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Download "DaVinci Resolve 17 для НОВИЧКОВ. Полный гайд по МОНТАЖУ с НУЛЯ до ПРОФИ. ЭФФЕКТЫ ЗВУК ПРОКСИ ЭКСПОРТ"

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Video tags

сабатовский
монтаж видео
давинчи
давинчи резолв 17
resolve
davinci resolve
davinci resolve 17
davinci resolve 16
fusion davinci
как монтировать в давинчи
как монтировать в давинчи резолв
давинчи для новичков
монтаж в давинчи
давинчи с нуля
давинчи резолв гайд
resolve guide
davinci for beginners
editing davinci
fairlight
как монтировать видео
прокси
прокси давинчи
обработка звука
звук в давинчи
женя тен
давинчи резолв
davinci
Subtitles
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Subtitles

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  • ruRussian
Download
00:00:02
Vinci 16 was in a wonderful program
00:00:04
in all its manifestations,
00:00:06
but the 17th version also claims to
00:00:08
be called
00:00:09
ideal because the blackmagic
00:00:11
design company also researches its own and
00:00:14
system vector and does everything
00:00:15
possible to ensure that you did not
00:00:17
leave the confines of their software, that is,
00:00:20
they only used da Vinci to draw and did
00:00:22
not use additional
00:00:23
plug-ins
00:00:24
or secondary programs to
00:00:26
create effects or to process
00:00:27
sound, and you probably won’t
00:00:29
ask me Zhenya what you made because both
00:00:32
by the name and by the cover and by
00:00:34
the timing of it from the video it is already clear
00:00:37
that today you and I will learn how to
00:00:39
work you da Vinci resort 17 from scratch we will
00:00:42
create a project we will set it up we will
00:00:45
create a timeline and set it up we will
00:00:47
set up the program itself so that it
00:00:48
works correctly and saves all the files
00:00:51
in the right places and of course we will
00:00:52
figure it out masonry that exist in the
00:00:54
program, we will analyze their interface, what
00:00:56
they are capable of, and of course,
00:00:58
we will place the main emphasis on editing, namely
00:01:00
how to quickly insert files into the timeline,
00:01:02
how to trim them correctly, we will study all the
00:01:04
hacks and those that you need that you are
00:01:06
accustomed to, let’s say
00:01:07
the premiere, then we will move on to let
00:01:09
's look at the effects that Da Vinci has, how to
00:01:11
use them correctly, how to animate
00:01:12
the parameters, flock the frames and download it, and that's
00:01:14
all, then let's move on to working with
00:01:16
sound in the fairlight tab, let's see
00:01:18
all these mixers
00:01:19
where the effects are located, how to set up
00:01:21
equalizer compression, then I'll reward Da
00:01:24
Vinci like this so that it lags for me as
00:01:26
if I had a premiere and I’ll show you
00:01:28
several ways to optimize your
00:01:30
work, all sorts of proxies and caches,
00:01:33
media optimality and so on,
00:01:34
thanks to which your work will be
00:01:36
much more comfortable and in the 17th version of Da
00:01:38
Vinci there are so many of these methods that
00:01:40
you simply don’t know which one to choose,
00:01:42
but of course I will show how they all
00:01:44
work and which one will be preferable to
00:01:46
choose in a given situation, and in
00:01:49
the end we will go to the delivery tab, there
00:01:51
we will render our video, I will show
00:01:53
all the export settings that may be
00:01:55
needed and we will finish with this one
00:01:57
today is the plan and the last but a lyrical
00:01:59
digression guys such great
00:02:01
tutorials on YouTube go well, to put it
00:02:03
mildly, not very much in the era, especially on
00:02:06
paper, every challenge is, you know,
00:02:08
simple and all that,
00:02:10
so now it’s really very important for me
00:02:12
that you help this video because
00:02:14
no one but you
00:02:15
can’t do this, so give
00:02:18
a like, write a few good words in
00:02:20
the comments, you can share this
00:02:22
video with a friend who has been
00:02:23
complaining to you for two years now, and what the
00:02:25
prime minister offers, so start
00:02:27
watching everyone, thank you very much, and we can
00:02:30
start after you installed da
00:02:37
Vinci and open it, then you see
00:02:39
such a window, but most likely it
00:02:42
doesn’t appear in this form, but in this one
00:02:44
with the road accident section ZIS, what is it and why is
00:02:47
it needed, well, roughly speaking, let Vinci go ahead and
00:02:49
independently collect all your
00:02:51
project files in one place in unlike the
00:02:54
same premiere in which these files are stored where
00:02:56
you tell them, so you
00:02:58
initially create a local accident with which
00:03:01
stores your projects, it
00:03:02
will be in the root folder, which is created
00:03:05
along with the installation of the program, what could
00:03:07
be the problem, the problem could be
00:03:08
if your system crashes and then you
00:03:11
will lose all your project files and
00:03:13
information about the stages,
00:03:14
and this is very important, so the first thing you
00:03:16
need to do is create a new data
00:03:19
base that will be located on your
00:03:21
external hard drive,
00:03:22
here instead of connect, click create,
00:03:24
enter exactly that database in
00:03:27
English without spaces click location, the
00:03:29
explorer is hidden, select any
00:03:31
location on the hard drive,
00:03:33
now we can close this window and
00:03:34
look at this area,
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here we have a project and all
00:03:38
projects can be sorted into folders
00:03:40
and created these folders by default, you
00:03:42
will have just one here on the idle
00:03:43
project which immediately loads
00:03:45
RAM and you can
00:03:47
open it by simply double-clicking on it
00:03:49
right away, they advise you to make folders with all
00:03:51
projects, sort them so that you don’t
00:03:53
get lost here, it’s organized conveniently
00:03:55
because everything is collected in one place and it
00:03:57
immediately opens, arrive the program that
00:03:59
is from useful features you can open
00:04:01
any project without even opening it, just
00:04:03
right-click and look at the list of
00:04:06
backups and select the one you need to restore
00:04:08
the project from it useful useful again,
00:04:11
all this information is stored in the database -
00:04:13
so I remind you, let’s store it
00:04:15
somewhere on an external drive, it
00:04:17
’s also here An interesting option
00:04:18
called project switching speaker, you
00:04:20
turn it on if you want to work on
00:04:23
two or more projects at the same time,
00:04:24
that is, if you open a project in
00:04:27
Premiere, then they are simply stacked in the
00:04:28
window in the program monitor; you also see it there
00:04:30
on the timeline, but here you need to
00:04:33
activate this function after this you
00:04:35
will be able to open
00:04:36
two or more nokia projects, we
00:04:38
don’t need this now, we go to this project
00:04:40
and it opens its own interface in front of us. The
00:04:42
program opens for some reason
00:04:43
by default on the cat tab, which is
00:04:45
responsible for rough editing, but we will return to it
00:04:47
later for
00:04:48
filmmakers In this issue, you and I will
00:04:50
partially discuss fusion, which
00:04:52
is an integral part of Da Vinci’s
00:04:54
drawing, and essentially fusion is a
00:04:57
program for creating all sorts of cool
00:04:58
visual effects. I think that
00:05:00
most of you like the visual effect,
00:05:02
especially when you see them in
00:05:04
some kind of movie like transformers and
00:05:06
you think, damn, the guys did this
00:05:08
cool, how can I do this and run
00:05:10
to YouTube, type in someone real and eat
00:05:12
and try to do it all with your own hands
00:05:14
and you know freshness and Jane, it is not
00:05:16
limited to creating only
00:05:17
visual effects, it is much more
00:05:19
extensive and multifaceted and therefore If you are at
00:05:22
least a little interested in this whole
00:05:23
process of creating entire worlds from scratch with the
00:05:26
help of a griffin, then be sure to follow the link in
00:05:28
the description of this video and download
00:05:30
our map of all CJ professions there you
00:05:33
will learn a lot of new interesting
00:05:34
information and also understand what from all
00:05:36
this diversity what’s interesting to you personally
00:05:38
there, we explained everything in great detail and
00:05:41
illustrated it, so with the help of
00:05:43
this profession map you can not
00:05:45
only understand what they are like,
00:05:47
but you will also know what you need to
00:05:49
study for them, how much time, what software,
00:05:52
where you can find a suitable job and
00:05:53
in general how to develop in this and
00:05:55
pump up, and by the way, you probably may have
00:05:57
noticed that we very actively and quickly
00:06:00
came out of New Year’s holiday hibernation,
00:06:02
there is a secret that we are in it and not falling
00:06:05
into it like this, Obodovsky came out of it, who
00:06:08
this Thursday, January 14 at 15:00 will tell
00:06:11
you about the coolest trends in editing in
00:06:14
2021, the release will be in fiery growth,
00:06:17
so take off on YouTube, we will be
00:06:20
waiting for you all there on January 14, 1500 this
00:06:23
Thursday, and now let's go further to study
00:06:26
Da Vinci and before we start
00:06:28
sorting out the tab, let's figure out the settings and
00:06:30
settings of the program,
00:06:32
the settings open when help
00:06:33
keyboard shortcut kontrol b Russian
00:06:36
important clarification almost all hotkeys and
00:06:39
shortcuts of Da Vinci do not work if you have a
00:06:41
Russian layout, now I press
00:06:42
nothing happens, so for the most
00:06:45
part if you work in Da Vinci and
00:06:47
make sure that you have
00:06:48
English enabled layout and we
00:06:50
find ourselves in the system settings section system
00:06:52
and user here, in fact, there is not
00:06:54
much that needs to be configured, but these
00:06:56
settings are very important and let's go
00:06:58
in order, we open the first tab
00:06:59
memory entropy
00:07:00
and here a very important setting is how much
00:07:03
RAM is allocated when
00:07:05
using da Vinci
00:07:06
specifically, you have a division into
00:07:08
allocated RAM
00:07:10
for all the rice, catch here Vinci, and
00:07:13
separately how much
00:07:14
maximum RAM can be allocated for fusion,
00:07:17
naturally we set it to maximum, but here
00:07:20
you are determined by your vidyaha and they say that let
00:07:21
’s use vidyaha so that
00:07:24
it helps us with processing
00:07:25
images let's move on here is also an
00:07:28
important media storage tab,
00:07:29
it says da Vinci to store all the
00:07:32
main files that appear in a
00:07:34
specific place, again it is desirable
00:07:35
that it be a hard drive and in my case
00:07:38
I did not store almost all da Vinci files in
00:07:41
one place called da Vinci files here I have
00:07:44
all sorts of stella that
00:07:46
I do the principles of correction here I have up to the bass my
00:07:48
work and here I have backups of
00:07:50
projects we will come back to it, let's
00:07:52
go further here you can finish and
00:07:54
go to the users tab, skip the first tab
00:07:56
and go you against cf and
00:07:59
loud and here it is very very important
00:08:01
settings first life so if what is it
00:08:04
roughly speaking yes Vinci saves
00:08:06
your every action if this function
00:08:08
is enabled and also at the same time you can
00:08:11
make standard backups that
00:08:13
are made using auto saves and
00:08:15
set the time after which this will be
00:08:17
done but in my practice the maximum
00:08:19
As far as I could roll back, these are two
00:08:21
steps no more, even if the program
00:08:24
crashed, and here we also have to
00:08:26
indicate where the backups of
00:08:28
our projects will be saved and let's agree that
00:08:30
our backup files will be stored
00:08:32
together with the date base
00:08:34
so that everything is in one place, then go
00:08:36
to the tab editing and here, by
00:08:38
default, the start time code will stand for
00:08:40
one hour, that is, here the frame is
00:08:42
seconds,
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minutes and hours, and you will have a
00:08:45
question when you edit
00:08:46
why my arrival is at the beginning of the
00:08:49
timeline, but mine shows that it’s already an
00:08:51
hour passed, that’s why
00:08:53
we take and put a zero here manually and, in
00:08:56
principle, we can finish with the system settings,
00:08:59
click safe, we go further and further until
00:09:03
we add any files here to the
00:09:04
project, we need to configure the project itself,
00:09:07
press shift 9 for this, or we can
00:09:10
click here this gear in the lower
00:09:13
right corner and it throws us right away fu
00:09:14
master settings we set the
00:09:16
project resolution here leave ok full
00:09:19
hd set our frame rate well in our case
00:09:22
let it be 25 because we
00:09:24
usually work in this frame rate further
00:09:26
very important settings
00:09:28
optima from media and render cache is already
00:09:31
in the category of optimizing our editing,
00:09:32
which we will talk to you
00:09:34
towards the end; I will briefly tell you what
00:09:36
we choose here in what resolution and in
00:09:38
what quality with what bitrate
00:09:41
our proxy media will be created or the
00:09:43
optimality of media I will also
00:09:45
tell you about them and use the render cache and I would
00:09:48
advise setting it to quarter
00:09:50
because when we create a proxy we
00:09:52
do this because everything lags terribly for us, it’s
00:09:54
not worth going to one-eighth because
00:09:56
everything will crumble into pixels
00:09:57
for myself, I found
00:09:59
one-fourth the resolution optimal I would
00:10:01
actually leave the format as default
00:10:03
because 1x in the evenings is an excellent editing codec
00:10:06
and here the difference will be mainly only in the
00:10:08
bitrate, let's stop at this for now, we will
00:10:11
return to this section when we
00:10:13
talk about editing optimization and
00:10:14
here is also an important setting where it will be
00:10:16
stored our forgive our cache files and
00:10:20
galore stylus what is grief stiles these are,
00:10:23
roughly speaking, screenshots that
00:10:25
contain information about the changes during
00:10:28
color correction that we make and go
00:10:30
to the color tab
00:10:31
what and where of these files should be placed,
00:10:33
but let's think logically if we
00:10:36
we create a proxy file and even if you have a
00:10:37
low resolution, then they
00:10:40
weigh a lot in editing codecs when we
00:10:42
use a proxy, that is, their friend, it
00:10:44
is important for us that the program gets
00:10:46
quick access to them and the most logical
00:10:48
solution would be to place them on
00:10:50
internal preferably ssd drives as
00:10:53
for Gola Restil costs JP X format files
00:10:56
and they weigh, not to say that it’s a lot,
00:10:58
not to say that you will
00:11:00
do a lot in your work, so you
00:11:02
can place them, for example, in the same place as
00:11:04
your date base, where your project backups are,
00:11:08
in fact, as I did here it’s already on the ssd
00:11:10
optional to have it
00:11:12
sorted out, let’s go further in
00:11:14
general in general, there is one very
00:11:16
important setting that if you
00:11:19
throw any files into the installation,
00:11:21
you won’t be able to include it
00:11:23
called on and from timelinks bin how it
00:11:25
works when you create any time
00:11:28
line, then you automatically
00:11:30
have a separate folder appearing here in the list of all folders
00:11:32
in which
00:11:34
all time lines are automatically added because it
00:11:36
often happens that you
00:11:38
created all sorts of
00:11:40
time lines while in different folders and they remain there
00:11:42
and then you try to find them, they are
00:11:45
also named the same and it turns out to be
00:11:46
complete [ __ ]. Well, in principle, all this is our
00:11:49
minimum set of settings that
00:11:51
will allow us to mount normally right away and not worry about what
00:11:54
we have and where it is, press safe,
00:11:56
go to project settings again and
00:11:59
go to the preset folder and now so that
00:12:02
we don’t have to do it all manually every time,
00:12:03
we can press cfs not
00:12:05
save our pressure, that is, I’ll save
00:12:08
another 82 just in case and I can
00:12:12
just change one setting here while
00:12:15
this project is active for me, put it here 4
00:12:17
channel because but I mostly
00:12:18
edit 4k and here save
00:12:21
another same project, and now every
00:12:24
time I go into da Vinci to
00:12:25
create a new project, I will create
00:12:27
from these presets, select and
00:12:30
press the forehead button so that it becomes
00:12:32
active and I will already know for sure that
00:12:34
all my proxies that will
00:12:36
create
00:12:37
will be in one place, all my
00:12:39
walls will be in one place,
00:12:40
so once done, set up and
00:12:43
forget, but I will upload my project which
00:12:45
I have already created a preset before and we will start
00:12:47
working now Let's make a quick review of
00:12:49
the contribution that exists in the program
00:12:51
because it all consists of these
00:12:53
tabs, the first media, roughly speaking, is our guide,
00:12:56
like on a Windows computer,
00:12:58
then we have a tab for TV, which
00:13:00
is done quickly, a rough edit for
00:13:03
someone with serious editing, but they were punished that the
00:13:05
next tab will not fit goes in which there is a
00:13:08
main editing, a
00:13:09
full-fledged editing with masks and other
00:13:11
goodies, then we have a magical
00:13:14
fusion about which I will say a few
00:13:16
words today, then the color tab, which
00:13:18
naturally is what they love Da
00:13:21
Vinci forests for, that is, a professional
00:13:23
color correction tool that gives
00:13:24
you simply unrealistic possibilities for
00:13:26
this, next comes fairlight, which is often
00:13:28
compared to adobe audio, here are
00:13:31
full-fledged tools for working with
00:13:33
sound, music processing, voices and other things, and a
00:13:36
tab for cooking, a kind of
00:13:38
media encoder in which you can also
00:13:40
create a task to render files
00:13:42
separately as clips and, of course, all sorts of
00:13:44
presets and local features that I’m talking about
00:13:48
also today I’ll tell you with the introduction, we’re
00:13:50
finishing
00:13:51
and finally moving on to the first tab
00:13:53
called media
00:13:56
[music]
00:13:59
so let’s look at the interface that
00:14:02
we have here, we have an explorer
00:14:04
exactly the same as windows, we have a
00:14:07
viewing window in which
00:14:08
previews of ours will appear files we
00:14:10
have a media pool of our project, that is,
00:14:13
everything that we throw from here to here will
00:14:16
be in the project
00:14:17
further, we have metadata that
00:14:20
shows us information about the added
00:14:21
files, we have meters here
00:14:23
that shows us sound levels and
00:14:25
so on, how it is more convenient to add files
00:14:27
is on in fact, there are several ways I have
00:14:29
already prepared a folder with several
00:14:30
footage that we will
00:14:32
use today, it’s called a test, I’ll
00:14:34
take it right here and drag it, the
00:14:38
file structure that I
00:14:39
created appears, we check this is it and an
00:14:44
important clarification while we are looking at the files
00:14:46
here they are not in in our project
00:14:48
they will appear and if we do this like this,
00:14:52
if we drag directly
00:14:54
here, the file structure
00:14:56
will not be saved and will be dragged directly into the
00:14:58
files in the master folder, this is inconvenient,
00:15:00
so what can we do?
00:15:02
We can take and select all the folders and
00:15:06
move them to master, he asks
00:15:08
to change the framerate no, no need to change, so
00:15:10
I keep my entire file
00:15:12
structure that I created in advance, or
00:15:14
we can do the same in this folder,
00:15:16
I’ll show you how, okay, let’s say I didn’t want to
00:15:18
add these files, I wanted to see
00:15:20
the contents and I can choose file and here
00:15:23
it will be displayed to me about the viewing window, I can
00:15:26
move the mouse directly over it and it will
00:15:28
disappear. I can also do this here
00:15:31
using the standard Jekyll spacebar control keys.
00:15:34
Also now when I click on this
00:15:36
file, metadata appears, it
00:15:37
shows me the codec profile fps
00:15:40
resolution and I'm looking for information, let's say
00:15:43
about poverty
00:15:44
scan from stuffy here there are also
00:15:47
specifications about the camera if you are working
00:15:50
with material from professional cameras
00:15:53
then it will be written here and iso and shutter speed and
00:15:55
white balance and type of
00:15:58
aperture sensor and other parameters and in the
00:16:01
technical tab details you will have
00:16:03
information about in which houses with sidelocks
00:16:06
you filmed this or what
00:16:08
views were used you IL-2 para tab
00:16:11
from within the framework of this tutorial, I
00:16:13
won’t tell you because I’ve already written a
00:16:15
whole issue about it, I’ll leave
00:16:17
a link here and Yes, I worked in 16 da
00:16:20
Vinci 17 account at that time, but there
00:16:25
were no supernatural changes in it, so be sure to
00:16:27
go look,
00:16:28
study, I can briefly tell you that
00:16:30
there are very convenient
00:16:33
preview tools, that is, you can do,
00:16:35
for example, from all the source codes that you have
00:16:37
you have
00:16:38
one big sausage in all folders and you can just scroll through it,
00:16:40
but also a bunch of a bunch of other
00:16:42
interesting fun things, but if you
00:16:44
suddenly have too many
00:16:45
sources or the
00:16:47
timing of your project itself is too large, then due to the
00:16:50
peculiarities of scaling the
00:16:53
timeline of this tab in some then the
00:16:56
moment will become very difficult and it
00:16:58
will become very fine
00:17:00
rough editing there, you can do it, but
00:17:03
still, if you have some kind of large
00:17:04
serious project, let’s say more than
00:17:07
15 minutes, then it’s better, of course, to do everything
00:17:10
completely in the edit tab, which we’ll move on to right now
00:17:13
[music ]
00:17:18
okay, we're in these tabs, let's
00:17:21
start with, I'll probably hide these icons
00:17:23
because they bother me, I want to
00:17:26
have more space above them, I don't go to the
00:17:29
workspace section and click show cause you'll go to
00:17:32
remove it, you can navigate
00:17:35
through these tabs using the shortcut of
00:17:36
shift 2
00:17:38
this is the media floor shift 3 so from chief 4 this
00:17:42
goes and so on down the list 5 fusion 6
00:17:44
color 7 fairlight in 8g or and
00:17:47
69 I remind you of the project settings and so
00:17:50
we have here the same folder that
00:17:53
was in the media this one the folder next we
00:17:57
have you your
00:17:58
it can be like one so there can be
00:18:01
2 of them then we have the inspector
00:18:03
inspector
00:18:04
this is analogous to the effect controls tab in the
00:18:07
premiere,
00:18:08
here you will configure every
00:18:10
parameter and by the way, if we open it,
00:18:13
then we will have this These are the keys
00:18:15
that allow us to make two woofers,
00:18:18
that is, one source, as you are probably
00:18:20
used to doing 2 programs, but for some reason
00:18:22
I find this method for myself to be immediately
00:18:24
ineffective and always mount it in one
00:18:26
yuri, then we have a mixer, no one here
00:18:29
shows a pique, you can adjust the
00:18:31
volume of the analog audio track
00:18:33
mixer in premiere pro and naturally
00:18:36
we have the timeline panel itself and
00:18:39
since I already said adding powerful files is
00:18:40
actually here,
00:18:41
so if I remove everything that I added,
00:18:44
I can easily take it and move it
00:18:48
right here, I remind you if we
00:18:50
transfer it here,
00:18:51
then we will not save the folder structure;
00:18:54
if we transfer it here, it
00:18:57
will be saved according to plan; I’ll
00:18:59
add one song, but as you can see
00:19:01
in the music tab, I don’t have anything, where will
00:19:04
I get the song from, but I did
00:19:07
this on purpose I made it to show you
00:19:08
one interesting feature that makes me
00:19:10
very happy yes Vinci Ki initially
00:19:12
you will have this show
00:19:15
smart dance these are folders that allow
00:19:18
you to search for files by keywords but
00:19:20
in practice I don’t really
00:19:22
use this but when I use another 20
00:19:24
tab view and go down right
00:19:27
and see here power bank what is it this is a
00:19:31
folder that will be
00:19:33
automatically
00:19:34
visible to you in every created project and here
00:19:37
you can put all your assets for all the
00:19:39
nodes that you use on an
00:19:40
ongoing basis in one folder some
00:19:42
transitions graphic dies and
00:19:44
use them everywhere
00:19:46
have access to them always not tied to the
00:19:48
project and I also have a separate folder under this
00:19:50
called Father Da Vinci,
00:19:52
here I have all the ground themes and which
00:19:54
you probably know from our blog and
00:19:57
go from render to
00:19:59
premiere plus music that
00:20:01
was used in x and all sorts of nice things
00:20:04
so I just took it and added it here I
00:20:06
can go in and do more take the first
00:20:10
song I come across and throw it here and
00:20:13
now our song appears here and
00:20:16
then we need to create a timeline and
00:20:17
option two we go into our footage and
00:20:20
we We can either really press the button
00:20:23
to create a timeline the first item or
00:20:25
drag it directly onto the timeline and somehow in
00:20:28
practice the second method is much more popular
00:20:30
so to speak, so we add he didn’t even
00:20:33
tell us that we need to change something and
00:20:35
now we have created a timeline and it was created
00:20:37
in the very the top folder that we
00:20:39
configured you are the project settings for
00:20:41
those who work in the premiere and the same thing
00:20:43
as sequences, just here the timeline
00:20:45
is called timeline they are sequences
00:20:47
let's call the corner settings let's start with the
00:20:49
right button
00:20:50
click on timeline settings and we
00:20:53
will have everything gray here because we have
00:20:55
this checkbox is turned on, as soon as we
00:20:57
press it, all the settings appear,
00:20:59
but again, if you initially set a
00:21:02
certain frame rate, then you
00:21:03
can’t change it
00:21:04
and you can’t change it during export,
00:21:06
so it’s very important to know in which frame
00:21:08
your project will be in, so let’s
00:21:10
throw in a song,
00:21:11
I’ll throw in the same mouse and let's see how
00:21:15
our timeline can be displayed, it's
00:21:17
important for us to see this button, let's
00:21:19
look at what's here in order, if we
00:21:21
click on this button, then we
00:21:22
have several optimal ones, that is,
00:21:25
here we have another one, for example, from this clip,
00:21:29
then from it I have 2
00:21:31
I have it I can both close and
00:21:33
open again and then move between
00:21:35
them and so on software and here rex
00:21:37
if you start with the right button and
00:21:39
add those
00:21:40
therefore the track and the subtitles are added here exactly like that, then
00:21:42
it will be hidden or
00:21:44
appear further, our button displays
00:21:46
for showing
00:21:48
or not wi form, our audio
00:21:50
track will look like this if we
00:21:52
turn off the display, then there is an interesting
00:21:54
option that shows us in what form we
00:21:57
need to show the video series on the timeline,
00:21:59
either it will be relevant pictures at the beginning and at
00:22:01
the end, or it will be a permanent
00:22:05
film strip, that is, we will see directly
00:22:07
on the timeline what kind of movement happens in
00:22:09
this part is convenient, but when you have a long
00:22:11
timeline and you start scrolling these
00:22:13
thumbnails, they are loaded and this
00:22:15
loads the system very much, so
00:22:17
the best option would be this one,
00:22:20
or if you have a very thick
00:22:22
timeline with a bunch of tracks, then this is yours
00:22:25
option 3 but for me the more optimal
00:22:28
mode would be this one that shows the
00:22:29
starting and ending frame and so how do
00:22:32
we add files to the timeline and do
00:22:34
it quickly there are two fundamentally different approaches the
00:22:37
first is to
00:22:39
use two windows in the first we have a
00:22:41
source and in the second is our timeline and we
00:22:44
can choose like this, choose
00:22:47
through the oh and oh
00:22:48
input and output points and throw them
00:22:51
here directly with the mouse and select the options
00:22:53
that Da Vinci offers us, for example,
00:22:55
there is an insert, which composes with an
00:22:57
offset,
00:22:58
there is a removes, which inserts without an
00:23:01
offset, rewrites the section, there is
00:23:04
also replay which replaces the
00:23:06
selected sections of our source with a
00:23:08
section of our timeline, we also
00:23:11
have fit shoes, this is generally an interesting
00:23:13
thing that replaces and stretches in
00:23:16
length using slowdown or acceleration
00:23:19
in time if there is not enough timing,
00:23:22
we also have place on top which
00:23:25
puts on the next track there is up and the
00:23:27
end which puts it at the end on the same
00:23:30
track and we have ripple island wright
00:23:34
which removes the piece over which
00:23:36
we had play heat and takes and replaces it
00:23:39
completely with a new source but
00:23:42
for me personally again this is subjective,
00:23:44
the second one is more convenient approach when using
00:23:46
one in the Jurassic, we will do everything
00:23:48
using the move cues and we are slowly approaching the
00:23:50
huts, as you understand, if there are no apples and we
00:23:51
eat them on that one,
00:23:52
but I have in the dug one if I
00:23:56
move the mouse over the source
00:23:58
in the folder or double-click then I
00:24:01
already have the source displayed here and
00:24:02
I have nowhere to drag to
00:24:05
select the insertion mode, so there is
00:24:07
the following hotkey you press f9
00:24:10
this insertion with an offset f10 this is an overwrite
00:24:14
insertion on the same track
00:24:17
f11 this is a replacement of a section f12 this is put
00:24:22
on the track above, then there are combinations
00:24:25
using shift f10 this ripple
00:24:29
removes that is, completely removing a piece of the
00:24:31
clip, let’s even make
00:24:33
some two pieces here so that there are even three, so I
00:24:37
take that piece and press
00:24:41
shift and at 10
00:24:44
this piece completely disappears and is replaced by the new selected
00:24:47
6 plus a12 this is placed at the end up
00:24:50
and the end
00:24:51
it appears at the end of what you
00:24:53
will actually use most likely you
00:24:55
will definitely use f9 and at 10 you
00:25:00
will definitely use shift +
00:25:01
e v12 to throw it at the end there you
00:25:04
found a funny moment in the blog and want
00:25:07
it at the end and put it so that you don’t
00:25:09
forget it later when you do the editing with me,
00:25:11
and probably this is still another cool
00:25:14
thing, that is, in principle, you don’t
00:25:15
have to open the source, you’re talking about the
00:25:18
viewing window to select the input and
00:25:20
output points, you can do it
00:25:22
right here here My cursor is going, the
00:25:25
red line is highlighted and I can
00:25:27
right while my cursor is here,
00:25:29
press
00:25:30
oh and I have a sulfur vision that
00:25:32
means input. and go a little further and
00:25:35
click oh
00:25:36
and oh my God I’m inserting this piece,
00:25:40
it’s very fast and so let’s summarize we
00:25:43
have 2 options to use two windows
00:25:46
take select a piece here and
00:25:48
drag it somewhere here
00:25:51
selecting the insertion mode let’s say insert with an
00:25:54
offset or the option with one fan
00:25:59
and selecting a piece here or here
00:26:05
and using the cue move shift 12 let
00:26:08
now you may have a question: how can
00:26:11
I choose the track on which I will
00:26:12
insert my piece,
00:26:14
let’s say I have three tracks here, so that’s what
00:26:17
we have here for These are the
00:26:19
buttons called track
00:26:21
selector, let’s say if I turn on not
00:26:25
the first one but the second one, I select the same
00:26:27
piece and put it in second place for a time,
00:26:29
when I press we at 10 there it
00:26:32
will be placed on the second track,
00:26:33
again I press 3 to 3 track the same most
00:26:37
of the audio, or if you want to take it
00:26:40
from here, cut it through control x and
00:26:43
paste
00:26:44
it here, it appears here, but we have the
00:26:48
third track selected, why is it inserted here, but
00:26:50
because there is such a thing as an
00:26:52
auto track selector, how does it work when
00:26:55
copying and pasting elements, the insertion
00:26:58
will take place on the first track with the
00:27:01
auto-track selector turned on, that is,
00:27:04
if now I even turn off both the first and the
00:27:06
second,
00:27:07
now I am left with 3, if I have the first
00:27:10
3 turned on, it will appear on 1,
00:27:14
but accordingly, if 2 is turned on,
00:27:18
3 will appear on 2 because it is the
00:27:20
first below is on, that is, even if
00:27:23
I had track 4 turned off, now
00:27:26
when I copy they are also copied to
00:27:28
3 and 4 because they were on top of each
00:27:31
other until they mixed it up, which was clear,
00:27:33
here the first one is turned off, 2 is turned off, 3 is
00:27:37
turned on, so starting from here they will be
00:27:39
insert through their counter in the file
00:27:42
clips I hope this is clear the same
00:27:45
works with audio pieces
00:27:46
let's deal with some important
00:27:49
hotkeys some may be needed the
00:27:51
first is cutting this is the usual
00:27:53
cutting of the gait
00:27:58
then we will also be interested in
00:28:00
cutting to the left and right of the bad ones and yes that's it
00:28:04
like this or like this, it’s
00:28:06
also important to quickly scale the
00:28:09
entire timeline, for example like this, we
00:28:12
can also fill the clip directly one frame at a time
00:28:14
like this,
00:28:16
or if we’ve zoomed in too much
00:28:19
and we want to restore the scale and not
00:28:22
poke emotionally fit, then we can
00:28:24
do this using a walker
00:28:25
blades here it is called nickname from
00:28:28
razer so we go here and directly
00:28:31
type in the name of the razer command and here
00:28:34
it is shown,
00:28:35
you can assign any convenient key,
00:28:38
but from my memory Marse is how I will
00:28:40
assign it to 7 then the pendant on the left and
00:28:43
right in the example it is set by default
00:28:45
on cue
00:28:46
and w but here I put it in square
00:28:49
brackets and the command is called start
00:28:52
play heat
00:28:53
and and applied but it is important to understand that there are
00:28:56
several of these commands because
00:28:59
if you give and look you have
00:29:02
resize and i played
00:29:03
and ripple n stupid and the same thing with
00:29:05
the start and
00:29:06
exactly the trimming on the left or right with
00:29:09
softening
00:29:10
is in the section ripple and place it i
00:29:13
start to play with
00:29:14
moving the section in the clip one
00:29:16
frame to the left and right using the command
00:29:18
van frame rate warframe
00:29:20
lift is in this section and by default
00:29:23
it is on the left arrows or to the right, in
00:29:26
my opinion, by silence, then a command that
00:29:28
returns the full scale of the timeline and
00:29:30
so that all
00:29:32
the elements that are on it can be seen at the same time, it is
00:29:34
called zoom to feed and is located in the
00:29:37
zoom section of the v.yu section. and I have it turned on,
00:29:41
we just have the standard plus and
00:29:44
minus to increase and decrease the scale of the
00:29:46
timeline, zoom in her mouth fit, this is just the
00:29:49
same and restore the scale about the
00:29:50
viewing window that you intentionally
00:29:53
or accidentally changed, what else can be
00:29:55
useful, look here there is a
00:29:57
ripit button club, but if you select,
00:30:00
say, these sections, press play
00:30:02
until you exit, then nothing
00:30:05
happens, this is a bit of a strange
00:30:08
implementation, but here this
00:30:09
playback and repeat command is implemented
00:30:11
through the standard alt
00:30:14
+ lower key combination?
00:30:16
on which there is also a slash and . comma,
00:30:20
look, I press this command and everything
00:30:22
works, it’s here, play in
00:30:28
the old
00:30:29
and here there is a difference between pressing the
00:30:31
backspace key and David, if I press
00:30:33
backspace, a hole remains in the fog, if I delete a
00:30:35
piece either with the help of before the
00:30:36
summer, then I have it with an offset and now
00:30:44
Finally, let's move on to the effects and we'll start
00:30:46
with the inspector tab because all the
00:30:48
main changes happen in
00:30:50
it: the basic transform, the increase in the size of the snake at the
00:30:53
position, the offset in X on the rotation player,
00:30:56
and all these cool stuff,
00:30:59
what's not to like about the da Vinci inspector
00:31:01
compared to the same effect controls afu
00:31:03
premiere because here by default
00:31:05
they have crop and stabilizer but let's talk
00:31:09
about everything in order so
00:31:10
zoom with it everything is clear positions the
00:31:13
same in principle there are no differences here
00:31:15
not only you also have an additional
00:31:17
distortion in perspective peach and I also there
00:31:21
are basic flip functions here, that
00:31:23
is, you can change the direction directly with
00:31:25
one click, it’s also often convenient with
00:31:28
specks, everything is clear, the only thing here is that
00:31:29
there are software parameters with which it makes
00:31:31
your borders softer, any effect
00:31:34
can be turned off simply using this
00:31:36
slider, there’s a cool thing called a speaker zoom how to
00:31:39
use it under this
00:31:41
timeline window and we press the key
00:31:43
press this key on the arrow
00:31:45
select dynamic
00:31:46
zoom the red rectangle is the final
00:31:49
result green is the initial one so
00:31:52
if we want to make a little noise then
00:31:55
we can leave it like this and let’s
00:31:58
set the zoom in the speaker settings and die out
00:32:02
so that it comes smoothly and we look and everything is
00:32:09
ready, that is, we can do this right here in
00:32:11
two clicks and by the way,
00:32:14
you can control all these standard settings
00:32:15
right here using
00:32:17
visual interaction, that is, if
00:32:19
I turn off the zoom speaker and turn on the usual
00:32:22
transform then here I can rotate and
00:32:25
move and reduce and change the anchor
00:32:29
point, that is, I want it to decrease from here,
00:32:31
so the composite is the
00:32:35
same fall and, roughly speaking, with the
00:32:37
overlay mode with the liver, there is also a
00:32:40
built-in basic speed controller, but
00:32:42
we will separately speed a little later
00:32:44
let's talk stabilization here
00:32:46
works great by default you are worth perspective
00:32:49
mod what is the difference between
00:32:51
similarity
00:32:52
and translation perspectives let's start with the simplest
00:32:55
last on the list translation
00:32:57
stabilization translation is used
00:32:58
if your camera had movement
00:33:01
exclusively along two axes x and y
00:33:03
that is in one plane similarity
00:33:06
are used if you have camera movement, there is
00:33:08
also movement forward backward,
00:33:10
zoom and rotation along the axis and perspectives
00:33:14
are used if there is a very complex
00:33:16
movement like all sorts of panoramas and
00:33:19
others when the camera moves along the
00:33:21
perspective then of course it is better
00:33:23
to use
00:33:24
perspectives but naturally with its
00:33:25
use the perspective has a greater chance of
00:33:28
getting housing imagery is the output,
00:33:29
so be very careful, play with this and
00:33:32
with the default settings you have
00:33:34
set to one, but if you want to
00:33:36
stabilize normally and not
00:33:37
overdo it, then start with half and
00:33:39
if there is not enough, then move forward, this is
00:33:42
such an empirical formula,
00:33:44
there is another important tab rita man
00:33:46
sky link fly process this is how
00:33:48
frames will be calculated if there are
00:33:52
not enough of them, if for example you slow down the footage it doesn’t have enough
00:33:54
frames and so he says you will be
00:33:56
counted according to the nearest frame the frames will be
00:33:58
mixed or the optics mode flow
00:34:00
optical flow works in yes Vinci is the
00:34:02
best, but it is very difficult to read by a
00:34:04
computer, so be careful, then we are
00:34:06
interested in skill and this is how the
00:34:08
new ones added at this time
00:34:11
and files will behave that they match in
00:34:13
resolution and in silence according to the project of these,
00:34:16
let's see what we have worth we
00:34:18
have skill and image spirit, that is, it
00:34:20
will not stretch the image over the entire
00:34:23
area of ​​​​our working frame, but will
00:34:26
make sure that it completely fits and
00:34:28
nothing is cut off vertically or
00:34:30
horizontally,
00:34:31
but as soon as we change the full
00:34:34
frame scrub skill, then look what happens
00:34:37
both we
00:34:39
have lost these black areas here, we have
00:34:41
configured this for the entire project, so we
00:34:43
will return this here and in this
00:34:46
section of the inspector we can configure
00:34:48
this parameter for each specific
00:34:50
section of the clip as soon as I click here
00:34:52
feel the same thing will happen
00:34:55
next, let's
00:34:56
look at the animation Let's say I want to
00:34:58
pay a small amount for them on this
00:35:00
clip, what am I doing, I become
00:35:02
you started it, and let's say not even from the beginning,
00:35:05
but from here and clicking on this except this is a
00:35:08
typical habitual make frame and
00:35:11
it appears for us and we are looking for the second point at
00:35:14
which we we want to finish the zoom here,
00:35:16
let's say we do a small zoom where
00:35:20
we have the ethics frame and because
00:35:22
by default in the same premiere they
00:35:24
are located immediately next to the
00:35:25
effect controls panel
00:35:26
here they are in the clip itself on the
00:35:29
timeline how can we access them
00:35:31
if you we noticed that on this clip,
00:35:33
for example, with which there are no changes,
00:35:35
there is nothing in the frame pack, but
00:35:39
here in the lower right corner two
00:35:41
icons appear if we click on the first one with a
00:35:44
diamond, we have
00:35:45
frames appearing and it is shown which parameter
00:35:47
was changed if we click on this then
00:35:50
we have curves open and we can
00:35:53
do the same thing as effect controls,
00:35:55
namely soften or make the
00:35:58
frame linear, so we have such a
00:36:01
sharp change in scale, we want to
00:36:05
make this floating, take it and press
00:36:07
this button, bang and they become
00:36:11
easy in these out and look at everything is the
00:36:18
same and with other transformation effects the
00:36:20
jokes start with the speed you
00:36:23
can change it in several ways, firstly
00:36:25
just press r and it will open the usual
00:36:28
window changing the speed, let’s say I
00:36:30
’ll speed it up twice so that the change can be seen more clearly
00:36:33
and press cinch here it is
00:36:37
I fought twice in Taiwan, well,
00:36:40
let’s say I want him to immediately
00:36:42
pull up the next section of the period after him,
00:36:44
I press this checkbox for
00:36:47
naturally 200 seconds and the
00:36:51
hole collapses perfectly, then there
00:36:54
is a river speed option ii
00:36:57
free spray if I I select from the frame, then
00:37:00
everything that turns into a
00:37:02
regular screenshot after exiting, by the way, if I press the
00:37:05
shifter, then all the stages
00:37:08
will be born in one screenshot, but sit on
00:37:11
this screenshot in the place of play harder, what do
00:37:14
we have, what else do we have, and what not the
00:37:16
kontrol p key, which opens up
00:37:18
tools for working with speed, we
00:37:20
have these arrows and this
00:37:23
menu item here we can set
00:37:25
speed change points, let’s
00:37:28
add a point here and let’s
00:37:31
add a point here and now we can work with each of these
00:37:34
sections according to
00:37:36
separately, let’s say I want to
00:37:37
make an acceleration here at this middle stage,
00:37:40
I take it and press 200, then there is a
00:37:45
preset right here and here I have it automatically
00:37:48
complain if the triangles are close, this
00:37:50
means that you have acceleration, if it’s
00:37:53
the other way around, then you turn anime
00:37:56
yellow just if slowdown there
00:37:59
are all sorts of presets
00:38:00
that you can play with
00:38:02
features revenge and speedrun there are very
00:38:05
interesting modes and what about the curves
00:38:07
you ask and they are here if
00:38:09
we choose Rita does not sleep then we
00:38:11
have a more or less clear I and a
00:38:12
similar curve with which we can
00:38:14
also work as in the example, we can
00:38:17
soften the points separately, we can make the
00:38:19
output smoother, let’s say, by the way,
00:38:21
here you can select any parameters
00:38:23
that you
00:38:25
changed, let’s animate the zoom and
00:38:27
see how changing the parameters
00:38:29
works in combination, I make a small
00:38:32
zoom, I select only the last point and
00:38:34
made there are values and here I have
00:38:36
acceleration and here new
00:38:39
deceleration, the convenience of these curves is
00:38:41
that they can be simultaneously
00:38:42
displayed visually and you
00:38:44
just need to click on them and you can immediately
00:38:46
change the parameters here, drag these
00:38:48
points, let’s say with the Shift key held down,
00:38:51
if they drag, then the value
00:38:53
point will not change the value of the
00:38:55
parameter and it will be on the timing on the
00:38:57
timeline if I
00:38:59
do this without shift then
00:39:01
chaos will begin in general, it’s a convenient thing, use
00:39:03
something else about the built-in functionality,
00:39:05
namely the standard crossfader, I’m talking
00:39:08
about transitions through transparency, here they are
00:39:12
implemented via control keys t
00:39:14
if we want to do a crossfade through
00:39:16
both video and audio alter
00:39:18
if only for video and
00:39:21
ft if only for audio let’s say I’ll
00:39:24
link these things right now and now I
00:39:28
’ll have a crossfade on the counter t and there and there's
00:39:30
alt and video shift and only audio and
00:39:33
now let's look into the
00:39:35
effects library, there's just a bunch of
00:39:38
effects, especially since version 17 we've
00:39:41
got very cool built-in dies,
00:39:44
expressed Titus, cool all sorts of
00:39:47
effect generators like binoculars,
00:39:51
let's here life preview the
00:39:53
effects of recording all sorts of different cameras here there
00:39:56
’s such an overlay, like a drone
00:39:58
here from Slark, and so on, in general, there’s really
00:40:00
a lot of things you’ll figure out, take a look, but or
00:40:03
if you want me to make a
00:40:05
video on the effects in da Vinci, you can
00:40:07
write about it in the comments,
00:40:08
now we’ll look at only the very basics
00:40:10
that may be useful, well Naturally,
00:40:12
blur lows before you can click on
00:40:14
the star and you will have them appear in the
00:40:17
favorites section, then we are interested in the
00:40:19
titles section and here we have
00:40:21
standard text and text +
00:40:23
a little later I will explain the difference between
00:40:24
them, we have a generator and here we
00:40:27
will need solid color normal a piece of
00:40:29
something
00:40:30
one-color, let’s say red, in the
00:40:35
effect section we have and a jasmine clip
00:40:38
is the same as a jasmine player,
00:40:40
just one on one,
00:40:42
put it here and put here any
00:40:45
effect that you need, let’s
00:40:47
say naked blur, and now I have
00:40:50
it here lies everywhere here there are
00:40:53
especially many effects in the up in
00:40:55
a fix section that stylize our footage such
00:40:58
as chapter and flowers reflections and so
00:41:01
on, but it’s better to add them at the painting stage
00:41:04
on the color tab and now let’s talk about
00:41:07
text and text + what’s between them the difference is
00:41:10
text +
00:41:11
this is a fusion element, what does this mean, we
00:41:15
can go through the shift of the 5th fusion and
00:41:18
it will be displayed for us, we can
00:41:20
make any changes pleasing to our soul,
00:41:23
for example, put a shadow on
00:41:26
some colored one and make it talk, but I’m just using it
00:41:30
as an example you see, we can also
00:41:32
then apply
00:41:33
glow and all this will glow, let’s say the
00:41:37
world of sandor, here we have a blue effect
00:41:40
only on the shadow and all that, the principle
00:41:42
is clear, but we can’t do all this with regular text,
00:41:45
if we start at 65, then the
00:41:48
footage that will open for an hour lay
00:41:50
under this text normal text almost does not
00:41:53
lag the text +
00:41:55
really lags in Reutov what else is the
00:41:57
difference let’s say here you can create
00:42:00
several lines and each of them
00:42:03
individually customize the font
00:42:05
let’s say here I want, let’s say
00:42:08
Montserrat is our favorite
00:42:10
here general Times of New Rome and I need three
00:42:13
lines with different fonts
00:42:15
to do this in the text + and I can’t, I’ll
00:42:19
put whatever I want, choose, put another
00:42:22
cream, it drops all over the text once,
00:42:24
in general, if you have some very
00:42:25
simple tasks in the text, then it’s better
00:42:28
to use plain text, especially
00:42:30
that there are such built-in important
00:42:32
parameters as let’s say there is a shadow, there is a
00:42:34
background that needs to be raised in
00:42:37
height so that it starts to appear, that is,
00:42:39
you can make your own mini plate here
00:42:42
to animate its appearance, remove this
00:42:45
rounding, a terrible year, and make it there,
00:42:49
relatively speaking, so there’s nothing to lag there
00:42:51
will be an outline there as well, there you
00:42:54
want to make a price outline, here is the
00:42:56
price vodka, yes of course there is text + and
00:43:00
here there are more parameters, but you need to
00:43:02
spend a sufficient amount of time
00:43:04
to learn how to deal with them,
00:43:06
of course, if you want to move
00:43:07
towards motion on some kind of your
00:43:09
own, then you you need to learn
00:43:11
to work with text plus right away because
00:43:14
all the custom dies that you will
00:43:16
make for da Vinci, they will
00:43:17
not be done at all in the templates mode,
00:43:19
but there is too much here and I
00:43:22
will not consider it now; further we
00:43:24
have two tabs to consider which within the
00:43:26
framework of this tutorial, I won’t be
00:43:28
the first, this is fusion with Eugene, I already started to
00:43:31
introduce you to it in this issue and
00:43:34
I won’t review it for the
00:43:35
reason that it is essentially a separate
00:43:38
program and once about two years
00:43:40
ago it was also called black magic
00:43:42
fusion studio and it still exists,
00:43:45
it continues to
00:43:46
pile up from, but then Back Magic
00:43:47
integrated fusion completely you and
00:43:49
Vinci
00:43:50
with the same practically and full-fledged
00:43:52
functionality, what is it, it is a program
00:43:55
for compositing, that is, for composing
00:43:57
all sorts of complex scenes through all sorts of complex
00:44:00
tricky manipulations, fusion is often
00:44:02
compared by the author with the effect, but this not a
00:44:04
completely correct comparison because you
00:44:06
need to compare it with the hatch, also
00:44:08
programs for comp sting and the south is a
00:44:11
standard in the professional environment and
00:44:13
there is a composite of almost all films, that is, they
00:44:16
give you 3D models and textures,
00:44:18
original footage, footage on greenery, this is
00:44:21
all sorts of breadth of scottish tracks, eat and
00:44:23
you bring together plus the girls of the majority
00:44:25
the correction of all elements so that they
00:44:26
urinate and it all turns f1
00:44:29
photorealistic footage
00:44:30
so this is fusion and not uk this program is for
00:44:34
compositing and if you have a
00:44:35
question about whether you need to study fusion at all
00:44:38
when you can immediately study nuke then I will
00:44:41
argue with you because that firstly, if
00:44:43
you learn fusion, then you will be able to
00:44:46
do almost everything inside da Vinci,
00:44:47
and secondly, it will be much easier for you
00:44:50
to master nuka if you need it,
00:44:52
so it’s your choice
00:44:53
if you already work in nikka, great
00:44:55
when you come to da Vinci drew
00:44:57
then you will already have plus or minus a clear
00:45:00
tab in which you can
00:45:01
work fully because the logic of the work of such
00:45:04
new programs is similar if you first
00:45:07
study Da Vinci then it will be
00:45:09
easier for you to learn nuke the second question that
00:45:11
you may have is whether I can
00:45:13
if I want to completely switch to da
00:45:15
Vinci, replace my fusion after effects, I
00:45:18
can tell you that I am currently taking
00:45:20
a course on fusion for a long time, I have been studying it and I
00:45:23
can say that you will close 99 percent of the tasks
00:45:27
and perhaps you will close even those
00:45:30
tasks that the author cannot close in
00:45:32
general, if you want a release on fusion, then
00:45:34
you know where to write and the second tab,
00:45:36
which we will also not consider today, is the
00:45:38
color tab because but Kamon
00:45:41
guys are in our playlist
00:45:43
about davinci, by the way, here you
00:45:45
will now see just a million videos from
00:45:47
me and from It’s not his movie, Dad is a beauty in
00:45:50
Da Vinci and you don’t watch them anyway,
00:45:52
so if you are
00:45:55
interested, look at them in detail and there is
00:45:57
about the basic tool
00:45:59
and about Gredin about secondary
00:46:00
color correction and about working with masks,
00:46:02
I have an almost hour-long episode therefore, in
00:46:05
this tutorial we will not analyze
00:46:06
the light in order to save time, and you don’t have
00:46:08
much time, we appreciate you and let’s
00:46:11
move on, and then we
00:46:12
still have to work with sound in fairlight
00:46:15
and final export, and so
00:46:23
you can work with sound not only fairlight but and in the
00:46:25
edit tab, if you select any
00:46:29
part of any clip or just an
00:46:31
audio track, then the
00:46:33
audio section is activated in your inspector, where you
00:46:36
can adjust the volume of the sound, it’s already clear the
00:46:39
panorama
00:46:41
how far to the left how much to the right
00:46:43
the sound will shift if you have an adjustment with the peach tree
00:46:45
tonality of voice or
00:46:47
music, the equalizer here is good, but
00:46:51
of course it’s better to use the file from
00:46:53
it, it’s more accurate there, give it all,
00:46:55
sometimes that’s enough, but often it’s
00:46:57
still not there. You also have a mixer in which you
00:47:00
can adjust the volume of the entire track,
00:47:01
that is, here’s the first track and the bass is roughly
00:47:05
speaking, a master mixer into which
00:47:08
all the tracks arrive, that is, you have configured all
00:47:10
the tracks individually, let’s say we’ll make
00:47:12
another one, you have configured this one to plus 4, this one
00:47:16
to minus 12 and then you can use
00:47:17
bass to raise them both
00:47:19
or lower them. I forgot to say that
00:47:22
you can control some parameters
00:47:24
directly on the timeline using, first of all,
00:47:27
such a vertebra, it is important to
00:47:30
notice it and it regulates the volume, there are
00:47:33
also starting and ending crossfaders,
00:47:35
they are there for both the audio and video parts,
00:47:37
and they are available at the ends of the clips
00:47:40
using things like this by holding them
00:47:43
which we can drag them to the left or
00:47:46
to the right,
00:47:47
there will be a smooth decay and we can
00:47:50
even take a point and adjust the curve of
00:47:52
this decay, that is, it will
00:47:56
go a little bit and then sharply, or
00:47:59
vice versa, it will
00:48:01
go slowly and fade out sharply at the end, but let's
00:48:05
go to fairlight on shift 7 and as you
00:48:08
may have noticed, we
00:48:10
only display audio deroche here, yes, we
00:48:12
can turn on the display and video
00:48:14
parts using the display settings and
00:48:17
configure it here, and as
00:48:20
you can see, even when minimized, they are immediately
00:48:22
displayed, but why is this here if we
00:48:24
only work with sound and, as a rule, the
00:48:26
timeline, we don’t really need to use it here
00:48:28
because you can correct pieces and
00:48:29
specific audio tracks in the
00:48:33
tab, but what is much more important here are the
00:48:35
advanced settings for this sound and
00:48:37
they are mostly located in the
00:48:40
mixer section. The first inputs for us are not yet
00:48:42
interested, then we have
00:48:44
effects and by clicking on this button we can
00:48:46
see a list of all available, we will of course
00:48:49
be interested in reduction, and if we
00:48:51
want to work with the voice and it is in
00:48:53
the tab, but from reduction how to work with it,
00:48:55
there are two options here, either you
00:48:57
select a section without a voice, just with
00:49:00
noise and press learn in mode - or
00:49:05
you just install an auto-special mod,
00:49:07
adjust trash folds and
00:49:10
just forget about it, roughly speaking,
00:49:12
they installed it also, when processing the voice, the
00:49:16
dialogue processor can be useful, and there are even
00:49:19
presets
00:49:21
mail and efim l but again, if you don’t
00:49:25
understand all these things, then it’s
00:49:27
better not to get rid of this, but to play with the
00:49:30
equalizer and
00:49:31
compression, but also about effects, we have
00:49:34
this checkbox
00:49:35
insert and if we turn it off, then
00:49:38
these effects will not work for us, we
00:49:40
turn them on everything will be simple and let’s move on
00:49:42
to the equalizer, again in order to save
00:49:43
time, I will not
00:49:45
dwell in detail on the equalizer and
00:49:47
compression because I have already
00:49:49
talked about this in detail in this issue there and
00:49:51
about the premieres about da Vinci, but
00:49:53
I will tell you the basic principles right now, this is
00:49:55
when you are working with the voice, the main
00:49:57
task in the equalizer is
00:49:59
to find undesirables for purity,
00:50:01
identify them and lower their volume, how
00:50:04
this is done, well, firstly, you
00:50:05
set a frequency limiter from left to right,
00:50:07
here, in principle, the highest 50
00:50:11
hertz, there is no point in limiting here, in
00:50:14
fact, it is possible and
00:50:15
do not turn it on further, the work goes on with
00:50:17
these main brands, as they are
00:50:19
called, we turn it on in this mode and
00:50:22
raise it, in order to
00:50:24
identify the unwanted frequency, you
00:50:26
need to work with it very subtly, and with this we will be
00:50:28
helped by the parameters and factors here
00:50:31
that will be this
00:50:33
narrow down the sample and now we can selectively
00:50:35
make a certain frequency louder,
00:50:37
we play our voice like this and with
00:50:40
this slider we move left
00:50:42
to right and look for where the maximum badness will start,
00:50:45
as soon as we found a place, let’s
00:50:47
take here by hey and lower it as much as
00:50:50
we need and can even to
00:50:52
expand our smoothness a little,
00:50:56
we do the same with the fourth and second and, in
00:50:58
principle, further and further compression compression,
00:51:01
usually I install compressors which by
00:51:03
default, what does it do, it shook the halda,
00:51:06
detects everything that is louder -15 decibels
00:51:09
caused by this wind and it automatically lowers the volume of these
00:51:12
sounds that is,
00:51:15
roughly speaking, the compress in this case
00:51:17
helps us get rid of the peaks, that is,
00:51:19
when I shout, for example, into a buttonhole,
00:51:21
for some reason I don’t know, then the compressor and
00:51:23
automatically normalizes the whole thing and
00:51:26
makes it pleasant for the ear.
00:51:27
There is also a limiter, which, as you can see
00:51:29
from the graph, cuts off in general, everything above
00:51:32
this volume level, we also have an
00:51:34
expander or gate that lower the
00:51:37
volume of quiet sounds, but again
00:51:41
this is a separate topic for study, very
00:51:43
capacious, in fact, next we have
00:51:44
a panorama, which was also in the inspector,
00:51:46
and we have bass bass before in
00:51:49
version 16 it was called differently, I don’t
00:51:51
remember exactly what, but roughly speaking the output and for us it
00:51:55
means bass is where this
00:51:57
track is sent to which mixer,
00:51:59
so we see we have a track selected
00:52:01
and one here is this one on which we
00:52:04
have our music track and we
00:52:09
can disable this track so that it doesn’t
00:52:11
go there, but the trick is that the
00:52:14
whole set of our sounds
00:52:17
is sent to some base, and in this
00:52:19
case, since we only have one bass,
00:52:20
it will be sent to 1 base and
00:52:23
if you turn off this track, then as you
00:52:25
see it plays,
00:52:28
but our final output is empty
00:52:30
because we excluded if we
00:52:32
return it, then everything will start playing,
00:52:36
so if you suddenly have no sound in this
00:52:40
Vinci, especially if you
00:52:41
export a project made in version 16
00:52:45
in in the seventeenth, then you may have
00:52:47
such a problem, so you need to
00:52:48
reassign your channels, you already
00:52:51
existing projects to a new base to
00:52:55
existing ones, or rather just link to it,
00:52:57
and also here there are standard
00:52:59
control buttons such as turn off the
00:53:01
track, make a track salon here it’s all
00:53:04
duplicated, well, button for recording,
00:53:07
we don’t need it and so we’re done with the sound
00:53:09
and now the most
00:53:10
interesting thing will be what to do and if suddenly it
00:53:14
was laid and right for me, let’s
00:53:16
find out now I’m simulating a situation in
00:53:24
which
00:53:25
Da Vinci will suffer for me and
00:53:27
I’ll do it with help with color correction
00:53:29
now skip a little well and we see what
00:53:31
this one threw and now you see that my
00:53:34
play back is already 15 frames per
00:53:36
second they are 25 as it should be, we check
00:53:39
here about the same thing so the first
00:53:44
thing we can do is turn off all
00:53:47
color correction and that’s it fusion effects
00:53:49
do it all in one click by
00:53:51
pressing the shift d key combinations
00:53:54
English as you can see we
00:53:57
have a whole crazy icon here and this
00:54:00
means that we have all the
00:54:01
color correction effects turned off by right
00:54:04
clicking we can see what exactly
00:54:06
we want and turn it on Well, by default
00:54:08
it’s color and fusion and
00:54:10
that’s ok, let’s look at the timeline and
00:54:12
I have a playbar of 25 frames per second,
00:54:14
here I am with a check
00:54:15
ok, what other options do we go to the
00:54:19
playback section
00:54:20
and here is all our magic, these
00:54:22
two functions don’t mean that you
00:54:25
have a proxy or optima with copper da vinci
00:54:28
smart program and says to use
00:54:30
them and if they are made and available and when
00:54:33
linked so they are
00:54:35
always enabled by default and
00:54:36
and once you have already made your proxies
00:54:39
then you can
00:54:40
use these two options move on and
00:54:43
here you can get confused in the names, but
00:54:45
this function is called timeline proxy
00:54:48
mode, what does this mean in fact, this is the same
00:54:51
reduction in resolution, and when playing becky and
00:54:55
attack,
00:54:56
as in the same premiere, only in the
00:54:58
premiere it is configured
00:54:59
separately, then here it’s all in one
00:55:01
click, let’s say the code is destroyed and
00:55:04
we look at what we get, we
00:55:07
get some grain and we
00:55:10
also have a picture for the home that turns out to be
00:55:12
absolutely dirty, let’s put it let’s
00:55:15
put half of it, and as you can
00:55:19
see, it looks tolerable and we
00:55:22
already have a playback of 25 frames, although I’m skipping it here
00:55:24
frame for some reason, okay, function
00:55:26
number three, I don’t want to reduce any
00:55:28
resolutions, I want to see everything as it is like
00:55:31
this, but so that it is smooth, what do I
00:55:33
do, I press the alt key combination
00:55:36
f.i.
00:55:37
I have this clip in the media pool,
00:55:39
then I can make it a proxy or
00:55:43
media optimist and also what is the difference
00:55:44
between optima with media and a proxy
00:55:47
up to version 17, Da Vinci drew in it and
00:55:50
the ability to make
00:55:52
standard proxies was not implemented, that is, a file and a
00:55:54
low permissions in editing codecs
00:55:57
that are duplicated simply and you can
00:55:59
add them to your editing, as in the
00:56:01
premiere,
00:56:02
Optimist Media had replacements for this
00:56:04
solution and they created many small
00:56:07
files of a strange format,
00:56:09
not a video format, which you stored
00:56:13
in large quantities and in general the trick
00:56:15
was that what if you are transferring a
00:56:17
project somewhere to another computer or
00:56:20
where you are you couldn’t link
00:56:22
these optima ide media to your installation
00:56:26
it was problematic but in general they
00:56:28
worked quickly in this regard there were no questions
00:56:30
from version 17 regular
00:56:33
proxies appeared to be honest then this option is
00:56:35
much more familiar and convenient, so
00:56:37
now we will use it and
00:56:39
skip the option of creating optimist
00:56:41
media, and so again in the media bullets we
00:56:44
right-click and select
00:56:46
trains proximity
00:56:47
and he has already created them for me, what’s the trick,
00:56:52
remember we were at the very beginning We set up
00:56:54
our project and here we
00:56:57
have the proxy location and
00:57:00
proxy resolution and format indicated, so
00:57:03
let’s see what we have created,
00:57:04
it automatically creates subfolders
00:57:07
relative to the name of each project and now
00:57:10
I have one file with the same
00:57:12
name with a resolution of 480 by 270 well yes 1 4
00:57:19
in 1080p as you can see the resolution
00:57:22
has dropped noticeably we can
00:57:26
turn it on or off here ask media and
00:57:29
as you can see the quality is back we have
00:57:31
one more way
00:57:33
let's turn off the media proxy and do the
00:57:36
next thing we turn on the cache how to
00:57:38
turn on the cache on the right button and here
00:57:41
there are two ways to render cash cash out put
00:57:44
and render cash out put by name, I
00:57:46
think it’s clear that color it renders all the
00:57:49
notes that were made in the
00:57:51
color off tab and dinner it renders not only
00:57:54
what was done in fusion the entire
00:57:56
campus but it also renders complex codecs like
00:57:59
these 205 4 and as many as 250 5 so each
00:58:03
has two modes please try
00:58:04
not to get confused now it will be important, well,
00:58:07
honestly, either it’s turned off or it’s smart
00:58:09
or it’s a user, so if it’s set to
00:58:12
smart, then it will render everything for you
00:58:14
your dies, all your fusion compositions,
00:58:17
all some complex elements, effect
00:58:20
transitions, and plus, it will
00:58:22
render complex codecs like these 205 4
00:58:25
and these 265, so it’s better to leave the render cache
00:58:28
in the user section because if
00:58:31
it starts loading all this into the cache, then
00:58:35
you just have a computer frozen, but the peculiarity is
00:58:37
if it is weak
00:58:38
and in user mode you can choose for yourself what
00:58:39
to cache and in this case
00:58:41
I right-click on this clip
00:58:43
and click render cache color output I
00:58:47
now have a red stripe appearing here
00:58:49
which will gradually become
00:58:51
blue as soon as this process is over
00:58:54
it means that I and coach Oles have all the
00:58:57
color effects that I’m on your side
00:58:59
and now let’s see, look,
00:59:03
perfect playback 25 frames per second and
00:59:05
even better than I had with the xiaomi pro, so
00:59:07
we come to the conclusion that of course
00:59:10
works best, the only downside is
00:59:13
that as soon as you make any
00:59:16
changes to your part which was
00:59:18
rendered in this case, these are the color
00:59:20
effects, as you see the cache goes back to
00:59:24
anew, this all of course accumulates,
00:59:26
your storage
00:59:27
slows down your computer and again choose
00:59:30
a way to optimize the installation
00:59:31
from the
00:59:32
stylish you look at the task and we
00:59:35
will consider the last, most radical
00:59:37
method when nothing else helps, because
00:59:39
there are situations when a set of
00:59:42
some files that stand together or
00:59:44
one complex file they are simply
00:59:46
colored with the entire render when it
00:59:48
reaches it, I will delete the bisk so as not to clog up the
00:59:50
system after each completed
00:59:53
project, it’s better to come here away from the
00:59:55
trader cache and select the gender in yours, you
00:59:58
didn’t have all this stored on the computer,
01:00:00
so we return to our super complex
01:00:03
colors, correct a piece of the clip,
01:00:05
return all the corrections to it, make sure
01:00:08
that we have the
01:00:09
maximum quality for everyone and check the play back
01:00:12
15 frames per second and dicks in the vestments if
01:00:15
nothing helps there version 17 of
01:00:18
rice there is such a method
01:00:20
called render in place what is it,
01:00:24
roughly speaking, we start rendering this
01:00:27
particular file and automatically
01:00:30
replace it on the timeline now
01:00:32
look how it works
01:00:33
and here we will need to configure it as well
01:00:35
codec format and the type in which it will be
01:00:38
output, there is a checkbox to include
01:00:40
video effect, this means that all some blurs and
01:00:43
which you, in addition to color correction on the
01:00:44
spoon for this clip, will also be overcome,
01:00:47
in general, everything will be transferred here, I would
01:00:50
bet it better right away with another 80
01:00:52
progressive and not in the most inferior
01:00:55
quality, but somewhere, but that’s it,
01:00:58
I click render, a folder appears
01:01:00
where I should put it, and by the way, that’s
01:01:02
why in my template I have in
01:01:06
decline an export under the renders folder,
01:01:09
just under this new one feature because
01:01:11
it really already saved me when rendering
01:01:13
long projects and it’s all wrangler,
01:01:16
usually at this stage no matter how complex
01:01:19
the file is, nothing more beautiful can happen, that is, it’s a 100%
01:01:21
lifesaver, here
01:01:24
in Andrews it was replaced on the timeline
01:01:27
and as you can see the quality of the display is
01:01:29
We haven’t changed much, so our file
01:01:32
from the trend doesn’t lag, everything is fine,
01:01:34
but by the way, it appeared here in our
01:01:37
media bullet, we immediately
01:01:40
put the passport from here in render as and forget, of course,
01:01:43
this method is better to use when
01:01:45
you are one hundred percent sure that the change in
01:01:48
this piece of the clip there will no longer be either a
01:01:50
block or some kind of complex transition, but
01:01:53
you understand, but if suddenly you need to make
01:01:55
some adjustments, and by the way, if I
01:01:58
go here correct here, nothing will happen here,
01:01:59
I can’t do anything, I
01:02:01
click also right-click on this
01:02:03
clip and with this next to the render
01:02:06
in place item appeared in compost regina, I
01:02:09
click it and I get back the old
01:02:12
laggy clip where all my changes are
01:02:15
also saved, but again this is a
01:02:17
radical measure that should be resorted to only as a
01:02:19
last resort in your practice
01:02:22
As a rule, it’s enough for me to simply
01:02:24
reduce the resolution
01:02:26
displayed on the screen, that is, timeline
01:02:28
proxy mode; in rare cases, I resort to
01:02:31
render porridge when my render cannot
01:02:34
pass through a certain section;
01:02:35
when I’m already in your final video, it’s the
01:02:37
proxy that I practically don’t do; it
01:02:40
turned out that way the fact that Da Vinci
01:02:42
works well on my build is easier for someone
01:02:44
to make a proxy right away, especially if
01:02:46
you know that the computer is laggy,
01:02:48
weak hardware, an example about and for an accident,
01:02:52
so choose a method for yourself, I
01:02:54
hope that it turned out to be easy to
01:02:55
explain everything, but currently in
01:02:58
version 17 yes Vinci to you simply do not have
01:03:01
options in which you directly cannot
01:03:02
work always one of the
01:03:05
methods of optimizing the installation will work
01:03:07
one hundred percent and let us move on
01:03:10
finally and how in the final tab
01:03:12
called shares which is responsible for
01:03:14
rent
01:03:15
[music]
01:03:20
so the
01:03:21
finale we are all ready and we
01:03:24
move here that we see the
01:03:27
first window here and to render settings the
01:03:30
settings of our render we will return to them
01:03:32
further, as usual in South Africa, then the
01:03:35
render queue will also return to it when we
01:03:38
add at least one render to the queue and the
01:03:40
timeline and display of creeps noclip and
01:03:43
we It’s probably better to hide it right away so that they
01:03:45
don’t bother us. It
01:03:47
can also be useful to immediately
01:03:48
scale the weight of the timeline to see
01:03:51
what is being rendered and increase the display. Also,
01:03:54
here we have the choice of rendering the weight of the timeline
01:03:56
or rendering and out range,
01:03:58
that is, if I put oh here and here
01:04:01
and then accordingly I will
01:04:03
only render this area and
01:04:05
accordingly this will be
01:04:07
displayed here in out let's figure out
01:04:10
what we need to set in the settings
01:04:12
of course at the top we have presets
01:04:14
presets for YouTube for vimeo and visible
01:04:18
better quality on twitter and
01:04:22
I don't recommend these 10 4 master use
01:04:24
these presets because they don’t have the
01:04:26
advanced settings that are available in
01:04:28
custom mode and let’s look at everything in order
01:04:29
here it’s clear the name of our
01:04:32
render here the folder in which it will be
01:04:34
located
01:04:35
we immediately select our project test
01:04:38
export safe then we have the choice to
01:04:41
control this as a single clip or as
01:04:44
separate clips, what's the difference? As you can
01:04:46
see, we have a selected area
01:04:48
repainted in the stomach mustard color in
01:04:51
this mode until the corolla will render
01:04:53
each piece of this clip as a
01:04:55
separate clip and place them in the selected
01:04:58
folder; settings of names that will be
01:05:01
assigned by this file
01:05:02
are located in the file section here you
01:05:05
can choose either a
01:05:06
custom name or the name of the
01:05:08
source, some suffixes and
01:05:10
prefixes, but of course we are interested in
01:05:12
rendering the full video, let's continue with the
01:05:15
settings, video export here the
01:05:17
video settings are important, the format in which we render
01:05:20
its codec, as a rule, you will give
01:05:22
these 200 64 but there are of course opportunities
01:05:25
to do this in a more compensated and
01:05:27
or varnish codecs the encoder is probably the most
01:05:30
important setting that there is
01:05:31
because here either you will
01:05:33
give Veron with the help of Vidya or without its
01:05:35
help since yes Vinci Riess is
01:05:38
generally the software that lives just due to the
01:05:40
video memory of your
01:05:42
GPU, then please choose
01:05:44
here, it’s called video,
01:05:47
select the final resolution and
01:05:49
frame rate, as I said at the beginning, the
01:05:50
frame rate in export cannot be
01:05:53
changed,
01:05:54
it will always be equal to the value
01:05:56
that you set when creating the project,
01:05:59
so again you should always know
01:06:01
at what framerate
01:06:02
you will have the final export, then there is a
01:06:04
bitrate setting and
01:06:05
you can set it to automatic, but of course
01:06:09
it’s better to always have full control over the
01:06:10
bitrate, for example, you output to
01:06:12
YouTube in 4k, you know in the past you need
01:06:14
around 25 20 megabits per second, then we
01:06:17
I’m interested in nothing
01:06:19
right up to the advanced settings tab and
01:06:22
here a very important section begins,
01:06:24
in fact we can use all our
01:06:26
goodies from the previous section
01:06:29
as a render for the final
01:06:31
output video and hugging media and
01:06:33
proxy media and all the render cache and we can
01:06:36
use it, we definitely put
01:06:38
checkboxes on
01:06:39
force 1 high quality & fast board high
01:06:42
quality this means that if you have
01:06:45
sources of 1 resolution and the project itself and export of
01:06:49
another resolution, for example, you render
01:06:51
and 4k render
01:06:53
but your sources are 1080, that is, they are
01:06:55
essentially stretched, so this checkbox should
01:06:57
do this so that, roughly speaking, your
01:06:59
image does not become heavily colored with
01:07:01
such shelling, and often if you have
01:07:04
problems with rendering, then this checkbox is
01:07:07
your best friend
01:07:08
because you select individual
01:07:10
pieces that slow down, you take them,
01:07:13
put them in a render cache, wait until it
01:07:18
turns blue, come back here and just
01:07:22
click this checkbox and this
01:07:25
section will just instantly
01:07:27
go through on the render now your own,
01:07:28
look further, everything is like this and we’ll
01:07:30
also leave the subtitle settings here if you
01:07:33
use subtitles in the edit tab, then
01:07:35
you need to sew them in how they are
01:07:37
sewn in,
01:07:38
you select the burn format of
01:07:40
this video and in fact, everything in the
01:07:43
audio tab is usually set to
01:07:44
default,
01:07:45
so let’s probably use the renderer to
01:07:47
see in particular how
01:07:49
our machine will cope with this
01:07:52
problematic area, considering that we have checked the user
01:07:55
render cache checkbox, we click on this
01:07:57
final button and the Tatar hole and
01:07:59
look what's going on, we haven't started
01:08:02
rendering, we've added a queue, if I
01:08:05
select, let's say this piece, I'll
01:08:07
call it render 2, now I'll add it too,
01:08:12
nothing happens because the
01:08:13
final button that you have to
01:08:15
click on before the view means it's
01:08:17
rendering is this button and
01:08:18
dependencies What will be rendered will
01:08:21
depend on what will be highlighted in the battle queue;
01:08:24
if I start only at the first point,
01:08:25
which will remind us of our entire timeline, then I
01:08:33
will only render this large timeline; if I click on this one, then I will only render the so-called.
01:08:35
but if I don’t select anything, then
01:08:38
everything will be rendered in turn, starting
01:08:40
from the first task, but let’s click
01:08:42
only on this one and from the wounds dream and let’s
01:08:45
look carefully at the blue area
01:08:47
ten ten ten ten ten ten well, that’s
01:08:49
all, no dulls in fact
01:08:53
and it wasn’t and on this funny trends ren
01:08:55
note we are finishing our
01:08:57
training today da vinci drew 17
01:09:00
but all this is the minimum set of
01:09:03
knowledge that will help you right now
01:09:05
get off the needle prime ob and try to
01:09:08
make at least a couple of projects you da
01:09:10
vinci rissov and if I’m being honest with you,
01:09:12
my personal task on this channel is,
01:09:13
of course, in addition to all the fun engines and
01:09:16
cool projects that we constantly
01:09:18
organize, so I see my task
01:09:20
as popularizing Da Vinci Les
01:09:22
among the Russian-speaking audience because
01:09:24
I sincerely believe that this software
01:09:26
deserves it so that they work in it and there
01:09:29
is also something to file, for example, you
01:09:31
may be missing some plugins
01:09:32
that you are used to working with in other
01:09:34
editing programs, but if you look
01:09:36
at the overall picture, who actually, in terms of
01:09:39
their convenience and optimization, has
01:09:40
already galloped off to Vinci Rez 200 hundred thousand
01:09:43
billion light years a long time ago of the
01:09:44
same prime minister, so be
01:09:47
afraid of the new, be sure to try and don’t be
01:09:49
upset if something doesn’t work out right away, I
01:09:50
understand the program, the new
01:09:52
interface is new and all that, but if
01:09:55
you’re really sad and melancholy and you’re
01:09:56
faced with a complete If you have a misunderstanding, you
01:09:58
can write to me in
01:09:59
direct message and I will definitely answer all
01:10:01
your questions about da Vinci and Rezun, thank you
01:10:04
for watching this tutorial. At the end, the so-called
01:10:07
Zhenya was with you. see you
01:10:11
[music]
01:10:25
[music]

Description:

Курс по DaVinci Resolve с нуля: https://sabatovsky.com/davinci-resolve | https://clck.ru/showcaptcha?cc=1&mt=9DE3279E246B340243B559B403430BE10750E353F72A3D0781A4890C637F2568F27E2C&retpath=aHR0cHM6Ly9jbGNrLnJ1L1hrQXNGPw%2C%2C_d1047137a01c88151b4df16ae81be68c&t=2/1681797156/69fb09cae277c59b1ceb4c120fc6cc00&u=6a534e00-4f316e78-51fb5a12-5861124e&s=01a0b95d8bd33b46832b22cfe7defd9a Бесплатный пак «Карта всех профессий CG» : https://clck.ru/showcaptcha?cc=1&mt=87091114EB3F44D0F05B1489F22B6DCFEF722C31B914A70012400BB45D3BC34C7645DA&retpath=aHR0cHM6Ly9jbGNrLnJ1L1NtbUdTPw%2C%2C_7367a8d27204fb92e97df74945c2a6b6&t=2/1681797156/22440f67294aa71b2842d4f18ff8bed4&u=1ac6ad76-9772258-a048f8db-20dce249&s=bebbb5bcd154ab54769a1b26003c8242 | https://vfx.sabatovsky.com/cg_map/ Сегодня у нас туториал вселенского масштаба, который должен был увидеть свет! Женя Тен проведёт вас в мир DaVinci Resolve 17 — самой нелагающей и мощной монтажки 2021 года, которая очень быстро набирает популярность благодаря постоянной оптимизации от разработчиков и user-friendly интерфейсу. Мы самым подробнейшим образом разобрали интерфейс и функционал всех вкладок и инструментов Давинчи, которые потребуются тебе при переходе на эту монтажную программу. Начиная с создания датабазы и проекта, добавления файлов и создания таймлайна, и заканчивая монтажом, эффектами, созданием прокси, настройками звука и финальным экспортом видоса. У тебя просто НЕТ варианта НЕ НАУЧИТЬСЯ монтировать в DaVinci Resolve Studio 17 после просмотра этого тутора. Поэтому скорее заваривай кофе, открывай монтажку и учись новому! Таймкоды: 00:00 Интро 02:32 Часть 1. Настройка проекта и программы. Создание датабазы 04:48 Важная информация! 06:28 Настройки DaVinci Resolve 17 09:02 Настройки проекта. Шаблоны 12:49 Краткий обзор вкладок 13:55 Часть 2. Вкладка MEDIA. Библиотека файлов 16:11 О вкладке CUT 17:13 Часть 3. Вкладка EDIT. Монтаж 20:16 Создание таймлайна 21:15 Настройки отображения таймлайна 22:32 Добавление файлов на таймлайн 27:47 Горячие клавиши 30:39 Часть 4. Эффекты, Анимация параметров, Работа с текстом 34:55 Анимация параметров 36:22 Работа со скоростью 39:44 Effects Library 41:06 Работа с текстом. Text и Text+ 43:24 Про вкладки FUSION и COLOR 46:17 Часть 5. Работа со звуком. Вкладка FAIRLIGHT 48:07 Настройка звук в FAIRLIGHT 53:17 Часть 6. Оптимизация монтажа. Proxy, Cache, Render in Place 54:42 Timeline Proxy Mode 55:44 Proxy или Optimized Media? 56:42 Создание Proxy 57:31 Render Cache 1:00:14 Render in Place 1:03:16 Часть 7. Вкладка DELIVER. Экспорт проекта 1:09:00 Выводы ► Нужен крутой продакшн? Тебе сюда - https://clck.ru/showcaptcha?cc=1&mt=C80EC5ACFC4B9F075F1AC973C34BD509BCC787617B71AE85917F7C4047895B20B7043D&retpath=aHR0cHM6Ly9jbGNrLnJ1L3E3eHdEPw%2C%2C_07f76712f492565dbf605bc26e2513d1&t=2/1681797156/963e8a2f45bb0a231f2d1472a2fec385&u=35d4345b-786c7d8e-3f0c132e-d1791a6&s=877cdc3507df28c43c661547b9e33894 А также не забудь заглянуть сюда: ► VKontakte: https://vk.com/khsfilms ► Facebook: https://www.facebook.com/unsupportedbrowser ► Наш instagram: https://www.facebook.com/unsupportedbrowser ► По вопросам сотрудничества: [email protected] Production Music courtesy of Epidemic Sound

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