Start free

Get App

Home
/
Transcripts
/
English
/
Introduction to DaVinci Resolve – [Full Course] for Beginners (2026) — Transcript

Introduction to DaVinci Resolve - [Full Course] for Beginners (2026)

Casey Faris

Transcribed Oct 23, 2026

Duration: 310:57

Words: 64,989

Reading time: 325 min

Language: English

Speakers: 1

English Casey Faris

Full beginner course on DaVinci Resolve covering media management, timeline editing, color grading, Fusion effects, Fairlight audio, and final delivery, with free-version tips.

Key Takeaways

DaVinci Resolve combines editing, color, effects, and audio into a single application, with the free version sufficient for most beginner work.
Hardware matters: a capable GPU or modern Mac is recommended for smooth performance.
Prior experience with simpler editors like iMovie, CapCut, or Premiere makes learning Resolve easier, but it is not required.
Learning Resolve takes patience, and the course is structured in small, digestible chunks.

What the video covers

Presented as a complete introduction course to DaVinci Resolve, originally a paid course offered for hundreds of dollars and now given away free.
Explains what DaVinci Resolve is: a video editing tool that also serves as a one-stop shop for post-production including color, effects, and audio.
Outlines system requirements, noting Resolve is resource-hungry and needs a decent graphics card or a recent Mac.
Explains that the free version of Resolve can do nearly everything shown in the course.
Covers media management: importing footage and organizing clips into bins.
Teaches timeline editing basics such as loading clips in the viewer, splitting, trimming, and using keyboard shortcuts.
Introduces color grading, including node-based correction, matching shots, and using windows and masks to isolate areas.
Demonstrates Fusion for effects, compositing, masks, and tracking such as the magic mask.
Covers Fairlight audio mixing for dialogue and sound.
Walks through multicam syncing and final delivery/export for platforms like YouTube.

Chapters

Do I need the paid version of DaVinci Resolve to follow this course?

No. The instructor states that pretty much everything shown in the video can be done in the free version of Resolve.

What kind of computer do I need to run DaVinci Resolve smoothly?

A good system is needed, ideally a mid-range gaming PC with a decent graphics card or a Mac M2 or later. Resolve is resource-hungry, so basic computers may struggle with advanced tasks like compositing.

Is prior video editing experience required for this course?

It is not essential. Experience with simple phone video editing helps, and familiarity with iMovie, CapCut, or Premiere makes learning Resolve easier, but beginners can still follow along.

Full Transcript — Download SRT & Markdown

00:00

Speaker A

I designed this video from the ground up to be the greatest video ever created on DaVinci Resolve. This is an entire introduction course. This is a course that we used to charge hundreds of dollars for. We've helped millions of people learn Resolve. And I'm excited for you to learn Resolve, too.

00:13

Speaker A

people learn Resolve. And I'm excited for you to learn Resolve, too. By the end of this video, you're going to be able to use Da Vinci Resolve to start creating the videos that you want to create. Everything from media management

00:23

Speaker A

By the end of this video, you're going to be able to use DaVinci Resolve to start creating the videos that you want to create. Everything from media management to laying out your clips in the timeline to color grading to compositing to audio mixing, all the way to final delivery, so that you can upload your footage to YouTube or output it for whatever purpose you need.

00:36

Speaker A

all the essential need to know stuff, everything about Resolve that you'll need to know to get started. You can download footage and follow along.

00:42

Speaker A

We're going to go over all the essential need-to-know stuff, everything about Resolve that you'll need to know to get started. You can download footage and follow along. There's the top link in the description there.

00:52

Speaker A

Da Vinci Resolve. A little bit more advanced stuff, pretty much all of the next steps that you would want to take right after this course. And so, if you want to dive a little bit deeper, we're hoping you might buy a course. That

01:02

Speaker A

And yeah, this is just a massively amazing course that we're giving out for free. Why are we doing that? Well, because at Ground Control, we actually have quite a few courses on DaVinci Resolve. A little bit more advanced stuff, pretty much all of the next steps that you would want to take right after this course. And so, if you want to dive a little bit deeper, we're hoping you might buy a course.

01:12

Speaker A

can charge for and get clients. I absolutely love being able to empower people to be creative and Resolve is one of the coolest tools available to be able to be creative with uh digital media. You ready to go? Let's do it. So,

01:24

Speaker A

That said, you can just watch this video and be off to the races. Man, you're about to go from somebody who doesn't know anything about Resolve to being able to use Resolve to make videos that you want to make, and even make videos that you can charge for and get clients. I absolutely love being able to empower people to be creative, and Resolve is one of the coolest tools available to be able to be creative with digital media.

01:34

Speaker A

that uh take a little bit more system resources, if you don't have a good graphics card and kind of a good uh like a mid-range gaming PC or maybe like a Mac M2 or later, you're probably going to have a hard time. Resolve is really

01:49

Speaker A

You ready to go? Let's do it.

01:57

Speaker A

good system. Okay. Two, you need a copy of Resolve. Resolve has a free version that's amazing. Pretty much everything I show you in this video, you can do in the free version. Okay. I'll let you know if there's a paid version thing.

02:09

Speaker A

So, what do we need to get started here? The first thing that you'll need is a good system. Now, you can use Resolve on a pretty basic computer, but once you start getting a little bit deeper, especially into compositing and things that take a little bit more system resources, if you don't have a good graphics card and a good mid-range gaming PC, or maybe a Mac M2 or later, you're probably going to have a hard time. Resolve is really resource-hungry.

02:19

Speaker A

through a video before, that's a really good start. But learning Resolve is going to be especially easy for you if you've used something like iMovie or Cap Cut or Premiere or something like that.

02:29

Speaker A

So, I want to make sure that if you're following along, you're doing that on a good system, or else it's not going to be very much fun. So, that's number one. You've got to have a good system.

02:43

Speaker A

kinds of stuff and it's really easy to feel lost and frustrated especially when you start looking at the interface like we're going to look at in a few minutes.

02:50

Speaker A

Okay. Two, you need a copy of Resolve. Resolve has a free version that's amazing. Pretty much everything I show you in this video, you can do in the free version. Okay. I'll let you know if there's a paid version thing.

03:02

Speaker A

just the need to know knowledge in little bite-sized chunks so it doesn't take quite as much time and you don't need quite as much experience. You can use the free version. And a lot of this stuff you can do on a system that maybe

03:12

Speaker A

Something that would be helpful in this video is a little bit of knowledge on how video editing works and stuff. It's not totally essential. If you've taken videos with your phone camera and you've scrubbed through a video before, that's a really good start. But learning Resolve is going to be especially easy for you if you've used something like iMovie or CapCut or Premiere or something like that.

03:25

Speaker A

of video editing software and what makes it unique is that not only can you do video editing like in the traditional sense of putting clips together in a story and kind of lining that out and cutting out the parts you don't want and

03:38

Speaker A

All of those editing skills transfer nicely into Resolve. The other big thing I'd recommend is that you actually dedicate some time to this. Learning any new skill takes time, and Resolve is a great big, deep program that can do all kinds of stuff, and it's really easy to feel lost and frustrated, especially when you start looking at the interface like we're going to look at in a few minutes.

03:50

Speaker A

also really, really great at color correction. And it can also mix audio really well. And so all of these things kind of come together as sort of a one-stop shop for what we call post-prouction. That's everything that happens after you shoot. So managing

04:04

Speaker A

But I want you to take some time and have some patience. Be kind to yourself, because learning this kind of thing, especially if you're brand new to it, is not easy. That said, I'm going to do my very best to move slowly and to give you just the need-to-know knowledge in little bite-sized chunks, so it doesn't take quite as much time and you don't need quite as much experience.

04:19

Speaker A

on great big movies and TV shows and all kinds of stuff. Like here on the Blackmagic website, you can see clips from movies that have used Resolve. I mean, from Marvel and from Disney and things that you would see in the

04:33

Speaker A

You can use the free version, and a lot of this stuff you can do on a system that maybe isn't the highest-spec system ever, especially the media that we link down below, which should all run on just about any system without lots of trouble.

04:49

Speaker A

And the thing that's really cool about Resolve is it's really like several programs all in one. And they split these different programs up into pages.

04:59

Speaker A

So, let's start with the very basics. What the heck is Resolve? Resolve is a piece of video editing software, and what makes it unique is that not only can you do video editing in the traditional sense, putting clips together in a story, lining that out, cutting out the parts you don't want, and that kind of thing, but it can also do fancy things like adding explosions and lightsabers, duplicating people, and cloning things out. Things that you might think of using Photoshop for, but for video.

05:12

Speaker A

color page which is all about color. We have the fusion page which does the effects and graphics and things like that. We have the Fairlite page which is all about audiom mixing. And so this is the kind of thing that you would

05:25

Speaker A

DaVinci Resolve is also really, really great at color correction, and it can also mix audio really well. And so all of these things come together as sort of a one-stop shop for what we call post-production. That's everything that happens after you shoot: managing your media, putting it together in a timeline, graphics and effects, and all kinds of stuff. All of that can happen inside of Resolve.

05:35

Speaker A

So here, if I bring up Resolve, we see these buttons right here. And this is how you switch in between those different apps to do the different parts of your video editing. And there is a lot to go over for every page here. I

05:50

Speaker A

And Resolve is a very high-quality program. It's a professional program. This is the kind of app that Hollywood uses, and they use it on great big movies and TV shows and all kinds of stuff. Like here on the Blackmagic website, you can see clips from movies that have used Resolve. I mean, from Marvel and from Disney and things that you would see in the theaters. This is the kind of production quality that we can do with Resolve. I mean, it's nuts.

06:00

Speaker A

the end of this video. Resolve has a bunch of different effects and I mean things that you would think about like Instagram filters. It has stuff like that. It has blurs and film looks and different filters to stylize your video.

06:12

Speaker A

So the fact that we have such a high-quality piece of software available for free in the free version is just nuts. And the thing that's really cool about Resolve is it's really like several programs all in one, and they split these different programs up into pages.

06:24

Speaker A

party tools and stuff. There's even specialized hardware that it works with. They have these unique editing keyboards as well as color grading panels which are really fun. And I mean you can just go crazy. You can get this huge mixing

06:37

Speaker A

And so here we can see the different pages in Resolve, and they each have a different job. So there's the Cut page and the Edit page, which is focused on putting your clips together in a story on a storyline. We have the Color page, which is all about color. We have the Fusion page, which does the effects and graphics and things like that. We have the Fairlight page, which is all about audio mixing. And so this is the kind of thing that you would traditionally need to use several different apps for, but it's all built inside of Resolve.

06:50

Speaker A

plane or you can use the paid version with all kinds of hardware in a huge studio. and it's all using the same piece of software with just, you know, little different features. So, let's talk about the free version versus the

07:01

Speaker A

And so here we have the pages of Resolve. They're actually represented by these buttons that are down below on the interface of Resolve. So here, if I bring up Resolve, we see these buttons right here. And this is how you switch in between those different apps to do the different parts of your video editing.

07:13

Speaker A

up, and you start making stuff with it. If you get into some corner of Resolve where something is only available in the paid version, it will pop up and tell you. And I always recommend that you only upgrade if you keep running into

07:25

Speaker A

And there is a lot to go over for every page here. Every page is its own huge monster. And we're going to go over the basics of each of them so that you aren't lost, and you'll be able to use each page at least in its basic form by the end of this video.

07:37

Speaker A

smaller than 4K. That's like the consumer 4K. It has color grading. It has Fusion compositing. It has Fair Light. You can use it for commercial work. There's no demo period. There's no watermark. It's just a ridiculously good deal. It's free. There's no catch. It's

07:54

Speaker A

Resolve has a bunch of different effects, and I mean things that you would think about, like Instagram filters. It has stuff like that. It has blurs and film looks and different filters to stylize your video. It has a whole bunch of AI stuff built in. A lot of that is only available in the paid version, but I'll show you a couple really interesting unique things as we go along. It works with other plugins and all kinds of third-party tools and stuff.

08:08

Speaker A

new AI features that will do things like sweeten your audio or cut out a person walking across your video so you can put graphics behind them. And there's a lot of really nice little features that just make Resolve even better. Resolve

08:21

Speaker A

There's even specialized hardware that it works with. They have these unique editing keyboards as well as color grading panels, which are really fun. And I mean, you can just go crazy. You can get this huge mixing board for Fairlight. Look at this. That's nuts. Or you can just use the free version on your laptop. That's the amazing thing about Resolve: it scales to your ability and your needs. You can use the free version on a laptop on a plane, or you can use the paid version with all kinds of hardware in a huge studio, and it's all using the same piece of software with just little different features.

08:34

Speaker A

upgrades in the future, but even if they do, this is a smoking deal because there are a lot of really cool things in the paid version of Resolve that I would highly recommend getting the paid version for. But again, if you're just

08:45

Speaker A

So, let's talk about the free version versus the studio version. Peopl

08:58

Speaker A

goes. Consider getting the paid version when you have some extra money or if you need some of the really specific things that Resolve Studio will give you. But the free version is perfect for I mean, 90% of people can totally use the free

09:10

Speaker A

version. And this is really the reason why we teach Resolve at Ground Control is because our mission is to encourage and empower creativity. We want people to be able to create the things that they want to make. And right now, Da

09:22

Speaker A

Vinci Resolve is like the greatest tool for that. So, I'm really excited that you're looking into it. Let's get into the actual software, shall we? By the way, I'm using Da Vinci Resolve 20 for this video. In the future, whether

09:33

Speaker A

you're using Da Vinci Resolve 20 or 20.5 or 21 or whatever comes out next, 99% of what we're going over is going to apply perfectly. But if you're on Resolve 21 or something, probably not a big deal.

09:44

Speaker A

Another thing to mention is that I am using the studio version of Resolve, but everything that I'm going to show you is in the free version. Okay? So, don't be asking me in the comments, is this all in the free version? Do you even listen?

09:56

Speaker A

So, when you open Resolve, this is the first thing that comes up. Now, this panel right here, this is called your project manager. This is how you navigate to your different project files. You can see I have some of these

10:06

Speaker A

older projects here. Yours might look more like this, and that's totally fine. But here is where we open past projects and make new projects. And all of the projects here, these live in our project library. We can browse our project

10:21

Speaker A

libraries over here. And by default, you'll be working on your local libraries. Now, what the heck does that mean? So, a library is just a database of your projects that lives on your system. It's basically just a folder

10:33

Speaker A

that has your projects in it. Resolve is kind of picky about where that folder goes. It always wants to have access to just that folder. You can't just put projects willy-nilly all over the landscape. So, by default, it's probably

10:45

Speaker A

on your system drive. You can hit this little I and then click on open file location. And so, for me, it's under C users Casey documents resolve disc library. And if you go through a whole bunch of subfolders, you'll find all of

10:56

Speaker A

your projects. Now, I wouldn't worry about this too much. Here's why. The only time you're going to need to open up a project is in Resolve. And Resolve knows where that is. If you want to save a project that's not in that library,

11:08

Speaker A

maybe you want to save it and give it to somebody else or you want to save it as a backup or something like this, all you have to do is rightclick on your project and go down to export project. that will

11:18

Speaker A

let you save a copy of your project to your desktop or to an external drive or to cloud storage or whatever you want to do. That's going to make a DRP file.

11:27

Speaker A

That's short for Da Vinci Resolve project. This is a great way to do things, but just know by default all of your projects live in your library, which is a folder that Resolve knows about on your system. You can have

11:38

Speaker A

multiple libraries and multiple folders. We'll get into that some other time. Now, you also have network libraries and cloud libraries. A network library is for a studio that has kind of a server and all that stuff. You probably don't

11:51

Speaker A

need to worry about that. Cloud libraries are shared projects. These are projects that you can actually share with other editors that have access to your cloud account. And so just like we have this folder on our local library on

12:04

Speaker A

our system, we can have a folder that lives on the Blackmagic website basically that you can all kind of share and access and it's really slick. If you want a video about that, let me know and we'll talk more about it. But for now,

12:15

Speaker A

all we really have to do is go down here to where it says new project. And let's make a new project. And we're going to call this intro to Resolve to Resolve like this. And we'll just say 2025 cuz that's the year that I'm

12:30

Speaker A

recording this. And it's going to ask you for a media location. For now, let's just not worry about that. Let's just leave it at default and hit create. Once you do that, it's going to open up the Resolve interface. This is where we

12:41

Speaker A

actually have to start doing things. But first, a little tour. Most of this interface, like everything within the red box, is actually going to switch out depending on what page you're on in Resolve. Here we have the pages. And as

12:56

Speaker A

I click on the different pages, that's going to switch out my interface. And kind of like we were talking about earlier, it switches it to kind of like a different app, but it's not a different app. This is all Resolve. And

13:08

Speaker A

it all kind of shares the same project, which is really slick. And we'll get into that here in a little bit. But that's the first thing I want you to do is go down here and just switch these

13:16

Speaker A

pages and get used to switching out that interface. But where we're going to start is this far left page, the media page. All the way over here. Click on media for me. And now all of our panels have switched out for the panels for the

13:30

Speaker A

media page. Now, something to mention here is that this isn't just switching a layout. This is actually switching into kind of a different mode. Even though there are common panels in between the pages, it's not just a different

13:42

Speaker A

workspace. It's actually like a different mode of creating. So, let's start talking about what the heck the media page is. Well, each page has a really a specific job. The media pages job is to manage media. And so, this is

13:55

Speaker A

a perfect mode to put Resolve in when you don't have any media in your project and you're looking to put some in there.

14:01

Speaker A

So, a little tour of the interface. In the upper left, we have this panel, which is our media storage panel. This is a way to navigate on your system to any media that you want to bring into Resolve. So, I'll just navigate to some

14:15

Speaker A

media here. And once you find the folder up here, then you can actually preview the media just by mousing over any of these thumbnails. This is what we call hover scrub because you hover over this thumbnail and it scrubs the video. That

14:29

Speaker A

means it just moves that playhead back and forth so you can see what's going on. This is a great way to be able to preview the footage that you have before you bring it into your project. Now, what do I mean by that? Well, even

14:41

Speaker A

though we're looking at this media here, the media isn't actually imported into the project. We haven't told Resolve to use the media. We're really just kind of using Resolve to go and find it. But, we haven't said anything about wanting to

14:53

Speaker A

edit anything or combine clips together or change them. So, in order to change anything or work with this media, we need to import it into Resolve. To do that, real simply, we can just grab a piece of media here from our media

15:05

Speaker A

storage and drag it down to this panel down here, which is called our media pool. It's going to ask if we want to change the project frame rate. We'll explain this a little bit later. I'll hit change right now. Okay. What that's

15:16

Speaker A

going to do is put this piece of media down here in the media pool. Anything that's down here in the media pool actually lives in our project. So, we've told Resolve that, hey, there is a piece of media called A54191

15:31

Speaker A

blah blah blah. And it lives on our system. Here it is. I want to actually work on this. And so, we've told Resolve that we're actually going to use this and play with it and work with it and

15:41

Speaker A

edit it with other videos and all the fun stuff that Resolve does. All the media up here in this panel is not in our project yet. It's just on our system. So, as far as Resolve is concerned, it only really knows about

15:53

Speaker A

this one clip. In fact, I would consider using this panel a little bit optional.

15:59

Speaker A

It is a nice way to be able to hover scrub and kind of find the media that you want. But you could also just close this media storage and bring things directly into the media pool. You could do that a couple ways. You could

16:09

Speaker A

rightclick here and say import media. You could go up to file and go down to import media. Or you can just drag media into the media pool from your system.

16:20

Speaker A

And so here I have a bunch of footage. I can grab any of these and just drag them into the media pool. And again, now it knows about this footage because I put it in the media pool. It lives in the

16:29

Speaker A

project. So now we have two clips that we can work with. What if we had a bunch of clips? So I'll just grab a bunch of this and drag this in here. Now we have a bunch of clips here in the media pool.

16:40

Speaker A

We have all these clips that we can work with for our movie. But it would actually help to start getting organized here. That's one thing that the media page is really good for. And especially working here in the media pool. You can

16:51

Speaker A

rightclick anywhere here in this empty space and you could go up and say new bin. That makes a little folder inside of the Resolve project where you can put different pieces of media. So we can put whatever piece of media we want here.

17:04

Speaker A

Just anything with the girl. Let's say great. We just say girl. Sure. Can double click and open this. And we have our media here. We also have a list of bins over here on the left which we can

17:19

Speaker A

kind of navigate to. And it's kind of a little folder structure here. And so if we have another bin here, we could say wide shots. Sure. Let's pick all the wide shots here and put them in wide.

17:31

Speaker A

Sure. And now we have these different bins here. We can organize this. We could also right click here in the bin list and say new bin. That works too.

17:40

Speaker A

Bin three. Sure. And we can put those into bin three. We can also drag them like this. There are different views in the media pool. You can zoom these thumbnails in and out with this slider.

17:53

Speaker A

You can switch it to list view if you want to see a little bit more information about your clips.

17:59

Speaker A

You can switch this to metadata view, which is kind of a mix of the thumbnail view and there's also a little bit more data on them. Most of the time I either use the thumbnail view or the list view.

18:10

Speaker A

And this is really how we get organized when it comes to our media here in Resolve. All about the media pool. So, I'm actually going to get rid of all of these just so we have no clips here. And

18:21

Speaker A

I want you to do this with me. If you downloaded the media to follow along, you should have a folder called drag these folders into media pool bin list.

18:28

Speaker A

Now, this is going to be absolutely shocking, but here's what I want you to do. I want you to select all of these folders and I want you to drag them into the media pool bin list right here. Just

18:38

Speaker A

like this, right under here where it says master and drop them. That's going to take Resolve a second.

18:45

Speaker A

And then it's going to make bins out of each of those folders. So, that's going to be organized just like it is in our Finder or Explorer window in these different folders. If you drag these into the media pool itself and not the

18:57

Speaker A

bin list, it's just going to throw all of the media in there without the folders. So, make sure to drag them here. All right. So, now we have all of the media that we're going to use for the rest of this video. and feel free to

19:10

Speaker A

open up the bins, go through it, and take a look at some of this footage. We have all kinds of fun stuff. We have a production meeting here with multiple cameras. We have footage that we're going to color grade later. We have

19:22

Speaker A

footage that needs some compositing and some effects. And we have some clips that we're going to edit together into a story in the edit page. Now, I don't want to spend tons and tons of time on this, but I do want to show you a couple

19:33

Speaker A

little extra things about the media pool. One thing that can be really helpful in the media page is the metadata. Now over here we have a metadata panel which has nothing to inspect right now. But if I select the

19:47

Speaker A

clip that's going to show us metadata on this clip. Now what is that? It's just basically information that is recorded with the clip. We can make this panel bigger by going up here and clicking where it says audio. That's going to

20:02

Speaker A

close our audio panel here. In fact, any panel in Resolve pretty much has some kind of header like this, usually at the top. And when it's bright white, that panel is open. And when it's gray, it's closed. And so, this is how we can open

20:15

Speaker A

and close different panels in Resolve. And this is common to all of the pages.

20:20

Speaker A

We're going to be doing a lot of that. So, we have our metadata panel open here. And I can see all kinds of information about this, but there's actually even more information. If I go up here to the upper right, this little

20:29

Speaker A

button right here, I can click this and say all groups. And that gives us just a ton of stuff. Most of this is stuff that we can fill in later. And so if you're the kind of person that really likes to

20:42

Speaker A

be organized and really, you know, you write notes about stuff and you tag things and you have labels all over your house and you have spreadsheets, this is the best place for you. You can write all kinds of notes about every single

20:57

Speaker A

thing that you want for your piece of media here. You can write a description, comments, the shot, scene, take, angle.

21:03

Speaker A

All of this stuff you can do right here in the metadata panel of the media page.

21:07

Speaker A

It's probably way more detailed than you ever really need to be. But here's what's really cool about that. Let's select this uh clip 24. I'm just going to double click on this clip 24 here.

21:16

Speaker A

That'll load it up in this viewer. So, if I double click on it, then I don't have to be hover scrubbing it. I can just scrub this up here in the viewer.

21:24

Speaker A

And what I can do is zoom in by just rolling with the scroll wheel here to this slate. This is the reason why we shoot with slates is because then we can easily tell what scene and take a clip

21:35

Speaker A

is. And we could if we wanted to go here into the metadata and kind of record that. So scene 4.5 take five. So now we have that here in the metadata because we kind of read it off of here and just typed it in. We can

21:50

Speaker A

do the same thing for other clips here. Let's find it. So this is 4.6.

21:56

Speaker A

4.6 take two. 4.7 take 3. And you could go through and tag all of your clips with this. What's neat about this is I can switch this to list view and I can rightclick up here in this header and I can pick any kind

22:11

Speaker A

of metadata that I want to show. In fact, I'll uncheck a bunch of this stuff cuz I don't care about most of it. Just uncheck all the stuff I don't care about and then just check the stuff I do care

22:22

Speaker A

about. So, for instance, scene, take, and then I can organize this by scene and take, and I can quickly see where my scenes and takes are, match that up to my script if I want to, whatever I want

22:33

Speaker A

to do here. And so, this is a really nice way to get organized. I could also rightclick here and select keyword. And here I could do something like, all right, this is an over- the-shoulder shot. So, we could go into keywords here

22:46

Speaker A

in my metadata, and type OTS. That's short for over the shoulder. Just like that. That's going to add that keyword here. And anything that I have that's an over-the-shoulder shot, I can just kind of page through here and see if there's

22:58

Speaker A

anything else that's an OTS. This is sort of an over- the-shoulder shot. Sure, let's call it that. OTS like that.

23:06

Speaker A

Boop. Now, we have these listed as OTS. So, I could sort them by keyword, but I can also go to something called a smart bin. Smart bins are like a live filter.

23:18

Speaker A

It's sort of like a folder that it puts a copy of things into based on whatever you set the smart bin to. And by default, if you click on keywords, it makes a smart bin for every keyword. So,

23:30

Speaker A

I can click on OTS, and that's going to show me just the OTS shots. And you can make keywords for absolutely anything you want. It can be completely custom, which is really neat. There's also these collections here, which will give you

23:42

Speaker A

some quick things to sort by. for instance, video clips, audio only, and it even has a way with AI where it can kind of sort and categorize things. In fact, let's do that. Let's grab our audio only stuff. Let's just grab all of

23:54

Speaker A

this here. I'm going to just shiftclick the end of that, right click, and go down to AI tools, audio classification, analyze. This is something that's only available in the paid version. I promised I'd tell you when there's paid

24:06

Speaker A

version stuff. Any kind of AI stuff is pretty much in the paid version. All right. But what's neat about this is once it analyzes all of that, then I can go and look for clips just with dialogue, clips with just music, clips

24:18

Speaker A

that are more for effects, and there's also subcategories, and it will try and figure out clips that have things like effects in them, things like a door, things like a dog barking, things like laughter or liquid. Sometimes it does

24:33

Speaker A

all kinds of weird things, like it thinks they're sheep or pig. There's a toilet flushing sound. It nailed that one. And so that's kind of fun. If you have lots and lots of clips that you want to organize a little bit better,

24:44

Speaker A

you can use that AI to do that. But again, that's in the paid version and you don't need to do that. You can always make your own keywords and kind of organize this yourself. You can even rightclick here and say add smart bin

24:56

Speaker A

and you can do kind of a live filter based on all kinds of stuff. So media pool properties. You could even do like things from a certain scene. If the scene contains, you know, scene four, then that's going to only show scene

25:11

Speaker A

four. And if we hit create, then we have the smart bin one, which we could rename scene 4. And you could have one for each scene. All kinds of stuff you can do with this. This is especially helpful

25:22

Speaker A

for documentaries and things where you have lots and lots and lots of footage that you need to stay organized with.

25:28

Speaker A

Things where you have, you know, 20 hours of B-roll. It's great to spend some time before you edit to kind of get this all organized here. And there are a few more things that you could do in the

25:37

Speaker A

media page, but this is really what I use this for most of the time is going through and getting organized, logging footage, putting putting metadata in, and just kind of getting our head around all of the media that's in our project.

25:50

Speaker A

And I'm going to show you one more cool thing before we get into the edit page.

25:54

Speaker A

And this is something that you can actually do in the other pages, but is a great thing to do in the media page as well. And that is syncing audio. If we open up our clip and play this back, we

26:04

Speaker A

have the audio from the camera. The kids are talking, but you can't really hear them very well because the camera is really far away. Now, we had a boom mic here where we were recording some audio so that we can actually hear

26:17

Speaker A

them, but that recorded to a separate recorder. In fact, if we open up our audio here, this clip 108, scene four, shot 18, take three.

26:28

Speaker A

He said, "Scene four, shot 18, take three." Scene four, shot 18, take three. Scene four, shot 18, take three.

26:42

Speaker A

So, how do we get this audio and this video to sync up? Well, you could actually put them together on a timeline, which I'll show you a little bit on how to do something like that later. But one thing that Resolve can do

26:53

Speaker A

that's really great is we can take this audio. Let's actually just take grab all this audio and throw this into that folder. So, we have all of the audio and video together. I can take this clip and this clip. I'm just holding control and

27:04

Speaker A

selecting both of these. And I can rightclick and go up to audio sync, autosync audio. This is something that is still available in the free version.

27:13

Speaker A

and we're going to select synchronize using waveform like this and hit sync. What that's going to do it you just about miss it. What that's going to do is replace the audio in our video clip with the audio from that mic. So here

27:31

Speaker A

camera audio scene four shot 18 take three. That still works but now go check it out.

27:39

Speaker A

No, you go check it out. we can actually hear them because we have that good audio switched out. What's cool about this is we can actually select all of our clips. Just shift select all of this, right click, audio sync, autosync

27:50

Speaker A

audio, and that's going to go through all of our clips and sync them together.

27:55

Speaker A

So, anything that matches with the other one, it's going to replace that audio. Now, some of the clips it didn't really work for, and that's okay. We can worry about those later, but for most of them, it worked. So, it says clip 20 and clip

28:08

Speaker A

19. Let's look at clip 20 and clip 19. And there's not really any audio that we need to hear. There's not not any dialogue. So, it's really not that big of a deal. But from now on in our

28:23

Speaker A

project, we'll hear the good audio fine instead of the on camera audio. And that's going to make editing a lot easier. In fact, if we want to double check and make sure that things are synced up, we can rightclick here in

28:34

Speaker A

this header and find synced audio. And that's going to list the audio right here that it synced up with that clip.

28:42

Speaker A

Isn't that nice? Such a great feature. Next, let's talk about editing. And for that, I'm going to go into the edit page. I'm actually going to skip over the cut page for just a minute. But to switch to the edit page, all I have to

28:54

Speaker A

do is click on edit. And that'll switch to the edit page, and we're ready to start working on our story. Now, a lot of what you do in Resolve is going to be in the edit page because you can kind of

29:05

Speaker A

think of it as like the hub for all of the things that happen in your video.

29:10

Speaker A

The edit page is where we take all of these clips that we have in our project and we actually put them together in a timeline. The timeline is where we figure out the order of the clips and how long they take and which parts we

29:21

Speaker A

use. And we're basically building our new edited video with the timeline. It's really all about building a story.

29:30

Speaker A

And so if we're shooting a scene in a movie about Bill getting into his car, we can shoot all of the different pieces of this. Bill walking to his car, Bill getting in the car, Bill getting a phone

29:39

Speaker A

call, Bill opening the door, Bill waving to the neighbor. We can shoot all of these things happening in any order we want and then choose to change the order in our edit. So, Bill opens the door.

29:50

Speaker A

That's the fourth thing that we shoot, but we're going to put it first in our edit. Bill waving to the neighbor comes next.

29:56

Speaker A

Bill getting a phone call, Bill walking to the car, and then Bill getting in the car. And so even though we shot this out of order, the order that we're building in our edit is Bill opens the door, Bill

30:09

Speaker A

waves to the neighbor, Bill gets a phone call, Bill walks to his car, Bill gets in the car. This is the kind of thing that I'm so excited about when it comes to editing is because what we're doing

30:18

Speaker A

is we're building a story here. So everything in the edit page is about building that story. And that timeline is going to be where everything in our video lives. And we're going to make more tweaks to it later in these other

30:30

Speaker A

pages. But for now, kind of keep that in mind that that's our goal with the edit page. So, let's talk about the interface. We are going to have some familiar stuff here. Actually, we have these little buttons up here. When we

30:43

Speaker A

click these and they're white, they open up different panels. And the panel that's open by default over here on the left is our media pool. Now, this is exactly like the media pool in the media page. The only difference is instead of

30:56

Speaker A

it being down here, it's over here to the left. But you can still do all the same things. This is all the media that lives in your project. We still have our bins. We still have our smart bins. We can still

31:10

Speaker A

look at our media in various different ways. But you can sort of think of this as like your cabinet of ingredients that we're going to use to make our video.

31:18

Speaker A

Here we also have a couple of viewers. This left viewer is called our source viewer.

31:25

Speaker A

And this right viewer here is called the timeline viewer. What the source viewer is for is if I open up one of these pieces of media, double click on it, I can preview this piece of media. So I can scrub through

31:39

Speaker A

this and preview this and look all through any kind of media that I have.

31:44

Speaker A

And you do that just by double clicking on any of these pieces of media. And you can sort of think of this as like picking up something and looking at it.

31:51

Speaker A

So if you have a snack in your cabinet, you pick it up and you look at it like this, but you haven't actually added it to your plate yet. All you're doing is just kind of previewing it, looking at

31:59

Speaker A

it. So that's cool. You can double click on any piece of media to load it up here in the viewer. You can also switch this to this second mode right here with this little button. And this is called source

32:10

Speaker A

tape mode. And what this is is it basically takes all of your footage and it loads it all into this source viewer all at once and it just kind of puts them all together. And so if I scrub

32:21

Speaker A

through this, I'm scrubbing through this first clip. And if I go to this second part after this little tick mark, I'm scrubbing through the second clip and the third clip and so on. And so I can scrub through all of my clips in my

32:31

Speaker A

media pool, at least in the bin that I have up here, all at once in one motion.

32:36

Speaker A

This is great if you're looking for a specific shot visually that you want to lay over something. Makes it really, really quick to be able to find what you need to find. But you might find it less confusing, maybe a little bit easier

32:47

Speaker A

just to use this first icon here, this first mode where you double click on a piece of media and load it up here in the viewer. Now, once we have a piece of media selected that we like and we

32:58

Speaker A

actually want to add that to our video, we want to put that into our edit, what we have to do is add it to a timeline.

33:05

Speaker A

If the media pool is like our cabinet and our viewer is like picking up a ingredient from that cabinet, then the timeline down here, this is kind of like our plate.

33:17

Speaker A

So, if we want to actually eat something, we're going to put it on our plate. So, if we want to add this to our video, I can grab this clip just in the middle. I'm just grabbing it and

33:25

Speaker A

dragging it down here to our timeline. And that's going to add this clip to our timeline, which is like, you know, putting an apple on our plate. So now we have an active timeline. We have this playhead that goes back and forth. And

33:39

Speaker A

this is actually going to make the story of our video. Right now our story is this. If we go all the way to the left and I hit spacebar to play, we have a bunch of black space here. We have an

33:51

Speaker A

empty space. And then eventually our clip starts. And this is our full clip, not edited. We haven't done anything with this. It's just literally the clip thrown into the timeline. We still have people moving around. We still have the

34:03

Speaker A

slate, all of that kind of stuff. And so if we were going to export this movie right now and we were going to put this on YouTube or something, this is exactly what people would see is 6 seconds of

34:13

Speaker A

black followed by just this unedited footage. That doesn't really make a whole lot of sense. But we've done something really exciting already. We've put this clip down onto our timeline, which means that we actually have a video in progress. Now, we could render

34:30

Speaker A

this out and it will be a video that's different than this clip. So, we've done a little bit of magic already. We've created something. Now, it's not very good. It's not very interesting. So, we can change that. But all of the magic of

34:42

Speaker A

building our story happens down here in the timeline. So, let's change our story to be a little bit better here. The first thing I want to do is I don't want this black right here. I don't want to

34:53

Speaker A

watch 6 seconds of black before anything happens. So, we can take this and just drag it to the left. And we always want this kind of pushed all the way to the left at the very start of our clip

35:02

Speaker A

because then we start with an actual video, right? We can zoom into this timeline by clicking this little plus right here. That's kind of our zoom bar.

35:10

Speaker A

We can zoom in and out. And I can adjust this middle bar here. And I can move this up and down. And by default, we have a video track and an audio track added here. If I take the bottom edge of

35:20

Speaker A

this audio track and I drag it down, that'll make these waveforms a little bit bigger. And so we can see a visual representation of what's happening in the audio. So the bigger the spike, the more the louder the audio. So we can see

35:34

Speaker A

where the slate is right here. We zoom in here. We have these little spikes.

35:39

Speaker A

Teen take one. That's where that slate made that spike. And so we're going to start sometime after this.

35:46

Speaker A

What was that? So her saying, "What was that?" So that's a good place to start this clip.

35:51

Speaker A

That's where it actually gets interesting. That's the part that we're supposed to show. And so what we can do is we can trim this and kind of cut out all of this part and just start the clip there. The way that we do that is we

36:04

Speaker A

just mouse over the edge of this. And you'll see how my mouse kind of turns into this left bracket. I can grab this and then just slide this over like this.

36:13

Speaker A

And I'll have that clip kind of start right there. This is called trimming a clip. So just like you would trim a hedge or something like that or trim a piece of paper, you kind of cut off all

36:23

Speaker A

the excess. Right? So, we're cutting off this first part. Let's play this back. I'll just hit spacebar.

36:29

Speaker A

What was that? Great. I like that. Let's stop right after that. And I'll take the edge of this and drag this over here.

36:37

Speaker A

And we can see the outline of the full clip. And we're just going to use that little part. There we go. So, now this is a lot shorter, but we have all this black here. So, we can take this and

36:46

Speaker A

slide it all the way to the left. Just like that. Okay. I'll zoom in here so we can see what's going on.

36:51

Speaker A

What was that? Great. This literally this literally what I just showed you. Picking a clip here, dragging it down, and then deciding where you want to start that clip. So maybe starting it right here.

37:08

Speaker A

Go check it out. And trimming it to just be that part that you like.

37:13

Speaker A

Check it out. Um, no. You go check it out. Trimming off all the excess. This is like the bread and butter of editing.

37:24

Speaker A

This is like 90% of it. You can make so many amazing videos literally with what I just showed you. That's all you need.

37:33

Speaker A

That's all you need for so much stuff. We're just bringing those clips in, trimming them, and then putting them here in the timeline. And ideally, there wouldn't be any empty spaces in between them. So, we cut from one video.

37:47

Speaker A

Go check it out. Next video. All right. We're putting these clips together. And that makes a new story.

37:52

Speaker A

Just like in our example of Bill walking to his car, we're taking all these separate clips and then putting them together here in an order that we like in the timeline. Okay. And what's cool is that we have control over this. We

38:06

Speaker A

can do something like completely cut out the phone call. Bill opens the door. Bill waves to his neighbor. Bill walks to his car. Bill gets in the car. We can cut out this this whole first part and just say Bill walks to his car and then

38:17

Speaker A

Bill gets in the car. We are in complete control of this story and it's all about where these clips go in the timeline and what order they go in. So this is so great. Let's let's get our hands dirty

38:28

Speaker A

here a little bit. Let's let's make a story. So if we were to go to this second icon here, this source tape, and scrub through this, we can kind of get a good idea of the story here. These kids

38:40

Speaker A

arrive and they see this crashed UFO. They're a little bit scared about it, so they kind of argue who should go check it out. The girl finally convinces her brother to go and check it out. So he walks towards the UFO. So he walks up to

38:53

Speaker A

the UFO. They're both really nervous. And then as he walks up there, something moves. So this is just a few clips from a scene from our movie called Tuesday on Earth. And so what's great is we have all these clips and we can choose to

39:06

Speaker A

tell this story however we want. So a good way to start oftent times is with a wide shot. And we want the wide shot that shows the first thing that happens, right? So, we have the kids kind of

39:18

Speaker A

riding up on their bikes, putting their bikes down. And so, let's use that for our first clip. So, that's clip 10. I'll just double click on that. That'll switch to our source viewer. I'll grab this and drag this down into our timeline.

39:35

Speaker A

For this first clip, let's scrub through until we're ready, until something interesting starts happening. So, right as they kind of get off their bikes, that's probably a good place to trim this beginning. Move this down. Let's play this back.

39:49

Speaker A

I can hit control F to play this full screen like this. Whoa. Great. That's about all we need right there. And so we could use that and trim it this way. We also have other takes here. And so let's scrub through this

40:13

Speaker A

and see how this works. And you'll notice now when we scrub through things, the video changes on the right viewer. That's because again, this is the timeline viewer. This is the preview of what your actual movie is going to be. This is just picking up

40:33

Speaker A

footage from over here and looking at it. Nothing that happens over here is necessarily going to happen in your video. It's all about this viewer right here, the timeline viewer. If you forget which one is which, just scrub your

40:45

Speaker A

timeline and see which one moves. We can scrub through this and figure out what we like for our different tanks.

41:00

Speaker A

Great. I like that. Let's trim the end and let's trim the beginning right after they start moving.

41:09

Speaker A

Okay, something like that. And move this all the way to the left. So, we have our first shot of our movie. Them getting off their bikes and walking up.

41:21

Speaker A

Let's maybe go back into our source tape here. Kind of scroll around and try and figure out what what we should do next.

41:29

Speaker A

Again, we're in control of this. That's what's so nice. So, they end this shot by kind of standing there like this. So, let's cut to them standing together.

41:38

Speaker A

I think probably this shot right here, shot 31. But this time, instead of dragging this entire clip down here to the timeline and trimming it, we're going to do a little bit of work before we add it to the timeline. We're going

41:50

Speaker A

to do that by setting ins and outs. See, in our source viewer, we're viewing the entire clip, right? The whole thing. And everything that might happen in that clip is not necessarily stuff we want to keep. Saying action, the actor having to

42:04

Speaker A

sneeze, Bill waving to the neighbor, Bill waves to the neighbor again. awkward ending and cut. Most of that stuff we don't need. What we really want is Bill waving to the neighbor, right?

42:12

Speaker A

So, what we can do is kind of trim out the extra stuff in the source viewer before we take this and we put it down into the timeline. And so, what we'll do is we'll set what's called an in and an

42:23

Speaker A

out. An in is like the start of the clip that you want and the out is the end of the clip you want. You can think of this like swimming. When you get in the pool, you start swimming and when you end

42:34

Speaker A

swimming, you get out of the pool. So an in is the beginning of your clip and out is the end of your clip. So we're going to scrub through and try and find the beginning of our clip, which is probably

42:44

Speaker A

going to be right before he starts talking. Kind of scrub through this. And then let's just play.

42:50

Speaker A

Go check it out. Great. So yeah, right about there. And we want that to start there. So we're going to set an in. There's a few ways to do that. One of them is you can click this button right here, which is our set

43:00

Speaker A

in button. Like that. No way. You The other thing you could do would be to hit I on the keyboard. I for in go check it out.

43:09

Speaker A

Let's play this back and see what it looks like. No way. You go check it out.

43:15

Speaker A

Fine. Okay, I'll go check it out. Good. Now, let's end the clip there. And we can either click this set out button or we can hit O for out. Just like that.

43:30

Speaker A

Now, we have these little gray indicators here. And what that means is that our clip is this long, but we're only going to use this part of the clip.

43:39

Speaker A

This is what we're actually going to use. And if I click and drag from the middle of this clip down here, we'll see it's much shorter than it would have been, and it's already pre-trimmed. Now, that doesn't mean that we can't change

43:51

Speaker A

it. We can grab this, and we can take the edge of this and trim this. And you can see how big the original clip is with this little gray outline that shows up. It's just like we were to put this

44:00

Speaker A

down and trim it. We just don't have to move things around in the timeline to do that. We could just kind of trim this beforehand and bring this in. And so what some people will do is go through

44:08

Speaker A

all their footage and pick the part that they like. They'll kind of do some pre-edits.

44:16

Speaker A

Like this I for in. And I can also use the J, K, and L keys on the keyboard as these buttons right here. J plays backwards. K starts and stops. and L plays forwards. So you can kind of move

44:29

Speaker A

things back and forth with J and L. Go check it out. Um, no, you go check it out.

44:38

Speaker A

Fine. Okay, I'll go check it out. Good. That looks good. I'll hit O for out. And I've just grabbed the part that I want and I can drag it down into the timeline. Just like that. And so a great

44:51

Speaker A

way to start getting things here on the timeline is just to go through all of your clips and pick the parts you like.

44:59

Speaker A

Go check it out. Um, no. You go check it out. Fine. Reset. We don't want you to move.

45:08

Speaker A

Right. Okay. Needs to back up a little bit. So, we're going to use the second take. I can scrub through this faster by hitting L twice. That's going to go through this at 2x speed. And then I can hit K to

45:20

Speaker A

stop and then L to play back normal speed. Go check it out. Right. I guess J to kind of reverse. I for in.

45:31

Speaker A

Go check it out. Um, no, you go check it out. Fine. And again, I can just drag this down.

45:40

Speaker A

So, you can do this for all of your footage. And a good way to do this is just kind of throw all the footage into a timeline. And then remember, you can always move things around, change the order, and play around with

45:53

Speaker A

things, and you can always trim it more or less. You really can't ruin it too badly. And so, this is the fun part about editing is creating this story.

46:03

Speaker A

So, let's just maybe cut to this second shot here. And I'll just trim this back a little bit to where they're kind of just looking dumb at this thing. And we'll cut from this wide shot into this closeup like this

46:18

Speaker A

action. We got to cut out that action though. Go check it out. No way. You go check it out.

46:36

Speaker A

Fine. Okay, I'll go check it out. Great. So, we have the basic actions happening where they come up, they see something, they start arguing, and eventually the guy starts walking towards the craft.

46:53

Speaker A

But we want to show this in a more creative way. And so, we actually have these other shots that we can cut in between them and make it look a little bit more interesting. So, for instance, when the girl's talking, we want to see

47:05

Speaker A

the girl's face a little bit closer. So, let's see if this take works. Go check it out.

47:11

Speaker A

Um, no, you go check it out. And I like that little Wait, what? Like this? This right here. So, let's trim that. And let's see if we can put this in there somewhere right after he says go check it out.

47:24

Speaker A

Go check it out. Right there. That's probably a good place to cut. Now, we haven't done this yet, but we have this clip, and this shouldn't go before or after. It should go right in the middle here. So, what we

47:36

Speaker A

can do is we can split this clip a couple of different ways. One way we could do it would be to go and click on this little icon here, this little razor blade, and that's going to turn our

47:45

Speaker A

mouse into a razor blade tool. And whenever we click on this clip, that's going to split the clip right there wherever we click. So, we can just chop this up if we want to. I'll hit control-z a few times to undo that. What

47:57

Speaker A

I like to do is figure out where I want to cut by moving this playhead back and forth and then use a keyboard shortcut to split it. The default keyboard shortcut for Resolve is control backslash. That's the backslash that's

48:09

Speaker A

right above enter, like the return key, kind of in the middle of the keyboard.

48:13

Speaker A

If you hit that, that will split this clip right where that playhead is. And then you can move the clips around and put this clip here in between them like this. So now, let's see what this looks like.

48:26

Speaker A

Go check it out. Um, no, you go check it out. See how that kind of works. Fine.

48:34

Speaker A

Now we want to see him say fine. And so really this is kind of the same process.

48:38

Speaker A

So we split it right there. Controll backslash. And we might not use the rest of this.

48:44

Speaker A

But we'll just bring it down there kind of out of the way for now. Have him saying fine. Let's see. Where's another one? There we go. Him saying fine.

48:51

Speaker A

No, you go check it out. Right there. I like that. Let's trim that here. Bring this in like this.

48:59

Speaker A

Oh, check it out. Fine. Great. So, he says fine here. Fine. Let's trim this.

49:13

Speaker A

Put this in order. So, now we're putting clips in the order for the story, but we're also choosing clips that show the story the very best. This is where it starts to get really fun.

49:22

Speaker A

Go check it out. Um, no. You go check it out. Fine. Okay, I'll go check it out.

49:37

Speaker A

Great. So, we'll maybe cut right there. And now we have a sequence of a few different shots that really start to tell our story. And then it's up to you as the editor to go in and think about,

49:48

Speaker A

okay, how fast should one clip cut to another clip? Go check it out. So, he kind of pushes her. I feel like this should happen a little bit quicker.

49:58

Speaker A

go to that other shot. Anytime that you cut in between one shot and another, you can decide to show more or less time.

50:04

Speaker A

And so you can kind of control time a little bit. This is the one part of the world where you can control time. That's what's really neat.

50:11

Speaker A

Um, no, you go check it out. Good. Let's cut that a little bit tighter, too. Move this down.

50:21

Speaker A

Fine. Okay. You notice how this cut works really well. Fine. The reason for that is because he starts to turn his head back in this shot and he finishes turning his head on this shot. This is called cutting on

50:36

Speaker A

action. That means that there's one action that happens in one shot that's continued in the other shot. And so our mind accepts the little differences in between the shots and it makes it feel like they're continuous. Just like I

50:49

Speaker A

start waving my hand in this shot and then we cut to this shot, it feels like it's continuous, right? And that's because it is. I mean, this is kind of recorded live, but that's what really helps is that little tiny movement. And so,

51:04

Speaker A

looking for those opportunities to make those cuts a little bit easier. For instance, when he pushes her, she kind of moves a little bit.

51:12

Speaker A

Maybe this happens in this shot, too. Does he push her? Yeah, she moves forward a little bit. So, maybe as she moves forward just a touch, maybe that'll work a little better. I can select this empty part and hit delete. And that's going to

51:25

Speaker A

get rid of that gap. See how there's like that little movement? She's moving forward. Kind of moving forward a little bit there, too.

51:33

Speaker A

That might be a good cut. It might just take too long, and we don't want to do that. We'll see. But that's all up to you. Now, a couple other things about adding clips. Let's go through here and

51:45

Speaker A

let's add this shot right here. Shot 24. This is what we would call their POV, sort of. It's actually an overthe-shoulder shot, but it's what they see. And so, anytime that you're editing, especially when somebody's looking off screen and they have some

52:01

Speaker A

kind of reaction, just like what's happening here where they're walking towards and they go, "Wo then that sparks a question in the viewer's mind. What are they looking at?" And so, a lot of the time it's a good idea to show what they're looking

52:14

Speaker A

at in the next shot. Now, the next shot in the timeline right here is actually them standing. And it's sort of a problem because they're actually standing farther apart here than they are in this shot. And that's something

52:26

Speaker A

you'll probably notice. Like it looks weird. So, we can kind of feed two birds with one scone here. We can answer the question, what are they looking at off screen? And we can bridge this gap to not be distracting by adding this shot

52:40

Speaker A

in here. Couple ways that we could do this would be to zoom out, select all of our shots to the right, and move it down so that we have some space to put this shot. And we can drag this shot in here.

52:51

Speaker A

And we could set the in and the out on this shot, and we can drag it in here like that. And then kind of delete the gaps, and that would work. What's a little bit faster is to put our playhead

53:00

Speaker A

right on that edge. You can tell it to snap to the edges by clicking this button right here. If this magnet is white, it'll snap to the edges like this. If it's not, then it won't really snap. It'll You can kind of put this

53:12

Speaker A

wherever you want. But I like have snapping on for this kind of thing. Put this right on that edit, that edge in between the two clips. And what we can do is click one of these buttons right here. These are our edit buttons. This

53:24

Speaker A

one is insert clip. And what we'll do is we can set an in and out like the beginning and the end of this clip.

53:32

Speaker A

Something like that. And we can hit this insert button. And look what happens when I click this. It inserts this clip right where that playhead was and it moves all the other clips this way down the timeline. So if I hit control +- Z,

53:45

Speaker A

we can kind of see what happens. Control shift Z to redo it. It's just putting that clip in there. So now we have in our story, they show up and say, whoa.

53:55

Speaker A

And then we see what they see. Ooh yeah, baby. That looks good. And now we've forgotten how far apart they were in that first shot. And so now we cut here and nobody cares. Works great.

54:08

Speaker A

Go check it out. That's how we build a story here in the edit page. So cool. And this basic process works for any kind of video you're making. Whether you're making a film like this, or whether you're just

54:19

Speaker A

doing a YouTube video, documentary commercial, it's all about finding the clips you want, setting the in and out, and putting it on the timeline in some way. Whether it's dragging it to the timeline, or whether it's using an edit

54:31

Speaker A

button like this insert. There's also a couple other edit modes. for instance, overwrite, which just kind of pastes this over everything. There's replace, which will swap out the clip here for the clip that we're over here in the

54:43

Speaker A

timeline. And you can click and drag here and drag this viewer onto this viewer. And you have a few more options, too. For instance, place on top puts that clip on top and on the next layer.

54:56

Speaker A

We're always going to be looking at the top layer in our viewer, but we can decide to turn this off and move this around without overwriting this clip. One handy edit button here would be append.

55:10

Speaker A

If you drop it on this append, it's going to throw this clip, whatever we have selected here, at the end of our timeline, which is great if you're just kind of gathering the clips that you want. You can just double click, set

55:21

Speaker A

your in and out. Okay, drag it over here. Append it end. You don't have to worry about where you are in your story.

55:27

Speaker A

You can just kind of go through here. Pick the parts you like. Append. You don't really have to worry about it.

55:37

Speaker A

Great. Append at end. And you can throw those all in the timeline. And then you can move them around and adjust them and trim them and split them and all the stuff that you need to do. So, if you

55:47

Speaker A

want to get really used to how the edit page works, I would highly recommend grabbing this footage, dragging it down into the timeline and just trying to make a story out of these clips. Now, a couple quick tips that I think are

56:00

Speaker A

pretty helpful for actually putting together a story here is I like to use what I call the anchor technique. This is something that we go into a little bit more in our end toend editing course, which I'll tell you more about

56:11

Speaker A

in a little while. But the big idea here is that you start with one shot where multiple things are happening. So, we have this wide shot of him walking towards the craft. We have her kind of looking around. And so, we can kind of

56:23

Speaker A

start with this as our anchor for this part of the edit. And then we can use these other shots to enhance it. So, we have her kind of looking back and forth right here. We also have this shot of

56:35

Speaker A

her kind of looking as he walks forward. We have the shot of her looking back and forth right here. And so, we can take this shot and we'll just kind of trim this And we can drag this up to a new track

56:48

Speaker A

and kind of put this over our shot like this. So we have our wide shot here and then we have the close-up here. And we can kind of move this back and forth without overwriting this just because it's in that top layer. And we can kind

57:03

Speaker A

of just play around with this until we feel like it works. Maybe we want to cut to a closeup of him, which we have right here.

57:20

Speaker A

Yeah, maybe this one. Sure. And again, we'll just drag that up like this. Maybe we'll just cut to this first and then cut to her. So, we have him walking forward.

57:47

Speaker A

And we can kind of mix these in however we want to make this scene not only have all of the actions that happen in the scene, but also make it look exciting and have a bunch of dynamic shots, right? And we

58:01

Speaker A

can choose whether to use shots or not. I mean, we have this shot right here, which I really like of her kind of thinking things over a little bit.

58:09

Speaker A

Check it out. We could decide to put this right here if we want to, but we're using the shots that are already here down in the timeline to figure out where to put our other shots. So, that's the anchor

58:23

Speaker A

technique. Now, for a couple of shortcuts, these are really, really important. Let's go ahead and put this right here. And let's say I want to trim this about this much. I can do that with my normal selection mode, my normal tool

58:36

Speaker A

here, which is activated right here in the toolbar. Or I can use the trim mode.

58:42

Speaker A

That's this one right here. And what this does is it does similar things, but if I grab the edge like this and I bring it this way, it actually kind of sucks the clips down. And so I can grab the

58:54

Speaker A

edge here and I can trim this, but it doesn't leave a gap. And so it's just a little bit quicker way to trim things.

59:00

Speaker A

It's the exact same thing as trimming this with our normal selection mode, selecting this emptiness, and moving it down like that. It just does this all in one little thing. The other thing this tool will do, this this trim tool, is if

59:13

Speaker A

you click and drag in the middle of a clip towards the top, what this will do is slip this clip. And that means that it's going to keep the same in and out, but it's going to use a different part

59:24

Speaker A

of the clip. And so if I want to move it down like this and use this part just what happened then that works. I can also slide the clip if I click and drag in the middle towards kind of the bottom of the clip

59:36

Speaker A

like this. And that moves this back and forth and it kind of trims the other clips around it. And this makes more sense if we have these all on one line.

59:45

Speaker A

I'll just drop these in real quick. If I'm in the trim mode here and I grab this lower part, I can move this back and forth and it trims the other clips there with it. So, I can trim the other

59:55

Speaker A

clips or I can move this kind of clip back and forth. And so, this is a nice way if you don't quite have your clip settled in just right. You can use the trim tools to really kind of move things

60:10

Speaker A

back and forth. And so, it really, really helps, especially if you're trying to make an edit just right. And when you grab this and you move it back and forth, it shows this multiple view.

60:20

Speaker A

And so we have the first frame and the last frame of this clip. Then we have the last frame of this clip and the first frame of this clip. And so you can see all of the transition points all on

60:33

Speaker A

one view here. So trim tool is really useful, especially if you're trying to edit a little bit quicker. And speaking of editing quicker, keyboard shortcuts are very, very important. You can hit T to select your trim tool and A for your

60:47

Speaker A

normal selection mode. Remember, A just kind of moves things around like this. Overwrites things, but T will do the slip and slide and that kind of thing.

60:57

Speaker A

You can hit B to go to your blade tool to chop this up however much you want.

61:02

Speaker A

But again, I would highly recommend learning the keyboard shortcut just to split this at the playhead. Controll backslash like that because that's a nice way to do that. The other major keyboard shortcut I'd highly recommend learning is the ripple trim shortcut.

61:16

Speaker A

Let's say I want to chop this part of the clip off either by doing this and then deleting it and moving it down or I could use the trim tool and move it down like this.

61:29

Speaker A

Well, I can do that with a keyboard shortcut by aiming my playhead right where I want the clip to start and hitting control shift left bracket.

61:37

Speaker A

That's going to do all of that all at once. is just going to trim this and ripple everything down this way. Ripple is the fancy word for moving clips down so that there's no gaps. And so we can

61:48

Speaker A

ripple trim control shift left bracket for the beginning. And then if we want to trim the end, control shift right bracket like that. Now you may notice that both control backslash and control shift left and right bracket take two

62:03

Speaker A

hands on the keyboard. And so if you have one hand on the mouse, it's kind of awkward to remove your hand from the mouse and then hit a keyboard shortcut.

62:12

Speaker A

It's slightly faster actually to probably just grab it with the mouse. And so to actually save time, I'd highly recommend customizing your keyboard shortcuts. So how do you do that? Up here in our Da Vinci Resolve menu, we

62:25

Speaker A

can go down to keyboard customization. And this is a whole big panel dedicated to keyboard shortcuts. And all you have to do is click on whatever modifiers you want and then whatever you would press after that modifier. So

62:39

Speaker A

control shift left bracket. And this will show you the command. So this is start to playhead. If I click on this, that'll open up start to playhead right here. And if you want, you can change the keyboard shortcut for this. So I

62:51

Speaker A

have mine set to Q for start to playhead and W for end to playhead. Let me kind of walk you through this because it's kind of annoying. So I'm going to switch back to my Da Vinci Resolve shortcuts

63:02

Speaker A

here. By the way, they have presets for shortcuts that are kind of like Adobe Premiere Pro and Apple Final Cut, Avid Pro Tools. What I usually do is I set this to Da Vinci Resolve. And I'll do this, this control shift left bracket,

63:18

Speaker A

this is start to play head. If I click on this command right here, that'll bring that up right here. If I click on this little plus, that will make a little box here, and I can type whatever keyboard shortcut I want. So, start to

63:30

Speaker A

playhead, I'm going to select as Q. Great. Now, it's going to come up and say Q is already assigned to something, which is fine with me because I'm never going to use this view source timeline viewer. You might use it, but I'm not

63:41

Speaker A

going to. So, whatever you assign to it, it's going to tell you if that's already a keyboard shortcut. So, I'm just going to say assign. Now, it gives you a little warning here. The reason there's a warning is because neither of these

63:54

Speaker A

keyboard shortcuts are going to work anymore because one keyboard shortcut is assigned to two things, which you would think it would just do both things, but it actually does neither. So, I'm going to go out of here, go back to my just

64:07

Speaker A

vanilla keyboard here, and click on Q. Then, it's going to list all the commands that are under Q. So, we have start to play head, which is what I want, and then source timeline view.

64:16

Speaker A

Let's click on source timeline view here, and let's just get rid of the Q shortcut right there. Great. We're going to do the same thing with W. So, let's go ahead and open up W, dynamic trim mode. Let's take that off. Okay. And

64:28

Speaker A

then we're going to look up control shift right bracket, which is end of playhead. Let's make this W. Great. So, now we have Q and W set to start and end of playhead. The other thing that I like

64:40

Speaker A

to do is set this S key to split clip, which is control backslashplit clips right here. So, I'm going to actually set this to S. It's going to say, "Hey, S is already something." I'll say, "Okay, assign." Then let's go back to S

64:56

Speaker A

and take away toggle slip slide. Boom. Like that. Now I have Q and W and S. And those are really the only keyboard shortcuts that I change for Resolve.

65:06

Speaker A

Everything else seems to make pretty good sense to me. But those are the ones that are really nice because I can use three fingers to do a lot of editing.

65:12

Speaker A

And I'll show you the power of that here in just a second. But this looks good. I want to make sure to save this. So, I'll go up to these three dots and say save as new preset. We'll call this intro

65:22

Speaker A

intro shortcuts. Hit okay. Great. So, now this is saved. I can close this. And now we should be able to hit Q and that's going to trim the edge. And W.

65:32

Speaker A

That should trim the edge. And S should split this. So, I have three fingers that can do a lot of these editing tasks. So, check this out. Especially if you're editing something where you have a lot of footage or whether you're just

65:46

Speaker A

trying to cut down maybe a podcast or something like that. You can go through here and just look at the waveforms like this and see when somebody's talking, right? And so you can split it with S. And then you can

66:00

Speaker A

get rid of this part with a ripple trim to start. So Q like that. See how this works? S Q just like that. And I can do this by just aiming with my playhead and then Q.

66:18

Speaker A

Right. Just like that. And I can trim this whole thing and cut out all of the silence really, really quickly just by looking at the waveforms and trimming it to those waveforms. So, that's a great way to cut down things that have a lot of

66:39

Speaker A

talking and just keep the talking. In fact, that's how my editor Sam is cutting this tutorial. Pretty much same thing. QWS. What I would recommend doing, especially if you haven't edited before, is I would double click on each

66:51

Speaker A

of these clips, set the in and out for whatever part looks interesting and drag it down here into the timeline. Add these all to the timeline, and then kind of mix them together and put together a story in the edit page. Now, I'm going

67:05

Speaker A

to cheat a little bit and use a timeline that I've already worked on just so I can show you some more cool stuff. And to show you this kind of stuff, I'm going to import a bin. So, just like you

67:14

Speaker A

can open a project or export a project, you can export just a bin or a timeline in Resolve. It's really helpful. I can rightclick here in the empty space in my media pool and go down to import bin.

67:27

Speaker A

And I'm going to select a bin that says Casey only. You will not have this bin.

67:31

Speaker A

Okay, say it with me. I will not have this bin. This is Casey only. All right.

67:36

Speaker A

It's not included in the files. This is just for my demo purposes. Okay. So, we're gonna hit open. And that's how you import a bin. Inside of this bin, I'm going to have a couple of timelines that are going to help us learn some stuff.

67:47

Speaker A

Just double click on my edit demo thing here. And here we have an edit that I made using this footage here on the edit page. Let's take a look.

68:04

Speaker A

Whoa. Whoa. Mhm. Go check it out. Um, no. You go check it out. Fine.

68:22

Speaker A

Okay. Check it out. What was that? So, it's a cohesive story. It has a beginning, a middle, and an end. The kids show up, drop their bikes. This is what they see. They argue. The guy starts to walk forward. He's nervous.

68:55

Speaker A

She's nervous. it moves. They kind of panic and they go in to investigate. Now, a couple of things to point out here about this edit that I made.

69:06

Speaker A

One clip here has a split, but there's no cut. We're not really cutting to a different clip. It's just split here for essentially no reason.

69:17

Speaker A

What we can do is we can actually repair this by right-clicking here on this edit point and saying delete through edit.

69:23

Speaker A

And that's going to make this into one clip, which is going to be helpful later when we're doing color. There's no reason to have a clip split if you're not going to cut to a different clip or severely change that clip. By the way, a

69:35

Speaker A

great way to move up and down the timeline when you're zoomed in is to click and hold the middle button on your mouse and drag. And what that will do is let you kind of grab this timeline and

69:46

Speaker A

move it back and forth. And that actually works for just about everything in Resolve. I can move this preview around by clicking and dragging on my middle button, on my scroll wheel button. That's kind of the click and

69:56

Speaker A

drag and pan sort of shortcut for most things here in Resolve. So, I can move this over here. And it doesn't look like we have any more through edits. Oh, wait, there's one. Let's right click on this, delete throughit. There we go.

70:10

Speaker A

Good. But actually, I had this split over here for my audio. And the reason for that is because this audio is really loud. So, if we play this back, those are just really loud bike sounds.

70:25

Speaker A

And so, the cool thing about the edit page is not only can you organize your video tracks and kind of change their order and everything, but you can also mess with your audio. And so, what we really want to do is take the volume

70:36

Speaker A

down on this clip. We actually have the volume turned way up here in our edit, but normally there's a little line right here, and you can click and drag this up and down to change the volume of your

70:46

Speaker A

audio. And so I had this turned way up because I want to hear kind of the quiet parts, but it's way too loud for when the bikes fall down. And so what we can do is just split this right here. And I

70:58

Speaker A

just want to split the audio. And when I select this, it's going to select both the video track and the audio track. And I can just select the audio by going up here and unlinking this chain link here.

71:10

Speaker A

And then I can just select the audio and move that separately. I can also hold alt and click on this track just to select it by itself. But either way, I want to select just the audio and then I

71:23

Speaker A

can split it with control backslash or whatever you set your keyboard shortcut to. I can just split that right there.

71:29

Speaker A

And then I can have a separate volume line for this part and this part.

71:37

Speaker A

And that lets you change the volume of your audio. Now, we don't want there to be a really harsh difference in our audio where the ambient noise is really loud and then it turns it down immediately. See, if I bring this back,

71:49

Speaker A

we'll have this kind of sound where it turns it down immediately. And so, what we might want to do is crossfade this. I can rightclick on this edit and go down and I can pick one of these crossfade options. It doesn't

72:04

Speaker A

really matter. You can pick the 12 frame, let's say. And what that's going to do is crossfade these clips together, which if you have two different clips, it's going to fade out the first clip and then fade in the second clip kind of

72:15

Speaker A

gradually so that you don't notice a cut there. But when you have the same clip at different volumes, what it essentially does is it kind of just turns down the volume over this amount of time. So, it's a lot more gradual

72:28

Speaker A

and you don't notice that difference. We could do the same thing here. Yeah, that's nice. And I find this is a really nice way to adjust your audio over time. The other way that you can do that, I'll just take this volume line

72:44

Speaker A

down a little bit. The other way you can do that is hold alt and click on this line and that will give you these little control points and you can move one up and one down and you can kind of adjust

72:57

Speaker A

the level of volume over time here. So you can get really detailed with how you want to change your audio in your clip.

73:06

Speaker A

And so if you have one really loud part, you could just kind of squish that down.

73:10

Speaker A

So we could do this. I'll just kind of get rid of this and bring that out like this. We could hold alt and add a couple of control points here.

73:21

Speaker A

I can bring this control point down and just bring down that little part. And that's good, too.

73:31

Speaker A

It's really kind of dependent on what you want to do. The reason I tend not to do this so much is because it's kind of a pain to grab these little points and move them around. And it's easy to kind

73:41

Speaker A

of mess this up or get too many points or, you know, if I have to move one, then I have to move the other one. It just kind of is annoying. And so what I'll usually do is just select this

73:50

Speaker A

audio, turn this clip down, and crossfade these because then I can do stuff like roll these edits back and forth.

74:05

Speaker A

And that's going to change where that adjustment is really easily. It's really up to you. Here you'll notice this little triangle. This is from bringing this little white handle over. And what this does is this makes a fade, like a

74:20

Speaker A

fade out. And so anytime that you have a clip where you want it to fade in or out, you can take these little white handles and bring them in, and that's going to adjust a fade. That works for

74:31

Speaker A

both audio as well as video. We have these little white handles in this video, too. And so we have this fade up from black.

74:38

Speaker A

Go figure it out. And then fade down, right? So, if you're making a movie trailer where you have stuff fade in and out all the time, that's a good way to do it. And oh my gosh, there's so much more to get into

74:49

Speaker A

with adjusting stuff on the edit page. But we're already going to have a long enough YouTube video here. So, I want to show you just a couple other things in the edit page before we move on. Let's talk about the inspector. So, the

75:00

Speaker A

inspector is a panel that you can open up over here on the right. And what this is is a list of properties for whatever we have selected. Now, this is a universal thing in Resolve. There is some version of an inspector on just

75:14

Speaker A

about every page. And so, this is an essential concept for you to understand. When you select something, this clip has certain properties. And when we have this selected, what it does is it opens up those properties here in the

75:27

Speaker A

inspector. So, we select something and we adjust its details and its properties in the inspector. Now I can hit this little button to expand the inspector so that it's the full height of the screen and we can see all these different

75:40

Speaker A

properties. So every clip has a bunch of properties. So I'll select this clip here and we'll just see what these all do. There are tabs up here and these are different categories of properties. So a clip by default is going to have video

75:55

Speaker A

and audio tab. And depending on what other fancy things you do, these other tabs might be available. But the video, we start with the transform properties.

76:04

Speaker A

These are ways that you can move and scale and rotate your video. And these controls, some of them have sliders, which makes sense. You slide this back and forth. And some of them just have numbers, which you can double click in

76:14

Speaker A

and replace with a number. Or you can click and drag left and right on any of these numbers to control it, sort of like a slider. You can doubleclick on any of these properties to reset them.

76:25

Speaker A

You can also hit this little reset button. And so now if we want to zoom in on her face, we can zoom like this. And we can adjust the position to be right there on her face. We can adjust the

76:38

Speaker A

rotation if we want to. And that's how we would do that for this clip. Now, it's only adjusting this clip because this is the clip that we have selected.

76:46

Speaker A

If we go to this clip, it is unaffected. In fact, if we're over this clip and we're looking at it, we're adjusting the zoom and nothing's happening. That's because we have this clip selected. And so that's loaded into the inspector. So,

76:57

Speaker A

we zoom this way far up. We go back to this one and it's zoomed in really far, right? So, let's go ahead and reset everything in our transform.

77:07

Speaker A

We also have cropping where we can crop the image. We can adjust the softness of that crop.

77:14

Speaker A

This is great if you want to mix kind of one side of one shot and the other side of another shot, something like that. Or if you want to do kind of a pictureand picture thing, you could do some

77:23

Speaker A

cropping. on your image and then position it down into the corner. Something like that.

77:33

Speaker A

And at that point, if you wanted to put this clip over something else, you could just put this over other clips here in the timeline, and those would be layered like that.

77:45

Speaker A

You can adjust the composite mode, which is kind of the transparency of things. If I put this image over this image, we could take the opacity down and kind of fade this. So, it's kind of ghosted over it. We could also change the composite

77:57

Speaker A

mode to different things like add or multiply and all different kinds of composite modes. This works a lot like an image editing program like Photoshop or something like that. Same kind of idea. And there's just so much more to

78:08

Speaker A

go over, but basically if you want to adjust how a clip is treated, its position, its rotation, how it interacts with other clips, the volume of the audio, the pan of the audio, the pitch, there's equalizer, there's all kinds of

78:22

Speaker A

stuff that we'll get into a little bit more when we talk about Fairlite, but this is where the properties for anything that you have selected lives.

78:28

Speaker A

Okay, so again, if we want to make this small, we can zoom it out like that just by selecting it and adjusting it in the inspector. One thing that's cool is that we can stabilize clips here right in the edit page. I can just select the

78:41

Speaker A

clip, go over to stabilization, and hit stabilize. And what that's going to do is take out all of the little jitters and everything for the clip. And it works pretty darn well. Works pretty darn well. The stabilization here is excellent. And

78:56

Speaker A

there are a bunch of different options here for the stabilization, which you can play around with. You'll get various different results, but just know that that's kind of where that happens. We can correct a lens. So you can distort

79:06

Speaker A

or undistort your lens. Here where it says rettime and scaling, these are just kind of the processes for retiming. If you actually want to do a time remap on something, you can right click on it and go up to rettime controls. And you can

79:20

Speaker A

grab the edges like this and make it play back faster or slower. You can even kind of stop in the middle of this clip and click on this little arrow and that'll bring up a little menu and you can add a speed point. And what

79:38

Speaker A

this will do is let you change part of the clip's speed to one value and the other part to another value. So, we can go from slow motion into fast motion. This is great for drone shots and punchy edits and

79:52

Speaker A

things like that. That's how that's done. And when you're done with your speed changes, you can just hit this little X button right here, and it'll give you a little indicator that there's a speed change on it. But the idea that

80:03

Speaker A

you select something and adjust its properties in the inspector is really, really, really important. Now, sort of related to that is there is a whole section of the edit page called effects.

80:15

Speaker A

So, if I switch to effects, that's going to bring up my effects panel. And this has I mean, just so much stuff in it.

80:21

Speaker A

This is where you get a little bit more fancy in the edit page. There are all kinds of tools here, including transitions, which you just grab one of these transitions and put it in between two clips like this. Just drag it in

80:34

Speaker A

between on this edit. That will make a little transition like that. You can even select this transition and switch to a different transition here in the inspector.

80:47

Speaker A

Okay. If you go down to open effects, there are all kinds of effects here that you can apply to your shots. So, if you want your shot to be blurry, you can grab something like directional blur. Drag this on here and then you select this

81:01

Speaker A

clip. And because this clip has effects on it, it has a little indicator right here. And it also has the effects tab enabled where you can find the effect that you applied to it and you can adjust the properties of the effect.

81:14

Speaker A

Right? See why this is so important is because anything that happens in this clip, you pretty much adjust here in the inspector. And so we can adjust the blurriness and all of that. All of the controls for this effect right here in

81:25

Speaker A

the inspector. We can turn the effect on or off or we can delete it by hitting this garbage can like that. And that's how we would apply any kind of effect you would want to apply to a clip. So

81:37

Speaker A

sharpen stylized kind of stuff like a mirror effect. do all kinds of cool stuff.

81:53

Speaker A

That's cool. And the free version of Resolve comes with a lot of effects and the paid version has a lot more. So, there's still quite a bit of effects in the free version, but there are certain more intense effects that only come with the

82:09

Speaker A

paid version. We've been working with just clips here in the timeline, but in the effects panel, there are also things like titles and generators. So, a generator just generates video. So, I can grab something like this fourcolor gradient, and I can drag this down into

82:24

Speaker A

the timeline just like I would drag a clip from the media pool into the timeline. So, now we have this fourcolor gradient. Again, I select it and go up here to the inspector and I can adjust the colors.

82:39

Speaker A

So, I can make a nice background with that. And there's all kinds of different generators. There's even some really fancy ones that use the power of the fusion page. So, I could do this hexagon glow. That thing's pretty crazy. One of

82:50

Speaker A

my favorites is this honeycomb. There's all kinds of controls here to change how this looks. There's also transitions and all kinds of stuff here.

83:00

Speaker A

So, we can drag this in. This will be kind of some graphics. There we go. And you can select this and adjust your text, you know, intro right?

83:12

Speaker A

That's cool. You can use a custom logo. You can do all kinds of stuff with this. And each effect is slightly different because it's just kind of built for different purposes, right? So, this one has different color controls and things to

83:25

Speaker A

be able to customize this template. Now, if you want to make your own text that's maybe just a little bit less specific that isn't this kind of specific looking effect, you can go up to titles and there are kind of two sections of titles

83:38

Speaker A

here. There are just the normal titles and then there are fusion titles. Fusion titles are just fancier titles that use the power of the fusion page. We'll get into that in a little bit, how Fusion works and all that, but we have some

83:50

Speaker A

basic stuff here that's actually really great. So, for instance, text. If I just grab normal text, I can put this over my fourcolor gradient. And I can select the title controls here in the video in the inspector with the text title selected.

84:04

Speaker A

You know, my title and I can change the font and the size and the tracking and all of that kind of stuff to design this title to be exactly how I want. And there are quite a bit of controls here

84:17

Speaker A

to make this look how I want for my project. Let's go and kind of make a title here. I could just take this text and drag this down. And we'll call this uh Tuesday on Earth. That's the name of

84:27

Speaker A

the movie. Pick a different font. Let's just say Poppins Black. Push up that tracking a little bit. There we go. It's nice and tasteful. Let's change the color. Maybe make this kind of a slightly kind of teal color. Something

84:41

Speaker A

like that. Great. There we have our title. Now, let's say that we want to animate something. we want to change a property of a clip or a property of this title over time. Here's how we can do that. We have this text which is

84:57

Speaker A

actually just generating a video. If I go over here to the inspector, it says title and settings. If I switch to settings, this is going to give us the same transform controls that we have with any of these clips. Pretty much the

85:09

Speaker A

same transform controls. And so what we can do is change the position of this text just by taking the video that the text generator generates and moving that video around. There are these little diamonds right here. These diamonds are

85:23

Speaker A

what we call key frame diamonds. I don't actually know the real name for it, but I call it key frame diamonds because what you do is you click on this diamond and that will set a key frame. Now, if

85:35

Speaker A

you don't know what a key frame is, a key frame is basically a way to tell your software that you want a property to be a certain value at a certain time.

85:44

Speaker A

So, when we click this key frame diamond, we're telling Resolve that at 49 seconds and 11 frames, so right here on this clip, that we want the position to be at 0 0. if we move to a different

85:57

Speaker A

time. So, let's move to kind of the start of the clip. We can adjust this position again and you'll see there's this little tiny greater than indicator, this little arrow. That means that there is a key frame on this track and it's

86:09

Speaker A

that way. And what that also means is that if I change this position right now, that's going to add a new key frame. You can see that it turned this key frame red.

86:20

Speaker A

And what it's going to do is animate in between those two key frames over time. And so we've just made an animated title. Isn't that cool? Now, is this really the only indicator that something is animated? No. If we go up

86:35

Speaker A

here to these buttons right here, and we click on this one, this one that looks like some diamonds, we click on that, that's going to open up our key frames panel for our timeline. And here we have these familiar little diamonds

86:51

Speaker A

and we can see the properties that these are animating. So we have a diamond on this track for position X and a diamond on this track for position Y. And then we also have diamonds here for transform which is kind of like the group of those

87:04

Speaker A

properties. So I can take this diamond for the transform and I can move this back and forth and that's going to change where that key frame is on my track. And so I can take this first key frame and move this up at the start and

87:16

Speaker A

the last key frame and move this at the end. And throughout the entire length of the clip, it's going to move from down here to up here. If I want this to go faster, I can push these key frames together because

87:31

Speaker A

it'll take less time to go from one key frame to the other, which means this goes faster. And so that's generally how you'll animate stuff in Resolve. and and really that same kind of way of animating things by setting a key frame

87:44

Speaker A

and adjusting the distance between the two key frames. That's pretty much how you animate anything in most software.

87:50

Speaker A

In fact, as you use Fusion, key frames are all over the place. But just know for now that you can animate stuff by using those key frames and adjusting the distance between them. Now, when something moves and comes to a stop on a

88:02

Speaker A

video, it actually looks a lot nicer if it kind of slows down before it stops.

88:06

Speaker A

That is called easing. Easing a key frame. like you easily just stop, right? You ease into it. And so what we really want to do would be to ease this key frame, this last key frame, so that it

88:17

Speaker A

slows down before it stops. So it doesn't just kind of jerk to a stop like this. It doesn't look good. And so here's how you ease those key frames.

88:24

Speaker A

Right now in this version of Resolve, there is another key frame panel which I can click and that will open up here kind of where the media pool and the effects go and it will give you another graph just like is down here. But you

88:36

Speaker A

can click on this little button right here and that will switch to your curves view. And this will give you a graph of the values over time. And you can select this last key frame and click on this

88:50

Speaker A

button right here which will let you flatten the handles on this key frame. So you can grab this little handle.

88:56

Speaker A

Let's just zoom this in a little bit. You can grab this handle and kind of adjust the graph. And so if you grab this handle and kind of push it out like this so it's flat, you have this nice

89:06

Speaker A

easy curve as we go into the key frame. And so as this comes in, it kind of slows down before it stops. Isn't that nice? Comes in fast, slows down before it stops. And so this is the interface

89:18

Speaker A

that you can use to get really detailed with your key frames. Now, it's possible that this panel is going to change in the future. I've recommended that they actually put all of this down here because it makes a lot more sense to be

89:30

Speaker A

able to move this based on our timeline rather than moving things back and forth on this grid where you don't really have any idea of the actual timing of things.

89:38

Speaker A

And so if you're watching this video in the future and you're like, there is no key frames panel here or it looks different or something, just look around. Some of these buttons up here might be down here. We'll see. You

89:48

Speaker A

should be able to click on this expand button and that will give you a undocked key frame editor here that gives you a really nice interface for working with your key frames. Again, that button might be down here in the future. Who

90:00

Speaker A

knows? The key frames panels, this one and this one are brand new to Resolve when I'm recording this. So, if it's slightly different on your version, that might be a thing. But either way, it should pretty much work the same. You

90:11

Speaker A

move your key frames back and forth to change the timing, and you adjust the curve to ease the key frames. There are similar tools to this in the Fusion page, which we'll go over in a little while, but that's how you animate things

90:22

Speaker A

here on the edit page. There are so many more things that I want to tell you about the edit page, but we have to move on. This should be plenty to get you started grabbing the footage and putting it into a timeline

90:34

Speaker A

and creating a story. This is the magic of video editing is that you're in control of that story. H so good. Next, let's jump into the cut page, which is just a little bit of a different angle on the same kind of idea of creating a

90:48

Speaker A

story in a timeline. So, the cut page, the cut page is kind of like the edit page, but it's built for a slightly different application. You can think of the cut page as sort of like a version of the edit page, but designed with one

91:03

Speaker A

value in mind, speed. Speed of editing. Everything in this page is designed to help you edit faster. Now, it has some pretty familiar elements. We have our media pool up here, which works pretty much exactly like the media pool does in

91:19

Speaker A

the other pages. The only difference is that instead of a bin list, you have a little drop down here, but pretty much the same idea. We have a viewer.

91:28

Speaker A

You can double click on a clip and you can hover scrub. You can scrub through it here in the source viewer. You can switch to source tape and bring up all of the different clips one after another. You can also switch to the

91:39

Speaker A

timeline viewer. So, there aren't two viewers in the edit page. There's only one that kind of switches out like this. But other than that, it pretty much works the same. We do have an inspector. Same idea. But we

91:51

Speaker A

also have kind of this slightly different style of inspector, which if you click on this button right here, will bring up a bunch of controls that are the same as the inspector controls, but they're kind of just on a different

92:02

Speaker A

interface. The idea being that this would be a little bit faster. We also have effects and titles and even a key frames editor like we do on the edit page.

92:15

Speaker A

There's transitions, that kind of thing. But really the big difference here in the cut page versus the edit page is that we have two timelines.

92:24

Speaker A

We have this upper timeline here and we have the lower timeline down here. Now, this can be a little bit confusing, but these are the same timeline at different zoom levels. So, this upper timeline is your entire movie from beginning to end.

92:43

Speaker A

So, it's zoomed all the way out. The lower timeline is the zoomedin version of that same sequence. And so, if I want to adjust this part where we have a transition, I can quickly move to that part using this top timeline. And then I

92:57

Speaker A

can adjust the details of the clips here in the lower timeline. And so the idea here is that you can quickly move from one side of the world to the other without having to zoom in and out a

93:08

Speaker A

whole bunch because that does take some time to zoom in and out and kind of get the right view for what you're working on. The other thing you might notice is these little indicators here where if we have a clip, let's say, let's just open

93:19

Speaker A

a clip like this. We have this little animation here that's kind of shooting little arrows down here. And we also have this green highlight. This is our edit indicator. And what that means is that if we use some of these edit

93:34

Speaker A

buttons, which are very similar to the edit buttons you get over here in the edit page, but if we use one of these edit buttons, some of these have to do with a specific edit point. So, for instance, this insert button, this smart

93:47

Speaker A

insert, what it's going to do is look for the nearest edit point, which is going to be highlighted in green, and that's where it's going to insert the clip. Normally, on the edit page, if I were to be right over this title, and I

94:01

Speaker A

were to insert this like this, that's going to throw that right in the middle of that clip, exactly where my playhead is, just like that. in the cut page because it takes time to completely line this up exactly where you want it to be.

94:14

Speaker A

It's just going to put this on the nearest edit point. So, if I grab this right here and I say smart insert, that's going to put that right there in between those two clips. It's not going to put it exactly where the playhead is.

94:27

Speaker A

If I have that playhead less than 50% through this clip, we're going to highlight this edit point and that's where whatever clip I have selected is going to be inserted.

94:37

Speaker A

So, this is the kind of thing that can get you in trouble, but if you're aware of it and kind of the thinking behind why this is built this way, then it can actually be really helpful and speed you

94:46

Speaker A

up. Sort of a similar thing with this edit point is with our transitions. There's these three buttons right here, and this will allow you to quickly select the type of transition that you want for this edit point. And so, by

94:59

Speaker A

default, it's a cut, but with one click, I can add a crossfade here. And so I could just go to the nearest edit point and go, okay, I want a crossfade here. I want one here. I want one here. And you

95:10

Speaker A

can really easily just add these kind of things. And you can see how quickly you can go through and do stuff. And so there are a lot of cool things about just editing a normal project in the cut

95:20

Speaker A

page. It's a little bit of a different feel. You have to get used to it, but for certain applications, it can really speed you up. Something like putting together a narrative film is maybe not something that I would do in the cut

95:32

Speaker A

page. The cut page would be really great for a vlog or a news story where you're trying to one move really fast and probably get it out as quickly as you can. And two, you generally just have a

95:45

Speaker A

bunch of clips one after another and you don't have complicated sound design and you know all kinds of different layers and and stuff like that. It's just one clip after another. And so because that's kind of such a specific

95:57

Speaker A

application, we're not going to spend lots and lots of time on the cut page.

96:00

Speaker A

It's sort of a divisive page. Honestly, some people really like it and some people don't see a point in having the cut page at all. Me, I use this for some things. It's nice for quickly putting a whole bunch of clips down into the

96:13

Speaker A

timeline and creating kind of a rough edit, but I'll generally move over to the edit page to kind of refine my edits and make sure that my audio tracks are good and everything like that because the cut page, while there are audio

96:25

Speaker A

tracks, kind of get rid of our extra tracks here, move my camera here. I can click on this button right here and expand those tracks a little bit and I can see the audio a little bit better.

96:36

Speaker A

And I can hold alt and adjust just the audio like this. And so it's certainly doable, but because of the way the cut page is made where you don't really have a normal selection tool, you only have the trim tools, it can sort of feel

96:50

Speaker A

awkward and you can kind of trim your audio when you don't really mean to sometimes. And it's just it's a little bit awkward sometimes. And so generally, if you're going to do something quick where you have your audio and your video

96:59

Speaker A

in the same clips and you're just going to put one right after another, that's what I would use the cut page for. And like I said, it it kind of comes down to personal preference. You might find that

97:08

Speaker A

you really like the way the cut page does things and not having to zoom in or out. And you might find that cutting your videos together in the cut page is really enjoyable. However, especially if you're coming from a different editor

97:19

Speaker A

like Premiere or something like that, the edit page is going to feel a lot more familiar. Now, the one thing that's really, really great about the cut page is surprisingly it's multicam editing.

97:31

Speaker A

The way it handles multicam is actually really interesting. If you want to follow along, you can go to the master bin right here and open cut. And we have some footage that we're going to cut together on the cut page. Let's make a

97:43

Speaker A

new timeline. I'll just right click and say create new timeline like this. And we'll say cut page multicam like that. And here we have several different shots of the same production meeting. And so we have two kind of

97:59

Speaker A

medium shot cameras. We have one overhead camera and we have a wide camera. So, this is a 4 camera multi-cam shoot. We also have our audio. This is just an example with multiple cameras, but if you have a multi- camera shoot

98:11

Speaker A

for, say, a cooking video or a live event or something, this is all going to work the same way. When we have all of these different cameras that happen at the same time, what we can do is we can

98:20

Speaker A

sync them up with each other and then cut from one camera to the other just to get a kind of a different angle. And there are ways to do this in the edit page. For instance, I can open up this

98:30

Speaker A

cut page multicam and I can start bringing some of these cameras in here and I can sync these up with each other just by kind of lining up these audio waveforms.

98:44

Speaker A

And I could cut from one camera to the other and make my edit that way just by kind of stacking these cameras and kind of turning one layer off and kind of trimming it and that kind of thing to

98:59

Speaker A

cut in between the cameras. But in the edit page, I could also select all of these, rightclick, and say new multicam clip using selected clips. I'll just uncheck move source clips to original clips bin and hit create. And so there

99:12

Speaker A

are ways to kind of sync these up and then select the different cameras and kind of cut in between them on the edit page, but it is kind of a pain to set that up. It's a little bit tricky. Let

99:22

Speaker A

me know in the comments if you want a video on setting up multicam in the edit page. But in the cut page, it kind of simplifies this and that we can select all of these clips and we can click this

99:31

Speaker A

button right here, which is the sync button. I can select those all and I can sync these by audio and then hit autosync.

99:41

Speaker A

And that will sync up all of my clips on this kind of preview timeline. And then we can hit save sync.

99:48

Speaker A

And what that's going to do is give us a little blue indicator on each of these clips to show that it syncs with some other clip. Once we have that done, we've kind of tagged all of those clips

99:59

Speaker A

to say, "Hey, these sync with each other, and here's exactly the time that they should sync with." Once we have that, we can drag any of these clips.

100:07

Speaker A

Let's just drag this wide clip in. We can drag any of these clips in and just kind of go through it. Sort of like the anchor method like we were talking about. We just have this wide shot and

100:17

Speaker A

we can look around for something interesting happening. We have Dan reaching for some candy. That's something interesting right here. And so what we can do is go up to our sync bin and this is going to show live the clips

100:29

Speaker A

that sync up with this place in our timeline. So right here when he starts to reach, we can see all of our different angles for what we want. I can hit three and that's going to bring up a

100:42

Speaker A

clip and set an in and out to start right there. I can just drag this down like this and then it's going to be a perfect cut from one shot to another. Let's go back to our timeline viewer here. So, here's

100:58

Speaker A

one shot. There we go. We can cut back, trim this just like that. And so it's sort of like a hybrid of a multicam and kind of the traditional way of stacking a bunch of clips together.

101:12

Speaker A

And so what's great about something like this is we can just cut to whatever we think is interesting from this wide shot. And so Sam's talking right here.

101:20

Speaker A

Again, we can just open up the sync bin. Let's use the shot of Sam talking here.

101:24

Speaker A

Great. And we can either drag it down or we can use our edit buttons like this place on top. And that's going to put that exactly where it's supposed to be.

101:34

Speaker A

Switch back to our timeline. Here we have him talking. Great. So, this is a nice way to be able to use multiple cameras without having to set up a multicam and play through and switch your cameras in real time. You

101:47

Speaker A

can kind of just scrub through and find the interesting parts. So, there's Sam talking again. Sync bin. Let's switch to Sam talking.

101:56

Speaker A

Put that in as a place on top. And now we can cut to Sam as he's talking. Isn't that great? And so if you're doing a lot of multicam stuff, especially if it's something like a live event where you're

102:07

Speaker A

mostly on a wide shot and then you just want to cut to the interesting parts, this is a really nice way to handle that. There are a lot more features in the cut page, things that we just don't

102:16

Speaker A

have time to get into. This is kind of the main stuff. But if you're looking to move a lot faster and you're kind of working on a deadline, the cut page might be something to really look into and learn a little bit more about,

102:27

Speaker A

especially if you're doing these certain kinds of multicam edits. This can be really helpful. But a lot of the basics here are pretty much like the edit page.

102:36

Speaker A

We're still putting clips together into a timeline. We're cutting them. We're trimming them. We're moving things around. We're adjusting the order. And we're building our story here on the timeline. This timeline, whatever we make for our video, this is going to be

102:52

Speaker A

the bones of our video. It's the main place where all of the clips live. And then everything else that we do in Fusion Color in Fairlite are going to be based on this timeline right here. So after you organize your media, you can

103:07

Speaker A

switch to the edit page or the cut page depending on what you feel like doing.

103:11

Speaker A

and you place your clips here on the timeline to create a story. Once you're happy with the story, then you can move on and get fancier with the Fusion Color and Fairlite pages, which we're going to dive into next. So, let's take a step

103:22

Speaker A

back and talk about some kind of general workflow here. When you're making a video of some kind, you will record stuff or get footage from a client or online or whatever. And the very first thing that you have to do is manage your

103:34

Speaker A

media. So, it's get it organized, make sure it's renamed if you're going to rename it, put it in folders, tag it, get familiar with it, that kind of thing. From there, it's building a story, which is the strict definition of

103:45

Speaker A

editing. A lot of people when they say editing, they pretty much mean this entire workflow. But strictly speaking, editing is adjusting clips in a timeline. So, it's actually creating what your movie is going to be. Once you have that, then you can move on to get a

104:01

Speaker A

little bit fancier and a little bit more detailed. For most videos, that would include things like visual effects.

104:06

Speaker A

Whether it's doing simple things like replacing a screen on a TV digitally or cloning out a car that's driving through the background of your medieval epic movie or adding lightsabers and explosions and portals and things like that. That's all visual effects. It

104:19

Speaker A

would be adding graphics, things like titles and credits and little pop-up icons and things like that. And then generally you'll work on color correction, color grading, making sure that your colors look good, working on your audio, making sure your audio

104:34

Speaker A

sounds good, things are loud enough but not too loud, things sound like they belong there, things that should make noise actually make noise. And then finally, we get into rendering, which is saving out your video in a format that

104:46

Speaker A

other people can watch. It's making a video file and uploading it to YouTube or giving it to your client, putting it on a website, that kind of thing. So this is the whole workflow from start to finish on making a video. And it kind of

104:57

Speaker A

flows in this general order. And this is really why the buttons at the bottom of the Resolve interface, the pages are in this order because we start with media, then we do our editing, then we do our effects and our graphics in Fusion. We

105:15

Speaker A

do our color grading and color. We do our audio mixing in Fairite, and then we render it out. So, for the rest of this video, we're going to get fancy. We're going to do the fancy stuff. Starting out with Fusion here in a minute. So, I

105:27

Speaker A

can do my graphics, effects, color, and audio right here in Resolve. And all of these different apps, which are actually just pages and Resolve, all share the same timeline.

105:39

Speaker A

And it's instantly available to do our really detailed, fancy stuff in those pages. You build your story here on the edit page. and the other pages let you make it even better. So, let's dive into Fusion. Go ahead and do this with me. Go

105:54

Speaker A

over to your media pool in the edit page and open the Fusion bin. So, you should have VFX alien plate, house, exterior ship plate, etc. Right click anywhere in there and say timelines, create new timeline. And we're just going to call

106:08

Speaker A

this fusion timeline. And we'll hit create. You don't have to make a new timeline to work in Fusion. We're just doing this because this is going to kind of be the Fusion demo thing. But take all of these clips. I'll just shift

106:21

Speaker A

select those and just drag those into the timeline like this. So, we have four main clips here. We have a little puppet. We have a house. We have the top of the spaceship. And we have a wide shot with kids riding their bikes across

106:35

Speaker A

this mountain vista. These are the shots that we're going to use to kind of learn a little bit more about Fusion. So, make sure that you have these shots added to a new timeline. And we're going to do

106:44

Speaker A

one special thing. We're going to take this VFX alien plate. We're going to put this up on the second video track and put this right over our VFX ship plate like that. And then we'll just drag this down. So we should have our VFX house

106:55

Speaker A

exterior, our alien plate, and our ship plate stacked and our wideshot like this. Let's just open up our widesot in Fusion. The way that we do that is we're just over it here on the edit page. And then we go down and just click on the

107:07

Speaker A

fusion page. That's going to open up this clip here in Fusion. And now we're ready to work with this clip right on our timeline. Now, if you've never used Fusion before, you're probably already a little bit, "Oh gosh, what is this? This

107:20

Speaker A

looks completely different than the edit page. What the heck are these things?" There's no way I'm ever going to understand this. And believe me, I get it. Fusion can be really intimidating because it's a very different interface than a lot of other apps. The edit page

107:36

Speaker A

at least sort of looks like something you're familiar with. you know, there's kind of like layers. There's a timeline.

107:41

Speaker A

You know, you've scrubbed through videos on YouTube. It's sort of familiar, so you can kind of pick it up. But the Fusion page, you're like, "What? Why are there little boxes?" Don't worry, I'm going to explain everything and move

107:52

Speaker A

really slow. And pretty soon, you're going to say, "Okay, that's pretty cool." So, let's start with the easy stuff. Up here, we have our familiar buttons that open and close panels. And we have the inspector. Look at that.

108:04

Speaker A

Remember the inspector is going to show properties of whatever we have selected. More on that in a little bit. Over here we can open up our media pool which is exactly how it's been in the other pages. And also our effects which is

108:18

Speaker A

very similar as well. We have a list of effects that we can drag down and apply to things. We have a viewer right here.

108:24

Speaker A

And we have a viewer over here. And these for now, let's just say these work pretty much like the viewers in the edit page where on the left you can open up a clip and kind of preview it. And on the

108:35

Speaker A

right, this is what the person who watches your video is going to see. By default, it works in a similar way on the Fusion page. There's a viewer over here where we're going to use to pick up little pieces and look at them. And on

108:47

Speaker A

the right, this is what the person who watches our movie is actually going to see. Down below here, we have sort of a little bit of a different style of a timeline, but it still works. It has a

108:57

Speaker A

playhead, which is this little red line, and you can drag it back and forth. We have our playback controls. So, we can play this, stop it, go backwards. J, K, and L still work. And you can play this

109:06

Speaker A

back and forth. Really, the only big difference here is that we're looking at one clip. We're not looking at our entire timeline. We're just looking at one clip from our timeline. And so, by default, we'll have this loop. And so

109:18

Speaker A

this will play all the way through and then loop back to the beginning and play again. Here we have our current frame that we're on. And as we scrub this kind of changes. We also have our beginning and end frames for our composition. And

109:33

Speaker A

below that we have a panel which we call our toolbar. Now this is a little bit different than our toolbar in the edit page where when you click a tool it kind of changes how your mouse reacts to

109:45

Speaker A

things. This toolbar actually creates tools down here in the notes. Now, if you don't know what that means yet, that's okay.

109:54

Speaker A

Basically, here's how it works. You grab an icon and you drag it down here, and it will make a little box.

110:00

Speaker A

Okay, don't worry about that. Below our toolbar, we have our nodes. This is where the action happens in Fusion.

110:08

Speaker A

Fusion is all about the nodes. What the heck are nodes? Basically, it's a flowchart of little boxes that you run images through to create whatever you want to make. Now, I know that sounds really generic and doesn't really

110:23

Speaker A

explain it. So, I want to back up for just a minute. Fusion is a compositing tool. Now, what the heck is compositing?

110:31

Speaker A

Compositing, real strictly speaking, is basically putting images over other images. It's combining elements. So, you can think of this kind of like what you would typically use Photoshop for, right? If we're going to make an image with some mountains and a cow and a

110:46

Speaker A

saucer abducting the cow, we would have different elements here. We would have possibly a shot that looks like this.

110:53

Speaker A

And then we would add this saucer digitally. Or maybe we just have a shot of some mountains and we put in the cow digitally and we put in the saucer and then we maybe add a little bit of fancy

111:05

Speaker A

clouds to the sky. It's putting all of these pieces together to make a really cool visual thing. And something like this where you're combining photos and you want to make it look real, that's something that we would call like visual

111:17

Speaker A

effects. Whereas, if you're making a title, you know, with 3D text that comes in and flashes, that would be more like a graphic. But visual effects and graphics are Fusion's bread and butter.

111:29

Speaker A

That's what Fusion does. So, if you're wanting to change an image so that it looks different and has different elements in it than it did when you shot it, you're probably going to be compositing in some way, just like you

111:40

Speaker A

would take a photo and clone out your weird uncle because you don't want him in the family picture. You can do that kind of thing with video and Fusion is the place to do it in Resolve. If you've

111:51

Speaker A

heard of After Effects, Fusion is kind of like Blackmagic's answer to After Effects inside of Resolve. It can do pretty much all the same stuff. So, the reason we might take a shot like this into Fusion is if we want to change

112:03

Speaker A

something about it. Let's just get rid of these nodes for a minute because they're they're scary. Maybe we want to erase one of these people riding their bike. Maybe we want to add crazy clouds to the sky. Maybe we want to add a

112:16

Speaker A

flying saucer. Maybe we want to duplicate some trees and fill in these trees a little more.

112:22

Speaker A

Anything that has to do with kind of changing the actual pixels of the image, that's stuff we would use Fusion for. In our other shots, if we want to make this image look like it was shot at night, we

112:36

Speaker A

could do a lot of that probably in the color page, but we can do some fancy things in the fusion page as well, like brighten up these windows or replace them with different windows that have lights in them. We could add a big

112:48

Speaker A

statue here. Really, the thing that I love about Fusion is that there are no limits to what you can do in a little bit. One thing that we're going to do in Fusion is take this image and kind of

112:58

Speaker A

cut a hole in it and then put our little alien guy into the hole of the image so it looks like he's hanging out in this seat smiling and happy. That's the kind of stuff that you can do in Fusion. So,

113:11

Speaker A

let's go back to our wide shot here. And to make all these kind of things happen, we are going to use nodes. So, what is a node? A node is a little box in the Fusion interface that does one job. And

113:26

Speaker A

what we do is we link all of these boxes together to do a bunch of fancy stuff to our image. So, this is basically what a node looks like. The node has one job and it's generally called whatever its

113:37

Speaker A

job is. So, this node's job is to blur things. And there are a couple of different inputs on each node. This is where you would attach other nodes. And the colors of the inputs matter a lot.

113:49

Speaker A

Generally, most nodes, you would attach a node to a yellow input. But there are also green and blue and other inputs that we'll talk about in a little bit.

113:57

Speaker A

Once the node does its job, for instance, if you hook up an image to this yellow input, it's going to take that image and blur it. And then you can connect this node to other nodes by taking this little white square and

114:08

Speaker A

connecting that to the next node. After the image runs through this node, it's going to change the image. And so this image that I connect to the next node is going to be a blurry image because it's already gone through this node. If this

114:22

Speaker A

is already confusing, that's okay. All you really have to know is that a node is a box with one job. A lot of the students that we work with that are learning Fusion find it's a lot easier to think about nodes like a flowchart.

114:34

Speaker A

And when you're just starting out, it helps to think of a flowchart for something fun. Like for instance, a recipe. A recipe is nice because there are a series of steps. So if you were going to write out a recipe for

114:46

Speaker A

lemonade, let's say. Number one might be get lemons. Step two might be squeeze them. Squeeze the juice. Three would be add the juice to water. Four would be add sugar. Five might be mix. And so we can kind of split what we want to do

115:08

Speaker A

into steps. And we can do this like a flowchart like get lemons, squeeze juice, add juice to water, add sugar, mix. And these are going to happen in a certain order and they're going to flow from one to the other.

115:24

Speaker A

This is pretty much how nodes work in Fusion. So if we were going to make a node chart for getting lemonade, it might look something like this. The difference is that Fusion you have to tell Fusion everything. It's kind of

115:38

Speaker A

like you need to give it really specific instructions on exactly what you want it to do because it can't read your mind.

115:44

Speaker A

So for instance, we have a node here called get lemons. Okay, so I have some lemons. Squeeze the juice. Okay, so I'm squeezing it. Then I add the juice to the water. What water? Where's the water? This is the first time I've ever

115:56

Speaker A

heard about water. And so what we really need to do is make another node that says uh get water. So we get lemons and we get water. We squeeze the juice for the lemons and we add the juice to the water. So we need

116:09

Speaker A

to actually combine these two things. So both of those things happen. We get juice and we get water. Then we need sugar. What sugar? Well, we need to get some sugar. We need to add those. Right?

116:21

Speaker A

So we're mixing two things together. So this is more of a node graph that you would see in Fusion. You get some lemons and you change those lemons by squeezing them. You get some water and you combine it with that squeezed juice. You get

116:34

Speaker A

this watery juice. You get some sugar and you add those together. Then you stir it. You mix it up. And at the end, you have lemonade. One of the first things I ask our students to do when they're learning fusion is to make a

116:50

Speaker A

flowchart for a recipe that they like. So, here is a flowchart from one of our students named Ryan that I think is especially great for how to make ramen noodles. And we'll take a look at this and then we're going to come back to it

117:02

Speaker A

in a little bit because I want to show you something really cool about this.

117:06

Speaker A

But it's the idea of doing one step at a time. We get a pot. We get 20 ounces of water. We add the water to the pot. We boil the water. We get noodles. We add the noodles to the boiling water for 5

117:16

Speaker A

minutes. We drain the water from the pot. We get sauce. We add the sauce to the noodles. We stir fry for 30 seconds.

117:22

Speaker A

We get flakes. We add the flakes to the noodles. We stir it all up and we serve it. Right? So, it's thinking about things in steps. That's what's really, really important here. If you can get your mind to start thinking in these

117:34

Speaker A

little steps, nodes are going to be easy. Let's jump into Fusion and take a look at this. By default, we have a couple of nodes here. And this should already make a little bit more sense.

117:45

Speaker A

That's what's so great about this is that once it kind of clicks in your mind, you go, "Oh, okay. I love seeing that moment with our students. It's awesome. By default, when you open up a clip inside of Fusion from the edit

117:59

Speaker A

page, you'll have two nodes. You have a very simple flowchart here. And you can think of these nodes as kind of the beginning and the end. Media in has one job, just like all nodes have one job.

118:11

Speaker A

And that is to take this footage, this clip from the edit page, and bring it into Fusion. All right. So, that's all it's doing is just importing the footage. So, it's kind of bringing that footage in. And then we have a line that

118:22

Speaker A

connects media in to media out. So, it's flowing from left to right. So, the next step is media out. Media out. What that does is that takes an image, whatever image you plug into this yellow input, and then it puts it out to the edit

118:36

Speaker A

page. So, really what we're doing here is we're taking an image from the edit page, we're doing nothing with it, and then we're putting it back in the edit page, which is why when we go to the edit page, nothing's changed. Okay? But

118:49

Speaker A

if we were to add another step here, fancy things right here, then that's going to change this image and we're going to be putting a different image into the edit page. So if I were to grab maybe this icon right here that looks

119:01

Speaker A

like a teardrop and drag this down, that's going to make a new node. That's going to make a blur node. All right, I'll get rid of that for a second because I can grab this and drag this down onto this line. And when this line

119:14

Speaker A

turns blue, I can let go. And what that's going to do is run this image through this blur node. And that's going to change this image. Now, it just changes it a little bit because we're only blurring it a little bit. The

119:26

Speaker A

reason I know is because when I select this blur node and I go to the inspector, I can see the properties of that blur node. And this blur size is at only at one pixel. So, if I push this

119:37

Speaker A

blur size up, look, we get a blurry image. Okay. So, what we're doing is we're bringing a image into Fusion. Then we're blurring it 31.5 pixels and then we're putting it into the media out which puts this back into the edit

119:55

Speaker A

page. Now if we switch over to the edit page, look what happens. We have a blurry image. So what's really cool about this is that we've brought a clip into Fusion. We've changed it in Fusion and now it's already in our timeline. We

120:08

Speaker A

don't have to render it out. We don't have to convert it or anything like that. It's just already living there.

120:13

Speaker A

Now, Fusion can do a lot more fancy things than just blur things, but just go with this for now. We're building a really simple flowchart. Grab an image, blur it, put the image back into the edit page. And this is essentially how

120:27

Speaker A

you build all the effects inside of Fusion. So, take a second and just kind of start to think about, okay, if I want to change an image, I'm going to start running it through certain nodes. I'm going to get rid of this blur node. What

120:42

Speaker A

kind of node would we use if we wanted to make this whole image pink? We would probably use some kind of color correction or tint node or something like that. And there actually is a node called color corrector which is right

120:53

Speaker A

here. And we can grab this and just drag this down. Make sure that line turns blue. Grab this color corrector and wiggle it and make sure that those connections are actually connected. And then we can select this color corrector

121:04

Speaker A

and push this little dot towards pink. And look at what happens. We have a pink image. We can switch over to the edit page. We have a pink image. And if you can do that, if you can do just that,

121:16

Speaker A

you can use Fusion. Even though Fusion can do all this really, really crazy complicated stuff, it can be as simple as that. Now, let's take a look at how nodes work together. Here's a little diagram of how we would make a foggy

121:31

Speaker A

shot. So, a shot where we're adding fog. Maybe we have a shot of a house and we have an image of fog. We're going to put those together with a node called merge.

121:41

Speaker A

That puts one image over another image. Then maybe we want to do some color correction to that whole image where that's already combined. Then maybe we want to zoom it in a little bit. And then we put this into the media out

121:53

Speaker A

which is going to put it into the edit page. That's how we would add fog to a shot. And really you don't even need the color correction or zoom. If you're just going to add fog, you could just put fog

122:03

Speaker A

over the house shot in Fusion. Call it good. So, let's get to work here in Fusion. In the context of the movie, there's actually supposed to be some smoke, kind of a smoke trail that goes across this sky. And so, we're adding a

122:17

Speaker A

really simple visual effect of some smoke. And we're going to do this together in Fusion. But before we do that, I want to set up our color management. This is something that we're going to talk about a little bit more in

122:27

Speaker A

the color page. But for now, I want you to do this with me. Go to the media pool and to the Fusion folder. Right click on our Fusion timeline. We can go to timelines, timeline settings. This is going to allow us to change the settings

122:42

Speaker A

for our timeline. And let's uncheck use project settings like this. And this is where you can change the timeline resolution and all kinds of stuff here.

122:49

Speaker A

But we're going to go over to where it says color. And here where it says color science, I'm going to switch this from Da Vinci YGB to Da Vinci Y RGB color managed like this. I'm also going to

123:00

Speaker A

uncheck automatic color management and take this color processing mode and switch this to HDR Da Vinci wide gamut intermediate. Now, you probably don't know what any of that means. We'll talk about that in a little while, but for

123:11

Speaker A

now, set your settings for your timeline to this and then hit okay. And that made our viewer flash a little bit. And that's because what it's doing is putting this timeline into color managed mode, which for our purposes means that

123:24

Speaker A

it's going to do a little bit of color correction to make our log footage not look like log footage. If you're like, "What the heck is log footage?" We'll talk about it in a little bit. But for now, what we're going to do is shift

123:35

Speaker A

select all of these clips right here. So, our alien plate, our ship plate, our house exterior, and our wide shot. And we're going to rightclick and go down to input color space and select Blackmagic Design. Blackmagic Design Pocket 4K film

123:50

Speaker A

Gen 4 right here. That's what we want. Boom. This makes our colors look a little bit better because we're doing a little bit of initial color correction to our footage. And that's just going to make everything in Fusion work a little

124:04

Speaker A

bit nicer. Like I said, we'll talk about this a little bit more when we get to the color page. For now, your clip should look like this. And we're going to add some smoke to the sky here. The

124:14

Speaker A

first thing that we need to do is get some smoke. And you can do this a lot of different ways. You could get an image of a smoke trail. You could render one in 3D. You can do all different kinds of

124:24

Speaker A

things. What we can actually do here in Fusion is generate something that looks sort of like smoke using this little icon right here. I can click this and drag this in. This is called fast noise.

124:35

Speaker A

And to take a look at what this does, remember I said we're going to talk about these two viewers here. I'll make sure to select this button right here.

124:43

Speaker A

And that's going to make sure that we have two viewers. You can kind of switch between one viewer and two viewers with this button. There's similar buttons on the other pages. They're kind of like this actually. But if we have two

124:52

Speaker A

viewers here, I can take this fast noise node and I can just drag it into my left viewer and that'll let me see what this fast noise node is doing. So this fast noise node is creating this kind of

125:06

Speaker A

foggy cloud texture. And if I select this and go to my inspector, I can push up the detail. I can push up the scale.

125:14

Speaker A

And that's going to make these clouds. So, we're going to make some kind of clouds here. We'll just I don't know, make it about that size. Sure. You don't have to get it exactly like me. I'll go ahead and close our media pool, too, so

125:24

Speaker A

we have a little room. And we're going to change the color of this fog. We're going to go to the color tab of our fast noise here. And here for color two, instead of white, I'm going to take the

125:35

Speaker A

blue, green, and red down so that it's black. So, it's basically just black clouds over transparent. You can see it's transparent by the checkerboard here. And so, this is just black clouds over transparent. And now, we're going to put these black clouds over this

125:49

Speaker A

image. Now, you might think that what you do is you run this image through this image because you're applying these black clouds to it. Really, what's happening here is we have one image, which is our original footage, and then

126:02

Speaker A

we have this other image, which is our fast noise, and we're going to combine them together. To combine two images together, you use a very specific node called a merge node. Here's how it works. This little icon right here, if

126:14

Speaker A

we grab this and drag this down, this will make a merge node. And it has three inputs: yellow, green, and blue. The yellow input is the background for our merge. So, we can take the output of this media in one. I can actually just

126:28

Speaker A

click on this line once to get rid of it. I can take the output, which is that little gray square, drag this into merge one, like this.

126:36

Speaker A

into the yellow input. And then I can take my fast noise and put that into the green input and take the output of my merge and put that into my media out.

126:46

Speaker A

And I'll make sure to drag this media out to the right viewer so that I'm always looking at that media out. And now we have our black clouds over our image. So we put two images together, our black clouds and our original image.

126:58

Speaker A

And don't miss this. Either of these viewers can view any node at any time.

127:03

Speaker A

All you have to do is take the node and drag it into the viewer. You can also hit one or two on the keyboard with the node selected to load it into either viewer. What I like to do is have my

127:11

Speaker A

media out on the right viewer and then just view various nodes on the left viewer so that I can see what's happening with little pieces of my composite. A lot like you would grab a piece of media here on the source viewer

127:24

Speaker A

and you'd have your timeline on the right viewer. Kind of the same thing. We look at pieces of it on the left viewer and our media out on the right viewer.

127:32

Speaker A

So now, just as a reminder, if we go over to the edit page, this clip is going to have those black clouds over it.

127:39

Speaker A

That's really cool. We can select this fast noise and adjust the detail and the scale and everything of those clouds. We can adjust the se to kind of move these around. That's going to give us those dark clouds. But we don't want

127:55

Speaker A

those clouds to be everywhere. We only want it to be kind of in one place. We really want this to be kind of a streak across the sky like this. So what we can do is mask this fast noise and limit

128:08

Speaker A

this image so that it only exists right there inside of this little shape. So we can do that with a mask node. So there are quite a few little mask nodes here in Fusion. And we can grab whichever one

128:20

Speaker A

of these that we think is the best. There are a few. There's a ellipse node which draws a circle, a rectangle which draws a rectangle.

128:27

Speaker A

This is pretty This is pretty intense stuff. We also have a polygon node which lets you kind of use a pen tool to make a custom shape. And that's the kind of shape that we're actually going to use.

128:39

Speaker A

So, let's grab a polygon node. That's this middle one here. Drag this down. And then we're going to make the shape.

128:45

Speaker A

I'm going to just kind of make like a triangle thing here that's sort of going off the screen like that. There we go.

128:51

Speaker A

It's actually kind of a rectangle, I guess, but it's really skewed. And so the idea here is that we're only highlighting this part of the image and this is where we want to draw those clouds. So we can take the output of

129:04

Speaker A

this and we can plug this output into the blue input of this fast noise. And what's going to happen? Check this out.

129:10

Speaker A

Take this, plug this into the blue input. That's going to limit this fast noise to only exist inside of that shape. So now if I double click off of this, we can see that those clouds are only inside of that shape. You can think

129:24

Speaker A

of a mask this way. If a node has one job, like this fast noise has a job of making these black clouds. You can use a polygon to draw a shape and say whatever your job is node, I want you to only do

129:37

Speaker A

that job right here inside of this shape. When we connect this to the blue input, we're limiting it to that shape.

129:43

Speaker A

If we had a different shape like a ellipse and we put that into the blue input, it would limit it to that ellipse. All right? So, it's sort of like we're cropping what that node is doing.

129:56

Speaker A

So, we put that into the vast noise. And then let's view our media out. And now it looks like the edges here are just too sharp. So, something we could do would be to select our polygon and go

130:06

Speaker A

over here to soft edge. We can push that soft edge up. We could really soften this. And look, now we have just kind of a trail of dark clouds here. And it doesn't look like we cut that out with a

130:18

Speaker A

mask. It just looks like a nice little trail. So that works really, really well. So if you can do this, this is like your first visual effect inside of Fusion. What an exciting thing. And so now when we play this back, we have the

130:30

Speaker A

bikes going across and we have the smoke trail. The other thing we can do is we can go to our fast noise and we can push up the sea rate. Can push that up a little bit. I'm going to push it up way

130:39

Speaker A

too much right now just so we can see what's going on. But this see rate will animate those clouds just continuously.

130:46

Speaker A

So when we play this back, we can see how the clouds are kind of like wobbling, right? We don't want it this fast. So I can take this down a lot. I just want it just just ever so slight.

130:58

Speaker A

Just so it has a little bit of movement. Just so it isn't totally static.

131:05

Speaker A

Yeah, maybe something like that where it's just almost imperceptibly moving so it doesn't look like just a still. There we go. Now we have this smoke trail from the crashed UFO going across the screen.

131:17

Speaker A

I love that. And anytime we want, we can change this polygon and kind of change this shape to change where our smoke trail goes. Now, the one thing that you'll run into when you're adjusting a polygon mask is that it automatically

131:30

Speaker A

animates. And so, if we were to look at this and play this back, see how that mask is animating? When I go back and forth, it animates. That's because I have a key frame on this mask, that first frame where I drew this mask. And

131:46

Speaker A

when I changed it just now, we were actually at a different place in time.

131:50

Speaker A

So, if we're doing this on purpose, it's great. But one thing that I always do with masks that I'm not going to animate is I go over here to the inspector. I select the polygon mask. Go over here to

131:59

Speaker A

the inspector. Right here where it says right click here for shape animation, I rightclick and then go down and I say remove polygon one polyline. like that.

132:08

Speaker A

Boop. Like that. What that's going to do is get rid of the key frames, which are the little white ticks that were on here. It's not going to have a red key frame diamond. It's just going to stay

132:17

Speaker A

where it's at. And no matter where I change this mask, it's always going to stay like that because there is no animation. All right, that has got me in trouble so many times. That's why I'm telling you about it now. If your mask

132:31

Speaker A

is animating, it's because it's automatically key framed. You got to right click and get rid of that animation. So, now we have a little bit of movement there. We have a nice looking shot. We have this kind of

132:42

Speaker A

streak across the sky. How do we get it back into the edit page? I'm testing you. All you do is switch back to the edit page and boom, there it is. That's our finished visual effects shot. Isn't that awesome? We did that all right here

132:53

Speaker A

inside of Resolve, inside of Fusion. Beautiful. Let's go to our first shot, this house exterior. I'll switch back over to Fusion. Again, I'm moving this around by clicking and dragging with my middle button on my mouse, my scroll

133:07

Speaker A

wheel button. And you can kind of move this around. Same thing here for the viewers. But now, what we're going to do is we're going to turn this into a nighttime shot. So, this is going to involve a couple things. One is we need

133:18

Speaker A

to make it darker. Two is we need to make it blue. Three is we need to kind of keep some of the light that's here so that it doesn't look weird and it doesn't look too dark. So, we're

133:28

Speaker A

darkening everything except for these lights basically. How do we do this? In Fusion, we can run an image through an effect. So, for instance, this color correction effect. We could grab this and drag that down like this. And we can

133:42

Speaker A

select the color corrector. Maybe we'll push this a little bit blue. Maybe push up a little bit of contrast. Maybe take this gain down. That's just the brightness of the brightest parts of the image. Maybe something like that. Now,

133:54

Speaker A

we're really darkening that kind of thing down. That's one way that we could do it. We could also use a curves node.

134:01

Speaker A

And this, if we uncheck alpha, we can add a little bit of a contrast curve like that. But the tool that I really like for this kind of thing inside of Fusion is our brightness and contrast node. That's this node right here.

134:13

Speaker A

We can take this and drag this in. I like this because it's a little bit more simple. I could just take maybe this gamma down. Push this down like this.

134:22

Speaker A

Take the saturation down a little bit. And now we're just making this a little bit darker. Like that. Yes. And we're pretty quickly going to figure out that the color here is going to be too dark here and not dark enough up here. So,

134:36

Speaker A

what we're going to have to do is do this in a couple different parts. So, I could take this brightness and contrast down. And I'm just going to pick one of these. I can either pick the sky or I

134:44

Speaker A

can pick the ground and the building and stuff. So, I'll just pick the building first. Maybe just kind of take that down. Something like that. Great. The other thing I want to do is clip black and clip white. This makes sure that no

134:56

Speaker A

craziness happens with our color. Sometimes you can make things that are blacker than black or whiter than white and that kind of messes with things and gives you weird results sometimes. So you always want to clip that black and

135:06

Speaker A

white unless you're doing something really specific. I also tend to click pre-ivide post multiply. This makes sure that if you're color correcting something that has transparency, like an alpha channel, maybe it's a logo or something like that that has

135:18

Speaker A

transparency, that when you adjust the colors that it only adjusts the colors on the pixels that aren't transparent.

135:24

Speaker A

Sometimes you can color correct transparent pixels and weird stuff happens too. So basically you tick all of these boxes to make sure weird stuff doesn't happen. Okay, so we have this a little bit darker. Let's darken the sky

135:36

Speaker A

too. So what I could do would just be to copy and paste this just by hitting C, double clicking, hitting Ctrl +V. And let's do another version of this. Let's take our original footage and we'll run it through brightness and contrast like

135:49

Speaker A

this. Take this brightness and contrast. Make sure we're looking at that. Just dragging it up here. And then we'll clip black and white. Pre-divide, post multiply. And this time we're going to take this gain down a lot. We're going

135:59

Speaker A

to take the gamma down a lot. We're just going to make that sky really dark. All I care about is the sky. Yeah, something like that. Really, really dark.

136:08

Speaker A

Everything else is way too dark, but we just care about the sky. Also going to take the saturation down a lot. Maybe like all the way. Okay. So, we have a separate color correction for the sky, and we have a separate color correction

136:20

Speaker A

for the bottom part. Now we're going to combine these images together. So we can do that with a merge node that always combines images like this. So we're going to put this merge node here. And let's look at our media out. So now we

136:32

Speaker A

have this color correction for the building. And now we're going to take the output of the color correction for our sky and put that into the foreground of this merge. And look what happens. We only see the foreground. Okay. So here's

136:45

Speaker A

the background before the merge. Here's the foreground before the merge. And here is the composite after the merge, but we only wanted it for the sky. Well, the thing is we didn't tell Fusion that we only want on the sky. So,

137:00

Speaker A

what we got to do is use a mask just like we did with the black smoke. And so, I could take something like this polygon mask. I'll drag this down. And this time, I'm going to mask the merge

137:10

Speaker A

because this merge is doing one job. What it's doing is it's putting the foreground over the background. And what I want to do is tell it to only put that foreground over the background inside of this shape that I'm going to draw. So,

137:23

Speaker A

actually, let's go ahead and draw this shape first. And I'm just going to start kind of up here. I'm going to select this polygon and start up here and just kind of draw around where I want the sky. There we go. Something like that.

137:37

Speaker A

Then I can connect this polygon to the blue input of that merge. And look what happens. We have the sky color grade over the building color grade. And again, just like we did with the black smoke, I can take this polygon and push

137:50

Speaker A

up the soft edge like this. We'll just push it up a little bit. Maybe bring this down.

137:58

Speaker A

Soften that edge a lot. And we're just going to kind of move that around to where we get a good solid combination of both of those colors.

138:14

Speaker A

Might want to make this even softer. And now we can select this merge and turn off on and off this switch. And we can see the difference, right?

138:24

Speaker A

Makes a big big difference. I also want to take this polygon and maybe move it up a little bit just so we're not softening the edges. is we'll take it way off the canvas here like this. And now we have essentially two color

138:36

Speaker A

corrected images combined together. We have our sky grade and our building grade and we're putting those together in two different layers. Now let's take this whole thing and turn it blue. I'm going to take this media out and we're

138:50

Speaker A

going to take some color correction. We're going to run this through our color corrector and we're going to push this a little bit blue. All right. Let's make sure we're looking at our media out. Oh yeah, that's too blue. We just

139:00

Speaker A

want it a little bit blue. Something like that. Maybe take the saturation down a little bit.

139:08

Speaker A

And we can really start to dial this in and make this look like it's nighttime.

139:13

Speaker A

Okay. Now, a lot of this is stuff that we could probably do in the color page, honestly. But I like this exercise because it gets us used to working with nodes. And this will also help us with color here in a little bit. If anytime

139:25

Speaker A

you get lost in a node tree, you can just grab the nodes on the left and just start dragging each one into this left viewer and kind of think about it in steps. The first step we have is our

139:35

Speaker A

original footage. Then we're adjusting it with the brightness and contrast. Then we're taking our original footage again and we're adjusting it differently with our brightness and contrast. So we have two versions of this color corrected image. One that's sort of dark

139:50

Speaker A

and one that's really dark. Then we're merging our really dark one over our sort of dark one, but we're only doing it inside of this polygon mask. So just on the sky part. Then we're taking that whole thing and we're color correcting

140:06

Speaker A

it to tint it blue. And that gives us our composite where we have multiple images put over one another. Now we could go even crazier here. What really sells a day fornight shot is when we have these bright yellow lights kind of

140:21

Speaker A

lighting things up. And so we could copy this media in again. I'll just copy and paste. Now we have our original footage again. And we can put this over our blue kind of nighttime shot like this. We can

140:36

Speaker A

do that by adding a merge node and putting it into the foreground. And if we look at our media out, we have our original footage with nothing over it, right? But we're only going to merge this where the bright parts are here. So

140:49

Speaker A

we could do something like grab a ellipse and plug this into the blue input here.

140:56

Speaker A

And I can make this ellipse really small and move it like this. And then soften that edge like this. See what we're doing here?

141:07

Speaker A

Soften that edge. And now we have that yellow that looks like the light is emitting light. Right. We could copy and paste this ellipse mask. I'll just drag this down. Hit Ctrl + C and then Ctrl +V. It's going to copy and paste that.

141:24

Speaker A

And it's going to run that mask through that mask, which is basically just going to combine them. So I can add another mask over here. Create. I'll move these down. Grab this one. Copy paste. Crl + Crl + V. Move this over here for this

141:37

Speaker A

one. Maybe make this one a little bit bigger. So we have a little bit more light over here. Something like that.

141:45

Speaker A

And now we have that light showing up here and it looks more like a night shot. Isn't that cool? This is the kind of stuff that you can do in Fusion really easily. Maybe we want to add some

141:57

Speaker A

fog to this. Remember, we kind of know how to do that already. We can take this second icon, which again makes fog. It's a fast noise. push up the detail. Maybe maybe push down the scale a little bit.

142:10

Speaker A

And let's merge this over everything. By the way, there is a quick trick to merge something over something else. So you don't have to grab this merge node and then plug it into the foreground. What you can do is just take the output, this

142:23

Speaker A

little gray square, and drop it on the white square here like this. Boop. And that will automatically put it in the foreground of a merge right after this node. So now we have our fast noise over everything just like we did before. And

142:37

Speaker A

again, we can grab a polygon and let's just kind of make a little mask around here. I'm just clicking and dragging to make it soft. Pushing this soft edge.

142:49

Speaker A

Selecting these and just messing with this shape that I can get a little bit of fog.

143:00

Speaker A

Isn't that cool? Now, this fog is a little bit strong. So, I want to take this merge and I'm going to turn down the opacity of the foreground. I'm going to make it more transparent. With this merge, I can take

143:12

Speaker A

this blend and push the blend down like this. And so, I can kind of fade this on or off. So, if I want to split the difference, I can take this blend to 0.5.

143:22

Speaker A

And I'll actually just push this in just a little bit, maybe like 20% or so. And now we have this fog in our shot.

143:31

Speaker A

And it really adds a lot. Makes it feel like it's a nighttime kind of foggy shot. Look at that big difference.

143:40

Speaker A

Here's our original footage and here's after. That's a big big difference. Isn't that cool? The other thing we can do with this fog is we can grab this fast noise and look at this.

143:50

Speaker A

We can move the center of the fast noise around and that just kind of moves this texture. And we can start this here at the beginning of our shot. And just like we can animate stuff in the edit page,

144:03

Speaker A

we can animate stuff here in the fusion page. So I could take this fog. I'll take the center and just start it there.

144:09

Speaker A

You can really start it anywhere. It's just going to be easier to animate from one side to the other rather than starting here and then animating it off screen. We're going to start right here.

144:16

Speaker A

And I'm going to animate the center. I'll just click this key frame diamond. And then at the end, we'll move this over a little bit. I don't know, maybe halfway or so. So now as we play this back, we see the fog kind

144:30

Speaker A

of rolling across a little bit. Oh, that's so cool. We could also adjust the seed rate and push that up just a little bit so that this kind of changes over time. Maybe a little bit stronger than that. There we go. So now we have the

144:45

Speaker A

fog kind of rolling in across this. I'm going to turn this up so you can see it a little better. We have that fog going from left to right.

144:53

Speaker A

I always want to keep things subtle, but it's a little bit easier to see on the recording here. So, let's just push this up just so it's nice and subtle. Little bit of fog. Ah, it's so cool. Movie magic in

145:06

Speaker A

Fusion. And remember, once we have this all built out, we can switch to the edit page. And look, here's our shot in the edit page. We don't have to render it.

145:13

Speaker A

We don't have to do anything crazy. It's just already in the timeline. Isn't that awesome? Now, here's kind of one of the dirty little secrets about Fusion. You kind of take one look at this node tree and you're like, gosh, that's a lot of

145:25

Speaker A

little boxes and everything, but it wasn't that hard when we were building it because we're just building it one step at a time. Okay? And really, we're just starting with this media in and we're color correcting it, which is one

145:38

Speaker A

step. We're starting with this media in again and we're color correcting it. We're putting it together. We're masking where it goes together. We're color correcting it blue. We're taking the original footage again and we're just putting it over everything, but only

145:53

Speaker A

within these masks. So only where it's white right here. Then we're taking some fast noise and we're putting it over our shot, but only inside of a mask that's right down here. And so it's pretty simple, straightforward stuff. It's just

146:08

Speaker A

lined out with every single step that we did. So that's the bad thing and the good thing about nodes. The bad thing is that it looks kind of intimidating. But the good thing is that you can always go

146:17

Speaker A

back to any of these steps. All these steps are modular. And so you can go back and say, actually, I don't know if I like the correction here. I can go to my brightness and contrast here and adjust that correction on the top part

146:30

Speaker A

of our screen, and I can see what it looks like even after it flows through all of this stuff. Fusion is the very most powerful page in Resolve. You can do absolutely anything with it. Fusion is what we dive super deep into in our

146:43

Speaker A

courses. We have a course called Intro to Fusion that breaks down all of this in even more detail and helps you truly understand how Fusion works and then puts you through the paces to transform you from somebody who doesn't really

146:54

Speaker A

know anything about Fusion to somebody who can confidently use Fusion for visual effects and for graphics and for creating awesome things in Resolve. Now, let's go back to our edit page and we have these two shots and we want to

147:07

Speaker A

combine them. Now, to combine a couple of shots in Fusion, you can do this a couple different ways. One thing I could do would be to just be over this bottom one and switch to Fusion. And then I

147:18

Speaker A

could go to my media pool and grab this other shot and drag this in like this.

147:23

Speaker A

And that's going to make another media in. And so we have this footage and this footage. And then I can combine them just like I combined the same footage over itself. The other way that we can do it that's sometimes a little bit more

147:35

Speaker A

convenient, I'll just rightclick on this and reset our fusion composition is I can stack these on the timeline, select both of them, rightclick and go to new fusion clip. What that will do is combine these together and then I can

147:50

Speaker A

switch into Fusion and I'll have both of those clips synced up and lined up with each other here in the Fusion page. So here's one of them and here's the other.

147:58

Speaker A

It really doesn't matter which one you use. It's kind of dependent on what you feel like doing. One advantage that you have with working with just one piece of footage though is that when you switch into Fusion, it's going to open it up in

148:09

Speaker A

its native resolution. Okay, so this is 1920 x 800. If you make a Fusion clip, it's going to make a version of this that's actually the timeline resolution, which may or may not be an issue. In this case, it's not really that much of

148:23

Speaker A

an issue other than we have a little bit of empty space at the top and bottom because this footage is widescreen and our timeline settings are HD. But I like to do it this way. Grab this original footage. And then I'll just grab this

148:37

Speaker A

other footage from the media pool and drag it in. And I can rename these nodes by selecting the node and hitting F2. So we'll call this alien MI for media in.

148:47

Speaker A

This one's going to be called ship_mi for media in. So we have our alien, we have our ship. And now it's our job to combine these together so it looks like this alien is inside of the ship. Now

148:58

Speaker A

this might actually be easier if we put this alien in the background and the ship in the foreground. So let's go ahead and disconnect our ship and we're going to start with our alien. We're going to take him and put him into the

149:12

Speaker A

media out. This is going to be our original footage. In this case, they're both the same resolution, so it doesn't really matter. And then we're going to take our ship and we're going to put this over our alien like that. So, we're

149:22

Speaker A

just going to be able to see the ship and the aliens underneath it. So, if we move this over, we can see the aliens underneath it. But the first thing we have to do is cut a hole in our clip of

149:32

Speaker A

the ship. In visual effects land, this would be called a plate. Think of if you're stacking two plates in the kitchen. Your foreground plate is on top of your background plate. All right? So, this foreground plate, this ship, we're

149:43

Speaker A

going to cut a hole right here in the cockpit and see if we can put our little alien shot in there. To do that, we can grab a polygon mask. And if we connect it to the ship right now, everything's

149:53

Speaker A

going to disappear and we're not going to be able to see what we're working on.

149:57

Speaker A

So, it's actually a little better idea to not connect this yet. We're just going to put this kind of nearby where we want to connect it. select this polygon and I'm just going to start drawing a mask right around here where I want

150:12

Speaker A

this to be cut out. Now, drawing masks is kind of its own art. Let's just look at this polygon here for a minute. In fact, I'll grab all these and kind of reset it. If you click once, that's

150:24

Speaker A

going to add a point to your polygon. So, if I click once several times, that's going to build a shape. Once I connect that shape to itself and close that path, that's going to make a selection. That's this white part right

150:37

Speaker A

here. I can also add points to this by just clicking and dragging. It's going to add points. But there's also these little handles on the line. And if I click and drag that, that's going to make these points softer. Like it's

150:52

Speaker A

going to make them not as pointy. And so I can adjust my path using these little handles. And I can make soft curves or I can make them pointy depending on where those handles are. When I'm drawing, if

151:06

Speaker A

I click once, that makes a sharp point. If I click and drag, that drags out those handles so that I can make a soft shape like that. Generally, when you're drawing with a mask, you want to have the least amount of points possible. And

151:22

Speaker A

so if you're going to draw a curve, you don't want to draw a ton of little points like that to make your shape, what's better is just to use one point here in the middle and drag those handles out like this.

151:37

Speaker A

Then you can kind of adjust it. But you can get the same shape with three points instead of 30. And it takes some practice if you've never drawn these kinds of paths before. You haven't used like a pen tool, you haven't drawn

151:49

Speaker A

vector shapes, things like that. It does take some getting used to, but with a little practice, you'll get the hang of it. All right, so let's go back to our ship, and we're going to use our polygon mask. And I'm going to click once here,

152:01

Speaker A

and then click and drag here for this curve. Click once here. Click once here because there's a little bit of curve.

152:09

Speaker A

There we go. I'm clicking and dragging. Click once. Click and drag. Click once to close the path. I can hold control and grab this little handle. That's really hard to see. Let me adjust my viewer here. I'm just turning the gain

152:22

Speaker A

down in our viewer. It's just the colors of the viewer. It doesn't actually change the image. It's just like your preview of it. Those three dots. You can click on gain and gamma. And you can kind of adjust the brightness of your

152:31

Speaker A

viewer just so you can do things like this a little bit easier. I can hold control and grab this handle and move this down into line cuz I want a good selection of this right here. I think that looks pretty good. I can reset my

152:45

Speaker A

gain and gamma by clicking these little dots here. Or I can also just go up to the three dots and turn off gain and gamma. And now I have this selection that looks like this. And if I apply

152:54

Speaker A

this to the ship like this, look what happens. That does cut out the ship, but it only leaves the center. And what I really want is the center to be gone and everything else to stay there. So what I

153:05

Speaker A

can do is select my polygon mask and right here where it says invert, I'm going to invert that selection. Boop.

153:11

Speaker A

Like that. And now look, we have a little hole cut out in our footage. And we can see this checkerboard behind it.

153:18

Speaker A

That means that it's transparent. So I can put this over our alien footage. And look, there he is. He's peeking out. So we have this kind of partially done. We have this cut out. And we have our alien

153:29

Speaker A

in there, but he's not really the right size. And so what we need to do is resize this footage to fit right about here. We're going to do that with a transform node. So a transform node is like taking an image and adjusting its

153:43

Speaker A

size, its rotation, and its scale. It's a lot like the transform controls right here in the edit page, but it all lives in one node. And so we can take this alien, this original footage right here, and we're going to run it through a

153:58

Speaker A

transform node. Transform nodes are right here. Can grab this and drag this in like this. Make sure this is connected. And then with the transform node selected, I have my transform tools up here. And I can push the size down.

154:10

Speaker A

And look, it kind of gives us a little outline. And I can put this guy right where I want him to be. Look at that.

154:18

Speaker A

And so we're combining those images together and we're making one new image. That's movie magic. Isn't that cool?

154:26

Speaker A

Again, this node tree looks complicated, but it's our original footage of our alien. We're transforming him, making him smaller like this. We're taking our ship footage, we're cutting out the middle, and we're just pasting it on top of this image. Those combine together.

154:42

Speaker A

And they make our shot here. And now we can call this good or we can change it around a little bit. One thing is maybe this polygon mask needs a little bit of softness. So I'll push up the softness

154:51

Speaker A

just a little bit. Something like that. Adjust this a little bit. Make sure that we right click and remove our polygon one polyline or else we'll have moving masks.

155:02

Speaker A

Just going to kind of adjust this and make sure this looks good. Always a good idea.

155:10

Speaker A

Maybe we want to color correct right here and kind of put a little shadow so it looks like he's really inside of that craft. We could run this transformed alien, this right here through something like a brightness and contrast.

155:24

Speaker A

And let's view this here on the left viewer. And we're going to take the gain down a little bit. Maybe maybe take the gamma down touch. Maybe take the saturation down. Just going to make it a little bit darker. But we're only going

155:36

Speaker A

to do it right here. Okay. So, we could take a polygon mask or even maybe a rectangle mask and we can apply that to our color correction. And as we change this mask, look, it's only going to do

155:49

Speaker A

that color correction. That one node's job, this brightness and contrast job is only going to happen inside of this rectangle. And so, I can take this rectangle and let's we can either move it on this viewer or the other viewer,

156:01

Speaker A

doesn't matter. We'll rotate this a little bit. I'll just move this right there. And then maybe soften that edge just so we have a little bit of our color correction here. Just like that.

156:13

Speaker A

Adds a little bit of interactive lighting there. So here's before and here's after. And that's only happening on this image because we're running it through this brightness and contrast before we put it under the ship. If we did a color correction on this side,

156:28

Speaker A

then what we're doing is we're taking this image and we're color correcting it. Right? So, if I did some kind of color correction here, we'll just I don't know, make this really yellow, right? And then we put that inside of a ellipse. That's going

156:45

Speaker A

to color correct everything at least inside of that ellipse. But if we were to put this here before we put it under the ship, I can hold shift and drag this out like this and just drop it back in

156:56

Speaker A

like that. Then that's going to color correct this image before it goes under the ship. And so we're only color correcting this image. So the order of the nodes is really important. Let's get rid of that. And now we have our nice

157:08

Speaker A

composite. We can switch back over to the edit page. H. So beautiful. There's our little guy. We can get rid of this alien plate. And now we have three finished VFX shots right here in our timeline. And we can do this on any

157:21

Speaker A

timeline. If we switch back to our edit timeline, I can quickly go into Fusion.

157:25

Speaker A

And maybe I'll do something like add fog. push up the detail like this. And we'll just mask it to be like right here.

157:40

Speaker A

Soften that. Soften that edge a lot. Now we have a lot more fog than we did.

157:49

Speaker A

Really makes a big difference. There are infinitely more things to go over in Fusion. Man, I could spend so much time on this. In fact, we have several courses on Fusion. We have hundreds of students that have learned

158:02

Speaker A

how to use Fusion, this part of Resolve that is the most powerful, inspiring, amazing part of Resolve. You can also use Fusion to make motion graphics and animations and all kinds of cool stuff like that. In fact, you know what? I

158:14

Speaker A

don't care if this is a million hour video. We're going to uh I need to show you some of this stuff, too. Let's switch back to our wide shot here. And imagine imagine if we made this into kind of like a sort of like predator

158:28

Speaker A

vision kind of shot where it's all kind of washed with some color and maybe there's like a little targeting system or something that tracks one of these bikes and maybe there's like heat vision or something like that. You can do all

158:39

Speaker A

this kind of stuff in Fusion. And so let's let's just walk through and play around and have a little bit of fun here.

158:45

Speaker A

So, after all of these nodes that we're using, let's kind of do some color correction here. And let's just maybe turn it blue, maybe push up the contrast a little bit, take the saturation down, so we have this kind of like bluish gray

158:59

Speaker A

wash on everything. Let's make a little graphic that kind of follows her. And you can do this in a bunch of different ways. One way that'd be pretty easy would be to grab a background. So, this just generates a background color of any

159:13

Speaker A

color you want. Maybe we'll make this kind of a greenish cyan kind of thing.

159:17

Speaker A

Let's put this over our color correction. And let's take a mask and we're just going to put a rectangle mask on this like this.

159:26

Speaker A

And then we can kind of put a box around our girl here. And then let's uncheck solid and push up border width for our mask. And now we have a little border, like a little picture frame here. Push

159:38

Speaker A

up the corner radius. Now we have this little mask that's masking this colored background and creating this little picture frame. I'll take that border width down a little bit. Something like that. And I think I'll just work on a

159:52

Speaker A

little bit of this shot. Let's just go to the edit page and just trim this real quick just because we're playing around with it. Let's make it easy on ourselves. Just do a little bit of this.

160:01

Speaker A

That's going to adjust the trim points here. And I can zoom in this little bar so that we're only looking at the part in between the yellow markers in and out of this comp. And one thing we could do

160:13

Speaker A

would be to key frame the rectangle mask here. And so I could end it right here and adjust the center. And I could kind of just key frame this so that it sort of follows her sort of in the middle here. I'm going to add

160:28

Speaker A

another key frame. Just move this over. Sort of in the middle of that. move that over like this. So now we have this kind of following her as she rides. And that works fine. The other way that we could

160:42

Speaker A

do this would be to track the motion. So depending on what you're doing, this could be more or less work. I'm going to double click here in the empty space.

160:50

Speaker A

And you can hit shift and spacebar and that's going to bring up a menu that will let you select all of the 37ome nodes inside of Fusion. There are a ton.

160:59

Speaker A

Look at that. It's crazy. But I'm going to type tracker. That's going to bring up this tracker node. I'll select that and hit add. And you can take your original footage here. I can just copy and paste this. Crl + C. Double click

161:11

Speaker A

off. Ctrl +V. I'll just move this up here and put this into the tracker.

161:14

Speaker A

Let's just look at this here on the right. And this tracker, what that does is it will lock on to a feature in your image and it will follow it. And so we can grab this little target thing here.

161:27

Speaker A

Let's just go to the beginning of our clip here. Let's take this Intelllet track and put that right on top of our leading lady here. And let's track that forward using this button right here.

161:38

Speaker A

What that's going to do is stick that tracker to her as she rides by. It's going to track that motion. It's basically doing some key frames for us here. And once we have that, then we can do a bunch of different things with this

161:51

Speaker A

tracker. One thing we could do would be to maybe take some text or something and plug that into the green foreground input of this tracker and say, you know, text like this, select this tracker, go over to operation, and here where it

162:04

Speaker A

says operation none, switch it to match move. And what that's going to do is put some text here. And I can select the text, put this right where it's supposed to be, and watch what happens here. This text will follow her as she rides her

162:17

Speaker A

bike. Isn't that awesome? And so if you need to stick something to something, you can use a tracker to do it. So we're kind of using this tracker like a merge node, but it will animate the foreground. Now, we don't have to

162:28

Speaker A

include the background here. We can select this tracker, go to operation, mesh move, and then merge. Instead of foreground over background, let's just say foreground only. That's going to give us just the text in its own kind of

162:38

Speaker A

isolated layer, but it has the same movement. So we could put this into the foreground as a separate thing. Then we have the tracker as a separate thing and then the merge as a separate thing, right? So it kind of gives us the same

162:52

Speaker A

idea, but there's the text. Now, what's cool about this cool about nodes here is that we don't have any effects applied to anything specifically. We're just running it through this effect, so it's always modular. So I could take this

163:03

Speaker A

text out and I could take my rectangle background, plug that into the green input right there, and I'll adjust this rectangle here. Let's actually reset our center. I'm just double clicking on that center here. I'm going to put this

163:14

Speaker A

around her. Look at this. Now it follows her because it's running through that tracker. Okay, so we're tracking the bike and we're moving along with it.

163:25

Speaker A

Now, here's what's really cool. This is where things just get so awesome. Let's take all of this and move it to the right here a little bit. Just make a little bit of room. We could take this same kind of tracker, which is really

163:38

Speaker A

just giving us an image that looks like this, and we could make sort of a different version of it, and we can use it as a mask. So, we could do something like I could just copy and paste this.

163:49

Speaker A

Ctrl + C, double click off, Ctrl +V. All right. So, this is going to be our frame, our cyan frame. But this one, let's just drag this up here. Instead of a cyan frame, let's go to this rectangle

164:01

Speaker A

mask and let's check solid and take down our border width. And that's going to give us just a solid mask. And we don't even need the background anymore. We can get rid of the background here and plug this into the foreground input of the

164:14

Speaker A

tracker. Not the blue input, the foreground input. And what this will do is give us a animated mask that we can use by plugging into the blue input of something. So, I could take this output of this tracker, plug this into the blue

164:28

Speaker A

input of the color correction, and look what happens. It's only color correcting inside of that mask. Isn't that magical?

164:35

Speaker A

We could grab this color corrector, go over to settings, and here we have some mask settings, and we can select apply mask inverted like this. And look at that. Now, it's going to be everywhere except for in that mask.

164:49

Speaker A

And we can connect this to multiple things. Check this out. I could grab a blur and make this really blurry everywhere except for inside of that mask. So, I could take the same thing. I could take the output and plug that into

165:02

Speaker A

the blue input of the blur. And again, go to settings, apply mask inverted, and everything's blurry except for inside of this.

165:12

Speaker A

We can do so much cool stuff. I could get rid of this color corrector thing like this. And now it's just sharp inside of here and blurry everywhere else. So many cool things you can do.

165:25

Speaker A

But don't miss this. You can take the output of a node and run it into multiple different nodes. You can use one node or one mask to mask like 50 different things if you want to. That's what's so powerful about nodes. I love

165:39

Speaker A

it. This is a cool effect. Let's add a little bit of graphics to it. We can just grab a text node and just drag this in here. And we'll call this uh sector 45B North America.

165:52

Speaker A

Sure. And we'll take the output of this and put this over the output like that.

165:57

Speaker A

Just like this. Let's take this text, switch this maybe to aerial. Let's take the size down. There we go. We can kind of put this down here like this. And we can start making our graphics. We could animate this right on property like

166:13

Speaker A

this. So it looks like it's typed in. So we could have this come in like right here. I could animate this right on property just by clicking that key frame diamond and have this come up.

166:26

Speaker A

Just animate this like this. And now we have this really cool effect like that. Now we have like this predator vision kind of thing. Isn't that cool? I want to show you something that's just in the paid version of

166:40

Speaker A

Resolve called Magic Mask. Magic Mask is ridiculous. It is a way that you can trace out things and animate that trace without a whole lot of work. So, we can take this original footage. I'm just dragging this in here. And I can double

166:56

Speaker A

click off and hit shift spacebar and type magic. Again, this is only in the paid version of Resolve. And I'll just hit enter. That's going to make a magic mask node. I'll drag this over here. And what I could do is either copy and paste

167:08

Speaker A

this media in like I've been doing. Or I can even take the output of this and just plug this in like this. All right.

167:13

Speaker A

So, it's the same thing as copying and pasting this media and putting it in here like that. I could even take this one over here. Doesn't matter. But I'll take this one like this. And let's drag the magic mask in here. And what this

167:25

Speaker A

will let us do is you can draw a line on whatever you want to select. So, I'm just going to draw a line over her. And what that's going to do is automatically try and trace her out. I can hold alt

167:38

Speaker A

and get rid of the extra parts. So, we'll just do kind of a soft mask around her like this. And then we'll track this back and forth. So, I'll click this track back and forth. And it's going to

167:48

Speaker A

do a pretty good job of at least kind of making a blob around her. There isn't a lot of resolution here. There's a lot of reasons why this would have a lot of trouble, but this is actually going to

167:57

Speaker A

work out perfectly for what we're trying to do. I can take the output of this magic mask and put it on top of this merge two like this. Let's look at our media out. And now we have the original

168:07

Speaker A

footage layered on top, but only where that magic mask is tracing it out. So we could take this magic mask, go to matt, push up this blur a little bit, and that's going to make this a little bit

168:17

Speaker A

more of kind of a blurry little blob on top of her. Okay. We could take that and color correct it like this. Color corrector like this. And we could maybe make that bright orange like this. And now look, we have this kind of

168:37

Speaker A

sort of looks like a heat signature kind of thing where she's going. Isn't that cool? So cool. Now, this isn't actually the greatest use for magic mask. This is just going to kind of work great in this circumstance. Let's uh let's grab one of

168:50

Speaker A

our color clips. I'll just grab clip 106. Maybe put this into Fusion. Make sure the clip 106 is tagged with our input color space. Blackmagic Design 6K film Gen 4. Okay. We could run this through magic mask and we'll just draw

169:05

Speaker A

on top of him like this. What that's going to do is cut him out pretty darn well. We can track this back and forth.

169:13

Speaker A

And now we'll completely cut him out from the background. And we can adjust this mat by blurring it a little bit, maybe eroding it. But then we can take this and maybe we'll take this same media and color correct

169:27

Speaker A

it. I don't know, we'll color it blue or something. put this into our media out and take our magic mask and put it over everything. And now it'll do a really good job of separating that subject from the background. Not only that, but you

169:42

Speaker A

can put stuff behind him, you know? So, if you want to put some text behind him, let's say, we can have this behind him because we're separating those layers. And you can do this yourself with masks, but it

170:00

Speaker A

takes a lot more time and effort to trace him out. And for certain things, Magic Mask works really, really well. It doesn't work perfectly with everything, but it can really help you save some time when you're doing things like this.

170:11

Speaker A

That said, if you do want to get into Fusion, I have a whole bunch of videos for free here on YouTube on how to learn Fusion, as well as a bunch of courses that are designed to take you from

170:19

Speaker A

somebody who has no idea how Fusion works to being really comfortable and using Fusion amazingly. But hopefully you see the potential of what is possible in the fusion page of Resolve.

170:28

Speaker A

Now let's get into the next fancy page color. To follow along with this part, if you have the media, there should be a folder called color. And what we're going to do is select and shift select all of these color clips. Right click on

170:40

Speaker A

the first one and say create new timeline using selected clips. Just like that. We'll call this color timeline and hit create.

170:50

Speaker A

That's going to put all of these clips here in order. And this is pretty much to simulate if you had an edit where you had all kinds of different clips.

170:58

Speaker A

They're all put together in a timeline, but now you want to make your colors look good. We'll walk through all the need to know stuff on the color page in this timeline. Again, to bring it into the color page, all you have to do is

171:08

Speaker A

click into color and it will bring that timeline here into the color page. Very exciting. So, a general overview. The color page of Resolve is obviously made for doing color correction. And this is another one of those interfaces that I

171:22

Speaker A

mean there's so much stuff here. It looks like the helm of a spaceship. And you could pretty easily just look at it and be overwhelmed by all the little buttons and panels and everything. And this isn't even all of them when you

171:32

Speaker A

switch through. I mean, look at this. It's crazy. Not only can I switch out these panels, but each panel has several different panels. It's crazy. The great news is that you really only need to know a couple of these little panels.

171:45

Speaker A

And we're going to walk through all of this. And by the end of this section, you're going to be really familiar with the color page. If you've ever used a different editing app before, you might be used to, you know, having a bunch of

171:56

Speaker A

shots in your timeline and then you have some kind of effect like a color corrector or color correction effect and you drag it onto the shots and change your color. Sort of like you would do with an effect in the edit page. You

172:06

Speaker A

have all these shots. You drag it to the shot. You click on the shot and then you have some kind of properties panel or something where you adjust your color for the shot. And that would totally make sense. And there are some color

172:17

Speaker A

effects in Resolve that sort of work that way. But the idea of the color page in Resolve actually kind of simplifies the color correction process. You have multiple shots in your timeline. And whatever shot you're looking at in the

172:31

Speaker A

viewer, whatever shot your playhead is over, that's the shot that you're working on, and you're automatically in color mode. You don't have to drag any effects to the shot or anything like that. You're just going to adjust the

172:41

Speaker A

colors of each clip as you look at them. And so even though this looks like a really complicated interface, the basics of it are actually really simple. We have a viewer up here where we can see the shot that we're working on. We click

172:53

Speaker A

on whatever shot we want. Each one of these thumbnails represents a single shot in our timeline. And so if we want to adjust the shot of our actor here, we just click on his face. And we can play

173:05

Speaker A

this back and even loop it like this. So we have that shot. And as long as we're looking at it here in the viewer, we can mess with our color controls. And we're going to change the colors of that shot

173:18

Speaker A

and that shot only. If we want to adjust another shot, we can switch to that shot. And now we're adjusting that shot only. You can really think of this in a couple main sections. We have our viewer up here. We have a way to select our

173:31

Speaker A

shots. And then we have all of the color controls. So, this actually is kind of like the inspector sort of for whatever shot we want to do our color on. Each of these little panels down here is called

173:44

Speaker A

a color palette. And we use the color palettes to adjust the color on whatever shot we're working on. We also have a graph up here. And this is also a node graph. Although the nodes in the color page are slightly more simple. They're

173:58

Speaker A

the same in that they're little boxes and they connect to each other and one box comes after another box and the nodes flow in order. So if I were to in this first node make this black and white and then in the second node make

174:11

Speaker A

it pink. In the third node we're starting with a pinkish purple image. If I were to do this the other way and make this really pink and then turn it black and white, we have a black and white

174:23

Speaker A

image because the order matters. The big difference with these nodes compared to the fusion nodes is that while fusion nodes really only have one job and if you want to do something different you have to use a different kind of node,

174:35

Speaker A

each color node is really like a group of corrections. So this first node I can do a bunch of stuff down here in my color palettes and it all lives in this one node. So I could make a curve like

174:48

Speaker A

this. I could turn it green. I can mess with all kinds of crazy stuff here. And this all lives in this one node. If I rightclick and say add node, add serial, that's going to make another node in a

175:01

Speaker A

series after this node. And so I'm starting with the image that this node gave me. So if I desaturate it, and then maybe I add a little bit more contrast, then that correction is going to happen after this first correction. I can click

175:15

Speaker A

on the number of the node to turn it off and on. And so I can quickly see what my image looks like with or without certain corrections. That's a really nice way to work. And so all of the corrections and

175:26

Speaker A

all of the work that I'm doing down here lives in a node of some kind. And we can have as many nodes as we want. And it's really up to us to figure out how we want to group those corrections. For

175:37

Speaker A

instance, some people like to adjust the brightness in the first node. And I can hit Alt S to add another node here. And maybe in this second one, they like to adjust the contrast.

175:47

Speaker A

Alt S. Maybe in this third one they want to adjust the temperature or the tint or whatever and make something warmer or darker. And even though you could do all of this in one node, it's nice to split

175:58

Speaker A

it up into three different parts so that you can see what it looks like without the exposure or without the contrast or without the warmness. You can rightclick and select node label to rename this. So this could be warm, this could be

176:13

Speaker A

contrast, and this could be exposure. And you can kind of split this up into different jobs. There's no right or wrong way to do this. It's really up to you to stay organized and to do things how you want. You can always reset a

176:25

Speaker A

clip's color by right-clicking in the empty space and saying reset all grades and nodes. That's going to reset everything. And when a clip doesn't have any color adjustments on it, its number is gray. As soon as we touch something,

176:39

Speaker A

its number turns rainbow. That's how we know that we've changed some kind of color in this clip. So, it's really easy to see the clips that you haven't changed and the clips that you have. So, the color page, just like the other

176:52

Speaker A

pages, uses the edit timeline. So, this is the same timeline from our edit page.

176:57

Speaker A

It's our current timeline that we have up. And any color that we do in the color page happens by looking at the image that we want to adjust, which automatically selects it down here on our thumbnail timeline. We can do any

177:08

Speaker A

kind of adjustments we want down here with the color palettes. All of those adjustments live in the nodes. And then whatever our image looks like here in the color page, it will also look that way in the edit page. Again, without any

177:20

Speaker A

kind of roundt tripping or rendering or converting things or anything like that. So the idea is that we can quickly go through our entire edit and we can make all the colors look exactly how we want, make everything look really good, and

177:33

Speaker A

that all lives on our timeline, and we can export our edit with our color applied. Now, we're going to get into the major color palettes down here. The stuff that you really need to know here in just a minute. But first, we got to

177:45

Speaker A

build a little bit of foundation here. We got to talk about it. Color management. Let's take a look at this shot here. I'll just bring this up full screen. And there's a couple things to notice about this shot. This was shot on

177:57

Speaker A

a Blackmagic Pocket Cinema Camera 6K. If you don't know what the heck that camera is or you don't care, it's no big deal.

178:03

Speaker A

But the way this camera shoots, and much like a lot of professional cameras these days, this shoots in a log format. Now, what the heck does that mean? Log is basically a way for a camera to capture more colors and more ranges of

178:17

Speaker A

brightness by kind of desaturating and decontrasting the image. There's a lot of technical mumbo jumbo here that I'll cover in another video at some point, but basically what happens is to get the very most data packed into the video

178:30

Speaker A

signal, what the camera does is it makes the blacks not as black, it makes the whites not as white, and it makes the colors not as colorful. And we end up with this kind of gray nasty looking image. And so this image has a lot of

178:42

Speaker A

potential. It could look really good, but right now it doesn't look very good. It's sort of like if you're going camping and you buy the world's greatest tent. It comes in a box and the tent is all rolled up in a bag and it's all kind

178:54

Speaker A

of crushed in. It could be the best tent in the world, but right now it kind of looks like a box with a bunch of fabric stuffed in it. So, in order to actually go camping and have a good time, you

179:04

Speaker A

have to take that tent out of the box and spread it out and based on the instructions, set up the tent so that it looks right. That's kind of the same thing that we need to do with this

179:15

Speaker A

image. All the information that the camera saw is kind of crushed down into this gray nasty looking image. And what we need to do is follow the right instructions from the camera to unpack this image and make it look nice again.

179:29

Speaker A

That process is called color management. It's pretty much for any kind of image format that isn't Rex 709. What does Rex 709 mean? REX 709 is the color space, the kind of image colors that look good on your screen. So, for instance, this

179:45

Speaker A

video that you're watching right here is in Rex 709. My skin is saturated. There's good contrast and everything like that, but without any color management, it looks a little bit more like this, which is kind of desaturated.

179:56

Speaker A

The colors aren't as bright. And so, there needs to be this step. Takes our image from gray nasty looking to actually looking good. And so, this image right now is Rex 709. and it doesn't need any color management. It

180:08

Speaker A

doesn't need to be changed into a format that looks good on your screen. It already looks good. Whereas this footage doesn't look good out of the box. We need to convert it. Now, what some people will do and what has been done

180:19

Speaker A

for a long time is somebody will look at this shot and say, you know, I know what this shot needs. It needs a little bit more contrast and it needs a little bit of saturation. If I add that to this

180:30

Speaker A

image, then that's going to look really good. And so, they might use some color tools. I'm just going to kind of do this quickly because we're going to get into these tools here in just a second. And they'll up some contrast and they'll up

180:42

Speaker A

some saturation. And so they've taken this image that looks gray and nasty and made it look good on the screen. But there's one important part that we missed here. And that is we didn't follow the instructions. So this is like

180:53

Speaker A

taking our tent that's all packed up and then just kind of spreading it out and trying to put it together just willy-nilly. It might work and it might be a good tent, but a couple things are going to happen. Is one, it's probably

181:06

Speaker A

not going to be exactly right. And two, it's going to take a lot of time. And also, I'm sort of just guessing how bright things should be. I'm just kind of looking on my screen and saying, "Oh, yeah. Okay, this white should be about

181:20

Speaker A

that white, and this black should be about that black, and these colors should be about that bright." And if I'm being honest, I don't really have any idea of if they are supposed to be that bright, if this wall is supposed to be

181:32

Speaker A

bright white or not. I can guess, but I'm not really going to know. And so, basically, I'm taking a bunch of time to kind of guess how the color should look.

181:40

Speaker A

And so, what we do instead of manually color correcting this is we use color management. Color management takes the instructions from the camera that recorded this image and made it look gray and it kind of reverses those instructions to sort of unpack that tent

181:57

Speaker A

and set it up perfectly so that it looks exactly how it was intended to look. So, how the heck does that work? Well, we kind of touched on this earlier in the Fusion portion of this video, but what

182:09

Speaker A

we got to do is go to our media pool and let's right click on our color timeline and go to timelines, timeline settings.

182:15

Speaker A

I'm going to uncheck use project settings and go over to color. For this color science, the default color science, which is basically just how Resolve thinks about colors is called Da Vinci YGB. What that basically means is that it's not going to mess with your

182:29

Speaker A

colors in any way. All of it's going to be manual. Anything that you do is going to be manual adjusting sliders and buttons and things like that. So, instead of that, we're going to switch this from Da Vinci YGB to Da Vinci YGB

182:41

Speaker A

color managed. What that's going to do is do its best to look up the instructions that cameras use to make those log images and it's going to apply kind of reverse math to those instructions to make the images look

182:56

Speaker A

good. Now, if you're not that into this, you can absolutely just say Da Vinci RGB color managed and then hit okay. What's going to actually be slightly better is if you go to Da Vinci RGB color manage, uncheck automatic color management.

183:10

Speaker A

Right here where it says color processing mode, switch this to HDR, Da Vinci widegamut intermediate. This is going to basically do the same thing as automatic color management. It's just going to be a little higher quality. If you have questions about that, if you

183:25

Speaker A

want me to dive into it, let me know. But we can switch it to this. All you have to do is make your settings look like this and then hit okay. Now, nothing is going to happen by default.

183:35

Speaker A

All we've done is just told Resolve, "Hey, we're going to use some color management." And it said, "Okay, these images still look gray and washed out because we haven't told Resolve how we shot these images. We haven't told it

183:50

Speaker A

what camera we used. So, what we can do is go up to our media pool and we can shift select all of our images that are from the same camera. And I can right click on any of them and go down to

184:02

Speaker A

input color space. This is where we tell it what camera we used. So there are a whole list of different cameras. If you're shooting on an iPhone like a 15 or 16 Pro, something like that, you can select Apple log. There's Blackmagic

184:16

Speaker A

Design cameras. There's Canon cameras, Nikon, Leica, Samsung, Sony, all kinds of different cameras here. This was shot on a Blackmagic Design camera. We shot this on Blackmagic Design Pocket 6K and the color science was film Gen 4. Now,

184:32

Speaker A

how the heck do I know that? Well, we wrote it down when we shot it. Odds are, if you have a professional camera of some kind, there is a way to look up the color science. You can Google, "How do I

184:44

Speaker A

look up the color science for whatever your camera is?" It's usually in your menus under picture styles or something like that. And chances are, if you have a professional camera, you probably bought it for that reason anyway. So,

184:56

Speaker A

however you shot this footage, that's what you tag this as. If you don't know how you shot the footage, you should go and try and figure it out because the only way to do this the right way is to

185:08

Speaker A

actually know. All right, Blackmagic Design Pocket 6K Gen Film Gen 4. And look what happens when I click this.

185:16

Speaker A

Boom. Now we have footage that looks correct. So this has good contrast, good saturation. The images don't look perfect. We can still make them look better. There's still some style we want to add, but it doesn't look halfway

185:33

Speaker A

black and white like it did. This actually looks as scientifically close as it can possibly be to how the colors looked in real life when we shot this footage. And you'll notice that I didn't tweak any sliders. I didn't move

185:46

Speaker A

anything up and down. I didn't change anything around. All I did was enable color management and then go to my footage and tell Resolve what color science I used. Blackmagic Design Pocket 6K film Gen 4. And that gives us a great

185:59

Speaker A

starting point for our color correction. It really kind of gives us the best of both worlds. We have all this information that we packed in when we recorded the footage and we're unpacking it scientifically so that we can have

186:12

Speaker A

the most information and work in the highest quality possible when it comes to adjusting our colors. Color management is a just a massively huge topic, but it's honestly not that much more complicated than this. In Resolve 20, they've made color management a lot

186:27

Speaker A

easier. You just enable it in your timeline settings under color. Make sure you have these settings. Any footage that you have that's log, you rightclick input color space and select the color space that you used. If you don't know

186:39

Speaker A

the color space or it's footage that wasn't shot in log, then you can just set your input color space to same as timeline or project Rexto9 and it's not really going to do any tweaks to your colors. It's just going to try and leave

186:52

Speaker A

them alone. But do yourself a favor and don't skip this step. Color management is essential for getting good color grades. It gives you a higher quality image at the end and it saves you a bunch of time because I don't have to go

187:04

Speaker A

through and make all of these look normal before I even start thinking about how to make them look really great. I can just start with the normal image and be on my way. So, now that we have our color management set up and

187:15

Speaker A

everything is ready for us, let's jump into what the heck we do in the color page. Let's just pick a shot. Maybe this shot number eight here. And let's just have a look at how we would adjust an

187:26

Speaker A

image just so we have a little bit more room. I'm going to close my clips and my timeline panels just so we have some room here. Maybe even close my effects.

187:35

Speaker A

Sure. I'll even zoom in and crop this a little bit. And let's talk about how we would actually adjust an image. Again, because we're looking at this image in our viewer, that's the image that we're going to be adjusting with the color

187:46

Speaker A

palette, all of the windows that live down here. And there are a lot of different color palettes. Look at this.

187:51

Speaker A

We can really just go through a whole bunch of these things. And the good news is that you don't need to know all of them. Really, you only need to know a couple to do most of the work that you

188:01

Speaker A

need to do here in color. And the one we're going to start with is right here, this lower left panel called the primaries. And I'm actually going to make sure that I'm on this little button right here. Up here, this should say

188:13

Speaker A

primaries color wheels. That's the one. By the way, if you don't have three panels here, like one, two, three, and it's two panels or even one, and maybe these little icons are squished together, don't worry about it.

188:26

Speaker A

you have the same panels. Almost all of these panels are in the free version as well. Again, if something is just in the paid version, I'm going to tell you, but sometimes what it will do is squish one

188:36

Speaker A

or two of these panels together for different resolutions on your screen. So, if you have your scaling or your resolution set to something different than mine, it might not quite look like mine, but you should have the same

188:46

Speaker A

panel. So, this primary color wheels palette, this, I'd say, is where you do most of the work when you're adjusting your colors. And even though it looks like there are a lot of controls, there's really only three kind of main

188:58

Speaker A

controls down here. One is the color wheel. The other is this little slider here. The other kind of control are these little number boxes. And if you've never used anything like this before, I want you to do me a favor and just

189:10

Speaker A

follow along with me. Open up this image and grab the center of this color wheel and just push it around. Just grab it and drag it. And you can see as you drag your mouse around, it's going to move

189:21

Speaker A

that little dot in the middle of the wheel away from the center. And the farther it gets away from that center, the more color it's going to push into your image. And the direction that it pushes is going to be the hue, the color

189:32

Speaker A

that is pushed into the image. And so if I want to make this look very blue, I take this and move this down to the lower right a lot. And that makes this very blue. And so that's like a third of

189:41

Speaker A

what you need to know as far as actual controls down here in the primaries. The second one, this little slider, this is called the master wheel. And if you grab the master wheel and you move your mouse to the right or to the left, that makes

189:54

Speaker A

things brighter to the right or darker to the left. You can also mouse over this and scroll with your scroll wheel.

190:00

Speaker A

Adjust that. And so just with these two controls, we can adjust the tint of the image as well as the brightness. And this color wheel master wheel combo, this is just duplicated three more times. And so it's the same basic kind

190:13

Speaker A

of control, but why is this split up into four parts? Well, what's happening here is if you move the offset, that's going to adjust the colors of the entire image. Same thing for the offset master wheel. The brightness is going to go up

190:25

Speaker A

or down for the entire image. But lift, gamma, and gain splits the image up into kind of the darker part, the midtones, and the brighter parts. And so, which one you grab depends on what you want to adjust in the image. And so, if I want

190:38

Speaker A

the brighter parts to be more yellow, I select the gain because that's the brighter parts. And I push this a little bit more towards yellow. Now, this is going to make the entire image a little bit more yellow, but it's going to be

190:48

Speaker A

strongest in the bright parts. So, we can see how it's really yellow right here and in here in the brighter parts.

190:54

Speaker A

And the parts that are black are maybe just a little yellow, but not super yellow like these brights. If I were to do the same thing, take the lift, which is the darkest parts, and push those towards yellow. We'll see we're starting

191:05

Speaker A

to really tint the darker parts of the image, but the brighter parts right here stay white. That's because this is strongest in the darker parts of the image. And then, as you might imagine, the gamma, these are the midtones, and

191:16

Speaker A

this is going to be strongest in the medium brightness kind of parts of the image. So, depending on what you're going for here, you might choose to adjust the offset, lift, gamma, or gain of your image and adjust the color or

191:28

Speaker A

the brightness of that part. So, for instance, if I want to make the bright parts brighter, I can go to the gain and take this master wheel and drag it to the right, and that's going to make the

191:37

Speaker A

brighter parts brighter. The darker parts are pretty much going to stay kind of where they are. If I want to make the darker parts darker, I can go to lift and take that master wheel and take it to the left. And that's going to make

191:49

Speaker A

the darker parts darker. And I can go really, really crazy on this. And that's going to darken the darker parts. But look, the bright parts stay the same. So if I want to do something like give this image more contrast, one thing I can do

192:00

Speaker A

is take the bright parts and push them to the right to brighten that up and the dark parts and push it to the left.

192:05

Speaker A

That's going to give this more contrast. And again, all of these adjustments, anything that I do down here lives in this node. So I could turn this node off and on to see what's happening. So I'm just upping that contrast by pushing the

192:17

Speaker A

gain up and the lift down in their master wheels. If I want to reset anything that's happening in the primaries, I can click this little reset button. I can also rightclick on this node and say reset node grade. That will

192:28

Speaker A

reset anything that is done in this node. If I want to boost up the brightness of kind of medium tones right here, I can take the gamma and push that up. That's going to leave the bright parts about where they are and the dark

192:38

Speaker A

parts about where they are and push up the midtones. So, what we've gone over here pretty much covers all of this panel. These little numbers, these little controls here, these are called the primary controls. And the primary controls are other kind of little

192:51

Speaker A

specific things about the image. So, for instance, there is a contrast control. So, this is another way that I can put some contrast into the image. I can take this contrast and drag it to the right.

193:01

Speaker A

And that again is going to make the darker parts dark and the brighter parts brighter. The pivot adjusts kind of the split between what it thinks is dark versus light. So if I push this pivot to the left, it's going to think more

193:11

Speaker A

things are bright. If I push it to the right, it's going to think more things are dark. And so I can use this contrast and pivot to dial in the contrast of my image to be exactly how I want. And that

193:21

Speaker A

might be a little bit more easy than pushing up the gain and the pushing down the lift. We also have temperature and tint, which is an easy way to adjust something like white balance. Or if I want this whole thing to feel a little

193:33

Speaker A

bit more cool, I can take the temperature and just grab that and push that to the left. And now kind of a blue tone. And I can balance it between green and magenta like this. I can warm it up

193:43

Speaker A

by bringing the temperature to the right. And I can double click on any of these to reset them. Down below I have some more controls. Shadows are the darker midtones of the image. Highlights are the brighter midtones of the image.

193:54

Speaker A

So it's almost like you have a master wheel kind of between the lift and gamma and the gamma and gain. That's what goes right here. We have the saturation of the whole image. So that's how strong the colors are. If I take this and drag

194:04

Speaker A

it all the way to the right, we have very punchy colors. Hue is what actual color things are. Pretty rarely use that unless you're trying to actually change the color of something. Color boost is like saturation except for it targets

194:16

Speaker A

the things that are less saturated. And so if you want to saturate the things that are less saturated, you could push up the color boost a little bit. And there are a few other buttons and sliders here that you can learn at some

194:25

Speaker A

point, but these are the main ones. lift gamma gain offset saturation temp, tint, contrast, color boost. Those are the big ones. And the cool thing is that just understanding this part of this panel, you can do so much. You can

194:38

Speaker A

really make your colors look good for your movie. I mean, this is seriously, this is all you need. This combined with color management, there's no reason why you can't correct your shots and make them look really nice. So, here's what I

194:50

Speaker A

want you to do right now. Find this clip and I want you to play around with the primaries. make this shot look as good as you can just using the primaries palette. So, one thing that I might do

195:00

Speaker A

is just push a little bit of contrast in here. I might maybe push up the offset a little bit. Maybe I'll take the temperature a little bit more blue. I can push and pull this contrast, adjust the pivot a little bit. Maybe push up

195:11

Speaker A

some saturation. Maybe we'll push some color boost instead. Something like that. Maybe take that offset up just a little bit. And so now we have a really nice looking image here. Has some contrast. We have some blue coming in

195:22

Speaker A

from the windows. We have some warm on her face. overall looks pretty nice. This really is the Swiss Army knife of the color page. If you learn just the primary color wheels, I'm telling you, it's so powerful cuz check this out. We

195:36

Speaker A

can go to any shot. I'm just hitting down on the keyboard. Sure. Let's grab this shot here where he's zipping up the backpack. We can adjust this. Maybe we'll take the gain down a little bit.

195:44

Speaker A

Push the gamma up. Put a little contrast in there. Maybe a little saturation just to make this look really nice. Maybe it's a little bit too warm. We could take the temperature down. Make that temperature a little bit more blue.

195:56

Speaker A

Yeah, something like that. And we can have a nice looking shot. Here's before, which was just way too bright. After looks good. Here's this shot right here, which kind of feels gray and a little bit dark and maybe a little bit green.

196:08

Speaker A

Maybe we'll take this offset up a little bit. Push some saturation in there. Maybe take this away from green a little bit. Just push this tint a little bit.

196:17

Speaker A

Maybe take the temperature a little bit blue just to balance out those whites a little bit. Maybe add a little contrast.

196:23

Speaker A

Play with the pivot a little bit. And here is before and here's after. See that difference? Isn't that amazing what we can do just with this one panel?

196:31

Speaker A

Isn't that nuts? This is the kind of thing that is available to you for free in Resolve. This is why Resolve is the king of the color correction apps. It's the best app in the world for color correction because all of that power is

196:43

Speaker A

right here. Isn't that nuts? You already know enough to color grade like a whole movie. Now, is there more that you can do? Are there more techniques? Are there more tools? Absolutely. But this primary color wheel panel, this is the bee's

196:54

Speaker A

knees. So, take some time, go through these shots and see what you can do.

196:58

Speaker A

Here's our outside shot again. Maybe we want to just take the exposure down a little bit. Maybe add a little contrast.

197:04

Speaker A

Maybe brighten this up. I can push the gain a little bit more orange. We can have kind of a more of a sunset look here. Just push this pivot down. Maybe take this saturation down a touch. And we can make a really cool look compared

197:16

Speaker A

to what we had just using those primaries. Ah, so cool. Now, I'm going to rightclick and reset all grades and nodes right here. Let's talk about the second most useful palette here on the color page. And that is the custom

197:28

Speaker A

curves. The custom curves right here. This, if you've used an image editing app that has curves like this, is going to feel very familiar. If you haven't, pretty much how this works is this is a graph. A graph of the brightnesses of an

197:40

Speaker A

image. So, the bottom part here, this is the input. That's the input brightnesses. This axis is the output.

197:49

Speaker A

down here is black and up here is white and in the middle is like gray. And so if I were to find a point from left to right that's maybe in the middle right here, this would be the input gray. So

198:00

Speaker A

that would be right there on that line. If I want to make the gray parts brighter, I would push this line up because right now it's gray equals gray.

198:10

Speaker A

And if I want the gray to be light gray, I could say gray equals light gray like that. So I'll just take this and push this up. And what that will do is push up the midtones basically. That's maybe

198:21

Speaker A

a little strong. So I can push this up like this. The black parts are down here. And so I can push the black parts up. That's going to essentially do the same thing as my master wheel and my

198:30

Speaker A

lift. This upper part is like the master wheel of my gain. So if I take my gain up and to the left, that's going to make more things bright. I can also take this down and take the brightness of the

198:40

Speaker A

bright parts down like that. I can take this black point and move it to the right and keep it on the floor. And that just makes more things black. And so you have a lot of control over your image

198:49

Speaker A

with this curve. So if I want to make the brighter parts of the image a little brighter and the darker parts of the image a little darker, well, I can make what we call an S-curve. Kind of looks

198:58

Speaker A

like an S. And that's going to add a nice bit of contrast to my image. This S-curve is pretty much how you get kind of a filmic contrast. There's always some kind of version of this curve built in. And usually you can add a few

199:14

Speaker A

different things. You could push up these blacks a little bit, crush the lower mid tones down, maybe take highlights down a little bit, but push up the upper mid tones. And you have this nice kind of highlight roll off

199:24

Speaker A

there. Maybe even want to crush the shadows in a little bit more. And so now we have this nice feeling that's nice and rich just from this curve. I tell you what, getting used to using this curve, oh man, you can make such nice

199:37

Speaker A

images. And especially when you combine this curve with these primary color wheels, chef's kiss. There are a lot of controls over here that honestly I don't use that often, so I'm going to skip them. This is the important part right

199:47

Speaker A

here. You can also use this button right here to make big old curves. So if you want to get really detailed with your curve here, you could totally do that.

199:55

Speaker A

But there are also some other kinds of curves here. Selecting this second little icon, this will bring us our hue versus hue curves. Just like this curve is the input brightnesses versus the output brightnesses. These other curves are kind of just other graphs. So this

200:10

Speaker A

one is the input hue. So that's the actual color of the light versus the output hue. Okay. So if I want to take stuff that is kind of this reddish part, I can select the red and maybe I can add

200:22

Speaker A

a couple other little control points here. And if I push the red around, I can kind of move this back and forth and just change the reds. So this is great if you need to change specific color.

200:32

Speaker A

You can just kind of target that specific color here on the chart. And boom, we have a purple house. It's very selective. Similarly, we have hue versus saturation. So you pick the hue that you want to adjust the saturation for. Maybe

200:45

Speaker A

this green. By the way, you can click on the image when you have these curves up and it's going to add a control point for you. So I could click and drag and just color over where I want to select.

200:56

Speaker A

That's going to select all the kind of yellowish green. And I can take the saturation down. And so now we have all of these trees just black and white.

201:02

Speaker A

See, here's the difference. It's not affecting the house too much. It's mostly this kind of green stuff. We also have hue versus luminance. So that's just the brightness of certain hues. So if I want to darken this backpack, I can

201:13

Speaker A

select this backpack and maybe take that down a little bit in our hue versus luminance. That can be kind of nice sometimes. We also have luminance versus saturation. And so depending on how bright something is, you can adjust how

201:25

Speaker A

saturated it is. And so a little trick some people use is just to desaturate anything that's getting close to white and desaturate anything that's close to black. And so really we only have saturation in the midtones. And oftent

201:36

Speaker A

times you can add a pretty harsh curve on this and it doesn't make that big of a difference unless you have a really harsh push on it. So if I push this offset really blue, you can see that

201:48

Speaker A

with this curve on it, we don't add too much blue to the shadows or the highlights. These are still black and these are still white. So if I were to take this out, everything would be blue.

201:56

Speaker A

We also have saturation versus saturation. So if something is more saturated, we can remap it to be less saturated and so on. This kind of helps us kind of keep our saturation problems under control. We have something that's

202:07

Speaker A

just way too bright. Then we have saturation versus luminance. So if something's more saturated or less saturated, you can turn its brightness up or down. So yeah, if I could only teach you one panel, it would be the

202:17

Speaker A

primaries. If I could only teach you two panels, it would be the curves and the primary. And now before we go any further, I want to stop and talk about the scopes. This is pretty darn important when it comes to color

202:27

Speaker A

grading. And I don't want you to watch through the color part of this video and not know how to read scopes cuz that would be sad. Down in the lower right, we have a panel called color scopes. And

202:35

Speaker A

you can select the kind of scopes with this little drop down here. There are a few different kind of scopes. Parade waveform, vector scope, histogram, and CIE chromaticity. We're going to start with the waveform. And I'm going to put

202:49

Speaker A

this into big mode. That'll bring up our big scopes here. And I'll switch this to a single scope. And I'll go to this little menu here. And I'm going to turn off colorize and switch this to Y mode

203:00

Speaker A

just because it's easier for me to explain some things. This is called a waveform scope. And the idea of this scope is that it is a graph of all of the colors in your image. So every pixel in your image has a little dot on this

203:14

Speaker A

graph somewhere. And on this graph on the x-axis here, we have the horizontal position of each pixel. All right? So that means that a pixel that's over here on the left is going to be somewhere here on the left of our scope. A pixel

203:28

Speaker A

that's going to be in the middle of our image is going to be somewhere here in the middle of our scope. But we really only care about the horizontal position here. Why is that? Because the up and down is the graph of the brightness. So

203:40

Speaker A

it's the horizontal position and the brightness. So, what that means is that if we had something really bright, let's actually let's go to a different shot that's a little bit easier to figure out here. If we had something that's a

203:52

Speaker A

little bit brighter on the left side of our image, it's going to be on the left side of our graph and it's going to be towards the top. So, this bit right here, this is going to be this kind of

204:02

Speaker A

bluish part. It's a little bit towards the top. It's at about 10% into the image and it's brighter. So, that is right here. If we look at our scope, we also have something on the right side of the image that's a little bit brighter

204:15

Speaker A

than this blue. And it's especially bright, right? There's like something really bright right here. Something like that. And so, let's look at this. Yeah, there we go. We have this lamp right here. So, it's really bright right there. We also have the second lamp,

204:29

Speaker A

which is this spike right here. This lamp is right here. We have something bright right here. So, that's going to be this part of his arm. And so we can kind of tell what the brightness of things are from this waveform scope.

204:42

Speaker A

This graph is from 1023 to 0. What the heck does that mean? There's technical reasons. Basically, 1023 is pure white and 0 is pure black. So if you have an image with things that should look bright and things that should look pure

204:55

Speaker A

black, you're going to have a signal that stretches from 0 to 1023. A lot of things in the real world aren't actually pure white and pure black. And so oftent times you'll have stuff that's almost a zero and maybe somewhere up in here. And

205:08

Speaker A

that's in fact what we have right here. Right here. That's kind of where our image lives. Let's look at another image here. Here's one that's a little brighter. You'll see we have this big kind of purple blanket here that's

205:20

Speaker A

somewhat darker. That's right here in our signal. We have brighter parts. This little edge right here. This kind of bright part. This bright part. That's right here. We have his shirt, which is going to be hereish. And once you go

205:34

Speaker A

through a few different shots, you can start to be able to read the scope a little better. Here in this shot, we have this really bright part here.

205:41

Speaker A

That's this. This waveform scope is great for knowing the brightnesses of things. But what's even more helpful is the parade. So, we can switch from waveform to parade. And what that is is basically three waveform scopes next to

205:53

Speaker A

each other. One for the red channel, one for the green channel, and one for the blue channel. All images are made up of a combination of red, green, and blue light. And the percentage of light in each channel determines what color

206:04

Speaker A

things are going to be. If you have equal parts red, green, and blue light, that makes a neutral color like gray or white or black. So, what's cool about this is if we can find something that's supposed to be relatively neutral, let's

206:16

Speaker A

say this pavement right here, we can find that on the scope, which is going to be right here, and we can balance that using our color wheels to kind of fix the white balance. So, if this came in like this, we would know that this is

206:28

Speaker A

a little bit tinted blue because if this is assuming this is supposed to be gray, which you honestly don't know, but it's probably going to be pretty close to gray, this signal should be equal across these channels. And so, if I can adjust

206:40

Speaker A

this offset and make that signal equal, then the image is going to look balanced. Like here, let's try another shot. If we wanted to white balance to this wall, we can pick the wall here in our signals and we can balance that out.

206:53

Speaker A

Right now, the red channel is a little bit higher than the green channel, and the blue channel is a little bit higher than the green channel. So, what this means is this is going to look just a little bit pink. Now, it's hard to tell

207:04

Speaker A

just by looking at that image, which is honestly why we have the scopes, but I can take this offset and I can push this around until, and I just need to do it a little bit until these are right about

207:15

Speaker A

equal. And now this is going to be a neutral color. That's going to be a gray. We could also do this for the window, which we can tell just by looking at it is a little bit blue, but

207:25

Speaker A

we can confirm it with this signal right here. Red, green, blue. If you have blue higher than red and green, it's going to have more blue light, which means it's going to be tinted blue. Actually, a little bit more cyan because the green

207:37

Speaker A

is high, too. So, again, we can take this offset and we can move this around like this. And if we move this around and just balance those signals, then we can balance those out. And now this is like a neutral white. Okay, it's like a

207:52

Speaker A

neutral bright gray. Everything else is thrown off though because this is more of a blue light that's coming into the window and the white neutral light is more on our subject. And so when we balance this to white, everything else

208:04

Speaker A

kind of turns yellow. So I'll just reset that. We can look at this again. We have this is blue. This is maybe just slightly magenta. So depending on if we think either of these should be white, then we can balance to that if we want

208:15

Speaker A

to. I can also use my temperature and tint to kind of balance it a little bit.

208:19

Speaker A

Sure, something like that might be a little bit more accurate to an actual balance here. Kind of depends on how you want it to look. By the way, it's not totally essential that you get everything perfectly neutally balanced.

208:30

Speaker A

What's important is that the image looks how you want it to look. Okay, that's kind of the bottom line when it comes to color correction. If anybody tells you that you need to balance everything and that everything should have pure bright

208:41

Speaker A

whites, completely neutral whites, that's not necessarily true. Sometimes the style that you're going for or the feeling that you might want to go for in your movie or something that your client might want would be pure neutral whites.

208:54

Speaker A

Then in that case, yes, you should make everything pure neutral white. But that's not like a universal thing that you need to do for every video. In fact, pretty much look at any movie and you'll see there's usually some kind of tint to

209:04

Speaker A

it. It's not always purely beautifully white balanced. There's a little bit of style there. The other major scope that we can talk about here is the vector scope. You can think of this like a big color wheel. The closer this signal is

209:15

Speaker A

to the middle, the less saturated it is. The farther it goes out, the more saturated it is. And the direction is the hue. So if we had stuff kind of coming over here towards this B, that's going to be really saturated blue.

209:28

Speaker A

Something up here towards this red is going to be really saturated red. So you can really tell what colors are in your image just by looking at this vector scope. So just looking at this, we can see we have a little bit of orange and a

209:38

Speaker A

little bit of red. And guess what? Skin is basically light orange. And then we have this red. We also have just a little bit of this kind of cyan blue, which is obviously right here.

209:48

Speaker A

Everything else is somewhat neutral. If we push the saturation up a lot, we can see that this image kind of grows and now we have really saturated stuff.

209:57

Speaker A

Generally, you have this invisible line in between these targets. This right here is like pure magenta, pure blue, pure cyan, pure green, pure yellow, and pure red. And usually, you don't want your signal even touching these things because it's going to be way too bright

210:11

Speaker A

and it's not going to look natural. You usually want your signal like something like that. That's what tends to look natural. You don't usually want it too small like this or it's going to look desaturated and black and white unless

210:22

Speaker A

you're going for it. But if you're looking for just like a normal amount of saturation, you know, maybe somewhere in there. But the reason that we have scopes is so that we have some data on what our colors actually look like. The

210:33

Speaker A

reason we need that is because it's very easy for your eyes to get used to an image. You can look at an image and after a while, even if it's kind of crazy, like I could take this offset and

210:44

Speaker A

just push this pretty orangish red and it won't take long just staring at this image for your eyes to sort of get used to it. And they say it usually takes like 10 seconds for your eyes to just

210:55

Speaker A

kind of accept the colors and it sort of just doesn't seem so bad anymore. Like right now, I'm looking at this image and I go, you know, it's a little warm. It's not crazy. It's not unreasonable, but this is where we were. It's a huge huge

211:08

Speaker A

difference this warmth that we're putting into that image. But after a while, your eyes don't really notice it.

211:14

Speaker A

But when we look at the scope, the scope always notices it. It says this thing is warm. If we look at the parade, this red channel is huge compared to the green and blue channels. It is a warm image

211:25

Speaker A

objectively. And so the scopes are a way for you to tell the tint of an image, the brightness of an image without your eyes playing tricks on you because they do really quickly. In fact, it's usually advised like once you switch to a shot

211:39

Speaker A

to figure out what you think of that shot in the first like few seconds because if you look at it longer than that, your eyes start to play tricks on you. Okay? So, you'll see a lot of people that are into colorists and

211:50

Speaker A

people that are good to color kind of switching in between shots like this. I'm just hitting up and down on the keyboard. And when you do that, it lets your eyes kind of reset. All right. So, I go from this one to this one and I go,

211:59

Speaker A

I feel like this needs a little bit of saturation. I can push that up. I feel like it needs a little bit of contrast.

212:04

Speaker A

Right? And so we could push that in there and then maybe look at something else for a while. Maybe literally just look away from your screen and then look back and then yeah, I mean that looks looks pretty good. Maybe it's a little

212:15

Speaker A

bit cool. Could maybe add a little bit of warmth there. Something like that. Maybe take away that green just a touch.

212:20

Speaker A

And so color is part of the way making decisions on your image, but also part of the way resetting your eyes and kind of keeping moving because that's the way that you can really make good decisions with your colors. If you're just spend

212:33

Speaker A

all your time looking at one image and you never kind of reset your eyes, your eyes will play tricks on you and you'll end up with all kinds of weird stuff.

212:40

Speaker A

So, for a lot of what I do in the color page, I'm pretty much just using these three palettes, the primary color wheels, the curves, and looking at the scopes, usually on the parade, because I can go through a whole movie and do a

212:55

Speaker A

lot of work and make things look really good just using these tools. And yeah, those are kind of the basic controls for actually adjusting an image as a whole.

213:07

Speaker A

Okay, so we have a good idea of how to adjust a single image here in the color page. But color grading is more than just adjusting a single shot. It's all about adjusting all of the shots so that

213:19

Speaker A

they work together in the context of the movie. So, one of the first things that you're probably thinking is, "Okay, if I make an adjustment to one shot and I want to do the same thing on another shot that's very similar, do I have to

213:30

Speaker A

do all that work again?" And of course, no. That would be terrible. You can easily copy a color grade from one shot to another one just by selecting the shot that you want to copy it to and then mousing over the shot you want to

213:41

Speaker A

copy it from and then clicking down on your scroll wheel. That's this button right here. clicking down on this scroll wheel and that will instantly copy the color grades from the shot that you clicked on to the shot that was

213:53

Speaker A

selected. And you can do this with multiple different shots, too. If I hold shift and select all of these, middle button, mouse click here. If I have a couple grades selected, it's going to ask me, do you want to replace the

214:03

Speaker A

existing active grade? I'll say, and now it will put that blue over everything. All right, so that's how you quickly just copy one grade to another. Anytime you want to reset a node, you can rightclick here in the empty space and

214:15

Speaker A

say reset all grades and nodes. You can also shift select everything and then do the same thing. Just right click in the empty space, reset all grades and nodes, and that will reset it for everything that's been selected. So, this is great

214:27

Speaker A

because then you don't have to duplicate work that you need to do on every single shot. So, we can just color grade this shot. That looks good. And then anything that's similar, just middle button, mouse click right there. This one's

214:38

Speaker A

probably pretty similar. This one's probably pretty similar. We can at least start with that. Here's similar. And we can go through and very quickly work through our entire timeline. When I have my mouse over these thumbnails, I can

214:49

Speaker A

also hit control A on the keyboard to select everything. And then I can copy a grade from a shot like this. Just clicking down on that scroll wheel. And I can copy that. And I can also rightclick reset all grades to reset

215:01

Speaker A

everything. Now, there are a lot of different ways to copy grades and parts of grades and and group shots and use parts of the grades and all of that stuff and we just don't have time. This is a multiple hour tutorial and we still

215:13

Speaker A

just don't have time to get into that. But there are ways to do that. If you want more info on that, let me know in the comments and we'll make a follow-up video. But right now, the need to know

215:21

Speaker A

stuff is that middle button mouse click copies those grades. And anytime that I'm adjusting the colors on a shot, we'll just make this really pink just so we can see that happens to just this clip. And that adjustment I made lives

215:33

Speaker A

in this first node of the clip. Now these nodes live in what we call the clip grade. See there are different kind of layers of our color grades. You can think of these sort of like different groupings. So each clip can be adjusted

215:48

Speaker A

by itself. So I can make this one green. I can make this one orange. I can make this one blue. And these can all look different, right? That's because they all have their own node tree that lives in each clip. But there is also a node

216:03

Speaker A

tree for the timeline. If I go up here to these little dots and I click on this right dot that you can just barely see right here, that's going to switch to a new node graph here. And if I right

216:15

Speaker A

click and say add node corrector and then link this up like this is going to be a node that applies to the entire timeline. That means all of these shots.

216:25

Speaker A

So, if I have 186,000 shots in our timeline, this is going to apply to 186,000 shots. If I have three shots, it's going to apply to three shots. All right. And you'll notice as I switch in between these, I'm still looking at the

216:39

Speaker A

same timeline node. So, let's take this and maybe let's take the saturation and turn the saturation all the way down.

216:45

Speaker A

So, we're making this black and white. Now, when I switch through this, look, everything's black and white. What the heck is going on? Every single clip in here has its own color grade. So, its own set of nodes. And then those nodes

216:57

Speaker A

are being put through these nodes, the timeline nodes. Okay. So, we're going to turn this bright blue. And then we're going to put it into this node right here, which turns it black and white.

217:07

Speaker A

And all of these clips have their own nodes. And I'll just move some of these around so we can see the difference when I switch in between. These are all different nodes. If I have several different nodes here on each one, right?

217:20

Speaker A

If I switch in between the clips, they all have separate trees for their nodes, but they all share the same timeline.

217:26

Speaker A

So, anything that I put in this timeline is going to happen to all of the clips.

217:30

Speaker A

So, if I make it black and white, they're all black and white. If I give it a little bit of contrast like this, they're all going to have that intense contrast. So, this is a great way to make a style that goes over every single

217:45

Speaker A

clip in your timeline. It's the perfect place for establishing a creative look for your project or for something like this, making it making it all black and white, making it all look like old film or whatever. Whatever you put here is

217:57

Speaker A

going to be applied to each of these nodes. But after the clip, that's why all of these look black and white. Even though they're super tinted, all these different colors, the result is black and white because we're tinting them

218:10

Speaker A

like crazy and then desaturating. So again, just this level of understanding. Oh my goodness, you can do so much cool stuff with this. Let's right click on these timeline nodes and reset. And I can hit alt s to add a serial node, a

218:24

Speaker A

new corrector here. Then I'll switch back to my clip nodes. Crl+ A, rightclick, and reset all grades and nodes. And what I can do is make a common look here in the timeline. And so let's just make something that's pretty

218:36

Speaker A

extreme just so we can see it. Okay, normally you wouldn't probably go quite this extreme. We're getting crazy. We're having fun. So, let's say that we have some bright orange kind of highlights and some kind of cool blue shadows. All

218:49

Speaker A

right. And we'll just really push this. And I'm going to right click and label this. And we'll call this teal orange.

218:56

Speaker A

Now, this isn't the best looking grade in the world. There are much more tasteful ways to do this, but just pretend that this is whatever style you want to add. Okay, I'll make another node by hitting Alt S, and then I'll

219:07

Speaker A

make a little S curve like we were talking about earlier. Great. And maybe I'll make another node. And let's go to our luminance versus saturation. And I'm just going to saturate things in the middle. And then take anything that's a

219:20

Speaker A

little bit brighter and desaturate the bright parts and the dark parts like this. So now we have this very intense look. If I hit control and D, I can disable these nodes. And so we're really putting a lot of style into this. Okay.

219:34

Speaker A

Again, this may or may not be what you like, but the principle here is that we have one creative look that we're going to put over our entire movie. And we call this, surprisingly, the look. It's a really technical term. And we're not

219:48

Speaker A

only going to have this look on this shot because we're working in the timeline nodes. As I switch to the other shots, we're going to have this same kind of teal and orange look. Now, when you add this kind of look, especially

220:00

Speaker A

one that's really extreme like this, your other shots aren't necessarily going to look good, because that's really only going to happen if you have an image that has similar colors and saturation and exposure and everything to the clip that you designed this look

220:13

Speaker A

on. So, for instance, I could switch over to shot six and it looks as expected, but I switch to shot five and what the heck is going on? It looks, as my daughter would say, poopy. It looks like poopy. So, in order to make this

220:25

Speaker A

less poopy, let's switch over to our clip nodes. And here's where we can adjust our colors really before it goes into that creative look. And for instance, maybe this needs to be a little bit brighter. I can push up the

220:38

Speaker A

offset and that's going to help a lot because now we're pushing a little bit more colors into the highlights and those highlights get tinted orange. And so, we have a lot less that is tinted teal and we actually have something that

220:49

Speaker A

like sort of looks like it belongs in this world. Okay, maybe the dark parts need to be a little bit darker. I can take the lift and push that down. Can add a little bit of contrast like that.

220:58

Speaker A

And now we have two shots that sort of look like they belong together, right?

221:02

Speaker A

But the idea here is that the more extreme your creative look is, the more you might have to tweak all of the shots and make sure they match together in order to have that kind of cohesive look actually work. So for instance, shot

221:15

Speaker A

seven, that's it's not good. So we can take that offset up. Maybe maybe push this lift up a little bit and kind of really push this around a little bit so we get a nice looking image with that

221:27

Speaker A

look on it. If we're planning on doing this extreme look like this and we didn't set this look first, then we might look at these different shots and they might look like they match relatively well. But what happens when

221:39

Speaker A

you have this extreme look is it can sometimes amplify the differences in between these clips. And so we always want to make our look first, especially if it's an extreme look like this. That way we can view our shots with that look

221:53

Speaker A

applied and make some adjustments here in the clip nodes so that the shots actually look somewhat reasonable. Okay.

221:59

Speaker A

And we can go through and make our adjustments however we see fit to hopefully get these things matching and looking decent and get a good result.

222:08

Speaker A

So, that's the big bird's eyee view of a workflow is you want to figure out what your creative look really is before you do tons and tons of work on everything else because the work you do in this

222:20

Speaker A

creative look may make some problems in your shots worse and it might make some problems completely irrelevant. So, it's a good idea to make sure you put that on first. So, this is the smartest workflow. Make sure you have that

222:32

Speaker A

creative look and then go back and match your shots together. Now, I'm not really a fan of this creative look. It's a little bit too extreme for me. And it also brings up one little pet peeve that I have about color grading. A lot of

222:44

Speaker A

people, they'll see a tutorial on the internet and they'll say, "Oh, look at all of these controls I have over color.

222:49

Speaker A

I can just go crazy and I can make all kinds of wild color looks." And so, they end up making something that sort of looks like this. Because they watched The Matrix 5 years ago, and they remember it being green, which was

222:59

Speaker A

really cool. And so, now they want their movie to look green. Here's a great big colorist secret. The reason a movie looks good is often not because of the color grading, but because of how it was shot and the lighting and the set design

223:13

Speaker A

and the costumes and things like that. That's what gets a movie 80 90% there.

223:18

Speaker A

The color grading is just like the spice on top. It's like the salt on something that already tastes good. It just enhances the flavor. And so putting this heavy style on this image that wasn't designed for this kind of style is going

223:32

Speaker A

to look bad. You just can't change the character of the image too much or else it just doesn't look natural. It just doesn't look good. And so a quick hack that will save you years of pain, years of torture, years of unhappy clients is

223:46

Speaker A

just this. Look at the footage before you start adding style to it. Just look at your color managed footage and think about the style that's already there because that's where the best color grade is going to live. It's going to be

224:01

Speaker A

a enhancement of that existing style of that existing tone. So in this shoot we have these kind of cooler toned windows.

224:11

Speaker A

We have the warmer toned lamps. We have these kind of red and maroon and blue tones. We have just a little bit of green. We have white walls. That's the kind of set design that we have. It's not really dark and moody. It's not

224:26

Speaker A

super bright and clean. And so our color grade needs to be somewhere in that feeling. And so if I were creating a look for this shot, a creative look, the first thing I would do is just make sure

224:37

Speaker A

that we have decent exposure on this clip because this is what we're going to design our look on. And I think the exposure looks pretty good. I could maybe just bring it up just a touch.

224:47

Speaker A

Maybe I'll just push the offset up just a little bit with this master wheel.

224:50

Speaker A

Okay, maybe just a little bit of contrast just to take some of the fog out of it. So, here's before and here's after. Very subtle adjustment because this is shot pretty well. Okay, there aren't any major white balance issues.

225:02

Speaker A

There aren't any major exposure issues. It looks pretty good. Now, if we want to enhance it, I can switch to the timeline nodes. I'll hit Alt S to add a serial node. And this is where I'm going to

225:13

Speaker A

start to build my look. And if you've never built a look before, if you've never really tried to stylize something before, I would really highly recommend that you stay with something like this.

225:23

Speaker A

take this curve and make just a slight scurve. All right. What that's going to do is give us a little bit of contrast.

225:30

Speaker A

It's going to take away some of the muddiness here. So, here's before and here's after. It's just going to clarify things a little bit. Let's rightclick and just let's just call this S curve.

225:40

Speaker A

Let's make a new serial node. Alt S. And then let's take that image and maybe let's play around with the temperature.

225:47

Speaker A

So, I can go here to where it says temperature and tint. And maybe just push this, push it a little to the left and see how we like it. Push it a little to the right and see how we like it. And

225:56

Speaker A

I think just pushing this a little to the left a little bit cooler feels nice.

226:01

Speaker A

That starts to feel cleaner. It starts to feel like it's at night time. Like here's before. We have this gray gray green kind of look. And here's after. It just feels like it's clarified a little bit. That feels nice. Okay. And even

226:14

Speaker A

though this look isn't extreme, it's still a nice look. It still looks good. If I select both of these and hit Ctrl + D to disable. Here's before. Here's with no style. And here's with the style added. It's very subtle, but it feels

226:26

Speaker A

natural for the image. We're not fighting against the production here. We're just taking what already looks good and enhancing it. Maybe we want a little bit brighter colors here. Maybe we can make another node. This second one is a temperature. Maybe this third

226:42

Speaker A

one will do some saturation. So, let's just push up our saturation knob a little bit. We don't want to go too crazy. Once we go up here, that's just too bright. Okay, we can always check this on our vector scope. I'll make this

226:53

Speaker A

a little bit bigger so we can see it. Here's our vector scope. We can even go to the little controls here. And I like to turn on extents. That'll show the very most extreme parts of our image here. And see here, when we push the

227:06

Speaker A

saturation up, these extents are almost all the way out here. And some of the blue is even beyond like it's way too blue. Remember, we don't want things that saturated. We really want stuff to stop like hereish. All right. We want

227:19

Speaker A

this graph to be like here. All right. So, we can take the saturation down.

227:24

Speaker A

Let's just put it somewhere in there. There. Our extensor like here for the red. The blue is maybe still a little bit hardcore, which we could fix with a curve maybe. But we're still putting quite a bit of saturation in here.

227:35

Speaker A

Here's before and here's after. We're really brightening stuff up without it being way too bright. Okay. Also, your saturation and everything is going to depend on your lighting and the exposure. the colors of the things that you're shooting, the context, the tone,

227:48

Speaker A

all of that stuff. Maybe let's work on these blues. Let's go to the hue versus saturation. And we see we have this spike here in the blues, which is certainly going to be right here. I can take my color picker and just draw over

228:00

Speaker A

this. And that's going to make a couple little control points here and a control point in the center. I can take this control point here. And look at this vector scope while I do this. Here's our blues. And what we're really trying to

228:10

Speaker A

do is bring this little cloud this way. All right. So, if we take this curve and I push this down, look what happens.

228:16

Speaker A

That squishes that cloud down to something that's reasonable. And again, I don't want this that far beyond just like halfway out. So, somewhere in there. That's where that's going to look actually reasonable. All right. And so now we still have our saturation getting

228:30

Speaker A

pushed up, but our blue isn't out of control here. It doesn't look neon blue.

228:35

Speaker A

And so now we have a look that looks really nice and it isn't just completely wild compared to what we shot. So again, here is before and here's after. Still looks nice, not too different. The other advantage to doing it this way is that

228:49

Speaker A

your shots are going to match a little bit easier than if you're doing some insane thing where you turn all the skin purple or something like that. So I'll just open up our clips again and we'll go through here, go back to our clip

229:02

Speaker A

nodes, and I'll just select everything and reset all the grades, everything except for that shot I was working on.

229:08

Speaker A

Okay. And now we have this look applied to all of our shots. And it'll be a lot less tweaking to make this look good under this look. Maybe take the gain down on this one. And flipping back and

229:20

Speaker A

forth, we have a little bit closer match. Now, there are some problems where this shot maybe looks a little bit too blue. This one maybe looks a little less blue. We could do things like highlight this window and turn it more

229:31

Speaker A

blue and that kind of thing, but we'll get to that in a minute. The idea is that we want all these shots to feel like they live in the same world. When we're matching shots, that's really our main goal. Shots might not match 100%

229:42

Speaker A

completely, especially when you're just starting and especially when you've just started a project and you haven't done lots of work on all the shots yet. But you want them to feel like they could live in the same world, right? So, they

229:52

Speaker A

should have similar saturation. One shouldn't be way too bright. We could take this one down and just adjust this to where they all feel like they could live in this world. This one maybe looks a little too yellow. And you can go

230:04

Speaker A

through and just use your first impression when you switch to the shot. This one maybe looks a little bit too green to try and match this the best you can. Okay. Same thing here. Let's take this down. It's a little bit too

230:16

Speaker A

saturated. Sure. And we can turn that into a night shot with some work, but we'll just leave it like a daytime shot for now. And now we have these all matched. This one maybe looks a little purple now that I look at it again.

230:26

Speaker A

Okay. Adjust this to look good. But now we've done a couple things all at once.

230:31

Speaker A

We picked a style for our scene and we've started matching these shots to sort of look like each other. And that's going to help this scene not be distracting when we play it back. You don't want people thinking about why do

230:42

Speaker A

the colors look like that or why doesn't one shot look like another one. You want them to be invested in the moment. And so there shouldn't be any shots that kind of just stand out. They should all just feel like they live together. And I

230:53

Speaker A

think we're pretty much at that point here. It's not a perfect match, but it works. That's a great place to be in your color grade. So now, if you want to get a little bit more picky, I want to

231:03

Speaker A

show you a technique that is so helpful for matching your shots. What we can do is we can find a shot that we like.

231:08

Speaker A

Let's say we like this one, and we can rightclick here on the viewer and select grab still. What this will do is grab a still shot of this image, and it will save it to our gallery. So our gallery

231:20

Speaker A

is a panel that lives up here in the upper left. Click on gallery and that comes up here. And they call these stills, but it's really more like a saved preset, a saved color grade that also includes a still image. It's like a

231:33

Speaker A

color grading preset with a thumbnail. And so what's cool about that is if I were to reset this and I don't know, let's just do something really different. I'll just desaturate it and make it really dark or something so that

231:44

Speaker A

we can see this difference is that if I have one grade on this shot, I can middle button mouse click on this still, boop, like that, and apply that color grade right here from the still just like I can from a different shot. So,

231:58

Speaker A

you can easily save your color presets up here in the gallery. But what's also great is that you can rightclick and say play still right here. And what that'll do is give you a still frame of that color graded image that you can compare

232:12

Speaker A

with the other shots in your timeline. And so now I have a really nice kind of split screen where I can compare one shot to another. And so if I have a couple shots that were maybe shot at a

232:24

Speaker A

little different time, I can compare these with a split screen and I can do some work to match these and make these feel like they live in the same world again. And so that's great if you're trying to get an exact match on a setup

232:36

Speaker A

like this. But it also works if you're comparing similar subjects. So for instance, this guy's face both here and here. See here? This looks a little bit more pink. This one looks a little bit more kind of yellow. And so maybe it's

232:49

Speaker A

going to help this shot if we push it a little bit of green in there. Maybe a little less blue. And maybe that's going to feel a little bit better. So yeah, already that feels like it's matching a

232:58

Speaker A

little bit better. Maybe the saturation's up just a touch. And now we can match these together using this still. Same thing here for this other shot. We want all of these to feel the same. And that looks pretty good. That's

233:10

Speaker A

a pretty good match, I would say. Same thing here. Let's take a look at this.

233:16

Speaker A

That's also a pretty good match, I would say. You can really drive yourself crazy second guessing your match. The best idea is to immediately decide whether it matches or not, and if it's close enough, move on. If it bothers you

233:29

Speaker A

later, you can come back and adjust it. But you can go through your whole movie and you can compare it to this one shot.

233:35

Speaker A

And this is a really good idea because this one shot is like your constant. You can always see how bright or dark or saturated or blue or yellow or green something compares to this. The shot that you initially graded this saved

233:49

Speaker A

still right here. This is what we call our hero shot. It's our hero that we always compare all of the shots to. This is how you get a consistent look from beginning to end in your color grade.

234:01

Speaker A

Because what can happen is you can say, "Okay, I want this shot and this shot to match because they're next to each other, right?" And you can maybe make those match, right? You'll say, "Okay, this one needs a little bit more

234:10

Speaker A

offset." Then you go to this shot and you go, "Okay, I need these to match." And so you try and figure out like, "Oh, actually this one needs to be a little bit more pink, right, to match with

234:18

Speaker A

that. And then this one and this one should match. And now this one doesn't match at all. And so this one should really be more pink." And what ends up happening is you get this shot matches good. These shots match well. These

234:29

Speaker A

shots match well. And you get a slow drift from one shot to the other. And then the first shot and the last shot don't look anything alike. That's why we always compare all of our shots to this one constant shot so we can easily tell,

234:45

Speaker A

oh, this one's way off or this one's way off or this one's a lot closer. Then you're comparing your last shot and your first shot to the exact same thing. So take some time and try that right now. I

234:55

Speaker A

want you to open up maybe shot five and adjust it. Go into the timeline nodes and make a look that you like. It can be subtle like this or you can go ahead and make something that's a little bit more

235:05

Speaker A

extreme. Play around. Have fun. That's what this is for. But just know that the more extreme your look is, the harder it's going to be to match your shots.

235:13

Speaker A

But do that. Make a creative look for this shot. Right click, grab still. And then you can rightclick and play still here. and then match all of your shots to it using this split screen technique.

235:24

Speaker A

Again, make sure that you go to your clip nodes to do those adjustments because you're only going to want to adjust that one shot and not all of them in the timeline. This kind of thing, just practicing this over and over again

235:36

Speaker A

is going to be so helpful for you. There is so much more to go over and to say just about workflow here, but I want to show you a couple of my favorite tools here in the color page. The things that

235:45

Speaker A

really feel exciting about color. We're going to dive into a concept called secondaries. Now that we have our shots relatively matched and our creative look made and everything, it's a good time to get into my favorite part of color

236:00

Speaker A

grading, which is secondary corrections. I'm just going to close my clips and just focus on this one shot for this.

236:06

Speaker A

Now, what is a secondary correction? A secondary correction is basically a correction that happens to one part of the image. And that can either be like a physical area on the image or it can be something that targets a specific color

236:18

Speaker A

or saturation or hue or something like that. Basically, what we've been doing so far are primary corrections. A primary correction is a correction that applies to the entire image. Whereas a secondary correction is a little part of the image. Okay. So to do that, what

236:34

Speaker A

I'll often do is hit alt s and make a serial node. Okay. This is a node that comes after this node. And so we're going to take this image and we're going to refine it further. And some of this

236:44

Speaker A

we've already learned about with these curves. And so I could do something like select just these reds and adjust the saturation of them. That would be a secondary correction. So we have our original footage, we have our primary

236:57

Speaker A

correction, and then we have our secondary correction which adjusts these reds. But I can also do a correction to just a part of the image using a mask which in the color page is called a window. So, I'm going to go to the

237:08

Speaker A

Windows palette right here. It looks like this little ellipse with the little control points on it. And here in this palette, it lets us make masks for whatever is happening in this node. So, if this node turns everything pink and

237:21

Speaker A

then I apply a window just by clicking on one of these shapes, like this ellipse shape, that's going to apply that correction just inside of that window. So, it's a mask that's applied to this node. Now, something to notice,

237:33

Speaker A

we're not cutting out the image. All we're doing is limiting the corrections that happen in this node to only happen inside of this mask. So just this absolutely like exponentially increases the amount of freedom that you have adjusting your images. So I'll just

237:52

Speaker A

reset the primary color wheels here and let's move this around and let's do something like just brighten his face.

237:58

Speaker A

I'm going to adjust this circle mask and yeah, maybe I will actually turn this purple here for a second so that we can see what's going on. I can adjust the size and the shape and everything of this mask by grabbing this bounding box.

238:08

Speaker A

But we also have these little red dots here that I can pull. And what that does is it softens the mask. And so if you get into any color grading tutorials and you watch a colorist that's been doing

238:20

Speaker A

it for a while, they almost always just use a big circle mask. A big soft circle mask. The reason is because you can do so much stuff with just a soft circle.

238:30

Speaker A

Look at this. I don't have to roto his face or anything. And I have, look at this. I'm doing a really extreme correction to his face. And I just have this soft circle mask. And I can go down

238:40

Speaker A

here to this little button and turn off our overlays. And it honestly doesn't look terrible as far as the actual mask goes. It's hard to tell where the mask starts and stops. And this is like the most extreme possible example of doing a

238:56

Speaker A

localized secondary color correction. And so this is a great way to isolate any kind of adjustment that you just want to happen to part of your image. So we have our face selection here. And maybe I'll just make this a little bit

239:07

Speaker A

smaller. Maybe just adjust one side of his face a little bit. Then I'll reset my correction here. And one thing I'll often do just to quickly turn off this overlay is just switch to a different palette here. So I can switch to the

239:20

Speaker A

curves and any adjustments we make are still going to apply to that mask because it's applied to this node and we have this node selected. So anything that we do is going to happen just within the mask because we're masking

239:33

Speaker A

that node. So what I like to do is switch over to the curve and let's say I want to brighten this side of his face.

239:37

Speaker A

I can just push up the brightness there like this. Maybe more the darker parts.

239:42

Speaker A

Yeah, just add a little bit of fill there. So here's before and here's after. Here we go. We can add a little bit of brightness to his face if we want to. We could also do the opposite. I can

239:52

Speaker A

move this over here. Let's reset this again. Let's reset our curves here. And we can take it down a little bit. And again, big soft circle window is magic, man. Telling you. Just going to put that right there. And now we can darken that

240:04

Speaker A

side of the window. Here is before. And here's after. So now we can shape the light using these controls that we already know, but just combining it with a mask. Now, let's say that I want to do multiple things, like I want to darken

240:15

Speaker A

this part, and I want to maybe brighten his eyes a little bit, maybe change the color of his lips, whatever I want to do, and I want to do all of those things to this shot. What I would recommend is

240:26

Speaker A

that you do those in parallel nodes. Now, there are some reasons for this that are honestly a little bit hard to explain. If you're really interested in learning the different kinds of nodes in the color page, let me know. But it's

240:38

Speaker A

honestly not like super super important. Here's just a good general rule to go by. If you're doing a primary correction where you're adjusting the entire image, a lot of the time I'll just use a serial node. If you're going to do multiple

240:51

Speaker A

different things, adjust a bunch of different parts of the image like this. I would do those all in parallel nodes.

240:57

Speaker A

To make a parallel node, rightclick and go to add node, add parallel. You can also hit alt p. And what this is going to do is basically take this original image and that's going to feed it to all

241:08

Speaker A

of these different corrections. So each one of them have the same starting point. And so this node right here isn't looking at this image. It's actually looking at an image that looks like this, which can be convenient if you're

241:19

Speaker A

doing things like selecting stuff by color or brightness. Then you don't have the other nodes kind of messing with that. And so let's just rightclick and say node label here. We'll just say darken window. For this one, let's

241:31

Speaker A

brighten his eyes. So maybe we'll make another kind of soft circle here. I'll just put maybe on this eye just to brighten it up a little bit. Maybe we'll just take this curve and just push that up just a touch just to brighten it. I

241:44

Speaker A

don't know if I like that. Maybe I'll take the offset up a little. Yeah, I like that a little better. Take the offset up. Then I can also add another window just by going here and clicking this plus circle like this. That'll add

241:55

Speaker A

another circle window. And those are both going to be applied by default, just added together for our node. And you can see in the little preview here that it's only affecting the eyes. You can also go here to this tab, which is

242:07

Speaker A

the key tab, and we can look at the selection that we're making. So, we're brightening his eyes. And then over here, maybe we'll adjust his lips. So, let's do that curves trick here. Hue versus hue. I'll just select his lips

242:18

Speaker A

like that. And maybe we don't want those quite as pink. I'll just push that down a little bit. Widen out these here a little. It's going to just tone those red lips down a little bit. And we're also going to limit this with a window.

242:28

Speaker A

That's the cool thing is you can do multiple things in one node. I can put curves and stuff with our primaries and sharpening and all kinds of stuff into this. And then I can limit it with this window. So I'll take circle window and

242:40

Speaker A

just limit it to the lips right there. So now I'll just disable these by hitting Ctrl + D. Now we have our original footage. We have our primary correction. Then we darkening this side of the screen, brightening up his eyes a

242:53

Speaker A

little bit, and changing the color of his lips. And because these are all in parallel nodes, these nodes are going to interact with each other in a way that's expected. If that's too much for you, it's really okay. Just do your big wide

243:06

Speaker A

corrections in serial nodes and your little localized corrections in parallel nodes. You'll be fine. Now, we have our masks set up here, and we have some specific masks like right on his eyes, which is cool, and it looks good for

243:18

Speaker A

this frame. But as soon as we play this back, there's some problems. Now, it's not so obvious on this shot, but if we look with the overlay, we'll notice that we're not really selecting his eyes. His head is moving around. And so, this

243:30

Speaker A

brightness on his eyes should really follow his eyes, right? So, how do we do that? Well, we can use a tracker right here in the color page that is absolutely mindblowingly fantastic.

243:42

Speaker A

Check this out. I'm going to start at the beginning of my clip, just cuz that's where we set this up. And I'm just going to put my windows where I want them to be. And I'm going to select

243:50

Speaker A

this window and go over to this next tab here. This is our tracker tab. And I'll just hit this track back and forth button. And look what happens. Watch this. It just locks onto his eye and tracks it in 1 second. Okay. Same thing

244:04

Speaker A

for this one. Tracks it. Crazy. So now look at that. They perfectly follow his eyes. Isn't that nuts? It's like no effort to track stuff in the color page.

244:14

Speaker A

And again, it's very forgiving because really a lot of the time you're using pretty soft masks. And so it's amazing how quickly you can refine an image, even an image that's moving and zooming and doing all kinds of stuff and people

244:26

Speaker A

turning their heads and all of that. You can get really fine on these details. Do the same thing on the lips. We'll just make sure we select this window and then track this back and forth. No problem.

244:34

Speaker A

And it completely follows his face. Isn't that nuts? That's just wild. There are so many other things you can do in the color page. I'm trying to keep it to just the essentials, but man, it's hard.

244:44

Speaker A

Let's hit alt P and make another node. And in this one, I want to soften kind of the details in his face. Now, there are a lot of ways to do this, but one way that works pretty darn well is to

244:55

Speaker A

take this mid detail slider here and just push this to the left. And look at what that does. That kind of gives us that kind of Instagram kind of gloss filter. Look at that. That really starts to soften his skin. All right. Now, it

245:08

Speaker A

makes everything else look really bad. And so again, this is one of those times where we're going to want to combine this with a selection of some kind. So one thing that we could do would be to just again grab a soft circle window. We

245:20

Speaker A

can just put this in here like this. And that's probably going to give us a pretty good result, honestly. So here's before. Here's after. But there are a few problems here. We're blurring a little bit of the background here. It's

245:31

Speaker A

going into his eyes a little bit, blurring his hair. And so it would be nice if we could just select his skin.

245:38

Speaker A

And there are automated, a little bit fancier ways to do this in the paid version of Resolve, but I want to show you just an old school trick. All right, we're going to keep this window on here.

245:47

Speaker A

We're going to just limit it to something like this. But then we're going to make another selection just by selecting his skin here. Now, how do we do that? We can go to this fourth tab right here and select this little

245:57

Speaker A

eyropper. What this will do is this will make a selection kind of like we select with our windows, but it's doing it kind of like the way that you will select a color for a green screen. And so I'll

246:08

Speaker A

actually turn off our window here and probably turn off our midtone detail too, just so we can see just what this is doing. And I can take my eyropper and just drag over his skin like this. And that's going to set these sliders to

246:20

Speaker A

certain values. What this is basically doing is keying our image and setting the mask for this node to be whatever colors are included. It's selecting by the color. And I can see this a little bit better if I go up here to this icon,

246:34

Speaker A

which is our highlight icon, which will turn on our highlight mode. And that will pretty much put this on this gray, and just show you the colors that it's selecting. So, we can go back to our qualifier here. By the way, this is

246:45

Speaker A

called a qualifier. And we can adjust these sliders back and forth and the softness of this selection to only select his skin color. All right. Maybe turn off the saturation. Probably turn off the luminance because it doesn't help too much. And we can get a good

247:00

Speaker A

selection here using this key because what we really want is just the skin. Once we have a pretty good selection here, we can go to these matte finesse controls. And this will let us adjust our selection a little bit. One thing

247:13

Speaker A

that's going to help is if we push up this pre-f filter just a touch, that's going to get rid of some of those blocky things. We can also clean the black and clean the white. That's going to fill in

247:21

Speaker A

some of those holes. We also might just want to play with this center until we get mostly just his skin. We don't really want his eyes or anything. So maybe we do want to adjust the luminance here. Just push this around. There we

247:33

Speaker A

go. We're mostly just wanting his skin. Something like that. And this process is very tricky to make this work. And so you really only want to do these kind of things with subtle adjustments. And so maybe we'll do something like that. And

247:44

Speaker A

then limit it with the window even more. So I can take this and just select his skin like this. And now we have mostly just his skin being selected. Then I can switch out of highlight mode and I'll

247:57

Speaker A

take this midtone detail down. And that's going to soften his skin in a way that's a little more subtle. So we aren't messing with the rest of the image so much. We're just dealing with some of the details on his skin. That

248:09

Speaker A

gives him just a little bit more softness. You can really overdo this, too. So we're just going to push this up just a little bit just to take the edge off. And so that's how you can do a

248:18

Speaker A

little bit of beauty refinement and everything. Again, what this qualifier is doing is it's making a selection. And in that selection, we can do anything that we would do to this node, just like we can with a window. But you can get

248:29

Speaker A

yourself in trouble here because if you do some kind of really extreme correction, so if I take this gamma and push it blue, you can really easily see this selection. All right? And usually it doesn't even look as good as this.

248:40

Speaker A

You can really get yourself in trouble with this kind of thing. And so if you're going to do something like change a color, I'd highly recommend that you do that with something like this hue versus hue curve because it's just a lot

248:51

Speaker A

harder to get yourself in trouble. But these are all things that we can do to just refine each image even more. Let's do another shot. Again, I'll hit alt s for a new serial and then a couple of

249:02

Speaker A

parallels. Alt P like that. And we can use these kind of circle windows to really darken down parts of our frame. A lot of the time I'll just grab the offset and push that down. And you can really make a big difference in your

249:13

Speaker A

shot just with these little windows. And you can add multiple windows to each node. And remember, you can always add more windows to each node. And they don't have to be the same kind either.

249:22

Speaker A

This window is one that I use a lot. This is a gradient. And what it does, if I were to make this pink, this does the correction and then fades it out over this line. And so I could do something

249:33

Speaker A

like push this here on the side. And then let's not make this pink. Let's just have that darken stuff a little bit. And we can just darken one side of our frame pretty easily. Okay. Really gives that a lot more impact. Maybe we

249:45

Speaker A

want to darken this part because there's just too much light here. Same thing. Probably just a soft circle would do fine. Put it here. Take that offset down a touch just so it's not so distracting.

249:55

Speaker A

So here's before and here's after. And you can go absolutely crazy on this and do this for every single shot if you want to. I'd recommend that you wait to get this detailed on stuff until you have time. The very first thing that you

250:07

Speaker A

should do when color grading your shots is get a creative look and then match them all together. Once you have that, then if you have time, you can go through and make things look prettier and prettier. But don't start with that

250:18

Speaker A

even though it's fun. You can't always start with the most fun thing, unfortunately. Last thing I want to touch on in the color page are there are a couple other color wheel palettes that you'll see used on a regular basis if

250:31

Speaker A

you watch color grading tutorials. One is the log wheels. The other one is the HDR wheels. Now, what the heck? Why are there so many wheels? Here's the short answer. These primaries, if I were to Let's go to a different shot here so we

250:44

Speaker A

can see what's going on. These primaries, if I were to grab this gain, let's look at our waveform here. If I were to take the gain and push that up, what that's going to do is adjust the entire image, but it's going to adjust

250:56

Speaker A

the brighter parts stronger. All right? It's like in the curves when you take the top part and you move it like this.

251:04

Speaker A

In fact, that's pretty much what gain is. All right. The gamma adjusts the middle, but it leaves the white point and black point where they are. So, it's basically doing this. The lift adjusts the black point, which is doing this.

251:16

Speaker A

So, it affects the entire image, but it's a lot stronger in the darker parts.

251:20

Speaker A

Okay. Now, if we go to our log wheel, we have a similar layout here, but look what happens when I adjust the highlights. As I push this up, actually, not a lot's happening. And that's because adjusting these highlights is

251:32

Speaker A

like putting a dot here and then adjusting the white point from there. It sort of limits the adjustment to the upper part of the image. And really, you don't see a whole lot going on because we don't have that brightest stuff. Same

251:43

Speaker A

thing for the shadows. As I move those around, it only affects the lower part of the image like this. There's an anchor right here. So, to see that difference, lift does this. Shadow in the log wheels does this. So, it's

251:57

Speaker A

limited to just the dark parts. And you can adjust where that little cut off point is with these sliders right here, the range sliders. And so, as I push up the shadows, see, I'm pushing those up, and it's really only affecting this part

252:10

Speaker A

of the image. But as I adjust the range, then I can have it adjust more or less of the image. And so, I could do something like push my highlights really yellow, and it doesn't really affect anything until I bring this highlight

252:21

Speaker A

range down and start to tell it that more things are highlights. So, there we go. Now we're considering this part and these parts of the image as highlights.

252:30

Speaker A

And now things are getting yellow, right? So it's basically just splitting up the image into kind of thresholds.

252:35

Speaker A

Highlights adjusts this, shadows adjust this, mid tones adjust this. Instead of adjusting the entire image, it splits it up. Okay. So what the heck do you do with these kind of things? This is if you're trying to adjust something really

252:48

Speaker A

specific. Like for instance, if I want just this window to be darker, but I don't want to adjust anything else, I could take my highlights down a little bit and then adjust this range to where it starts affecting the window. And so

253:03

Speaker A

now I'm mostly just adjusting the highlights without even touching the shadows and the mid tones so much. And so again, this is for secondary corrections for the most part. Something that's confusing about calling these log wheels is a lot of people think that if

253:15

Speaker A

you have log footage, you should use the log wheels or that log wheels only work in log space or that by using it, it turns it into log or anything. None of that's a thing. Where this starts and

253:27

Speaker A

stops is this is called log wheels. That's it. Just ignore everything else. This is what they call the adjustments that split up the image into these tonal areas. Okay. The HDR pallet is basically a big boy version of that. Instead of

253:42

Speaker A

splitting it up into three parts, it splits it up into six parts. That's it.

253:46

Speaker A

And so we have the range control for each one and the softness for the threshold of each one. And it's split up into six parts. If you click on the little sunshine for any of these, you can see what it's affecting. So

253:57

Speaker A

specular, basically nothing. Highlights, things that are a little bit darker. Light is that range. Shadow is this range. Dark is this range. and black is this range. And so it splits it up into these tonal ranges and you can adjust

254:11

Speaker A

each one to your liking. Basically, if you want to get really detailed with things, my advice, if you're brand new to color, don't even worry about the HDR wheels. Don't even touch them. Sometimes maybe you'll get into the log wheels,

254:22

Speaker A

but honestly, just stay with primaries because that is going to be able to do 99% of what you ever need to do, and it's much, much simpler. Now, something about color. This is one of the most fun things about color. They have these

254:35

Speaker A

color surfaces that are really cool. It's basically a way for you to be able to touch all of the controls with hardware knobs and sliders and everything and it makes it go a lot faster and it's more fun, more tactile.

254:49

Speaker A

There's all kinds of good reasons to use a color panel. They have multiple different versions. The most affordable one being this Da Vinci Resolve micro color panel, which actually works with an iPad, which is really neat. There are

255:01

Speaker A

three track balls here and those correspond to lift, gamma, and gain. And there's these rings that rotate around the track balls, which correspond to the master wheels. And then a lot of these knobs and buttons and everything are

255:16

Speaker A

basically these things. All right, so there isn't really anything that you can only do on a color surface. It just makes things a little bit easier and a little bit faster. They have a bigger version of the color surface called the

255:27

Speaker A

mini panel and an absolute crazy spaceship version which is called the advanced panel which has a million different buttons and things. And like I said, this is really fun and it gives you the tactile control that is there's

255:40

Speaker A

just really nothing like it. And these color panels are a little bit expensive. The micro color panel starts at $559.

255:46

Speaker A

The mini panel is about $2,300 and the advanced panel is $30,000. But the question is, do you actually need one to do color? No. No. You don't need one to do color. In fact, I would recommend that unless you plan on doing a lot of

256:01

Speaker A

color. And when I mean a lot of color, color grading more than a thousand shots a week. I think that's when it really gets useful to have a color surface. If you're doing that kind of volume of color work, it's absolutely worth the

256:15

Speaker A

investment and it makes it more fun. If you're making a video every couple weeks and it has 80 shots, honestly, it's probably not going to be that big of a deal that you get a color surface or not. So, do you actually need it? Not

256:25

Speaker A

really. If you're really into gear and you want your desk to look really cool and you really want to practice getting quick at color, maybe you're wanting to be a colorist and maybe eventually do 1,000 shots a day. If you're really

256:35

Speaker A

hardcore on that, then yeah, you should totally get one. Or if you have the money and can responsibly spend it and you need to justify something like this to your boss or spouse, you can show them this part of the video. They

256:45

Speaker A

absolutely need a color surface. It's imperative. If you don't have a color surface, what are you doing? Do you even video? Go ahead and make that investment.

256:55

Speaker A

Are they gone? Okay. So, there's about 11 billion other things that I want to show you on the color page. If you want to learn more about color, let me know in the comments. We'll talk more about it. But we got to move on. We got to

257:06

Speaker A

keep going. The porcels who edit this video are going to have my hide if I don't keep moving. So, let's go. All right. Let's talk about the Fairlite page. So, this is the audio world of Da Vinci Resolve. You can think of this as

257:20

Speaker A

like the main dedicated audio app. In the Adobe world, this would be like Adobe Audition or something, or for those of us who've been around for a little bit, something like ProTools.

257:30

Speaker A

This is the dedicated audio part of Resolve. Now, you can do a lot of audio stuff in the edit page of Resolve, but you can think of this as there's two separate apps here. There's your editing app which has general effects and it has

257:43

Speaker A

some audio tools and you can add clips and you can move them around and you can fade things and you can adjust volume and that kind of thing. So, it's like the basic version of adjusting audio.

257:52

Speaker A

Whereas an audio app, the idea is that you can get super detailed with your audio. You can have lots and lots of tracks. There are specialized audio effects, plugins, all kinds of things.

258:03

Speaker A

And it's just really tuned into making good audio. And that's exactly what's happening here in Fairlite page. Just like the other pages of Resolve, your timeline here in the edit page can just be opened in Fairlite just by clicking

258:17

Speaker A

on the Fairlite page. So here we are. Here's our color timeline that we've been working on. And this part down here is a similar interface where we have our timeline and we can adjust the height of our audio tracks. But look how big we

258:28

Speaker A

can make these audio tracks. And look how much we can zoom in here. So I'll just put this in here and just hit control plus a bunch. We can really zoom in here crazy, even down to the sample

258:40

Speaker A

level of audio. So, Fairlite can get just as crazy as you want to get when it comes to getting detailed with your audio. One of the first things you might be thinking is, okay, I can do a lot of

258:50

Speaker A

this in the edit page, right? I can zoom in and I can get crazy with audio here in the edit page. When should I move to the fairlight page? What's the point of doing Fairlite stuff over the edit page?

258:59

Speaker A

And the honest truth is that you can move back and forth. It's not really that essential that you're like ready to do audio before you go into the Fairlight page. A lot of the time what I do is I'll jump into Fairlite and I'll

259:11

Speaker A

adjust some things that Fairlight's good at and then switch back to the edit and kind of keep editing. And then if I want to mess with the clip, maybe I'll go over to Fairlite and adjust the clip and

259:19

Speaker A

everything. What's really cool is that this whole timeline on the Fairite page is the same as the edit page. And so if I add a fade on the fairlight page and switch over to the edit page, we have

259:30

Speaker A

that same fade right here on the edit page. If I were to write click and change the clip color here on the fairlight page, guess what? That clip color is on the edit page. And so it's nice because you can really just go back

259:40

Speaker A

and forth. And this is huge because in basically every other app ever, you can't do that. you would have to do something like export your timeline as an XML or some kind of format that an audio app can open, which means that you

259:56

Speaker A

should have things pretty well dialed in and pretty much finalized before you go into the audio app. And you don't even have to worry about that with Fairlite.

260:05

Speaker A

We're so spoiled. You can just switch over to Fairlite and do some adjustments, switch back to edit, no problem. Okay, so we can switch into Fairlite and back if we want to get a little bit more fancy with our audio.

260:14

Speaker A

But let's take a second and look at the interface here. So right here we have our timeline. And this acts pretty much like it does in the edit page. There are tracks, there are clips, you move around in time, all of that. Now, it's possible

260:27

Speaker A

that on your system you don't have the video tracks. If you go up here to this little icon, there are all kinds of options for viewing our timeline. And there's actually a similar button to this in the edit page right here and the

260:41

Speaker A

cut page, right? So, anytime you want to adjust how your timeline looks, there's some kind of version of this. But here, this top menu item is display video tracks. And so, if you're just working on audio, sometimes you don't really

260:53

Speaker A

need the video tracks. But, I don't know, for me, it's comfortable to be able to see the video tracks just so that this looks a little bit more familiar to the edit page cuz sometimes I'll have clips colored a certain way or

261:04

Speaker A

arranged a certain way that kind of helps me navigate where things are on the timeline and I don't want to lose that in Fairlight. Over here on our track headers, we have our mute and our solo. So, we can mute tracks and solo

261:15

Speaker A

tracks. Solo basically just mutes everything except for that track. We have meters for the tracks. And I'll tell you something in Fairlite, tracks are your best friend, okay? You need to be good friends with tracks. Don't be afraid to add lots and lots of tracks.

261:29

Speaker A

Get familiar with how tracks work because tracks are the magic when it comes to audio. We'll talk about that more in a little bit. Over here to the right, we have our mixer. And this is where we adjust controls for our mix as

261:42

Speaker A

well as each track. This is where we can set inputs for recording. We can add effects. We can adjust dynamics, which we'll get into in a little bit. We can adjust EQ. We can route each track to a

261:54

Speaker A

separate bus, which is like a group of tracks, like a submix. We have pan controls and our volume here for each track. Up here in the middle, we have our tools, which are very similar to the edit page. Playback controls. Again,

262:08

Speaker A

very similar. And we have a big bunch of audio meters here. This is going to show you the volume of every single track in your mix. We have a loudness meter here, which helps monitor how loud things are

262:20

Speaker A

perceived, which can be good if you're doing broadcast things and even somewhat useful if you're making mixes for YouTube. And then we have our viewer here. It's a lot smaller, but we can actually pop this out and make a little

262:31

Speaker A

bit bigger viewer if we want to. I'll just pop that back in. But really, we have a lot of space here in the timeline because this is where we're going to do most of our work. We're going to be

262:40

Speaker A

adding sound effects and mixing things and moving them around. A lot of that happens in the timeline and the mixer.

262:46

Speaker A

Up along the top, we have some familiar windows, our media pool and our effects.

262:51

Speaker A

Those work just like the other ones. We have our metadata and our inspector. Again, same thing as the other pages.

262:57

Speaker A

And some other panels that we might get into here in a little bit. So, let's work on something, shall we? Let's switch back to the edit page here for a second. And in the Fairlight folder, if you imported it with me at the beginning

263:06

Speaker A

of this video, you should have several different files here. I'm just going to rightclick here in the empty space and hit timelines, create new timeline. And we'll call this Fairlite timeline. Hit create. And let's build our quick time

263:18

Speaker A

that we can work through together. You should have a movie here called Fairlight Page Video Track. Drag this in like this. And then there's also Fairlight Dia. That's short for dialogue. We'll drag this down here. And this is going to be the audio for our

263:31

Speaker A

scene. And we're going to make sure this came through just right here in a second. But this is a different scene from the same movie that lends itself to some sound design, some mixing, some fun. So, let's switch over to the

263:41

Speaker A

Fairlite page and take a look at what we've got in the Verite page. By default, it shows you a little bit more about the audio channels. This dialogue is coming in as a mono track. The reason I know that is because this track is a

263:55

Speaker A

stereo track. I can tell by this little 2.0 right here. What that's going to do is have a list of channels within this track. So, this dialogue is actually just one track that comes in on the left channel. Hold up, I got to get my

264:08

Speaker A

headphones. There we go. So, if we play this back, we're just going to hear that on the left speaker. And there are actually more tracks in this wave file.

264:17

Speaker A

So, let's open this up in the media pool. Rightclick and go to clip attributes. We're going to go to audio.

264:22

Speaker A

And we're going to make sure that our format is set right. We should set it like this. format mono audio one mix mono audio 2 mix. You can pick which track you want on each of these. That looks good. And I'll hit okay. And let's

264:35

Speaker A

take this dialogue and let's drag this down. And look at this. This is actually adding it in two different tracks. So why don't we instead why don't we rightclick on this track here and say change track type to mono. And then we

264:48

Speaker A

have our audio 2. This is mono as well. So let's get rid of this and just move this down. So that's what we should have is two separate tracks like this.

264:56

Speaker A

Sometimes things just don't come in right for whatever reason on the edit page. Sometimes when you have fancy audio tracks, you might need to jump into fair light to get that working. But this is what we should have is our

265:07

Speaker A

dialogue wave should have one channel on this track and one channel on this track. And both of these tracks should be mono. Okay. So now if we play this back, because these are mono, they're both going to come out of both speakers,

265:18

Speaker A

but they are going to be separate tracks here. Where is he? I had him and then you pushed me.

265:30

Speaker A

Great. So, this is just the dialogue for our sequence and probably 75% of what we're going to be doing here in Fairlite is stuff that you've really already learned in the edit page. So, this section of this video is going to be a

265:44

Speaker A

little bit shorter, but I do want to show you some specific stuff in Fairlite that's really neat. One thing that we can do is split each of these up into little clips, which again happens like you would on the edit page. But you'll

265:55

Speaker A

notice when I click on this, it actually selects both of these tracks. So, I'm going to select this, rightclick, and go down to where it says link clips and uncheck that. Now, I can move each of these separately, which is probably

266:07

Speaker A

going to be really good for what we're doing. And I can use the same shortcuts that I was using. I can split each track. I can just select it like this. I can grab and trim it very similar just

266:17

Speaker A

like we would on the edit page. Just splitting and trimming like this. And it's silent here. So, we don't really have to trim this, but I like to do that just to keep organized a little bit. A little bit easier to think of these in

266:28

Speaker A

little chunks. And it also feels like it's empty here, which it is. There's no sound at all here. And so that kind of reminds us that hey, we need to actually add some sound to this in order for this

266:40

Speaker A

to feel like a finished professional kind of product. Now, something that's really unique to the Fairlite page is its way of selecting pieces of clips.

266:51

Speaker A

So, let's zoom in here a little bit. I'll go ahead and close my media pool just so we have a little bit of space.

266:56

Speaker A

Make this a little bigger. And let's say that I want to select and adjust this waveform right here. In the edit page, what I would have to do would be to go here and split this and then I have this

267:06

Speaker A

as a separate thing. But what I can actually do in the fairlight page is I can select regions. So I can grab this second tool here, which is range mode, and I can click and drag. And that's going to set an in and an out, and

267:19

Speaker A

that's going to let me go in and be a little bit more detailed with the actual sounds itself. So I can make this selection and hit backspace, and that'll just get rid of that part of the audio.

267:28

Speaker A

I can also grab this line and push it up. And that's going to add little key frames to this volume line. And so I can push that up like that. And then if I want to select a different part, I can

267:39

Speaker A

do it like this. And so that makes it really easy to be able to select a piece and kind of adjust it without having to do a bunch of manual key framing and stuff. Now the thing that's not great

267:49

Speaker A

about this is that if I want to say move this clip around, I can't. I'm just selecting parts of it. I would have to switch to this other mode. But what I can do is switch to this focus mode and

268:00

Speaker A

that's a combination of these tools. So if I'm on the top part of the clip, I can do my range mode just like before.

268:06

Speaker A

But if I'm on the bottom part of the clip, I can grab the clip and move it back and forth. And so this is a really nice way to work inside of Fairlite, especially if you're going in and

268:14

Speaker A

adjusting pieces of your clips. Just remember to be on the top part of the clip if you want to adjust a range and the bottom part if you want to move things around. So yeah, just like the edit page, I can hit alt and add little

268:25

Speaker A

key frames here to the volume. But what's cool is I can animate a whole bunch of stuff in the same way. And to select what I want to animate, I can go over here to this little drop down where

268:35

Speaker A

it says none. And there are all kinds of things that I can key frame here. So by default, it's the clip volume right here. But I can also adjust the fader level. It kind of does the same thing,

268:46

Speaker A

but for the track. And so what this is going to do is automate this slider. And watch what happens when I play this back. It turns it down. And so you can key frame anything in the mixer for the

268:58

Speaker A

track. Just like that. And this is the kind of thing that you just can't do on the edit page. And now if I want to remove that automation, I can hold control and alt and just click on these

269:07

Speaker A

little points and get rid of it. Yay. So we have our dialogue here in our movie.

269:12

Speaker A

But what's really going to help here is to add a little bit of room tone, a little bit of ambience. And so let's go over to our media pool here in our sound effects folder. We should have a clip

269:24

Speaker A

called GC ambience interior bathroom, which is going to be really helpful. And so this is just kind of like the sound of the air, sound of the environment, the room tone here. And that's going to kind of fill in some of these little

269:36

Speaker A

gaps that are just completely silent. You pretty much never want that. That's called dead air. We don't want that. And before I play this back, I'm actually going to take the volume down here for our preview because these ambients are

269:47

Speaker A

very, very loud. So, there we go. That's kind of what we're looking for is that little that little bit of just kind of ambient noise. And in this preview, this is where we can set our in andout just

269:57

Speaker A

like we would normally do in the viewer in the edit page. But I'm just going to use this whole thing. I can grab it and drag it down here. And I can either drag it to an existing track or I can make a

270:06

Speaker A

new track just by dragging it down like this. So, let's put that in. And this is going to be our ambience. Now, before long, our tracks are going to get crazy, and so it's probably a good idea to

270:15

Speaker A

start renaming these. All you do is click on the track name. And so, we'll call this dialogue dash guy, and we'll say uh dialogue dia/girl.

270:25

Speaker A

And this is going to be our ambience amb. You can name these however you want as long as you recognize it. And the first thing I'm going to do on this ambience is I'm going to take the volume

270:34

Speaker A

down on this track. So, to do that, that's going to be in our mixer. And it's a little bit confusing because the mixer is right here on the side. And what we're going to do is look for track

270:42

Speaker A

three. So there's A1, audio one, audio 2, and audio 3. Here we have audio one, audio 2, and where's audio 3? Well, there is a little scroll here that we can scroll over. Or we can even move this out a little bit to see more

270:55

Speaker A

tracks. And so here on track three, we're going to take this fader all the way down. Let's take this to like, I don't know, -20, something like that, and just see how that sounds compared to our audio. There we go. That's a little

271:06

Speaker A

better. push this up so we can hear it. So, that ambience is still a little bit hot. We'll take this down a lot lot more. And what's nice is I can play this back while I'm adjusting the volume in

271:16

Speaker A

this track, which is a little bit harder to do here on the interface or in the inspector. So, I can just take this down and just bring it up just to where I start to notice it. I don't even know on

271:24

Speaker A

your on your speakers, but it definitely like it sounds like there is air in the environment now. So, that's great. Let's go ahead and close our media pool and we'll just work with this again. Let's just grab the edge of this and I'll just

271:36

Speaker A

split this just like we would on the edit page and get rid of this edge.

271:39

Speaker A

There we go. And now we have our ambience. We can also colorize a track just by right-clicking and going down to change track color. And this can be really helpful for organizing your different types of sounds. And so maybe

271:52

Speaker A

we'll have our dialogue apricot. Sure. Right click track color apricot. That'll also colorize them here in the mixer.

271:59

Speaker A

It'll be a little bit easier. Ambience, let's turn green. Sounds good. Now, let's add a little bit of music. So, same thing, media pool. We're going to go up to our fair light directory because we have our music right here.

272:09

Speaker A

Same thing, just drag it in. We'll just butt this up here. And so, we have our music that's a little bit long for our scene. Now, if we want to make this music fit the length of the clip, there

272:18

Speaker A

are ways to do that in the studio version of Resolve. That's pretty fancy. So, I'll show you that. I'll just kind of move this over here for a second.

272:25

Speaker A

This whole clip is about 17, 18 seconds, something like that. So, what we could do is trim this and then select it and go to the inspector. And there are some really cool AI adjustments that we can make to clips here in the fairlight

272:39

Speaker A

page. This one is going to be AI music editor. And so, what we can do is we can select a target length. So, let's say 17 seconds. So, just 1700. And then hit adjust. It's going to analyze that clip.

272:51

Speaker A

It's going to go through and figure out where all the beats are and all that kind of stuff. And it's going to try and make it shorter. and it will do a decent job. It's going to actually make this

273:01

Speaker A

about 20 seconds. So, let's actually maybe see if we can get this to maybe we'll target like 15 seconds and then hit adjust. There we go. Yeah, it's going to want to do 12 seconds or something. So, you can get it close, but

273:13

Speaker A

it should do a pretty good job of making everything happen on beat. So, let's listen.

273:20

Speaker A

[Music] [Music] and that works. But if you don't like what it's doing here, or if you don't have the paid version of Resolve, here's a really easy way that you can shorten your music. I'm just going to reset this

273:41

Speaker A

AI music editor and look at this full length. And let's just align this where we want it to be. Just get rid of our inspector here. Let's take a look at this. I think we want this to come to a

273:53

Speaker A

head right when that toilet happens. Yeah. So, let's actually just trim the front of this here. And let's have this end right about where that toilet happens.

274:05

Speaker A

And then you push me. Let's have that just end right about there. I had him and then you pushed me.

274:14

Speaker A

Yeah, that's nice. So, we have that kind of awkward empty feeling there. Maybe we'll just fade this up like this.

274:23

Speaker A

[Music] Where is he? I had him and then you pushed me. Yeah. So, that actually works without having to do a bunch of edits. But I'll just alt drag this out so I can show you this. If you want to shorten a clip and

274:40

Speaker A

have it on beat, this is the easiest way to do it. And you don't need any AI stuff. You can just do this yourself. A lot of music you can listen to and count on the beats. And then you want to cut

274:48

Speaker A

it and splice it on the beat. This one is a little bit harder to count, at least for me. And so really what we want to do is just split this right here. And we'll just kind of trim this to be

274:58

Speaker A

shorter. And really a great way to do this is just to look at the waveform and look for similar waveforms. So this and this look similar. And so what I'll do is just trim this to be right on that

275:09

Speaker A

peak here. And move this down. Let's just see how this sounds. Decent. And what we could do is rightclick and say 24 frame crossfade like that. Pretty good. And now we have a shorter version of the song. So that's

275:24

Speaker A

a great way you can splice a song. But we don't even need to do that right here. We can just have it fade in. And then right there we'll also have this fade out. Great. Now this is going to

275:33

Speaker A

actually be masked a little bit with a toilet flushing sound. So that's going to be in our effects that we add to this. And really a great way to go about adding your sound effects and everything is to do it in passes. Just like we edit

275:47

Speaker A

in passes and do our color and passes and everything, doing this audio in passes is really helpful. We're basically looking for the big obvious things, the things that are going to take somebody out of the experience if they don't hear it. And we want to add

275:59

Speaker A

those effects. So, anything that should be making a sound that should be really obvious, boy, that better be in it.

276:05

Speaker A

Okay, so let's go through here. And what I'm just going to do is just hit M on the keyboard for a marker. That's going to add a marker to our sequence, and that'll help us remember to add the

276:13

Speaker A

effects there. Okay. So, we need So, right as we go, we need this closing door sound in the story, she falls down from inside the door. So, we definitely need something like that.

276:28

Speaker A

[Music] Probably opening the door might be good. And then you push me. We need the toilet flushing sound right there for sure.

276:40

Speaker A

Oh no. Moving the book. We need some kind of audio for that. Opening the lid. Yeah.

276:47

Speaker A

So, all of that kind of needs to happen. By the way, this scene, if it's confusing, out of context. So, the kid, he just shoved her in the bathroom holding the alien and she fell down and accidentally flushed the little blue

276:59

Speaker A

alien down the toilet. So, this is where things really get bad. So, let's just go through this. So, this first effect we need is the door closing. And we can open up the media pool and look for our

277:10

Speaker A

door closing stuff. But I want to show you a really cool thing about Fairlite.

277:14

Speaker A

So let's say that you have a whole bunch of sounds, like we're just giving you like 20 sounds or something. But if you have 700 sounds, it can be really hard to go through and listen to every sound

277:25

Speaker A

and try and figure out the exact sound that you want. And so this sound library, this is a way that you can tell Resolve where all your sounds are and it can index them and make it really easy

277:37

Speaker A

to find the sounds that you need. All you have to do is go to these three dots and say add library. And we're going to navigate to our files and our sound effects folder that we downloaded and hit select folder. But you can select

277:49

Speaker A

any folder on your system, anything that has all of your sounds. And then it's going to go through and scan all of the sounds and index them so that it can quickly find them. And if you have lots

277:59

Speaker A

and lots of sounds, it might take a little bit, but this is going to be really quick. Sound library sounds. Scan successful. Hit okay. And now we can search here and it will quickly bring up anything. So if I type in toilet, here

278:11

Speaker A

are all of the toilet sounds. Toilet sounds. So we have toilet flush, toilet lid open. And we can just double click this to play it back. So there's our flush, toilet, dropping the book on the toilet, opening the lid, all of that. We can

278:28

Speaker A

find the toilet stuff really easily. So let's type in door. Now we have all of our door sounds. So doorork knob sound.

278:35

Speaker A

Yeah, that's good. We need the door closing. Yeah, good. So, here we can set our in and our out just like this. I And we can drag this into a new track.

278:46

Speaker A

And I can take off snapping so that I can move this back and forth really easily. Good. And we'll get rid of this marker here. We need the kind of falling down sounds. Let's type in body. That'll bring up. We have our body drops.

278:59

Speaker A

There we go. And we can use JK and L to play this back. So, these are all different sounds that we can layer to make it seem like there's body hitting the floor. So, to do that, let's make a

279:10

Speaker A

few more tracks here. I can add tracks by right clicking on any track and just going to add tracks. And let's add a few mono tracks. Let's do five mono tracks.

279:18

Speaker A

We'll add those. We'll do below audio 5. Sounds good. Make sure we rename this.

279:23

Speaker A

And generally, like it's okay to add a million tracks. All right. There is a limit to the tracks, but it's a really big limit. So just add a new track for every new sound. What I would do is

279:34

Speaker A

group similar sounds that are in a similar environment at the similar time on a track, but otherwise pretty much make everything else a separate track just because then you have control over all of those tracks with the faders. And

279:45

Speaker A

it's really easy to kind of mix things later. So this one will be called a door. This one is music. And let's just make these really tiny. And all these tracks, we're going to call this body one, body two, body three, and so on. So

280:00

Speaker A

now we have five tracks here. I can hold shift and scroll up to give us a little bit of room here. Let's just grab some of these body drops. Just set an in and out. Something like that. Drag this into

280:10

Speaker A

body one. Let's go a little further. Get some other ones like that. Drag this in.

280:15

Speaker A

Good. We'll use the knuckles body hit. Sure. Just like that. Throw that in here, too. So now we have five different tracks of all of these different sounds.

280:24

Speaker A

And I can quickly trim these using my arrange selection here. Just grabbing the empty spaces and getting rid of it like that. It's really nice way to trim this stuff if I need to. Good. And now we can just layer these on. So, we'll

280:38

Speaker A

just shove these all together like this and just see what it sounds like. Let's just see how it goes.

280:45

Speaker A

Yeah. And click solo just on these. There we go. Maybe I'll just kind of move these around and maybe spread them out a little.

280:54

Speaker A

Good. So now we have something definitely falling down, crashing, that kind of thing. And if we want to control all of these tracks together, we can group them. I can select body one and shift select body five and hit CtrlG.

281:06

Speaker A

And this is going to make a group. And we'll just call this body drop. And we're going to link all of these controls here. Let's just go ahead and link all of them and then hit save. And now what's going to happen is if I

281:19

Speaker A

adjust the controls for any of these, it actually adjusts them all. And so I can link all of these different parameters for my tracks. And even though they're on different tracks, they're working as one track. So that's a nice way to do

281:31

Speaker A

it. So if I want this to be quieter, can bring that down. So that kind of works. And I can link these together like that. The other thing I could do would be to put these into a bus. A bus

281:43

Speaker A

is sort of like a group of tracks, but it's really more like a separate mix that each track goes into. What a bus will do is route the output of all of these tracks into one track and then you

281:56

Speaker A

can control it like we were doing with these sliders, but you can also add effects to all of the tracks all at once. And it's actually really nice. And so to do that, we can go here to our bus

282:06

Speaker A

outputs and select a different bus. But we need to have another bus first. So we can go up to Fairlite and go to bus format. This is going to be a list of all of our buses. By default, there's

282:17

Speaker A

something called bus one, which is a stereo bus, and that is the main output.

282:22

Speaker A

So, the thing that our audience is going to hear. Anything that we want our audience to hear, it goes into bus one.

282:27

Speaker A

Let's make another bus. That'll add that. And let's uh let's call this a body bus. And heck, let's make it a different color. How about blue? Great.

282:35

Speaker A

And then we'll hit okay. That's going to add another bus here. And we can tell our tracks to go into a different bus.

282:41

Speaker A

So, right here where it says bus outputs, take this little drop down and switch this to body bus for each of these tracks. All right. And now something interesting is going to happen. I'll close our sound library.

282:51

Speaker A

Give us a little room here. When I play this back, listen. Those tracks are playing back. There's audio happening here in the meters, but we don't hear it. Why is that? It's because we're sending these to that body

283:05

Speaker A

bus. So, this bus right here, but we don't hear the body bus. The body bus doesn't have any output. Our bus one is automatically our main mix, so it doesn't need a bus output. But body bus doesn't have anywhere to go. So what we

283:18

Speaker A

should do is hit this plus and say bus one. And now what's going to happen is all of these tracks are going to go into bus 2, our body bus. And then everything that happens in body bus is going to go

283:29

Speaker A

into bus one. All right. So we're routing it all through this one little pipe before we put it into the mix. So now when we play this back, there it is.

283:38

Speaker A

No problem. The advantage here is that we could set our volume back to zero on our tracks and then just turn it down in the bus.

283:48

Speaker A

Okay, in this case it doesn't really matter whether you turn it up in the tracks or the bus, but the real advantage to having a bus is that you can add effects. Now, we haven't gotten much into effects, at least here in the

283:58

Speaker A

Fairlite page. Probably the most familiar version of effects would be to go into the effects panel here, and we have all kinds of audio effects that we can drag onto a clip. And so real quick, let's just solo the girls dialogue.

284:10

Speaker A

We'll just play this back here. I'll just loop this part by hitting I and O.

284:15

Speaker A

You pushed me. I had him and then you pushed me. And so any of these effects I can grab and put onto a clip. So sure, let's grab this flanger. Let's get crazy. And when I drag on an effect, that's going to

284:28

Speaker A

come up with this little dialogue here where we can select presets and adjust all the different crazy things about these effects.

284:37

Speaker A

you push me. Okay, I can turn an effect off or on with this little switch. This is like a broken out version of what's in the inspector. In fact, if I went over to the inspector and under effects, just

284:47

Speaker A

like in the edit page, we have our controls for our effects. And we can change those around or delete it or click on this little icon here to bring up our fancy interface again. So, this is an effect that's applied to a clip,

284:59

Speaker A

but we can also apply it to a track. And so, let's grab delay and put this on the track. We can drag that right on the track header and that will apply to the track itself.

285:09

Speaker A

I had it and then you pushed me. Great. That works. We can also see that effect in the mixer. Here we have our delay effect added right here in the mixer. And so we can add effects with this little plus. We can select a effect

285:24

Speaker A

from the list and that works. And we can add effects to tracks as well as buses.

285:29

Speaker A

And so I could put an effect on this bus. So we'll add a little bit of reverb. Let's say let's go back to bodies here. And now that's going to add reverb to our body hits. And that's because this is applied to the bus.

285:41

Speaker A

That's actually taking all of this stuff and routing it through our reverb and all the other things in this track and then putting it into our bus one, which is our main output. Now, not only can we use effects like this, but we can also

285:56

Speaker A

use these kind of builtin strip effects here. And this is actually going to be really convenient for these body hits because we want it to sound like they're happening on the other side of the door.

286:06

Speaker A

So, in a different room. And if you want something to sound like it's in a different room, you want it to sound a little bit muffled. And that muffled sound comes from cutting out the high frequencies, which we can do with an EQ.

286:17

Speaker A

So, to add an EQ to any track, all we have to do is just double click on this little cyan line, and that's going to bring up our EQ. If you're not familiar with an EQ, it's short for equalizer.

286:26

Speaker A

And it's basically kind of like curves, but for your frequencies. So the higher frequencies are over here, the lower frequencies are here. And then this line is the volume of those frequencies. And so if you want the higher parts to be

286:41

Speaker A

louder, you take something towards the right and you push it up like this. If you want the higher parts quieter, you push this low like this. See? And now that sounds like it's muffled, like it's happening in the other room. So that's

286:52

Speaker A

exactly what we want to do is take this side of our signal and just push it down.

286:57

Speaker A

There we go. We can even take one of these other numbers and push it up a little bit just to give it a little more thump.

287:04

Speaker A

Yeah, that's good. And so this EQ is being applied to all of our tracks here all at once because they're going through this bus. This again is so valuable because really think about just about anything you need to do. This is

287:16

Speaker A

the kind of essential stuff is putting audio into tracks. You can group the tracks if you want to. You can arrange the audio in time here on the timeline.

287:25

Speaker A

And then you can route these tracks through different submixes using buses and apply any kind of effects or anything that you want to the individual clip, the track, or the bus. So you have so much control over your audio. And

287:37

Speaker A

again, this is stuff that you don't really get in the edit page. But something to mention is that this audio will still play back in the edit page.

287:44

Speaker A

It'll sound just like it does in the fairlight page in your timeline. And so that's really the essentials of adding sounds and messing with them and doing the sound design part of your movie.

287:54

Speaker A

It's all about that clips, tracks, buses. Now, I'm going to skip ahead to a timeline that I had prepared just so I can show you a couple more things. You aren't going to have this timeline. I want you to build this yourself, but

288:05

Speaker A

it's using all of the techniques that we just went over. So, let's take a listen to what we have here. You have all of the resources to be able to make this.

288:16

Speaker A

Hello. Where is he? I had him and then you pushed me. There we go. So now we have a lot of action and everything happening here.

288:35

Speaker A

When it comes to the audio, we have the toilet flushing, we have the ambience, we have the music, we have the effects of stepping and moving around and all of that. and it really feels like a fleshed out scene. This is an entire huge audio

288:49

Speaker A

app that just has so much to go over, but these are really the essentials that you need. I do want to go over one more part, which would be working with our dialogue. One thing that we can do is

289:00

Speaker A

take our dialogue and we can route that into a bus. And so, let's go up again to Fairlite. So, you can do this on your timeline if you want to. I can go to Fairlite bus format. Let's add a bus.

289:10

Speaker A

And we'll call this a dialogue bus. and we're going to take A1 and route that to dialogue bus. A2, route that to dialog bus. And take our dialog bus and route that to bus one. So now all of our

289:22

Speaker A

dialogue is going to go through bus one. What I can do, I'll just solo these real quick. If I want to balance out this dialogue a little bit, I can go to my dynamics here, which is this green line.

289:34

Speaker A

I can double click on that. And this is going to do a lot of work with kind of how loud and quiet things are. That's just dynamics is the fancy word for that. And for your dialogue, a lot of

289:46

Speaker A

the time, what you want to do is make sure that it's loud enough to be heard and not too loud to where it's clipping.

289:52

Speaker A

And so again, we have an interface that's sort of like our curves where if we play this back, you can see there's this little visualization here. And this shows how loud the signal is coming in along the bottom. And on the side, this

290:04

Speaker A

is how loud the signal will be coming out. And so we can use a variety of these tools to change that signal. So, one thing that's pretty common is to turn on the compressor. And what that does is adds a little curve right here.

290:15

Speaker A

And so, as things get louder, it turns it down. So, it makes sure that as things get loud, they don't get too loud. It rolls off the louder parts of the signal. And so, this threshold is where it starts to roll it off. And

290:28

Speaker A

ratio is how heavily it does that. So, what I like to do is have my threshold down here a little bit and push my ratio down so that if something's too loud, it just kind of gets dampened down. And

290:39

Speaker A

what we're really looking for here is there to be just a little bit of gain reduction. So this little thing should have just a little bit of that. That's just taking the louder parts and pushing them down a little bit. And then we can

290:49

Speaker A

take that and we can push this makeup up a little bit. And what that's going to do is make the entire signal louder. So it's kind of like we're taking the louder parts and squishing them down.

290:57

Speaker A

And we're taking the quieter parts and pushing them up. And what that's going to do is level out the dialogue so that we don't have things that are too quiet or too loud. Now you can get yourself in

291:06

Speaker A

trouble with this. you can make it a little bit too hardcore. So, you want to be careful. You want to listen to it.

291:11

Speaker A

Make sure it still sounds good. But, this is a quick way to be able to make sure that your dialogue is audible, especially with something like a documentary or projects that have a little bit more runand gun audio that

291:22

Speaker A

isn't perfectly recorded. This can really help make sure that you can actually hear everything that's going on.

291:28

Speaker A

Where is he? I had him and then you pushed me. So, now this is a lot louder.

291:33

Speaker A

Where is he? I had him and then you pushed me. But it's not too loud. It has that presence. In fact, there is a dynamics just like this on my voice right now as you're listening to it so that when I

291:45

Speaker A

say stuff that's pretty quiet, you can still hear it. And when I talk really loud, it's not too loud. But this dynamics panel, spend some time with it.

291:53

Speaker A

Play around with it because this is really powerful. It can help you get a good mix in a lot less time. And just this panel, there's so much to go over.

292:01

Speaker A

We just can't do it all. A great place to start would be to up here where it says default, go to something like dialogue compression. And that's going to give you a pretty good result. Where is he?

292:10

Speaker A

I had him and then you pushed me. And that's going to be a really great starting point for kind of leveling out your audio. So I usually do some kind of compression on the dialogue. Little bit of EQ as needed on each of these tracks.

292:22

Speaker A

We have this track of the mom, some voice over from the mom, and we made it seem like it's far away by one turning it down a little bit. Although we do have a little bit of compression on it

292:32

Speaker A

just so that her voice isn't up and down too much. And we also have this EQ that again just cuts out these higher frequencies.

292:41

Speaker A

Hello. You guys left your bikes on the steps again. So now it sounds like it's farther away when we take this EQ off.

292:48

Speaker A

Oh, you guys left your bikes on the steps again. It sounds like it's a lot closer. It doesn't sound like it's outside. Like I said, there is so much to go over here, but this should really get you started

292:57

Speaker A

with the Fairlight page. If you really want to get detailed with your audio, this is the very best way to do it. And the thing that's so amazing is that Fairlite shares the timeline. Just like the color page shares the timeline,

293:10

Speaker A

Infusion shares clips from the timeline. These three pages all work together with the edit page to help you make the very, very best project possible. Speaking of actually making a project, your project does not exist. Your movie is not a

293:24

Speaker A

thing until you actually deliver it. So go ahead and pick a timeline that you like. maybe one of these that you've been working on and just click on the deliver page for me. That's going to bring up our deliver interface. And this

293:35

Speaker A

is much less complicated, much more simple, a lot less to go over here. But what the heck does the deliver page do?

293:42

Speaker A

There are really three main phases here when you're talking about working with footage. There's production, which is actually shooting the footage. Of course, there's pre-production before that, but then there's post-production, which is editing, effects, graphics, sound, color. That's post-production.

293:55

Speaker A

And then there's delivery. And delivery is converting your project from a file that just lives inside of Resolve into a movie that people can actually watch.

294:04

Speaker A

Something that you can upload to YouTube or you can give to a client or put on a website or store on a hard drive that doesn't need all of your original media.

294:15

Speaker A

It's kind of its own thing. So that's pretty much what the deliver page does is it takes your same timeline. Again, this shares a timeline with the edit page and everything. This will take your timeline and convert it into a movie

294:25

Speaker A

that people can watch. Pretty simple interface. We have our viewer here. We have our timeline down here. And we have our clips right here. Clips is just a quick way to select each clip. Timeline is kind of just a way to look at what's

294:37

Speaker A

on your timeline. But you don't really do any editing or moving anything around here. This is mostly just for reference.

294:43

Speaker A

The big action, the big stuff happens right here in our render settings. This is where 99% of the work happens in the deliver page. This is where you decide what kind of movie format you want to make. What kind of file are you creating

294:58

Speaker A

here? What kind of quality and resolution and encoding and audio and everything do you want? And your choice on all of that stuff is going to be dependent on what you're making. And if you have no idea what you're doing, the

295:10

Speaker A

great news is that you can start up here with some presets. If we scroll back and forth, we have presets for YouTube, Vimeo, Tik Tok, all kinds of stuff. And really what any of these do when you click them is it just sets all of the

295:22

Speaker A

settings down here. And it's really split up into three different tabs. Video, audio, and file. Video is all about the visuals, right? Audio is the sound, and file is kind of how things are named and organized. You have an

295:35

Speaker A

option to render this in a single clip, so just as a movie, which is what you're going to do most of the time. But you can also render your movie as individual clips. That means that you can render

295:44

Speaker A

each clip on your timeline as a separate movie. And so for various reasons, you might want to do that. If you're wanting to convert a whole bunch of clips into separate movies, that works. If you're wanting to prepare your shots to go into

295:57

Speaker A

a different app or if you want to prep a bunch of media for a course like this, I used that kind of thing a lot. But most of the time, you'll hit single clip and then it gets into the details of the

296:09

Speaker A

video. So, you have to pick your format and your codec and your encoder. And if you're lost at this point, you're like, "What the heck is any of that?" I'll show you the most common things to pick here in just a minute. But I do want to

296:20

Speaker A

give you a little bit of information. When you make a video file, there are basically kind of like two main things that you're selecting. One is the codec and the other is the container. You could think of this as if you were

296:31

Speaker A

organizing a bunch of papers. If you had a big long document and each frame of your video was a paper, let's say, the codec is kind of the way the papers are printed and put together. So, what kind

296:42

Speaker A

of quality you used on your printer, what size of type, what kind of paper you used, it's kind of like the details, right? The container is sort of like the box that you put it in. So, what's sort

296:53

Speaker A

of confusing is you can have a codec in different containers. So, examples of codecs would be DNx HD, ProRes, H.264, H.265, 265 capform and there are a bunch of others. You don't really need to know all of them. You just need to know that

297:06

Speaker A

this is the codec. It's the specific way that video is kind of encoded and created. It's kind of like the type of images that are being made. And the container is the file format that it's kind of putting those images into. So

297:21

Speaker A

the container is called format here in Resolve. So there are a bunch of different formats, AVI, Synon, all kinds of stuff. Do yourself a favor and unless you have any reason not to select QuickTime. QuickTime will let you create

297:34

Speaker A

videos for just about anything you need, unless you have a client that asks for something specific like an MP4 or a MXF or something like that or if they need a series of stills like a TIFF sequence or

297:43

Speaker A

something like that, just click QuickTime. And then the codec. There are a bunch of different codecs here. And this mostly has to do with how compressed the images are. There are very compressed formats like H.264 and H.265. And there are formats that are

297:56

Speaker A

less compressed, things like ProRes, DNx HR, and then there, of course, is uncompressed. Never do that. Never do that.

298:04

Speaker A

You always want some kind of compression just because the compression is so good these days, and it's going to be an insanely massive file if you don't have compression on it. Okay, encoder, probably just leave at auto. Resolution,

298:16

Speaker A

you're going to usually use a timeline resolution. Frame rate is usually going to be the timeline frame rate. And the rest of this you can probably just leave as default. For audio, same thing.

298:25

Speaker A

Probably leave it as default. And for your file, you want to make sure that you name it right. You can switch it to automatically do timeline name, which is helpful if you're rendering a bunch of different timelines. Or you can just set

298:35

Speaker A

a custom name and just type it in right there. You can also tell this to use a subfolder and do a bunch of stuff that I very rarely do. So, what settings should we use? Well, it's come to my attention

298:43

Speaker A

that most things in life can be expressed with a ven diagram. So, we're going to do that here. If you've ever heard the expression that you can have a job done fast, cheap, or good, but not all three, this is kind of what we're up

298:54

Speaker A

against for our codecs here. You can have something that's a small file size or looks great or plays back easily. And you can often get something that does two of these, but there isn't really a way to get all three. And so, if you

299:07

Speaker A

want your video to look really, really good, you have a couple options. One is you have a more compressed option, which would be like H.265. This codec looks really good and it's a small file size.

299:19

Speaker A

A lot of cameras shoot H.265 these days. Consumer cameras, even kind of the Sony mirrorless cameras, iPhones, those will shoot H.265 because it's a small file size and it looks good. The only problem with H.265 is that it is sometimes hard

299:33

Speaker A

to play back on some systems because it's so compressed. Your computer has to do a lot of work to decompress it and so it can kind of be hard to edit. Now, if you're not going to be editing this and

299:43

Speaker A

you're just putting it out on, say, YouTube, that's a pretty good choice because it's a small file size. It's a quick upload and it looks good. Now, there are a couple codecs. One is called ProRes. The other one is called DNx HR,

299:54

Speaker A

which I know sounds super technical, but it's just the name of the codecs. And those are designed to look really, really good, but their file size is big, big files. The advantage is that not only do they look good, but they also

300:05

Speaker A

play back easily. they aren't as compressed and so if you need to edit them, your computer doesn't have to work as hard. It is a bigger file, but it's also uh higher quality than H.265. It's especially good if you need to save it

300:17

Speaker A

out into a video file and then convert it again later. The less compression the better. And so ProRes or DNx HR really, really fantastic if you need to export a video that you're going to edit more later or if you're going to give a

300:31

Speaker A

highquality version to somebody that they might need to cut a clip from at some point or if you want to archive your movie so that you can go back and edit it in 5 years. ProRes or DNxH are

300:41

Speaker A

super great. Really, the only disadvantage is the file sizes are big. Now, we also have H.264, which actually plays back pretty easily these days.

300:49

Speaker A

Even though it is really compressed, it has a very small file size. The problem is that it doesn't look so great. Looks a little bit blurry, a little bit blocky, and especially in kind of detailed shots, m not the best. And so,

301:00

Speaker A

what format do you export? Well, it depends on what is more important to you. Do you want it to look great and play back easily? That's ProRes. Do you want a small file size and have it play back easily? You don't really care if it

301:09

Speaker A

looks that great, H.264. If you want it to look great and have a small file size and you're not that worried about actually editing it, H.265. These are probably the main codecs that you're going to run into, especially if you're

301:19

Speaker A

a beginner. If you're doing something like creating movies for Netflix or something like that, they're going to probably want some other different kinds of codecs, but this will do great to get you started. So, what's nice is up here

301:29

Speaker A

in our render settings, we have some presets. So, I can just select H.264, H.265, or ProRes. And that's going to set my settings to be probably just plenty good until you get much more nerdy about this. If you have the paid

301:43

Speaker A

version of Resolve, you can render H.265. 265. Literally clicking on H.265 master and setting a file name is a lot of the time what I do when I'm rendering something out. That is a great small video file that you can upload to

301:56

Speaker A

YouTube or play back on a website. You can give to people and generally they can play it back. It's a little less compatible and a little bit harder to play back than H.264. So be aware of that. Do some tests. The other thing is

302:08

Speaker A

that I believe on PC if you have the free version of Resolve, it won't let you render H.265. I think you have to do H.264. So, this is yet another reason to get the paid version of Resolve because

302:19

Speaker A

you can render out H.265 in the free version. On Mac, I believe you can just render out H.265, no big deal, but there's some licensing thing with uh the Windows version or something. But ideally, if you're going to render out

302:31

Speaker A

to something like YouTube, I would just click on H.265 master and call it good.

302:35

Speaker A

The optional step, the the thing that I would recommend if you're going to render for YouTube is click on this resolution and upres this. So, if you have like say a 1080p video, I would switch this to ultra HD. That's going to

302:48

Speaker A

render this out at four times the resolution. Why the heck would we need that? Well, it doesn't actually make the image look any better. There's no magic there. What it does is if you're going to put this on YouTube, if you upload an

303:01

Speaker A

Ultra HD video to YouTube, YouTube uses a different compression and the video ends up looking better on YouTube. So, it's really kind of just tricking YouTube to be nicer to the video, which I know is kind of weird, but that's a

303:14

Speaker A

great way to do it. So, if you're rendering out for YouTube, H.265 master and then upres to Ultra HD once you have all your settings set. And so we'll just call this um movie dash YT for YouTube.

303:26

Speaker A

Once you have your settings set, you can pick a location. I'll just browse. I'll just put this on my desktop. You should put it somewhere else. Okay. Don't put it on your desktop. That's that's lame.

303:34

Speaker A

And then we go down here and select add to render Q because I'm uping this. It's telling me, hey, you know, this isn't actually going to look any better, right? Like it's it's really why are you doing this? And you just say it's okay.

303:47

Speaker A

Just add. I know what I'm doing. And that's going to add a job here to the render queue. And so this is like a to-do list. You're telling it to render this timeline to the desktop in H.265 format, but it's not actually going to

304:01

Speaker A

render it out and convert it into a movie until I hit this render button right here. Now, why didn't it just render it? Well, you can make multiple different versions of your movie for different purposes. Maybe I want to

304:13

Speaker A

render out a different version. Maybe one somebody can just watch on their computer. There's no reason to upres this to Ultra HD. So, I could just switch back to timeline resolution.

304:21

Speaker A

We'll call this movie. We'll just say computer. Okay. Add to render Q. That's going to add that. And then, let's say maybe I want a version of my movie that's really high quality that I'm just going to kind of put on an external hard

304:34

Speaker A

drive or put on a server or back up somehow just so that I have it. I just want the highest quality version of this video so that I can keep it safe. That's what we would call an archive version.

304:45

Speaker A

to make an archive version in 2025. What I would do is select this ProRes preset.

304:50

Speaker A

And honestly, that's probably good. Probably just do that. If you want to, you can go into the type and select something like ProRes 4444 or the XQ version. And this is going to be higher quality. Chances are you probably won't

305:03

Speaker A

actually notice a difference. ProRes 422 HQ is fantastic. And so then I would call this movie archive.

305:13

Speaker A

The other thing I would do is go to the audio tab. Make sure this codec is linear PCM. That means wave files, files that aren't compressed. I can push up this bit depth. If you want the very highest quality audio, you could go to

305:25

Speaker A

32-bit float. Sure. And then this is really cool. You can output different audio tracks for your movie. So you could have 16 different audio tracks if you want to. And you could render each track in your mix as a separate track.

305:38

Speaker A

And so this is great for something like an archive where you might want to go in and remove some audio or replace the music or remix your audio or whatever you want to do down the road. This is a

305:49

Speaker A

great thing to do for your archive version. And so right here, I'll put track one. I'm just going to actually switch this to all timeline tracks like this. And that's going to render all the timeline tracks. Now for this one, I

305:59

Speaker A

only have one track. If we switch over to our fairlight timeline, we have all these different tracks. And we can render each one of these as a separate track. That awesome. So, I'll go ahead and add this to render Q. And once we

306:10

Speaker A

have all of the different formats we want, all we have to do is hit render all. That'll go through pretty quick and render our movie. And let me just show you this archive version here. Let's just add this to a new timeline. Check

306:22

Speaker A

this out. So, we have our high quality video here, but we also have all of the tracks that it rendered out as separate tracks, which is so cool.

306:37

Speaker A

And now if we have this video file, we have all of the audio and visual in the highest quality possible all in one file that we can go through and edit later if we want to. We can open up in 10 years

306:48

Speaker A

and render to some new format that's even better. And it's kind of future proofing yourself. You know what I'm saying? But that's pretty much the deliver page is you set your render settings here, you add them to the

306:57

Speaker A

render queue, you can kind of stack them up and then render your project. So, at this point, we pretty much covered all of the need to know stuff about Da Vinci Resolve, and I hope that this is really

307:08

Speaker A

encouraging and empowering for you. I hope that you feel like you can jump into Resolve and actually start using it. If we've never met before, my name is Casey, and I'm part of a company called Ground Control. And our mission

307:20

Speaker A

is to encourage you and empower you to be able to make things that you want to make. That's a really big part of what I feel like my purpose is here on on Earth is to tear down anything that's in the

307:31

Speaker A

way of creativity so that you can express yourself and make the things that you want to make because that's good for the world and it's good for you. It's good for your mental health.

307:40

Speaker A

It's good for I mean so much stuff. So that's one of the big reasons why we made this video is it needs to exist. I mean, Resolve is one of the most powerful tools for post-production available, and it's free, and you can

307:50

Speaker A

get started so easily. And so, I never want knowledge or confusion about an interface to be what's in the way of you creating things. And if you've watched this far in the video, odds are you're probably pretty serious about getting

308:03

Speaker A

better at Resolve. And so whether you're brand new to video editing or just brand new to Resolve, I want you to make sure that you get that media and you open it up, you play around, you start to edit,

308:14

Speaker A

and you start to mess around with Fusion and mess around with color grading and mess around with audio. Actually put this stuff into practice because that's where you're really, really going to learn. Go out and shoot some videos with

308:24

Speaker A

your phone. Throw it into the timeline and cut it up and start making videos.

308:28

Speaker A

They don't have to be perfect. They don't have to be amazing. Just start making stuff. It's so important. We find that our students that get the most out of our videos and courses are the ones that really put their hands on and start

308:41

Speaker A

working and start actually learning things by doing. And so I want you to do that in any way that you can. Now, if you need some help with that, if you need a little bit of direction, something a little bit more solid than

308:51

Speaker A

go shoot something with your phone, we do have a course that we just made called Make a Film in Dinci Resolve.

308:56

Speaker A

This is really the perfect next step after you watch this video because now you have a foundation of how the heck resolve works and all of the important things that you need to know to be able to make stuff. But where the rubber

309:07

Speaker A

really hits the road, where it really starts to lock into your brain is when you go through the whole workflow of making a project from beginning to end.

309:16

Speaker A

And so what we did is we shot a movie and we got all of the media together that you would need to be able to edit that movie. This isn't a really long movie. It's a little short film, but it

309:26

Speaker A

has all of the unedited, ungraded footage, all of the sound effects and graphics and assets that you need. And we packaged them up in a little kit. And then I recorded an entire walkthrough of creating the project from very

309:38

Speaker A

beginning, like just holding a bunch of media going, I don't know what to do with this. I don't even know how to organize it to making the rough cut and getting your story laid out in the edit page. Doing some pretty impressive

309:48

Speaker A

visual effects in the fusion page. doing the color grade, matching the shots, mixing the audio, and making it look and sound beautiful all the way to final render. We walk you through the entire process of creating that from start to

310:00

Speaker A

finish. And that's a little bit more than you get with this video where we have examples of things that you can do in each page, but it's not like a cohesive project. And when you put that project together yourself and you have

310:10

Speaker A

ownership over that edit and then you're doing the effects and you're doing the color grade all in one thing, at the end you're going to have a film that you can show your friends and family and say, "I

310:20

Speaker A

edited this entire film from start to finish. Everything that you see was touched by me." And that's such a cool feeling and I want that for you. So if you want to take the next step and you watch through this video and you said,

310:32

Speaker A

"Man, I just cannot get enough of this." The perfect next thing to do is to check out this course. There's a link in the description. I'll also put a link on screen right thereish. And because you watch this video all the way through,

310:42

Speaker A

you'll get a special discount. Does that sound good? But either way, whether it's through this course or through just shooting your own stuff, you need to get to work because the more reps that you get in making things, the easier it'll

310:52

Speaker A

be and the more cool things you'll be able to make. And that's what it's all about.

Topics: DaVinci Resolve video editing beginner tutorial color grading Fusion Fairlight post-production free video editor Blackmagic Design YouTube tutorial

Get More with the SozAI App

Transcribe recordings, audio files, and YouTube videos — with AI summaries and speaker detection. 30 minutes free.

App Store Google Play

Or transcribe another YouTube video here →

Free tools: TXT to SRT · SRT Validator · Merge SRT · Subtitle to Text · All tools