navigation. You can hover over them and they'll let you know what they are. Hue versus hue, we have hue versus saturation, hue versus luminance, and we can see those here as well. I'm just going to go through them really quick. The way that these work, all of the rest of these are going to work in a similar way. The name that's first is the selection and the name that second, is the adjustment. Hue versus hue means that you're going to select a hue. I will select blue, or you can make a manual selection if you want it, so this is like green and then you can make the point where you would want it to stop. This is very specific, narrow selection as opposed to this wide selection. Again, you can right-click, to get rid of them. This helps you make a quick selection. This button here is for spline adjustments, that's just like a curve as well. You can see this, this might look familiar to you if you're following along from the Premier Tutorial, or I showed you adjustment, this basic eight adjustment when I was showing you key frames in the Edit tab. But I'll turn that off. I just want to show you that this, I'm selecting this blue, and it's blue on the middle line so that's normal. That's pushing it towards green and that's pushing it towards magenta, and I'll get rid of that I'll reset this actually. I want to show you if I do yellow, I'm selecting yellow and I'm making an adjustment to that hue through this bar here. If I reset that and I go to the next one, if we remember that the first name is the selection, the second name is the adjustment. Now what I can do is let's say that I don't like this blue here, this blue that's reflected. I mentioned this is a reflective surface and this is outside, so this is reflecting a bit of that cool color of the sky, the blue. I'm going to select the blue, and I'm selecting blue. I'm selecting by hue and I'm adjusting saturation, and then I bring it down, then there's no more blue there. If I really wanted to get really precise, I can go to, I can add a point to green. Then I can move the cyan as well, and then all of the blue is out of this image. There's no longer any blue. There's a little bit of green there, I can even bring that down and make it more gray and now this is the only color. Sometimes you might want to do this. You might want to focus someone's attention, especially something like this. Because it's like circular, you might want to bring their eye here. That's something that you can do, I'm going to show you before and after. Those are some adjustments that you can make. Moving onto the next one moving forward. Hue versus luminance. I'm going to make a selection by the hue, and I'm going to make a selection on, I'm going to make a custom selection now because I want to show you how I want to choose orange, but there's no orange, there's only red and yellow. I would make a selection on the orange here, but if I only make one dot, then I'm adjusting the entire line. So I need to make some more dots to lock everything else into place. I'm going to reset, I'm going to add a dot, I don't want to move it too much. I want to make a dot here, and I'll show you that with two dots, I can still make adjustments, but the space between this dot and this is going to have that basic eight curve. If I undo that and I put a point on green and I put a point on red, now when I make the adjustment, everything else stays still. You can see that I can bring luminance into just that specific color channel. If I move over to red, it starts to affect the fingers, and if I can move away from the red, then I can only affect the beans. I'm going to reset that, I'm going to keep going. Luminance, selection versus saturation. Anything that is high luminance, I can put a point here, maybe like right there, I can see that I have a lot of information right here. Maybe I don't want to affect anything behind this, so then I can just kind of do that, and I can show you that. You see that this is increasing saturation, so this area that was previously white is now blue. Or I can bring it down and have it less blue. I can also put a point like right there, then I can make these really saturated this area here, and then bring this down. You can see that there's like this weird like grayscale effect happening. I'll reset that, and the last one is saturation versus saturation. This one can get a little confusing because it's like you're selecting a saturation level and then adjusting the saturation level. But if you remember that this is the color information that we have, if I bring this down, not much happens. I bring this down to here and I can bring this over, not much of that image has changed. If we look in our reset, not much has changed. We saw a little bit of a change there. Do this, I'll bring this down actually, I won't bring that one down I'll just put this one. We'll do that actually. We'll move over and we can see how that is affected. We can see that some stuff happening here and that's just we move this over. Basically high saturation is dropped, low saturation can be added or dropped. That's how that works and you can get some really specific, really interesting results using these curve editors. But I want to move on to the next tool and that's going to be the qualifier. The qualifier and the mask will help me talk about the pipelines a little more too. What I want to do is, what adjustments do I have here? I have some adjustments here I'm going to leave those adjustments there. I'm actually going to make a new node. I'm going to hit all this, or we can right-click and Add Node or we can go to Color, Nodes, Add Node, and these are the different kinds of nodes. You'll get to know the nodes well enough but basically cereal is the one that you're going to be using the most. What these are, these are your power windows. These are abbreviations. This is where we're going to talk about next. But if you wanted to make a node with a window already selected, then you can use these as well. But we have our new node, and what I want to do is I want to make a selection. I want to make a selection of this color. I can click once and it will try to guess that color and that's what a qualifier does. It makes us selection by your hue, saturation and luminance levels. But I only clicked once and if I click a different area, it will make a different selection. But if I click and drag, it makes adjustments to that selection as I move around and it adds information. So that's a pretty good selection there and I can double-check my selection by moving over to here. This Highlight button will show me my selection. This is the selection that I have made. You can also use these tools over here for your selection range to help you. If I want to subtract a little bit of color, I can come over here and subtract that color, but that color is so close to the beans that it's hard to select. But let's just say that that's my selection. What I want to show you is that if I make a new node and I connect this transparency to here, now this has that selection as well. I'm going to turn this off and I'm going to show you what I mean. If I make an adjustment here, like a crazy adjustments that you really know. I'm going to select the blue channel only, and by the way, that's how you would do that in your curves. So this is linked, they're all linked. You can select one and adjust a specific one and I'm going to bring the blues up really high. You're going to notice that it's only on that selection. My hand doesn't have that adjustment, and that is because that's the selection, that is the transparency. On this as well because I copied that selection or that transparency. If I make an adjustment here and I go to the blue and I pulled the blues down. You'll see that I can counteract that and it's happening only on that level. It's a little hard to match it perfectly. But that's the cool thing about resolve as well is that these workflows are non-destructive. Anything that happens in here can be effected down the line as well. That's pretty close let's just leave it there. I want to show you what happens if I delete that. Now that adjustment is made all over. That's because this adjustment to the blue is made on that selection and this adjustment is made on the entire image. But I can always bring that selection over and then it works like before. That's how that works, that's a demonstration of this pipeline system. But I'm going to delete this node and I'm going to reset this node, and we're going to talk about the qualifier a little more. The qualifier can be used to make very specific, very targeted adjustments. So if I wanted to select only the skin color, I can do that trick that I showed you where I move my mouse over a particular area, I'll check my selection. Before you do that, make sure that you check your selection range. I was subtracting the selection so I'm going to go back to here and I'm going to do my selection again and check it. That's a decent selection. I'm going to zoom in and I'm going to show you that I can make some minor adjustments by de-noising that selection if I wanted. I can clean the black or the clean the white. I can blur the radius and I can mess with the in and out ratio. I can always just add a little bit of color as well. If I go here and I a little bit of that color, then that will help me as well. That's a decent selection. Let's say that for whatever reason I wanted the hand to be black and white, then all I have to do is just bring down this saturation and that is only on that selection. Those are some interesting things that you can do with the qualifier. Make some selections here, selections there. But I'm going to reset this and I'm going to move over to the other selection, which is the Windows. See it says Windows here and this shows you what they are. This is to actually add more of that, but this also doubles as an explanation. So this little square is a linear window, this is a circle window, this is a polygon window, curve window, and a gradient window. The gradient window isn't really a window, if I show you real quick, it's just an area. This is cool that I have this saturation adjustment because it'll help me show you what these do. You can see that that's a gradient and it's not necessarily a window. You can expand this, you can rotate it and that's how that would work. But I'm going to disable that and I'm going to show you a window that what actually go with this. I'm going to zoom out just a little bit. I talked about this circular shape, bringing your eye to the center. I'm going to do a circular window and I'm going to expand it and I'm going to just place it over here. This is feather right here, this little red one and you can also do that here. This is like a feather or softness. I actually don't want to affect the inside of the circle. What I want to do is affect the outside of the circle. The way that I would do that is I would just flip this here. So that's just invert. So this will invert the mask, I'll do that again. But that just inverted the selection and if I click away, you'll see that how that works. Depending on the softness and the size, you can get almost an indistinguishable look. Now I have low saturation there but I can also bring down the luminance. If I go here and bring down the luminance, going to make it darker. That's really strong but I just wanted to show you an example of how that would work, I can make that just a little bit smaller, and that's how that would work. You can always just do off here as well. That's really strong again, that doesn't look great, but it's an example of something that you can do. You can always make the adjustments here. That is with and without. That's an interesting look, I wouldn't say that it's a great look, but it's an interesting look. If you tweak it a little more to get it more precise, you can really get some nice looks. This is much more subtle and the saturation is all the way at zero. But you can bring it up really low and then you might not even notice as much. If you're looking at this without knowing, you might not even know that that's there and your eye just goes here because this is where all the color is. If you wanted to add a mask so that that hand part is less visible. So if we bring the window viewer back up, I can actually make the softness much lower. I'll bring that over and I want to show you it's actually the next tool in line, so it's perfect. We're looking at windows and I'm just going to quickly, very quickly, I'm going to just draw a mask over the fingers, and I'm going to invert it. I'm going to track that. So I'm going to go over here, and by default it's on window. I'm going to just track by going track reverse. That's enough. The window is kind of crazy. If we look here and we track forward as well, and we stop, it will stop automatically once it loses enough tracking data. It stopped before actually stopped it. I want to show you if I go back here. There we go. That helped just switching that over but now if we scroll up a little bit, we can see that at least for those few frames that we tracked from right here to right there. If we were to get rid of that. That of course, is a little rough. We can always change that by going to our mask, going to the softness, bringing that in. You can't even tell, especially at a still image. If we disable that, that's the difference. Because we tracked it, it's really hard to tell. If we were to go back here and bring this saturation down just a bit, because it's a little crazy. That's an interesting look right there. Power window off. Those few frames that we tracked. You could, if you needed to draw window like that, you would be much more precise but I just wanted to show you that the tracker, which is one of the best trackers I've ever used, is really good. It makes those points for you but I'm going to go ahead and delete this. I'm going to show you that I can also stabilize through here. This shot is very stable, but these first couple of frames, there's a bit of movement. I'm going to click Stabilize. If I hit play from the beginning we'll see that, that is very steady. That's not even with camera lock. I'll show you one thing. If I disable that, the tracking doesn't go away, that's one thing that's kind of like weird. Where you can do tracking you'll stabilize a shot and you can't disable the stabilization through the node. That's similar to the stabilization that you have in the Edit tab. if I were to reset that, then it resets. That works hand in hand but you might not notice that you need to stabilize it until your color grading and then you can always just jumping here and stabilize it through here. If you did a quick stabilization in the Edit tab, this is where you can get much more precise because you can actually get into the classic stabilization, which lets you add points, and you can get really, really specific on your tracking. This is a really, really good tracker. It also let's you track affects. If you needed to use the tracking data to use on an effect, then you can do that as well, and it has really good results. For the sake of time, trust me, and we're going to move on. I want to talk about sharpness. I told you before that I added some sum of this midtone detail. Like I really crank it up here but if I keep it at around 30 or something and I zoom in, you can see that, that has here, I'll just reset it. That has its effect, let's go back to 35. If we combine that effect with sharpness, it'll look really good. One of the things that happens is that by default, sharpness is on blur. That can help you sharpen like you can come in here and you can still pull this down, and you'll sharpen it. It doesn't give you scaling, and scaling is really helpful for the manual details. You can stack sharpening. You can do sharpening on one level of scaling and then stack another one on a different node and then do a secondary level of scaling and you can get some really nice results. I'm going to reset this. I'm go going to sharpen instead. You can also do mist, which if I go to blur and I show you that going the opposite way, does a blur, and I go to mist instead. It'll have a slightly different effect. It maybe not so noticeable here, but mist it sounds, it's a misty blur as opposed to I think you can mess with the scaling here as opposed to the regular blur, which is just a blur. I'm going to reset this. I'm going to go to sharpen. I'm going to come in close and I'm going to make my adjustment. I want to make a good art adjustment here, like right there like 40, that's crazy adjustment, that's pretty strong. Then I want to stack it. I'm going to do another node, and I'm going to do this adjustment as well. I'm going to change the scaling on this. The scaling can be really high with a slight adjustment. That's before, after and you can really get some interesting results. You can change the scale of this sharpness to really low. Then crank it up really high. It still won't make it look horrible. If I go here and I'm bringing this up, then that's when you get some bad results. It's a balanced thing you're trying to reset this to like 25. Go back up to maybe 45 sets before the secondary. That looks really nice. If I pull out, and you can really see that I can add some extra there. That's the secondary sharpness adjustment. If I go here and I were to reset that, then that's the original. That's with the midtone detail added. If I take that out, then that's the original. Again, I will go to 35 is here I bring this to about 45, and I'll turn my secondary one back on. You see that is crazy. That is much different, that is too much even but we can always bring this back down. That's how you can make some sharpness adjustments and you can really make certain things pop that's what this is. Again, these points are just blur, sharpen and missed, but we're going to reset that. This here is just the level of transparency that you're sending out. We'll go back to that in just one second. This really quick. You won't use the 3D thing, so don't worry about that, but this is sizing. This is sizing like you would size in the Edit tab and this is just secondary, if you find that it looks better, just a little bit more zoomed, you can do that here. Back to the transparency, let's say that you have your window, and we're going to make that, this, and then we're going to add an adjustment and then we're going to add a node and we're going to connect that node. I'm going to take this off, and I'm going to show you that this is the transparency of that selection. Actually, I'll do it this way, so here we'll take off this adjustment, and there's no adjustment here but I'm passing the mask that transparency to this node. I will make an adjustment on this node. So you see that this node adjustment is from this mask. If I go here and I go to this node key, the key output adjusts the transparency. I can make that zero so that's that. I'm going to reset this, and I'm going to reset that. I'm going to show you that on this, if I go to the node, this is the input, so this is the key input, and I can also drop it down here. If I were here, I could control the level of opacity sent out, which is output, which is going this way. If I'm on this node, I can change the level of the transparency receive. That's just really quick what that does. You might not need that, but if you ever find yourself doing some really weird things with the nodes, that's what you can do. Then I'm going to delete that, and I'm going to reset this node. I want to talk about one last thing that you might find yourself using here, and that is going to the open effects. You can add your effects through here. If you find that you don't want to add your effects in the Edit tab, which you can, you can go to effects library that's open here. These are the same. Like where is texture, film grain. Then if we go to color, we go to texture, film green. I can add some film grain if I wanted, add a lot of texture. I'll zoom in so that you can see and I can show the grain only. This is nice for really figuring out how you want that to look. Grain size, maybe make it really big, rough. Bigger grain is like older film, green string. Maybe this symmetry, It's pivot softness. No softness, saturation, no saturation. Then you can turn this off, and then you can do the blend. You can blend that how you want, and you can always bring the grain size down. That's something that you might use, and you might find yourself only using affects when you're actually in the color tab because that's when you're finalizing your look. That's just how you would do effects in the color tab. You would add an effect to a node, I recommend that you keep your nodes organized and separate. You can name a node, so you can do node label and you can name it something, then you can label the other one something else. I disconnected that node. That's nice because I can just show you that this can be brought back into the pipeline by dragging and dropping. What I wanted to show you is that you can go node label, you can organize your nodes and you can turn them off by clicking the number. You don't have to use the shortcut. That's how you would navigate around your node workspace. This node can be reset or you can just turn this off here. You can always remove the all effects plugin, which is open effects, without having to reset your node. If I undo that and I show you that maybe this has a grade that I wanted to add a correction, and I don't want to reset the node because I don't want to lose this correction, you can just right-click, remove plug-in and it'll keep your correction. That's it for the color panel. The last thing that I can tell you is the light box feature will help you copy and paste grades if you wanted to. You can group things, let's say that I wanted to select these three, and I know that they're in the same location with the same lighting, I can make a group or I can add into a new group, or I can copy the grades over and quickly add the same grade, which is nice. If I have a grade on one shot, I can. If I select the shot that is ungraded and I middle click a shot that is graded, it will copy that. You see that this is ungraded and I middle click this, it will copy that over. They're very similar, so it's close enough and I can get out a light box and show you those look pretty much the same. That's a nice feature of helping you get your grades over. That's about it guys. I can't think of anything else that you might be lost in, in the color panel. I've gone over pretty much everything, but all of those tools combined can really help you get the specific look that you want. That's it for the color panel. In the next video we'll talk about fair light and its ability to edit sound and help you in sound design. See you on the next video.
17. Davinci Resolve - Fairlight Tab: Welcome to the fair light tab. The fair light tab might look a little scary just because it has all of these audio meters and all this crazy stuff going on, but really quickly, just an introduction to what fair light is. Fair light, like I said before, is like resolves virgin of Adobe Audition, or if you remember Avid version of their audio design software is Pro Tools. But this is just audio editing software, it is good for editing audio and sound design. What I'm going to show you today is just basically that you can edit audio here. I'm going to go back to the Edit tab. I'm going to master, I have a song here. This is just some stock audio, and we can take a listen. Actually, I think it's muted, do that again. It's dimmed as well, so it's really low. That's much louder. That's what dim does actually. Dim will bring the audio low, and this is mute. We have this audio track. I'm going to go back to fair light. I want to show you, I will open this up here. I want to show you these waveforms. That's a nice thing about fair light. It knows that you're going to be using audio or editing audio, so it lets you open these much wider than you can in the Edit tab. But what I'm going to do is I'm going to show you that this is audio track two. I'm just going to show you a little bit of the effects that you can use in here. I'm going to add an effect, and I'm going to add some reverb. Just a simple reverb. Resolve did a really good job with fair light where I feel like the the audio plug-ins that are included in fair light have a nicer like visual interface than the ones in Premiere, but that's just taste, I think it's my own liking, but I can grab this, I can make this room taller, I can make the room wider, deeper, and all these things, I can adjust the 3D space of this reverb. If we listen to it, I can turn it off. [inaudible] That's one effect that you can add. There are tons of effects that you can add. I can delete that plug-in, and there are much more. Surround LFE is low-frequency emitter, which is basically your subwoofer, but there are quite a few things that you can do to your audio here. I could add an EQ, but it wouldn't be through the effects. It's just built in here, double-click that and the EQ. Turn that on. [inaudible] As you can see, you can get some interesting effects to your audio. Again, I'll turn this off, and it's very loud. That's off. You can add some equalizer and really make your audio pop. You can add some other crazy effects if you'd like. You can also do dynamics, which is kind of like a compressor, but there are other preset compressor options if you don't want to mess with that. You can go into dynamics here, multiband compressor, and then you have a few options here that you can choose from, but the basic one I think is kind of okay. These are just a bunch of the different audio effects that you might be messing around with. I'm going to go ahead and delete that, plug in and this is where you'd be doing it. This is your levels, if you needed to solo a track or mute that track, you could do that here. I'm going to go ahead and delete this actually because we're not going to be using it anymore, I accidentally hit in there, when I go home, delete this. I want to show you that you can also record your voice over here. I might have a little bit of trouble because I'm actually using the microphone to record right now, but I'm going to try and show you how you would set up your voice-over. That would be by going to this input here, you would go to Input, and then you're presented with this window. The device that I'm using currently to record audio is the Focusrite. These are all my audio inputs right here, there's quite a few for whatever reason, I don't think I have this many, but it might be just the way that it's being looked at. I want to make sure that I'm on audio inputs. Actually I want to show you that I'm going to get out of here. This window was accessed by clicking Input. But if you've got a fair light and you go to Patch input-output, that's where we were at. This Patch input output is available through the fair light menu as well, and then you can navigate through your things here. I'm going to take a look at this, and what I want is the track input to be a specific audio input. The way that I would do that is I have a couple different, I only have my one audio device being used, which is this one because I selected it manually. I think it's this, I'll do all of them, and we'll see what happens. Patch, there we go, this right one, this is where I'm recording to right now. I can actually unpatch that one. I will patch this and this as well, it will record both of those channels left and right. I could do a mono only, but actually let me show you how to do that. I'm going to create a new track add track, add a mono track that's going to be tracked for. I'll delete this track, now audio two should be a mono track. When I go to patch the input, this is a mono track and I'll select the Focusrite two, and patch to audio two, and that's a model channel. On my audio device, this is the right channel, but because I'm recording a single channel to a mono channel, that's how it looks. You're going to get out of here. I'm going to arm for record, which is here. It record, and you can hear the echo. Now I can record my voice and you see that coming in. Turn off the arming, and that will stop the echo. Its symbol is that this file is now called FL capture, and this file is saved into the folder that you have selected for resolves media, and you can locate this file by right clicking. You can find it in the media pool and it'll take me to the media pool, and then from here I can right-click and I can go to reveal in media storage or Open file location. If I Open file location, this file is in my Media Cache folder. This is a folder that I created specifically for resolve, you see it says Cash resolve, Resolve Media Capture, and this file right here is the file that I just created. I'm going to close this, and it's as easy as that guys. When you have the video playing and you have other audio here, then you can listen to that audio if you're in headphones and you can record over it and then you can add effects to the audio by adding effects here, or adding effects directly to that clip. I'm going to go to the effects library close media pool, and I'm going to show you how you can add an effect directly to a file. That's the compressor, now this compressor effect is added only to this file instead of to the track. This is where you will add effects to the track. But you can also just open up this and then add an effect there, and if we take a listen, and now I can record my voice and you see that coming in. I'm having a couple jitters there and I think that that's because I'm recording my voice twice over. But don't mind know, that won't happen for you. That's just my own situation that I have gone on right now. But you can add effects to this particular file and make it sound nice. One last thing that I will delete here, if you want to open the track, you'll see that echo. You can mute the track and still record to that track. Now if I hit record, I'm recording while I'm muted, and you can see that it's not giving me that feed-back anymore, but I'm still able to record. If that was bothering you before or if that's bothering you while you're recording yourself, you can always do that. But I'm going to stop recording, and I think there's an option where you can turn that off by default. But the last thing that I want to tell you about besides the effects, is that resolve did this really cool thing where they have the sound library and a sound library isn't the coolest thing about it. This is a way to search for your audio files, and I think I have some things like maybe I can actually, I don't have my sound library linked to this database. If you remember, I made a training specific database at the beginning of this tutorial series. But I did want to tell you that they have a sound library integrated into fair light, and a really cool thing. I'm going to just, so I'm taking you to the DaVinci Resolve website, and what I want to show you is that if we go to where are we? I'll remind you that resolve does have those training videos that are much longer. This is some of the crazy stuff that you can use with resolve. But what I want to do is I want to go to support, I'm going to go to the support center, and this is resolves support, not resolved, but this is black magic support area of the website. If we go to downloads, we can scroll down a bit, and we can see that there is a free software update, Blackmagic Fairlight Sound Library, and there's over 500 royalty free sounds for use with the foley sampler in DaVinci Resolve, and you can download that, and it will be in an installer form. Then if we go back to DaVinci Resolve, you'll install that. It'll be super easy, you won't have to do much, and then you link your sound library that you see. It says Fairlight Sound Library. If I'm on training, I can click this, it says no library connected. I could add a library, and you can add your own sounds that you have maybe collected into here. Then you can search for them with the sound library where you just type in a word that references that audio library or that audio file, I should say in the library and then you can find it. What I'm going to do, is I'm going to go to a Fairlight Sound Library, and I'm going to look for steps, and you'll see that now I have some footsteps come up and you can preview them here. Those are some free sounds that you can use to add into your project to help you with sound design, and it's awesome that they provided these free sound effects. Because you have free software to edit, free software for titles, and for color, and then a whole section dedicated to sound design. This free library with the sounds, that are royalty free so you don't have to credit them, you don't have to pay for them, it's awesome. You have this whole kit to be able to do whatever you, want from the beginning to the end. Media storage and media browser. Nonlinear editor affects color correction and color grading, and then sound design with effects, free effects and free sound files and sound effects, it's awesome. Actually, Adobe Audition also has free sound effects, which I didn't mention. Adobe provides free sound effects on their website that you can use in Adobe Premiere or you can use in Adobe Audition. Both companies, both programs do have their free sound effects, they differ. I couldn't tell you which one's better, but they're very similar programs. Most analyst are very similar. They have a similar logic. That's it for now. In the next video, I do want to talk about the deliver tab, and I'll talk about the deliver tab as well as Adobe's version of exporting. I want to talk about what settings will help you best export your video for your particular needs, as well as a couple of the codecs and the file formats that you might see when you're in the export area of any particular program. So that you can better understand what they do and what you might need them for. But okay guys, I hope this was helpful and I'll see you on the next video.
18. Rendering & Codecs: Now your film or video is done. Let's get into the details of how to render it out. Rendering is the process that creates the final output file of all your edits, color, titles, graphics, and hard work. I want to talk to you about codecs. The large majority of you are probably going to be uploading to YouTube or Vimeo and want to have a master file for yourselves as well. We're going to talk about both of those scenarios. What is a codec? You may ask. Codec is short for coder-decoder, which is basically a compression used on the video. There are many codecs out there, and as you grow, you'll learn more and more about different ones. Most streaming sites re-encode the video you upload into their respective codecs. But it's good practice to do some compression on your end, so you don't upload a huge file, which would dramatically increase the upload time. The information that video files contain nowadays is huge. The only way to manage these files is by compressing them with these codecs. Basically, what you're trying to do is make a small file that still looks great. These are referred to as finishing codecs. Do this by getting rid of a bunch of information that the human eye won't notice is missing. What I mean by this is that you won't notice while watching. But if you were to mess with this file in an MLE, especially color-wise, you'll notice the file doesn't hold up so well. This is basically a for show only file, and the codec you'll be using to do this is H.264. There are others, but this is definitely the most common. Editing codecs are the opposite. They are codecs used to keep a lot of information, so that you can keep editing when jumping around in different programs. It's good practice to keep a version of your final output rendered with an editing codec. That way, you can use your final file in another video without a significant loss in quality, and you don't have to re-render any effects or color. The two most common editing codecs are ProRes and DNx. There are a ton of presets in almost every program, so you don't have to know too much. Just know that these are good, tried and true editing codecs. Remember that for your copy of the file, you want a higher bit rate editing codec to keep the quality high, and for uploading to say YouTube, you want a lower bit rate finishing codec. Let's render out our project. Will take a look at both Adobe and DaVinci Resolve. Let's take a look at how you would render something out in Premier. The first thing that I can tell you is to make sure that you select what you want to render. What I mean by that is that this timeline window, of course, can be selected and that's why we have that blue highlight around it right here, and if we were to select a project window without selecting anything in the project window, we won't even get the render prompt. If I go to file and I go to export, which is the way that we would do it. You don't even get the option to render media, and that's what we want here. You can see that the shortcut is control M. If I'm here and I press ''Control M'', nothing happens. If you get used to using the shortcut and you press ''Control M'' and you don't know why nothing's happening, it's probably because you forgot to select what you want to render. I'm going to select the timeline because I don't want to render any of these files, although you can, if you want to render out just a single file or if you want to render out a sequence by selecting the sequence, you can select a sequence in the project window and you can hit ''Control M'', and you'll get the option to render out that sequence. I'm going to cancel and I'm going to go to the timeline and show you that sequence that's selected is actually the same one. I'm going to hit ''Control M'' while the timeline is selected, and I get the export prompt. Let's take a look this. What do we see here? I'm going to start from left to right. We see the preview of the timeline and you see the play head here, and I can scrub through to make sure that I have what I want selected. What I mean by that is that on the bottom we see source range, and under source range we get a drop-down menu that says entire sequence, sequence in and out, work area, and custom. What these do, these are basically different selections of your in and out, so sequence in and out, I'm going to cancel this and I'm going to show you that if I look at my timeline, I don't have an in and out. You can see that I have this sequence and it ends right here. If I were to make an in and out, I could go to the beginning. I can hit in, and then I can go to the end here and hit out, and this is my selected in and out. But I don't have to have this because if you don't have a selected in and out, it will just render the entire sequence to the end of whatever the last file is. If you don't have this, if we clear the in and out and we hit ''Control M'', this sequence in and out is actually just to the end of our timeline as we can see. But if we were to select in, out, maybe, let's say right here, and that's all that we wanted to render, that would be our selection. You can see that here. If we decide after we have a mark in and out, maybe you have an in and out for whatever particular reason that you had. Maybe you were working on some specific part of the timeline, but then you're done and you forgot to clear your in and out, you don't have to cancel this and then go clear it. You can just go to entire sequence and then it will do the entire sequence. But that's just a way to select what you want to render. These are just selection options. If you decide that you want to do a custom and you select it in here, then you can just drag this to wherever you want. But we're going to do entire sequence and we're going to look at some of these options here. Let's start from the top. We have match sequence settings, which is the first option, which basically does no change. It will try to encode the file in the same format that the files in the timeline are already in. We don't want this because sometimes the files that you have are in either an inefficient codec or they're in a codec that's really for big files or something like that, and you don't want to make a big file. We want to export to, let's say YouTube or a streaming site. I mentioned before that one of the things that we need to do is compress so that we have a good-quality file, but a small file size. What we're looking for is H.264, so I'm going to go here and I'm going to look for H.264 and we don't want Blu-ray. That is a different encoding that tries to add a little bit of extra information and stuff. We're not writing to a Blu-ray or anything like that. We're going to go to H.264, the regular one, and then we have the preset options. If we open up the preset options, these are some custom ones that I created, so if you see this line here, that is just to separate my custom ones versus the already premade presets. We have things like high-quality 4K or we have Vimeo 4K or YouTube 4K. I'm not going to do 4K because these files aren't really 4K files, but if you wanted a 4K file, you could do that. We would probably do full HD for something like this. Let's go through these options. You're not going to use effects. If you're doing something a little different, maybe you want to re-encode some files that you have, then you could maybe add a lot and encoded into an editing codec. This is good for that if you want to just quickly apply a lot and then like transcode or something like that. But none of these options are going to be useful for you in going to YouTube. Maybe you want to do some loudness normalization or something like that. But you can usually do that inside the timeline and you don't need to do it at the render step or the render stage. Let's look at a video. Like I said, we're doing 1080. This is the resolution. It's locked here, so if I were to change this, it gives me an invalid frame rate or file size for this because it's trying to keep a specific ratio. But these are locked together, so if I were to change this to maybe half of this, so 540, this would change to 960 and it's locked to the same ratio. This is still a 16 by 9 ratio, but we can always just click this and what this option does is it selects the resolution of the timeline. These particular files that Adobe provided are of a smaller resolution and you can see that here the source resolution is 640 by 360. These little tick marks here on the side of all of these options are basically select automatically, so that it will figure it out from the source. If we don't want to do that, we uncheck that and then we put in our resolution. But that's just customizing if you wanted, you don't have to do this. I just wanted to show you. It now says custom because I'm changing things, but if I go back to YouTube 1080, then these are the default preset settings. Let's go a little further. The frame rate, it has the checkmark, which means that it's selecting the frame rate based on the source. The aspect ratio is one and it should be the same as the source. If we click that, we see that the source is also one. But this is just one of the things that they don't want to take the aspect ratio from the files in case they are wrong. This is a better option for uploading. The TV standard is selected based on the source files. What this is, is basically, pow is European, and you can see here it says Europe and Asia use pow, the United States use NTS. You figure this out on your own. Your files will be created based on the standard of where you are, but if you also need to convert some files that you got from somewhere else, then you could just make sure that this is set to the TV standard that you need. You can keep this on the setting that will figure it out automatically. Render at maximum depth is an option that allows the video to be rendered at the depth of the video, if it is perhaps higher, you will not need this. If you're shooting with your phone or most basic cameras don't have a really high color depth, like a DSLR or anything like that, so you can leave this off, but this will increase the video quality if you do have a high bit depth file, but if you don't know what that is, it most likely you don't have a high bit depth, so don't worry about this. Moving On, the encoding settings by default should be on high and this can be 4, 2, but if we were to, let's say look at a 4K file, this will be higher, this will be 5,1. This is just the level of encoding. But like I said, you don't have to change this, this is just so that you know what these settings are. We'll skip past this because you don't need this, but what's really important is the bitrate settings. Let's talk about bitrate settings. If we look at bitrate settings, the first thing that we see is the bitrate encoding and bitrate is just the amount of information that is displayed, and it's usually measured in seconds. If we look at the next thing really quick, before we move on, I just want to use this as an example. It says megabits per second, and that's the amount of information that's displayed or given in a second, so that's your bitrate, the amount of information, and you can hover over a lot of these options and it'll give you more information if you're curious, so if I hover over bitrate, it says the encoding mode to use choose constant bitrate or variable bitrate, and the number of encoding passes. If we look, we see constant bitrate, but under VBR, which is variable bitrate, we see one or two passes and this is the recommended option. Two pass is good if you're really, really trying to stick to a strict file size, which isn't necessary because this will do a whole second pass, it will increase the render time and it's just to try to squeeze in that little bit of extra compression. This is good if you need to shrink down your file to a very specific size, maybe you're trying to make sure that your file will fit onto a DVD or something like that. But because we're going to be uploading to YouTube, we don't need to have such a strict file size, so we can stick with VBR, one pass. What VBR, what variable bitrate does, if I switch to constant bitrate, these options change, we'll just have a target bitrate and that's it. But if we go to VBR, we have a target bitrate and a maximum bitrate and basically what this does, I change this to 55 just for the sake of this example, is that it will target a bitrate of 40 megabits per second. But in a high action or high movement scene, we might need to increase the bitrate to make sure that we don't have any pixelation or any compression artifacts and stuff like that. We give it the option that at the encoders disposal, if it realizes that this particular scene has a lot of information because there's a lot of things moving, there's a lot of things happening, the bitrate, at the target bitrate might be too low. It might have a bad quality render, so when we increase the maximum bitrate, we give it the option to increase to this bitrate if it needs to, to ensure that we have a good quality video. So that's what this does by default if we go back to our preset of this, it will stay at 40 because it just tries to keep it at 40 to keep a decent file size, if you want it, if you know that you have some parts of your timeline that have a lot of action, you can bump this up maybe a little bit just to squeeze in that extra information when necessary. Moving on, you won't need to mess with the key frame distance, you won't need to mess with VR video, so these are some of the options that you can hide to not distract you and this is really mostly what you'll be doing. You'll be looking at the basic video settings which shows the resolution. You'll look at the encoding settings and to be honest, you don't even need to look at this either because the preset option is usually the correct one, so we can minimize that as well and that might look scary when it's all opened up, but in the end, what you're really going to be looking at is the resolution and the bitrate. One last option that you can do is use maximum render quality and what this does is, it gives you better quality scaling. When a file is resized for whatever reason, there are two ways that premiere can scale that file and one of them is bilinear and the other one is bicubic. Bicubic is a much better quality, but it increases the render time. So it gives you the option to not use bicubic if you're not resizing anything so that you can speed up the render time. This is off by default, but if you know that you are doing some resizing in your timeline, in your particular video, you have some files that were resized, maybe to like a 150 percent or something like that, then you might want to check this option, so that you get better quality scaling. This will increase your render time, so make sure that you only check this when needed and I don't recommend use previews. What use previews does is it uses the pre renders that you did in the timeline. Whenever you're in a timeline and you click Enter so that you can render, if this line is red, that preview that's created can later be used during the render. But because that preview is of a lower quality, I don't recommend that you use that option, so don't use previews. This is only if you want to have a draft file, maybe you don't need it to be maximum quality, then you can use this and it will speed up the render time. Time interpolation, usually, we can leave this on frame sampling. You see that this is optical flow and if you remember from the previous video when I talked about optical flow, it is basically the setting that is used to figure out the information in between frames, if you did some retiming. We can leave this by default on frame sampling because even if we leave this on frame sampling, if we go to a specific file, like this file that we have here and we look at the time interpolation, this file will still use optical flow. You can set the time interpolation manually for a particular file and it will use that selection, that option is more so to select the default time interpolation for the entire timeline. This can cause, if you have it on optical flow for the entire timeline, it can cause some weird effects in between your cuts, so I don't recommend doing this unless you absolutely have to. We'll leave it on frame sampling and because I close this out, it took that preset that we had selected away, but if we go back to this, or if we go back to this, these are the options that we're going to be using. You see that on 10 ADP, this bitrate is much lower and that's because we need less information to be sent or encoded when we're using a smaller resolution. 4k is four times this resolution, so it makes sense that it's about four times more on the bitrate. If we were to hit export through premiere, the one drawback that we have, and I'll show you now, is that now this starts encoding inside of premiere while keeping premiere open, I'm going to cancel this and I'm going to show you that these settings are also available in Adobe's media encoder. I'm going to show you that it looks the same, but the added benefit is that we can close Premiere or we can keep working in premiere on another project while the computer does both the rendering and leaves us with premiere available to continue working. The one drawback of that option is that your computer will be slower because it's trying to render at the same time. But again, export, the default option will render inside of premiere and I'll show you again that, that just starts rendering here, it doesn't let you close premiere at that stage, I'll cancel and I'll go to Q and we'll see that median encoder opens up and median encoder comes free with premiere, so it's not a separate program that you pay for and this is what it looks like. Media encoder is nice because you can render multiple files at once. You can also render two kinds of formats. Let's say that we did want to render our final file for archiving purposes and we wanted to render our YouTube file, which is that the smaller, more compressed file, we can do that, so if we have this project selected, we can add not a source, we can add output. We add output and then from here you see that they're the same but if I go to this one, I can change these options and I can do a quick time, progress, and I'll just do the basic 422 and now this file is my archivable file, this is my copy, and this file is for YouTube and they will render simultaneously, so that's a nice feature of media encoder where you can do two outputs of one project or you can do multiple projects and fill this up. Another nice thing of media encoder is that it has all these presets in a visual manner, so if we go to broadcast, broadcast is where we'll find our DNx. These are our editing codec options. DNx and Quick Times progress, I'm sorry, Apple progress. Apple progress and DNx are our editing codecs or our archiving codecs. This option is usually the correct option, just basic progress 422, or if you're doing DNx, DNxHD is limited to 1080p. If you have a 4K file, you can go to DNxHR, which stands for high resolution. This is where we'll get 4K or UHD or whatever you need. These are the options that you would use for archiving. We also have the neatly organized web video section where we go to social media and we can see Facebook, we can see Twitter, We can see Vimeo, We can see YouTube. This is really nice because it makes it so that you don't have to really know what these settings are, but I just want you to know so that in case you do need to change something or if you want to customize something to your liking, you can. But for the most part, these programs, these NLEs, create these presets for you, and it's pretty simple. All you have to do is just drag and drop and you can add an output. You see that now I have a third output. I have my archiving output, I have my YouTube 1080 and I have my YouTube 4K and I can delete that. If I decide that I want to double-check setting or if I want to change the setting, all you have to do is change it from here. If I want to change the name of the file, like this one says to cow one. What I can do here is I can create a new folder. It's a good practice to have a folder that you have all your renders in, so I'll just make a Render folder. I'll click that folder and I can call this YouTube instead of one, that way I know for future use. To Cal You tube, and I hit save and now I have to Cal and I have to Cal YouTube. It's that simple. If we hit Start here, it will start rendering or what a lot of people like to do, I know that I like to do it is from Premiere, when we queue out, we queue it out to here, and then we leave it here and when we go to bed, we can hit start. If we go back to the settings, now that you know the basic idea of rendering, we can talk a little bit more about some of these other settings. We talked about video and we talked about how that's going to be the main thing that you're going to be using, we were on the video tab. Audio, I recommend AAC, that is the audio codec that YouTube uses, so it's there by default. The bit rate here is that the bit rate that YouTube recommends. You don't really need to do anything here. But if we look at publish, publish gives us some nice options. We're not going to use Creative Cloud but if you do want to save a file to Creative Cloud, then you can do that through here. This will automatically be logged into your Creative Cloud because you have to be logged in to use the program. If you are a user of Premiere, it means that you are a creative Cloud user and this should be pretty simple. But we're going to hide this. We're not going to do Adobe Stock. But there are quite a few as you can see, social media options. We have Facebook if we wanted and it says not logged in and we can keep going. We can upload to an FTP server through median coder or through Premiere. We can upload a Twitter and what you're probably going to be using is Vimeo and YouTube. What you would do is you would select one or the other, let's do YouTube. You could sign in and then you select a channel that you want to publish to. Then you can put all your information and you can even select the privacy setting. The custom thumbnail can be uploaded directly through this little feature, this tool. Once you have everything selected, if is on, once the file is done rendering, then we can also upload straight to YouTube automatically. We don't have to wait for the render to finish and then upload manually, we can just let this do the work for us. Those are the nice features that we have for rendering in Premiere. Now I want to take a look at how we would render in DaVinci Resolve. I'm going to go ahead and close this, and I'll close this. In DaVinci Resolve, we have our deliver tab and this is basically our render page. If we look here by default, I think this is on custom and custom might look a little scary because we can do the location and file name and stuff like that, but then we have these individual tabs that switchover. But I want you to know that this isn't too much information. This is nice if you want to have a custom render setting. But actually what you are going to be doing is going to YouTube or Vimeo. Or if you want to take a look at some of these other ones, you can as well. If you're using Premiere and DaVinci Resolve interchangeably, what you can do is you can do an XML file. It will create an XML file and it will create renders of these individual files and then it will relink those files. You might not need this option. There are few people who do this back and forth workflow, but it is nice that DaVinci knows that some people use resolve only for its color purposes still, like there's some people who just work like that and you can render out your colored files, your graded files, and then go back to Premiere to continue editing. But what we want do, we're not going do Premier XML, we're not going to do custom. What we're going to do is take a look at YouTube. Vimeo is pretty much the same, so I won't show you the differences there. I'll just use YouTube because I feel that's the most commonly used option. We have our basic settings here. We would name the file, we would select the location, so you would browse to find where you want to render it. You would select a resolution. I'm pretty sure the free version of resolve does not allow you to do a 4K YouTube render or any render for that matter. I don't think the free version of resolve allows any 4K renders. So we'll, we'll look at this. You see by default it says format Quicktime. You can do mp4, but we'll leave it at QuickTime. What this is is the options that you would select. Again we see DNx, we don't see progress. Let's take a look at custom and I'll show you what I mean. If you're doing an editing codec render, maybe you need to do that for whatever reason, then on a Windows computer, you'll only have the DNx option and on an Apple computer you will have the Progress option. As of right now, resolve has not enabled the functionality to render to progress on a Windows computer. We do have that option available in Premiere because they have recently implemented that they have some kind of agreement with Apple and their format. You can render to an apple progress format through Premiere, or through Media Encoder, but as of right now, resolve does not give you that functionality. That's okay though because DNx is a really good codec as well as an editing codec and if you didn't need that, then you can find that here in your custom settings and that would be under QuickTime. But we're going to go back to YouTube and I'm going to show you that by default we want H.264, I mentioned that earlier. Under type, this is where we get the option to use hardware acceleration. As I mentioned before, I have an NVIDIA graphics card, so the NVIDIA graphics card is an option.
Rico Gonzalez, Video Production Professional
