Download "Introduction to DaVinci Resolve - [Full Course] for Beginners (2024)"
Please wait. We're preparing links for easy ad-free video watching and downloading.
Table of contents
Similar videos from our catalog
%3Aformat(webp)%2Fi.ytimg.com%252Fvi_webp%252FsMO0eUDmqnU%252Fmaxresdefault.webp&w=1139&q=75)
%3Aformat(webp)%2Fi.ytimg.com%252Fvi%252F8oZJf7DFJhw%252Fmaxresdefault.jpg&w=1139&q=75)
%3Aformat(webp)%2Fi.ytimg.com%252Fvi_webp%252FKdTX3L2wRXI%252Fmaxresdefault.webp&w=1139&q=75)
%3Aformat(webp)%2Fi.ytimg.com%252Fvi%252FU9kjjsU7b_4%252Fsd2.jpg%253Fsqp%253D-oaymwEoCIAFEOAD8quKqQMcGADwAQH4Ac4FgAKACooCDAgAEAEYPCBOKH8wDw%253D%253D%2526rs%253DAOn4CLDV1kTfiSj0lXbQggsKV2iMKZAy7Q&w=1139&q=75)
%3Aformat(webp)%2Fi.ytimg.com%252Fvi%252FeWp5C7WDnwU%252Fmaxresdefault.jpg&w=1139&q=75)
%3Aformat(webp)%2Fi.ytimg.com%252Fvi%252FuxgnweFrp_g%252Fsddefault.jpg&w=1139&q=75)
%3Aformat(webp)%2Fi.ytimg.com%252Fvi%252FyzJ2VyYkmaA%252Fmaxresdefault.jpg&w=1139&q=75)
%3Aformat(webp)%2Fi.ytimg.com%252Fvi_webp%252FE4Qoe43YYDU%252Fmaxresdefault.webp&w=1139&q=75)
%3Aformat(webp)%2Fi.ytimg.com%252Fvi_webp%252Fdpx0rnXOOYU%252Fmaxresdefault.webp&w=1139&q=75)
%3Aformat(webp)%2Fi.ytimg.com%252Fvi_webp%252FRwMnRbDNm74%252Fmaxresdefault.webp&w=1139&q=75)
Video tags
Subtitles
Russian
00:00:00
I designed this to be literally the best00:00:02
resolve video on the internet at the end00:00:04
of this video you'll be able to create00:00:06
your own projects and D Vinci resolve00:00:08
and you're going to know the basics of00:00:09
every step in the process from importing00:00:12
media to making a rough cut to polishing00:00:14
your story to adding visual effects and00:00:16
Graphics color grading audio mixing and00:00:19
all the way into final render I'm going00:00:21
to move really slow and show you every00:00:23
step and you can even download Media and00:00:25
follow along with me just click the00:00:27
download Media Link Down Below in the00:00:29
description there are two versions of00:00:31
resolve there's the paid version which00:00:32
is $300 and the free version which is00:00:35
free and you should be able to use the00:00:37
free version of resolve to do pretty00:00:39
much everything in this video this is00:00:40
essentially a course that we've offered00:00:42
on ground control for the last couple00:00:44
years called introduction to D Vinci00:00:45
resolve but we've decided to update the00:00:47
course and put it here on YouTube00:00:49
absolutely free why is that well my00:00:52
specialty and what we do at Ground00:00:54
Control is we teach Fusion we teach the00:00:56
fusion page of resolve that's making00:00:58
effects and graphics and fancy stuff for00:01:00
your videos and it's an amazing part of00:01:02
the app but there's kind of a decent00:01:04
learning curve that's why we have an00:01:05
in-depth beginner Fusion course called00:01:07
Fusion Zero to Hero we've brought00:01:09
hundreds of students through that course00:01:11
and we're convinced it's the very best00:01:13
way to learn Fusion when you're ready00:01:15
but if you don't know resolve you're not00:01:16
really ready to learn Fusion yet so my00:01:18
hope is that you'll pick up resolve and00:01:20
you'll start to love it and use it to00:01:22
make videos every day and pretty soon00:01:25
you're going to want to learn Fusion00:01:26
that's where we can really help you out00:01:27
for now if you're just getting started00:01:29
with resols my name is Casey and I've00:01:32
helped people over the last 10 years00:01:33
like millions of people learn how to use00:01:36
resolve and I'm really excited to dig in00:01:38
and have some fun so let's go so before00:01:41
we dive in here's what you need first of00:01:43
all to use resolve you need a pretty00:01:45
darn good system and I know pretty darn00:01:47
good is subjective but we're talking00:01:49
about like a mid-range gaming PC00:01:52
something with a good graphics card one00:01:54
of the later Macs like a M1 or M2 Mac00:01:58
something that's pretty beefy you don't00:01:59
want to want to try to use resolve on an00:02:01
underpowered computer you're just going00:02:03
to have a bad time and resolve likes00:02:05
resources that's really the only bad00:02:06
side about resolve is you have to have a00:02:08
really good system so that's a00:02:10
prerequisite next thing is you got to00:02:12
download resolve you can go to00:02:13
Blackmagic design.com ssupport and00:02:16
scroll down here under latest downloads00:02:17
and somewhere around here you should00:02:18
find the latest version of D Vinci00:02:20
resolve in this course I'm going to be00:02:22
using resolve00:02:23
18.64 and you can get the free version00:02:25
and follow along or you can get the00:02:27
studio version I'm going to be using the00:02:28
studio version but most what I'm doing00:02:30
is exactly the same in the free version00:02:32
and if it's not I'll tell you the other00:02:34
thing that's going to be helpful is a00:02:35
little bit of knowledge of editing and00:02:38
how video production works and media and00:02:40
that kind of thing that's going to do00:02:42
nothing but help you on your resolve00:02:44
Journey here if you've used other video00:02:46
editing apps or even if you've done00:02:47
something like edit audio or you've made00:02:49
music anything with tracks and a00:02:51
timeline that's going to really help00:02:53
however we are going to go really slow00:02:55
and I'm going to try and explain00:02:56
everything the best I can even for00:02:57
beginners but just saying the other00:03:00
thing is time this is going to be a00:03:01
decent chunk of time a lot longer than00:03:03
this video is going to take because you00:03:05
will need to put in some time to00:03:07
practice to actually get these Concepts00:03:09
so if you have these first two That's00:03:11
essential if you have a little bit of00:03:13
knowledge of how some Media stuff works00:03:15
and the time to put in you are going to00:03:17
do great now if you want to follow along00:03:19
with me you can click the link down in00:03:22
the description it's going to be one of00:03:23
the first links and it's going to say00:03:25
download project and media files here00:03:27
and that'll take you to a page where you00:03:28
can sign up to download a zip file that00:03:30
includes a drra now this Dr file is a d00:03:34
Vinci resolve archive and it's basically00:03:36
just a folder that contains the project00:03:39
file as well as the media files now the00:03:41
project file in resolve is just the00:03:44
project itself with the timelines bins00:03:46
edits compositions color grades all of00:03:48
the kind of data on the things that00:03:50
you've changed the things that you're00:03:52
actually working on and the project file00:03:53
is really really small the media files00:03:55
are the things that are really big so00:03:57
things like video clips audio clips00:03:59
photos sound effects that kind of thing00:04:01
and that stuff is separate from the00:04:03
project file but in this case for our00:04:06
download here it's all put in one folder00:04:08
that's renamed a drra file you can00:04:10
double click on this Dr file and it'll00:04:12
open up in resolve and it should look00:04:14
something like this once it does you can00:04:16
double click it to open it and you00:04:17
should have a project that looks00:04:19
something like this and you'll be able00:04:21
to follow along with me again this file00:04:23
is going to be in a zip file and so00:04:25
you'll need to unzip the file then00:04:27
double click on this or on this screen00:04:29
and resolve you can rightclick and go to00:04:31
restore project archive then you can00:04:33
find thisd folder and hit open and00:04:36
that'll open it just like that so with00:04:38
all of that you should be set to follow00:04:39
along now if you're looking at this and00:04:41
you're like gosh there's just a lot here00:04:43
and I don't even know where to start00:04:44
before we even dive into the interface00:04:47
let's just take a step back here and00:04:49
take a look at what the heck we're even00:04:50
trying to do in this whole learning00:04:52
resolve thing first of all what is00:04:55
resolve well resolve is an endtoend00:04:57
post- production program and it lets you00:05:00
do I mean all of this stuff that you see00:05:02
here all of these Hollywood movies have00:05:04
been edited or at least color graded00:05:06
inside of Da Vinci resolve and I mean00:05:08
obviously it's a very professional very00:05:11
awesome tool to use to create any kind00:05:13
of video or film or TV show or whatever00:05:16
you want to make as far as media and the00:05:18
big idea here is that all of these post-00:05:21
production things that you would have to00:05:23
do to make a movie you can do all inside00:05:25
of one app from your basic edits to00:05:28
color grading to audio mixing and fair00:05:31
light to compositing infusion all of00:05:33
that stuff lives inside of resolve so00:05:35
you don't have to go to separate apps00:05:37
you don't have to round trip into you00:05:40
know a different Suite of software I you00:05:42
know some kind of Suite that lets you be00:05:45
creative I you know if there were such a00:05:47
thing uh might do it differently but I00:05:50
think this is the real advantage to00:05:51
resolve is it's everything you need all00:05:54
in one place what's also really cool is00:05:56
that you can collaborate with people00:05:58
that you're working with over the00:06:00
Internet or through your network and you00:06:01
can all share a project file and you can00:06:04
all work on it at the same time so in00:06:05
this little example this guy's working00:06:07
on Fusion stuff while this person's00:06:09
doing color and another person can be00:06:12
editing or working with media and this00:06:14
can all happen on the same project at00:06:16
the same time and so it really00:06:17
simplifies a lot of the headaches that00:06:19
you would have to go through to work on00:06:21
a big project with a team but resolve is00:06:23
also awesome if you're just working by00:06:24
yourself the interface is broken up into00:06:26
different pages and each page has a00:06:29
different job for post-production so the00:06:31
cut and the edit Pages have to do with00:06:33
actually putting your story together the00:06:35
color page is for color correction the00:06:37
fusion page is for doing compositing and00:06:39
effects and explosions and all of those00:06:42
fancy things and fairlite is for getting00:06:44
really detailed with your audio mix and00:06:46
so these different tasks are laid out00:06:48
from left to right in the app in sort of00:06:50
the order that you would take when00:06:53
you're actually creating something00:06:54
starts with media and you would import00:06:56
your media your your video and your00:06:58
audio and put it in your your project00:07:00
and then you would edit it and put your00:07:01
story together then you do the effects00:07:03
then you do the color correction then00:07:04
you do the audio mix and then finally00:07:06
you would deliver it you would render it00:07:08
out for other people to see and so I00:07:10
love resolve I use it for my everyday00:07:12
work been using it for years and it's a00:07:14
really wonderfully designed tool to00:07:16
create YouTube videos television shows00:07:19
music videos I mean even Hollywood00:07:20
movies it just has all the tools you00:07:22
need all in one place and almost00:07:24
everything is available in the free00:07:26
version which is just nuts pretty much00:07:28
all of the Advanced color correction00:07:31
tools and all the awesome stuff you can00:07:33
do in Fusion all the super powerful00:07:35
audio mixing and fair light as well as00:07:36
The Rock Solid editing and resolve are00:07:39
available in the free version without00:07:40
any watermarks or trial periods or00:07:42
anything like that it's just free it's00:07:44
just awesome there's all kinds of cool00:07:46
hardware and stuff that works with the00:07:48
resolve software there's hardware for00:07:50
editing and for color and even some00:07:52
super crazy stuff for audio mixing comes00:07:54
in two versions the free version and the00:07:56
paid version the paid version is 295 the00:07:58
free version is free and you may be00:08:00
wondering okay the free version what's00:08:02
the catch there isn't really a lot of00:08:04
catch honestly it can do so much you can00:08:07
render up to Ultra HD has all the color00:08:09
and it has so much in it oh my gosh you00:08:12
can use it for commercial work it's00:08:13
amazing but with the studio you buy it00:08:15
one time it's $295 and it just gives you00:08:18
a little more of the fanciness it has00:08:19
some more effects it has some film grain00:08:21
it supports 10bit video it has00:08:23
resolutions Beyond 4K and it has some00:08:25
really cool different AI driven effects00:08:27
and things like that it's definitely00:08:29
worth it to pay the onetime fee of$ 2.9500:08:31
and you get free updates too which is00:08:33
just crazy like I bought my studio00:08:35
version back in I think resolve 9 and00:08:37
I've been using the same license and now00:08:40
we're on resolve 18.6 crazy so yeah if00:08:42
you don't know if you should get the00:08:44
studio or not just get the free version00:08:45
and play around with it and if you run00:08:47
across a feature that is only in the00:08:48
paid version it'll tell you and if you00:08:50
just keep running into those features00:08:52
then consider getting the paid version00:08:53
but until then just use the free version00:08:55
you're going to love it so with all that00:08:57
out of the way let's dive into resolve00:08:59
the first thing that you'll see when you00:09:01
open resolve is something like this this00:09:04
window here is called your project00:09:06
manager this is where you can open00:09:07
projects you can make new projects a lot00:09:09
of stuff can happen if you rightclick on00:09:11
the empty space here there's new project00:09:13
new folder import project restore00:09:15
project archive which we already talked00:09:16
about and so this is where you'll you00:09:17
know open a new project and save things00:09:19
and that kind of thing now all of these00:09:21
projects they live on a database or as00:09:23
they call it a library nowadays you can00:09:26
go over here on the left and click add00:09:28
project library and you can tell it00:09:29
where to put the project library and00:09:31
it's just a folder that lives on your00:09:33
hard drive where it puts all of your00:09:34
project files all the project files and00:09:36
everything are really small so you can00:09:38
kind of put it wherever is good for you00:09:40
but all of your projects are going to00:09:41
live in that folder now this is kind of00:09:43
weird for some people who might be used00:09:45
to keeping their project on a certain00:09:47
folder along with their media files and00:09:50
doing their own project management but00:09:52
it's really not that big of a deal you00:09:54
can organize your projects here and it00:09:55
keeps them all on the same folder and00:09:57
then you have your media files wherever00:09:59
you want on your system you can keep00:10:01
those on a separate hard drive and that00:10:02
kind of thing so if you have a big00:10:04
external hard drive or a Nas or00:10:05
something like that all your media files00:10:08
stay on that part of the hard drive and00:10:10
your projects all live in the library00:10:12
for resolve if you do want to save out a00:10:15
project and put it somewhere specific00:10:17
you can right click on a project and go00:10:19
to export project and that'll save a DRP00:10:22
file which is a diviny resolve project00:10:24
and then you can save that wherever you00:10:25
want and then that's the way that you00:10:27
could give a project to somebody else or00:10:29
you know you can back it up and that00:10:30
kind of thing so it's easy to do that00:10:32
it's just you're kind of making a copy00:10:33
of that project rather than actually00:10:35
keeping the project itself on a separate00:10:37
drive if you have any questions about00:10:39
that leave them in the comments below00:10:40
cuz I know that part can be kind of00:10:42
tricky for some people one other thing00:10:43
to notice about this project manager is00:10:46
up here on the left it says local now00:10:48
that means that this is on the project00:10:50
Library that's on your system but if you00:10:53
go over to these other tabs there's00:10:54
Network and cloud and we'll skip Network00:10:57
for this video but if you click on cloud00:10:59
this will actually open up libraries00:11:01
that you have shared on the Blackmagic00:11:03
Cloud so in order to share a library you00:11:05
have to make a library with your black00:11:06
magic account it's five bucks a month00:11:08
but you can share this with as many00:11:10
people as you want and they can all work00:11:12
on the same project with you from across00:11:14
the hallway or across the world pretty00:11:15
crazy and it works exactly the same as00:11:18
what we're going to be doing just on the00:11:19
local but it's on the cloud and there00:11:21
are some collaboration features and that00:11:22
kind of thing that we can get into later00:11:24
but it's actually really nice really00:11:26
wellth thought out system for sharing00:11:28
projects but I'm just going to switch00:11:29
back to local and doubleclick on our00:11:32
project to open it up and when you open00:11:33
your project it should open up in the00:11:35
edit page or possibly sometimes the cut00:11:37
page I think a new project by default00:11:39
opens in the cut page but this project00:11:40
that you download might open up in the00:11:42
edit page kind of depends on like what00:11:43
page you had open when you saved this00:11:45
out or when you closed it but let's take00:11:47
a look at the layout of resolve biggest00:11:50
thing to notice right now is this lower00:11:52
bar down here we have the page buttons00:11:54
and when you click on any of these00:11:56
buttons it will switch out the entire00:11:58
interface for a different page so right00:12:00
now I'm in the edit page but if I switch00:12:02
over to the media page that switches to00:12:03
Media mode if I switch to Fusion that00:12:05
switches over to fusion color Fair light00:12:08
that kind of thing and each of these00:12:10
pages is sort of like opening up a00:12:12
completely different app so they're00:12:14
specialized for a certain00:12:15
post-production task just like you might00:12:17
open up a dedicated audio program to00:12:20
work on your audio you go to Fair light00:12:22
to work on your audio for your project00:12:24
but the big Advantage here is that all00:12:26
of these Pages share the same timeline00:12:29
and so here we can see we have our edit00:12:32
with the kids looking at the little00:12:33
alien puppet guy and if I switch over to00:12:35
color this is the exact same timeline00:12:37
but in the color page and so I don't00:12:39
have to export anything I don't have to00:12:41
convert anything if I want to do the00:12:43
audio for this one I can just switch00:12:44
over to Fair light and I can zoom this00:12:46
in and really start working with the00:12:48
audio and so that's a really important00:12:50
concept for resolve is that all of these00:12:53
Pages they share the same timeline and00:12:56
by default it's whatever timeline you00:12:58
have open in this page if you switch to00:13:00
a different page that's going to open00:13:01
the same timeline in the next page so I00:13:03
have color page start here but if I00:13:05
switch to edit page start that's going00:13:07
to be a different timeline which00:13:08
actually doesn't have anything and I00:13:10
switch over to color there's nothing00:13:11
there Fair light there's nothing there I00:13:12
can switch timelines by going up here to00:13:14
the upper right above our viewer and I00:13:16
can pick which timeline I want that's00:13:18
going to show me the most recent00:13:19
timelines that I've opened and this00:13:21
project only has a few timelines so we00:13:23
can see all of them but I can also go00:13:25
over here to my media pool on the left00:13:27
in my edit page and I can find my00:13:29
different timelines and double click on00:13:30
them from the media pool to open those00:13:32
up I want to point out one really00:13:34
important thing before we just dive in00:13:36
here in the lower right there's this00:13:37
settings Cog this is the project00:13:39
settings this is very important if you00:13:41
click on Project settings that brings up00:13:43
all the settings that you want to make00:13:45
sure you get right kind of before you00:13:47
get started that's the best way to do it00:13:49
there's ways to kind of mess with this00:13:51
if you've already done some editing and00:13:52
everything but for the most part you00:13:54
want to make sure that your timeline00:13:55
resolution is what you want mine is set00:13:57
at 1920 x 800 because we have this00:13:59
widescreen footage timeline frame rate00:14:01
is 23976 which is what we shot at and I00:14:04
definitely recommend opening this up and00:14:06
playing it around and just looking at00:14:08
all of the stuff you don't have to00:14:10
understand all of it but go through here00:14:12
and look at some of these things because00:14:14
that will just help you get familiar00:14:15
with where some of these little annoying00:14:18
things that you might need to you know00:14:19
switch a tick box or something this is00:14:21
where a lot of those things are now00:14:23
these settings have to do with just your00:14:25
project that's why it's called the00:14:27
project settings so this is like you00:14:29
know how big is the resolution of the00:14:31
timeline and what's the frame rate and00:14:33
if I put a smaller piece of footage into00:14:36
this timeline what does it do does it00:14:38
stretch up to fill the frame or does it00:14:40
just leave it alone all of that kind of00:14:42
stuff is controlled here in the project00:14:44
settings and we'll be coming back to00:14:46
this a couple times I'm sure if this00:14:47
seems overwhelming for now don't worry00:14:49
about it too much but one thing to00:14:50
mention is if I click on this house I00:14:52
can open up the project manager I'm00:14:54
going to right click and say new project00:14:56
I'll just say Untitled project when00:14:58
you're looking at a blank project like00:15:00
this it's a good idea just to go into00:15:01
the project settings and set your00:15:03
resolution if you want to work at you00:15:05
know UHD switch it to UHD if you want to00:15:07
do 24 for your frame rate kind of get00:15:09
that all set up if you're going to work00:15:11
with color management like we'll talk00:15:13
about later now is a good time to set00:15:14
that up really before you do anything00:15:16
else and I'd say probably the most00:15:18
important thing is the timeline frame00:15:20
rate make sure that you set your frame00:15:22
rate right because it's annoying to00:15:23
change this later the resolution is not00:15:26
that big of a deal a lot of the other00:15:27
things aren't that big of a deal but the00:15:28
timeline frame rate kind of a big deal00:15:30
make sure to get that right and if you00:15:31
don't know what get it right means it's00:15:33
probably the same frame rate as you shot00:15:34
at and if you don't know what frame rate00:15:36
you shot at well you should probably pay00:15:38
attention to that because different00:15:39
frame rates give you different looks00:15:41
we'll take a look at how to find a piece00:15:43
of media's frame rate here later but for00:15:45
now I'm going to switch back over to our00:15:47
other project here our downloaded00:15:49
project and let's just work through00:15:50
these pages so we're going to start at00:15:52
the very left with the media page just00:15:54
click on that that'll open that up and00:15:56
here's kind of the big concept here the00:15:58
med media page is designed to be a00:16:00
workspace where you import media and you00:16:03
manage it and you rename things and00:16:05
organize things and kind of get your00:16:08
Affairs in order before you start00:16:09
editing you don't really have to use the00:16:12
media page you could just stay in the00:16:13
edit page and drag your media right into00:16:16
the timeline and kind of start working00:16:17
here but it is a nice way to be able to00:16:20
just preview media that's on your hard00:16:22
drive before you even have it imported00:16:24
into your project and it gives you a00:16:26
nice big interface to be able to go00:16:27
through your folder00:16:29
and look at all your footage organize00:16:31
things and look at all of the data and00:16:33
the properties of every clip and if00:16:35
you're into getting organized you're00:16:36
going to be good friends with the media00:16:38
page so let's kind of break this down in00:16:40
the upper leand corner we have our media00:16:43
storage panel that's this part right00:16:45
here and in this little list here you00:16:48
can look at all of the hard drives on00:16:49
your system and you can twirl down the00:16:51
folder structures and you can preview00:16:53
any of the media that's on your computer00:16:56
if you double click on a piece of media00:16:57
that's going to open open it up here in00:16:59
this viewer and you can scrub this and00:17:01
play it back you can turn on the sound00:17:03
if it has sound play that back and so00:17:04
this is actually a really nice way to go00:17:06
through and just see what footage you00:17:08
have available if you Mouse over any of00:17:10
these thumbnails you can kind of scrub00:17:13
through the footage really easily you00:17:14
can just kind of quickly look through00:17:16
what you have you can grab this little00:17:17
slider up here and make these previews a00:17:19
little bigger or you can make them00:17:21
smaller depending on what you want to do00:17:23
and this works for video as well as00:17:25
audio you can scrub through your audio00:17:27
like this double click it to to bring it00:17:29
up here in the00:17:30
viewer and yeah just a nice way to00:17:32
preview things but so far none of this00:17:35
media is actually in our project we00:17:37
haven't imported it at all it's just on00:17:39
our system now the media always stays on00:17:42
our system we don't make copies of the00:17:44
media or anything we haven't really00:17:46
added it to our project like we haven't00:17:48
told the project that we want to use it00:17:50
if we do want to add something to our00:17:52
project we can just grab it and drag it00:17:53
down here to this lower part which is00:17:55
our media pool now the media pool looks00:17:58
a lot like this media storage right here00:18:01
the difference is that this media pool00:18:04
is a list of organized media that's00:18:07
added to our project so this is the00:18:08
media that we actually are going to use00:18:11
we've told resolve that we don't want to00:18:12
just look at this media on our hard00:18:14
drive we're going to take this and we're00:18:16
going to put it in a timeline we're00:18:17
going to work with it and actually edit00:18:19
it you can't work with something in00:18:21
resolve until you've imported it into00:18:23
resolve and anything that you have00:18:25
imported goes into the media pool okay00:18:27
so this is all the footage and media and00:18:29
everything that we have in our sample00:18:31
project here and the media Pool Works00:18:33
very similar to the media storage you00:18:35
can Mouse over things and it gives you a00:18:36
little preview you can double click on00:18:38
them to open it up in the viewer and you00:18:40
can scrub through you can make these00:18:41
thumbnails bigger or smaller you can00:18:42
switch it to list view or metadata View00:18:45
and you can look at all the you know00:18:46
time code information and all of that00:18:48
stuff for all of this footage and so00:18:50
yeah you can get really detailed with00:18:51
this stuff in list view I like that you00:18:54
can look at all of these different00:18:55
properties sort of in a spreadsheet here00:18:57
you can right click click on this top00:18:59
part and change the different columns00:19:01
that you want to show and man you can00:19:02
just get really deep we could make this00:19:03
whole course just on the media pool but00:19:06
again all of this footage is actually00:19:07
imported into the project now that means00:19:09
we can work with it so we've learned00:19:11
about three panels so far the media00:19:13
storage which is just the media that's00:19:15
on your system that you can preview here00:19:17
the viewer where you can preview things00:19:19
and the media pool which has all of the00:19:21
media that you've put into the project00:19:24
not copied out of the folders on your00:19:25
system but you're just telling resolve00:19:27
that you want to use it kind of adding00:19:29
it to a to-do list almost in the upper00:19:31
right we'll see we have these little00:19:33
buttons up here and some of them are00:19:34
white and some of them are gray if one00:19:36
of these little headings is white it00:19:37
means that its panel is showing right00:19:40
now so audio when it's white it has the00:19:42
meters and the waveform available and00:19:45
when I click it it turns gray and it00:19:46
closes that panel same thing with00:19:48
metadata I have metadata open right now00:19:50
and if I click that it closes it and00:19:52
just makes room for the other panels and00:19:54
that's how a lot of stuff in resolve00:19:55
works is there's these buttons up here00:19:58
and it opens and closes the different00:19:59
panels now you can't grab the panels and00:20:02
rearrange them like you can in other00:20:03
software and I actually really like that00:20:06
because that means that I can't ever00:20:07
lose a panel it's always in the same00:20:09
place so in the media page the metadata00:20:11
panel is always here on the right now00:20:13
metadata panel is if you double click on00:20:15
a piece of footage that'll open that up00:20:18
here in the metadata panel and it will00:20:19
tell you all kinds of fancy information00:20:21
about it bit depth and field dominance00:20:23
and all these really really nerdy things00:20:25
and you can even look for more nerdy00:20:27
things if you click on this little list00:20:29
arrow button there's all these different00:20:31
categories of information here and I00:20:33
like to switch it to shot and scene00:20:35
because this is where you can kind of00:20:37
write notes and categorize things and so00:20:39
I can write a description of whatever00:20:41
this is so it's you know roasting00:20:43
marshmallows on the fire and I can put00:20:45
in comments and keywords all kinds of00:20:47
things I can color code this clip and I00:20:49
can even put in data about what shot00:20:51
this was what scene what take and angle00:20:53
whether it's day or night and I can00:20:55
really just kind of log my footage here00:20:57
which for some projects might be totally00:20:58
Overkill and some projects might be00:21:00
really good but you have the ability to00:21:02
get organized based on each piece of00:21:05
media right here in the metadata panel00:21:07
so depending on how much information we00:21:09
have and how much information we really00:21:11
want to log and get organized we can00:21:13
fill all this stuff in another panel is00:21:16
the inspector panel the inspector this00:21:18
is a really important panel this00:21:20
controls the properties of whatever we00:21:22
have selected there is a version of the00:21:24
inspector in just about every page of00:21:26
resolve so anything that you have00:21:27
selected you adjust the properties of in00:21:29
the inspector and we're going to be00:21:31
dealing with this a lot but just as a00:21:33
little intro you can select a piece of00:21:35
media here in the media pool and zoom it00:21:37
in and kind of change its zoom and its00:21:39
position and everything here in the00:21:40
media pool even before you add this to a00:21:43
timeline and so you know that if you00:21:45
really want this zoomed in like this and00:21:47
you're never going to use the wider shot00:21:48
you can just do this while you're kind00:21:50
of organizing your media and that might00:21:51
be helpful of course you can always00:21:53
reset things by clicking this little00:21:55
circle Arrow either the individual00:21:57
property here next to these properties00:21:59
or the circle Arrow Plus in the upper00:22:01
right hand corner to reset everything00:22:03
and with any of these controls I can00:22:04
just grab this little text box and drag00:22:07
left and right to change that value I00:22:09
can hold alt to move a little bit slower00:22:11
have a little bit finer control I can00:22:13
also just double click on this and then00:22:15
type it you know 0. five like that and00:22:17
that works with pretty much every kind00:22:18
of control in resolve we also have a00:22:20
capture panel which has to do with00:22:22
actually capturing things from a film00:22:24
scanner or a tape deck and we're not00:22:25
going to get into that today mostly what00:22:27
you need is the inspector the metadata00:22:29
panel and the media pool so yeah to00:22:31
import things into resolve you can go to00:22:33
the media storage and drag it in from00:22:35
the media storage like that into the00:22:36
media pool you can also take footage00:22:39
just from your Explorer or finder window00:22:42
and just drag this right into the media00:22:43
pool like this and it does pretty much00:22:45
the same thing now one thing you might00:22:47
want to do in the media page is get00:22:48
organized so you see how everything is00:22:51
kind of put in these folders here these00:22:53
are called bins and so if you right00:22:55
click in the empty space in this context00:22:57
menu you could say new bin and that'll00:22:59
just make a blank folder here and we'll00:23:00
call this a camping footage just a00:23:03
reminder you guys aren't going to have00:23:04
this footage right here this is just00:23:05
sort of a little demonstration here you00:23:07
can select any footage you want to put00:23:09
in the folder and just drag it in like00:23:10
that double click on the folder to open00:23:12
that up and then it adds it to this list00:23:14
here this is the bin list and you can00:23:16
quickly jump to any bin just by00:23:18
selecting the bin like that now you can00:23:20
make your own bins like this but there's00:23:22
also something called smart bins now00:23:23
smart bins are really cool by default00:23:25
there's a couple of smart bins happening00:23:27
if I twirl down collections here it'll00:23:29
automatically kind of smart sort some of00:23:31
my media so here's video clips here's00:23:33
things with just audio and if you have00:23:35
the studio version of resolve you can00:23:37
right click on any piece of media and go00:23:39
to audio classification analyze and that00:23:41
will think about what kind of audio this00:23:44
is and it will put it into the correct00:23:46
category so this toilet flush would be00:23:48
an effect right if I go to this upset00:23:50
mom. wve go to audio classification00:23:52
Analyze This is mostly dialogue and if I00:23:54
switch over here it's put this in the00:23:56
dialogue folder because it's mostly dial00:23:57
dialog and so that can be really helpful00:23:59
to kind of get yourself organized just00:24:01
with those automatic kind of things so I00:24:03
can just shift select all of this right00:24:05
click say audio classification analyze00:24:07
again this is only in the paid version00:24:09
of resolve it does this it's not00:24:10
essential but it is kind of cool and if00:24:12
I go down here to subcategories there's00:24:14
all these subcategories that it makes00:24:16
and it's pretty fun so like here's ones00:24:17
with a lot of breathing here's ones with00:24:19
bodily functions here's one from a boat00:24:22
apparently it thinks that there's boat00:24:24
sounds or cattle sounds and so it's not00:24:26
perfect but it's kind of fun to see what00:24:28
it thinks your audio contains right so00:24:30
it thinks there's pigs and livestock and00:24:32
sheep and everything so I don't know if00:24:35
it's look there's toilet flushing though00:24:37
we got toilet flushing rocked that was00:24:39
amazing at toilet flushing so am00:24:41
I and so that's kind of a cool thing you00:24:44
can also I'll just twirl up this00:24:45
collections here if you right click00:24:47
under smart bins you can say add smart00:24:49
bin you can make a smart bin based on00:24:52
properties that you want to sort by it00:24:55
doesn't really add these to a bin just00:24:57
like you would normally add it to a00:24:59
folder where it just kind of moves this00:25:01
piece of media into the folder in the00:25:03
media pool it actually is more like a00:25:05
filter just kind of like these00:25:07
collections are it's sort of like a00:25:08
search filter so all of this audio isn't00:25:10
really in the dialogue bin it's just00:25:12
sorted by dialogue you can make a smart00:25:14
bin if I say add smart bin and I could00:25:17
do something like media pool properties00:25:19
file name contains let's just say GC for00:25:21
a ground control and that's going to00:25:23
search for anything with GC in the name00:25:25
and it's going to put those all together00:25:27
right and you can even drill this down00:25:29
more so anything that has GC in the name00:25:32
and you know with shot and scene let's00:25:34
say the scene is scene one so none of00:25:37
that actually is tagged as scene one but00:25:39
if I create this and then I go to my00:25:41
media let's just grab something that00:25:42
says GC GC house door open we can go to00:25:45
scene and say scene one like this and00:25:47
then now in our smart bin we have GC00:25:50
with scene one and so we can get really00:25:52
crazy and get super organized and if00:25:54
you're an OCD person oh baby you can00:25:57
just go go nuts so much fun another cool00:25:59
thing that's sort of related to this is00:26:01
you can do keywords so if we were to go00:26:03
through here if I hold control select00:26:05
all of these and say check and say drop00:26:07
like this and hit save we should all00:26:09
have the drop keyword on them yep under00:26:12
our smart bins if I click on keywords00:26:14
and then twirl this down we're going to00:26:15
have keywords for various different00:26:17
things so anything that has the keyword00:26:19
drop will be in those smart bins we have00:26:21
some keywords added for Clips with our00:26:23
actress Gwen we have things tagged as00:26:25
wide angle and so definitely play around00:26:28
with this way of making smart bins00:26:30
because especially if you have a bigger00:26:31
project than this it's really helpful to00:26:33
be able to organize things like this so00:26:35
you can find stuff quickly organize00:26:37
stuff by scene that kind of thing I'll00:26:38
show you one other cool thing in the00:26:40
media page before we get into the other00:26:42
stuff this has already been done for you00:26:44
but if you double click on a piece of00:26:45
media you can open it up and if you00:26:47
happen to be using a slate you can look00:26:49
at the Slate numbers and so we have00:26:51
scene 4 shot 8 take one and you can go00:26:53
through and listen to your audio and00:26:55
find scene 4 shot 8 take one which is00:26:58
right here and if you have separate00:26:59
audio like this you can control select00:27:01
both the audio that you want to sync and00:27:04
the video that goes along with it and00:27:05
then you can rightclick and go up to00:27:07
autosync audio and then go down to based00:27:09
on waveform and what that will do you00:27:11
just barely even see it is it will00:27:13
figure out where this audio syncs up00:27:16
with the video and then it will link it00:27:18
to it and it will just stick the audio00:27:20
in place of the on camera audio so if I00:27:22
double click on this and play this back00:27:24
go check it00:27:26
out um no you go check it out and so now00:27:30
we have this nice secondary audio synced00:27:33
with the lips and you can rightclick on00:27:35
any of these clips go up to clip00:27:37
attributes to change a bunch of stuff00:27:39
but there's these tabs up top and if I00:27:41
click on this second tab this audio tab00:27:43
after you have it synced it's going to00:27:45
say linked channel one can switch this00:27:46
back to embedded Channel this is just00:27:48
the on camera audio how it was recorded00:27:50
just so we can hear the difference here00:27:52
hit okay bring this up you go check it00:27:56
out f00:27:58
and so now we have the on camera audio00:28:00
which is way worse and again you can00:28:02
right click go up to clip attributes and00:28:04
change this back to link Channel anytime00:28:06
you want and what I like to do is go00:28:08
through the audio in the media page and00:28:10
figure out the scene and shot and type00:28:12
this in for all of my Clips as I import00:28:15
them into the project and so if you have00:28:17
a project with secondary audio like this00:28:19
it can really really save you a lot of00:28:21
headaches later if you just go through00:28:22
and organize them like that and the00:28:23
media page is a great way to do that and00:28:25
then you just match them up right we can00:28:27
switch this to our list View and I can00:28:29
right click on this top part here and00:28:32
we'll just uncheck most of these let's00:28:33
just uncheck almost all of these CU we00:28:35
don't care about most of this we do care00:28:37
about scene shot and take else we'll00:28:40
just we'll keep on synced audio too like00:28:42
this and now we have the shot and the00:28:44
scene and the take and we can organize00:28:47
them by shot and this way if we have00:28:49
everything tagged the two clips that00:28:50
should sync up are going to be right00:28:52
next to each other the audio and the00:28:53
video you can see scene and take are the00:28:55
same thing right click say autosync00:28:57
audio based on waveform Boom sync that00:28:59
up kind of go through here shift select00:29:01
both of these Autos sync audio based on00:29:03
waveform Boom like that and you can go00:29:05
through and sync up everything before00:29:07
you even get to editing and if you have00:29:09
a project like this that has the00:29:10
secondary audio especially something00:29:12
that's like a short film like this this00:29:14
is a really great way to do it no00:29:15
problem but you can go through here and00:29:17
kind of get organized and that's really00:29:18
what the media page is for depending on00:29:21
what you're doing this might be super00:29:22
useful or it might be way Overkill again00:29:25
it's totally okay to skip the media page00:29:27
and just go over to the edit page and00:29:29
that's what we're going to talk about00:29:30
next now let's talk about the edit page00:29:32
of resolve now the edit page is where we00:29:35
put together our story editing is all00:29:38
about telling stories and so when we00:29:41
make our movie we actually put together00:29:44
the series of shots here in the timeline00:29:46
this is sort of like the Hub of all of00:29:49
the things that are going to go into our00:29:51
project everything that the person that00:29:54
is going to watch our movie is going to00:29:55
see has to to be here in the timeline so00:30:00
if you're new to editing I think it's00:30:01
really important to kind of understand00:30:03
this concept I think this is really00:30:05
helpful there is a difference between00:30:07
what really happened in real life or00:30:09
even what was shot if you know you're00:30:11
shooting a narrative or something like00:30:13
that and then the story is we tell it00:30:15
events might have happened in a certain00:30:17
order in real life but then we can00:30:20
change the order as we put them in the00:30:23
timeline and change How The Story Goes00:30:25
so in real life Maybe bill is walking to00:30:28
his car right he opens his front door00:30:30
then he waves to his neighbor then he00:30:32
gets a phone call and then maybe in real00:30:34
life he walks to his car and then gets00:30:36
in the car we can choose to tell our00:30:39
story exactly that way Bill opens the00:30:41
door waves to the neighbor gets a phone00:30:43
call walks to his car gets in the car00:30:45
but we also have the freedom to change00:30:47
things around so for instance we could00:30:50
cut out the whole phone call and then00:30:52
the story is Bill opens his door waves00:30:54
to the neighbor walks to the car gets in00:30:56
the car we could cut out the neighbor00:30:58
part Bill opens the door walks out to00:31:01
his car gets in the car we don't even00:31:04
have to show him walking to the car we00:31:06
could show that he opened the door and00:31:07
then we can assume that he walked to the00:31:09
car and so we have all this Freedom with00:31:11
how we tell our Story in real life maybe00:31:14
we shot Bill getting in the car and00:31:16
walking to his car on day one we shot00:31:20
Bill getting a phone call on day two and00:31:23
we shot him coming out of the door and00:31:25
waving to his neighbor on day three00:31:27
we can put these in a different order00:31:30
and because of the context it changes00:31:31
the story and in resolve here in the00:31:34
timeline that's where we do this so00:31:37
let's take a look at our00:31:45
story w00:31:56
w go check it00:31:59
out um no you go check it00:32:02
out00:32:04
fine00:32:07
okay check it00:32:15
out what was00:32:24
that and so we have our story here the00:32:27
two kids arrive on their bikes drop the00:32:29
bikes and they see00:32:31
something what do they see they see a00:32:34
crashed spaceship then they00:32:38
react and they talk to each00:32:40
other they decide to go check it out so00:32:43
he starts walking toward the spaceship00:32:44
we see his reaction and her00:32:49
reaction and then as they get closer the00:32:52
little door on the spaceship moves and00:32:54
he jumps back and we have the reaction00:32:58
again and that's how the story goes all00:33:01
of this is pieced together from moments00:33:03
that we shot all separately all in00:33:05
different orders and we put these things00:33:08
together to make a story most of these00:33:10
were shot on the same night but for00:33:12
instance this shot was shot a totally00:33:14
different night but it all looks like it00:33:16
works together so I'm harping on this a00:33:18
lot because this is really the main00:33:20
thing that happens in the edit page this00:33:23
is where we put our story together we00:33:24
take all of our unedited media and we00:33:27
put it together to make any sense at all00:33:29
and this is where you'll probably spend00:33:31
most of your time in resolve so let's00:33:33
have a look at the interface here I'm00:33:36
just going to go up to workspace00:33:39
and reset our UI00:33:42
layout so that yours should look a lot00:33:44
like mine and we're going to start with00:33:46
what we already know here on the left00:33:48
side of the screen we have our media00:33:50
pool now this is exactly like the media00:33:52
pool in the media page just instead of00:33:54
down here like this it's over here on00:33:57
the left and we can do a lot of the00:33:59
media management tasks and everything00:34:01
that we would do in the media page right00:34:02
here in the media pool I could right00:34:04
click on the blank space and I have a00:34:06
lot of different options here I can make00:34:08
new timelines I can make a new Fusion00:34:11
composition I can make bins I can import00:34:13
media I can do all kinds of stuff but00:34:15
you can think about this as just like00:34:17
your toolbox all the little pieces that00:34:19
you can assemble live here on the left00:34:21
under the media pool then of course00:34:23
across the bottom we have our timeline00:34:26
and this is where we actually put the00:34:27
clips the video clips and the audio00:34:29
clips that's where we lay out our story00:34:32
in time above that we have our toolbar00:34:35
and this is how you switch out various00:34:36
modes and options ways to interact with00:34:39
Clips little preferences that kind of00:34:41
thing we'll get into that in a little00:34:42
bit and above that we have two viewers00:34:45
the left-and viewer is our source viewer00:34:47
so if we go over here to the media pool00:34:49
double click on a piece of media we can00:34:51
open that up here in our source viewer00:34:54
and we can look at it from beginning to00:34:55
end so this is a a great way to go00:34:58
through a piece of media and decide00:34:59
which parts you like which parts you00:35:01
don't kind of scrub through it see if00:35:03
this is going to work for your movie or00:35:04
not this viewer on the right is our00:35:06
timeline viewer and this is a preview of00:35:09
what you'll actually see when you render00:35:11
your project so as I play this playhead00:35:13
we see it playing right here on the00:35:15
right so this is like what your movie00:35:17
looks like and this one over here is a00:35:21
way to preview the little pieces of00:35:23
media in your media pool up along the00:35:25
top we have several different buttons00:35:29
which open and close panels a couple to00:35:31
note are the effects panel which kind of00:35:33
comes in below the media pool and you00:35:36
can actually just close the media pool00:35:37
to have a bigger effects00:35:39
panel and this is where you can do00:35:41
things like grab titles so I can just00:35:44
select titles and grab some text and00:35:46
drag that00:35:47
in and have some text over your movie00:35:51
there's also different things like00:35:52
different00:35:53
transitions which will go in between00:35:55
Clips here on your time line as you play00:35:57
it back it will give different00:35:59
Transitions and of course there's00:36:01
effects and so you can take an effect00:36:04
and drop it on any clip in the timeline00:36:07
like00:36:08
this and that will apply that effect so00:36:11
here we have this kind of camcorder00:36:12
effect so if you want something to look00:36:14
like it was shot on a camcord or00:36:16
something like that that's a great way00:36:17
to do that I'll just undo that for now00:36:20
you can undo anything in resolve just by00:36:21
hitting contrl Z at any point that's00:36:24
where the effects live more on that in a00:36:26
little bit over here on the right one00:36:29
panel to note is the inspector now the00:36:31
inspector is a very important panel00:36:34
inside of resolve this is where you'll00:36:36
find all of the properties for whatever00:36:38
you have selected in the timeline so if00:36:41
I select this clip right here that I'm00:36:43
over right now and I push up this Zoom00:36:46
that's going to zoom up our clip same00:36:49
thing for rotation that kind of thing so00:36:51
we have a bunch of different controls we00:36:53
have transform controls which is just00:36:55
kind of movement and rotation00:36:57
we have cropping controls so I can crop00:37:00
off a side of a shot if we want to do00:37:02
like a split screen or something like00:37:04
that and there are a few other different00:37:06
options here which you can play with00:37:07
yourself and we'll get into kind of00:37:09
throughout this course but the things to00:37:12
remember are when you have the inspector00:37:14
open you're adjusting the properties of00:37:15
whatever you have selected now that00:37:17
might not be what you're looking at CU00:37:19
notice I have this clip selected in the00:37:21
timeline but I have my playhead right00:37:24
here and as I push this zoom up00:37:26
nothing's happening on screen that's00:37:28
because I'm not actually looking at this00:37:30
clip that I have selected so if I drag00:37:32
this over now we can see that that Zoom00:37:34
is actually working to reset any00:37:37
property you can click this little00:37:38
circle Arrow or you can double click on00:37:40
its name and if I close the inspector I00:37:43
have my two viewers again and I can open00:37:46
up my media pool and my Effects by just00:37:49
clicking on these buttons here any panel00:37:51
that you want to resize a little bit00:37:54
there's usually some little button like00:37:55
this this shrink and expand00:37:59
button that'll make the media pool go00:38:01
smaller or bigger same thing for the00:38:03
inspector we have kind of a similar way00:38:06
to do things now you can't take any of00:38:08
these panels and move them around they00:38:10
always stay where they're at so you can00:38:14
expand them or contract them but you00:38:16
can't like make your own detailed layout00:38:18
like you can in some other programs and00:38:20
that's just something to get used to I00:38:21
actually kind of like it this way00:38:23
because I tend not to lose panels I00:38:25
don't have them on three different tabs00:38:27
and you know halfway onto my other00:38:28
monitor and stuff it's always in the00:38:30
same place so once you get used to where00:38:32
it is it's actually pretty convenient to00:38:34
have them always in the same place it's00:38:35
like you know place for everything and00:38:37
everything in its place I love that one00:38:39
other thing to mention is right here in00:38:41
kind of the middle right we have our00:38:43
volume controls and when I'm scrubbing00:38:45
through things you'll often see me just00:38:46
click this00:38:47
mute and that's just to mute the audio00:38:50
monitoring and this isn't going to mute00:38:52
it for my movie If I turn this volume up00:38:55
or down it's not going to adjust the00:38:57
actual output volume of my movie it's00:39:00
just how loud it's playing back on my00:39:02
system so how loud it is on my00:39:04
headphones or my speakers so if I turn00:39:06
this all the way down and then I export00:39:08
this you'll still hear all of the audio00:39:11
if I have this muted you'll still hear00:39:12
all the audio it's just a quick way to00:39:15
kind of adjust the levels so they don't00:39:17
Blast Your eardrums while you're00:39:18
scrubbing right one other thing to note00:39:20
before we move on here in kind of the00:39:22
middle left there's this little button00:39:24
and these are our timeline view options00:39:26
and these can be really convenient if00:39:28
you want to change the way the tracks00:39:29
are displayed or change whether you see00:39:32
waveforms or not that's kind of where00:39:34
that00:39:35
happens and how those are00:39:38
displayed whether you see thumbnails on00:39:41
your video00:39:43
tracks whether you have subtitle tracks00:39:45
or00:39:47
not all of that stuff lives in the00:39:49
timeline view options right there and I00:39:52
think that should cover most of the00:39:53
things that you need to know to be00:39:54
dangerous in the edit page as far as the00:39:57
interface now let's get to actually00:40:00
making an edit ourselves to do that00:40:02
let's open up our media pool here and00:40:05
under bin 2 we have a timeline called00:40:08
edit page start if you want to get these00:40:11
work files there is a link in the00:40:12
description below and you can download00:40:15
this media and project and follow along00:40:17
with me so I'll just open this up just00:40:20
by double clicking on a timeline if you00:40:22
want to make a new timeline you can00:40:23
rightclick anywhere here in the media00:40:25
pool and go to timelines create new00:40:28
timeline there you can set your timeline00:40:30
name and your settings and all of that00:40:31
stuff if you untick use project settings00:40:35
then you can select the format00:40:36
resolution frame rate all that kind of00:40:38
stuff most of the time you can just say00:40:40
empty timeline and use project settings00:40:42
and hit create and that's really all I00:40:45
did for the edit page start timeline now00:40:48
let's say we want to add a piece of00:40:49
media I'm going to go over to our media00:40:51
here and double click on edit media and00:40:53
I'll also go over and close our00:40:55
inspector so that we have our to viewers00:40:57
here and let's just double click on a00:41:00
piece of media to load it here in the00:41:02
source viewer I can scrub through and00:41:04
find the piece that I want and I can00:41:06
play this back using these transport00:41:09
controls here or I can use J on the00:41:11
keyboard to play backwards k to stop and00:41:14
L to play forward so I can just hit L on00:41:16
the keyboard turn on our sound00:41:19
here00:41:21
fine00:41:23
okay go check it out00:41:30
roll it again okay let's find the tank00:41:32
that we like here go check it00:41:36
out no way you go check it00:41:41
out00:41:43
fine okay I'll check it out all right so00:41:48
that's a good take so let's say that I00:41:49
want to use this clip to actually work00:41:52
with it and put it in our movie we're00:41:54
going to have to put it in the timeline00:41:56
so so I can do that a few different ways00:41:58
probably the simplest way is just to00:42:00
grab the image here and just drag it00:42:02
down into the timeline and then we're00:42:04
going to make a clip here in the00:42:05
timeline and from there I can trim this00:42:08
and adjust this here in the timeline I00:42:10
can also just use the video if I drag00:42:13
using this little film strip or just the00:42:15
audio if I grab this little waveform00:42:17
icon and I can grab those separately00:42:21
select both of these and delete them and00:42:22
I can also click one of these buttons00:42:25
right here these are different ways to00:42:27
put the clip into the timeline00:42:29
insert overwrite and replace for now00:42:32
we'll just hit insert and that'll put00:42:34
that clip there in the timeline and I00:42:36
can zoom this to fit by hitting shift Z00:42:39
that's just going to zoom out so I can00:42:41
see everything in my timeline here and00:42:43
now I can scrub through this and play it00:42:45
back go check it out and see which parts00:42:48
I like I don't want this entire clip I00:42:50
want to just use part of it so to00:42:52
shorten this I can Mouse over either the00:42:55
beginning or the end of the clip and my00:42:57
mouse cursor will turn into this little00:42:59
left bracket if I grab this I can bring00:43:02
it in and I'm shortening the clip here00:43:05
I'm actually trimming off the beginning00:43:07
of it and I could trim that right before00:43:10
they start talking can move my play head00:43:12
back and hit space bar go check it00:43:17
out no way you go check it out and00:43:21
that's working but I think I actually00:43:23
want this second take00:43:25
here00:43:27
it's nothing we emerge with the crab00:43:30
walk that you were talking about earlier00:43:32
two00:43:33
one00:43:38
action go check it00:43:41
out all00:43:42
right so we'll start this right after he00:43:45
says action just grab this and trim it00:43:50
here go check it00:43:53
out no way you go check it out00:44:00
fine okay okay let's just stop it there00:44:04
I'll take the end and trim this up to00:44:06
the playhead and now we have just this00:44:08
piece of our footage on our00:44:12
timeline go check it00:44:15
out one thing is that the audio is just00:44:18
coming out of the left ear which we can00:44:20
fix a variety of ways but the reason is00:44:22
this is a mono recording and we're00:44:24
putting this into a stereo track so if I00:44:28
right click here on this track header00:44:30
and go down to change track type to and00:44:32
select00:44:34
mono then no way you go check it out00:44:38
problem solved now something to mention00:44:40
when you play this back it's going to00:44:43
start at zero and look at this this is00:44:45
way far down there so we always want to00:44:48
take our footage and bring it all the00:44:49
way to the00:44:51
left because we play from left to right00:44:54
if we have a gap like this we can select00:44:56
this empty part and hit backspace on the00:44:58
keyboard to shrink this up here and make00:45:02
sure that we start with this clip now00:45:04
let's find another clip here double00:45:06
click on this next one and we have00:45:10
Gwen's angle00:45:14
here take three go check it00:45:18
out um no you go check it out all right00:45:22
that's great that's really the part that00:45:23
we want but we don't have to drag this00:45:25
into to the timeline to select that part00:45:28
we can actually select the part right00:45:29
here before we even put it in the00:45:31
timeline so for our selection we're00:45:33
going to have that start right about00:45:34
when she turns her head there and we're00:45:37
just going to grab a little clip from00:45:39
this piece of footage we're going to set00:45:41
the starting point which is called an in00:45:43
by hitting I on the keyboard you can00:45:45
also hit this button right here this00:45:47
Mark in and now we have this little kind00:45:50
of brighter gray bar that shows up here00:45:52
and let's scrub through until no this is00:45:56
totally done and then we'll hit o for00:45:58
out again you can hit this Mark out00:46:01
button like that and now we have just a00:46:06
portion of this selected when we have00:46:08
our in andout selected we can grab this00:46:10
in the exact same way and drag it down00:46:12
into the timeline but we're only going00:46:14
to grab that little piece so it's a00:46:17
little bit more efficient to do that you00:46:19
don't have to drag the whole thing into00:46:20
the timeline and then cut it up and00:46:22
let's put this where it's supposed to00:46:24
be go check it00:46:27
out no way you go check it00:46:30
out and so really we want to cut to that00:46:34
line as she says it so one thing we00:46:36
could easily do is just grab this clip00:46:38
and just drop it right here where it's00:46:40
supposed to go and that's going to split00:46:43
this original clip and cut to the one00:46:46
that we just00:46:47
added um no you go check it00:46:52
out fine so because she says the same00:46:55
line and does roughly the same movement00:46:58
that edit actually works pretty well00:47:00
let's actually take this back a couple00:47:02
steps though I'll just hit contrl z a00:47:03
couple times here during her line we00:47:06
could put this directly over this clip00:47:09
right here from The Source viewer we can00:47:12
even hit this button over right clip and00:47:14
that's going to put this clip down00:47:16
starting right at the playhead so if I00:47:19
do this it's going to do the same thing00:47:20
it's going to overwrite the clip right00:47:22
at the playhead so that's an easy way to00:47:24
kind of switch things out depending on00:47:26
your preference you might want to put00:47:29
this other clip in a second track and00:47:31
all you do is just pull this up like00:47:32
that and put this video layer on top of00:47:34
the other video layer now as we play00:47:36
this back you're only going to see the00:47:38
top video layer right so it's the same00:47:41
thing essentially as we did before we're00:47:43
cutting to this angle instead but the00:47:46
audio is going to mix so we're going to00:47:49
hear the old line as well as the new00:47:51
line here when we play this back um no00:47:54
you go check it out which we don't want00:47:56
to do so we have a couple options we can00:47:58
either just replace it like this or we00:48:01
could do something like mute this track00:48:04
if we only want to hear this second00:48:05
track um no you go check it out or we00:48:09
could even disable the clip if you00:48:11
select any clip and hit D on the00:48:13
keyboard that will disable it and by00:48:15
default if you click on a clip it's00:48:17
going to select the audio and the video00:48:19
so we don't want the video disabled00:48:21
right because we won't be able to see00:48:22
the video so what we can do is Select00:48:25
the audio and the video separately and00:48:27
we can do that a couple ways one way00:48:30
would be just to unclick this little00:48:32
link button right here and now if we00:48:34
select the audio and the video we can00:48:36
select those separately so I could00:48:39
select this audio and hit D to disable00:48:41
that the other way I could do this is00:48:43
just keep this linked because I like to00:48:45
have this linked because it's easy to00:48:46
grab a clip and move it back and forth00:48:48
but you can hold down alt and select00:48:51
either the audio track or the video00:48:53
track by itself without having to go and00:48:55
unlink the selection that kind of thing00:48:57
so that way we can turn this off now we00:49:00
don't really want to turn the entire00:49:01
thing off because we still want to hear00:49:03
the lines in this clip so one thing we00:49:06
can do is split this clip and disable00:49:08
just this part and enable the other00:49:10
parts so we can split this by going up00:49:13
here to our tools and grabbing this00:49:15
blade so this will turn your mouse00:49:18
cursor into a razor blade and wherever00:49:20
you click it's going to split that clip00:49:22
in two so we can make a cut on each00:49:25
either side of this clip like this I can00:49:27
switch back to my regular mode and then00:49:30
hit D hold down alt to select just this00:49:34
audio and hit D and now if we play this00:49:37
back check it00:49:39
out um no you go check it00:49:44
out00:49:46
fine and now we're doing some fancy00:49:48
stuff this is really cool so depending00:49:50
on your preference or you know how you00:49:52
recorded your audio or how you want to00:49:54
organize your clip Clips down here in00:49:56
the tracks there's a lot of different00:49:57
ways to adjust this something to mention00:49:59
too when we are creating a story we're00:50:02
in control of not only the clips that we00:50:04
use but also how long each of those00:50:06
clips lasts so there's nothing saying00:50:09
that this clip go check it out and this00:50:12
clip have to be spaced this far apart00:50:14
from each other so that they're in real00:50:16
time we can actually use this00:50:18
opportunity of cutting to a different00:50:21
clip to sort of compress the time here00:50:23
and so he's kind of looking at things00:50:25
now we could have him look all the way00:50:27
back and before he talks we can just get00:50:30
rid of all of that00:50:32
stuff and make this a little bit shorter00:50:35
go check it00:50:36
out um no you go check it out fine so00:50:42
that makes that moment a little bit00:50:43
shorter same thing here go check it00:50:47
out we'll just make this a little00:50:49
shorter select this emptiness bring it00:50:52
up go check it out um no you go check it00:50:55
out out fine so we're in control of the00:50:59
pacing we can also make this paste a00:51:02
little bit00:51:03
longer so we could take this and run it00:51:06
out a little bit like00:51:09
this go check it00:51:13
out um no you go check it out so that00:51:16
way she pauses for a lot longer now most00:51:19
of the time you want it to just feel00:51:21
natural right so go check it out00:51:26
so she thinks for just a00:51:31
second and right as she kind of starts00:51:33
to turn her head00:51:36
here that's where we'll cut in select00:51:40
all of those and just roll them back00:51:41
select this empty space and move it up00:51:43
check it00:51:45
out um no you go check it00:51:50
out fine the other thing we like to do00:51:52
is when there's an action like her00:51:54
pushing him00:51:55
it's nice to cut on that action and so00:51:59
if we kind of bring this up where she00:52:01
pushes him like00:52:02
this we could cut right in the middle of00:52:05
that push so right as she's pushing him00:52:08
like00:52:12
that and it kind of follows through she00:52:15
starts pushing in this shot and hands up00:52:17
moving through that shot you go check it00:52:21
out and it feels a lot more natural even00:52:23
though this was shot maybe an hour after00:52:26
this shot feels like it's all the same00:52:29
moment um no you go check it00:52:34
out fine and so that's really how you00:52:37
build a story here in the edit page now00:52:40
a couple of shortcuts that I think are00:52:42
really helpful let's say we want to cut00:52:44
into this shot all the way up to here00:52:47
there are a couple different things that00:52:49
we could do to get rid of this first00:52:51
part we could just grab the edge of it00:52:54
and trim it up like this00:52:55
and then delete that empty space to move00:52:58
it00:52:59
up we could also split the clip right00:53:02
here with our00:53:04
razor and then select this part and hit00:53:08
backspace select the empty space and hit00:53:11
backspace we could split it here select00:53:13
this clip and hit delete that's like the00:53:15
smaller backspace the smaller delete00:53:17
button above the numbers on a lot of00:53:19
keyboards and that will get rid of the00:53:21
empty space as well all in one Fell00:53:23
Swoop but we can make this even faster00:53:25
than that one thing we can do is use a00:53:29
keyboard shortcut to cut our clip you00:53:32
can hit contrl B on the keyboard to00:53:35
Blade clips under the play00:53:37
head and so I could come over here hit00:53:40
contrl B select this and hit delete and00:53:43
that goes a little bit faster you can00:53:45
also at this point without even cutting00:53:47
it you could hit control shift left00:53:49
bracket and what that's going to do is00:53:51
trim this all the way up to here and get00:53:54
rid of that empty space all at once so00:53:57
here it goes boom and so that I think is00:54:00
the easiest way to trim things that are00:54:02
just lined out on the timeline like this00:54:05
um no you go check it out00:54:08
fine so this is a little bit tight so00:54:11
check it00:54:13
out I like when she pushes him oh check00:54:16
it00:54:22
out get00:54:24
out00:54:26
fine and that's really how you start to00:54:28
build your story so let's go ahead and00:54:31
work through an edit here and I'll show00:54:33
you a really easy way to get a basic00:54:36
story lined out in your00:54:38
timeline I'm just going to go to my00:54:41
footage anything that I know that is in00:54:42
this scene and just double click on it00:54:45
and we're going to start by kind of00:54:47
scrubbing through it seeing what happens00:54:49
so this is the wide shot of him00:54:51
approaching the craft so I'm just going00:54:54
to roughly hit hit an an00:54:57
in and an out like that and just drag00:55:00
this into the timeline doesn't matter00:55:01
where we're just throwing it in here00:55:03
because we're going to work with it here00:55:04
in a few minutes next clip this is the00:55:07
shot of them looking at the craft so I'm00:55:11
using jkl to kind of page through this00:55:13
and we're going to start right before00:55:15
they step00:55:18
in here we go and we crane up like00:55:24
this and let's hit o for out then it's a00:55:27
matter of does this happen before or00:55:28
after this clip it happens before and so00:55:31
I can move my playhead before the clip00:55:33
and then this first icon this insert00:55:35
clip I can insert it and it will put it00:55:37
there in the timeline before my first00:55:40
clip so that happens before it in00:55:42
pretend land right next let's go to this00:55:45
clip00:55:49
here00:55:50
yeah great that goes in between these00:55:53
two clips so I'll just hit00:55:56
insert next this is going to go during00:56:00
that clip again I'll probably just use00:56:03
that override idea just put this right00:56:06
over her00:56:08
line there we go next00:56:21
clip go check it00:56:23
out go check it out all right so this is00:56:25
an alternate angle and I don't have to00:56:28
make a bunch of decisions right now I00:56:29
could probably just insert this for now00:56:31
and we'll work on this later but I'm00:56:33
just getting all the media that I want00:56:35
into the timeline so this is kind of the00:56:39
beginning and I'm just picking the take00:56:41
that I want great this is going to go00:56:44
before everything else I'll hit shift Z200:56:46
back up we'll go all the way to the00:56:49
beginning insert that go to the next so00:56:53
this is her looking on as he walks00:56:58
forward we'll00:57:06
just and this is going to go somewhere00:57:08
in there not really even sure where but00:57:10
I'll just throw that in it's okay you00:57:12
don't have to know everything right off00:57:13
the bat here's another angle of him00:57:16
walking up there we go and we'll throw00:57:18
this in there00:57:19
too I can hit L multiple times to play00:57:22
at Double speed or even four or 8x speed00:57:25
to kind of scrub through this really00:57:27
quickly so again I'll put this somewhere00:57:29
in here I'll just insert it00:57:33
there here's a closeup of00:57:49
him good it's going to go somewhere in00:57:51
there00:57:53
also00:57:55
then we have the over the- shoulder00:58:03
shot00:58:05
go great and we'll put this in there00:58:08
somewhere too so now I have all of my00:58:11
footage thrown in here in roughly the00:58:14
order that I want I can close my media00:58:17
pool because I don't really need that00:58:18
anymore and now it's a matter of going00:58:20
through and making these kind of make00:58:22
sense in the story so we can start at00:58:25
the00:58:29
beginning and one thing that might be00:58:31
helpful is to grab the divider here00:58:33
between the audio and the video tracks00:58:34
and you can kind of push this up and you00:58:36
can take the divider between the audio00:58:38
tracks and push this down and you can00:58:40
see a lot bigger waveforms here because00:58:42
a lot of the time you're going to edit00:58:43
around sounds that happen in dialogue00:58:46
and that kind of thing so it's nice to00:58:47
really see clearly where those00:58:51
are00:58:52
who okay they say wo and then and what00:58:55
do they see I'm just going to chop the00:58:56
edge off of this with control shift00:58:58
right00:58:59
bracket and let's get rid of this empty00:59:01
space here what do they00:59:04
see I think we'll just bring it in right00:59:06
about there I'll hit control shift left00:59:08
bracket to chop the front off of that00:59:11
just kind of goes up like00:59:14
that same thing I'll cut off the end so00:59:17
what do they00:59:20
see yeah they see that whoa now their00:59:25
reaction let's let them just think about00:59:27
it for a little00:59:31
bit go check it00:59:34
out um no you go check it out now to get00:59:38
really detailed here we can zoom in if I00:59:41
hold alt and roll up with my scroll00:59:43
wheel on my mouse I can zoom way in you00:59:46
can also move this slider right here to00:59:47
zoom in or out on the00:59:51
playhead okay so she looks kind of that00:59:53
way trim that off one thing that can00:59:56
sometimes be helpful is to uncheck this00:59:58
magnet this is turns on our01:00:01
snapping snapping is when if you get01:00:03
close to the edge of a clip your01:00:05
playhead kind of jumps to the edge of01:00:06
that clip and also if you're moving01:00:08
Clips around they kind of snap together01:00:09
like that if you turn this01:00:12
off then it doesn't really snap to01:00:14
anything you can be a little bit more01:00:16
precise so let's take a look at this so01:00:19
she's already looking that way and we'll01:00:20
just trim it like01:00:23
this um no you go check it out go check01:00:27
it01:00:28
out um no you go check it01:00:31
out okay now we have this reaction from01:00:34
him which I like that we don't need the01:00:37
other01:00:39
parts01:00:41
fine01:00:43
okay I'll go check it01:00:46
out let's cut after01:00:49
okay01:00:51
okay fine SoBe maybe right as she pushes01:00:56
him and then he looks back that01:01:00
way maybe we'll cut on01:01:02
that fine we could cut right on that01:01:06
move if we wanted01:01:09
to and now we can take these clips and01:01:11
swap them actually if I hold control01:01:13
shift and then less than I can move this01:01:17
clip and kind of swap it with other01:01:19
Clips so let's just see how this works01:01:21
you go check it01:01:23
out01:01:25
fine this clip is a little bit short so01:01:27
we can take this and extend it a little01:01:29
bit oh you go check it01:01:33
out01:01:35
fine01:01:37
okay01:01:39
fine okay check it I'll check it01:01:44
out so we could cut to him right there01:01:48
okay I'll check it01:01:51
out bring a little bit more time01:01:55
there okay I'll check it out could also01:02:00
cut to the other angle Che it01:02:05
out which I like that a little better I01:02:07
think that's a better01:02:10
angle okay check it01:02:15
out and now he approaches the ship right01:02:18
and so this is really where it comes01:02:19
down to personal preference how do you01:02:21
want to tell the story what Clips do you01:02:23
want to use what order should they be in01:02:25
how long should each of them be what's01:02:27
the pacing in between the clips and so01:02:29
let's go ahead and jump to the edit page01:02:31
finished timeline and this is what we01:02:34
ended up doing for the actual01:02:43
movie w01:02:53
w01:02:55
go check it01:02:56
out um no you go check it01:03:00
out01:03:02
fine01:03:05
okay check it01:03:12
out and so we have these other shots01:03:15
mixed in we have her looking on we have01:03:17
a shot of him approaching the ship his01:03:20
reaction her reaction all of this just01:03:23
mixed into one moment now something to01:03:25
mention is that the audio isn't super01:03:27
great here this is just what we would do01:03:30
if we were to line things out in the01:03:32
edit page before we render this we would01:03:34
want to clean up the audio add some01:03:36
footsteps add some sound effects and all01:03:38
of that stuff make sure that the voices01:03:41
sound level and all of that stuff which01:03:44
some of that we can do in the edit page01:03:47
but we're mostly going to worry about01:03:48
that in Fair light in this course now01:03:51
let's talk about how to get a little bit01:03:53
more detailed any of these clips in the01:03:55
timeline if we want to adjust some of01:03:57
the details about them we just select it01:03:59
and then we can go up here to the upper01:04:01
right and click inspector now this is01:04:03
where all of the properties live for01:04:07
something that's in the timeline and01:04:08
generally anywhere in resolve if you01:04:11
have something selected and you go to01:04:13
the inspector you can adjust the01:04:14
properties for it okay so just kind of01:04:16
get used to that I'm going to make this01:04:17
a little bit bigger here so I'll just01:04:19
select this footage and starting in this01:04:22
upper part we have our trans form so01:04:24
transform is like moving things around01:04:27
turning them rotating them positioning01:04:29
them that kind of thing zooming them in01:04:31
so we can zoom stuff in we can change01:04:33
its position we can change its rotation01:04:35
angle we can even do pitch and yaw which01:04:37
kind of does sort of like a 3D transform01:04:40
is looking thing like01:04:43
a which can be useful sometimes we can01:04:45
also flip this on the vertical axis and01:04:48
the horizontal axis this is the kind of01:04:50
stuff that you're going to use a lot01:04:52
also in the lower left hand corner01:04:54
corner of our viewer there's this little01:04:55
transform button and if you click on01:04:57
that and it turns white you can actually01:05:00
grab the image and move it around here01:05:02
in the viewer you can grab this little01:05:04
handle to rotate it you can grab the01:05:06
corners to scale it and move it around01:05:09
and that's really helpful too but this01:05:12
is the same kind of controls as our01:05:14
transform in fact if you move this01:05:16
around you can see our01:05:17
position moving around as we move01:05:21
it you can reset any of these controls01:05:23
with this little Circle Arrow you can do01:05:25
a single control like this or all of01:05:27
them for the group here with this circle01:05:29
with a01:05:31
plus to turn off this overlay you just01:05:33
click on that button again and now you01:05:36
can't move things around we also have01:05:38
quite a bit of other controls including01:05:39
cropping so we can crop this footage the01:05:42
Left Right top or bottom when we have01:05:44
this cropped we can also adjust the01:05:45
softness of the crop great for a lot of01:05:49
situations we have a dynamic zoom and01:05:51
this is really cool this will actually01:05:52
take a shot and it will Zoom it out01:05:56
throughout the duration of the shot you01:05:58
can also swap it to zoom it01:06:02
in throughout the duration of the shot01:06:04
that works really well and you have some01:06:06
options for01:06:10
easing this is really great if you're01:06:12
doing something like a slideshow or if01:06:14
you want to just make your edit a little01:06:16
bit more Dynamic you can even just01:06:18
select multiple different clips here in01:06:20
the timeline and if you have multiple01:06:22
clips selected you can adjust the01:06:24
properties common to all of the clips01:06:26
and so I could just turn on Dynamic Zoom01:06:28
for everything and now look what happens01:06:31
this is zooming01:06:33
out on every shot which may or may not01:06:37
be what we actually want for this kind01:06:39
of thing it's actually not a good idea01:06:42
but for something if you have kind of a01:06:45
high action edit where it's nice to have01:06:47
those kind of dynamic01:06:49
moves that can be really helpful now we01:06:51
don't want to do it for this let's not01:06:53
dynamic Ally Zoom every single shot we01:06:55
also have composite mode and opacity for01:06:58
each shot so we can turn the opacity01:07:00
down we can change the composite mode if01:07:01
it's over something else we'll actually01:07:03
be able to see that so I can switch that01:07:04
to add that's going to mix these01:07:07
together depending on what you want to01:07:09
do and these are just like composite01:07:11
modes in any other kind of layer based01:07:13
program and there's also some more01:07:15
advanced things like stabilization lens01:07:17
correction that kind of thing as well as01:07:19
retiming and scaling controls you have a01:07:21
lot of control over the visual aspects01:07:24
of whatever clip you have selected here01:07:26
in the inspector but up at the top there01:07:29
are some other tabs here if we click on01:07:31
audio this is where we can adjust the01:07:33
volume and the pan the pitch and even01:07:36
our equalizer for whatever clip we have01:07:38
selected and we can get really detailed01:07:40
with our audio even just here in the01:07:42
edit page so even if you don't want to01:07:44
jump into Fair light later you have01:07:46
quite a bit of control over how loud01:07:48
your Clips are and what they sound like01:07:50
and all of that so some of this audio01:07:52
stuff we're going to get into in Fair01:07:53
light and it works in a very similar way01:07:55
but if you do want to adjust audio here01:07:57
in the edit page here's where you can do01:07:58
it you can even just click on this track01:08:01
header and you have a little bit of01:08:03
control over your volume for your track01:08:05
here in the edit page you can also go to01:08:07
the mixer and do a little bit of01:08:09
adjustment of track volume as well as a01:08:12
little bit of panning here in the mixer01:08:14
now let's say we want to start getting01:08:16
fancy here in the edit page in the upper01:08:18
left hand corner I can open up my01:08:20
effects panel that's going to open up01:08:21
kind of under my media pool I'll just01:08:23
close my media pool so we have lots of01:08:25
room and this is where we have all kinds01:08:28
of different things that we can do to01:08:30
our Clips in our edit page as well as01:08:32
some fancy stuff that we can add to our01:08:34
edit here so probably one of the more01:08:37
obvious uses would be to actually put an01:08:39
effect on here now ironically a lot of01:08:42
the effects that you might want01:08:43
something like a blur or something like01:08:45
that isn't really under effects this is01:08:47
really where a lot of the fusion based01:08:49
effects live but if you go to open01:08:51
effects then you'll find a lot of the01:08:52
filters and things that you're used to01:08:54
things like blur box blur lens blur some01:08:59
color effects some ke and kind of green01:09:02
screen ability things things like ways01:09:05
to add lens flares and glows and lens01:09:07
Reflections and light rays and all kinds01:09:10
of cool stuff this is where all of that01:09:13
lives here in the effects panel under01:09:15
open effects and so you can go through01:09:16
and play around with these there are01:09:18
quite a bit of effects that I have here01:09:20
that you might not have in the free01:09:21
version that is one of the limitations01:09:23
of the free version but there are still01:09:25
quite a bit of really cool effects in01:09:27
the free version just not quite as many01:09:29
there are some really cool ones that are01:09:31
only in the paid version of resolve now01:09:33
to apply an effect let's just put a blur01:09:36
on this I'll just take this lens blur01:09:38
and we can doubleclick on it and that'll01:09:40
add that to whatever clip that we have01:09:43
selected and then if we select the clip01:09:45
and go over to the inspector we have a01:09:47
new tab here it's available effects and01:09:50
under open effects here we have all of01:09:52
our adjustments for for this effect so01:09:54
we can adjust the blur size how bright01:09:57
the highlights are and all of that kind01:09:59
of stuff and so again when you have the01:10:01
clip01:10:02
selected you can adjust the properties01:10:05
of the effects that you have on the clip01:10:06
right here in the effects tab here in01:10:09
the inspector to get rid of an effect you01:10:11
can just click the garbage can like that01:10:14
let's say we want to add some text or01:10:16
some kind of title over this over here01:10:18
in the effects panel we have several01:10:20
different categories here we've been01:10:21
playing with open effects we also have01:10:23
audio effects by the way which we'll get01:10:24
into later but under our toolbox we have01:10:26
something called titles and under titles01:10:29
here at the top we have our basic text01:10:31
and we can grab basic text and this time01:10:33
instead of putting it on a clip like01:10:35
this we can drag it over the clip just01:10:37
like we were dragging a piece of media01:10:39
from the media pool onto the timeline01:10:42
when you drag a title or a generator01:10:45
here into the timeline it's like it01:10:47
creates a new piece of footage and so01:10:50
now I have this title and I can adjust01:10:53
this on the timeline just like I would a01:10:55
clip and I can select it and adjust its01:10:57
properties just like I would a clip but01:10:59
you know its properties for this title01:11:01
are something like some text and we can01:11:04
adjust the font and the size and the01:11:07
tracking and all these kind of things01:11:08
that you would expect to be able to01:11:10
adjust here with the text generator and01:11:13
so again grab this play around with it01:11:15
there's actually quite a bit of cool01:11:16
stuff that you can do just with this01:11:18
basic01:11:19
text and of course we have preset titles01:11:22
for you know lower thirds01:11:25
as well as like scrolling credits let01:11:27
scroll from the bottom and again select01:11:30
it and go over here to the inspector to01:11:31
adjust its01:11:34
properties under generators we have01:11:36
things that aren't really titles but you01:11:38
know ways to generate like a solid color01:11:41
ways to generate a gradient ways to01:11:43
generate color bars that kind of thing01:11:47
just in the edit page of resolve you01:11:48
have just about everything that you need01:11:50
to be able to create a video in fact you01:11:53
you could even go up to workspace and01:11:55
just turn off show page navigation right01:11:58
here and you have everything that you01:12:01
need right here this is basically like a01:12:04
program like Final Cut or Premiere this01:12:06
is everything that you need to be able01:12:07
to preview and select your footage bring01:12:09
it into the timeline create a story and01:12:12
get detailed with the properties of all01:12:15
of your clips and mix them together and01:12:17
adjust the audio and apply effects and01:12:19
all of that kind of thing really the01:12:21
only thing you can't do super well in01:12:24
the edit page is color grade and that's01:12:26
because the color page is just so01:12:28
fantastic and resolve started with color01:12:30
and so you know there wasn't really a01:12:32
big need to make a robust color effect01:12:36
here in the edit page but I would say01:12:38
like 90% of what you need to do in01:12:40
resolve you could probably do in the01:12:42
edit page if you're just making a basic01:12:44
video and you're not trying to get into01:12:46
super detailed Motion Graphics or visual01:12:48
effects or compositing or that kind of01:12:51
thing the edit page is sort of like your01:12:53
hub for your story and from here we can01:12:55
go out to the other Pages I'll just01:12:57
bring these back up and get more01:13:00
detailed if you're looking for more01:13:02
resources on how to edit videos well in01:13:04
D Vinci resolve make sure to check out01:13:06
this right here that's our D Vinci01:13:07
resolve resources guide It's a PDF with01:13:10
the best resources that we've found for01:13:12
learning to edit in D Vinci resolve and01:13:14
you can get that for free all you have01:13:16
to do is click on that card there's also01:13:18
a link in the description let's keep01:13:19
going before we get into those next01:13:21
three pages we're going to jump on over01:13:23
to the cut page the cut page we're not01:13:26
going to spend quite as much time on01:13:28
because it essentially does a similar01:13:31
thing to the edit page in fact a lot of01:13:33
editors that I talk to uh they don't01:13:35
really use the cut page very much and01:13:38
it's too bad because the cut page is01:13:40
really cool so that begs the question01:13:42
what's so cool about a page that does01:13:45
basically the same thing as the edit01:13:46
page and why are there two pages that do01:13:49
almost the same thing well the edit page01:13:51
is designed for what we've been talking01:13:53
about about you know putting everything01:13:54
together for your story you can get01:13:56
pretty detailed with stuff you can add01:13:58
effects and stack clips and all of that01:14:00
stuff to make a really complicated01:14:02
timeline I mean you can make a feature01:14:04
film you can make television shows with01:14:06
multiple cameras and all this crazy01:14:08
stuff here in the edit page but the cut01:14:10
page is designed for a certain kind of01:14:13
project certain kind of workflow it's01:14:15
designed to take a lot of the editing01:14:17
stuff that you would do in the edit page01:14:19
and kind of streamline it and make it01:14:21
easier and faster to to put a story01:14:24
together really quickly and you'll01:14:26
notice the layout is sort of similar to01:14:28
the edit page here in the upper left we01:14:30
have our media pool and this is sort of01:14:32
a stripped down version of the media01:14:34
pool with some things moved around but01:14:35
it's still essentially the media pool01:14:37
it's where the media that is imported01:14:38
into our project lives and then on the01:14:41
right we have our viewer now we don't01:14:43
have two viewers here like we do in the01:14:45
edit page when our inspector is closed01:14:47
anyway where we have our source viewer01:14:49
and our timeline01:14:51
viewer we just have one viewer and this01:14:53
is kind of a hybrid if you double click01:14:56
on a piece of footage here in the media01:14:58
pool you can bring it up here in the01:15:00
viewer and preview it but if you click01:15:02
down in the timeline it's going to01:15:04
switch to the timeline viewer and you'll01:15:06
be able to view your timeline now01:15:09
speaking of the timeline there's01:15:11
actually two different views of the01:15:13
timeline there's the lower timeline here01:15:16
which by default moves under the01:15:18
playhead and the playhead kind of stays01:15:19
stationary in the middle and then01:15:21
there's the upper timeline where you can01:15:23
move the playhead around it's designed01:15:26
this way so that you don't have to zoom01:15:28
in and out all the time so like in edit01:15:30
I can hold alt and zoom in and out and01:15:33
if I want to see the end of my movie I01:15:36
zoom out and then I can zoom back in I'm01:15:37
just holding alt and rolling with the01:15:39
scroll wheel and you know it's pretty01:15:41
fast but you do kind of have to move01:15:43
things around and there's a lot of01:15:45
moving back and forth and reframing so01:15:47
that you can see what you're doing well01:15:49
the cut page is always zoomed out in the01:15:52
upper time line you can see the very01:15:54
beginning and the very end of your01:15:55
sequence in this upper timeline and the01:15:58
bottom is always zoomed in and so you01:16:00
can quickly go to the very last clip01:16:03
just by clicking over here on the right01:16:05
part of your upper timeline and then you01:16:07
can adjust the details and stuff here in01:16:10
the lower part of your timeline without01:16:11
having to zoom in and out to do that01:16:13
right so you can quickly kind of go01:16:14
through this and trim things and make01:16:17
adjustments whatever you need right here01:16:20
in the lower timeline and switch to a01:16:22
different part in the upper timeline and01:16:24
it's kind of just designed to go really01:16:26
quickly but other than that layout you01:16:29
have a lot of the same controls in the01:16:31
cut page as you do in the edit page it's01:16:33
just sort of streamlined a little bit so01:16:35
for instance this viewer where we have01:16:37
our transform controls where we can kind01:16:39
of turn this on and move it around and01:16:40
that kind of thing and we have the01:16:42
inspector as kind of these separate01:16:44
controls here in the edit01:16:46
page in the cut01:16:48
page we can just click on these sliders01:16:50
and we have all of that all kind of in01:16:53
one little panel here and so our01:16:55
transform we can move this around and01:16:58
adjust and they're all kind of next to01:16:59
each other and so it's just a little bit01:17:01
quicker to move things around same thing01:17:03
for01:17:05
cropping and so it's just kind of01:17:07
designed to be a little bit more01:17:08
streamlined right that said I think01:17:11
people kind of complained about not01:17:12
having the inspector because they01:17:13
recently added the inspector here on the01:17:16
right and you can kind of do similar01:17:18
things that you would in the edit01:17:21
page I'll just read set all my controls01:17:23
with this little circle plus right here01:17:26
and something to mention about the cut01:17:28
page not only do we have these timelines01:17:31
but by default these timelines are kind01:17:34
of designed to not let you have a gap01:17:35
between your Clips so I don't have01:17:38
separate tools for my cursor like I do01:17:40
here in the edit page where you can grab01:17:42
different tools grab your blade tool01:17:44
grab your regular selection tool grab01:17:46
your trim tool in the cut page you just01:17:49
Mouse over the edge of a clip and you01:17:51
have one option you can of trim the clip01:17:55
and the other Clips suck down with it01:17:58
and that's just designed to make it so01:17:59
you don't have any gaps in your timeline01:18:03
because we don't want any black frames01:18:05
or anything like that we just want all01:18:08
of the clips to play next to each other01:18:10
now there are times where you actually01:18:12
do want a gap and you can change that01:18:15
option along with a bunch of other01:18:16
options here in this very left hand part01:18:19
of this upper timeline there are a lot01:18:21
of different options here this top one01:18:23
is called Ripple on if we uncheck that01:18:26
we can move it like this and it won't01:18:27
Ripple the other Clips down so that's01:18:29
called Rippling kind of moving things01:18:31
down when you trim things so it will let01:18:34
you have those gaps if you want to have01:18:37
those one of the things we like about01:18:39
the cut page is just being able to01:18:41
quickly go through and trim your clips01:18:43
now this does get a little bit01:18:45
frustrating when you have your audio01:18:48
offset a little bit like mine is here I01:18:51
have this clip's audio coming in before01:18:52
for the video and if I were to grab this01:18:55
it's somewhat unpredictable uh what's01:18:58
going to happen here and so it's keeping01:19:00
those same edit points but it's moving01:19:02
everything down which may or may not be01:19:04
what you want and so I find that you01:19:06
generally want to use the cut page for01:19:09
things where you have straight cuts you01:19:11
want to have a bunch of Clips with01:19:12
straight cuts like this because the more01:19:14
you do this kind of Ripple thing the01:19:16
more it's going to kind of mess it up so01:19:18
this is really a great way to do01:19:20
something where you have a bunch of01:19:22
Clips just laid out right after one01:19:24
another something like a vlog something01:19:26
like a news story where you just don't01:19:28
have a whole bunch of fancy audio and01:19:31
stuff like that that's really where the01:19:32
cut page gets kind of confusing and01:19:35
frustrating is when you have a bunch of01:19:37
audio that you're trying to kind of01:19:38
layer in and do j cuts and L Cuts you01:19:41
know especially when you have multiple01:19:42
tracks of audio and that kind of thing01:19:43
it can get a little bit confusing in the01:19:45
cut page and so the cut page is01:19:47
something that I've really used for01:19:48
things like Vlogs things like if I have01:19:50
a vacation video where I just have a ton01:19:52
of clips and I just play them one after01:19:54
another I can drag them all into the cut01:19:57
page and really quickly kind of trim01:19:59
them up and put them together that way01:20:01
and what's beautiful is you can actually01:20:03
use the cut page for the things that01:20:05
it's fast at like you know putting01:20:08
together a rough cut or putting together01:20:09
a simple video like that and then if you01:20:12
want to get a little bit more detailed01:20:13
you can just switch over to the edit01:20:15
page and this uses the same timeline so01:20:18
the edit page and the cut page and01:20:20
actually all of the pages in resolve01:20:22
share the same timeline which is one of01:20:24
the major advantages of resolve being01:20:26
the way it is so we can do some work in01:20:28
the cut page and then go to the edit01:20:29
page to get more detailed and that kind01:20:31
of thing it's a pretty decent overview01:20:33
of the cut page let's take a look at a01:20:35
couple strengths that the cut page01:20:36
really has and some reasons why you01:20:38
might want to jump into the cut page01:20:40
even if you're not going to stay there01:20:42
for the entirety of your project one01:20:44
feature that I really like about the cut01:20:46
page is the source tape so if you go up01:20:50
in the upper leand corner of our viewer01:20:52
here here you have these three buttons01:20:54
and this switches out your viewer01:20:57
between the source clip so like a clip01:21:00
from your media pool and your timeline01:21:04
so whatever you have down here so we'll01:21:05
just throw a couple things down here01:21:07
real01:21:08
quick but this middle button is the01:21:11
source tape button and look what happens01:21:13
when I click this what this will do is01:21:16
this will take all of the media from01:21:18
whatever bin I'm looking at in my media01:21:21
pool and it will lay it out end to end01:21:24
here in our little play01:21:27
bar and then I can scrub through this01:21:30
and I can look at all of my media in one01:21:35
smooth motion and so this is really01:21:38
great if you're trying to find a piece01:21:40
of media and you don't know what it's01:21:42
called instead of double clicking on a01:21:44
piece of media and then scrubbing01:21:46
through it and then double clicking on01:21:47
another piece of media and scrubbing01:21:48
through it with the source tape you can01:21:50
just scrub through all of your media all01:21:52
at once this is especially good if01:21:55
you're trying to find a shot visually01:21:57
finding some b-roll something like that01:21:59
and so what I do is I use this to find01:22:02
Boll for projects where you know I might01:22:04
have a voice over and I'm trying to put01:22:06
Boll over it just to accentuate what's01:22:08
being said you can really quickly kind01:22:10
of buzz through your footage and find01:22:12
the right clip and you can set your in01:22:15
and your out just like you would on the01:22:17
edit page like this with I and O and01:22:20
then you can take this and you can put01:22:21
it into the time line now you can put01:22:24
this into the timeline a few different01:22:25
ways one you could just drag it into the01:22:27
timeline like you would expect but we01:22:30
also have these buttons over here these01:22:31
are the edit buttons and whatever we01:22:34
have selected with our in andout here in01:22:36
the viewer this will throw into the01:22:38
timeline in various different ways one01:22:40
that makes a lot of sense would be place01:22:42
on top and so we click place on top and01:22:44
it's going to put that clip on top of01:22:47
our other Clips here right wherever our01:22:49
playhead is so if our play head's over01:22:50
here and I hit place on top it's going01:22:52
to put that on top right there we also01:22:55
have Ripple overr right so let's say I01:22:57
pick an alternate angle01:22:59
here in out and then I say Ripple01:23:03
overwrite what that's going to do is put01:23:05
this clip into this space and it's going01:23:08
to fit the space to the clip boom it's01:23:11
going to kind of replace that clip right01:23:13
there and that can be really convenient01:23:16
if you're just trying to quickly replace01:23:18
a01:23:19
shot another convenient one would be01:23:21
smart insert so let's say I want to put01:23:23
this in between these two clips I don't01:23:25
even have to be right on this edit point01:23:28
I just have to have that edit point be01:23:30
the nearest edit point to my playhead01:23:33
and I can hit smart insert and look what01:23:35
happens boom it puts that in between01:23:38
those two clips and so all of these are01:23:40
kind of designed to save you a little01:23:42
bit of time so you don't have to be01:23:43
exactly right with your playhead you01:23:46
know you just make this as close as you01:23:48
can set your in and your out smart01:23:51
insert and you can put that in in there01:23:52
and so this is really great for putting01:23:54
a whole bunch of footage into the01:23:56
timeline really quickly this kind of01:23:59
system working with the cut page and01:24:01
these edit buttons what I think is even01:24:04
nicer is you can set keyboard shortcuts01:24:07
for any of these buttons and so if you01:24:09
go up to the upper leftand corner under01:24:11
D Vinci resolve under keyboard01:24:12
customization if you click on all01:24:14
commands here you can search so like01:24:17
append and that button is the same as01:24:19
append to end of timeline and I like to01:24:22
set this as P the reason I put this as p01:24:25
is because it's right by I and O on the01:24:27
keyboard and so I can go through here01:24:30
and I can quickly add a bunch of Clips01:24:34
like this I O and then hit p and when I01:24:38
hit P it's going to throw this clip at01:24:40
the end of my timeline and so I can01:24:42
quickly just gather all the clips that I01:24:44
want i o p i o p i o p and if you're01:24:49
working with you know more visual clips01:24:51
and b-roll and that kind of thing thing01:24:52
I O and P you can throw all of your b01:24:55
roll at the end of your timeline and01:24:56
then you can go through here and put01:24:59
them over your voice over and adjust01:25:02
things and get a little bit more01:25:03
detailed01:25:05
afterwards so a lot of the time what01:25:07
I'll do is I'll be working on my edit01:25:09
here in the edit page and then I'll01:25:11
switch over to the cut page to use the01:25:14
source tape to grab a bunch of BR roll01:25:17
kind of buzz through my01:25:19
clips and just put those on my edit and01:25:23
once I have all the clipss there it's01:25:24
just a really fast way to go through a01:25:26
bunch of Clips I can switch back over to01:25:28
the edit page and I can adjust my Clips01:25:30
here in the edit page where I have a01:25:31
little bit more control it really01:25:33
depends on your workflow and the type of01:25:36
project you're doing but this Source01:25:39
tape is a really nice tool the other01:25:41
thing the cut page is really good for is01:25:44
doing multicam edits Now you kind of01:25:47
wouldn't think of the edit page as being01:25:49
great at multicam because it it kind of01:25:51
seems like this is a way just to make01:25:53
rough cuts and it doesn't quite have as01:25:55
many abilities as the edit page but let01:25:58
me show you something really01:25:59
cool I'm going to go into our files here01:26:03
under our media under our cut page media01:26:07
and here we have a multicam shoot of the01:26:10
readr of our movie so this is five01:26:13
people around a table we have a top down01:26:15
camera we have a kind of the left side01:26:18
of the table camera and right side of01:26:20
the table camera and in the edit page01:26:22
you can make a multicam sequence and you01:26:24
can flip cameras and do all that kind of01:26:27
thing which is definitely plenty to go01:26:29
over in its own video but the cut page01:26:31
does kind of a unique thing with01:26:34
multi-cam edits if we select all of this01:26:38
stuff that are just different angles of01:26:39
the same moment we can go up here to01:26:42
this01:26:43
button it says sync clips and if we01:26:46
click on that that's going to bring up01:26:48
our sync Clips01:26:50
window and here we have some op options01:26:53
to be able to automatically sync these01:26:55
clips together and make a multicam01:26:58
edit if you have time code you can sync01:27:01
by time code you can sync by the start01:27:03
or the end of the clip the in and the01:27:05
out or you can do it automatically with01:27:07
audio and for most of us that's probably01:27:10
what is going to be most useful so I'll01:27:12
select audio and hit sync and look what01:27:15
happens it analyzes it and then it puts01:27:17
these all together and thinks about01:27:19
where these all fit together in time at01:27:22
this point it's a really good idea to01:27:23
play this back and make sure that the01:27:25
sync is right but it usually does a01:27:27
really good job and then you just go01:27:29
down here to save01:27:31
sync now it looks like nothing's01:27:33
happened nothing's really going on here01:27:35
but what it does is it adds these little01:27:37
blue indicators which means that it01:27:40
knows that these clips belong together01:27:43
and that they occupy the same moment in01:27:45
time and so what we can do is grab01:27:48
something like our Master shot like this01:27:49
wide shot I'll just right click and say01:27:51
create create new01:27:53
timeline and I'll just drag this down to01:27:55
our timeline here and now we have the01:27:58
entire shoot from beginning to end just01:28:01
with this one clip now this isn't a01:28:03
multi-cam sequence or anything like that01:28:05
it's just literally the clip thrown into01:28:07
the timeline but we can go up here to01:28:10
the upper left and go to something01:28:12
called a sync bin and we can see all of01:28:14
the clips that sync with the clip that01:28:17
we're over here in the timeline and we01:28:19
can see all the different cameras and01:28:20
everything like that and check this out01:28:23
we can play this back or scrub through01:28:24
or whatever we want to do and if we find01:28:26
a good angle we can click on that angle01:28:28
and that's going to bring that up here01:28:30
in our viewer and it's going to set an01:28:32
in at the point that's going to sync01:28:35
with our playhead and we can do01:28:38
something like place on top and look at01:28:40
this it's going to come in01:28:42
here and if we switch off of our sync01:28:44
bin we can see what's actually happening01:28:47
here in our timeline as we play this01:28:49
back this is going to be perfectly01:28:51
synced01:28:52
and we can just add clips that we think01:28:55
are interesting and we can do it01:28:57
perfectly in sync without having to set01:28:59
up a whole multicam sequence and switch01:29:01
cameras and all of that kind of stuff01:29:03
it's almost like a hybrid between01:29:05
putting a bunch of clips into a timeline01:29:07
and just editing them that way and a01:29:10
traditional multi-cam workflow so this01:29:13
sync bin is pretty cool switch over to01:29:15
the sync bin again and this is how we01:29:17
can do our multicam edit and it's just01:29:21
kind of a slick way to do01:29:22
it and so the sink bin is a really nice01:29:25
way to be able to kind of scrub through01:29:27
and find interesting stuff and just find01:29:30
the best angle so let's just go to this01:29:32
angle drop that01:29:35
in and now we have a nice Dynamic edit01:29:38
here that works really well and we01:29:41
didn't really have to do a whole lot of01:29:42
work sinking things up so if you're01:29:44
doing multicam stuff the cut page might01:29:47
actually be a really great tool for you01:29:49
now something to mention about the cut01:29:51
page the the cut page is actually01:29:53
designed to work with some hardware and01:29:55
so if you don't know there is the D01:29:57
Vinci resolve editor keyboard which is a01:29:59
whole keyboard that has specialized01:30:01
buttons on the left and in a jog wheel01:30:05
and some other buttons here on the right01:30:07
and this was kind of designed with the01:30:09
cut page in mind and so it sort of01:30:11
brings some more tactile control to your01:30:14
editing we also have the speed editor01:30:18
which is like the next generation of the01:30:20
editor keyboard and this thing's pretty01:30:22
neat it has your edit buttons right here01:30:26
as dedicated keys on the keyboard your01:30:28
in and out there's ways to trim and roll01:30:32
and do your different edits and add01:30:34
transitions as well as multi-cam01:30:36
controls some other useful features01:30:39
switching between the source and the01:30:40
timeline viewers and then of course you01:30:42
have your jog wheel which helps you kind01:30:45
of navigate back and forth on the01:30:47
timeline like I said this is kind of01:30:49
designed for the cut page and so if if01:30:51
you are doing a certain kind of project01:30:54
and you're doing a lot of it this speed01:30:57
editor might be a really good idea01:30:59
because it's more about kind of building01:31:00
tactile control and muscle memory and01:31:02
with some practice you can get really01:31:04
fast editing things with this speed01:31:06
editor and that's designed to work with01:31:08
the cut page to where you don't have to01:31:11
use a mouse and a keyboard you can just01:31:13
use the speed editor and it does feel01:31:16
really cool when you kind of get the01:31:17
hang of it and this is also where the01:31:19
cut page kind of starts to make a little01:31:21
bit more sense01:31:22
you know using the speed editor on the01:31:24
edit page feels like oh I don't know01:31:26
this is kind of cool using the cut page01:31:29
without out the speed editor is like oh01:31:31
yeah this is kind of neat but when you01:31:33
use them together it really makes a lot01:31:35
of sense and things feel really nice so01:31:39
depending on how much you're going to be01:31:40
editing and how hardcore you're going to01:31:42
be and what kind of projects you're01:31:44
going to be working on the cut page and01:31:46
especially with the speed editor might01:31:48
be a really good idea so my advice is to01:31:50
open the Cut page try it out see how you01:31:53
like it if you are interested in buying01:31:56
the full version of resolve that's the01:31:58
paid version the studio version it01:31:59
actually comes with the speed editor and01:32:02
so you could buy that speed editor for01:32:03
3.95 and get resolve Studio which is01:32:06
$2.95 for free with it and that's a01:32:09
pretty sweet deal if you're into editing01:32:11
and you're going to do a high volume of01:32:13
stuff would definitely check out the01:32:15
speed editor watch some reviews it's a01:32:17
pretty neat little piece of equipment01:32:19
but that's pretty much the editing side01:32:21
of things here in resolve we have the01:32:24
edit page which is really kind of the01:32:26
Hub of your project this is where you01:32:28
put your story together this is where01:32:30
you add the majority of your media and01:32:32
everything anything that you want your01:32:34
viewer to see you have to put into the01:32:35
timeline the cut page is a little bit01:32:38
different flavor of doing that and again01:32:40
if you're just wanting to do some basic01:32:42
videos it's totally okay to just stay on01:32:44
the and work with the tools there but if01:32:48
you want to take things up a notch01:32:50
that's where these next three pages come01:32:53
in you can think of the edit page and01:32:56
the cut page as like level one kind of01:32:58
putting things together the basics but01:33:00
when you want to get a little bit more01:33:02
advanced and you want to get more01:33:04
detailed with either doing some visual01:33:06
effects or making Graphics or doing01:33:08
color correction or doing audio that's01:33:10
where you would jump into fusion color01:33:11
or Fair01:33:13
light all right let's jump into Fusion01:33:16
this is my favorite part of Da Vinci01:33:19
resolve and I think probably the most01:33:20
powerful thing in D Vinci resolve as far01:33:23
as creating anything that you can01:33:25
imagine Fusion like the other pages is01:33:29
like an entire app like an entire01:33:31
different app shoved into resolve and01:33:35
like all of these Pages it has one major01:33:37
job Fusion's job is to be a compositor01:33:42
so what is a compositor well a01:33:44
compositor is an app where you do01:33:48
compositing solid solid information01:33:50
right compositing is combining different01:33:52
visual elements together to make one01:33:56
cohesive image and when you say01:33:58
compositing that can be visual effects01:34:00
which is like fancy stuff like01:34:02
explosions and lightsabers and making01:34:05
things that aren't real look real but it01:34:07
can also be something like titles and01:34:10
graphics and animations things that are01:34:12
kind of computer generated it's all a01:34:14
similar process of putting a bunch of01:34:16
stuff together into one image one01:34:19
composition what this might look like is01:34:21
let's say you have a shot of a cow in a01:34:24
field with mountains in the background01:34:27
something you might do in compositing01:34:29
would be to add more01:34:30
Mountains that can be a copy of these01:34:32
mountains or it can be Mountains from a01:34:35
totally different place it could be some01:34:37
image that was shot on the other side of01:34:39
the world and we're just going to put01:34:40
that in to our shot and make it look01:34:42
real maybe we want the sky to look a01:34:45
little bit fancier maybe we'll put some01:34:48
clouds in the sky make it look a little01:34:50
bit more like a story book these would01:34:52
all be examples of visual effects it's01:34:56
making something that isn't real look01:34:57
real and they can be really realistic01:35:00
like this where you really wouldn't even01:35:02
notice if you did a good job or01:35:04
something crazy like hey we have a01:35:06
flying saucer that comes in and abducts01:35:08
this cow all of this kind of stuff is01:35:11
what Fusion does let's say we want to01:35:13
have a title that comes in and animates01:35:15
on and then a flying saucer comes in and01:35:18
then grabs the title and then lifts it01:35:20
off of screen that's more kind of the01:35:22
motion graphic side of things but you01:35:24
can sort of think of compositing as01:35:26
doing stuff that's fancy to your video01:35:29
so using the fusion page we can do01:35:31
things like take this shot of the house01:35:34
and turn this into a nighttime shot and01:35:36
add fog and remove all of these trees01:35:40
and take away this American flag and add01:35:43
fake lighting and I mean you can do01:35:45
anything you want if you have the skills01:35:47
and learn how to do it Fusion can01:35:49
probably do just about anything that you01:35:51
imagine01:35:52
so it's really exciting because this is01:35:53
built into resolve and what's neat is01:35:57
that you can take any clip from any01:35:59
timeline and to bring it into Fusion you01:36:02
don't need to convert it or you don't01:36:04
need to link it out to any other kind of01:36:06
program or render it or anything like01:36:09
that all you do is just look at the shot01:36:11
in the edit page and then switch over to01:36:13
fusion and it brings up that shot here01:36:16
in the fusion page and you can play with01:36:18
it and do all the fancy things pretty01:36:20
neat right01:36:22
so enough of what Fusion does how do we01:36:24
actually do anything well let's take a01:36:26
look at the interface here there should01:36:29
be some things that are familiar by now01:36:32
in the upper leand corner we have our01:36:33
media pool and this works just like in01:36:35
the other Pages it's all of the media01:36:38
that's been imported into our project in01:36:40
fact let me go up to workspace and reset01:36:43
our UI layout there we go it's possible01:36:46
that your screen looks a little bit more01:36:48
like01:36:49
this and of course in the upper left we01:36:51
have these buttons up here and this01:36:53
opens and closes panels just like in the01:36:55
edit page same thing media pool and01:36:57
effects both live over here on the left01:37:00
side on the right side we have our01:37:03
inspector and we have some other panels01:37:05
that we can open and close that we'll01:37:06
get to here in a little bit over here on01:37:09
the right we have our viewer and01:37:11
actually we have two viewers here in01:37:13
Fusion a left-and viewer and a01:37:15
right-hand viewer and for now you can01:37:18
think of this sort of like the source01:37:20
viewer and the timeline viewer although01:37:22
that's not exactly right but for now you01:37:25
can totally think about it like that cuz01:37:27
I have to explain a couple things before01:37:28
this will make any sense why there's two01:37:30
viewers but just so you know there's two01:37:31
viewers a left viewer and a right viewer01:37:34
and by default if you play through the01:37:35
timeline what you see on the right is01:37:38
what your image is going to look like01:37:39
when it goes back into the edit page now01:37:42
in the lower part of our interface we01:37:44
have the nodes now this strikes fear01:37:47
into the hearts of many nodes are01:37:49
probably the most single intim01:37:51
intimidating reason why people don't01:37:53
want to use Fusion because they see this01:37:56
kind of interface they see a couple01:37:57
boxes connected to each other and they01:38:00
go what the heck is that why is that01:38:03
this makes no sense how can something01:38:05
that's time-based not have a timeline01:38:08
with layers like the edit page does01:38:10
there's a timeline with layers I get01:38:12
that what's with the fusion page with01:38:14
these boxes what are we supposed to do01:38:16
with that well if you're thinking that01:38:17
way then you're not alone it's okay the01:38:20
very first time you see no it's it's01:38:22
kind of weird so let's take a minute and01:38:24
let's explain what the heck nodes are01:38:26
because they're really the key to01:38:28
working infusion they're like the main01:38:30
thing that you use to make cool stuff in01:38:32
Fusion so what is a node a node is just01:38:36
a little box on our interface and we01:38:38
link these boxes up like a flowchart01:38:42
each box has at least one input and it01:38:44
has an output the output is this little01:38:47
gray square and every input is a01:38:49
triangle and there are different colors01:38:52
triangles every single node has01:38:54
basically one job it kind of does one01:38:57
thing you can think of a node as like a01:38:59
single step in a process at Ground01:39:02
Control we have a program called Fusion01:39:04
Zero to Hero which teaches you all of01:39:07
the ins and outs in Fusion we go super01:39:09
deep into all the concepts that you need01:39:11
to know and one of the first things that01:39:13
we do to help people understand nodes is01:39:16
we explain it like a recipe here's some01:39:18
homework from one of our students where01:39:21
they had to make a flowchart for a01:39:23
recipe and so this is just how to make01:39:26
pizza right so you get the dough you01:39:28
roll the dough out you get some sauce01:39:31
you put the sauce on the dough you get01:39:32
some cheese you add the cheese you get01:39:34
the toppings you add the toppings you01:39:36
bake and then at the end you have pizza01:39:38
and you'll notice each of these01:39:40
nodes is like one action one action is01:39:43
get the dough one action is roll the01:39:45
dough one action is get the sauce right01:39:48
and they all connect together pretty01:39:50
much from from left to right and you put01:39:52
all of the steps in order and by the end01:39:56
you have something01:39:58
tasty here's another one I really like01:40:01
about making ramen so you get the bowl01:40:03
you get some flour you sift the flour01:40:05
you pour the flour into the bowl you get01:40:07
some water you mix the water with the01:40:09
flour you knead it you pull it and then01:40:11
you have Ramen and this is really all a01:40:14
node chart is is putting a bunch of01:40:16
steps in a certain01:40:19
order the difference is is instead of01:40:21
making food we're changing our shot so01:40:24
if we want to make our shot foggy we can01:40:26
start with a house shot we can take some01:40:28
fog and we can put the fog over the01:40:31
house then we can color correct it we01:40:33
could zoom it in and then at the end01:40:35
it's connected to a media out which is01:40:38
what gets sent to the01:40:40
timeline so really all we're doing with01:40:42
nodes is we're making a flowchart and by01:40:44
default if you open up a shot from the01:40:48
timeline you have a very simple01:40:49
flowchart you have Med media in and01:40:51
media out and each node has one job01:40:55
media in's job is to grab a video from01:40:58
the timeline and bring it here into01:41:00
Fusion media out's job is to take01:41:02
whatever we connect to that yellow input01:41:06
and put that back into the edit page01:41:08
everything fancy kind of happens in01:41:11
between media in and media out so if we01:41:13
were to take something like a blur node01:41:16
which by the way this little bar here01:41:19
this is our toolbar but it doesn't01:41:21
change our cursor it actually is just a01:41:23
quick way to make a node you can just01:41:26
drag any of these icons down and it will01:41:27
create a new01:41:29
node and so we can take this blur icon01:41:31
and drag that down in between media in01:41:33
and media out and when this little01:41:36
connection turns blue we can drop this01:41:39
on the connection and look it's01:41:41
connected in between these two nodes01:41:44
then we can select the blur and again01:41:46
anything that we have selected we can01:41:48
adjust in the inspector kind of the same01:41:50
way it works in the edit page and as I01:41:53
push this blur size up it blurs the01:41:55
image so really if you can do this then01:41:59
that's essentially how nodes work and01:42:02
now we have a blurry image and if we go01:42:04
back to the edit page guess what our01:42:07
image is blurry here in the edit page01:42:09
because this is using the output of01:42:12
fusion to make this video01:42:15
clip of course we can do a lot more01:42:17
fancy things than just blur things so01:42:20
let's switch back AC to Fusion let's get01:42:22
rid of that01:42:23
blur and let's talk about some of the01:42:25
major nodes that you're going to work01:42:27
with if you're going to make cool things01:42:30
in01:42:31
Fusion so there are hundreds of nodes in01:42:34
Fusion if you go over to the effects01:42:37
panel under Tools each one of these is a01:42:40
node oh my goodness how are we ever01:42:43
going to survive so many noes here's the01:42:47
good news you don't really need to know01:42:49
most of these you could just go ahead01:42:51
and close this effects panel right there01:42:54
a lot of the nodes that you're actually01:42:56
going to use are right here on the01:42:58
toolbar and they have dividers that sort01:43:01
of break these up into categories01:43:03
because there's really only four01:43:05
different types of nodes there are kind01:43:08
of some extra ones but there's like four01:43:10
main types and the first you might call01:43:12
an image node for instance media in01:43:15
would be an image node and remember I01:43:18
said that we'd get back to these two01:43:20
viewers01:43:21
well you can actually view any node01:43:23
itself in either of these viewers just01:43:26
by grabbing the node and dragging it01:43:28
into the viewer you can also hit one or01:43:31
two on the01:43:32
keyboard to toggle its view in either of01:43:35
the01:43:36
viewers you can also click these little01:43:39
dots you probably have two dots I have01:43:42
three dots because I have an external01:43:43
monitor with a special Blackmagic card01:43:46
but don't worry about it mostly you're01:43:47
only going to worry about these first01:43:48
two dots if it's white it's in the01:43:50
viewer if it's black it's not in the01:43:51
viewer and so when you Mouse over things01:43:54
we can say media out is in the second01:43:56
viewer and media in is in the first01:43:58
viewer now this is great because you can01:44:00
look at any node by itself instead of01:44:03
just what happens at the end and you can01:44:06
kind of isolate different parts of your01:44:08
node graph but more on that in a minute01:44:10
so media in one this is an image node01:44:14
that means that it's main job is to01:44:16
display an image for media in that's01:44:19
usually a image from the timeline or01:44:22
from the media01:44:24
pool and so if I were to grab a piece of01:44:27
footage here in the media pool I can01:44:29
drag this down into the node graph and01:44:31
that makes another media in node so all01:44:34
this does is just like play footage it01:44:36
displays images right another node that01:44:39
I would put in this category would be01:44:41
nodes that generate images so for01:44:43
instance a background node this is one01:44:45
that you're going to use all the time01:44:47
all it does if I take this and drag this01:44:49
in is it creates a solid color you can01:44:54
select this and go over to the inspector01:44:55
and change the color right so if we have01:44:57
this kind of dark red all it does is01:44:59
make an image that's just a solid red01:45:01
color and it can actually create a bunch01:45:04
of different kinds of backgrounds01:45:05
including like a four corner01:45:09
gradient and you can do all kinds of01:45:11
fancy step with a background node but by01:45:13
default it's just a solid color so even01:45:16
though we're creating this solid color01:45:18
here and we're importing an image here01:45:20
here really what's happening is we're01:45:22
making an image exist in Fusion same01:45:25
thing for this second node here fast01:45:28
noise what this does if I hit one on the01:45:30
keyboard is it generates clouds and01:45:34
again I can go over to the inspector and01:45:36
adjust like the detail and the scale and01:45:39
we can see it's just making clouds so01:45:42
it's creating an image same thing for a01:45:45
text node I can take this node here drag01:45:48
it to the first viewer and I can type01:45:50
some text text and even though we're01:45:52
making text what we're really doing is01:45:54
we're generating an image of this text01:45:58
we're rendering text to an image and so01:46:01
all of these nodes these create images01:46:04
and so I like to categorize these as01:46:06
image nodes and I'm going to do a fancy01:46:09
pants thing here I'm going to select all01:46:11
of these nodes go up to effects under01:46:14
Tools under01:46:16
flow there's a tool called underlay if I01:46:18
double click on that that's going to01:46:20
make a little background behind my nodes01:46:23
it's like a little tray that these01:46:24
things sit in and if I double click off01:46:26
and I can grab this little tray and move01:46:28
it around and it's going to move those01:46:30
all at once which is really convenient01:46:32
especially when you have a bunch of01:46:33
nodes now I can rename any node by01:46:37
selecting it and hitting F2 on the01:46:38
keyboard okay if I want to deselect any01:46:42
nodes I can double click and that's01:46:43
going to deselect everything and if I01:46:45
alt click on this underlay I can select01:46:48
just the underlay by itself so not all01:46:50
the nodes just the underlay and I can01:46:52
hit F2 to rename that and so we're going01:46:54
to rename this01:46:56
image nodes I can even right click and01:46:59
say set color let's just make those01:47:01
green okay image nodes all those do is01:47:06
either open an image or create an image01:47:08
and they output an image the next type01:47:11
of node would be an effect node and01:47:14
there are lots and lots of different01:47:16
effect nodes so some examples would be01:47:18
like our01:47:19
blur01:47:21
and if we grab this node and look at it01:47:23
the blur itself if I hit one on the01:47:25
keyboard there isn't any image there01:47:28
because an effect needs an image in01:47:31
order to exist so if I were to take this01:47:34
text and plug this into the yellow input01:47:36
of the blur now we have something01:47:39
showing up on this left viewer if I push01:47:42
up the blur size we're going to have01:47:43
blurry text and so an effect node01:47:46
adjusts an image that goes into it I can01:47:49
grab this and hold shift and I can drag01:47:52
this down in between a couple of nodes01:47:54
like that to link it up I'll close my01:47:57
effects here so we have a little more01:47:58
room and here we have a blurry image on01:48:01
both01:48:02
viewers the reason for that is because01:48:05
we're looking at the blur on the left01:48:07
viewer and the media out on the right01:48:09
viewer and we're always viewing the01:48:11
output of each01:48:13
node if I were to take this media in one01:48:16
and drag this to the left we can see01:48:17
kind of the before and the after let's01:48:20
do a couple other effects great effect01:48:23
would be our color corrector and I want01:48:26
you to notice something here we're01:48:27
putting this image into the input and01:48:31
then we're taking the output of the01:48:32
effect and putting that into the media01:48:34
out so we're running an image through01:48:36
the effect we're not putting an effect01:48:38
on top of it or applying it or anything01:48:40
like that it's easier to wrap your head01:48:43
around this if you always think I'm01:48:44
going to run an image through an effect01:48:46
I'm going to run this through a blur I'm01:48:48
going to run this through a color01:48:49
corrector01:48:51
then I can adjust this color corrector01:48:52
and look now we have this kind of01:48:55
purpley image because we've taken our01:48:57
original image we've color corrected it01:49:00
and now it's in the media out and then01:49:02
of course if we go to the edit page we01:49:03
have this purpley image right so we01:49:05
always run images through01:49:08
effects there's a bunch of different01:49:09
effects like curves or brightness and01:49:13
contrast and they all work in similar01:49:16
ways you always run an image through01:49:19
them and then you can adjust that01:49:21
image in the inspector and kind of01:49:24
control how strong that effect is same01:49:27
thing for brightness and01:49:30
contrast same thing here I can adjust01:49:32
the contrast of the image just by01:49:34
running it through that brightness and01:49:35
contrast node cool right I can hold01:49:38
shift and just move this a little bit to01:49:40
disconnect it and I can hold shift and01:49:42
drop whatever I want to actually be01:49:44
connected there back on the line and01:49:47
it's always a good idea if you're going01:49:48
to connect something like that using01:49:50
shift or dragging something down from01:49:52
the toolbar that you take it and kind of01:49:53
shake it around and make sure that it's01:49:55
actually connected because you can01:49:56
really easily have this node sitting on01:49:59
that line and it looks like it's01:50:00
connected but it's not and so if you're01:50:03
going to drop it on the line like that01:50:04
always just kind of check and make sure01:50:05
that it's connected so these nodes right01:50:08
here these are effect nodes now instead01:50:10
of going up to my effects panel every01:50:12
time I want to add something that's not01:50:14
on the toolbar here I'm going to use a01:50:16
little shortcut I can hit shift and hit01:50:18
space bar and that's going to bring up01:50:19
my select tool panel and I can type any01:50:22
node that I want I'm going to type UND d01:50:25
That's shorthand for underlay and then01:50:27
hit add and that's going to add my01:50:29
underlay okay same thing I'm going to01:50:32
resize01:50:33
this double click off of it and hold alt01:50:37
and click here and hit F2 to rename it01:50:40
we'll call this effect nodes and we'll01:50:43
make this a color let's just make it01:50:45
teal yeah that's nice so far we have01:50:49
image nodes and effect01:50:50
nodes and if this is making sense so far01:50:54
that's really great but here's the thing01:50:56
when we were talking about compositing01:50:58
we were talking about combining01:50:59
different images together which I feel01:51:02
like a lot of people are used to doing01:51:03
with layers so if you have some kind of01:51:06
layer based compositing program or photo01:51:09
editing program or even here on the edit01:51:12
page we can take multiple different01:51:13
layers and put them on top of each other01:51:16
right but in Fusion you might hunt01:51:18
around and quickly find that that there01:51:20
is no layers panel there's no way to01:51:23
stack things like that there's no way to01:51:25
put an image over another image in any01:51:28
of these panels so what the heck do we01:51:30
do just take this blur off here for a01:51:32
minute how are we supposed to put fog01:51:34
over this shot or you know put a moon in01:51:37
the background or whatever we're going01:51:38
to do if we can't actually combine01:51:41
images together well that's where our01:51:43
next type of node comes in and that is a01:51:46
merge01:51:47
node so to the right of the second01:51:49
second little divider here this first01:51:52
little icon is merge so I can take this01:51:55
merge node and drag this here and you'll01:51:58
notice this merge node not only has a01:52:00
yellow input and a gray output but it01:52:03
also has a green input and a blue input01:52:07
now this is something we haven't really01:52:08
talked about yet the main image input01:52:10
for most nodes is generally this yellow01:52:13
input okay for an effect node it's just01:52:16
called input if you Mouse over any of01:52:18
these it'll sort of tell you what these01:52:20
are but each input has a different name01:52:23
and a different job here on the color01:52:25
corrector node we can put another image01:52:27
into this which is called a match01:52:29
reference we also have a match mask this01:52:33
blue input is an effect mask input which01:52:35
we'll get into in a minute but the merge01:52:38
node has a yellow input which is called01:52:40
the background and the green input which01:52:42
is called the foreground that's because01:52:45
every node has one specific job and the01:52:47
Mer's job is to put one image over01:52:50
another image so if we were to take our01:52:53
media in and plug this into the yellow01:52:55
input of the merge and take the merge01:52:57
into media01:52:58
out here in the right viewer we see01:53:01
nothing different happening that's01:53:03
because if you were to read this01:53:05
flowchart we have media in which is take01:53:08
this image from the timeline and then go01:53:10
into the merge the merge has one job put01:53:13
the foreground over the background there01:53:14
is no foreground so we're just going to01:53:16
see the background and then we put that01:53:18
into media out one and so we have the01:53:20
background but if we want to put01:53:22
something over it like a layer on top of01:53:25
it like let's say we want to put some01:53:26
text over it we can grab a text node01:53:30
which again is an image01:53:32
node and we'll call01:53:34
this text FG for01:53:37
foreground and I'll take the output of01:53:39
this text and plug that into the green01:53:42
input of our merge and look what happens01:53:44
now we have the text over our background01:53:48
so that's how you would combine two01:53:49
images in Fusion now don't get hung up01:53:53
on this because it can be confusing when01:53:56
you have to use a merge node and when01:53:58
you don't if you're used to thinking01:54:01
about you know dropping a color01:54:02
corrector on something like even in the01:54:04
edit page right if we have an effect and01:54:07
go to01:54:09
effects grab one of our open effects01:54:11
here and we'll take this blur we01:54:13
physically take this blur and drag it on01:54:16
top of our footage and that's how we add01:54:19
that blur01:54:20
so we're dropping it on top right but01:54:23
that's why I was saying we should always01:54:24
think about running something through an01:54:26
effect because you're never going to put01:54:28
an effect on top of something in Fusion01:54:31
it just doesn't work that way you always01:54:33
run an image through an effect and so01:54:35
this merge all it does is put an image01:54:38
over another image if we were to do01:54:39
something like grab a01:54:43
blur and plug that into our merge one01:54:47
like this I see a lot of newbies 201:54:49
Fusion doing doing this you put that01:54:51
blur over that merge and then you select01:54:53
the blur and you just pump that blur01:54:55
size and nothing's happening nothing's01:54:57
nothing's changing that's01:55:00
because what you're trying to do is blur01:55:03
this image but instead what you're01:55:05
telling it to do is take this image and01:55:09
blur nothing and put that blurred01:55:11
nothing over this image which just looks01:55:14
like the regular image right but if we01:55:17
were to take an image and run through an01:55:20
effect before we merge it then we have01:55:23
our blurry foreground our text on top of01:55:27
our background and we can think about01:55:30
this in order right so we take our text01:55:32
and then we blur it and then we put it01:55:34
over our01:55:37
background and of course that's what we01:55:39
get we have blurry text over our01:55:41
background because what we're really01:55:43
doing if I just drag this blur to the01:55:45
left is we're creating an image with01:55:47
this effect we're taking an image image01:55:50
running it through an effect and it01:55:51
makes a new image with the effect01:55:53
applied then we can take that image and01:55:57
put this over our existing01:55:59
image so a merge always puts a01:56:01
foreground image over a background image01:56:04
okay that's the only time you use a01:56:05
merge it's when you're putting something01:56:07
over something else and you never put01:56:09
effects on top of things you only run01:56:12
images through effects okay if you wrap01:56:15
your head around that everything's going01:56:16
to be so much easier believe me you you01:56:19
might be asking how do I stack multiple01:56:22
things if a merge only puts a foreground01:56:23
over a background what if I have three01:56:25
layers let's just grab another text here01:56:28
and we'll just call this layer three and01:56:31
we'll make it a different color make it01:56:33
kind of this blue if I take this text01:56:36
and I plug that into this other input of01:56:38
our01:56:39
merge uh some weird stuff is happening01:56:42
no nobody really even knows what's going01:56:44
on01:56:45
here and it looks like we're just going01:56:48
to keep putting images into this merge01:56:51
and stack them but what we're really01:56:53
doing is hooking this text up to our01:56:56
mask input which again we're going to go01:56:58
over in a minute but that's just not01:57:00
what we want to do if we want to put01:57:02
another image over these two images all01:57:05
we do is we make another merge so I can01:57:07
take this merge and put this here in the01:57:09
flow and then take the output of our01:57:12
text and put that there and so now we01:57:14
have layer one which is the background01:57:16
of the merge Layer Two which is the01:57:18
foreground of this merge those get01:57:20
merged together and put into the01:57:21
background of this merge and then layer01:57:23
three goes into the foreground and so01:57:26
that's generally how you would layer01:57:27
things here in fusion and really the01:57:30
best way to think about this is your01:57:31
layers kind of Stack from left to right01:57:34
so this first layer is media in and then01:57:37
this is our second layer this is our01:57:38
third layer and so on you kind of build01:57:40
them from left to01:57:42
right if you want to change the order of01:57:45
the layers you can select the merge and01:57:48
the image that you plugged in into the01:57:49
merge you can hold shift and you can01:57:51
drag this out of the flow like that and01:57:53
just drop it in before this merge and01:57:57
now we have the blurry text over this01:57:59
blue layer and so the order of the nodes01:58:03
matters generally goes from left to01:58:06
right now something to mention it01:58:08
doesn't have to go from left to right01:58:09
that's just kind of its default in fact01:58:12
when you move these nodes around you'll01:58:14
see that these inputs actually kind of01:58:17
move around with them you could stack01:58:19
this from top to bottom or right to left01:58:22
if you wanted to or bottom to top it01:58:24
doesn't really matter what matters is01:58:27
what nodes you have connected to what01:58:29
inputs so like the colors of the inputs01:58:33
that's what's important now something to01:58:35
mention there is a node called a multi-01:58:38
merge node and this is relatively new in01:58:40
the later versions of resolve and if01:58:43
you're coming from a layer-based app01:58:46
this might be more helpful for you but01:58:48
I'm going to give this to to you with a01:58:49
caveat this works pretty much exactly01:58:52
like a normal merge node I can drag this01:58:55
here in the01:58:57
flow just disconnect this stuff and01:58:59
we'll plug the blur two into multi merge01:59:02
and that's going to do what a normal01:59:04
merge node does but once we have this01:59:07
plugged in we'll see we have another01:59:09
white input and this says Layer Two so01:59:13
if we take this text 3 and plug this01:59:16
into the white input well now we have01:59:18
kind of what we were looking to do01:59:20
earlier is we have our first layer our01:59:23
background then we have layer one then01:59:25
we have the next layer and then we have01:59:27
the next layer in fact if we select this01:59:30
multi- merge we can see a list of our01:59:33
layers and we can select each layer and01:59:36
we can adjust properties of the layer01:59:38
and we can drag the order around in the01:59:41
layers right so if you're really into01:59:43
layers this is a good way to use layers01:59:46
within fusion and you can connect as01:59:49
many layers as you want to this multi01:59:51
merge here's the caveat here's the01:59:53
warning that I would give you about that01:59:56
let's say we01:59:57
have a whole bunch of text nodes and we02:00:01
connect these all to a multi- merge you02:00:04
can see where things start to get a02:00:05
little bit crazy because they're kind of02:00:07
spider webbing out of this multi- merge02:00:10
and I mean you could totally put these02:00:12
in a stack like this to kind of hint to02:00:16
yourself what is the top layer and02:00:17
what's the bottom layer and might be a02:00:19
good way to do it but check this out if02:00:22
you move the layers around in the layer02:00:24
list like this this isn't accurate02:00:27
anymore and so you have to manage two02:00:29
different things in order to keep02:00:31
yourself organized and this is kind of a02:00:33
problem because one of the major02:00:35
benefits of nodes is being able to look02:00:38
at a node chart and understand exactly02:00:40
what's happening without having to02:00:41
select something and go into a layer02:00:43
list and look at all of the Hidden02:00:46
properties that might be there right so02:00:48
we could have the this size pushed up02:00:51
and the center changed or whatever on02:00:53
one of these02:00:54
layers and without it selected I have no02:00:58
idea which layer this is I have no idea02:01:01
why it's moved around I have no02:01:04
indication of that and so I'm going to02:01:06
have to go through any of these and see02:01:08
if there's any sizing or anything weird02:01:10
and no that's not working so I can go02:01:12
into the multi merge and I'll have to02:01:13
look at each of these to see if there's02:01:16
any size there it is there's the sizing02:01:19
and so you're just searching for things02:01:20
over and over again and it's honestly02:01:23
just a worse way to work you're kind of02:01:25
making things hard for yourself and so02:01:27
as uncomfortable as it might be I would02:01:30
really recommend not using the multi-02:01:32
merch I would recommend if you want to02:01:35
Stack a bunch of layers that you get02:01:36
used to making a bunch of merge nodes02:01:39
like this and building your layer stack02:01:43
essentially from left to right like02:01:46
this because then you can see the image02:01:49
images that are connected and the exact02:01:52
order in which they're connected and02:01:54
it's all laid out here on the nodes and02:01:56
you can tell from a02:01:58
glance and if you are going to move02:02:00
things around like this I would also02:02:02
recommend using something like a02:02:03
transform node so here right under our02:02:06
playback controls there's this little02:02:08
icon this is a transform node and this02:02:10
is an02:02:11
effect okay you run an image through it02:02:14
and then it just gives you some02:02:16
properties for sizing and angle and02:02:19
flipping things and centering it and02:02:21
moving it around and that kind of thing02:02:23
and again it's for that reason just at a02:02:25
glance I can tell what's happening with02:02:28
all of my layers I have three different02:02:29
layers and it's really easy for me to02:02:31
tell which one is probably moved around02:02:33
and changed it's the one with the02:02:35
transform Noe on it right it's this one02:02:37
right here and I don't have to go and02:02:39
hunt and search and everything which one02:02:41
is blurry probably the one with the blur02:02:42
Noe on it now what you might be thinking02:02:45
is dang that seems like a lot of work02:02:48
for something really simple I think I'll02:02:51
just stick with layers because man then02:02:52
I don't have to make a merge node and02:02:54
you know add all of these nodes just to02:02:56
do one basic thing right but here's the02:02:59
thing it's really about the same amount02:03:01
of work as adding a layer check this out02:03:04
you have to make the image right you02:03:06
have to generate the text or bring in02:03:08
the file or anything like that and so no02:03:10
matter what app you use you're going to02:03:11
have to do that I'll just get rid of02:03:13
this merge node for a minute and bring02:03:14
our media in over here and if you want02:03:18
to put this on top of this other image02:03:20
it's actually about the same amount of02:03:22
work because what you can do is you can02:03:23
take this output and drag the output02:03:26
over the output of this node and look02:03:28
what happens boom it makes a merge node02:03:30
and it automatically connects this to02:03:32
the foreground and so you don't have to02:03:34
make a merge node and connect it and02:03:36
disconnect things and all that stuff02:03:38
every time you can make a node connect02:03:42
it pretty quickly right and once you get02:03:44
used to doing things this way then I02:03:48
mean it goes pretty quick it's really02:03:50
not that big of a deal and then you have02:03:53
this flowchart that you can read easily02:03:56
and see everything that's happening to02:03:58
your image all along the pipeline and so02:04:00
that's really how A merge02:04:03
Works let's take this merge node and02:04:06
we'll put an underlay02:04:10
here okay we'll have a merge and a multi02:04:14
merge so that's the third type of node a02:04:16
merge node so we have images effects and02:04:18
Mer es the last major kind of node would02:04:21
be a mask now to the right of this02:04:23
middle divider here we have these little02:04:26
shapes I'll just grab the ellipse to02:04:28
start out with and what this does if we02:04:31
hit one on the keyboard is it creates a02:04:33
circle and it does this with a little02:04:36
shape that you can02:04:39
adjust and in the inspector you can02:04:42
soften the shape and all of that kind of02:04:44
stuff and this is designed to select02:04:47
part of the screen and if you connect02:04:49
this to a mask input in any node you're02:04:53
essentially telling whatever that node's02:04:55
job is to only happen inside of the Mask02:04:59
so let's say we were going to run this02:05:03
image through a color corrector and make02:05:05
it purple here what we could do is02:05:09
connect our mask to the blue input of02:05:12
this color corrector and look what02:05:13
happens it's only going to do that color02:05:16
correction inside of this mask and so02:05:19
you can limit where the node does its02:05:22
job by telling it to do it inside of the02:05:25
Mask you could also select the mask and02:05:28
go over here and hit invert and have it02:05:30
only do it outside of the mask and there02:05:33
are a few different kinds of masks02:05:35
there's the ellipse mask there is a02:05:37
rectangle02:05:40
mask which works in a similar way it02:05:43
just makes a rectangle02:05:46
instead we also have a polygon map mask02:05:49
which lets you draw on the screen kind02:05:53
of like the pen02:05:55
tool you can make your own02:05:58
shape and we also have a beast bline02:06:01
which is sort of similar to the polygon02:06:05
but it kind of rounds out the shape so02:06:08
you can't have harsh Corners you can02:06:10
only have these kind of soft Corners02:06:12
like this and so this is great for more02:06:14
organic shapes and if you want kind of02:06:16
softer rounder shapes but regardless of02:06:19
how you draw the shape these all work02:06:21
the same way they're designed to be02:06:23
connected to the blue input of any node02:06:26
that you want to limit let's bring this02:06:29
over02:06:30
here make an02:06:33
underlay these are mask nodes and so I02:06:36
know Fusion might seem really02:06:38
overwhelming with all of these nodes but02:06:40
really again there's there's only four02:06:42
different kinds of nodes that you really02:06:43
need to know there's image nodes there's02:06:46
effect nodes merges and masks and these02:06:50
are the big categories and so we can use02:06:53
these categories and combine these02:06:55
together in different ways to adjust our02:06:58
images and make movie Magic make visual02:07:01
effects make animations make Motion02:07:04
Graphics all of this stuff is really02:07:06
cool and we use nodes to do it so now02:07:09
that we have a good idea of how nodes02:07:11
work in Fusion let's actually make02:07:13
something right just kind of make this a02:07:16
little bigger so that we can see02:07:19
and we're going to make this a nighttime02:07:21
shot and add some02:07:23
fog the first thing I'm going to do is a02:07:25
little bit of color management and this02:07:27
is kind of just as basic as it gets when02:07:29
it comes to compositing in the upper02:07:31
right hand corner here there's this02:07:34
little lce and where it says L here I02:07:37
can go down and I can pick a l to view02:07:39
this footage with and this is shot on02:07:42
black02:07:43
magic pocket 6K and Gen 5 so let's just02:07:46
say Blackmagic Gen 5 filmed a video and02:07:49
that's going to give us a decent02:07:51
approximation of what this will look02:07:52
like when we use some color grading on02:07:54
it so this is obviously too bright and02:07:56
everything so let's do something like02:07:59
take a color corrector and we'll just02:08:00
drag this in here and this is stuff we02:08:03
can do a little bit on the color page02:08:05
but let's at least just take some of02:08:08
this down a little bit to make this a02:08:11
little bit more of a nighttime shot and02:08:13
I'll also cool this off take down some02:08:17
of the saturation02:08:19
and we'll just do a little bit02:08:23
more kind of Darkness02:08:26
here something like that that's looking02:08:28
more night timey and then let's just02:08:30
look at this and say okay what what02:08:32
needs some work well this sky is pretty02:08:35
bright so again this might be stuff that02:08:37
we can do in the color page but just to02:08:39
practice a little bit of fusion here we02:08:41
can take something like the color02:08:44
curves and I'm just going to look at the02:08:47
sky and I'll uncheck Alpha here and just02:08:50
take this down a little bit something02:08:53
like02:08:54
that maybe even push a little bit of02:08:56
blue into02:08:58
this take out some of the02:09:00
red take out some of the green just to02:09:03
give us this kind of bluish sky and then02:09:06
we're going to mask this color with a02:09:09
mask so let's just connect this polygon02:09:12
here and I'm just going to kind of draw02:09:16
in our shap ape02:09:19
here like02:09:21
this and we're just isolating this to02:09:24
the Sky boom like02:09:26
that push up the soft Edge a little bit02:09:30
and that looks a lot better so now we02:09:33
have this kind of set up as a night02:09:35
scene now let's add the brightness of02:09:37
these lights back in now check this out02:09:39
here's something we could do let's also02:09:41
just take another color corrector and02:09:43
this time I'm going to take this media02:09:45
in this is our original footage and I02:09:47
can actually drag multip multiple02:09:48
outputs from the same node so I can put02:09:51
this into our color corrector like this02:09:54
and if I hit one on the keyboard I can02:09:55
bring up and see what we're doing I'll02:09:57
also make sure that we're looking at02:09:59
this under our l so black magic design02:10:03
gen film like that maybe make this just02:10:07
a little bit02:10:08
warmer and I'll take the gain down a02:10:10
little bit but we're looking for kind of02:10:13
a nice yellow tone here because we want02:10:15
to accentuate what these lights look02:10:17
like okay great02:10:19
and now we can take this brighter color02:10:22
and I'll take the output of this and02:10:23
merge it over everything else like this02:10:26
and now we have this as kind of a second02:10:29
layer on top of everything but we can02:10:31
isolate this with a02:10:34
polygon and we'll just draw a little02:10:37
shape around here like02:10:39
that feather that out and you see what02:10:42
we're doing here see that let's do the02:10:46
same thing over here I'm just going to02:10:47
grab another polygon and just plug it02:10:49
right into this polygon mask that's02:10:51
going to stack these02:10:54
masks like this and I'll just soft Edge02:10:57
like that can make this a little bit02:11:00
bigger whatever we02:11:02
think maybe even make this a lot bigger02:11:05
and soften it a02:11:06
lot so we have a little bit of light02:11:09
coming in02:11:10
here let's also do that for this light02:11:14
here I'll stack02:11:17
this like02:11:19
this again soft soft soft02:11:23
soft and now we have this somewhat02:11:26
convincing night shot with those Bright02:11:29
Lights there kind of contrasting with02:11:31
the blue and we can further refine this02:11:34
in the color page but you know that's02:11:36
kind of a basic nice02:11:38
composite let's go ahead and rename02:11:40
things this color corrector we're just02:11:42
going to call this light02:11:45
CC this will be Sky curves02:11:49
this will be KN02:11:52
CC this polygon let's call Sky02:11:56
mask and these polygons will say you02:11:59
know light mask02:12:02
mid light mask left and light mask right02:12:10
so now we can see exactly what's02:12:11
happening here let's just take this02:12:13
media and we'll say OG for original02:12:15
footage Mi like that and we can see that02:12:18
we're color correcting this we're color02:12:20
correcting the sky just inside of the02:12:21
sky mask and then we're merging the02:12:23
original footage over itself with some02:12:25
masks here we have it color corrected02:12:28
and that's what gives us this nighttime02:12:31
look now let's add a little bit of fog02:12:34
this is something you definitely can't02:12:36
do in the color page we can grab this02:12:38
fast noise here I'll take this and then02:12:41
drag this in like that that's going to02:12:43
make this big bright kind of cloud we02:12:46
push up the detail a little bit02:12:48
push down the scale we can see these02:12:50
clouds like this one thing we'll do is02:12:53
take this merge and turn the blend all02:12:55
the way down and then we'll just start02:12:57
to push it up a little bit just to where02:12:59
we can start to see that a little02:13:02
bit and then we're going to mask this02:13:04
also so we'll just take this02:13:06
polygon and we'll mask this just along02:13:09
the ground mostly over here on the left02:13:12
where it's kind of farther away from02:13:13
camera we'll soften that a little bit02:13:17
and we'll have this fog just end up02:13:18
right here inside of this mask and one02:13:20
thing I'm going to do with this fog is02:13:22
under merge here I'm just going to take02:13:24
this subtractive additive all the way02:13:26
down to subtractive and that's just02:13:28
going to make this blend in just a02:13:29
little bit02:13:31
nicer and take the detail down just a02:13:34
little kind of adjust02:13:36
this so we have a little bit more02:13:38
realistic looking fog here also take the02:13:41
blend down just a02:13:43
touch the other thing I'll do with this02:13:45
fast noise is push up the SE rate a02:13:47
little bit and that's going going to02:13:49
kind of animate this over time maybe not02:13:52
quite that much just want a little bit02:13:55
take the contrast down a02:13:57
touch just02:13:59
want little bit of fog here and we're02:14:02
also going to animate the02:14:04
center now we haven't talked a lot about02:14:06
animation here but what we can do is any02:14:09
of these properties we can animate over02:14:13
time by clicking this02:14:15
diamond and changing its value so here02:14:18
at zero let's go ahead and click the02:14:20
diamond here on Center and then towards02:14:23
the end of the shot we're going to go02:14:25
towards the end and then this time I02:14:26
don't need to click the diamond I can02:14:28
just change this property and it's going02:14:31
to animate it in between these02:14:33
two values so now we have02:14:38
this fog kind of rolling through like02:14:42
that you know and depending on how02:14:44
realistic you want this to be you can02:14:46
spend a little bit more time on it but02:14:47
that's kind of the workflow here but02:14:49
let's kind of break this down I'll hit02:14:50
one on the keyboard to bring up the02:14:52
different parts here so we starting with02:14:54
our original footage then we're doing02:14:56
some color correction we're color02:14:58
correcting the sky we're doing a little02:15:00
bit of color correction on the original02:15:02
footage and then merging it over itself02:15:06
just where those lights02:15:07
are so that gives us this nice kind of02:15:11
nighttime looking02:15:12
shot then we're taking this fast noise02:15:15
we're putting it over the shot only02:15:17
inside of the mask and now we have some02:15:19
fog and we're animating the fog over02:15:22
time to kind of roll through the02:15:24
shot pretty cool stuff you can do in02:15:26
Fusion let's take a look at the next02:15:28
shot in our timeline I'm just going to02:15:31
disable this top layer for a minute we02:15:34
have some footage of a little spaceship02:15:37
and then we have some footage that we02:15:39
shot Weeks Later of our little alien02:15:42
puppet and a common thing that you might02:15:44
want to do is take a piece of footage02:15:46
and kind of put it in inside of02:15:48
something and so we want to put this02:15:50
little guy into the cockpit of our02:15:54
spaceship this is a perfect thing to do02:15:56
in Fusion so to get both of02:16:00
these clips into Fusion at the same time02:16:03
we can simply just right click here with02:16:05
them both selected and go up to new02:16:08
Fusion clip that's going to combine02:16:10
those together and then when we go to02:16:13
Fusion it's going to have these clips02:16:15
already put into a merge node so let's02:16:18
arrange these I like to put the02:16:21
background coming in on the left and the02:16:23
foreground coming in on the top that02:16:24
just helps me again it doesn't really02:16:26
matter because you could have the02:16:28
foreground coming in on the left it's02:16:30
the foreground because it's connected to02:16:31
the green input right but just so that I02:16:34
don't get lost I like to put the02:16:36
background on the left foreground on the02:16:38
right let's take a look at what the02:16:39
background is this is going to be our02:16:43
spaceship _ Mii this is our alien MI I02:16:48
and so now how do we put this little guy02:16:50
in there well I'm actually going to02:16:53
switch these because I want my alien to02:16:55
be in the background and my spaceship to02:16:56
be in the foreground cuz what we're02:16:58
going to do is just cut a hole out of02:17:00
this footage and we're going to see the02:17:02
alien through it so to quickly switch a02:17:05
background and a foreground on a merge02:17:07
you can select the merge and hit control02:17:08
t on the keyboard or command t on a Mac02:17:11
so now you'll see these colors are02:17:14
switching so be careful cuz you might02:17:16
accidentally hit that and guess what02:17:18
things are switched so now we have the02:17:20
alien in the background and the02:17:23
spaceship in the foreground and let's go02:17:25
ahead and just bring our spaceship up02:17:27
here in this first viewer and I'm going02:17:28
to add a mask02:17:30
now let's do this with our polygon I'll02:17:34
grab the polygon and connect it to the02:17:36
spaceship anytime that you're going to02:17:37
mask something directly like cut02:17:39
something out of a picture it's a good02:17:42
idea to bring that picture up in the02:17:44
first viewer and draw directly on it02:17:47
rather than drawing down the line02:17:49
there's a lot of reasons for that but02:17:51
it'll save you some major headaches if02:17:52
you do it this way but I can't see what02:17:55
I'm drawing on so I'm going to select02:17:56
this polygon and go over here to this02:17:57
little switch and I'm going to turn off02:17:59
the switch and that's going to show my02:18:02
background it won't apply the polygon02:18:04
but I can still draw it so I'm going to02:18:06
hold control and zoom in here and I'm02:18:09
just going to start here in this corner02:18:12
and just make a nice cutout of02:18:16
our cockpit02:18:18
here just clicking and02:18:21
dragging and just kind of cutting out02:18:24
where I think we could look back and see02:18:26
the alien something like this boom now02:18:30
if we don't have a perfect corner right02:18:32
here I can grab the little handles here02:18:34
I can hold control and I can move one02:18:36
handle at a time so that's really02:18:38
helpful for something like this with a02:18:39
sharp corner like that and now if I go02:18:41
over here to my polygon and apply the02:18:44
mask it's going to only drop draw this02:18:48
spaceship media in inside of the Mask02:18:50
which is not quite what we want let's go02:18:53
over here to the mask select02:18:55
that and then here in the inspector02:18:58
where it says invert let's click invert02:19:01
and that's going to just kind of cut out02:19:03
a little window here now we have our02:19:06
alien showing through in the back that's02:19:08
great but he's the wrong size so if we02:19:10
want to resize him we can use a02:19:13
transform node which is right here under02:19:14
the stop button grab this and drag this02:19:17
in02:19:18
let's take this transform and we'll02:19:20
scale him and look we're kind of scaling02:19:23
him in this little02:19:25
window and we just got to position him02:19:27
where he feels good let's rotate him a02:19:30
little02:19:31
bit that's pretty good maybe we'll make02:19:34
him just a touch bigger like he's kind02:19:36
of stuffed in there there's our little02:19:38
man and now because we have similar02:19:41
lighting and everything this is going to02:19:42
work pretty well cuz we planned this02:19:44
shot right the only other thing that I02:19:47
might do02:19:48
is this mask just seems a little bit02:19:50
harsh and so let's just take this02:19:52
polygon02:19:53
mask we'll zoom in here and we'll just02:19:55
take this soft edge Up Just a Touch just02:19:58
so it looks realistic it matches with02:20:00
the other edges and everything that's02:20:02
going to do just02:20:03
fine now I mean you almost can't even02:20:06
tell that we did that which is the goal02:20:08
that's the point of visual effects right02:20:11
so there's our little02:20:13
guy that works pretty well one thing02:20:17
we'll just to make this a little bit02:20:19
more believable is we should add a02:20:20
little Shadow to him right here we can02:20:23
do that a bunch of different ways but I02:20:25
think what we'll do is after this02:20:28
transform let's add a little color02:20:31
correction and we'll darken this down02:20:34
we'll just take the gain down a little02:20:35
bit like that maybe the gamma down a02:20:37
touch and we're going to use a mask and02:20:40
we're going to limit this color02:20:41
character with a mask we'll just add02:20:43
kind of a soft mask02:20:45
here like that02:20:48
and then give that a really soft02:20:50
Edge now he has a little subtle Shadow02:20:53
on his forehead here we could even make02:20:54
that a little bit more pronounced just02:20:56
so we can see it just take the gamma02:20:59
down a02:21:00
touch now here's before and here's after02:21:03
we're just adding a little bit of02:21:04
Darkness02:21:05
there I feel like that helps sell it a02:21:07
little bit yeah02:21:10
great and so there's our comp we have02:21:13
our little guy peeking out of the02:21:15
spaceship and this is already in the02:21:18
edit timeline so if I go over to edit02:21:20
boom there we are there's our comp with02:21:23
our guy he's looking out oh man he's so02:21:27
handsome Fusion is perfect for things02:21:29
like this where you just need to adjust02:21:31
your shot do some visual effects by the02:21:34
way this video is coming up looking kind02:21:36
of weird because we don't have that L on02:21:38
it that we did here in Fusion but when02:21:40
we do our color02:21:42
correction this is going to end up02:21:44
looking pretty good so we're kind of02:21:46
just keep keeping this in a ungraded02:21:49
mode this shot we already kind of pregg02:21:53
graded just for this training so it's02:21:55
just a little less things to deal with02:21:57
it's working for this last shot let's02:22:00
say we want this to be some kind of02:22:02
motion title we could go over to Fusion02:22:05
like this and start adding text and02:22:08
animating it and everything like that02:22:11
here but the problem is that when we go02:22:14
to color grade this we're also going to02:22:16
be color grading our graphics and so a02:22:20
smarter thing to do would be to back up02:22:23
a little bit I'm just going to right02:22:24
click and reset our Fusion composition02:22:26
so it doesn't have to think through02:22:27
Fusion every single time hit reset02:22:30
that'll just bring that back to normal02:22:31
footage and let's go over to effects and02:22:35
under effects there's a couple effects02:22:37
here one is an adjustment clip the other02:22:39
is a fusion composition what we can do02:22:41
when we're making Graphics is we can02:22:44
make a fusion composition either in the02:22:46
media pool by right clicking and saying02:22:48
new Fusion02:22:50
composition or just from our effects02:22:53
panel we can just drag a fusion02:22:54
composition in here just like we would a02:22:56
title and what this is going to do is be02:23:00
kind of our Standalone title so now if I02:23:03
hit Fusion we can start with a background02:23:07
just take this background like this and02:23:10
take some text and put that on02:23:12
top the name of this film is called02:23:15
Tuesday on Earth02:23:19
and let's just make sure this is working02:23:20
here let's head back to our edit page02:23:22
and yes we see Tuesday on Earth but we02:23:24
don't see the footage under it that's02:23:27
because this background is solid black02:23:30
so what we can do is just take this02:23:32
Alpha down like this and now we'll see02:23:35
our footage under it a little trick if02:23:38
you are going to make something like02:23:39
this you can either do it with a fusion02:23:40
composition like that or you could even02:23:43
make an adjustment02:23:45
clip you can take this adjustment02:23:47
clip and put this sort of in the same02:23:50
place and then go into fusion and you'll02:23:52
see the background behind it so our02:23:55
media in is just what you see in the02:23:57
timeline but if we make this02:24:03
text we still have this02:24:06
separated as a separate layer and if we02:24:08
were to move this over like this that's02:24:11
just going to be over whatever our02:24:12
background is when we get into the color02:24:14
page we can choose not to put color on02:24:16
our adjustment clip so this might be a02:24:18
better way to actually do it right now02:24:20
is using an adjustment clip and just02:24:22
switching over to Fusion so that we can02:24:25
see kind of how this looks over our02:24:27
footage and let's go ahead and just02:24:29
change the02:24:31
font I like this font called Poppins you02:24:33
can get this on like Google fonts and02:24:35
everything it's02:24:37
free I'll just push up the size and02:24:40
maybe push up the tracking a little bit02:24:41
I like something like that that looks02:24:43
nice and from here I mean man we can02:24:46
just do anything so let's do something02:24:48
crazy let's use this text as a mask and02:24:52
we'll take this footage and we'll mask02:24:54
the footage over itself with the text02:24:56
this is crazy sauce so I'm just going to02:24:59
disconnect the text here and let's take02:25:01
a transform node and plug this media in02:25:04
into the transform node then we can02:25:07
merge that over and it looks like02:25:09
nothing's happened but let's go ahead02:25:11
and flip this upside down like this and02:25:14
we can move this around with our02:25:16
transform and we can see that we have a02:25:18
layer over itself like this so maybe02:25:21
let's do this and then let's take this02:25:23
text and let's just use this text as a02:25:27
mask for our merge we could do it for02:25:29
the02:25:30
transform which um might actually give02:25:32
us the same02:25:34
result because we're only going to02:25:36
transform this inside of where the text02:25:39
is but if we want to add other things02:25:42
like color correction and stuff like02:25:43
this it would be more problematic and so02:25:46
if I hold shift and take this text out I02:25:49
can put this text into the mask input of02:25:51
the merge and we get the same idea but a02:25:54
little bit more flexibility02:25:56
later let's just maybe do this and then02:25:59
maybe we'll add some color02:26:01
correction to our02:26:03
transform and maybe let's desaturate it02:26:07
push the gamma down or something like02:26:08
that so now we have this really cool02:26:11
looking02:26:12
title which we can animate and do all02:26:15
kinds of stuff like let's take this02:26:16
trans form and we can animate this angle02:26:20
let's take the angle here and we'll just02:26:22
maybe move that a little02:26:24
bit and then by the end we'll have this02:26:27
moving like02:26:28
that so now we have this really crazy02:26:33
looking title that's really unique I02:26:36
mean you aren't going to see this in a02:26:38
template or anything like that that's02:26:39
pretty02:26:40
cool that's just unique to this film02:26:43
pretty cool we could also animate the02:26:45
text so let's just animate the tracking02:26:48
maybe so I'll go to the beginning of our02:26:51
shot go over here to tracking and let's02:26:53
click the key frame diamond and then at02:26:55
the end of our shot we'll just push the02:26:58
tracking together ever so slightly so02:27:01
now we have this really slow kind of02:27:04
movement on our title oh so02:27:07
cool so02:27:10
cool and this is just scratching the02:27:12
surface of the things that we can do in02:27:13
Fusion you can do absolutely anything02:27:16
it's a full featured compositing app you02:27:18
can do visual effects you can do02:27:20
Graphics you can do I mean all kinds of02:27:22
stuff we even made a broadcast quality02:27:25
cartoon just using the tools in fusion02:27:28
and that was a whole lot of fun you just02:27:29
have like absolute freedom that's why I02:27:31
like Fusion so much so cool but I think02:27:34
that we've dove in here enough to give02:27:36
you a good idea of what Fusion can do02:27:39
give you some practice shots here make02:27:41
sure to download these work files and02:27:43
open this up and see if you can cut out02:27:45
this little window and put your little02:27:46
little guy there turn this shot into a02:27:48
night shot just using nodes what you've02:27:50
learned so far and maybe even make some02:27:53
cool graphics like this so02:27:55
neat if all this Fusion stuff seems02:27:58
really exciting and you want to dive02:28:00
deeper make sure to check out our D02:28:01
Vinci resolve resources guide which is02:28:03
available right there where we've02:28:04
gathered some of the best resources for02:28:07
learning Fusion this is courses tools02:28:09
templates all the things that you would02:28:10
need that's available right now and you02:28:12
can get it for free if you click on the02:28:14
card right there let's keep going all02:28:15
right now we're going to talk about the02:28:17
color page in the work files if you open02:28:21
up a timeline if you go to the bin five02:28:24
color page double click on color page02:28:26
start that's where I'm going to be02:28:27
starting02:28:28
from you can just open that up in the02:28:30
edit page if you want to and then switch02:28:32
over to color you can also just double02:28:35
click it here in the media pool in the02:28:37
color page which again works the same as02:28:39
the media pool in the other pages so02:28:42
this page is also a little bit02:28:45
intimidating alth although maybe not so02:28:47
much as the fusion page but there are02:28:49
quite a bit of controls and panels and02:28:52
things that are hidden and all these02:28:55
little buttons to play around with and02:28:57
it can sort of feel like you're sitting02:28:59
at the Helm of the Space Shuttle or02:29:01
something but here's the good news you02:29:03
don't need to know all of this stuff you02:29:06
really only need to know a couple of02:29:07
things in order to be dangerous with02:29:09
color and adjust your footage and color02:29:12
grade your movies and make them look02:29:14
beamus so why use the the color page02:29:17
well let's kind of talk about the ways02:29:19
that maybe you've experienced doing some02:29:22
color correction if you haven't used02:29:23
Vinci resolve generally how it works in02:29:26
whatever nle you're working with is you02:29:28
have some kind of color corrector effect02:29:31
and you drag that on to whatever shot02:29:33
you want to do some color grading on02:29:35
then you double click on that shot and02:29:37
open it up in some kind of properties02:29:39
panel and do your adjustments right and02:29:42
that's how you can adjust your shots and02:29:45
make them match together make them look02:29:46
look the way that you want the problem02:29:48
with that is that it's super inefficient02:29:50
because you have to put it on every shot02:29:51
double click on it adjust it go to the02:29:53
next shot you might be able to copy and02:29:55
paste the effects to different shots or02:29:57
you might have something like an02:29:59
adjustment layer that you put that on02:30:01
top and you can have some common effects02:30:03
on multiple shots but then you have to02:30:05
go in and add the same color corrector02:30:07
to your other shots and it's just kind02:30:09
of a big02:30:11
pain the way the color page works is02:30:14
whatever shot you're looking at in your02:30:17
viewer that's the shot that you're going02:30:19
to be adjusting and so you just have to02:30:22
play through your movie and wherever02:30:24
you're playhead is there are controls02:30:27
down below and when you touch the02:30:28
controls it adjusts the shot that you're02:30:30
looking at and that's how it works and02:30:32
so you don't have to add different02:30:34
effects or you know go through all this02:30:36
crazy stuff you just look at what you02:30:38
want to adjust and adjust it so it's02:30:41
really really simple and that's kind of02:30:43
the first thing I would say is that even02:30:45
though this looks more comp complicated02:30:47
than you know using a three-way color02:30:49
corrector using lumry or something that02:30:50
you might be familiar with it's really02:30:53
just as simple as looking at the footage02:30:55
that you want to adjust and grabbing02:30:57
controls and that adjusts that image so02:31:01
let's talk a little bit about the big02:31:04
ideas of color correction before we even02:31:06
dive into the color page really when02:31:08
we're talking about color uh one of the02:31:10
big things that we need to do is take02:31:12
our footage from a log image if you're02:31:15
shooting in log that's kind of this gray02:31:17
desaturated image and make it look02:31:19
decent on the screen so this would be a02:31:22
corrected image this is something that02:31:25
you might see people do by just pushingDescription:
Download project and media files here: https://www.groundcontrol.film/intro-files Don't forget the FREE DaVinci Resolve Resource Guide: https://www.groundcontrol.film/free-PDF — FREE Fusion Mini-Course: https://www.groundcontrol.film/survival-guide The 9 Nodes You Need to Make (Almost) Anything in Fusion: https://www.groundcontrol.film/9-nodes-workshop — CHAPTERS 00:00:00 INTRO 00:15:50 - Media Page 00:29:28 - Edit Page 01:12:21 - Cut Page 01:33:08 - Fusion Page 02:28:06 - Color Page 04:04:39 - Fairlight Page 04:27:15 - Deliver Page -- FUSION: ZERO TO HERO - The Ultimate Blackmagic Fusion Course (Great for Beginners!) - Learn to make motion graphics and visual effects in DaVinci Resolve! https://www.groundcontrol.film/fusion-zero-to-hero —MORE RESOLVE COURSES— Pro Compositing & VFX in Fusion Course: https://www.groundcontrol.film/pro-compositing-in-fusion Pro Editing Workflow in DaVinci Resolve Course: https://www.groundcontrol.film/pro-editing-workflow-in-davinci-resolve Pro Color Grading in DaVinci Resolve Course https://www.groundcontrol.film/pro-color DaVinci Resolve for iPad Course https://www.groundcontrol.film/ipad ----------------------------------------------------------------------------------------------------------------------------------- Want some great Video and Music/SFX? Check out Artgrid and Artlist for some amazing royalty-free assets: Artlist.io (MUSIC/SFX/VIDEO): https://artlist.io/artlist-70446/?artlist_aid=CaseyFaris_634 ----------------------------------------------------------------------------------------------------------------------------------- Lighting provided by GODOX ----------------------------------------------------------------------------------------------------------------------------------- At the end of this FREE course, you’ll be able to create your own videos in DaVinci Resolve and know the basics of every step of the process, from importing and organizing media to rough edits to polishing to visual effects and motion graphics, color grading, audio mixing, and all the way to final render. If you don't know Resolve, you're not ready to learn Fusion yet. So my hope is that you pick up Resolve and start to love it and use it every day. And pretty soon you'll want to learn Fusion. That's where we can really help you out! Follow us on Instagram here: https://www.facebook.com/unsupportedbrowser Continue the discussion on our SubReddit: https://www.reddit.com/r/CaseyFarisGC/
Preparing download options
* — If the video is playing in a new tab, go to it, then right-click on the video and select "Save video as..."
** — Link intended for online playback in specialized players
Questions about downloading video
How can I download "Introduction to DaVinci Resolve - [Full Course] for Beginners (2024)" video?
http://unidownloader.com/ website is the best way to download a video or a separate audio track if you want to do without installing programs and extensions.
The UDL Helper extension is a convenient button that is seamlessly integrated into YouTube, Instagram and OK.ru sites for fast content download.
UDL Client program (for Windows) is the most powerful solution that supports more than 900 websites, social networks and video hosting sites, as well as any video quality that is available in the source.
UDL Lite is a really convenient way to access a website from your mobile device. With its help, you can easily download videos directly to your smartphone.
Which format of "Introduction to DaVinci Resolve - [Full Course] for Beginners (2024)" video should I choose?
The best quality formats are FullHD (1080p), 2K (1440p), 4K (2160p) and 8K (4320p). The higher the resolution of your screen, the higher the video quality should be. However, there are other factors to consider: download speed, amount of free space, and device performance during playback.
Why does my computer freeze when loading a "Introduction to DaVinci Resolve - [Full Course] for Beginners (2024)" video?
The browser/computer should not freeze completely! If this happens, please report it with a link to the video. Sometimes videos cannot be downloaded directly in a suitable format, so we have added the ability to convert the file to the desired format. In some cases, this process may actively use computer resources.
How can I download "Introduction to DaVinci Resolve - [Full Course] for Beginners (2024)" video to my phone?
You can download a video to your smartphone using the website or the PWA application UDL Lite. It is also possible to send a download link via QR code using the UDL Helper extension.
How can I download an audio track (music) to MP3 "Introduction to DaVinci Resolve - [Full Course] for Beginners (2024)"?
The most convenient way is to use the UDL Client program, which supports converting video to MP3 format. In some cases, MP3 can also be downloaded through the UDL Helper extension.
How can I save a frame from a video "Introduction to DaVinci Resolve - [Full Course] for Beginners (2024)"?
This feature is available in the UDL Helper extension. Make sure that "Show the video snapshot button" is checked in the settings. A camera icon should appear in the lower right corner of the player to the left of the "Settings" icon. When you click on it, the current frame from the video will be saved to your computer in JPEG format.
What's the price of all this stuff?
It costs nothing. Our services are absolutely free for all users. There are no PRO subscriptions, no restrictions on the number or maximum length of downloaded videos.