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Introduction to DaVinci Resolve - [Full Course] for Beginners (2025)

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I designed this video from the ground up

to be the greatest video ever created on

Da Vinci Resolve. This is an entire

introduction course. This is a course

that we used to charge hundreds of

dollars for. We've helped millions of

people learn Resolve. And I'm excited

for you to learn Resolve, too. By the

end of this video, you're going to be

able to use Da Vinci Resolve to start

creating the videos that you want to

create. Everything from media management

to laying out your clips in the timeline

to color grading to compositing to audio

mixing all the way to final delivery so

that you can upload your footage to

YouTube or output it for whatever

purpose you need. We're going to go over

all the essential need to know stuff,

everything about Resolve that you'll

need to know to get started. You can

download footage and follow along.

There's the top link in the description

there. And yeah, this is just a

massively amazing course that we're

giving out for free. Why are we doing

that? Well, because at ground control,

we actually have quite a few courses on

Da Vinci Resolve. A little bit more

advanced stuff, pretty much all of the

next steps that you would want to take

right after this course. And so, if you

want to dive a little bit deeper, we're

hoping you might buy a course. That

said, you can just watch this video and

be off to the races. Man, you're about

to go from somebody who doesn't know

anything about Resolve to being able to

use Resolve to make videos that you want

to make and even make videos that you

can charge for and get clients. I

absolutely love being able to empower

people to be creative and Resolve is one

of the coolest tools available to be

able to be creative with uh digital

media. You ready to go? Let's do it. So,

what do we need to get started here? The

first thing that you'll need is a good

system. Now, you can use Resolve on a

pretty basic computer, but once you

start getting a little bit deeper,

especially into compositing and things

that uh take a little bit more system

resources, if you don't have a good

graphics card and kind of a good uh like

a mid-range gaming PC or maybe like a

Mac M2 or later, you're probably going

to have a hard time. Resolve is really

resource hungry. So, I want to make sure

that if you're following along, you're

doing that on a good system, or else uh

it's not going to be very much fun. So,

that's number one. You got to have a

good system. Okay. Two, you need a copy

of Resolve. Resolve has a free version

that's amazing. Pretty much everything I

show you in this video, you can do in

the free version. Okay. I'll let you

know if there's a paid version thing.

Something that would be helpful in this

video is a little bit of knowledge on

kind of how video editing works and

stuff. It's not totally essential. If

you've taken videos with your phone

camera and you've kind of scrubbed

through a video before, that's a really

good start. But learning Resolve is

going to be especially easy for you if

you've used something like iMovie or Cap

Cut or Premiere or something like that.

All of those editing skills transfer

nicely into Resolve. The other big thing

I'd recommend is that you actually

dedicate some time to this. Learning any

new skill takes time and Resolve is a

great big deep program that can do all

kinds of stuff and it's really easy to

feel lost and frustrated especially when

you start looking at the interface like

we're going to look at in a few minutes.

But I want you to take some time and

have some patience. Be kind to yourself

because learning this kind of thing,

especially if you're brand new to it, is

not easy. That said, I'm going to do my

very best to move slowly and to give you

just the need to know knowledge in

little bite-sized chunks so it doesn't

take quite as much time and you don't

need quite as much experience. You can

use the free version. And a lot of this

stuff you can do on a system that maybe

isn't the highest spec system ever,

especially the media that we link down

below, that should all run on just about

any system without lots of trouble. So,

let's start with the very basics. What

the heck is Resolve? Resolve is a piece

of video editing software and what makes

it unique is that not only can you do

video editing like in the traditional

sense of putting clips together in a

story and kind of lining that out and

cutting out the parts you don't want and

that kind of thing. But it can also do

fancy things like adding explosions and

lightsabers and duplicating people and

cloning things out. things that you

would maybe think of using Photoshop

for, but for video. Da Vinci Resolve is

also really, really great at color

correction. And it can also mix audio

really well. And so all of these things

kind of come together as sort of a

one-stop shop for what we call

post-prouction. That's everything that

happens after you shoot. So managing

your media, putting it together in a

timeline, graphics and effects, and all

kinds of stuff. That all can happen

inside of Resolve. And Resolve is a very

high quality program. It's a

professional program. This is the kind

of app that Hollywood uses and they use

on great big movies and TV shows and all

kinds of stuff. Like here on the

Blackmagic website, you can see clips

from movies that have used Resolve. I

mean, from Marvel and from Disney and

things that you would see in the

theaters. This is the kind of production

quality that we can do with Resolve. I

mean, it's nuts. So the fact that we

have such a high quality piece of

software available, you know, in the

free version for free is just nuts.

And the thing that's really cool about

Resolve is it's really like several

programs all in one. And they split

these different programs up into pages.

And so here we can see the kind of

different pages in Resolve. And they

each have a different job. So there's

the cut page and the edit page which is

focused on putting your clips together

in a story on a story line. We have the

color page which is all about color. We

have the fusion page which does the

effects and graphics and things like

that. We have the Fairlite page which is

all about audiom mixing. And so this is

the kind of thing that you would

traditionally need to use several

different apps for but it's all built

inside of Resolve. And so here we have

the pages of Resolve. They're actually

represented by these buttons that are

down below on the interface of Resolve.

So here, if I bring up Resolve, we see

these buttons right here. And this is

how you switch in between those

different apps to do the different parts

of your video editing. And there is a

lot to go over for every page here. I

mean, every page is its own huge

monster. And we're going to go over the

basics of each of them so that you

aren't lost. And you'll be able to use

each page at least in its basic form by

the end of this video. Resolve has a

bunch of different effects and I mean

things that you would think about like

Instagram filters. It has stuff like

that. It has blurs and film looks and

different filters to stylize your video.

It has a whole bunch of AI stuff built

in. A lot of that is only available in

the paid version, but I'll show you a

couple really uh interesting unique

things as we go along. It works with

other plugins and all kinds of third

party tools and stuff. There's even

specialized hardware that it works with.

They have these unique editing keyboards

as well as color grading panels which

are really fun. And I mean you can just

go crazy. You can get this huge mixing

board for Fairlite. Look at this. That's

nuts. Or you can just use the free

version on your laptop. That's the

amazing thing about Resolve is it scales

to your ability and your needs. You can

use the free version on a laptop on a

plane or you can use the paid version

with all kinds of hardware in a huge

studio. and it's all using the same

piece of software with just, you know,

little different features. So, let's

talk about the free version versus the

studio version. People always ask me

what's the difference. The long story

short is if you are watching this video,

you can probably use the free version. I

would recommend that you get the free

version, you download it, you open it

up, and you start making stuff with it.

If you get into some corner of Resolve

where something is only available in the

paid version, it will pop up and tell

you. And I always recommend that you

only upgrade if you keep running into

that. It can do nearly everything I show

you in this video. You can work with

just about any kind of video. You can

even collaborate with other editors

online with the free version. You can

render up to UHD, so that's a little

smaller than 4K. That's like the

consumer 4K. It has color grading. It

has Fusion compositing. It has Fair

Light. You can use it for commercial

work. There's no demo period. There's no

watermark. It's just a ridiculously good

deal. It's free. There's no catch. It's

just awesome. Now, for the studio

version, you do get a bunch of really

cool stuff. Most notably, Resolve

effects, which are just a lot more

effects to stylize your video, as well

as all the AI stuff. There are a lot of

new AI features that will do things like

sweeten your audio or cut out a person

walking across your video so you can put

graphics behind them. And there's a lot

of really nice little features that just

make Resolve even better. Resolve

Studio, you buy it once for $295. It's a

smoking deal. There's no subscription.

You just buy it for 295 and you get it

forever. And so far, they have not been

charging for upgrades. It's very

possible they'll charge something for

upgrades in the future, but even if they

do, this is a smoking deal because there

are a lot of really cool things in the

paid version of Resolve that I would

highly recommend getting the paid

version for. But again, if you're just

starting out, and even if you're not

starting out, but you just don't need

some of those features, use the free

version. It's amazing, and there's just

no reason not to do that. So, my answer

is get the free version and see how it

goes. Consider getting the paid version

when you have some extra money or if you

need some of the really specific things

that Resolve Studio will give you. But

the free version is perfect for I mean,

90% of people can totally use the free

version. And this is really the reason

why we teach Resolve at Ground Control

is because our mission is to encourage

and empower creativity. We want people

to be able to create the things that

they want to make. And right now, Da

Vinci Resolve is like the greatest tool

for that. So, I'm really excited that

you're looking into it. Let's get into

the actual software, shall we? By the

way, I'm using Da Vinci Resolve 20 for

this video. In the future, whether

you're using Da Vinci Resolve 20 or 20.5

or 21 or whatever comes out next, 99% of

what we're going over is going to apply

perfectly. But if you're on Resolve 21

or something, probably not a big deal.

Another thing to mention is that I am

using the studio version of Resolve, but

everything that I'm going to show you is

in the free version. Okay? So, don't be

asking me in the comments, is this all

in the free version? Do you even listen?

So, when you open Resolve, this is the

first thing that comes up. Now, this

panel right here, this is called your

project manager. This is how you

navigate to your different project

files. You can see I have some of these

older projects here. Yours might look

more like this, and that's totally fine.

But here is where we open past projects

and make new projects. And all of the

projects here, these live in our project

library. We can browse our project

libraries over here. And by default,

you'll be working on your local

libraries. Now, what the heck does that

mean? So, a library is just a database

of your projects that lives on your

system. It's basically just a folder

that has your projects in it. Resolve is

kind of picky about where that folder

goes. It always wants to have access to

just that folder. You can't just put

projects willy-nilly all over the

landscape. So, by default, it's probably

on your system drive. You can hit this

little I and then click on open file

location. And so, for me, it's under C

users Casey documents resolve disc

library. And if you go through a whole

bunch of subfolders, you'll find all of

your projects. Now, I wouldn't worry

about this too much. Here's why. The

only time you're going to need to open

up a project is in Resolve. And Resolve

knows where that is. If you want to save

a project that's not in that library,

maybe you want to save it and give it to

somebody else or you want to save it as

a backup or something like this, all you

have to do is rightclick on your project

and go down to export project. that will

let you save a copy of your project to

your desktop or to an external drive or

to cloud storage or whatever you want to

do. That's going to make a DRP file.

That's short for Da Vinci Resolve

project. This is a great way to do

things, but just know by default all of

your projects live in your library,

which is a folder that Resolve knows

about on your system. You can have

multiple libraries and multiple folders.

We'll get into that some other time.

Now, you also have network libraries and

cloud libraries. A network library is

for a studio that has kind of a server

and all that stuff. You probably don't

need to worry about that. Cloud

libraries are shared projects. These are

projects that you can actually share

with other editors that have access to

your cloud account. And so just like we

have this folder on our local library on

our system, we can have a folder that

lives on the Blackmagic website

basically that you can all kind of share

and access and it's really slick. If you

want a video about that, let me know and

we'll talk more about it. But for now,

all we really have to do is go down here

to where it says new project. And let's

make a new project. And we're going to

call this intro to Resolve

to Resolve like this. And we'll just say

2025 cuz that's the year that I'm

recording this. And it's going to ask

you for a media location. For now, let's

just not worry about that. Let's just

leave it at default and hit create. Once

you do that, it's going to open up the

Resolve interface. This is where we

actually have to start doing things.

But first, a little tour. Most of this

interface, like everything within the

red box, is actually going to switch out

depending on what page you're on in

Resolve. Here we have the pages. And as

I click on the different pages, that's

going to switch out my interface.

And kind of like we were talking about

earlier, it switches it to kind of like

a different app, but it's not a

different app. This is all Resolve. And

it all kind of shares the same project,

which is really slick. And we'll get

into that here in a little bit. But

that's the first thing I want you to do

is go down here and just switch these

pages and get used to switching out that

interface. But where we're going to

start is this far left page, the media

page. All the way over here. Click on

media for me. And now all of our panels

have switched out for the panels for the

media page. Now, something to mention

here is that this isn't just switching a

layout. This is actually switching into

kind of a different mode. Even though

there are common panels in between the

pages, it's not just a different

workspace. It's actually like a

different mode of creating. So, let's

start talking about what the heck the

media page is. Well, each page has a

really a specific job. The media pages

job is to manage media. And so, this is

a perfect mode to put Resolve in when

you don't have any media in your project

and you're looking to put some in there.

So, a little tour of the interface. In

the upper left, we have this panel,

which is our media storage panel. This

is a way to navigate on your system to

any media that you want to bring into

Resolve. So, I'll just navigate to some

media here. And once you find the folder

up here, then you can actually preview

the media just by mousing over any of

these thumbnails. This is what we call

hover scrub because you hover over this

thumbnail and it scrubs the video. That

means it just moves that playhead back

and forth so you can see what's going

on. This is a great way to be able to

preview the footage that you have before

you bring it into your project. Now,

what do I mean by that? Well, even

though we're looking at this media here,

the media isn't actually imported into

the project. We haven't told Resolve to

use the media. We're really just kind of

using Resolve to go and find it. But, we

haven't said anything about wanting to

edit anything or combine clips together

or change them. So, in order to change

anything or work with this media, we

need to import it into Resolve. To do

that, real simply, we can just grab a

piece of media here from our media

storage and drag it down to this panel

down here, which is called our media

pool. It's going to ask if we want to

change the project frame rate. We'll

explain this a little bit later. I'll

hit change right now. Okay. What that's

going to do is put this piece of media

down here in the media pool. Anything

that's down here in the media pool

actually lives in our project. So, we've

told Resolve that, hey, there is a piece

of media called A54191

blah blah blah. And it lives on our

system. Here it is. I want to actually

work on this. And so, we've told Resolve

that we're actually going to use this

and play with it and work with it and

edit it with other videos and all the

fun stuff that Resolve does. All the

media up here in this panel is not in

our project yet. It's just on our

system. So, as far as Resolve is

concerned, it only really knows about

this one clip. In fact, I would consider

using this panel a little bit optional.

It is a nice way to be able to hover

scrub and kind of find the media that

you want. But you could also just close

this media storage and bring things

directly into the media pool. You could

do that a couple ways. You could

rightclick here and say import media.

You could go up to file and go down to

import media. Or you can just drag media

into the media pool from your system.

And so here I have a bunch of footage. I

can grab any of these and just drag them

into the media pool. And again, now it

knows about this footage because I put

it in the media pool. It lives in the

project. So now we have two clips that

we can work with. What if we had a bunch

of clips? So I'll just grab a bunch of

this and drag this in here. Now we have

a bunch of clips here in the media pool.

We have all these clips that we can work

with for our movie. But it would

actually help to start getting organized

here. That's one thing that the media

page is really good for. And especially

working here in the media pool. You can

rightclick anywhere here in this empty

space and you could go up and say new

bin. That makes a little folder inside

of the Resolve project where you can put

different pieces of media. So we can put

whatever piece of media we want here.

Just anything with the girl. Let's say

great. We just say girl. Sure. Can

double click and open this. And we have

our media here. We also have a list of

bins over here on the left which we can

kind of navigate to. And it's kind of a

little folder structure here. And so if

we have another bin here, we could say

wide shots. Sure. Let's pick all the

wide shots here and put them in wide.

Sure. And now we have these different

bins here. We can organize this. We

could also right click here in the bin

list and say new bin. That works too.

Bin three. Sure. And we can put those

into bin three. We can also drag them

like this. There are different views in

the media pool. You can zoom these

thumbnails in and out with this slider.

You can switch it to list view if you

want to see a little bit more

information about your clips.

You can switch this to metadata view,

which is kind of a mix of the thumbnail

view and there's also a little bit more

data on them. Most of the time I either

use the thumbnail view or the list view.

And this is really how we get organized

when it comes to our media here in

Resolve. All about the media pool. So,

I'm actually going to get rid of all of

these just so we have no clips here. And

I want you to do this with me. If you

downloaded the media to follow along,

you should have a folder called drag

these folders into media pool bin list.

Now, this is going to be absolutely

shocking, but here's what I want you to

do. I want you to select all of these

folders and I want you to drag them into

the media pool bin list right here. Just

like this, right under here where it

says master and drop them.

That's going to take Resolve a second.

And then it's going to make bins out of

each of those folders. So, that's going

to be organized just like it is in our

Finder or Explorer window in these

different folders. If you drag these

into the media pool itself and not the

bin list, it's just going to throw all

of the media in there without the

folders. So, make sure to drag them

here. All right. So, now we have all of

the media that we're going to use for

the rest of this video. and feel free to

open up the bins, go through it, and

take a look at some of this footage. We

have all kinds of fun stuff. We have a

production meeting here with multiple

cameras. We have footage that we're

going to color grade later. We have

footage that needs some compositing and

some effects. And we have some clips

that we're going to edit together into a

story in the edit page. Now, I don't

want to spend tons and tons of time on

this, but I do want to show you a couple

little extra things about the media

pool. One thing that can be really

helpful in the media page is the

metadata. Now over here we have a

metadata panel which has nothing to

inspect right now. But if I select the

clip that's going to show us metadata on

this clip. Now what is that? It's just

basically information that is recorded

with the clip. We can make this panel

bigger by going up here and clicking

where it says audio. That's going to

close our audio panel here. In fact, any

panel in Resolve pretty much has some

kind of header like this, usually at the

top. And when it's bright white, that

panel is open. And when it's gray, it's

closed. And so, this is how we can open

and close different panels in Resolve.

And this is common to all of the pages.

We're going to be doing a lot of that.

So, we have our metadata panel open

here. And I can see all kinds of

information about this, but there's

actually even more information. If I go

up here to the upper right, this little

button right here, I can click this and

say all groups. And that gives us just a

ton of stuff. Most of this is stuff that

we can fill in later. And so if you're

the kind of person that really likes to

be organized and really, you know, you

write notes about stuff and you tag

things and you have labels all over your

house and you have spreadsheets, this is

the best place for you. You can write

all kinds of notes about every single

thing that you want for your piece of

media here. You can write a description,

comments, the shot, scene, take, angle.

All of this stuff you can do right here

in the metadata panel of the media page.

It's probably way more detailed than you

ever really need to be. But here's

what's really cool about that. Let's

select this uh clip 24. I'm just going

to double click on this clip 24 here.

That'll load it up in this viewer. So,

if I double click on it, then I don't

have to be hover scrubbing it. I can

just scrub this up here in the viewer.

And what I can do is zoom in by just

rolling with the scroll wheel here to

this slate. This is the reason why we

shoot with slates is because then we can

easily tell what scene and take a clip

is. And we could if we wanted to go here

into the metadata and kind of record

that. So scene 4.5

take five. So now we have that here in

the metadata because we kind of read it

off of here and just typed it in. We can

do the same thing for other clips here.

Let's find it. So this is 4.6.

4.6 take two.

4.7 take 3. And you could go through and

tag all of your clips with this. What's

neat about this is I can switch this to

list view and I can rightclick up here

in this header and I can pick any kind

of metadata that I want to show. In

fact, I'll uncheck a bunch of this stuff

cuz I don't care about most of it. Just

uncheck all the stuff I don't care about

and then just check the stuff I do care

about. So, for instance, scene, take,

and then I can organize this by scene

and take, and I can quickly see where my

scenes and takes are, match that up to

my script if I want to, whatever I want

to do here. And so, this is a really

nice way to get organized. I could also

rightclick here and select keyword. And

here I could do something like, all

right, this is an over- the-shoulder

shot. So, we could go into keywords here

in my metadata, and type OTS. That's

short for over the shoulder. Just like

that. That's going to add that keyword

here. And anything that I have that's an

over-the-shoulder shot, I can just kind

of page through here and see if there's

anything else that's an OTS. This is

sort of an over- the-shoulder shot.

Sure, let's call it that. OTS like that.

Boop. Now, we have these listed as OTS.

So, I could sort them by keyword, but I

can also go to something called a smart

bin. Smart bins are like a live filter.

It's sort of like a folder that it puts

a copy of things into based on whatever

you set the smart bin to. And by

default, if you click on keywords, it

makes a smart bin for every keyword. So,

I can click on OTS, and that's going to

show me just the OTS shots. And you can

make keywords for absolutely anything

you want. It can be completely custom,

which is really neat. There's also these

collections here, which will give you

some quick things to sort by. for

instance, video clips, audio only, and

it even has a way with AI where it can

kind of sort and categorize things. In

fact, let's do that. Let's grab our

audio only stuff. Let's just grab all of

this here. I'm going to just shiftclick

the end of that, right click, and go

down to AI tools, audio classification,

analyze. This is something that's only

available in the paid version. I

promised I'd tell you when there's paid

version stuff. Any kind of AI stuff is

pretty much in the paid version. All

right. But what's neat about this is

once it analyzes all of that, then I can

go and look for clips just with

dialogue, clips with just music, clips

that are more for effects, and there's

also subcategories, and it will try and

figure out clips that have things like

effects in them, things like a door,

things like a dog barking, things like

laughter or liquid. Sometimes it does

all kinds of weird things, like it

thinks they're sheep or pig. There's a

toilet flushing sound. It nailed that

one. And so that's kind of fun. If you

have lots and lots of clips that you

want to organize a little bit better,

you can use that AI to do that. But

again, that's in the paid version and

you don't need to do that. You can

always make your own keywords and kind

of organize this yourself. You can even

rightclick here and say add smart bin

and you can do kind of a live filter

based on all kinds of stuff. So media

pool properties. You could even do like

things from a certain scene. If the

scene contains, you know, scene four,

then that's going to only show scene

four. And if we hit create, then we have

the smart bin one, which we could rename

scene 4. And you could have one for each

scene. All kinds of stuff you can do

with this. This is especially helpful

for documentaries and things where you

have lots and lots and lots of footage

that you need to stay organized with.

Things where you have, you know, 20

hours of B-roll. It's great to spend

some time before you edit to kind of get

this all organized here. And there are a

few more things that you could do in the

media page, but this is really what I

use this for most of the time is going

through and getting organized, logging

footage, putting putting metadata in,

and just kind of getting our head around

all of the media that's in our project.

And I'm going to show you one more cool

thing before we get into the edit page.

And this is something that you can

actually do in the other pages, but is a

great thing to do in the media page as

well. And that is syncing audio. If we

open up our clip and play this back, we

have the audio from the camera.

The kids are talking, but you can't

really hear them very well because the

camera is really far away. Now, we had a

boom mic here where we were recording

some audio so that we can actually hear

them, but that recorded to a separate

recorder. In fact, if we open up our

audio here, this clip 108,

scene four, shot 18, take three.

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

three."

Scene four, shot 18, take three.

So, how do we get this audio and this

video to sync up? Well, you could

actually put them together on a

timeline, which I'll show you a little

bit on how to do something like that

later. But one thing that Resolve can do

that's really great is we can take this

audio. Let's actually just take grab all

this audio and throw this into that

folder. So, we have all of the audio and

video together. I can take this clip and

this clip. I'm just holding control and

selecting both of these. And I can

rightclick and go up to audio sync,

autosync audio. This is something that

is still available in the free version.

and we're going to select synchronize

using waveform like this and hit sync.

What that's going to do it you just

about miss it. What that's going to do

is replace the audio in our video clip

with the audio from that mic. So here

camera audio

scene four shot 18 take three.

That still works but now go check it out.

out.

No, you go check it out. we can actually

hear them because we have that good

audio switched out. What's cool about

this is we can actually select all of

our clips. Just shift select all of

this, right click, audio sync, autosync

audio, and that's going to go through

all of our clips and sync them together.

So, anything that matches with the other

one, it's going to replace that audio.

Now, some of the clips it didn't really

work for, and that's okay. We can worry

about those later, but for most of them,

it worked. So, it says clip 20 and clip

19. Let's look at clip 20 and clip 19.

And there's not really any audio that we

need to hear. There's not not any

dialogue. So, it's really not that big

of a deal. But from now on in our

project, we'll hear the good audio fine

instead of the on camera audio. And

that's going to make editing a lot

easier. In fact, if we want to double

check and make sure that things are

synced up, we can rightclick here in

this header and find synced audio. And

that's going to list the audio right

here that it synced up with that clip.

Isn't that nice? Such a great feature.

Next, let's talk about editing. And for

that, I'm going to go into the edit

page. I'm actually going to skip over

the cut page for just a minute. But to

switch to the edit page, all I have to

do is click on edit. And that'll switch

to the edit page, and we're ready to

start working on our story. Now, a lot

of what you do in Resolve is going to be

in the edit page because you can kind of

think of it as like the hub for all of

the things that happen in your video.

The edit page is where we take all of

these clips that we have in our project

and we actually put them together in a

timeline. The timeline is where we

figure out the order of the clips and

how long they take and which parts we

use. And we're basically building our

new edited video with the timeline.

It's really all about building a story.

And so if we're shooting a scene in a

movie about Bill getting into his car,

we can shoot all of the different pieces

of this. Bill walking to his car, Bill

getting in the car, Bill getting a phone

call, Bill opening the door, Bill waving

to the neighbor. We can shoot all of

these things happening in any order we

want and then choose to change the order

in our edit. So, Bill opens the door.

That's the fourth thing that we shoot,

but we're going to put it first in our

edit. Bill waving to the neighbor comes next.

next.

Bill getting a phone call, Bill walking

to the car, and then Bill getting in the

car. And so even though we shot this out

of order, the order that we're building

in our edit is Bill opens the door, Bill

waves to the neighbor, Bill gets a phone

call, Bill walks to his car, Bill gets

in the car. This is the kind of thing

that I'm so excited about when it comes

to editing is because what we're doing

is we're building a story here. So

everything in the edit page is about

building that story. And that timeline

is going to be where everything in our

video lives. And we're going to make

more tweaks to it later in these other

pages. But for now, kind of keep that in

mind that that's our goal with the edit

page. So, let's talk about the

interface. We are going to have some

familiar stuff here. Actually, we have

these little buttons up here. When we

click these and they're white, they open

up different panels. And the panel

that's open by default over here on the

left is our media pool. Now, this is

exactly like the media pool in the media

page. The only difference is instead of

it being down here,

it's over here to the left. But you can

still do all the same things. This is

all the media that lives in your

project. We still have our bins. We

still have our smart bins. We can still

look at our media in various different

ways. But you can sort of think of this

as like your cabinet of ingredients that

we're going to use to make our video.

Here we also have a couple of viewers.

This left viewer is called our source viewer.

viewer.

And this right viewer here is called the

What the source viewer is for is if I

open up one of these pieces of media,

double click on it, I can preview this

piece of media. So I can scrub through

this and preview this and look all

through any kind of media that I have.

And you do that just by double clicking

on any of these pieces of media. And you

can sort of think of this as like

picking up something and looking at it.

So if you have a snack in your cabinet,

you pick it up and you look at it like

this, but you haven't actually added it

to your plate yet. All you're doing is

just kind of previewing it, looking at

it. So that's cool. You can double click

on any piece of media to load it up here

in the viewer. You can also switch this

to this second mode right here with this

little button. And this is called source

tape mode. And what this is is it

basically takes all of your footage and

it loads it all into this source viewer

all at once and it just kind of puts

them all together. And so if I scrub

through this, I'm scrubbing through this

first clip. And if I go to this second

part after this little tick mark, I'm

scrubbing through the second clip and

the third clip and so on. And so I can

scrub through all of my clips in my

media pool, at least in the bin that I

have up here, all at once in one motion.

This is great if you're looking for a

specific shot visually that you want to

lay over something. Makes it really,

really quick to be able to find what you

need to find. But you might find it less

confusing, maybe a little bit easier

just to use this first icon here, this

first mode where you double click on a

piece of media and load it up here in

the viewer. Now, once we have a piece of

media selected that we like and we

actually want to add that to our video,

we want to put that into our edit, what

we have to do is add it to a timeline.

If the media pool is like our cabinet

and our viewer is like picking up a

ingredient from that cabinet, then the

timeline down here, this is kind of like

our plate.

So, if we want to actually eat

something, we're going to put it on our

plate. So, if we want to add this to our

video, I can grab this clip just in the

middle. I'm just grabbing it and

dragging it down here to our timeline.

And that's going to add this clip to our

timeline, which is like, you know,

putting an apple on our plate. So now we

have an active timeline. We have this

playhead that goes back and forth. And

this is actually going to make the story

of our video. Right now our story is

this. If we go all the way to the left

and I hit spacebar to play, we have a

bunch of black space here. We have an

empty space. And then eventually our

clip starts. And this is our full clip,

not edited. We haven't done anything

with this. It's just literally the clip

thrown into the timeline. We still have

people moving around. We still have the

slate, all of that kind of stuff. And so

if we were going to export this movie

right now and we were going to put this

on YouTube or something, this is exactly

what people would see is 6 seconds of

black followed by just this unedited

footage. That doesn't really make a

whole lot of sense. But we've done

something really exciting already. We've

put this clip down onto our timeline,

which means that we actually have a

video in progress. Now, we could render

this out and it will be a video that's

different than this clip. So, we've done

a little bit of magic already. We've

created something. Now, it's not very

good. It's not very interesting. So, we

can change that. But all of the magic of

building our story happens down here in

the timeline. So, let's change our story

to be a little bit better here. The

first thing I want to do is I don't want

this black right here. I don't want to

watch 6 seconds of black before anything

happens. So, we can take this and just

drag it to the left. And we always want

this kind of pushed all the way to the

left at the very start of our clip

because then we start with an actual

video, right? We can zoom into this

timeline by clicking this little plus

right here. That's kind of our zoom bar.

We can zoom in and out. And I can adjust

this middle bar here. And I can move

this up and down. And by default, we

have a video track and an audio track

added here. If I take the bottom edge of

this audio track and I drag it down,

that'll make these waveforms a little

bit bigger. And so we can see a visual

representation of what's happening in

the audio. So the bigger the spike, the

more the louder the audio. So we can see

where the slate is right here. We zoom

in here. We have these little spikes.

Teen take one.

That's where that slate made that spike.

And so we're going to start sometime

after this.

What was that?

So her saying, "What was that?" So

that's a good place to start this clip.

That's where it actually gets

interesting. That's the part that we're

supposed to show. And so what we can do

is we can trim this and kind of cut out

all of this part and just start the clip

there. The way that we do that is we

just mouse over the edge of this. And

you'll see how my mouse kind of turns

into this left bracket. I can grab this

and then just slide this over like this.

And I'll have that clip kind of start

right there. This is called trimming a

clip. So just like you would trim a

hedge or something like that or trim a

piece of paper, you kind of cut off all

the excess. Right? So, we're cutting off

this first part. Let's play this back.

I'll just hit spacebar.

What was that?

Great. I like that. Let's stop right

after that. And I'll take the edge of

this and drag this over here.

And we can see the outline of the full

clip. And we're just going to use that

little part. There we go. So, now this

is a lot shorter, but we have all this

black here. So, we can take this and

slide it all the way to the left. Just

like that. Okay. I'll zoom in here so we

can see what's going on.

What was that?

Great. This literally this literally

what I just showed you. Picking a clip here,

here,

dragging it down, and then deciding

where you want to start that clip. So

maybe starting it right here.

Go check it out.

And trimming it to just be that part

that you like.

Check it out.

Um, no. You go check it out.

Trimming off all the excess. This is

like the bread and butter of editing.

This is like 90% of it. You can make so

many amazing videos literally with what

I just showed you. That's all you need.

That's all you need for so much stuff.

We're just bringing those clips in,

trimming them, and then putting them

here in the timeline. And ideally, there

wouldn't be any empty spaces in between

them. So, we cut from one video.

Go check it out.

Next video.

All right. We're putting these clips

together. And that makes a new story.

Just like in our example of Bill walking

to his car, we're taking all these

separate clips and then putting them

together here in an order that we like

in the timeline. Okay. And what's cool

is that we have control over this. We

can do something like completely cut out

the phone call. Bill opens the door.

Bill waves to his neighbor. Bill walks

to his car. Bill gets in the car. We can

cut out this this whole first part and

just say Bill walks to his car and then

Bill gets in the car. We are in complete

control of this story and it's all about

where these clips go in the timeline and

what order they go in. So this is so

great. Let's let's get our hands dirty

here a little bit. Let's let's make a

story. So if we were to go to this

second icon here, this source tape, and

scrub through this, we can kind of get a

good idea of the story here. These kids

arrive and they see this crashed UFO.

They're a little bit scared about it, so

they kind of argue who should go check

it out. The girl finally convinces her

brother to go and check it out. So he

walks towards the UFO. So he walks up to

the UFO. They're both really nervous.

And then as he walks up there, something

moves. So this is just a few clips from

a scene from our movie called Tuesday on

Earth. And so what's great is we have

all these clips and we can choose to

tell this story however we want. So a

good way to start oftent times is with a

wide shot. And we want the wide shot

that shows the first thing that happens,

right? So, we have the kids kind of

riding up on their bikes, putting their

bikes down.

And so, let's use that for our first

clip. So, that's clip 10. I'll just

double click on that. That'll switch to

our source viewer. I'll grab this and

For this first clip, let's scrub through

until we're ready, until something

interesting starts happening. So, right

as they kind of get off their bikes,

that's probably a good place to trim

this beginning. Move this down. Let's

play this back.

I can hit control F to play this full

Great. That's about all we need right

there. And so we could use that and trim

it this way. We also have other takes

here. And so let's scrub through this

And you'll notice now when we scrub

through things, the video changes on the

right viewer. That's because again, this

is the timeline viewer. This is the

preview of what your actual movie is

going to be. This is just picking up

footage from over here and looking at

it. Nothing that happens over here is

necessarily going to happen in your

video. It's all about this viewer right

here, the timeline viewer. If you forget

which one is which, just scrub your

timeline and see which one moves. We can

scrub through this and figure out what

Great. I like that. Let's trim the end

and let's trim the beginning

Okay, something like that. And move this

all the way to the left. So, we have our

first shot of our

movie. Them getting off their bikes and

walking up.

Let's maybe go back into our source tape

here. Kind of scroll around and try and

figure out what what we should do next.

Again, we're in control of this. That's

what's so nice. So, they end this shot

by kind of standing there like this. So,

let's cut to them standing together.

I think probably this shot right here,

shot 31. But this time, instead of

dragging this entire clip down here to

the timeline and trimming it, we're

going to do a little bit of work before

we add it to the timeline. We're going

to do that by setting ins and outs. See,

in our source viewer, we're viewing the

entire clip, right? The whole thing. And

everything that might happen in that

clip is not necessarily stuff we want to

keep. Saying action, the actor having to

sneeze, Bill waving to the neighbor,

Bill waves to the neighbor again.

awkward ending and cut. Most of that

stuff we don't need. What we really want

is Bill waving to the neighbor, right?

So, what we can do is kind of trim out

the extra stuff in the source viewer

before we take this and we put it down

into the timeline. And so, what we'll do

is we'll set what's called an in and an

out. An in is like the start of the clip

that you want and the out is the end of

the clip you want. You can think of this

like swimming. When you get in the pool,

you start swimming and when you end

swimming, you get out of the pool. So an

in is the beginning of your clip and out

is the end of your clip. So we're going

to scrub through and try and find the

beginning of our clip, which is probably

going to be right before he starts talking.

talking.

Kind of scrub through this. And then

let's just play.

Go check it out.

Great. So yeah, right about there. And

we want that to start there. So we're

going to set an in. There's a few ways

to do that. One of them is you can click

this button right here, which is our set

in button. Like that. No way. You

The other thing you could do would be to

hit I on the keyboard. I for in

go check it out.

Let's play this back and see what it

looks like.

Fine. Okay,

Okay,

I'll go check it out.

Good. Now, let's end the clip there. And

we can either click this set out button

or we can hit O for out. Just like that.

Now, we have these little gray

indicators here. And what that means is

that our clip is this long, but we're

only going to use this part of the clip.

This is what we're actually going to

use. And if I click and drag from the

middle of this clip down here, we'll see

it's much shorter than it would have

been, and it's already pre-trimmed. Now,

that doesn't mean that we can't change

it. We can grab this, and we can take

the edge of this and trim this. And you

can see how big the original clip is

with this little gray outline that shows

up. It's just like we were to put this

down and trim it. We just don't have to

move things around in the timeline to do

that. We could just kind of trim this

beforehand and bring this in. And so

what some people will do is go through

all their footage and pick the part that

they like. They'll kind of do some pre-edits.

Like this I for in. And I can also use

the J, K, and L keys on the keyboard as

these buttons right here. J plays

backwards. K starts and stops. and L

plays forwards. So you can kind of move

things back and forth with J and L.

Go check it out.

Um, no, you go check it out. Fine.

Fine. Okay,

Okay,

I'll go check it out.

Good. That looks good. I'll hit O for

out. And I've just grabbed the part that

I want and I can drag it down into the

timeline. Just like that. And so a great

way to start getting things here on the

timeline is just to go through all of

your clips and pick the parts you like.

Go check it out.

Um, no. You go check it out. Fine.

Fine.

Reset. We don't want you to move. Right.

Right.

Okay. Needs to back up a little bit. So,

we're going to use the second take. I

can scrub through this faster by hitting

L twice. That's going to go through this

at 2x speed. And then I can hit K to

stop and then L to play back normal speed.

speed.

Go check it out. Right. I guess

J to kind of reverse. I for in.

Go check it out.

Um, no, you go check it out. Fine.

Fine.

And again, I can just drag this down.

So, you can do this for all of your

footage. And a good way to do this is

just kind of throw all the footage into

a timeline. And then remember, you can

always move things around,

change the order, and play around with

things, and you can always trim it more

or less. You really can't ruin it too

badly. And so, this is the fun part

about editing is creating this story.

So, let's just maybe cut to this second

shot here. And I'll just trim this back

a little bit to where they're kind of

just looking dumb at this thing. And

we'll cut from this wide shot into this

closeup like this action.

action.

Go check it out.

Fine. Okay,

Okay,

I'll go check it out.

Great. So, we have the basic actions

happening where they come up, they see something,

something,

they start arguing, and eventually the

guy starts walking towards the craft.

But we want to show this in a more

creative way. And so, we actually have

these other shots that we can cut in

between them and make it look a little

bit more interesting. So, for instance,

when the girl's talking, we want to see

the girl's face a little bit closer. So,

let's see if this take works.

Go check it out.

Um, no, you go check it out.

And I like that little Wait, what? Like

this? This right here. So, let's trim

that. And let's see if we can put this

in there somewhere right after he says

go check it out.

Go check it out.

Right there. That's probably a good

place to cut. Now, we haven't done this

yet, but we have this clip, and this

shouldn't go before or after. It should

go right in the middle here. So, what we

can do is we can split this clip a

couple of different ways. One way we

could do it would be to go and click on

this little icon here, this little razor

blade, and that's going to turn our

mouse into a razor blade tool. And

whenever we click on this clip, that's

going to split the clip right there

wherever we click. So, we can just chop

this up if we want to. I'll hit

control-z a few times to undo that. What

I like to do is figure out where I want

to cut by moving this playhead back and

forth and then use a keyboard shortcut

to split it. The default keyboard

shortcut for Resolve is control

backslash. That's the backslash that's

right above enter, like the return key,

kind of in the middle of the keyboard.

If you hit that, that will split this

clip right where that playhead is. And

then you can move the clips around and

put this clip here in between them like

this. So now, let's see what this looks like.

like.

Go check it out.

Um, no, you go check it out.

See how that kind of works. Fine.

Now we want to see him say fine. And so

really this is kind of the same process.

So we split it right there. Controll backslash.

backslash.

And we might not use the rest of this.

But we'll just bring it down there kind

of out of the way for now. Have him

saying fine. Let's see. Where's another

one? There we go. Him saying fine.

No, you go check it out.

Right there. I like that. Let's trim

that here. Bring this in like this.

Fine. Great.

Great.

So, he says fine here. Fine.

Fine.

Let's trim this.

Put this in order. So, now we're putting

clips in the order for the story, but

we're also choosing clips that show the

story the very best. This is where it

starts to get really fun.

Go check it out.

Fine. Okay,

Okay,

I'll go check it out.

Great. So, we'll maybe cut right there.

And now we have a sequence of a few

different shots that really start to

tell our story. And then it's up to you

as the editor to go in and think about,

okay, how fast should one clip cut to

another clip?

Go check it out.

So, he kind of pushes her. I feel like

this should happen a little bit quicker.

go to that other shot. Anytime that you

cut in between one shot and another, you

can decide to show more or less time.

And so you can kind of control time a

little bit. This is the one part of the

world where you can control time. That's

what's really neat.

Um, no, you go check it out. Good.

Good.

Let's cut that a little bit tighter,

Okay.

You notice how this cut works really well.

well.

Fine. The reason for that is because he

starts to turn his head back in this

shot and he finishes turning his head on

this shot. This is called cutting on

action. That means that there's one

action that happens in one shot that's

continued in the other shot. And so our

mind accepts the little differences in

between the shots and it makes it feel

like they're continuous. Just like I

start waving my hand in this shot and

then we cut to this shot, it feels like

it's continuous, right? And that's

because it is. I mean, this is kind of

recorded live, but that's what really helps

helps

is that little tiny movement. And so,

looking for those opportunities to make

those cuts a little bit easier. For

instance, when he pushes her, she kind

of moves a little bit. Maybe

Maybe

this happens in this shot, too. Does he

push her? Yeah, she moves forward a

little bit. So, maybe as she moves

forward just a touch, maybe that'll work

a little better. I can select this empty

part and hit delete. And that's going to

get rid of that gap.

See how there's like that little

movement? She's moving forward. Kind of

moving forward a little bit there, too.

That might be a good cut. It might just

take too long, and we don't want to do

that. We'll see. But that's all up to

you. Now, a couple other things about

adding clips. Let's go through here and

let's add this shot right here. Shot 24.

This is what we would call their POV,

sort of. It's actually an

overthe-shoulder shot, but it's what

they see. And so, anytime that you're

editing, especially when somebody's

looking off screen and they have some

kind of reaction, just like what's

happening here where they're walking

towards and they go, "Wo

then that sparks a question in the

viewer's mind. What are they looking

at?" And so, a lot of the time it's a

good idea to show what they're looking

at in the next shot. Now, the next shot

in the timeline right here is actually

them standing. And it's sort of a

problem because they're actually

standing farther apart here than they

are in this shot. And that's something

you'll probably notice. Like it looks

weird. So, we can kind of feed two birds

with one scone here. We can answer the

question, what are they looking at off

screen? And we can bridge this gap to

not be distracting by adding this shot

in here. Couple ways that we could do

this would be to zoom out, select all of

our shots to the right, and move it down

so that we have some space to put this

shot. And we can drag this shot in here.

And we could set the in and the out on

this shot, and we can drag it in here

like that. And then kind of delete the

gaps, and that would work. What's a

little bit faster is to put our playhead

right on that edge. You can tell it to

snap to the edges by clicking this

button right here. If this magnet is

white, it'll snap to the edges like

this. If it's not, then it won't really

snap. It'll You can kind of put this

wherever you want. But I like have

snapping on for this kind of thing. Put

this right on that edit, that edge in

between the two clips. And what we can

do is click one of these buttons right

here. These are our edit buttons. This

one is insert clip. And what we'll do is

we can set an in and out like the

beginning and the end of this clip.

Something like that. And we can hit this

insert button. And look what happens

when I click this. It inserts this clip

right where that playhead was and it

moves all the other clips this way down

the timeline. So if I hit control +- Z,

we can kind of see what happens. Control

shift Z to redo it. It's just putting

that clip in there. So now we have in

our story, they show up and say, whoa.

And then we see what they see. Ooh yeah,

baby. That looks good. And now we've

forgotten how far apart they were in

that first shot. And so now we cut here

and nobody cares. Works great.

Go check it out.

That's how we build a story here in the

edit page. So cool. And this basic

process works for any kind of video

you're making. Whether you're making a

film like this, or whether you're just

doing a YouTube video, documentary

commercial, it's all about finding the

clips you want, setting the in and out,

and putting it on the timeline in some

way. Whether it's dragging it to the

timeline, or whether it's using an edit

button like this insert. There's also a

couple other edit modes. for instance,

overwrite, which just kind of pastes

this over everything. There's replace,

which will swap out the clip here for

the clip that we're over here in the

timeline. And you can click and drag

here and drag this viewer onto this

viewer. And you have a few more options,

too. For instance, place on top puts

that clip on top and on the next layer.

We're always going to be looking at the

top layer in our viewer,

but we can decide to turn this off and

move this around without overwriting

this clip. One handy edit button here

would be append.

If you drop it on this append, it's

going to throw this clip, whatever we

have selected here, at the end of our

timeline, which is great if you're just

kind of gathering the clips that you

want. You can just double click, set

your in and out. Okay, drag it over

here. Append it end. You don't have to

worry about where you are in your story.

You can just kind of go through here.

Pick the parts you like.

Append. You don't really have to worry

about it.

Great. Append at end. And you can throw

those all in the timeline. And then you

can move them around and adjust them and

trim them and split them and all the

stuff that you need to do. So, if you

want to get really used to how the edit

page works, I would highly recommend

grabbing this footage, dragging it down

into the timeline and just trying to

make a story out of these clips. Now, a

couple quick tips that I think are

pretty helpful for actually putting

together a story here is I like to use

what I call the anchor technique. This

is something that we go into a little

bit more in our end toend editing

course, which I'll tell you more about

in a little while. But the big idea here

is that you start with one shot where

multiple things are happening. So, we

have this wide shot of him walking

towards the craft. We have her kind of

looking around. And so, we can kind of

start with this as our anchor for this

part of the edit. And then we can use

these other shots to enhance it. So, we

have her kind of looking back and forth

right here. We also have this shot of

her kind of looking as he walks forward.

We have the shot of her looking back and

forth right here. And so, we can take

this shot and we'll just kind of trim this

this

And we can drag this up to a new track

and kind of put this over our shot like

this. So we have our wide shot here and

then we have the close-up here. And we

can kind of move this back and forth

without overwriting this just because

it's in that top layer. And we can kind

of just play around with this

Maybe we want to cut to a closeup of

him, which we have right here.

Yeah, maybe this one. Sure. And again,

Maybe we'll just cut to this first and

then cut to her. So, we have him

And we can kind of mix these in however

we want

to make this scene not only have all of

the actions that happen in the scene,

but also make it look exciting and have

a bunch of dynamic shots, right? And we

can choose whether to use shots or not.

I mean, we have this shot right here,

which I really like of her kind of

thinking things over a little bit.

Check it out.

We could decide to put this right here

if we want to, but we're using the shots

that are already here down in the

timeline to figure out where to put our

other shots. So, that's the anchor

technique. Now, for a couple of

shortcuts, these are really, really

important. Let's go ahead and put this

right here. And let's say I want to trim

this about this much. I can do that with

my normal selection mode, my normal tool

here, which is activated right here in

the toolbar. Or I can use the trim mode.

That's this one right here. And what

this does is it does similar things, but

if I grab the edge like this and I bring

it this way, it actually kind of sucks

the clips down. And so I can grab the

edge here and I can trim this, but it

doesn't leave a gap. And so it's just a

little bit quicker way to trim things.

It's the exact same thing as trimming

this with our normal selection mode,

selecting this emptiness, and moving it

down like that. It just does this all in

one little thing. The other thing this

tool will do, this this trim tool, is if

you click and drag in the middle of a

clip towards the top, what this will do

is slip this clip. And that means that

it's going to keep the same in and out,

but it's going to use a different part

of the clip. And so if I want to move it

down like this and use this part

just what happened

then that works. I can also slide the

clip if I click and drag in the middle

towards kind of the bottom of the clip

like this. And that moves this back and

forth and it kind of trims the other

clips around it. And this makes more

sense if we have these all on one line.

I'll just drop these in real quick. If

I'm in the trim mode here and I grab

this lower part, I can move this back

and forth and it trims the other clips

there with it. So, I can trim the other

clips or I can move this kind of clip

back and forth. And so, this is a nice way if you don't quite have your clip

way if you don't quite have your clip settled in just right. You can use the

settled in just right. You can use the trim tools to really kind of move things

trim tools to really kind of move things back and forth. And so, it really,

back and forth. And so, it really, really helps, especially if you're

really helps, especially if you're trying to make an edit just right. And

trying to make an edit just right. And when you grab this and you move it back

when you grab this and you move it back and forth, it shows this multiple view.

and forth, it shows this multiple view. And so we have the first frame and the

And so we have the first frame and the last frame of this clip. Then we have

last frame of this clip. Then we have the last frame of this clip and the

the last frame of this clip and the first frame of this clip. And so you can

first frame of this clip. And so you can see all of the transition points all on

see all of the transition points all on one view here. So trim tool is really

one view here. So trim tool is really useful, especially if you're trying to

useful, especially if you're trying to edit a little bit quicker. And speaking

edit a little bit quicker. And speaking of editing quicker, keyboard shortcuts

of editing quicker, keyboard shortcuts are very, very important. You can hit T

are very, very important. You can hit T to select your trim tool and A for your

to select your trim tool and A for your normal selection mode. Remember, A just

normal selection mode. Remember, A just kind of moves things around like this.

kind of moves things around like this. Overwrites things, but T will do the

Overwrites things, but T will do the slip and slide and that kind of thing.

slip and slide and that kind of thing. You can hit B to go to your blade tool

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

to chop this up however much you want. But again, I would highly recommend

But again, I would highly recommend learning the keyboard shortcut just to

learning the keyboard shortcut just to split this at the playhead. Controll

split this at the playhead. Controll backslash like that because that's a

backslash like that because that's a nice way to do that. The other major

nice way to do that. The other major keyboard shortcut I'd highly recommend

keyboard shortcut I'd highly recommend learning is the ripple trim shortcut.

learning is the ripple trim shortcut. Let's say I want to chop this part of

Let's say I want to chop this part of the clip off either by doing this and

the clip off either by doing this and then deleting it and moving it down or I

then deleting it and moving it down or I could use the trim tool and move it down

could use the trim tool and move it down like this.

like this. Well, I can do that with a keyboard

Well, I can do that with a keyboard shortcut by aiming my playhead right

shortcut by aiming my playhead right where I want the clip to start and

where I want the clip to start and hitting control shift left bracket.

hitting control shift left bracket. That's going to do all of that all at

That's going to do all of that all at once. is just going to trim this and

once. is just going to trim this and ripple everything down this way. Ripple

ripple everything down this way. Ripple is the fancy word for moving clips down

is the fancy word for moving clips down so that there's no gaps. And so we can

so that there's no gaps. And so we can ripple trim control shift left bracket

ripple trim control shift left bracket for the beginning. And then if we want

for the beginning. And then if we want to trim the end, control shift right

to trim the end, control shift right bracket like that. Now you may notice

bracket like that. Now you may notice that both control backslash and control

that both control backslash and control shift left and right bracket take two

shift left and right bracket take two hands on the keyboard. And so if you

hands on the keyboard. And so if you have one hand on the mouse, it's kind of

have one hand on the mouse, it's kind of awkward to remove your hand from the

awkward to remove your hand from the mouse and then hit a keyboard shortcut.

mouse and then hit a keyboard shortcut. It's slightly faster actually to

It's slightly faster actually to probably just grab it with the mouse.

probably just grab it with the mouse. And so to actually save time, I'd highly

And so to actually save time, I'd highly recommend customizing your keyboard

recommend customizing your keyboard shortcuts. So how do you do that? Up

shortcuts. So how do you do that? Up here in our Da Vinci Resolve menu, we

here in our Da Vinci Resolve menu, we can go down to keyboard customization.

can go down to keyboard customization. And this is a whole big panel

And this is a whole big panel dedicated to keyboard shortcuts. And all

dedicated to keyboard shortcuts. And all you have to do is click on whatever

you have to do is click on whatever modifiers you want and then whatever you

modifiers you want and then whatever you would press after that modifier. So

would press after that modifier. So control shift left bracket. And this

control shift left bracket. And this will show you the command. So this is

will show you the command. So this is start to playhead. If I click on this,

start to playhead. If I click on this, that'll open up start to playhead right

that'll open up start to playhead right here. And if you want, you can change

here. And if you want, you can change the keyboard shortcut for this. So I

the keyboard shortcut for this. So I have mine set to Q for start to playhead

have mine set to Q for start to playhead and W for end to playhead. Let me kind

and W for end to playhead. Let me kind of walk you through this because it's

of walk you through this because it's kind of annoying. So I'm going to switch

kind of annoying. So I'm going to switch back to my Da Vinci Resolve shortcuts

back to my Da Vinci Resolve shortcuts here.

By the way, they have presets for shortcuts that are kind of like Adobe

shortcuts that are kind of like Adobe Premiere Pro and Apple Final Cut, Avid

Premiere Pro and Apple Final Cut, Avid Pro Tools. What I usually do is I set

Pro Tools. What I usually do is I set this to Da Vinci Resolve. And I'll do

this to Da Vinci Resolve. And I'll do this, this control shift left bracket,

this, this control shift left bracket, this is start to play head. If I click

this is start to play head. If I click on this command right here, that'll

on this command right here, that'll bring that up right here. If I click on

bring that up right here. If I click on this little plus, that will make a

this little plus, that will make a little box here, and I can type whatever

little box here, and I can type whatever keyboard shortcut I want. So, start to

keyboard shortcut I want. So, start to playhead, I'm going to select as Q.

playhead, I'm going to select as Q. Great. Now, it's going to come up and

Great. Now, it's going to come up and say Q is already assigned to something,

say Q is already assigned to something, which is fine with me because I'm never

which is fine with me because I'm never going to use this view source timeline

going to use this view source timeline viewer. You might use it, but I'm not

viewer. You might use it, but I'm not going to. So, whatever you assign to it,

going to. So, whatever you assign to it, it's going to tell you if that's already

it's going to tell you if that's already a keyboard shortcut. So, I'm just going

a keyboard shortcut. So, I'm just going to say assign. Now, it gives you a

to say assign. Now, it gives you a little warning here. The reason there's

little warning here. The reason there's a warning is because neither of these

a warning is because neither of these keyboard shortcuts are going to work

keyboard shortcuts are going to work anymore because one keyboard shortcut is

anymore because one keyboard shortcut is assigned to two things, which you would

assigned to two things, which you would think it would just do both things, but

think it would just do both things, but it actually does neither. So, I'm going

it actually does neither. So, I'm going to go out of here, go back to my just

to go out of here, go back to my just vanilla keyboard here, and click on Q.

vanilla keyboard here, and click on Q. Then, it's going to list all the

Then, it's going to list all the commands that are under Q. So, we have

commands that are under Q. So, we have start to play head, which is what I

start to play head, which is what I want, and then source timeline view.

want, and then source timeline view. Let's click on source timeline view

Let's click on source timeline view here, and let's just get rid of the Q

here, and let's just get rid of the Q shortcut right there. Great. We're going

shortcut right there. Great. We're going to do the same thing with W. So, let's

to do the same thing with W. So, let's go ahead and open up W, dynamic trim

go ahead and open up W, dynamic trim mode. Let's take that off. Okay. And

mode. Let's take that off. Okay. And then we're going to look up control

then we're going to look up control shift right bracket, which is end of

shift right bracket, which is end of playhead. Let's make this W. Great. So,

playhead. Let's make this W. Great. So, now we have Q and W set to start and end

now we have Q and W set to start and end of playhead. The other thing that I like

of playhead. The other thing that I like to do is set this S key to split clip,

to do is set this S key to split clip, which is control backslashplit clips

which is control backslashplit clips right here. So, I'm going to actually

right here. So, I'm going to actually set this to S. It's going to say, "Hey,

set this to S. It's going to say, "Hey, S is already something." I'll say,

S is already something." I'll say, "Okay, assign." Then let's go back to S

"Okay, assign." Then let's go back to S and take away toggle slip slide. Boom.

and take away toggle slip slide. Boom. Like that. Now I have Q and W and S. And

Like that. Now I have Q and W and S. And those are really the only keyboard

those are really the only keyboard shortcuts that I change for Resolve.

shortcuts that I change for Resolve. Everything else seems to make pretty

Everything else seems to make pretty good sense to me. But those are the ones

good sense to me. But those are the ones that are really nice because I can use

that are really nice because I can use three fingers to do a lot of editing.

three fingers to do a lot of editing. And I'll show you the power of that here

And I'll show you the power of that here in just a second. But this looks good. I

in just a second. But this looks good. I want to make sure to save this. So, I'll

want to make sure to save this. So, I'll go up to these three dots and say save

go up to these three dots and say save as new preset. We'll call this intro

as new preset. We'll call this intro intro shortcuts. Hit okay. Great. So,

intro shortcuts. Hit okay. Great. So, now this is saved. I can close this. And

now this is saved. I can close this. And now we should be able to hit Q and

now we should be able to hit Q and that's going to trim the edge. And W.

that's going to trim the edge. And W. That should trim the edge. And S should

That should trim the edge. And S should split this. So, I have three fingers

split this. So, I have three fingers that can do a lot of these editing

that can do a lot of these editing tasks. So, check this out. Especially if

tasks. So, check this out. Especially if you're editing something where you have

you're editing something where you have a lot of footage or whether you're just

a lot of footage or whether you're just trying to cut down maybe a podcast or

trying to cut down maybe a podcast or something like that.

something like that. You can go through here and just look at

You can go through here and just look at the waveforms like this and see when

the waveforms like this and see when somebody's talking, right? And so you

somebody's talking, right? And so you can split it with S. And then you can

can split it with S. And then you can get rid of this

get rid of this part with a ripple trim to start. So Q

part with a ripple trim to start. So Q like that. See how this works? S Q

like that. See how this works? S Q just like that. And I can do this by

just like that. And I can do this by just aiming with my playhead

just aiming with my playhead and then Q.

and then Q. Right.

Right. Just like that. And I can trim this

Just like that. And I can trim this whole thing and cut out all of the

whole thing and cut out all of the silence

silence really, really quickly

just by looking at the waveforms and trimming it to

trimming it to those waveforms. So, that's a great way

those waveforms. So, that's a great way to cut down things that have a lot of

to cut down things that have a lot of talking and just keep the talking. In

talking and just keep the talking. In fact, that's how my editor Sam is

fact, that's how my editor Sam is cutting this tutorial. Pretty much same

cutting this tutorial. Pretty much same thing. QWS. What I would recommend

thing. QWS. What I would recommend doing, especially if you haven't edited

doing, especially if you haven't edited before, is I would double click on each

before, is I would double click on each of these clips, set the in and out for

of these clips, set the in and out for whatever part looks interesting and drag

whatever part looks interesting and drag it down here into the timeline. Add

it down here into the timeline. Add these all to the timeline, and then kind

these all to the timeline, and then kind of mix them together and put together a

of mix them together and put together a story in the edit page. Now, I'm going

story in the edit page. Now, I'm going to cheat a little bit and use a timeline

to cheat a little bit and use a timeline that I've already worked on just so I

that I've already worked on just so I can show you some more cool stuff. And

can show you some more cool stuff. And to show you this kind of stuff, I'm

to show you this kind of stuff, I'm going to import a bin. So, just like you

going to import a bin. So, just like you can open a project or export a project,

can open a project or export a project, you can export just a bin or a timeline

you can export just a bin or a timeline in Resolve. It's really helpful. I can

in Resolve. It's really helpful. I can rightclick here in the empty space in my

rightclick here in the empty space in my media pool and go down to import bin.

media pool and go down to import bin. And I'm going to select a bin that says

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

Casey only. You will not have this bin. Okay, say it with me. I will not have

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

this bin. This is Casey only. All right. It's not included in the files. This is

It's not included in the files. This is just for my demo purposes. Okay. So,

just for my demo purposes. Okay. So, we're gonna hit open. And that's how you

we're gonna hit open. And that's how you import a bin. Inside of this bin, I'm

import a bin. Inside of this bin, I'm going to have a couple of timelines that

going to have a couple of timelines that are going to help us learn some stuff.

are going to help us learn some stuff. Just double click on my edit demo thing

Just double click on my edit demo thing here. And here we have an edit that I

here. And here we have an edit that I made using this footage here on the edit

made using this footage here on the edit page. Let's take a look.

Whoa. Whoa.

Go check it out. Um, no. You go check it out.

Um, no. You go check it out. Fine.

Fine. Okay.

Okay. Check it out.

So, it's a cohesive story. It has a beginning, a middle, and an end. The

beginning, a middle, and an end. The kids show up, drop their bikes. This is

kids show up, drop their bikes. This is what they see. They argue. The guy

what they see. They argue. The guy starts to walk forward. He's nervous.

starts to walk forward. He's nervous. She's nervous.

She's nervous. it moves. They kind of panic and they go

it moves. They kind of panic and they go in to investigate. Now, a couple of

in to investigate. Now, a couple of things to point out here about this edit

things to point out here about this edit that I made.

that I made. One clip here has a split,

One clip here has a split, but there's no cut. We're not really

but there's no cut. We're not really cutting to a different clip. It's just

cutting to a different clip. It's just split here for essentially no reason.

split here for essentially no reason. What we can do is we can actually repair

What we can do is we can actually repair this by right-clicking here on this edit

this by right-clicking here on this edit point and saying delete through edit.

point and saying delete through edit. And that's going to make this into one

And that's going to make this into one clip, which is going to be helpful later

clip, which is going to be helpful later when we're doing color. There's no

when we're doing color. There's no reason to have a clip split if you're

reason to have a clip split if you're not going to cut to a different clip or

not going to cut to a different clip or severely change that clip. By the way, a

severely change that clip. By the way, a great way to move up and down the

great way to move up and down the timeline when you're zoomed in is to

timeline when you're zoomed in is to click and hold the middle button on your

click and hold the middle button on your mouse and drag. And what that will do is

mouse and drag. And what that will do is let you kind of grab this timeline and

let you kind of grab this timeline and move it back and forth. And that

move it back and forth. And that actually works for just about everything

actually works for just about everything in Resolve. I can move this preview

in Resolve. I can move this preview around by clicking and dragging on my

around by clicking and dragging on my middle button, on my scroll wheel

middle button, on my scroll wheel button. That's kind of the click and

button. That's kind of the click and drag and pan sort of shortcut for most

drag and pan sort of shortcut for most things here in Resolve. So, I can move

things here in Resolve. So, I can move this over here. And it doesn't look like

this over here. And it doesn't look like we have any more through edits. Oh,

we have any more through edits. Oh, wait, there's one. Let's right click on

wait, there's one. Let's right click on this, delete throughit. There we go.

this, delete throughit. There we go. Good.

Good. But actually, I had this split over here

But actually, I had this split over here for my audio. And the reason for that is

for my audio. And the reason for that is because this audio is really loud. So,

because this audio is really loud. So, if we play this back,

if we play this back, those are just really loud bike sounds.

those are just really loud bike sounds. And so, the cool thing about the edit

And so, the cool thing about the edit page is not only can you organize your

page is not only can you organize your video tracks and kind of change their

video tracks and kind of change their order and everything, but you can also

order and everything, but you can also mess with your audio. And so, what we

mess with your audio. And so, what we really want to do is take the volume

really want to do is take the volume down on this clip. We actually have the

down on this clip. We actually have the volume turned way up here in our edit,

volume turned way up here in our edit, but normally there's a little line right

but normally there's a little line right here, and you can click and drag this up

here, and you can click and drag this up and down to change the volume of your

and down to change the volume of your audio. And so I had this turned way up

audio. And so I had this turned way up because I want to hear kind of the quiet

because I want to hear kind of the quiet parts, but it's way too loud for when

parts, but it's way too loud for when the bikes fall down. And so what we can

the bikes fall down. And so what we can do is just split this right here. And I

do is just split this right here. And I just want to split the audio. And when I

just want to split the audio. And when I select this, it's going to select both

select this, it's going to select both the video track and the audio track. And

the video track and the audio track. And I can just select the audio by going up

I can just select the audio by going up here and unlinking this chain link here.

here and unlinking this chain link here. And then I can just select the audio and

And then I can just select the audio and move that separately. I can also hold

move that separately. I can also hold alt and click on this track just to

alt and click on this track just to select it by itself. But either way, I

select it by itself. But either way, I want to select just the audio and then I

want to select just the audio and then I can split it with control backslash or

can split it with control backslash or whatever you set your keyboard shortcut

whatever you set your keyboard shortcut to. I can just split that right there.

to. I can just split that right there. And then I can have a separate volume

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

line for this part and this part. And that lets you change the volume of

And that lets you change the volume of your audio. Now, we don't want there to

your audio. Now, we don't want there to be a really harsh difference in our

be a really harsh difference in our audio where the ambient noise is really

audio where the ambient noise is really loud and then it turns it down

loud and then it turns it down immediately. See, if I bring this back,

immediately. See, if I bring this back, we'll have this kind of sound

we'll have this kind of sound where it turns it down immediately. And

where it turns it down immediately. And so, what we might want to do is

so, what we might want to do is crossfade this. I can rightclick on this

crossfade this. I can rightclick on this edit and go down and I can pick one of

edit and go down and I can pick one of these crossfade options. It doesn't

these crossfade options. It doesn't really matter. You can pick the 12

really matter. You can pick the 12 frame, let's say. And what that's going

frame, let's say. And what that's going to do is crossfade these clips together,

to do is crossfade these clips together, which if you have two different clips,

which if you have two different clips, it's going to fade out the first clip

it's going to fade out the first clip and then fade in the second clip kind of

and then fade in the second clip kind of gradually so that you don't notice a cut

gradually so that you don't notice a cut there. But when you have the same clip

there. But when you have the same clip at different volumes, what it

at different volumes, what it essentially does is it kind of just

essentially does is it kind of just turns down the volume over this amount

turns down the volume over this amount of time. So, it's a lot more gradual

of time. So, it's a lot more gradual and you don't notice that difference.

and you don't notice that difference. We could do the same thing here.

Yeah, that's nice. And I find this is a really nice way to adjust your audio

really nice way to adjust your audio over time. The other way that you can do

over time. The other way that you can do that, I'll just take this volume line

that, I'll just take this volume line down a little bit. The other way you can

down a little bit. The other way you can do that is hold alt and click on this

do that is hold alt and click on this line and that will give you these little

line and that will give you these little control points and you can move one up

control points and you can move one up and one down and you can kind of adjust

and one down and you can kind of adjust the level of volume over time here. So

the level of volume over time here. So you can get really detailed with how you

you can get really detailed with how you want to change your audio in your clip.

want to change your audio in your clip. And so if you have one really loud part,

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

you could just kind of squish that down. So we could do this. I'll just kind of

So we could do this. I'll just kind of get rid of this and bring that out like

get rid of this and bring that out like this. We could

this. We could hold alt and add a couple of control

hold alt and add a couple of control points here.

points here. I can bring this control point down and

I can bring this control point down and just bring down that little part. And

just bring down that little part. And that's good, too.

It's really kind of dependent on what you want to do. The reason I tend not to

you want to do. The reason I tend not to do this so much is because it's kind of

do this so much is because it's kind of a pain to grab these little points and

a pain to grab these little points and move them around. And it's easy to kind

move them around. And it's easy to kind of mess this up or get too many points

of mess this up or get too many points or, you know, if I have to move one,

or, you know, if I have to move one, then I have to move the other one. It

then I have to move the other one. It just kind of is annoying. And so what

just kind of is annoying. And so what I'll usually do is just select this

I'll usually do is just select this audio,

turn this clip down, and crossfade these because then I can do stuff like roll

because then I can do stuff like roll these edits back and forth.

And that's going to change where that adjustment is really easily. It's really

adjustment is really easily. It's really up to you. Here you'll notice this

up to you. Here you'll notice this little triangle. This is from bringing

little triangle. This is from bringing this little white handle over. And what

this little white handle over. And what this does is this makes a fade, like a

this does is this makes a fade, like a fade out. And so anytime that you have a

fade out. And so anytime that you have a clip where you want it to fade in or

clip where you want it to fade in or out, you can take these little white

out, you can take these little white handles and bring them in, and that's

handles and bring them in, and that's going to adjust a fade. That works for

going to adjust a fade. That works for both audio as well as video. We have

both audio as well as video. We have these little white handles in this

these little white handles in this video, too. And so we have this fade up

video, too. And so we have this fade up from black.

from black. Go figure it out.

Go figure it out. And then fade down, right? So, if you're

And then fade down, right? So, if you're making a movie trailer where you have

making a movie trailer where you have stuff fade in and out all the time,

stuff fade in and out all the time, that's a good way to do it. And oh my

that's a good way to do it. And oh my gosh, there's so much more to get into

gosh, there's so much more to get into with adjusting stuff on the edit page.

with adjusting stuff on the edit page. But we're already going to have a long

But we're already going to have a long enough YouTube video here. So, I want to

enough YouTube video here. So, I want to show you just a couple other things in

show you just a couple other things in the edit page before we move on. Let's

the edit page before we move on. Let's talk about the inspector. So, the

talk about the inspector. So, the inspector is a panel that you can open

inspector is a panel that you can open up over here on the right. And what this

up over here on the right. And what this is is a list of properties for whatever

is is a list of properties for whatever we have selected. Now, this is a

we have selected. Now, this is a universal thing in Resolve. There is

universal thing in Resolve. There is some version of an inspector on just

some version of an inspector on just about every page. And so, this is an

about every page. And so, this is an essential concept for you to understand.

essential concept for you to understand. When you select something, this clip has

When you select something, this clip has certain properties. And when we have

certain properties. And when we have this selected, what it does is it opens

this selected, what it does is it opens up those properties here in the

up those properties here in the inspector. So, we select something and

inspector. So, we select something and we adjust its details and its properties

we adjust its details and its properties in the inspector. Now I can hit this

in the inspector. Now I can hit this little button to expand the inspector so

little button to expand the inspector so that it's the full height of the screen

that it's the full height of the screen and we can see all these different

and we can see all these different properties. So every clip has a bunch of

properties. So every clip has a bunch of properties. So I'll select this clip

properties. So I'll select this clip here and we'll just see what these all

here and we'll just see what these all do. There are tabs up here and these are

do. There are tabs up here and these are different categories of properties. So a

different categories of properties. So a clip by default is going to have video

clip by default is going to have video and audio tab. And depending on what

and audio tab. And depending on what other fancy things you do, these other

other fancy things you do, these other tabs might be available. But the video,

tabs might be available. But the video, we start with the transform properties.

we start with the transform properties. These are ways that you can move and

These are ways that you can move and scale and rotate your video. And these

scale and rotate your video. And these controls, some of them have sliders,

controls, some of them have sliders, which makes sense. You slide this back

which makes sense. You slide this back and forth. And some of them just have

and forth. And some of them just have numbers, which you can double click in

numbers, which you can double click in and replace with a number. Or you can

and replace with a number. Or you can click and drag left and right on any of

click and drag left and right on any of these numbers to control it, sort of

these numbers to control it, sort of like a slider. You can doubleclick on

like a slider. You can doubleclick on any of these properties to reset them.

any of these properties to reset them. You can also hit this little reset

You can also hit this little reset button. And so now if we want to zoom in

button. And so now if we want to zoom in on her face, we can zoom like this. And

on her face, we can zoom like this. And we can adjust the position to be right

we can adjust the position to be right there on her face. We can adjust the

there on her face. We can adjust the rotation if we want to. And that's how

rotation if we want to. And that's how we would do that for this clip. Now,

we would do that for this clip. Now, it's only adjusting this clip because

it's only adjusting this clip because this is the clip that we have selected.

this is the clip that we have selected. If we go to this clip, it is unaffected.

If we go to this clip, it is unaffected. In fact, if we're over this clip and

In fact, if we're over this clip and we're looking at it, we're adjusting the

we're looking at it, we're adjusting the zoom and nothing's happening. That's

zoom and nothing's happening. That's because we have this clip selected. And

because we have this clip selected. And so that's loaded into the inspector. So,

so that's loaded into the inspector. So, we zoom this way far up.

we zoom this way far up. We go back to this one and it's zoomed

We go back to this one and it's zoomed in really far, right? So, let's go ahead

in really far, right? So, let's go ahead and reset everything in our transform.

and reset everything in our transform. We also have cropping where we can crop

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

the image. We can adjust the softness of that crop.

that crop. This is great if you want to mix kind of

This is great if you want to mix kind of one side of one shot and the other side

one side of one shot and the other side of another shot, something like that. Or

of another shot, something like that. Or if you want to do kind of a pictureand

if you want to do kind of a pictureand picture thing, you could do some

picture thing, you could do some cropping.

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

into the corner. Something like that. And at that point, if you wanted to put

And at that point, if you wanted to put this clip over something else, you could

this clip over something else, you could just put this over other clips here in

just put this over other clips here in the timeline, and those would be layered

the timeline, and those would be layered like that.

You can adjust the composite mode, which is kind of the transparency of things.

is kind of the transparency of things. If I put this image over this image, we

If I put this image over this image, we could take the opacity down and kind of

could take the opacity down and kind of fade this. So, it's kind of ghosted over

fade this. So, it's kind of ghosted over it. We could also change the composite

it. We could also change the composite mode to different things like add or

mode to different things like add or multiply and all different kinds of

multiply and all different kinds of composite modes. This works a lot like

composite modes. This works a lot like an image editing program like Photoshop

an image editing program like Photoshop or something like that. Same kind of

or something like that. Same kind of idea. And there's just so much more to

idea. And there's just so much more to go over, but basically if you want to

go over, but basically if you want to adjust how a clip is treated, its

adjust how a clip is treated, its position, its rotation, how it interacts

position, its rotation, how it interacts with other clips, the volume of the

with other clips, the volume of the audio, the pan of the audio, the pitch,

audio, the pan of the audio, the pitch, there's equalizer, there's all kinds of

there's equalizer, there's all kinds of stuff that we'll get into a little bit

stuff that we'll get into a little bit more when we talk about Fairlite, but

more when we talk about Fairlite, but this is where the properties for

this is where the properties for anything that you have selected lives.

anything that you have selected lives. Okay, so again, if we want to make this

Okay, so again, if we want to make this small, we can zoom it out like that

small, we can zoom it out like that just by selecting it and adjusting it in

just by selecting it and adjusting it in the inspector. One thing that's cool is

the inspector. One thing that's cool is that we can stabilize clips here right

that we can stabilize clips here right in the edit page. I can just select the

in the edit page. I can just select the clip, go over to stabilization, and hit

clip, go over to stabilization, and hit stabilize.

stabilize. And what that's going to do is take out

And what that's going to do is take out all of the little jitters and everything

all of the little jitters and everything for the clip. And it works pretty darn

for the clip. And it works pretty darn well. Works pretty darn well. The

well. Works pretty darn well. The stabilization here is excellent. And

stabilization here is excellent. And there are a bunch of different options

there are a bunch of different options here for the stabilization, which you

here for the stabilization, which you can play around with. You'll get various

can play around with. You'll get various different results, but just know that

different results, but just know that that's kind of where that happens. We

that's kind of where that happens. We can correct a lens. So you can distort

can correct a lens. So you can distort or undistort your lens. Here where it

or undistort your lens. Here where it says rettime and scaling, these are just

says rettime and scaling, these are just kind of the processes for retiming. If

kind of the processes for retiming. If you actually want to do a time remap on

you actually want to do a time remap on something, you can right click on it and

something, you can right click on it and go up to rettime controls. And you can

go up to rettime controls. And you can grab the edges like this and make it

grab the edges like this and make it play back faster

You can even kind of stop in the middle of this clip and click on this little

of this clip and click on this little arrow and that'll bring up a little menu

arrow and that'll bring up a little menu and you can add a speed point. And what

and you can add a speed point. And what this will do is let you change part of

this will do is let you change part of the clip's speed

to one value and the other part to another value. So, we can go from slow

another value. So, we can go from slow motion into fast motion. This is great

motion into fast motion. This is great for drone shots and punchy edits and

for drone shots and punchy edits and things like that. That's how that's

things like that. That's how that's done. And when you're done with your

done. And when you're done with your speed changes, you can just hit this

speed changes, you can just hit this little X button right here, and it'll

little X button right here, and it'll give you a little indicator that there's

give you a little indicator that there's a speed change on it. But the idea that

a speed change on it. But the idea that you select something and adjust its

you select something and adjust its properties in the inspector is really,

properties in the inspector is really, really, really important. Now, sort of

really, really important. Now, sort of related to that is there is a whole

related to that is there is a whole section of the edit page called effects.

section of the edit page called effects. So, if I switch to effects, that's going

So, if I switch to effects, that's going to bring up my effects panel. And this

to bring up my effects panel. And this has I mean, just so much stuff in it.

has I mean, just so much stuff in it. This is where you get a little bit more

This is where you get a little bit more fancy in the edit page. There are all

fancy in the edit page. There are all kinds of tools here, including

kinds of tools here, including transitions, which you just grab one of

transitions, which you just grab one of these transitions and put it in between

these transitions and put it in between two clips like this. Just drag it in

two clips like this. Just drag it in between on this edit. That will make a

between on this edit. That will make a little transition like that. You can

little transition like that. You can even select this transition and switch

even select this transition and switch to a different transition here in the

to a different transition here in the inspector.

inspector. Okay.

Okay. If you go down to open effects, there

If you go down to open effects, there are all kinds of effects here that you

are all kinds of effects here that you can apply to your shots. So, if you want

can apply to your shots. So, if you want your shot to be blurry, you can grab

your shot to be blurry, you can grab something like directional blur. Drag

something like directional blur. Drag this on here and then you select this

this on here and then you select this clip. And because this clip has effects

clip. And because this clip has effects on it, it has a little indicator right

on it, it has a little indicator right here. And it also has the effects tab

here. And it also has the effects tab enabled where you can find the effect

enabled where you can find the effect that you applied to it and you can

that you applied to it and you can adjust the properties of the effect.

adjust the properties of the effect. Right? See why this is so important is

Right? See why this is so important is because anything that happens in this

because anything that happens in this clip, you pretty much adjust here in the

clip, you pretty much adjust here in the inspector. And so we can adjust the

inspector. And so we can adjust the blurriness and all of that. All of the

blurriness and all of that. All of the controls for this effect right here in

controls for this effect right here in the inspector. We can turn the effect on

the inspector. We can turn the effect on or off or we can delete it by hitting

or off or we can delete it by hitting this garbage can like that. And that's

this garbage can like that. And that's how we would apply any kind of effect

how we would apply any kind of effect you would want to apply to a clip. So

you would want to apply to a clip. So sharpen stylized kind of stuff like a

sharpen stylized kind of stuff like a mirror effect.

And the free version of Resolve comes with a lot of effects and the paid

with a lot of effects and the paid version has a lot more. So, there's

version has a lot more. So, there's still quite a bit of effects in the free

still quite a bit of effects in the free version, but there are certain more

version, but there are certain more intense effects that only come with the

intense effects that only come with the paid version. We've been working with

paid version. We've been working with just clips here in the timeline, but in

just clips here in the timeline, but in the effects panel, there are also things

the effects panel, there are also things like titles and generators. So, a

like titles and generators. So, a generator just generates video. So, I

generator just generates video. So, I can grab something like this fourcolor

can grab something like this fourcolor gradient, and I can drag this down into

gradient, and I can drag this down into the timeline just like I would drag a

the timeline just like I would drag a clip from the media pool into the

clip from the media pool into the timeline. So, now we have this fourcolor

timeline. So, now we have this fourcolor gradient. Again, I select it and go up

gradient. Again, I select it and go up here to the inspector and I can adjust

here to the inspector and I can adjust the colors.

So, I can make a nice background with that. And there's all kinds of different

that. And there's all kinds of different generators. There's even some really

generators. There's even some really fancy ones that use the power of the

fancy ones that use the power of the fusion page. So, I could do this hexagon

fusion page. So, I could do this hexagon glow. That thing's pretty crazy. One of

glow. That thing's pretty crazy. One of my favorites is this honeycomb.

my favorites is this honeycomb. There's all kinds of controls here to

There's all kinds of controls here to change how this looks. There's also

change how this looks. There's also transitions and all kinds of stuff here.

transitions and all kinds of stuff here. So, we can drag this in. This will be

So, we can drag this in. This will be kind of some graphics. There we go. And

kind of some graphics. There we go. And you can select this and adjust your

you can select this and adjust your text, you know,

text, you know, intro, right?

intro, right? That's cool.

That's cool. You can use a custom logo. You can do

You can use a custom logo. You can do all kinds of stuff with this. And each

all kinds of stuff with this. And each effect is slightly different because

effect is slightly different because it's just kind of built for different

it's just kind of built for different purposes, right? So, this one has

purposes, right? So, this one has different color controls and things to

different color controls and things to be able to customize this template. Now,

be able to customize this template. Now, if you want to make your own text that's

if you want to make your own text that's maybe just a little bit less specific

maybe just a little bit less specific that isn't this kind of specific looking

that isn't this kind of specific looking effect, you can go up to titles and

effect, you can go up to titles and there are kind of two sections of titles

there are kind of two sections of titles here. There are just the normal titles

here. There are just the normal titles and then there are fusion titles. Fusion

and then there are fusion titles. Fusion titles are just fancier titles that use

titles are just fancier titles that use the power of the fusion page. We'll get

the power of the fusion page. We'll get into that in a little bit, how Fusion

into that in a little bit, how Fusion works and all that, but we have some

works and all that, but we have some basic stuff here that's actually really

basic stuff here that's actually really great. So, for instance, text. If I just

great. So, for instance, text. If I just grab normal text, I can put this over my

grab normal text, I can put this over my fourcolor gradient. And I can select the

fourcolor gradient. And I can select the title controls here in the video in the

title controls here in the video in the inspector with the text title selected.

inspector with the text title selected. You know, my title and I can change the

You know, my title and I can change the font and the size and the tracking and

font and the size and the tracking and all of that kind of stuff to design this

all of that kind of stuff to design this title to be exactly how I want. And

title to be exactly how I want. And there are quite a bit of controls here

there are quite a bit of controls here to make this look how I want for my

to make this look how I want for my project. Let's go and kind of make a

project. Let's go and kind of make a title here. I could just take this text

title here. I could just take this text and drag this down. And we'll call this

and drag this down. And we'll call this uh Tuesday on Earth. That's the name of

uh Tuesday on Earth. That's the name of the movie. Pick a different font. Let's

the movie. Pick a different font. Let's just say Poppins Black. Push up that

just say Poppins Black. Push up that tracking a little bit. There we go. It's

tracking a little bit. There we go. It's nice and tasteful. Let's change the

nice and tasteful. Let's change the color. Maybe make this kind of a

color. Maybe make this kind of a slightly kind of teal color. Something

slightly kind of teal color. Something like that. Great. There we have our

like that. Great. There we have our title. Now, let's say that we want to

title. Now, let's say that we want to animate something. we want to change a

animate something. we want to change a property of a clip or a property of this

property of a clip or a property of this title over time. Here's how we can do

title over time. Here's how we can do that. We have this text which is

that. We have this text which is actually just generating a video. If I

actually just generating a video. If I go over here to the inspector, it says

go over here to the inspector, it says title and settings. If I switch to

title and settings. If I switch to settings, this is going to give us the

settings, this is going to give us the same transform controls that we have

same transform controls that we have with any of these clips. Pretty much the

with any of these clips. Pretty much the same transform controls. And so what we

same transform controls. And so what we can do is change the position of this

can do is change the position of this text just by taking the video that the

text just by taking the video that the text generator generates and moving that

text generator generates and moving that video around. There are these little

video around. There are these little diamonds right here. These diamonds are

diamonds right here. These diamonds are what we call key frame diamonds. I don't

what we call key frame diamonds. I don't actually know the real name for it, but

actually know the real name for it, but I call it key frame diamonds because

I call it key frame diamonds because what you do is you click on this diamond

what you do is you click on this diamond and that will set a key frame. Now, if

and that will set a key frame. Now, if you don't know what a key frame is, a

you don't know what a key frame is, a key frame is basically a way to tell

key frame is basically a way to tell your software that you want a property

your software that you want a property to be a certain value at a certain time.

to be a certain value at a certain time. So, when we click this key frame

So, when we click this key frame diamond, we're telling Resolve that at

diamond, we're telling Resolve that at 49 seconds and 11 frames, so right here

49 seconds and 11 frames, so right here on this clip, that we want the position

on this clip, that we want the position to be at 0 0. if we move to a different

to be at 0 0. if we move to a different time. So, let's move to kind of the

time. So, let's move to kind of the start of the clip. We can adjust this

start of the clip. We can adjust this position again and you'll see there's

position again and you'll see there's this little tiny greater than indicator,

this little tiny greater than indicator, this little arrow. That means that there

this little arrow. That means that there is a key frame on this track and it's

is a key frame on this track and it's that way. And what that also means is

that way. And what that also means is that if I change this position right

that if I change this position right now, that's going to add a new key

now, that's going to add a new key frame. You can see that it turned this

frame. You can see that it turned this key frame red.

key frame red. And what it's going to do is animate in

And what it's going to do is animate in between those two key frames

between those two key frames over time. And so we've just made an

over time. And so we've just made an animated title. Isn't that cool? Now, is

animated title. Isn't that cool? Now, is this really the only indicator that

this really the only indicator that something is animated? No. If we go up

something is animated? No. If we go up here to these buttons right here, and we

here to these buttons right here, and we click on this one, this one that looks

click on this one, this one that looks like some diamonds, we click on that,

like some diamonds, we click on that, that's going to open up our key frames

that's going to open up our key frames panel for our timeline. And here we have

panel for our timeline. And here we have these familiar little diamonds

these familiar little diamonds and we can see the properties that these

and we can see the properties that these are animating. So we have a diamond on

are animating. So we have a diamond on this track for position X and a diamond

this track for position X and a diamond on this track for position Y. And then

on this track for position Y. And then we also have diamonds here for transform

we also have diamonds here for transform which is kind of like the group of those

which is kind of like the group of those properties. So I can take this diamond

properties. So I can take this diamond for the transform and I can move this

for the transform and I can move this back and forth and that's going to

back and forth and that's going to change where that key frame is on my

change where that key frame is on my track. And so I can take this first key

track. And so I can take this first key frame and move this up at the start and

frame and move this up at the start and the last key frame and move this at the

the last key frame and move this at the end. And throughout the entire

end. And throughout the entire length of the clip,

length of the clip, it's going to move from down here to up

it's going to move from down here to up here. If I want this to go faster, I can

here. If I want this to go faster, I can push these key frames together because

push these key frames together because it'll take less time to go from one key

it'll take less time to go from one key frame to the other, which means this

frame to the other, which means this goes faster. And so that's generally how

goes faster. And so that's generally how you'll animate stuff in Resolve. and and

you'll animate stuff in Resolve. and and really that same kind of way of

really that same kind of way of animating things by setting a key frame

animating things by setting a key frame and adjusting the distance between the

and adjusting the distance between the two key frames. That's pretty much how

two key frames. That's pretty much how you animate anything in most software.

you animate anything in most software. In fact, as you use Fusion, key frames

In fact, as you use Fusion, key frames are all over the place. But just know

are all over the place. But just know for now that you can animate stuff by

for now that you can animate stuff by using those key frames and adjusting the

using those key frames and adjusting the distance between them. Now, when

distance between them. Now, when something moves and comes to a stop on a

something moves and comes to a stop on a video, it actually looks a lot nicer if

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

it kind of slows down before it stops. That is called easing. Easing a key

That is called easing. Easing a key frame. like you easily just stop, right?

frame. like you easily just stop, right? You ease into it. And so what we really

You ease into it. And so what we really want to do would be to ease this key

want to do would be to ease this key frame, this last key frame, so that it

frame, this last key frame, so that it slows down before it stops. So it

slows down before it stops. So it doesn't just kind of jerk to a stop like

doesn't just kind of jerk to a stop like this. It doesn't look good. And so

this. It doesn't look good. And so here's how you ease those key frames.

here's how you ease those key frames. Right now in this version of Resolve,

Right now in this version of Resolve, there is another key frame panel which I

there is another key frame panel which I can click and that will open up here

can click and that will open up here kind of where the media pool and the

kind of where the media pool and the effects go and it will give you another

effects go and it will give you another graph just like is down here. But you

graph just like is down here. But you can click on this little button right

can click on this little button right here and that will switch to your curves

here and that will switch to your curves view. And this will give you a graph of

view. And this will give you a graph of the values over time. And you can select

the values over time. And you can select this last key frame and click on this

this last key frame and click on this button right here which will let you

button right here which will let you flatten the handles on this key frame.

flatten the handles on this key frame. So you can grab this little handle.

So you can grab this little handle. Let's just zoom this in a little bit.

Let's just zoom this in a little bit. You can grab this handle and kind of

You can grab this handle and kind of adjust the graph. And so if you grab

adjust the graph. And so if you grab this handle and kind of push it out like

this handle and kind of push it out like this so it's flat, you have this nice

this so it's flat, you have this nice easy curve as we go into the key frame.

easy curve as we go into the key frame. And so as this comes in, it kind of

And so as this comes in, it kind of slows down before it stops. Isn't that

slows down before it stops. Isn't that nice? Comes in fast, slows down before

nice? Comes in fast, slows down before it stops. And so this is the interface

it stops. And so this is the interface that you can use to get really detailed

that you can use to get really detailed with your key frames. Now, it's possible

with your key frames. Now, it's possible that this panel is going to change in

that this panel is going to change in the future. I've recommended that they

the future. I've recommended that they actually put all of this down here

actually put all of this down here because it makes a lot more sense to be

because it makes a lot more sense to be able to move this based on our timeline

able to move this based on our timeline rather than moving things back and forth

rather than moving things back and forth on this grid where you don't really have

on this grid where you don't really have any idea of the actual timing of things.

any idea of the actual timing of things. And so if you're watching this video in

And so if you're watching this video in the future and you're like, there is no

the future and you're like, there is no key frames panel here or it looks

key frames panel here or it looks different or something, just look

different or something, just look around. Some of these buttons up here

around. Some of these buttons up here might be down here. We'll see. You

might be down here. We'll see. You should be able to click on this expand

should be able to click on this expand button and that will give you a undocked

button and that will give you a undocked key frame editor here that gives you a

key frame editor here that gives you a really nice interface for working with

really nice interface for working with your key frames. Again, that button

your key frames. Again, that button might be down here in the future. Who

might be down here in the future. Who knows? The key frames panels, this one

knows? The key frames panels, this one and this one are brand new to Resolve

and this one are brand new to Resolve when I'm recording this. So, if it's

when I'm recording this. So, if it's slightly different on your version, that

slightly different on your version, that might be a thing. But either way, it

might be a thing. But either way, it should pretty much work the same. You

should pretty much work the same. You move your key frames back and forth to

move your key frames back and forth to change the timing, and you adjust the

change the timing, and you adjust the curve to ease the key frames. There are

curve to ease the key frames. There are similar tools to this in the Fusion

similar tools to this in the Fusion page, which we'll go over in a little

page, which we'll go over in a little while, but that's how you animate things

while, but that's how you animate things here on the edit page.

here on the edit page. There are so many more things that I

There are so many more things that I want to tell you about the edit page,

want to tell you about the edit page, but we have to move on. This should be

but we have to move on. This should be plenty to get you started grabbing the

plenty to get you started grabbing the footage and putting it into a timeline

footage and putting it into a timeline and creating a story. This is the magic

and creating a story. This is the magic of video editing is that you're in

of video editing is that you're in control of that story. H so good. Next,

control of that story. H so good. Next, let's jump into the cut page, which is

let's jump into the cut page, which is just a little bit of a different angle

just a little bit of a different angle on the same kind of idea of creating a

on the same kind of idea of creating a story in a timeline. So, the cut page,

story in a timeline. So, the cut page, the cut page is kind of like the edit

the cut page is kind of like the edit page, but it's built for a slightly

page, but it's built for a slightly different application. You can think of

different application. You can think of the cut page as sort of like a version

the cut page as sort of like a version of the edit page, but designed with one

of the edit page, but designed with one value in mind, speed. Speed of editing.

value in mind, speed. Speed of editing. Everything in this page is designed to

Everything in this page is designed to help you edit faster. Now, it has some

help you edit faster. Now, it has some pretty familiar elements. We have our

pretty familiar elements. We have our media pool up here, which works pretty

media pool up here, which works pretty much exactly like the media pool does in

much exactly like the media pool does in the other pages. The only difference is

the other pages. The only difference is that instead of a bin list, you have a

that instead of a bin list, you have a little drop down here, but pretty much

little drop down here, but pretty much the same idea. We have a viewer.

the same idea. We have a viewer. You can double click on a clip and you

You can double click on a clip and you can hover scrub. You can scrub through

can hover scrub. You can scrub through it here in the source viewer. You can

it here in the source viewer. You can switch to source tape and bring up all

switch to source tape and bring up all of the different clips one after

of the different clips one after another. You can also switch to the

another. You can also switch to the timeline viewer.

timeline viewer. So, there aren't two viewers in the edit

So, there aren't two viewers in the edit page. There's only one that kind of

page. There's only one that kind of switches out like this. But other than

switches out like this. But other than that, it pretty much works the same. We

that, it pretty much works the same. We do have an inspector. Same idea. But we

do have an inspector. Same idea. But we also have kind of this slightly

also have kind of this slightly different style of inspector, which if

different style of inspector, which if you click on this button right here,

you click on this button right here, will bring up a bunch of controls that

will bring up a bunch of controls that are the same as the inspector controls,

are the same as the inspector controls, but they're kind of just on a different

but they're kind of just on a different interface.

interface. The idea being that this would be a

The idea being that this would be a little bit faster.

little bit faster. We also have effects and titles and even

We also have effects and titles and even a key frames editor like we do on the

a key frames editor like we do on the edit page.

edit page. There's transitions, that kind of thing.

There's transitions, that kind of thing. But really the big difference here in

But really the big difference here in the cut page versus the edit page is

the cut page versus the edit page is that we have two timelines.

that we have two timelines. We have this upper timeline here and we

We have this upper timeline here and we have the lower timeline down here. Now,

have the lower timeline down here. Now, this can be a little bit confusing, but

this can be a little bit confusing, but these are the same timeline at different

these are the same timeline at different zoom levels. So, this upper timeline is

zoom levels. So, this upper timeline is your entire movie from beginning to end.

your entire movie from beginning to end. So, it's zoomed all the way out. The

So, it's zoomed all the way out. The lower timeline is the zoomedin version

lower timeline is the zoomedin version of that same sequence. And so, if I want

of that same sequence. And so, if I want to adjust this part where we have a

to adjust this part where we have a transition, I can quickly move to that

transition, I can quickly move to that part using this top timeline. And then I

part using this top timeline. And then I can adjust the details of the clips here

can adjust the details of the clips here in the lower timeline. And so the idea

in the lower timeline. And so the idea here is that you can quickly move from

here is that you can quickly move from one side of the world to the other

one side of the world to the other without having to zoom in and out a

without having to zoom in and out a whole bunch because that does take some

whole bunch because that does take some time to zoom in and out and kind of get

time to zoom in and out and kind of get the right view for what you're working

the right view for what you're working on. The other thing you might notice is

on. The other thing you might notice is these little indicators here where if we

these little indicators here where if we have a clip, let's say, let's just open

have a clip, let's say, let's just open a clip like this. We have this little

a clip like this. We have this little animation here that's kind of shooting

animation here that's kind of shooting little arrows down here. And we also

little arrows down here. And we also have this green highlight. This is our

have this green highlight. This is our edit indicator. And what that means is

edit indicator. And what that means is that if we use some of these edit

that if we use some of these edit buttons, which are very similar to the

buttons, which are very similar to the edit buttons you get over here in the

edit buttons you get over here in the edit page, but if we use one of these

edit page, but if we use one of these edit buttons, some of these have to do

edit buttons, some of these have to do with a specific edit point. So, for

with a specific edit point. So, for instance, this insert button, this smart

instance, this insert button, this smart insert, what it's going to do is look

insert, what it's going to do is look for the nearest edit point, which is

for the nearest edit point, which is going to be highlighted in green, and

going to be highlighted in green, and that's where it's going to insert the

that's where it's going to insert the clip. Normally, on the edit page, if I

clip. Normally, on the edit page, if I were to be right over this title, and I

were to be right over this title, and I were to insert this like this, that's

were to insert this like this, that's going to throw that right in the middle

going to throw that right in the middle of that clip, exactly where my playhead

of that clip, exactly where my playhead is, just like that. in the cut page

is, just like that. in the cut page because it takes time to completely line

because it takes time to completely line this up exactly where you want it to be.

this up exactly where you want it to be. It's just going to put this on the

It's just going to put this on the nearest edit point. So, if I grab this

nearest edit point. So, if I grab this right here and I say smart insert,

right here and I say smart insert, that's going to put that right there in

that's going to put that right there in between those two clips. It's not going

between those two clips. It's not going to put it exactly where the playhead is.

to put it exactly where the playhead is. If I have that playhead less than 50%

If I have that playhead less than 50% through this clip, we're going to

through this clip, we're going to highlight this edit point and that's

highlight this edit point and that's where whatever clip I have selected is

where whatever clip I have selected is going to be inserted.

going to be inserted. So, this is the kind of thing that can

So, this is the kind of thing that can get you in trouble, but if you're aware

get you in trouble, but if you're aware of it and kind of the thinking behind

of it and kind of the thinking behind why this is built this way, then it can

why this is built this way, then it can actually be really helpful and speed you

actually be really helpful and speed you up. Sort of a similar thing with this

up. Sort of a similar thing with this edit point is with our transitions.

edit point is with our transitions. There's these three buttons right here,

There's these three buttons right here, and this will allow you to quickly

and this will allow you to quickly select the type of transition that you

select the type of transition that you want for this edit point. And so, by

want for this edit point. And so, by default, it's a cut, but with one click,

default, it's a cut, but with one click, I can add a crossfade here. And so I

I can add a crossfade here. And so I could just go to the nearest edit point

could just go to the nearest edit point and go, okay, I want a crossfade here. I

and go, okay, I want a crossfade here. I want one here. I want one here. And you

want one here. I want one here. And you can really easily just add these kind of

can really easily just add these kind of things. And you can see how quickly you

things. And you can see how quickly you can go through and do stuff. And so

can go through and do stuff. And so there are a lot of cool things about

there are a lot of cool things about just editing a normal project in the cut

just editing a normal project in the cut page. It's a little bit of a different

page. It's a little bit of a different feel. You have to get used to it, but

feel. You have to get used to it, but for certain applications, it can really

for certain applications, it can really speed you up. Something like putting

speed you up. Something like putting together a narrative film is maybe not

together a narrative film is maybe not something that I would do in the cut

something that I would do in the cut page. The cut page would be really great

page. The cut page would be really great for a vlog or a news story where you're

for a vlog or a news story where you're trying to one move really fast and

trying to one move really fast and probably get it out as quickly as you

probably get it out as quickly as you can. And two, you generally just have a

can. And two, you generally just have a bunch of clips one after another and you

bunch of clips one after another and you don't have complicated sound design and

don't have complicated sound design and you know all kinds of different layers

you know all kinds of different layers and and stuff like that. It's just one

and and stuff like that. It's just one clip after another. And so because

clip after another. And so because that's kind of such a specific

that's kind of such a specific application, we're not going to spend

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

lots and lots of time on the cut page. It's sort of a divisive page. Honestly,

It's sort of a divisive page. Honestly, some people really like it and some

some people really like it and some people don't see a point in having the

people don't see a point in having the cut page at all. Me, I use this for some

cut page at all. Me, I use this for some things. It's nice for quickly putting a

things. It's nice for quickly putting a whole bunch of clips down into the

whole bunch of clips down into the timeline and creating kind of a rough

timeline and creating kind of a rough edit, but I'll generally move over to

edit, but I'll generally move over to the edit page to kind of refine my edits

the edit page to kind of refine my edits and make sure that my audio tracks are

and make sure that my audio tracks are good and everything like that because

good and everything like that because the cut page, while there are audio

the cut page, while there are audio tracks, kind of get rid of our extra

tracks, kind of get rid of our extra tracks here, move my camera here. I can

tracks here, move my camera here. I can click on this button right here and

click on this button right here and expand those tracks a little bit and I

expand those tracks a little bit and I can see the audio a little bit better.

can see the audio a little bit better. And I can hold alt and adjust just the

And I can hold alt and adjust just the audio like this. And so it's certainly

audio like this. And so it's certainly doable, but because of the way the cut

doable, but because of the way the cut page is made where you don't really have

page is made where you don't really have a normal selection tool, you only have

a normal selection tool, you only have the trim tools, it can sort of feel

the trim tools, it can sort of feel awkward and you can kind of trim your

awkward and you can kind of trim your audio when you don't really mean to

audio when you don't really mean to sometimes. And it's just it's a little

sometimes. And it's just it's a little bit awkward sometimes. And so generally,

bit awkward sometimes. And so generally, if you're going to do something quick

if you're going to do something quick where you have your audio and your video

where you have your audio and your video in the same clips and you're just going

in the same clips and you're just going to put one right after another, that's

to put one right after another, that's what I would use the cut page for. And

what I would use the cut page for. And like I said, it it kind of comes down to

like I said, it it kind of comes down to personal preference. You might find that

personal preference. You might find that you really like the way the cut page

you really like the way the cut page does things and not having to zoom in or

does things and not having to zoom in or out. And you might find that cutting

out. And you might find that cutting your videos together in the cut page is

your videos together in the cut page is really enjoyable. However, especially if

really enjoyable. However, especially if you're coming from a different editor

you're coming from a different editor like Premiere or something like that,

like Premiere or something like that, the edit page is going to feel a lot

the edit page is going to feel a lot more familiar. Now, the one thing that's

more familiar. Now, the one thing that's really, really great about the cut page

really, really great about the cut page is surprisingly it's multicam editing.

is surprisingly it's multicam editing. The way it handles multicam is actually

The way it handles multicam is actually really interesting. If you want to

really interesting. If you want to follow along, you can go to the master

follow along, you can go to the master bin right here and open cut. And we have

bin right here and open cut. And we have some footage that we're going to cut

some footage that we're going to cut together on the cut page. Let's make a

together on the cut page. Let's make a new timeline. I'll just right click and

new timeline. I'll just right click and say create new timeline like this. And

say create new timeline like this. And we'll say cut page multicam

we'll say cut page multicam like that. And here we have several

like that. And here we have several different shots of the same production

different shots of the same production meeting. And so we have two kind of

meeting. And so we have two kind of medium shot cameras. We have one

medium shot cameras. We have one overhead camera and we have a wide

overhead camera and we have a wide camera. So, this is a 4 camera multi-cam

camera. So, this is a 4 camera multi-cam shoot. We also have our audio. This is

shoot. We also have our audio. This is just an example with multiple cameras,

just an example with multiple cameras, but if you have a multi- camera shoot

but if you have a multi- camera shoot for, say, a cooking video or a live

for, say, a cooking video or a live event or something, this is all going to

event or something, this is all going to work the same way. When we have all of

work the same way. When we have all of these different cameras that happen at

these different cameras that happen at the same time, what we can do is we can

the same time, what we can do is we can sync them up with each other and then

sync them up with each other and then cut from one camera to the other just to

cut from one camera to the other just to get a kind of a different angle. And

get a kind of a different angle. And there are ways to do this in the edit

there are ways to do this in the edit page. For instance, I can open up this

page. For instance, I can open up this cut page multicam and I can start

cut page multicam and I can start bringing some of these cameras in here

bringing some of these cameras in here and I can sync these up with each other

and I can sync these up with each other just by kind of lining up these audio

just by kind of lining up these audio waveforms.

And I could cut from one camera to the other

and make my edit that way just by kind of stacking these cameras and kind of

of stacking these cameras and kind of turning one layer off and kind of

turning one layer off and kind of trimming it and that kind of thing to

trimming it and that kind of thing to cut in between the cameras. But in the

cut in between the cameras. But in the edit page, I could also select all of

edit page, I could also select all of these, rightclick, and say new multicam

these, rightclick, and say new multicam clip using selected clips. I'll just

clip using selected clips. I'll just uncheck move source clips to original

uncheck move source clips to original clips bin and hit create. And so there

clips bin and hit create. And so there are ways to kind of sync these up and

are ways to kind of sync these up and then select the different cameras and

then select the different cameras and kind of cut in between them on the edit

kind of cut in between them on the edit page, but it is kind of a pain to set

page, but it is kind of a pain to set that up. It's a little bit tricky. Let

that up. It's a little bit tricky. Let me know in the comments if you want a

me know in the comments if you want a video on setting up multicam in the edit

video on setting up multicam in the edit page. But in the cut page, it kind of

page. But in the cut page, it kind of simplifies this and that we can select

simplifies this and that we can select all of these clips and we can click this

all of these clips and we can click this button right here, which is the sync

button right here, which is the sync button. I can select those all and I can

button. I can select those all and I can sync these by audio and then hit

sync these by audio and then hit autosync.

autosync. And that will sync up all of my clips on

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

this kind of preview timeline. And then we can hit save sync.

we can hit save sync. And what that's going to do is give us a

And what that's going to do is give us a little blue indicator on each of these

little blue indicator on each of these clips to show that it syncs with some

clips to show that it syncs with some other clip. Once we have that done,

other clip. Once we have that done, we've kind of tagged all of those clips

we've kind of tagged all of those clips to say, "Hey, these sync with each

to say, "Hey, these sync with each other, and here's exactly the time that

other, and here's exactly the time that they should sync with." Once we have

they should sync with." Once we have that, we can drag any of these clips.

that, we can drag any of these clips. Let's just drag this wide clip in. We

Let's just drag this wide clip in. We can drag any of these clips in and just

can drag any of these clips in and just kind of go through it. Sort of like the

kind of go through it. Sort of like the anchor method like we were talking

anchor method like we were talking about. We just have this wide shot and

about. We just have this wide shot and we can look around for something

we can look around for something interesting happening. We have Dan

interesting happening. We have Dan reaching for some candy. That's

reaching for some candy. That's something interesting right here. And so

something interesting right here. And so what we can do is go up to our sync bin

what we can do is go up to our sync bin and this is going to show live the clips

and this is going to show live the clips that sync up with this place in our

that sync up with this place in our timeline. So right here when he starts

timeline. So right here when he starts to reach, we can see all of our

to reach, we can see all of our different angles for what we want. I can

different angles for what we want. I can hit three and that's going to bring up a

hit three and that's going to bring up a clip and set an in and out to start

clip and set an in and out to start right there. I can just drag this down

right there. I can just drag this down like this and then it's going to be a

like this and then it's going to be a perfect cut

from one shot to another. Let's go back to our timeline viewer here. So, here's

to our timeline viewer here. So, here's one shot. There we go. We can cut back,

one shot. There we go. We can cut back, trim this just like that. And so it's

trim this just like that. And so it's sort of like a hybrid of a multicam and

sort of like a hybrid of a multicam and kind of the traditional way of stacking

kind of the traditional way of stacking a bunch of clips together.

a bunch of clips together. And so what's great about something like

And so what's great about something like this is we can just cut to whatever we

this is we can just cut to whatever we think is interesting from this wide

think is interesting from this wide shot. And so Sam's talking right here.

shot. And so Sam's talking right here. Again, we can just open up the sync bin.

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

Let's use the shot of Sam talking here. Great. And we can either drag it down or

Great. And we can either drag it down or we can use our edit buttons like this

we can use our edit buttons like this place on top. And that's going to put

place on top. And that's going to put that exactly where it's supposed to be.

that exactly where it's supposed to be. Switch back to our timeline. Here we

Switch back to our timeline. Here we have him talking.

have him talking. Great.

Great. So, this is a nice way to be able to use

So, this is a nice way to be able to use multiple cameras without having to set

multiple cameras without having to set up a multicam and play through and

up a multicam and play through and switch your cameras in real time. You

switch your cameras in real time. You can kind of just scrub through and find

can kind of just scrub through and find the interesting parts. So, there's Sam

the interesting parts. So, there's Sam talking again. Sync bin. Let's switch to

talking again. Sync bin. Let's switch to Sam talking.

Sam talking. Put that in as a place on top. And now

Put that in as a place on top. And now we can cut to Sam as he's talking. Isn't

we can cut to Sam as he's talking. Isn't that great? And so if you're doing a lot

that great? And so if you're doing a lot of multicam stuff, especially if it's

of multicam stuff, especially if it's something like a live event where you're

something like a live event where you're mostly on a wide shot and then you just

mostly on a wide shot and then you just want to cut to the interesting parts,

want to cut to the interesting parts, this is a really nice way to handle

this is a really nice way to handle that. There are a lot more features in

that. There are a lot more features in the cut page, things that we just don't

the cut page, things that we just don't have time to get into. This is kind of

have time to get into. This is kind of the main stuff. But if you're looking to

the main stuff. But if you're looking to move a lot faster and you're kind of

move a lot faster and you're kind of working on a deadline, the cut page

working on a deadline, the cut page might be something to really look into

might be something to really look into and learn a little bit more about,

and learn a little bit more about, especially if you're doing these certain

especially if you're doing these certain kinds of multicam edits. This can be

kinds of multicam edits. This can be really helpful. But a lot of the basics

really helpful. But a lot of the basics here are pretty much like the edit page.

here are pretty much like the edit page. We're still putting clips together into

We're still putting clips together into a timeline. We're cutting them. We're

a timeline. We're cutting them. We're trimming them. We're moving things

trimming them. We're moving things around. We're adjusting the order. And

around. We're adjusting the order. And we're building our story here on the

we're building our story here on the timeline. This timeline, whatever we

timeline. This timeline, whatever we make for our video, this is going to be

make for our video, this is going to be the bones of our video. It's the main

the bones of our video. It's the main place where all of the clips live. And

place where all of the clips live. And then everything else that we do in

then everything else that we do in Fusion Color in Fairlite are going to be

Fusion Color in Fairlite are going to be based on this timeline right here. So

based on this timeline right here. So after you organize your media, you can

after you organize your media, you can switch to the edit page or the cut page

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

depending on what you feel like doing. and you place your clips here on the

and you place your clips here on the timeline to create a story. Once you're

timeline to create a story. Once you're happy with the story, then you can move

happy with the story, then you can move on and get fancier with the Fusion Color

on and get fancier with the Fusion Color and Fairlite pages, which we're going to

and Fairlite pages, which we're going to dive into next. So, let's take a step

dive into next. So, let's take a step back and talk about some kind of general

back and talk about some kind of general workflow here. When you're making a

workflow here. When you're making a video of some kind, you will record

video of some kind, you will record stuff or get footage from a client or

stuff or get footage from a client or online or whatever. And the very first

online or whatever. And the very first thing that you have to do is manage your

thing that you have to do is manage your media. So, it's get it organized, make

media. So, it's get it organized, make sure it's renamed if you're going to

sure it's renamed if you're going to rename it, put it in folders, tag it,

rename it, put it in folders, tag it, get familiar with it, that kind of

get familiar with it, that kind of thing. From there, it's building a

thing. From there, it's building a story, which is the strict definition of

story, which is the strict definition of editing. A lot of people when they say

editing. A lot of people when they say editing, they pretty much mean this

editing, they pretty much mean this entire workflow. But strictly speaking,

entire workflow. But strictly speaking, editing is adjusting clips in a

editing is adjusting clips in a timeline. So, it's actually creating

timeline. So, it's actually creating what your movie is going to be. Once you

what your movie is going to be. Once you have that, then you can move on to get a

have that, then you can move on to get a little bit fancier and a little bit more

little bit fancier and a little bit more detailed. For most videos, that would

detailed. For most videos, that would include things like visual effects.

include things like visual effects. Whether it's doing simple things like

Whether it's doing simple things like replacing a screen on a TV digitally or

replacing a screen on a TV digitally or cloning out a car that's driving through

cloning out a car that's driving through the background of your medieval epic

the background of your medieval epic movie or adding lightsabers and

movie or adding lightsabers and explosions and portals and things like

explosions and portals and things like that. That's all visual effects. It

that. That's all visual effects. It would be adding graphics, things like

would be adding graphics, things like titles and credits and little pop-up

titles and credits and little pop-up icons and things like that. And then

icons and things like that. And then generally you'll work on color

generally you'll work on color correction, color grading, making sure

correction, color grading, making sure that your colors look good, working on

that your colors look good, working on your audio, making sure your audio

your audio, making sure your audio sounds good, things are loud enough but

sounds good, things are loud enough but not too loud, things sound like they

not too loud, things sound like they belong there, things that should make

belong there, things that should make noise actually make noise. And then

noise actually make noise. And then finally, we get into rendering, which is

finally, we get into rendering, which is saving out your video in a format that

saving out your video in a format that other people can watch. It's making a

other people can watch. It's making a video file and uploading it to YouTube

video file and uploading it to YouTube or giving it to your client, putting it

or giving it to your client, putting it on a website, that kind of thing. So

on a website, that kind of thing. So this is the whole workflow from start to

this is the whole workflow from start to finish on making a video. And it kind of

finish on making a video. And it kind of flows in this general order. And this is

flows in this general order. And this is really why the buttons at the bottom of

really why the buttons at the bottom of the Resolve interface, the pages are in

the Resolve interface, the pages are in this order because we start with media,

this order because we start with media, then we do our editing, then we do our

then we do our editing, then we do our effects and our graphics in Fusion. We

effects and our graphics in Fusion. We do our color grading and color. We do

do our color grading and color. We do our audio mixing in Fairite, and then we

our audio mixing in Fairite, and then we render it out. So, for the rest of this

render it out. So, for the rest of this video, we're going to get fancy. We're

video, we're going to get fancy. We're going to do the fancy stuff. Starting

going to do the fancy stuff. Starting out with Fusion here in a minute. So, I

out with Fusion here in a minute. So, I can do my graphics, effects, color, and

can do my graphics, effects, color, and audio right here in Resolve. And all of

audio right here in Resolve. And all of these different apps, which are actually

these different apps, which are actually just pages and Resolve, all share the

just pages and Resolve, all share the same timeline.

And it's instantly available to do our really detailed, fancy stuff in those

really detailed, fancy stuff in those pages. You build your story here on the

pages. You build your story here on the edit page. and the other pages let you

edit page. and the other pages let you make it even better. So, let's dive into

make it even better. So, let's dive into Fusion. Go ahead and do this with me. Go

Fusion. Go ahead and do this with me. Go over to your media pool in the edit page

over to your media pool in the edit page and open the Fusion bin. So, you should

and open the Fusion bin. So, you should have VFX alien plate, house, exterior

have VFX alien plate, house, exterior ship plate, etc. Right click anywhere in

ship plate, etc. Right click anywhere in there and say timelines, create new

there and say timelines, create new timeline. And we're just going to call

timeline. And we're just going to call this fusion timeline. And we'll hit

this fusion timeline. And we'll hit create. You don't have to make a new

create. You don't have to make a new timeline to work in Fusion. We're just

timeline to work in Fusion. We're just doing this because this is going to kind

doing this because this is going to kind of be the Fusion demo thing. But take

of be the Fusion demo thing. But take all of these clips. I'll just shift

all of these clips. I'll just shift select those and just drag those into

select those and just drag those into the timeline like this. So, we have four

the timeline like this. So, we have four main clips here. We have a little

main clips here. We have a little puppet. We have a house. We have the top

puppet. We have a house. We have the top of the spaceship. And we have a wide

of the spaceship. And we have a wide shot with kids riding their bikes across

shot with kids riding their bikes across this mountain vista. These are the shots

this mountain vista. These are the shots that we're going to use to kind of learn

that we're going to use to kind of learn a little bit more about Fusion. So, make

a little bit more about Fusion. So, make sure that you have these shots added to

sure that you have these shots added to a new timeline. And we're going to do

a new timeline. And we're going to do one special thing. We're going to take

one special thing. We're going to take this VFX alien plate. We're going to put

this VFX alien plate. We're going to put this up on the second video track and

this up on the second video track and put this right over our VFX ship plate

put this right over our VFX ship plate like that. And then we'll just drag this

like that. And then we'll just drag this down. So we should have our VFX house

down. So we should have our VFX house exterior, our alien plate, and our ship

exterior, our alien plate, and our ship plate stacked and our wideshot like

plate stacked and our wideshot like this. Let's just open up our widesot in

this. Let's just open up our widesot in Fusion. The way that we do that is we're

Fusion. The way that we do that is we're just over it here on the edit page. And

just over it here on the edit page. And then we go down and just click on the

then we go down and just click on the fusion page. That's going to open up

fusion page. That's going to open up this clip here in Fusion. And now we're

this clip here in Fusion. And now we're ready to work with this clip right on

ready to work with this clip right on our timeline. Now, if you've never used

our timeline. Now, if you've never used Fusion before, you're probably already a

Fusion before, you're probably already a little bit, "Oh gosh, what is this? This

little bit, "Oh gosh, what is this? This looks completely different than the edit

looks completely different than the edit page. What the heck are these things?"

page. What the heck are these things?" There's no way I'm ever going to

There's no way I'm ever going to understand this. And believe me, I get

understand this. And believe me, I get it. Fusion can be really intimidating

it. Fusion can be really intimidating because it's a very different interface

because it's a very different interface than a lot of other apps. The edit page

than a lot of other apps. The edit page at least sort of looks like something

at least sort of looks like something you're familiar with. you know, there's

you're familiar with. you know, there's kind of like layers. There's a timeline.

kind of like layers. There's a timeline. You know, you've scrubbed through videos

You know, you've scrubbed through videos on YouTube. It's sort of familiar, so

on YouTube. It's sort of familiar, so you can kind of pick it up. But the

you can kind of pick it up. But the Fusion page, you're like, "What? Why are

Fusion page, you're like, "What? Why are there little boxes?" Don't worry, I'm

there little boxes?" Don't worry, I'm going to explain everything and move

going to explain everything and move really slow. And pretty soon, you're

really slow. And pretty soon, you're going to say, "Okay, that's pretty

going to say, "Okay, that's pretty cool." So, let's start with the easy

cool." So, let's start with the easy stuff. Up here, we have our familiar

stuff. Up here, we have our familiar buttons that open and close panels. And

buttons that open and close panels. And we have the inspector. Look at that.

we have the inspector. Look at that. Remember the inspector is going to show

Remember the inspector is going to show properties of whatever we have selected.

properties of whatever we have selected. More on that in a little bit. Over here

More on that in a little bit. Over here we can open up our media pool which is

we can open up our media pool which is exactly how it's been in the other

exactly how it's been in the other pages. And also our effects which is

pages. And also our effects which is very similar as well. We have a list of

very similar as well. We have a list of effects that we can drag down and apply

effects that we can drag down and apply to things. We have a viewer right here.

to things. We have a viewer right here. And we have a viewer over here. And

And we have a viewer over here. And these for now, let's just say these work

these for now, let's just say these work pretty much like the viewers in the edit

pretty much like the viewers in the edit page where on the left you can open up a

page where on the left you can open up a clip and kind of preview it. And on the

clip and kind of preview it. And on the right, this is what the person who

right, this is what the person who watches your video is going to see. By

watches your video is going to see. By default, it works in a similar way on

default, it works in a similar way on the Fusion page. There's a viewer over

the Fusion page. There's a viewer over here where we're going to use to pick up

here where we're going to use to pick up little pieces and look at them. And on

little pieces and look at them. And on the right, this is what the person who

the right, this is what the person who watches our movie is actually going to

watches our movie is actually going to see. Down below here, we have sort of a

see. Down below here, we have sort of a little bit of a different style of a

little bit of a different style of a timeline, but it still works. It has a

timeline, but it still works. It has a playhead, which is this little red line,

playhead, which is this little red line, and you can drag it back and forth. We

and you can drag it back and forth. We have our playback controls. So, we can

have our playback controls. So, we can play this, stop it, go backwards. J, K,

play this, stop it, go backwards. J, K, and L still work. And you can play this

and L still work. And you can play this back and forth. Really, the only big

back and forth. Really, the only big difference here is that we're looking at

difference here is that we're looking at one clip. We're not looking at our

one clip. We're not looking at our entire timeline. We're just looking at

entire timeline. We're just looking at one clip from our timeline. And so, by

one clip from our timeline. And so, by default, we'll have this loop. And so

default, we'll have this loop. And so this will play all the way through and

this will play all the way through and then loop back to the beginning and play

then loop back to the beginning and play again. Here we have our current frame

again. Here we have our current frame that we're on. And as we scrub this kind

that we're on. And as we scrub this kind of changes. We also have our beginning

of changes. We also have our beginning and end frames for our composition. And

and end frames for our composition. And below that we have a panel which we call

below that we have a panel which we call our toolbar. Now this is a little bit

our toolbar. Now this is a little bit different than our toolbar in the edit

different than our toolbar in the edit page where when you click a tool it kind

page where when you click a tool it kind of changes how your mouse reacts to

of changes how your mouse reacts to things.

things. This toolbar actually creates tools down

This toolbar actually creates tools down here in the notes. Now, if you don't

here in the notes. Now, if you don't know what that means yet, that's okay.

know what that means yet, that's okay. Basically, here's how it works. You grab

Basically, here's how it works. You grab an icon and you drag it down here, and

an icon and you drag it down here, and it will make a little box.

it will make a little box. Okay, don't worry about that. Below our

Okay, don't worry about that. Below our toolbar, we have our nodes. This is

toolbar, we have our nodes. This is where the action happens in Fusion.

where the action happens in Fusion. Fusion is all about the nodes. What the

Fusion is all about the nodes. What the heck are nodes? Basically, it's a

heck are nodes? Basically, it's a flowchart of little boxes that you run

flowchart of little boxes that you run images through to create whatever you

images through to create whatever you want to make. Now, I know that sounds

want to make. Now, I know that sounds really generic and doesn't really

really generic and doesn't really explain it. So, I want to back up for

explain it. So, I want to back up for just a minute. Fusion is a compositing

just a minute. Fusion is a compositing tool. Now, what the heck is compositing?

tool. Now, what the heck is compositing? Compositing, real strictly speaking, is

Compositing, real strictly speaking, is basically putting images over other

basically putting images over other images. It's combining elements. So, you

images. It's combining elements. So, you can think of this kind of like what you

can think of this kind of like what you would typically use Photoshop for,

would typically use Photoshop for, right? If we're going to make an image

right? If we're going to make an image with some mountains and a cow and a

with some mountains and a cow and a saucer abducting the cow, we would have

saucer abducting the cow, we would have different elements here. We would have

different elements here. We would have possibly a shot that looks like this.

possibly a shot that looks like this. And then we would add this saucer

And then we would add this saucer digitally. Or maybe we just have a shot

digitally. Or maybe we just have a shot of some mountains and we put in the cow

of some mountains and we put in the cow digitally and we put in the saucer and

digitally and we put in the saucer and then we maybe add a little bit of fancy

then we maybe add a little bit of fancy clouds to the sky. It's putting all of

clouds to the sky. It's putting all of these pieces together to make a really

these pieces together to make a really cool visual thing. And something like

cool visual thing. And something like this where you're combining photos and

this where you're combining photos and you want to make it look real, that's

you want to make it look real, that's something that we would call like visual

something that we would call like visual effects. Whereas, if you're making a

effects. Whereas, if you're making a title, you know, with 3D text that comes

title, you know, with 3D text that comes in and flashes, that would be more like

in and flashes, that would be more like a graphic. But visual effects and

a graphic. But visual effects and graphics are Fusion's bread and butter.

graphics are Fusion's bread and butter. That's what Fusion does. So, if you're

That's what Fusion does. So, if you're wanting to change an image so that it

wanting to change an image so that it looks different and has different

looks different and has different elements in it than it did when you shot

elements in it than it did when you shot it, you're probably going to be

it, you're probably going to be compositing in some way, just like you

compositing in some way, just like you would take a photo and clone out your

would take a photo and clone out your weird uncle because you don't want him

weird uncle because you don't want him in the family picture. You can do that

in the family picture. You can do that kind of thing with video and Fusion is

kind of thing with video and Fusion is the place to do it in Resolve. If you've

the place to do it in Resolve. If you've heard of After Effects, Fusion is kind

heard of After Effects, Fusion is kind of like Blackmagic's answer to After

of like Blackmagic's answer to After Effects inside of Resolve. It can do

Effects inside of Resolve. It can do pretty much all the same stuff. So, the

pretty much all the same stuff. So, the reason we might take a shot like this

reason we might take a shot like this into Fusion is if we want to change

into Fusion is if we want to change something about it. Let's just get rid

something about it. Let's just get rid of these nodes for a minute because

of these nodes for a minute because they're they're scary. Maybe we want to

they're they're scary. Maybe we want to erase one of these people riding their

erase one of these people riding their bike. Maybe we want to add crazy clouds

bike. Maybe we want to add crazy clouds to the sky. Maybe we want to add a

to the sky. Maybe we want to add a flying saucer.

flying saucer. Maybe we want to duplicate some trees

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

and fill in these trees a little more. Anything that has to do with kind of

Anything that has to do with kind of changing the actual pixels of the image,

changing the actual pixels of the image, that's stuff we would use Fusion for. In

that's stuff we would use Fusion for. In our other shots, if we want to make this

our other shots, if we want to make this image look like it was shot at night, we

image look like it was shot at night, we could do a lot of that probably in the

could do a lot of that probably in the color page, but we can do some fancy

color page, but we can do some fancy things in the fusion page as well, like

things in the fusion page as well, like brighten up these windows or replace

brighten up these windows or replace them with different windows that have

them with different windows that have lights in them. We could add a big

lights in them. We could add a big statue here. Really, the thing that I

statue here. Really, the thing that I love about Fusion is that there are no

love about Fusion is that there are no limits to what you can do in a little

limits to what you can do in a little bit. One thing that we're going to do in

bit. One thing that we're going to do in Fusion is take this image and kind of

Fusion is take this image and kind of cut a hole in it and then put our little

cut a hole in it and then put our little alien guy into the hole of the image so

alien guy into the hole of the image so it looks like he's hanging out in this

it looks like he's hanging out in this seat smiling and happy. That's the kind

seat smiling and happy. That's the kind of stuff that you can do in Fusion. So,

of stuff that you can do in Fusion. So, let's go back to our wide shot here. And

let's go back to our wide shot here. And to make all these kind of things happen,

to make all these kind of things happen, we are going to use nodes. So, what is a

we are going to use nodes. So, what is a node? A node is a little box in the

node? A node is a little box in the Fusion interface that does one job. And

Fusion interface that does one job. And what we do is we link all of these boxes

what we do is we link all of these boxes together to do a bunch of fancy stuff to

together to do a bunch of fancy stuff to our image. So, this is basically what a

our image. So, this is basically what a node looks like. The node has one job

node looks like. The node has one job and it's generally called whatever its

and it's generally called whatever its job is. So, this node's job is to blur

job is. So, this node's job is to blur things. And there are a couple of

things. And there are a couple of different inputs on each node. This is

different inputs on each node. This is where you would attach other nodes. And

where you would attach other nodes. And the colors of the inputs matter a lot.

the colors of the inputs matter a lot. Generally, most nodes, you would attach

Generally, most nodes, you would attach a node to a yellow input. But there are

a node to a yellow input. But there are also green and blue and other inputs

also green and blue and other inputs that we'll talk about in a little bit.

that we'll talk about in a little bit. Once the node does its job, for

Once the node does its job, for instance, if you hook up an image to

instance, if you hook up an image to this yellow input, it's going to take

this yellow input, it's going to take that image and blur it. And then you can

that image and blur it. And then you can connect this node to other nodes by

connect this node to other nodes by taking this little white square and

taking this little white square and connecting that to the next node. After

connecting that to the next node. After the image runs through this node, it's

the image runs through this node, it's going to change the image. And so this

going to change the image. And so this image that I connect to the next node is

image that I connect to the next node is going to be a blurry image because it's

going to be a blurry image because it's already gone through this node. If this

already gone through this node. If this is already confusing, that's okay. All

is already confusing, that's okay. All you really have to know is that a node

you really have to know is that a node is a box with one job. A lot of the

is a box with one job. A lot of the students that we work with that are

students that we work with that are learning Fusion find it's a lot easier

learning Fusion find it's a lot easier to think about nodes like a flowchart.

to think about nodes like a flowchart. And when you're just starting out, it

And when you're just starting out, it helps to think of a flowchart for

helps to think of a flowchart for something fun. Like for instance, a

something fun. Like for instance, a recipe. A recipe is nice because there

recipe. A recipe is nice because there are a series of steps. So if you were

are a series of steps. So if you were going to write out a recipe for

going to write out a recipe for lemonade, let's say. Number one might be

lemonade, let's say. Number one might be get lemons. Step two might be squeeze

get lemons. Step two might be squeeze them. Squeeze the juice. Three would be

them. Squeeze the juice. Three would be add the juice to water. Four would be

add the juice to water. Four would be add sugar. Five might be mix. And so we

add sugar. Five might be mix. And so we can kind of split what we want to do

can kind of split what we want to do into steps. And we can do this like a

into steps. And we can do this like a flowchart like get lemons, squeeze

flowchart like get lemons, squeeze juice, add juice to water, add sugar,

juice, add juice to water, add sugar, mix. And these are going to happen in a

mix. And these are going to happen in a certain order and they're going to flow

certain order and they're going to flow from one to the other.

from one to the other. This is pretty much how nodes work in

This is pretty much how nodes work in Fusion. So if we were going to make a

Fusion. So if we were going to make a node chart for getting lemonade, it

node chart for getting lemonade, it might look something like this. The

might look something like this. The difference is that Fusion you have to

difference is that Fusion you have to tell Fusion everything. It's kind of

tell Fusion everything. It's kind of like you need to give it really specific

like you need to give it really specific instructions on exactly what you want it

instructions on exactly what you want it to do because it can't read your mind.

to do because it can't read your mind. So for instance, we have a node here

So for instance, we have a node here called get lemons. Okay, so I have some

called get lemons. Okay, so I have some lemons. Squeeze the juice. Okay, so I'm

lemons. Squeeze the juice. Okay, so I'm squeezing it. Then I add the juice to

squeezing it. Then I add the juice to the water. What water? Where's the

the water. What water? Where's the water? This is the first time I've ever

water? This is the first time I've ever heard about water.

heard about water. And so what we really need to do is make

And so what we really need to do is make another node that says uh get water. So

another node that says uh get water. So we get lemons and we get water. We

we get lemons and we get water. We squeeze the juice for the lemons and we

squeeze the juice for the lemons and we add the juice to the water. So we need

add the juice to the water. So we need to actually combine these two things. So

to actually combine these two things. So both of those things happen. We get

both of those things happen. We get juice and we get water. Then we need

juice and we get water. Then we need sugar. What sugar? Well, we need to get

sugar. What sugar? Well, we need to get some sugar. We need to add those. Right?

some sugar. We need to add those. Right? So we're mixing two things together. So

So we're mixing two things together. So this is more of a node graph that you

this is more of a node graph that you would see in Fusion. You get some lemons

would see in Fusion. You get some lemons and you change those lemons by squeezing

and you change those lemons by squeezing them. You get some water and you combine

them. You get some water and you combine it with that squeezed juice. You get

it with that squeezed juice. You get this watery juice. You get some sugar

this watery juice. You get some sugar and you add those together. Then you

and you add those together. Then you stir it. You mix it up. And at the end,

stir it. You mix it up. And at the end, you have lemonade. One of the first

you have lemonade. One of the first things I ask our students to do when

things I ask our students to do when they're learning fusion is to make a

they're learning fusion is to make a flowchart for a recipe that they like.

flowchart for a recipe that they like. So, here is a flowchart from one of our

So, here is a flowchart from one of our students named Ryan that I think is

students named Ryan that I think is especially great for how to make ramen

especially great for how to make ramen noodles. And we'll take a look at this

noodles. And we'll take a look at this and then we're going to come back to it

and then we're going to come back to it in a little bit because I want to show

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

you something really cool about this. But it's the idea of doing one step at a

But it's the idea of doing one step at a time. We get a pot. We get 20 ounces of

time. We get a pot. We get 20 ounces of water. We add the water to the pot. We

water. We add the water to the pot. We boil the water. We get noodles. We add

boil the water. We get noodles. We add the noodles to the boiling water for 5

the noodles to the boiling water for 5 minutes. We drain the water from the

minutes. We drain the water from the pot. We get sauce. We add the sauce to

pot. We get sauce. We add the sauce to the noodles. We stir fry for 30 seconds.

the noodles. We stir fry for 30 seconds. We get flakes. We add the flakes to the

We get flakes. We add the flakes to the noodles. We stir it all up and we serve

noodles. We stir it all up and we serve it. Right? So, it's thinking about

it. Right? So, it's thinking about things in steps. That's what's really,

things in steps. That's what's really, really important here. If you can get

really important here. If you can get your mind to start thinking in these

your mind to start thinking in these little steps, nodes are going to be

little steps, nodes are going to be easy. Let's jump into Fusion and take a

easy. Let's jump into Fusion and take a look at this. By default, we have a

look at this. By default, we have a couple of nodes here. And this should

couple of nodes here. And this should already make a little bit more sense.

already make a little bit more sense. That's what's so great about this is

That's what's so great about this is that once it kind of clicks in your

that once it kind of clicks in your mind, you go, "Oh, okay. I love seeing

mind, you go, "Oh, okay. I love seeing that moment with our students. It's

that moment with our students. It's awesome. By default, when you open up a

awesome. By default, when you open up a clip inside of Fusion from the edit

clip inside of Fusion from the edit page, you'll have two nodes. You have a

page, you'll have two nodes. You have a very simple flowchart here. And you can

very simple flowchart here. And you can think of these nodes as kind of the

think of these nodes as kind of the beginning and the end. Media in has one

beginning and the end. Media in has one job, just like all nodes have one job.

job, just like all nodes have one job. And that is to take this footage, this

And that is to take this footage, this clip from the edit page, and bring it

clip from the edit page, and bring it into Fusion. All right. So, that's all

into Fusion. All right. So, that's all it's doing is just importing the

it's doing is just importing the footage. So, it's kind of bringing that

footage. So, it's kind of bringing that footage in. And then we have a line that

footage in. And then we have a line that connects media in to media out. So, it's

connects media in to media out. So, it's flowing from left to right. So, the next

flowing from left to right. So, the next step is media out. Media out. What that

step is media out. Media out. What that does is that takes an image, whatever

does is that takes an image, whatever image you plug into this yellow input,

image you plug into this yellow input, and then it puts it out to the edit

and then it puts it out to the edit page. So, really what we're doing here

page. So, really what we're doing here is we're taking an image from the edit

is we're taking an image from the edit page, we're doing nothing with it, and

page, we're doing nothing with it, and then we're putting it back in the edit

then we're putting it back in the edit page, which is why when we go to the

page, which is why when we go to the edit page, nothing's changed. Okay? But

edit page, nothing's changed. Okay? But if we were to add another step here,

if we were to add another step here, fancy things right here, then that's

fancy things right here, then that's going to change this image and we're

going to change this image and we're going to be putting a different image

going to be putting a different image into the edit page. So if I were to grab

into the edit page. So if I were to grab maybe this icon right here that looks

maybe this icon right here that looks like a teardrop and drag this down,

like a teardrop and drag this down, that's going to make a new node. That's

that's going to make a new node. That's going to make a blur node. All right,

going to make a blur node. All right, I'll get rid of that for a second

I'll get rid of that for a second because I can grab this and drag this

because I can grab this and drag this down onto this line. And when this line

down onto this line. And when this line turns blue, I can let go. And what

turns blue, I can let go. And what that's going to do is run this image

that's going to do is run this image through this blur node. And that's going

through this blur node. And that's going to change this image. Now, it just

to change this image. Now, it just changes it a little bit because we're

changes it a little bit because we're only blurring it a little bit. The

only blurring it a little bit. The reason I know is because when I select

reason I know is because when I select this blur node and I go to the

this blur node and I go to the inspector, I can see the properties of

inspector, I can see the properties of that blur node. And this blur size is at

that blur node. And this blur size is at only at one pixel. So, if I push this

only at one pixel. So, if I push this blur size up, look, we get a blurry

blur size up, look, we get a blurry image. Okay. So, what we're doing is

image. Okay. So, what we're doing is we're bringing a image into Fusion. Then

we're bringing a image into Fusion. Then we're blurring it 31.5 pixels

we're blurring it 31.5 pixels and then we're putting it into the media

and then we're putting it into the media out which puts this back into the edit

out which puts this back into the edit page. Now if we switch over to the edit

page. Now if we switch over to the edit page, look what happens. We have a

page, look what happens. We have a blurry image. So what's really cool

blurry image. So what's really cool about this is that we've brought a clip

about this is that we've brought a clip into Fusion. We've changed it in Fusion

into Fusion. We've changed it in Fusion and now it's already in our timeline. We

and now it's already in our timeline. We don't have to render it out. We don't

don't have to render it out. We don't have to convert it or anything like

have to convert it or anything like that. It's just already living there.

that. It's just already living there. Now, Fusion can do a lot more fancy

Now, Fusion can do a lot more fancy things than just blur things, but just

things than just blur things, but just go with this for now. We're building a

go with this for now. We're building a really simple flowchart. Grab an image,

really simple flowchart. Grab an image, blur it, put the image back into the

blur it, put the image back into the edit page. And this is essentially how

edit page. And this is essentially how you build all the effects inside of

you build all the effects inside of Fusion. So, take a second and just kind

Fusion. So, take a second and just kind of start to think about, okay, if I want

of start to think about, okay, if I want to change an image, I'm going to start

to change an image, I'm going to start running it through certain nodes. I'm

running it through certain nodes. I'm going to get rid of this blur node. What

going to get rid of this blur node. What kind of node would we use if we wanted

kind of node would we use if we wanted to make this whole image pink? We would

to make this whole image pink? We would probably use some kind of color

probably use some kind of color correction or tint node or something

correction or tint node or something like that. And there actually is a node

like that. And there actually is a node called color corrector which is right

called color corrector which is right here. And we can grab this and just drag

here. And we can grab this and just drag this down. Make sure that line turns

this down. Make sure that line turns blue. Grab this color corrector and

blue. Grab this color corrector and wiggle it and make sure that those

wiggle it and make sure that those connections are actually connected. And

connections are actually connected. And then we can select this color corrector

then we can select this color corrector and push this little dot towards pink.

and push this little dot towards pink. And look at what happens. We have a pink

And look at what happens. We have a pink image. We can switch over to the edit

image. We can switch over to the edit page. We have a pink image. And if you

page. We have a pink image. And if you can do that, if you can do just that,

can do that, if you can do just that, you can use Fusion. Even though Fusion

you can use Fusion. Even though Fusion can do all this really, really crazy

can do all this really, really crazy complicated stuff, it can be as simple

complicated stuff, it can be as simple as that. Now, let's take a look at how

as that. Now, let's take a look at how nodes work together. Here's a little

nodes work together. Here's a little diagram of how we would make a foggy

diagram of how we would make a foggy shot. So, a shot where we're adding fog.

shot. So, a shot where we're adding fog. Maybe we have a shot of a house and we

Maybe we have a shot of a house and we have an image of fog. We're going to put

have an image of fog. We're going to put those together with a node called merge.

those together with a node called merge. That puts one image over another image.

That puts one image over another image. Then maybe we want to do some color

Then maybe we want to do some color correction to that whole image where

correction to that whole image where that's already combined. Then maybe we

that's already combined. Then maybe we want to zoom it in a little bit. And

want to zoom it in a little bit. And then we put this into the media out

then we put this into the media out which is going to put it into the edit

which is going to put it into the edit page. That's how we would add fog to a

page. That's how we would add fog to a shot. And really you don't even need the

shot. And really you don't even need the color correction or zoom. If you're just

color correction or zoom. If you're just going to add fog, you could just put fog

going to add fog, you could just put fog over the house shot in Fusion. Call it

over the house shot in Fusion. Call it good. So, let's get to work here in

good. So, let's get to work here in Fusion. In the context of the movie,

Fusion. In the context of the movie, there's actually supposed to be some

there's actually supposed to be some smoke, kind of a smoke trail that goes

smoke, kind of a smoke trail that goes across this sky. And so, we're adding a

across this sky. And so, we're adding a really simple visual effect of some

really simple visual effect of some smoke. And we're going to do this

smoke. And we're going to do this together in Fusion. But before we do

together in Fusion. But before we do that, I want to set up our color

that, I want to set up our color management. This is something that we're

management. This is something that we're going to talk about a little bit more in

going to talk about a little bit more in the color page. But for now, I want you

the color page. But for now, I want you to do this with me. Go to the media pool

to do this with me. Go to the media pool and to the Fusion folder. Right click on

and to the Fusion folder. Right click on our Fusion timeline. We can go to

our Fusion timeline. We can go to timelines, timeline settings. This is

timelines, timeline settings. This is going to allow us to change the settings

going to allow us to change the settings for our timeline. And let's uncheck use

for our timeline. And let's uncheck use project settings like this. And this is

project settings like this. And this is where you can change the timeline

where you can change the timeline resolution and all kinds of stuff here.

resolution and all kinds of stuff here. But we're going to go over to where it

But we're going to go over to where it says color. And here where it says color

says color. And here where it says color science, I'm going to switch this from

science, I'm going to switch this from Da Vinci YGB to Da Vinci Y RGB color

Da Vinci YGB to Da Vinci Y RGB color managed like this. I'm also going to

managed like this. I'm also going to uncheck automatic color management and

uncheck automatic color management and take this color processing mode and

take this color processing mode and switch this to HDR Da Vinci wide gamut

switch this to HDR Da Vinci wide gamut intermediate. Now, you probably don't

intermediate. Now, you probably don't know what any of that means. We'll talk

know what any of that means. We'll talk about that in a little while, but for

about that in a little while, but for now, set your settings for your timeline

now, set your settings for your timeline to this and then hit okay. And that made

to this and then hit okay. And that made our viewer flash a little bit. And

our viewer flash a little bit. And that's because what it's doing is

that's because what it's doing is putting this timeline into color managed

putting this timeline into color managed mode, which for our purposes means that

mode, which for our purposes means that it's going to do a little bit of color

it's going to do a little bit of color correction to make our log footage not

correction to make our log footage not look like log footage. If you're like,

look like log footage. If you're like, "What the heck is log footage?" We'll

"What the heck is log footage?" We'll talk about it in a little bit. But for

talk about it in a little bit. But for now, what we're going to do is shift

now, what we're going to do is shift select all of these clips right here.

select all of these clips right here. So, our alien plate, our ship plate, our

So, our alien plate, our ship plate, our house exterior, and our wide shot. And

house exterior, and our wide shot. And we're going to rightclick and go down to

we're going to rightclick and go down to input color space and select Blackmagic

input color space and select Blackmagic Design. Blackmagic Design Pocket 4K film

Design. Blackmagic Design Pocket 4K film Gen 4 right here. That's what we want.

Gen 4 right here. That's what we want. Boom. This makes our colors look a

Boom. This makes our colors look a little bit better because we're doing a

little bit better because we're doing a little bit of initial color correction

little bit of initial color correction to our footage. And that's just going to

to our footage. And that's just going to make everything in Fusion work a little

make everything in Fusion work a little bit nicer. Like I said, we'll talk about

bit nicer. Like I said, we'll talk about this a little bit more when we get to

this a little bit more when we get to the color page. For now, your clip

the color page. For now, your clip should look like this. And we're going

should look like this. And we're going to add some smoke to the sky here. The

to add some smoke to the sky here. The first thing that we need to do is get

first thing that we need to do is get some smoke. And you can do this a lot of

some smoke. And you can do this a lot of different ways. You could get an image

different ways. You could get an image of a smoke trail. You could render one

of a smoke trail. You could render one in 3D. You can do all different kinds of

in 3D. You can do all different kinds of things. What we can actually do here in

things. What we can actually do here in Fusion is generate something that looks

Fusion is generate something that looks sort of like smoke using this little

sort of like smoke using this little icon right here. I can click this and

icon right here. I can click this and drag this in. This is called fast noise.

drag this in. This is called fast noise. And to take a look at what this does,

And to take a look at what this does, remember I said we're going to talk

remember I said we're going to talk about these two viewers here. I'll make

about these two viewers here. I'll make sure to select this button right here.

sure to select this button right here. And that's going to make sure that we

And that's going to make sure that we have two viewers. You can kind of switch

have two viewers. You can kind of switch between one viewer and two viewers with

between one viewer and two viewers with this button. There's similar buttons on

this button. There's similar buttons on the other pages. They're kind of like

the other pages. They're kind of like this actually. But if we have two

this actually. But if we have two viewers here, I can take this fast noise

viewers here, I can take this fast noise node and I can just drag it into my left

node and I can just drag it into my left viewer and that'll let me see what this

viewer and that'll let me see what this fast noise node is doing. So this fast

fast noise node is doing. So this fast noise node is creating this kind of

noise node is creating this kind of foggy cloud texture. And if I select

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

this and go to my inspector, I can push up the detail. I can push up the scale.

up the detail. I can push up the scale. And that's going to make these clouds.

And that's going to make these clouds. So, we're going to make some kind of

So, we're going to make some kind of clouds here. We'll just I don't know,

clouds here. We'll just I don't know, make it about that size. Sure. You don't

make it about that size. Sure. You don't have to get it exactly like me. I'll go

have to get it exactly like me. I'll go ahead and close our media pool, too, so

ahead and close our media pool, too, so we have a little room. And we're going

we have a little room. And we're going to change the color of this fog. We're

to change the color of this fog. We're going to go to the color tab of our fast

going to go to the color tab of our fast noise here. And here for color two,

noise here. And here for color two, instead of white, I'm going to take the

instead of white, I'm going to take the blue, green, and red down so that it's

blue, green, and red down so that it's black. So, it's basically just black

black. So, it's basically just black clouds over transparent. You can see

clouds over transparent. You can see it's transparent by the checkerboard

it's transparent by the checkerboard here. And so, this is just black clouds

here. And so, this is just black clouds over transparent. And now, we're going

over transparent. And now, we're going to put these black clouds over this

to put these black clouds over this image. Now, you might think that what

image. Now, you might think that what you do is you run this image through

you do is you run this image through this image because you're applying these

this image because you're applying these black clouds to it. Really, what's

black clouds to it. Really, what's happening here is we have one image,

happening here is we have one image, which is our original footage, and then

which is our original footage, and then we have this other image, which is our

we have this other image, which is our fast noise, and we're going to combine

fast noise, and we're going to combine them together. To combine two images

them together. To combine two images together, you use a very specific node

together, you use a very specific node called a merge node. Here's how it

called a merge node. Here's how it works. This little icon right here, if

works. This little icon right here, if we grab this and drag this down, this

we grab this and drag this down, this will make a merge node. And it has three

will make a merge node. And it has three inputs: yellow, green, and blue. The

inputs: yellow, green, and blue. The yellow input is the background for our

yellow input is the background for our merge. So, we can take the output of

merge. So, we can take the output of this media in one. I can actually just

this media in one. I can actually just click on this line once to get rid of

click on this line once to get rid of it. I can take the output, which is that

it. I can take the output, which is that little gray square, drag this into merge

little gray square, drag this into merge one, like this.

one, like this. into the yellow input. And then I can

into the yellow input. And then I can take my fast noise and put that into the

take my fast noise and put that into the green input and take the output of my

green input and take the output of my merge and put that into my media out.

merge and put that into my media out. And I'll make sure to drag this media

And I'll make sure to drag this media out to the right viewer so that I'm

out to the right viewer so that I'm always looking at that media out. And

always looking at that media out. And now we have our black clouds over our

now we have our black clouds over our image. So we put two images together,

image. So we put two images together, our black clouds and our original image.

our black clouds and our original image. And don't miss this. Either of these

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

viewers can view any node at any time. All you have to do is take the node and

All you have to do is take the node and drag it into the viewer. You can also

drag it into the viewer. You can also hit one or two on the keyboard with the

hit one or two on the keyboard with the node selected to load it into either

node selected to load it into either viewer. What I like to do is have my

viewer. What I like to do is have my media out on the right viewer and then

media out on the right viewer and then just view various nodes on the left

just view various nodes on the left viewer so that I can see what's

viewer so that I can see what's happening with little pieces of my

happening with little pieces of my composite. A lot like you would grab a

composite. A lot like you would grab a piece of media here on the source viewer

piece of media here on the source viewer and you'd have your timeline on the

and you'd have your timeline on the right viewer. Kind of the same thing. We

right viewer. Kind of the same thing. We look at pieces of it on the left viewer

look at pieces of it on the left viewer and our media out on the right viewer.

and our media out on the right viewer. So now, just as a reminder, if we go

So now, just as a reminder, if we go over to the edit page, this clip is

over to the edit page, this clip is going to have those black clouds over

going to have those black clouds over it.

it. That's really cool. We can select this

That's really cool. We can select this fast noise and adjust the detail

fast noise and adjust the detail and the scale and everything of those

and the scale and everything of those clouds. We can adjust the se to kind of

clouds. We can adjust the se to kind of move these around. That's going to give

move these around. That's going to give us those dark clouds. But we don't want

us those dark clouds. But we don't want those clouds to be everywhere. We only

those clouds to be everywhere. We only want it to be kind of in one place. We

want it to be kind of in one place. We really want this to be kind of a streak

really want this to be kind of a streak across the sky like this. So what we can

across the sky like this. So what we can do is mask this fast noise and limit

do is mask this fast noise and limit this image so that it only exists right

this image so that it only exists right there inside of this little shape. So we

there inside of this little shape. So we can do that with a mask node. So there

can do that with a mask node. So there are quite a few little mask nodes here

are quite a few little mask nodes here in Fusion. And we can grab whichever one

in Fusion. And we can grab whichever one of these that we think is the best.

of these that we think is the best. There are a few. There's a ellipse node

There are a few. There's a ellipse node which draws a circle,

which draws a circle, a rectangle which draws a rectangle.

a rectangle which draws a rectangle. This is pretty This is pretty intense

This is pretty This is pretty intense stuff.

stuff. We also have a polygon node which lets

We also have a polygon node which lets you kind of use a pen tool to make a

you kind of use a pen tool to make a custom shape. And that's the kind of

custom shape. And that's the kind of shape that we're actually going to use.

shape that we're actually going to use. So, let's grab a polygon node. That's

So, let's grab a polygon node. That's this middle one here. Drag this down.

this middle one here. Drag this down. And then we're going to make the shape.

And then we're going to make the shape. I'm going to just kind of make like a

I'm going to just kind of make like a triangle thing here that's sort of going

triangle thing here that's sort of going off the screen like that. There we go.

off the screen like that. There we go. It's actually kind of a rectangle, I

It's actually kind of a rectangle, I guess, but it's really skewed. And so

guess, but it's really skewed. And so the idea here is that we're only

the idea here is that we're only highlighting this part of the image and

highlighting this part of the image and this is where we want to draw those

this is where we want to draw those clouds. So we can take the output of

clouds. So we can take the output of this and we can plug this output into

this and we can plug this output into the blue input of this fast noise. And

the blue input of this fast noise. And what's going to happen? Check this out.

what's going to happen? Check this out. Take this, plug this into the blue

Take this, plug this into the blue input. That's going to limit this fast

input. That's going to limit this fast noise to only exist inside of that

noise to only exist inside of that shape. So now if I double click off of

shape. So now if I double click off of this, we can see that those clouds are

this, we can see that those clouds are only inside of that shape. You can think

only inside of that shape. You can think of a mask this way. If a node has one

of a mask this way. If a node has one job, like this fast noise has a job of

job, like this fast noise has a job of making these black clouds. You can use a

making these black clouds. You can use a polygon to draw a shape and say whatever

polygon to draw a shape and say whatever your job is node, I want you to only do

your job is node, I want you to only do that job right here inside of this

that job right here inside of this shape. When we connect this to the blue

shape. When we connect this to the blue input, we're limiting it to that shape.

input, we're limiting it to that shape. If we had a different shape like a

If we had a different shape like a ellipse and we put that into the blue

ellipse and we put that into the blue input, it would limit it to that

input, it would limit it to that ellipse. All right? So, it's sort of

ellipse. All right? So, it's sort of like we're cropping what that node is

like we're cropping what that node is doing.

doing. So, we put that into the vast noise. And

So, we put that into the vast noise. And then let's view our media out. And now

then let's view our media out. And now it looks like the edges here are just

it looks like the edges here are just too sharp. So, something we could do

too sharp. So, something we could do would be to select our polygon and go

would be to select our polygon and go over here to soft edge. We can push that

over here to soft edge. We can push that soft edge up. We could really soften

soft edge up. We could really soften this. And look, now we have just kind of

this. And look, now we have just kind of a trail of dark clouds here. And it

a trail of dark clouds here. And it doesn't look like we cut that out with a

doesn't look like we cut that out with a mask. It just looks like a nice little

mask. It just looks like a nice little trail. So that works really, really

trail. So that works really, really well. So if you can do this, this is

well. So if you can do this, this is like your first visual effect inside of

like your first visual effect inside of Fusion. What an exciting thing. And so

Fusion. What an exciting thing. And so now when we play this back, we have the

now when we play this back, we have the bikes going across and we have the smoke

bikes going across and we have the smoke trail. The other thing we can do is we

trail. The other thing we can do is we can go to our fast noise and we can push

can go to our fast noise and we can push up the sea rate. Can push that up a

up the sea rate. Can push that up a little bit. I'm going to push it up way

little bit. I'm going to push it up way too much right now just so we can see

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

what's going on. But this see rate will animate those clouds just continuously.

animate those clouds just continuously. So when we play this back, we can see

So when we play this back, we can see how the clouds are kind of like

how the clouds are kind of like wobbling, right? We don't want it this

wobbling, right? We don't want it this fast. So I can take this down a lot. I

fast. So I can take this down a lot. I just want it just just ever so slight.

just want it just just ever so slight. Just so it has a little bit of movement.

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

Just so it isn't totally static. Yeah, maybe something like that where

Yeah, maybe something like that where it's just almost imperceptibly moving so

it's just almost imperceptibly moving so it doesn't look like just a still. There

it doesn't look like just a still. There we go. Now we have this smoke trail from

we go. Now we have this smoke trail from the crashed UFO going across the screen.

the crashed UFO going across the screen. I love that. And anytime we want, we can

I love that. And anytime we want, we can change this polygon and kind of change

change this polygon and kind of change this shape to change where our smoke

this shape to change where our smoke trail goes. Now, the one thing that

trail goes. Now, the one thing that you'll run into when you're adjusting a

you'll run into when you're adjusting a polygon mask is that it automatically

polygon mask is that it automatically animates. And so, if we were to look at

animates. And so, if we were to look at this and play this back, see how that

this and play this back, see how that mask is animating? When I go back and

mask is animating? When I go back and forth, it animates. That's because I

forth, it animates. That's because I have a key frame on this mask, that

have a key frame on this mask, that first frame where I drew this mask. And

first frame where I drew this mask. And when I changed it just now, we were

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

actually at a different place in time. So, if we're doing this on purpose, it's

So, if we're doing this on purpose, it's great. But one thing that I always do

great. But one thing that I always do with masks that I'm not going to animate

with masks that I'm not going to animate is I go over here to the inspector. I

is I go over here to the inspector. I select the polygon mask. Go over here to

select the polygon mask. Go over here to the inspector. Right here where it says

the inspector. Right here where it says right click here for shape animation, I

right click here for shape animation, I rightclick and then go down and I say

rightclick and then go down and I say remove polygon one polyline. like that.

remove polygon one polyline. like that. Boop. Like that. What that's going to do

Boop. Like that. What that's going to do is get rid of the key frames, which are

is get rid of the key frames, which are the little white ticks that were on

the little white ticks that were on here. It's not going to have a red key

here. It's not going to have a red key frame diamond. It's just going to stay

frame diamond. It's just going to stay where it's at. And no matter where I

where it's at. And no matter where I change this mask, it's always going to

change this mask, it's always going to stay like that because there is no

stay like that because there is no animation. All right, that has got me in

animation. All right, that has got me in trouble so many times. That's why I'm

trouble so many times. That's why I'm telling you about it now. If your mask

telling you about it now. If your mask is animating, it's because it's

is animating, it's because it's automatically key framed. You got to

automatically key framed. You got to right click and get rid of that

right click and get rid of that animation. So, now we have a little bit

animation. So, now we have a little bit of movement there. We have a nice

of movement there. We have a nice looking shot. We have this kind of

looking shot. We have this kind of streak across the sky. How do we get it

streak across the sky. How do we get it back into the edit page? I'm testing

back into the edit page? I'm testing you. All you do is switch back to the

you. All you do is switch back to the edit page and boom, there it is. That's

edit page and boom, there it is. That's our finished visual effects shot. Isn't

our finished visual effects shot. Isn't that awesome? We did that all right here

that awesome? We did that all right here inside of Resolve, inside of Fusion.

inside of Resolve, inside of Fusion. Beautiful. Let's go to our first shot,

Beautiful. Let's go to our first shot, this house exterior. I'll switch back

this house exterior. I'll switch back over to Fusion. Again, I'm moving this

over to Fusion. Again, I'm moving this around by clicking and dragging with my

around by clicking and dragging with my middle button on my mouse, my scroll

middle button on my mouse, my scroll wheel button. And you can kind of move

wheel button. And you can kind of move this around. Same thing here for the

this around. Same thing here for the viewers. But now, what we're going to do

viewers. But now, what we're going to do is we're going to turn this into a

is we're going to turn this into a nighttime shot. So, this is going to

nighttime shot. So, this is going to involve a couple things. One is we need

involve a couple things. One is we need to make it darker. Two is we need to

to make it darker. Two is we need to make it blue. Three is we need to kind

make it blue. Three is we need to kind of keep some of the light that's here so

of keep some of the light that's here so that it doesn't look weird and it

that it doesn't look weird and it doesn't look too dark. So, we're

doesn't look too dark. So, we're darkening everything except for these

darkening everything except for these lights basically. How do we do this? In

lights basically. How do we do this? In Fusion, we can run an image through an

Fusion, we can run an image through an effect. So, for instance, this color

effect. So, for instance, this color correction effect. We could grab this

correction effect. We could grab this and drag that down like this. And we can

and drag that down like this. And we can select the color corrector. Maybe we'll

select the color corrector. Maybe we'll push this a little bit blue. Maybe push

push this a little bit blue. Maybe push up a little bit of contrast. Maybe take

up a little bit of contrast. Maybe take this gain down. That's just the

this gain down. That's just the brightness of the brightest parts of the

brightness of the brightest parts of the image. Maybe something like that. Now,

image. Maybe something like that. Now, we're really darkening that kind of

we're really darkening that kind of thing down. That's one way that we could

thing down. That's one way that we could do it. We could also use a curves node.

do it. We could also use a curves node. And this, if we uncheck alpha, we can

And this, if we uncheck alpha, we can add a little bit of a contrast curve

add a little bit of a contrast curve like that. But the tool that I really

like that. But the tool that I really like for this kind of thing inside of

like for this kind of thing inside of Fusion is our brightness and contrast

Fusion is our brightness and contrast node. That's this node right here.

node. That's this node right here. We can take this and drag this in. I

We can take this and drag this in. I like this because it's a little bit more

like this because it's a little bit more simple. I could just take maybe this

simple. I could just take maybe this gamma down. Push this down like this.

gamma down. Push this down like this. Take the saturation down a little bit.

Take the saturation down a little bit. And now we're just making this a little

And now we're just making this a little bit darker. Like that. Yes. And we're

bit darker. Like that. Yes. And we're pretty quickly going to figure out that

pretty quickly going to figure out that the color here is going to be too dark

the color here is going to be too dark here and not dark enough up here. So,

here and not dark enough up here. So, what we're going to have to do is do

what we're going to have to do is do this in a couple different parts. So, I

this in a couple different parts. So, I could take this brightness and contrast

could take this brightness and contrast down. And I'm just going to pick one of

down. And I'm just going to pick one of these. I can either pick the sky or I

these. I can either pick the sky or I can pick the ground and the building and

can pick the ground and the building and stuff. So, I'll just pick the building

stuff. So, I'll just pick the building first. Maybe just kind of take that

first. Maybe just kind of take that down. Something like that. Great. The

down. Something like that. Great. The other thing I want to do is clip black

other thing I want to do is clip black and clip white. This makes sure that no

and clip white. This makes sure that no craziness happens with our color.

craziness happens with our color. Sometimes you can make things that are

Sometimes you can make things that are blacker than black or whiter than white

blacker than black or whiter than white and that kind of messes with things and

and that kind of messes with things and gives you weird results sometimes. So

gives you weird results sometimes. So you always want to clip that black and

you always want to clip that black and white unless you're doing something

white unless you're doing something really specific. I also tend to click

really specific. I also tend to click pre-ivide post multiply. This makes sure

pre-ivide post multiply. This makes sure that if you're color correcting

that if you're color correcting something that has transparency, like an

something that has transparency, like an alpha channel, maybe it's a logo or

alpha channel, maybe it's a logo or something like that that has

something like that that has transparency, that when you adjust the

transparency, that when you adjust the colors that it only adjusts the colors

colors that it only adjusts the colors on the pixels that aren't transparent.

on the pixels that aren't transparent. Sometimes you can color correct

Sometimes you can color correct transparent pixels and weird stuff

transparent pixels and weird stuff happens too. So basically you tick all

happens too. So basically you tick all of these boxes to make sure weird stuff

of these boxes to make sure weird stuff doesn't happen. Okay, so we have this a

doesn't happen. Okay, so we have this a little bit darker. Let's darken the sky

little bit darker. Let's darken the sky too. So what I could do would just be to

too. So what I could do would just be to copy and paste this just by hitting C,

copy and paste this just by hitting C, double clicking, hitting Ctrl +V. And

double clicking, hitting Ctrl +V. And let's do another version of this. Let's

let's do another version of this. Let's take our original footage and we'll run

take our original footage and we'll run it through brightness and contrast like

it through brightness and contrast like this. Take this brightness and contrast.

this. Take this brightness and contrast. Make sure we're looking at that. Just

Make sure we're looking at that. Just dragging it up here. And then we'll clip

dragging it up here. And then we'll clip black and white. Pre-divide, post

black and white. Pre-divide, post multiply. And this time we're going to

multiply. And this time we're going to take this gain down a lot. We're going

take this gain down a lot. We're going to take the gamma down a lot. We're just

to take the gamma down a lot. We're just going to make that sky really dark. All

going to make that sky really dark. All I care about is the sky. Yeah, something

I care about is the sky. Yeah, something like that. Really, really dark.

like that. Really, really dark. Everything else is way too dark, but we

Everything else is way too dark, but we just care about the sky. Also going to

just care about the sky. Also going to take the saturation down a lot. Maybe

take the saturation down a lot. Maybe like all the way. Okay. So, we have a

like all the way. Okay. So, we have a separate color correction for the sky,

separate color correction for the sky, and we have a separate color correction

and we have a separate color correction for the bottom part. Now we're going to

for the bottom part. Now we're going to combine these images together. So we can

combine these images together. So we can do that with a merge node that always

do that with a merge node that always combines images like this. So we're

combines images like this. So we're going to put this merge node here. And

going to put this merge node here. And let's look at our media out. So now we

let's look at our media out. So now we have this color correction for the

have this color correction for the building. And now we're going to take

building. And now we're going to take the output of the color correction for

the output of the color correction for our sky and put that into the foreground

our sky and put that into the foreground of this merge. And look what happens. We

of this merge. And look what happens. We only see the foreground. Okay. So here's

only see the foreground. Okay. So here's the background before the merge. Here's

the background before the merge. Here's the foreground before the merge.

the foreground before the merge. And here is the composite after the

And here is the composite after the merge, but we only wanted it for the

merge, but we only wanted it for the sky. Well, the thing is we didn't tell

sky. Well, the thing is we didn't tell Fusion that we only want on the sky. So,

Fusion that we only want on the sky. So, what we got to do is use a mask just

what we got to do is use a mask just like we did with the black smoke. And

like we did with the black smoke. And so, I could take something like this

so, I could take something like this polygon mask. I'll drag this down. And

polygon mask. I'll drag this down. And this time, I'm going to mask the merge

this time, I'm going to mask the merge because this merge is doing one job.

because this merge is doing one job. What it's doing is it's putting the

What it's doing is it's putting the foreground over the background. And what

foreground over the background. And what I want to do is tell it to only put that

I want to do is tell it to only put that foreground over the background inside of

foreground over the background inside of this shape that I'm going to draw. So,

this shape that I'm going to draw. So, actually, let's go ahead and draw this

actually, let's go ahead and draw this shape first. And I'm just going to start

shape first. And I'm just going to start kind of up here. I'm going to select

kind of up here. I'm going to select this polygon and start up here and just

this polygon and start up here and just kind of draw around where I want the

kind of draw around where I want the sky. There we go. Something like that.

sky. There we go. Something like that. Then I can connect this polygon to the

Then I can connect this polygon to the blue input of that merge. And look what

blue input of that merge. And look what happens. We have the sky color grade

happens. We have the sky color grade over the building color grade. And

over the building color grade. And again, just like we did with the black

again, just like we did with the black smoke, I can take this polygon and push

smoke, I can take this polygon and push up the soft edge like this. We'll just

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

push it up a little bit. Maybe bring this down.

Maybe bring this down. Soften that edge a lot.

And we're just going to kind of move that around to where we get a good

that around to where we get a good solid combination of both of those

solid combination of both of those colors.

colors. Might want to make this even softer.

Might want to make this even softer. And now we can select this merge and

And now we can select this merge and turn off on and off this switch. And we

turn off on and off this switch. And we can see the difference, right?

can see the difference, right? Makes a big big difference. I also want

Makes a big big difference. I also want to take this polygon and maybe move it

to take this polygon and maybe move it up a little bit just so we're not

up a little bit just so we're not softening the edges. is we'll take it

softening the edges. is we'll take it way off the canvas here like this. And

way off the canvas here like this. And now we have essentially two color

now we have essentially two color corrected images combined together. We

corrected images combined together. We have our sky grade and our building

have our sky grade and our building grade and we're putting those together

grade and we're putting those together in two different layers. Now let's take

in two different layers. Now let's take this whole thing and turn it blue. I'm

this whole thing and turn it blue. I'm going to take this media out and we're

going to take this media out and we're going to take some color correction.

going to take some color correction. We're going to run this through our

We're going to run this through our color corrector and we're going to push

color corrector and we're going to push this a little bit blue. All right. Let's

this a little bit blue. All right. Let's make sure we're looking at our media

make sure we're looking at our media out. Oh yeah, that's too blue. We just

out. Oh yeah, that's too blue. We just want it a little bit blue. Something

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

like that. Maybe take the saturation down a little bit.

down a little bit. And we can really start to dial this in

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

and make this look like it's nighttime. Okay. Now, a lot of this is stuff that

Okay. Now, a lot of this is stuff that we could probably do in the color page,

we could probably do in the color page, honestly. But I like this exercise

honestly. But I like this exercise because it gets us used to working with

because it gets us used to working with nodes. And this will also help us with

nodes. And this will also help us with color here in a little bit. If anytime

color here in a little bit. If anytime you get lost in a node tree, you can

you get lost in a node tree, you can just grab the nodes on the left and just

just grab the nodes on the left and just start dragging each one into this left

start dragging each one into this left viewer and kind of think about it in

viewer and kind of think about it in steps. The first step we have is our

steps. The first step we have is our original footage. Then we're adjusting

original footage. Then we're adjusting it with the brightness and contrast.

it with the brightness and contrast. Then we're taking our original footage

Then we're taking our original footage again and we're adjusting it differently

again and we're adjusting it differently with our brightness and contrast. So we

with our brightness and contrast. So we have two versions of this color

have two versions of this color corrected image. One that's sort of dark

corrected image. One that's sort of dark and one that's really dark. Then we're

and one that's really dark. Then we're merging our really dark one over our

merging our really dark one over our sort of dark one, but we're only doing

sort of dark one, but we're only doing it inside of this polygon mask. So just

it inside of this polygon mask. So just on the sky part. Then we're taking that

on the sky part. Then we're taking that whole thing and we're color correcting

whole thing and we're color correcting it to tint it blue. And that gives us

it to tint it blue. And that gives us our composite where we have multiple

our composite where we have multiple images put over one another. Now we

images put over one another. Now we could go even crazier here. What really

could go even crazier here. What really sells a day fornight shot is when we

sells a day fornight shot is when we have these bright yellow lights kind of

have these bright yellow lights kind of lighting things up. And so we could copy

lighting things up. And so we could copy this media in again. I'll just copy and

this media in again. I'll just copy and paste. Now we have our original footage

paste. Now we have our original footage again. And we can put this over our blue

again. And we can put this over our blue kind of nighttime shot like this. We can

kind of nighttime shot like this. We can do that by adding a merge node and

do that by adding a merge node and putting it into the foreground. And if

putting it into the foreground. And if we look at our media out, we have our

we look at our media out, we have our original footage with nothing over it,

original footage with nothing over it, right? But we're only going to merge

right? But we're only going to merge this where the bright parts are here. So

this where the bright parts are here. So we could do something like grab a

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

ellipse and plug this into the blue input here.

input here. And I can make this ellipse really small

And I can make this ellipse really small and move it like this. And then soften

and move it like this. And then soften that edge like this. See what we're

that edge like this. See what we're doing here?

doing here? Soften that edge. And now we have that

Soften that edge. And now we have that yellow that looks like the light is

yellow that looks like the light is emitting light. Right. We could copy and

emitting light. Right. We could copy and paste this ellipse mask. I'll just drag

paste this ellipse mask. I'll just drag this down. Hit Ctrl + C and then Ctrl

this down. Hit Ctrl + C and then Ctrl +V. It's going to copy and paste that.

+V. It's going to copy and paste that. And it's going to run that mask through

And it's going to run that mask through that mask, which is basically just going

that mask, which is basically just going to combine them. So I can add another

to combine them. So I can add another mask over here. Create. I'll move these

mask over here. Create. I'll move these down. Grab this one. Copy paste. Crl +

down. Grab this one. Copy paste. Crl + Crl + V. Move this over here for this

Crl + V. Move this over here for this one. Maybe make this one a little bit

one. Maybe make this one a little bit bigger. So we have a little bit more

bigger. So we have a little bit more light over here. Something like that.

light over here. Something like that. And now we have that light showing up

And now we have that light showing up here and it looks more like a night

here and it looks more like a night shot. Isn't that cool? This is the kind

shot. Isn't that cool? This is the kind of stuff that you can do in Fusion

of stuff that you can do in Fusion really easily. Maybe we want to add some

really easily. Maybe we want to add some fog to this. Remember, we kind of know

fog to this. Remember, we kind of know how to do that already. We can take this

how to do that already. We can take this second icon, which again makes fog. It's

second icon, which again makes fog. It's a fast noise. push up the detail. Maybe

a fast noise. push up the detail. Maybe maybe push down the scale a little bit.

maybe push down the scale a little bit. And let's merge this over everything. By

And let's merge this over everything. By the way, there is a quick trick to merge

the way, there is a quick trick to merge something over something else. So you

something over something else. So you don't have to grab this merge node and

don't have to grab this merge node and then plug it into the foreground. What

then plug it into the foreground. What you can do is just take the output, this

you can do is just take the output, this little gray square, and drop it on the

little gray square, and drop it on the white square here like this. Boop. And

white square here like this. Boop. And that will automatically put it in the

that will automatically put it in the foreground of a merge right after this

foreground of a merge right after this node. So now we have our fast noise over

node. So now we have our fast noise over everything just like we did before. And

everything just like we did before. And again, we can grab a polygon

again, we can grab a polygon and let's just kind of make a little

and let's just kind of make a little mask around here. I'm just clicking and

mask around here. I'm just clicking and dragging to make it soft. Pushing this

dragging to make it soft. Pushing this soft edge.

soft edge. Selecting these

Selecting these and just

and just messing with this shape that I can get a

messing with this shape that I can get a little bit of fog.

little bit of fog. Isn't that cool?

Isn't that cool? Now, this fog is a little bit strong.

Now, this fog is a little bit strong. So, I want to take this merge and I'm

So, I want to take this merge and I'm going to turn down the opacity of the

going to turn down the opacity of the foreground. I'm going to make it more

foreground. I'm going to make it more transparent. With this merge, I can take

transparent. With this merge, I can take this blend and push the blend down like

this blend and push the blend down like this. And so, I can kind of fade this on

this. And so, I can kind of fade this on or off. So, if I want to split the

or off. So, if I want to split the difference, I can take this blend to

difference, I can take this blend to 0.5.

0.5. And I'll actually just push this in just

And I'll actually just push this in just a little bit, maybe like 20% or so. And

a little bit, maybe like 20% or so. And now we have this fog in our shot.

now we have this fog in our shot. And it really adds a lot. Makes it feel

And it really adds a lot. Makes it feel like it's a nighttime kind of foggy

like it's a nighttime kind of foggy shot. Look at that big difference.

shot. Look at that big difference. Here's our original footage

Here's our original footage and here's after. That's a big big

and here's after. That's a big big difference. Isn't that cool? The other

difference. Isn't that cool? The other thing we can do with this fog is we can

thing we can do with this fog is we can grab this fast noise and look at this.

grab this fast noise and look at this. We can move the center of the fast noise

We can move the center of the fast noise around and that just kind of moves this

around and that just kind of moves this texture. And we can start this here at

texture. And we can start this here at the beginning of our shot. And just like

the beginning of our shot. And just like we can animate stuff in the edit page,

we can animate stuff in the edit page, we can animate stuff here in the fusion

we can animate stuff here in the fusion page. So I could take this fog. I'll

page. So I could take this fog. I'll take the center and just start it there.

take the center and just start it there. You can really start it anywhere. It's

You can really start it anywhere. It's just going to be easier to animate from

just going to be easier to animate from one side to the other rather than

one side to the other rather than starting here and then animating it off

starting here and then animating it off screen. We're going to start right here.

screen. We're going to start right here. And I'm going to animate the center.

And I'm going to animate the center. I'll just click this key frame diamond.

I'll just click this key frame diamond. And then at the end, we'll move this

And then at the end, we'll move this over a little bit. I don't know, maybe

over a little bit. I don't know, maybe halfway or so. So now as

halfway or so. So now as we play this back, we see the fog kind

we play this back, we see the fog kind of rolling across a little bit. Oh,

of rolling across a little bit. Oh, that's so cool. We could also adjust the

that's so cool. We could also adjust the seed rate and push that up just a little

seed rate and push that up just a little bit so that this kind of changes over

bit so that this kind of changes over time. Maybe a little bit stronger than

time. Maybe a little bit stronger than that. There we go. So now we have the

that. There we go. So now we have the fog kind of rolling in across this. I'm

fog kind of rolling in across this. I'm going to turn this up so you can see it

going to turn this up so you can see it a little better. We have that fog going

a little better. We have that fog going from left to right.

from left to right. I always want to keep things subtle, but

I always want to keep things subtle, but it's a little bit easier to see on the

it's a little bit easier to see on the recording here. So, let's just push this

recording here. So, let's just push this up

up just so it's nice and subtle. Little bit

just so it's nice and subtle. Little bit of fog. Ah, it's so cool. Movie magic in

of fog. Ah, it's so cool. Movie magic in Fusion. And remember, once we have this

Fusion. And remember, once we have this all built out, we can switch to the edit

all built out, we can switch to the edit page. And look, here's our shot in the

page. And look, here's our shot in the edit page. We don't have to render it.

edit page. We don't have to render it. We don't have to do anything crazy. It's

We don't have to do anything crazy. It's just already in the timeline. Isn't that

just already in the timeline. Isn't that awesome? Now, here's kind of one of the

awesome? Now, here's kind of one of the dirty little secrets about Fusion. You

dirty little secrets about Fusion. You kind of take one look at this node tree

kind of take one look at this node tree and you're like, gosh, that's a lot of

and you're like, gosh, that's a lot of little boxes and everything, but it

little boxes and everything, but it wasn't that hard when we were building

wasn't that hard when we were building it because we're just building it one

it because we're just building it one step at a time. Okay? And really, we're

step at a time. Okay? And really, we're just starting with this media in and

just starting with this media in and we're color correcting it, which is one

we're color correcting it, which is one step. We're starting with this media in

step. We're starting with this media in again and we're color correcting it.

again and we're color correcting it. We're putting it together. We're masking

We're putting it together. We're masking where it goes together. We're color

where it goes together. We're color correcting it blue. We're taking the

correcting it blue. We're taking the original footage again and we're just

original footage again and we're just putting it over everything, but only

putting it over everything, but only within these masks. So only where it's

within these masks. So only where it's white right here. Then we're taking some

white right here. Then we're taking some fast noise and we're putting it over our

fast noise and we're putting it over our shot, but only inside of a mask that's

shot, but only inside of a mask that's right down here. And so it's pretty

right down here. And so it's pretty simple, straightforward stuff. It's just

simple, straightforward stuff. It's just lined out with every single step that we

lined out with every single step that we did. So that's the bad thing and the

did. So that's the bad thing and the good thing about nodes. The bad thing is

good thing about nodes. The bad thing is that it looks kind of intimidating. But

that it looks kind of intimidating. But the good thing is that you can always go

the good thing is that you can always go back to any of these steps. All these

back to any of these steps. All these steps are modular. And so you can go

steps are modular. And so you can go back and say, actually, I don't know if

back and say, actually, I don't know if I like the correction here. I can go to

I like the correction here. I can go to my brightness and contrast here and

my brightness and contrast here and adjust that correction on the top part

adjust that correction on the top part of our screen, and I can see what it

of our screen, and I can see what it looks like even after it flows through

looks like even after it flows through all of this stuff. Fusion is the very

all of this stuff. Fusion is the very most powerful page in Resolve. You can

most powerful page in Resolve. You can do absolutely anything with it. Fusion

do absolutely anything with it. Fusion is what we dive super deep into in our

is what we dive super deep into in our courses. We have a course called Intro

courses. We have a course called Intro to Fusion that breaks down all of this

to Fusion that breaks down all of this in even more detail and helps you truly

in even more detail and helps you truly understand how Fusion works and then

understand how Fusion works and then puts you through the paces to transform

puts you through the paces to transform you from somebody who doesn't really

you from somebody who doesn't really know anything about Fusion to somebody

know anything about Fusion to somebody who can confidently use Fusion for

who can confidently use Fusion for visual effects and for graphics and for

visual effects and for graphics and for creating awesome things in Resolve. Now,

creating awesome things in Resolve. Now, let's go back to our edit page and we

let's go back to our edit page and we have these two shots and we want to

have these two shots and we want to combine them. Now, to combine a couple

combine them. Now, to combine a couple of shots in Fusion, you can do this a

of shots in Fusion, you can do this a couple different ways. One thing I could

couple different ways. One thing I could do would be to just be over this bottom

do would be to just be over this bottom one and switch to Fusion. And then I

one and switch to Fusion. And then I could go to my media pool and grab this

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

other shot and drag this in like this. And that's going to make another media

And that's going to make another media in. And so we have this footage and this

in. And so we have this footage and this footage. And then I can combine them

footage. And then I can combine them just like I combined the same footage

just like I combined the same footage over itself. The other way that we can

over itself. The other way that we can do it that's sometimes a little bit more

do it that's sometimes a little bit more convenient, I'll just rightclick on this

convenient, I'll just rightclick on this and reset our fusion composition is I

and reset our fusion composition is I can stack these on the timeline, select

can stack these on the timeline, select both of them, rightclick and go to new

both of them, rightclick and go to new fusion clip. What that will do is

fusion clip. What that will do is combine these together and then I can

combine these together and then I can switch into Fusion and I'll have both of

switch into Fusion and I'll have both of those clips synced up and lined up with

those clips synced up and lined up with each other here in the Fusion page. So

each other here in the Fusion page. So here's one of them and here's the other.

here's one of them and here's the other. It really doesn't matter which one you

It really doesn't matter which one you use. It's kind of dependent on what you

use. It's kind of dependent on what you feel like doing. One advantage that you

feel like doing. One advantage that you have with working with just one piece of

have with working with just one piece of footage though is that when you switch

footage though is that when you switch into Fusion, it's going to open it up in

into Fusion, it's going to open it up in its native resolution. Okay, so this is

its native resolution. Okay, so this is 1920 x 800. If you make a Fusion clip,

1920 x 800. If you make a Fusion clip, it's going to make a version of this

it's going to make a version of this that's actually the timeline resolution,

that's actually the timeline resolution, which may or may not be an issue. In

which may or may not be an issue. In this case, it's not really that much of

this case, it's not really that much of an issue other than we have a little bit

an issue other than we have a little bit of empty space at the top and bottom

of empty space at the top and bottom because this footage is widescreen and

because this footage is widescreen and our timeline settings are HD. But I like

our timeline settings are HD. But I like to do it this way. Grab this original

to do it this way. Grab this original footage. And then I'll just grab this

footage. And then I'll just grab this other footage from the media pool and

other footage from the media pool and drag it in. And I can rename these nodes

drag it in. And I can rename these nodes by selecting the node and hitting F2. So

by selecting the node and hitting F2. So we'll call this alien MI for media in.

we'll call this alien MI for media in. This one's going to be called ship_mi

This one's going to be called ship_mi for media in. So we have our alien, we

for media in. So we have our alien, we have our ship. And now it's our job to

have our ship. And now it's our job to combine these together so it looks like

combine these together so it looks like this alien is inside of the ship. Now

this alien is inside of the ship. Now this might actually be easier if we put

this might actually be easier if we put this alien in the background and the

this alien in the background and the ship in the foreground. So let's go

ship in the foreground. So let's go ahead and disconnect our ship and we're

ahead and disconnect our ship and we're going to start with our alien. We're

going to start with our alien. We're going to take him and put him into the

going to take him and put him into the media out. This is going to be our

media out. This is going to be our original footage. In this case, they're

original footage. In this case, they're both the same resolution, so it doesn't

both the same resolution, so it doesn't really matter. And then we're going to

really matter. And then we're going to take our ship and we're going to put

take our ship and we're going to put this over our alien like that. So, we're

this over our alien like that. So, we're just going to be able to see the ship

just going to be able to see the ship and the aliens underneath it. So, if we

and the aliens underneath it. So, if we move this over, we can see the aliens

move this over, we can see the aliens underneath it. But the first thing we

underneath it. But the first thing we have to do is cut a hole in our clip of

have to do is cut a hole in our clip of the ship. In visual effects land, this

the ship. In visual effects land, this would be called a plate. Think of if

would be called a plate. Think of if you're stacking two plates in the

you're stacking two plates in the kitchen. Your foreground plate is on top

kitchen. Your foreground plate is on top of your background plate. All right? So,

of your background plate. All right? So, this foreground plate, this ship, we're

this foreground plate, this ship, we're going to cut a hole right here in the

going to cut a hole right here in the cockpit and see if we can put our little

cockpit and see if we can put our little alien shot in there. To do that, we can

alien shot in there. To do that, we can grab a polygon mask. And if we connect

grab a polygon mask. And if we connect it to the ship right now, everything's

it to the ship right now, everything's going to disappear and we're not going

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

to be able to see what we're working on. So, it's actually a little better idea

So, it's actually a little better idea to not connect this yet. We're just

to not connect this yet. We're just going to put this kind of nearby where

going to put this kind of nearby where we want to connect it. select this

we want to connect it. select this polygon and I'm just going to start

polygon and I'm just going to start drawing

drawing a mask right around here where I want

a mask right around here where I want this to be cut out. Now, drawing masks

this to be cut out. Now, drawing masks is kind of its own art. Let's just look

is kind of its own art. Let's just look at this polygon here for a minute. In

at this polygon here for a minute. In fact, I'll grab all these and kind of

fact, I'll grab all these and kind of reset it. If you click once, that's

reset it. If you click once, that's going to add a point to your polygon.

going to add a point to your polygon. So, if I click once several times,

So, if I click once several times, that's going to build a shape. Once I

that's going to build a shape. Once I connect that shape to itself and close

connect that shape to itself and close that path, that's going to make a

that path, that's going to make a selection. That's this white part right

selection. That's this white part right here. I can also add points to this by

here. I can also add points to this by just clicking and dragging. It's going

just clicking and dragging. It's going to add points. But there's also these

to add points. But there's also these little handles on the line. And if I

little handles on the line. And if I click and drag that, that's going to

click and drag that, that's going to make these points softer. Like it's

make these points softer. Like it's going to make them not as pointy. And so

going to make them not as pointy. And so I can adjust my path using these little

I can adjust my path using these little handles. And I can make soft curves or I

handles. And I can make soft curves or I can make them pointy depending on where

can make them pointy depending on where those handles are. When I'm drawing, if

those handles are. When I'm drawing, if I click once, that makes a sharp point.

I click once, that makes a sharp point. If I click and drag, that drags out

If I click and drag, that drags out those handles so that I can make a soft

those handles so that I can make a soft shape like that. Generally, when you're

shape like that. Generally, when you're drawing with a mask, you want to have

drawing with a mask, you want to have the least amount of points possible. And

the least amount of points possible. And so if you're going to draw a curve, you

so if you're going to draw a curve, you don't want to draw a ton of little

don't want to draw a ton of little points like that to make your shape,

points like that to make your shape, what's better is just to use one point

what's better is just to use one point here in the middle and drag those

here in the middle and drag those handles out like this.

handles out like this. Then you can kind of adjust it. But you

Then you can kind of adjust it. But you can get the same shape with three points

can get the same shape with three points instead of 30. And it takes some

instead of 30. And it takes some practice if you've never drawn these

practice if you've never drawn these kinds of paths before. You haven't used

kinds of paths before. You haven't used like a pen tool, you haven't drawn

like a pen tool, you haven't drawn vector shapes, things like that. It does

vector shapes, things like that. It does take some getting used to, but with a

take some getting used to, but with a little practice, you'll get the hang of

little practice, you'll get the hang of it. All right, so let's go back to our

it. All right, so let's go back to our ship, and we're going to use our polygon

ship, and we're going to use our polygon mask. And I'm going to click once here,

mask. And I'm going to click once here, and then click and drag here for this

and then click and drag here for this curve. Click once here. Click once here

curve. Click once here. Click once here because there's a little bit of curve.

because there's a little bit of curve. There we go. I'm clicking and dragging.

There we go. I'm clicking and dragging. Click once. Click and drag. Click once

Click once. Click and drag. Click once to close the path. I can hold control

to close the path. I can hold control and grab this little handle. That's

and grab this little handle. That's really hard to see. Let me adjust my

really hard to see. Let me adjust my viewer here. I'm just turning the gain

viewer here. I'm just turning the gain down in our viewer. It's just the colors

down in our viewer. It's just the colors of the viewer. It doesn't actually

of the viewer. It doesn't actually change the image. It's just like your

change the image. It's just like your preview of it. Those three dots. You can

preview of it. Those three dots. You can click on gain and gamma. And you can

click on gain and gamma. And you can kind of adjust the brightness of your

kind of adjust the brightness of your viewer just so you can do things like

viewer just so you can do things like this a little bit easier. I can hold

this a little bit easier. I can hold control and grab this handle and move

control and grab this handle and move this down into line cuz I want a good

this down into line cuz I want a good selection of this right here. I think

selection of this right here. I think that looks pretty good. I can reset my

that looks pretty good. I can reset my gain and gamma by clicking these little

gain and gamma by clicking these little dots here. Or I can also just go up to

dots here. Or I can also just go up to the three dots and turn off gain and

the three dots and turn off gain and gamma. And now I have this selection

gamma. And now I have this selection that looks like this. And if I apply

that looks like this. And if I apply this to the ship like this, look what

this to the ship like this, look what happens. That does cut out the ship, but

happens. That does cut out the ship, but it only leaves the center. And what I

it only leaves the center. And what I really want is the center to be gone and

really want is the center to be gone and everything else to stay there. So what I

everything else to stay there. So what I can do is select my polygon mask and

can do is select my polygon mask and right here where it says invert, I'm

right here where it says invert, I'm going to invert that selection. Boop.

going to invert that selection. Boop. Like that. And now look, we have a

Like that. And now look, we have a little hole cut out in our footage. And

little hole cut out in our footage. And we can see this checkerboard behind it.

we can see this checkerboard behind it. That means that it's transparent. So I

That means that it's transparent. So I can put this over our alien footage. And

can put this over our alien footage. And look, there he is. He's peeking out. So

look, there he is. He's peeking out. So we have this kind of partially done. We

we have this kind of partially done. We have this cut out. And we have our alien

have this cut out. And we have our alien in there, but he's not really the right

in there, but he's not really the right size. And so what we need to do is

size. And so what we need to do is resize this footage to fit right about

resize this footage to fit right about here. We're going to do that with a

here. We're going to do that with a transform node. So a transform node is

transform node. So a transform node is like taking an image and adjusting its

like taking an image and adjusting its size, its rotation, and its scale. It's

size, its rotation, and its scale. It's a lot like the transform controls right

a lot like the transform controls right here in the edit page, but it all lives

here in the edit page, but it all lives in one node. And so we can take this

in one node. And so we can take this alien, this original footage right here,

alien, this original footage right here, and we're going to run it through a

and we're going to run it through a transform node. Transform nodes are

transform node. Transform nodes are right here. Can grab this and drag this

right here. Can grab this and drag this in like this. Make sure this is

in like this. Make sure this is connected. And then with the transform

connected. And then with the transform node selected, I have my transform tools

node selected, I have my transform tools up here. And I can push the size down.

up here. And I can push the size down. And look, it kind of gives us a little

And look, it kind of gives us a little outline. And I can put this guy right

outline. And I can put this guy right where I want him to be. Look at that.

where I want him to be. Look at that. And so we're combining those images

And so we're combining those images together and we're making one new image.

together and we're making one new image. That's movie magic. Isn't that cool?

That's movie magic. Isn't that cool? Again, this node tree looks complicated,

Again, this node tree looks complicated, but it's our original footage of our

but it's our original footage of our alien. We're transforming him, making

alien. We're transforming him, making him smaller like this. We're taking our

him smaller like this. We're taking our ship footage, we're cutting out the

ship footage, we're cutting out the middle, and we're just pasting it on top

middle, and we're just pasting it on top of this image. Those combine together.

of this image. Those combine together. And they make our shot here. And now we

And they make our shot here. And now we can call this good or we can change it

can call this good or we can change it around a little bit. One thing is maybe

around a little bit. One thing is maybe this polygon mask needs a little bit of

this polygon mask needs a little bit of softness. So I'll push up the softness

softness. So I'll push up the softness just a little bit. Something like that.

just a little bit. Something like that. Adjust this a little bit. Make sure that

Adjust this a little bit. Make sure that we right click and remove our polygon

we right click and remove our polygon one polyline or else we'll have moving

one polyline or else we'll have moving masks.

masks. Just going to kind of adjust this and

Just going to kind of adjust this and make sure this looks good.

make sure this looks good. Always a good idea.

Always a good idea. Maybe we want to color correct right

Maybe we want to color correct right here and kind of put a little shadow so

here and kind of put a little shadow so it looks like he's really inside of that

it looks like he's really inside of that craft. We could run this transformed

craft. We could run this transformed alien, this right here through something

alien, this right here through something like a brightness and contrast.

like a brightness and contrast. And let's view this here on the left

And let's view this here on the left viewer. And we're going to take the gain

viewer. And we're going to take the gain down a little bit. Maybe maybe take the

down a little bit. Maybe maybe take the gamma down touch. Maybe take the

gamma down touch. Maybe take the saturation down. Just going to make it a

saturation down. Just going to make it a little bit darker. But we're only going

little bit darker. But we're only going to do it right here. Okay. So, we could

to do it right here. Okay. So, we could take a polygon mask or even maybe a

take a polygon mask or even maybe a rectangle mask and we can apply that to

rectangle mask and we can apply that to our color correction. And as we change

our color correction. And as we change this mask, look, it's only going to do

this mask, look, it's only going to do that color correction. That one node's

that color correction. That one node's job, this brightness and contrast job is

job, this brightness and contrast job is only going to happen inside of this

only going to happen inside of this rectangle. And so, I can take this

rectangle. And so, I can take this rectangle and let's we can either move

rectangle and let's we can either move it on this viewer or the other viewer,

it on this viewer or the other viewer, doesn't matter. We'll rotate this a

doesn't matter. We'll rotate this a little bit. I'll just move this right

little bit. I'll just move this right there. And then maybe soften that edge

there. And then maybe soften that edge just so we have a little bit of our

just so we have a little bit of our color correction here. Just like that.

color correction here. Just like that. Adds a little bit of interactive

Adds a little bit of interactive lighting there. So here's before and

lighting there. So here's before and here's after. And that's only happening

here's after. And that's only happening on this image because we're running it

on this image because we're running it through this brightness and contrast

through this brightness and contrast before we put it under the ship. If we

before we put it under the ship. If we did a color correction on this side,

did a color correction on this side, then what we're doing is we're taking

then what we're doing is we're taking this image and we're color correcting

this image and we're color correcting it. Right? So, if I did some kind of

it. Right? So, if I did some kind of color correction here, we'll just I

color correction here, we'll just I don't know, make this

don't know, make this really yellow, right? And then we put

really yellow, right? And then we put that inside of a ellipse. That's going

that inside of a ellipse. That's going to color correct everything at least

to color correct everything at least inside of that ellipse. But if we were

inside of that ellipse. But if we were to put this here before we put it under

to put this here before we put it under the ship, I can hold shift and drag this

the ship, I can hold shift and drag this out like this and just drop it back in

out like this and just drop it back in like that. Then that's going to color

like that. Then that's going to color correct this image before it goes under

correct this image before it goes under the ship. And so we're only color

the ship. And so we're only color correcting this image. So the order of

correcting this image. So the order of the nodes is really important. Let's get

the nodes is really important. Let's get rid of that. And now we have our nice

rid of that. And now we have our nice composite. We can switch back over to

composite. We can switch back over to the edit page. H. So beautiful. There's

the edit page. H. So beautiful. There's our little guy. We can get rid of this

our little guy. We can get rid of this alien plate. And now we have three

alien plate. And now we have three finished VFX shots right here in our

finished VFX shots right here in our timeline. And we can do this on any

timeline. And we can do this on any timeline. If we switch back to our edit

timeline. If we switch back to our edit timeline, I can quickly go into Fusion.

timeline, I can quickly go into Fusion. And maybe I'll do something like add

And maybe I'll do something like add fog.

push up the detail like this. And we'll just mask it to be

like right here. Soften that. Soften that edge a lot.

Soften that. Soften that edge a lot. Now we have a lot more fog than we did.

Now we have a lot more fog than we did. Really makes a big difference.

There are infinitely more things to go over in Fusion. Man, I could spend so

over in Fusion. Man, I could spend so much time on this. In fact, we have

much time on this. In fact, we have several courses on Fusion. We have

several courses on Fusion. We have hundreds of students that have learned

hundreds of students that have learned how to use Fusion, this part of Resolve

how to use Fusion, this part of Resolve that is the most powerful, inspiring,

that is the most powerful, inspiring, amazing part of Resolve. You can also

amazing part of Resolve. You can also use Fusion to make motion graphics and

use Fusion to make motion graphics and animations and all kinds of cool stuff

animations and all kinds of cool stuff like that. In fact, you know what? I

like that. In fact, you know what? I don't care if this is a million hour

don't care if this is a million hour video. We're going to uh I need to show

video. We're going to uh I need to show you some of this stuff, too. Let's

you some of this stuff, too. Let's switch back to our wide shot here. And

switch back to our wide shot here. And imagine imagine if we made this into

imagine imagine if we made this into kind of like a sort of like predator

kind of like a sort of like predator vision kind of shot where it's all kind

vision kind of shot where it's all kind of washed with some color and maybe

of washed with some color and maybe there's like a little targeting system

there's like a little targeting system or something that tracks one of these

or something that tracks one of these bikes and maybe there's like heat vision

bikes and maybe there's like heat vision or something like that. You can do all

or something like that. You can do all this kind of stuff in Fusion. And so

this kind of stuff in Fusion. And so let's let's just walk through and play

let's let's just walk through and play around and have a little bit of fun

around and have a little bit of fun here.

here. So, after all of these nodes that we're

So, after all of these nodes that we're using, let's kind of do some color

using, let's kind of do some color correction here. And let's just maybe

correction here. And let's just maybe turn it blue, maybe push up the contrast

turn it blue, maybe push up the contrast a little bit, take the saturation down,

a little bit, take the saturation down, so we have this kind of like bluish gray

so we have this kind of like bluish gray wash on everything. Let's make a little

wash on everything. Let's make a little graphic that kind of follows her. And

graphic that kind of follows her. And you can do this in a bunch of different

you can do this in a bunch of different ways. One way that'd be pretty easy

ways. One way that'd be pretty easy would be to grab a background. So, this

would be to grab a background. So, this just generates a background color of any

just generates a background color of any color you want. Maybe we'll make this

color you want. Maybe we'll make this kind of a greenish cyan kind of thing.

kind of a greenish cyan kind of thing. Let's put this over our color

Let's put this over our color correction. And let's take a mask and

correction. And let's take a mask and we're just going to put a rectangle mask

we're just going to put a rectangle mask on this like this.

on this like this. And then we can kind of put a box around

And then we can kind of put a box around our girl here. And then let's uncheck

our girl here. And then let's uncheck solid and push up border width for our

solid and push up border width for our mask. And now we have a little border,

mask. And now we have a little border, like a little picture frame here. Push

like a little picture frame here. Push up the corner radius. Now we have this

up the corner radius. Now we have this little mask that's masking this colored

little mask that's masking this colored background and creating this little

background and creating this little picture frame. I'll take that border

picture frame. I'll take that border width down a little bit. Something like

width down a little bit. Something like that. And I think I'll just work on a

that. And I think I'll just work on a little bit of this shot. Let's just go

little bit of this shot. Let's just go to the edit page and just trim this real

to the edit page and just trim this real quick just because we're playing around

quick just because we're playing around with it. Let's make it easy on

with it. Let's make it easy on ourselves. Just do a little bit of this.

ourselves. Just do a little bit of this. That's going to adjust the trim points

That's going to adjust the trim points here. And I can zoom in this little bar

here. And I can zoom in this little bar so that we're only looking at the part

so that we're only looking at the part in between the yellow markers in and out

in between the yellow markers in and out of this comp. And one thing we could do

of this comp. And one thing we could do would be to key frame the rectangle mask

would be to key frame the rectangle mask here. And so I could end it right here

here. And so I could end it right here and adjust the center. And I could kind

and adjust the center. And I could kind of just key frame this

of just key frame this so that it sort of follows her sort of

so that it sort of follows her sort of in the middle here. I'm going to add

in the middle here. I'm going to add another key frame. Just move this over.

another key frame. Just move this over. Sort of in the middle of that. move that

Sort of in the middle of that. move that over like this. So now we have this kind

over like this. So now we have this kind of following her as she rides. And that

of following her as she rides. And that works fine. The other way that we could

works fine. The other way that we could do this would be to track the motion. So

do this would be to track the motion. So depending on what you're doing, this

depending on what you're doing, this could be more or less work. I'm going to

could be more or less work. I'm going to double click here in the empty space.

double click here in the empty space. And you can hit shift and spacebar and

And you can hit shift and spacebar and that's going to bring up a menu that

that's going to bring up a menu that will let you select all of the 37ome

will let you select all of the 37ome nodes inside of Fusion. There are a ton.

nodes inside of Fusion. There are a ton. Look at that. It's crazy. But I'm going

Look at that. It's crazy. But I'm going to type tracker. That's going to bring

to type tracker. That's going to bring up this tracker node. I'll select that

up this tracker node. I'll select that and hit add. And you can take your

and hit add. And you can take your original footage here. I can just copy

original footage here. I can just copy and paste this. Crl + C. Double click

and paste this. Crl + C. Double click off. Ctrl +V. I'll just move this up

off. Ctrl +V. I'll just move this up here and put this into the tracker.

here and put this into the tracker. Let's just look at this here on the

Let's just look at this here on the right. And this tracker, what that does

right. And this tracker, what that does is it will lock on to a feature in your

is it will lock on to a feature in your image and it will follow it. And so we

image and it will follow it. And so we can grab this little target thing here.

can grab this little target thing here. Let's just go to the beginning of our

Let's just go to the beginning of our clip here. Let's take this Intelllet

clip here. Let's take this Intelllet track and put that right on top of our

track and put that right on top of our leading lady here. And let's track that

leading lady here. And let's track that forward using this button right here.

forward using this button right here. What that's going to do is stick that

What that's going to do is stick that tracker to her as she rides by. It's

tracker to her as she rides by. It's going to track that motion. It's

going to track that motion. It's basically doing some key frames for us

basically doing some key frames for us here. And once we have that, then we can

here. And once we have that, then we can do a bunch of different things with this

do a bunch of different things with this tracker. One thing we could do would be

tracker. One thing we could do would be to maybe take some text or something and

to maybe take some text or something and plug that into the green foreground

plug that into the green foreground input of this tracker and say, you know,

input of this tracker and say, you know, text like this, select this tracker, go

text like this, select this tracker, go over to operation, and here where it

over to operation, and here where it says operation none, switch it to match

says operation none, switch it to match move. And what that's going to do is put

move. And what that's going to do is put some text here. And I can select the

some text here. And I can select the text, put this right where it's supposed

text, put this right where it's supposed to be, and watch what happens here. This

to be, and watch what happens here. This text will follow her as she rides her

text will follow her as she rides her bike. Isn't that awesome? And so if you

bike. Isn't that awesome? And so if you need to stick something to something,

need to stick something to something, you can use a tracker to do it. So we're

you can use a tracker to do it. So we're kind of using this tracker like a merge

kind of using this tracker like a merge node, but it will animate the

node, but it will animate the foreground. Now, we don't have to

foreground. Now, we don't have to include the background here. We can

include the background here. We can select this tracker, go to operation,

select this tracker, go to operation, mesh move, and then merge. Instead of

mesh move, and then merge. Instead of foreground over background, let's just

foreground over background, let's just say foreground only. That's going to

say foreground only. That's going to give us just the text in its own kind of

give us just the text in its own kind of isolated layer, but it has the same

isolated layer, but it has the same movement. So we could put this into the

movement. So we could put this into the foreground as a separate thing. Then we

foreground as a separate thing. Then we have the tracker as a separate thing and

have the tracker as a separate thing and then the merge as a separate thing,

then the merge as a separate thing, right? So it kind of gives us the same

right? So it kind of gives us the same idea, but there's the text. Now, what's

idea, but there's the text. Now, what's cool about this cool about nodes here is

cool about this cool about nodes here is that we don't have any effects applied

that we don't have any effects applied to anything specifically. We're just

to anything specifically. We're just running it through this effect, so it's

running it through this effect, so it's always modular. So I could take this

always modular. So I could take this text out and I could take my rectangle

text out and I could take my rectangle background, plug that into the green

background, plug that into the green input right there, and I'll adjust this

input right there, and I'll adjust this rectangle here. Let's actually reset our

rectangle here. Let's actually reset our center. I'm just double clicking on that

center. I'm just double clicking on that center here. I'm going to put this

center here. I'm going to put this around her. Look at this. Now it follows

around her. Look at this. Now it follows her because it's running through that

her because it's running through that tracker. Okay, so we're tracking the

tracker. Okay, so we're tracking the bike and we're moving along with it.

bike and we're moving along with it. Now, here's what's really cool. This is

Now, here's what's really cool. This is where things just get so awesome. Let's

where things just get so awesome. Let's take all of this and move it to the

take all of this and move it to the right here a little bit. Just make a

right here a little bit. Just make a little bit of room. We could take this

little bit of room. We could take this same kind of tracker, which is really

same kind of tracker, which is really just giving us an image that looks like

just giving us an image that looks like this, and we could make sort of a

this, and we could make sort of a different version of it, and we can use

different version of it, and we can use it as a mask. So, we could do something

it as a mask. So, we could do something like I could just copy and paste this.

like I could just copy and paste this. Ctrl + C, double click off, Ctrl +V. All

Ctrl + C, double click off, Ctrl +V. All right. So, this is going to be our

right. So, this is going to be our frame, our cyan frame. But this one,

frame, our cyan frame. But this one, let's just drag this up here. Instead of

let's just drag this up here. Instead of a cyan frame, let's go to this rectangle

a cyan frame, let's go to this rectangle mask and let's check solid and take down

mask and let's check solid and take down our border width. And that's going to

our border width. And that's going to give us just a solid mask. And we don't

give us just a solid mask. And we don't even need the background anymore. We can

even need the background anymore. We can get rid of the background here and plug

get rid of the background here and plug this into the foreground input of the

this into the foreground input of the tracker. Not the blue input, the

tracker. Not the blue input, the foreground input. And what this will do

foreground input. And what this will do is give us a animated mask that we can

is give us a animated mask that we can use by plugging into the blue input of

use by plugging into the blue input of something. So, I could take this output

something. So, I could take this output of this tracker, plug this into the blue

of this tracker, plug this into the blue input of the color correction, and look

input of the color correction, and look what happens. It's only color correcting

what happens. It's only color correcting inside of that mask. Isn't that magical?

inside of that mask. Isn't that magical? We could grab this color corrector, go

We could grab this color corrector, go over to settings, and here we have some

over to settings, and here we have some mask settings, and we can select apply

mask settings, and we can select apply mask inverted like this. And look at

mask inverted like this. And look at that. Now, it's going to be everywhere

that. Now, it's going to be everywhere except for in that mask.

except for in that mask. And we can connect this to multiple

And we can connect this to multiple things. Check this out. I could grab a

things. Check this out. I could grab a blur and make this really blurry

blur and make this really blurry everywhere except for inside of that

everywhere except for inside of that mask. So, I could take the same thing. I

mask. So, I could take the same thing. I could take the output and plug that into

could take the output and plug that into the blue input of the blur. And again,

the blue input of the blur. And again, go to settings, apply mask inverted, and

go to settings, apply mask inverted, and everything's blurry except for inside of

everything's blurry except for inside of this.

this. We can do so much cool stuff.

We can do so much cool stuff. I could get rid of this color corrector

I could get rid of this color corrector thing like this. And now it's just sharp

thing like this. And now it's just sharp inside of here and blurry everywhere

inside of here and blurry everywhere else. So many cool things you can do.

else. So many cool things you can do. But don't miss this. You can take the

But don't miss this. You can take the output of a node and run it into

output of a node and run it into multiple different nodes. You can use

multiple different nodes. You can use one node or one mask to mask like 50

one node or one mask to mask like 50 different things if you want to. That's

different things if you want to. That's what's so powerful about nodes. I love

what's so powerful about nodes. I love it. This is a cool effect. Let's add a

it. This is a cool effect. Let's add a little bit of graphics to it. We can

little bit of graphics to it. We can just grab a text node and just drag this

just grab a text node and just drag this in here. And we'll call this uh sector

in here. And we'll call this uh sector 45B

45B North America.

North America. Sure. And we'll take the output of this

Sure. And we'll take the output of this and put this over the output like that.

and put this over the output like that. Just like this. Let's take this text,

Just like this. Let's take this text, switch this maybe to aerial. Let's take

switch this maybe to aerial. Let's take the size down. There we go. We can kind

the size down. There we go. We can kind of put this down here like this. And we

of put this down here like this. And we can start making our graphics. We could

can start making our graphics. We could animate this right on property like

animate this right on property like this. So it looks like it's typed in. So

this. So it looks like it's typed in. So we could have this come in like right

we could have this come in like right here. I could animate this right on

here. I could animate this right on property just by clicking that key frame

property just by clicking that key frame diamond and have this come up.

diamond and have this come up. Just animate this like this. And now we

Just animate this like this. And now we have this really cool effect

have this really cool effect like that. Now we have like this

like that. Now we have like this predator vision kind of thing. Isn't

predator vision kind of thing. Isn't that cool? I want to show you something

that cool? I want to show you something that's just in the paid version of

that's just in the paid version of Resolve called Magic Mask. Magic Mask is

Resolve called Magic Mask. Magic Mask is ridiculous. It is a way that you can

ridiculous. It is a way that you can trace out things and animate that trace

trace out things and animate that trace without a whole lot of work. So, we can

without a whole lot of work. So, we can take this original footage. I'm just

take this original footage. I'm just dragging this in here. And I can double

dragging this in here. And I can double click off and hit shift spacebar and

click off and hit shift spacebar and type magic. Again, this is only in the

type magic. Again, this is only in the paid version of Resolve. And I'll just

paid version of Resolve. And I'll just hit enter. That's going to make a magic

hit enter. That's going to make a magic mask node. I'll drag this over here. And

mask node. I'll drag this over here. And what I could do is either copy and paste

what I could do is either copy and paste this media in like I've been doing. Or I

this media in like I've been doing. Or I can even take the output of this and

can even take the output of this and just plug this in like this. All right.

just plug this in like this. All right. So, it's the same thing as copying and

So, it's the same thing as copying and pasting this media and putting it in

pasting this media and putting it in here like that. I could even take this

here like that. I could even take this one over here. Doesn't matter. But I'll

one over here. Doesn't matter. But I'll take this one like this. And let's drag

take this one like this. And let's drag the magic mask in here. And what this

the magic mask in here. And what this will let us do is you can draw a line

will let us do is you can draw a line on whatever you want to select. So, I'm

on whatever you want to select. So, I'm just going to draw a line over her. And

just going to draw a line over her. And what that's going to do is automatically

what that's going to do is automatically try and trace her out. I can hold alt

try and trace her out. I can hold alt and get rid of the extra parts. So,

and get rid of the extra parts. So, we'll just do kind of a soft mask around

we'll just do kind of a soft mask around her like this. And then we'll track this

her like this. And then we'll track this back and forth. So, I'll click this

back and forth. So, I'll click this track back and forth. And it's going to

track back and forth. And it's going to do a pretty good job of at least kind of

do a pretty good job of at least kind of making a blob around her. There isn't a

making a blob around her. There isn't a lot of resolution here. There's a lot of

lot of resolution here. There's a lot of reasons why this would have a lot of

reasons why this would have a lot of trouble, but this is actually going to

trouble, but this is actually going to work out perfectly for what we're trying

work out perfectly for what we're trying to do. I can take the output of this

to do. I can take the output of this magic mask and put it on top of this

magic mask and put it on top of this merge two like this. Let's look at our

merge two like this. Let's look at our media out. And now we have the original

media out. And now we have the original footage layered on top, but only where

footage layered on top, but only where that magic mask is tracing it out. So we

that magic mask is tracing it out. So we could take this magic mask, go to matt,

could take this magic mask, go to matt, push up this blur a little bit, and

push up this blur a little bit, and that's going to make this a little bit

that's going to make this a little bit more of kind of a blurry little blob on

more of kind of a blurry little blob on top of her. Okay. We could take that and

top of her. Okay. We could take that and color correct it like this. Color

color correct it like this. Color corrector like this. And we could maybe

corrector like this. And we could maybe make that bright orange like this. And

make that bright orange like this. And now look, we have this kind of

now look, we have this kind of sort of looks like a heat signature kind

sort of looks like a heat signature kind of thing where she's going. Isn't that

of thing where she's going. Isn't that cool? So cool. Now, this isn't actually

cool? So cool. Now, this isn't actually the greatest use for magic mask. This is

the greatest use for magic mask. This is just going to kind of work great in this

just going to kind of work great in this circumstance. Let's uh let's grab one of

circumstance. Let's uh let's grab one of our color clips. I'll just grab clip

our color clips. I'll just grab clip 106. Maybe put this into Fusion. Make

106. Maybe put this into Fusion. Make sure the clip 106 is tagged with our

sure the clip 106 is tagged with our input color space. Blackmagic Design

input color space. Blackmagic Design 6K film Gen 4. Okay. We could run this

6K film Gen 4. Okay. We could run this through magic mask and we'll just draw

through magic mask and we'll just draw on top of him like this. What that's

on top of him like this. What that's going to do is cut him out pretty darn

going to do is cut him out pretty darn well. We can track this back and forth.

well. We can track this back and forth. And now we'll completely cut him out

And now we'll completely cut him out from the background.

from the background. And we can adjust this mat by blurring

And we can adjust this mat by blurring it a little bit, maybe eroding it. But

it a little bit, maybe eroding it. But then we can take this and maybe we'll

then we can take this and maybe we'll take this same media and color correct

take this same media and color correct it. I don't know, we'll color it blue or

it. I don't know, we'll color it blue or something. put this into our media out

something. put this into our media out and take our magic mask and put it over

and take our magic mask and put it over everything. And now it'll do a really

everything. And now it'll do a really good job of separating that subject from

good job of separating that subject from the background. Not only that, but you

the background. Not only that, but you can put stuff behind him, you know? So,

can put stuff behind him, you know? So, if you want to put some text behind him,

if you want to put some text behind him, let's say,

we can have this behind him because we're separating those layers. And you

we're separating those layers. And you can do this yourself with masks, but it

can do this yourself with masks, but it takes a lot more time and effort to

takes a lot more time and effort to trace him out. And for certain things,

trace him out. And for certain things, Magic Mask works really, really well. It

Magic Mask works really, really well. It doesn't work perfectly with everything,

doesn't work perfectly with everything, but it can really help you save some

but it can really help you save some time when you're doing things like this.

time when you're doing things like this. That said, if you do want to get into

That said, if you do want to get into Fusion, I have a whole bunch of videos

Fusion, I have a whole bunch of videos for free here on YouTube on how to learn

for free here on YouTube on how to learn Fusion, as well as a bunch of courses

Fusion, as well as a bunch of courses that are designed to take you from

that are designed to take you from somebody who has no idea how Fusion

somebody who has no idea how Fusion works to being really comfortable and

works to being really comfortable and using Fusion amazingly. But hopefully

using Fusion amazingly. But hopefully you see the potential of what is

you see the potential of what is possible in the fusion page of Resolve.

possible in the fusion page of Resolve. Now let's get into the next fancy page

Now let's get into the next fancy page color. To follow along with this part,

color. To follow along with this part, if you have the media, there should be a

if you have the media, there should be a folder called color. And what we're

folder called color. And what we're going to do is select and shift select

going to do is select and shift select all of these color clips. Right click on

all of these color clips. Right click on the first one and say create new

the first one and say create new timeline using selected clips. Just like

timeline using selected clips. Just like that. We'll call this color timeline and

that. We'll call this color timeline and hit create.

hit create. That's going to put all of these clips

That's going to put all of these clips here in order. And this is pretty much

here in order. And this is pretty much to simulate if you had an edit where you

to simulate if you had an edit where you had all kinds of different clips.

had all kinds of different clips. They're all put together in a timeline,

They're all put together in a timeline, but now you want to make your colors

but now you want to make your colors look good. We'll walk through all the

look good. We'll walk through all the need to know stuff on the color page in

need to know stuff on the color page in this timeline. Again, to bring it into

this timeline. Again, to bring it into the color page, all you have to do is

the color page, all you have to do is click into color and it will bring that

click into color and it will bring that timeline here into the color page. Very

timeline here into the color page. Very exciting. So, a general overview. The

exciting. So, a general overview. The color page of Resolve is obviously made

color page of Resolve is obviously made for doing color correction. And this is

for doing color correction. And this is another one of those interfaces that I

another one of those interfaces that I mean there's so much stuff here. It

mean there's so much stuff here. It looks like the helm of a spaceship. And

looks like the helm of a spaceship. And you could pretty easily just look at it

you could pretty easily just look at it and be overwhelmed by all the little

and be overwhelmed by all the little buttons and panels and everything. And

buttons and panels and everything. And this isn't even all of them when you

this isn't even all of them when you switch through. I mean, look at this.

switch through. I mean, look at this. It's crazy. Not only can I switch out

It's crazy. Not only can I switch out these panels, but each panel has several

these panels, but each panel has several different panels. It's crazy. The great

different panels. It's crazy. The great news is that you really only need to

news is that you really only need to know a couple of these little panels.

know a couple of these little panels. And we're going to walk through all of

And we're going to walk through all of this. And by the end of this section,

this. And by the end of this section, you're going to be really familiar with

you're going to be really familiar with the color page. If you've ever used a

the color page. If you've ever used a different editing app before, you might

different editing app before, you might be used to, you know, having a bunch of

be used to, you know, having a bunch of shots in your timeline and then you have

shots in your timeline and then you have some kind of effect like a color

some kind of effect like a color corrector or color correction effect and

corrector or color correction effect and you drag it onto the shots and change

you drag it onto the shots and change your color. Sort of like you would do

your color. Sort of like you would do with an effect in the edit page. You

with an effect in the edit page. You have all these shots. You drag it to the

have all these shots. You drag it to the shot. You click on the shot and then you

shot. You click on the shot and then you have some kind of properties panel or

have some kind of properties panel or something where you adjust your color

something where you adjust your color for the shot. And that would totally

for the shot. And that would totally make sense. And there are some color

make sense. And there are some color effects in Resolve that sort of work

effects in Resolve that sort of work that way. But the idea of the color page

that way. But the idea of the color page in Resolve actually kind of simplifies

in Resolve actually kind of simplifies the color correction process. You have

the color correction process. You have multiple shots in your timeline. And

multiple shots in your timeline. And whatever shot you're looking at in the

whatever shot you're looking at in the viewer, whatever shot your playhead is

viewer, whatever shot your playhead is over, that's the shot that you're

over, that's the shot that you're working on, and you're automatically in

working on, and you're automatically in color mode. You don't have to drag any

color mode. You don't have to drag any effects to the shot or anything like

effects to the shot or anything like that. You're just going to adjust the

that. You're just going to adjust the colors of each clip as you look at them.

colors of each clip as you look at them. And so even though this looks like a

And so even though this looks like a really complicated interface, the basics

really complicated interface, the basics of it are actually really simple. We

of it are actually really simple. We have a viewer up here where we can see

have a viewer up here where we can see the shot that we're working on. We click

the shot that we're working on. We click on whatever shot we want. Each one of

on whatever shot we want. Each one of these thumbnails represents a single

these thumbnails represents a single shot in our timeline. And so if we want

shot in our timeline. And so if we want to adjust the shot of our actor here, we

to adjust the shot of our actor here, we just click on his face. And we can play

just click on his face. And we can play this back and even loop it like this. So

this back and even loop it like this. So we have that shot. And as long as we're

we have that shot. And as long as we're looking at it here in the viewer, we can

looking at it here in the viewer, we can mess with our color controls. And we're

mess with our color controls. And we're going to change the colors of that shot

going to change the colors of that shot and that shot only. If we want to adjust

and that shot only. If we want to adjust another shot, we can switch to that

another shot, we can switch to that shot. And now we're adjusting that shot

shot. And now we're adjusting that shot only. You can really think of this in a

only. You can really think of this in a couple main sections. We have our viewer

couple main sections. We have our viewer up here. We have a way to select our

up here. We have a way to select our shots. And then we have all of the color

shots. And then we have all of the color controls. So, this actually is kind of

controls. So, this actually is kind of like the inspector sort of for whatever

like the inspector sort of for whatever shot we want to do our color on. Each of

shot we want to do our color on. Each of these little panels down here is called

these little panels down here is called a color palette. And we use the color

a color palette. And we use the color palettes to adjust the color on whatever

palettes to adjust the color on whatever shot we're working on. We also have a

shot we're working on. We also have a graph up here. And this is also a node

graph up here. And this is also a node graph. Although the nodes in the color

graph. Although the nodes in the color page are slightly more simple. They're

page are slightly more simple. They're the same in that they're little boxes

the same in that they're little boxes and they connect to each other and one

and they connect to each other and one box comes after another box and the

box comes after another box and the nodes flow in order. So if I were to in

nodes flow in order. So if I were to in this first node make this black and

this first node make this black and white and then in the second node make

white and then in the second node make it pink. In the third node we're

it pink. In the third node we're starting with a pinkish purple image. If

starting with a pinkish purple image. If I were to do this the other way and make

I were to do this the other way and make this really pink and then turn it black

this really pink and then turn it black and white, we have a black and white

and white, we have a black and white image because the order matters. The big

image because the order matters. The big difference with these nodes compared to

difference with these nodes compared to the fusion nodes is that while fusion

the fusion nodes is that while fusion nodes really only have one job and if

nodes really only have one job and if you want to do something different you

you want to do something different you have to use a different kind of node,

have to use a different kind of node, each color node is really like a group

each color node is really like a group of corrections. So this first node I can

of corrections. So this first node I can do a bunch of stuff down here in my

do a bunch of stuff down here in my color palettes and it all lives in this

color palettes and it all lives in this one node. So I could make a curve like

one node. So I could make a curve like this. I could turn it green. I can mess

this. I could turn it green. I can mess with all kinds of crazy stuff here. And

with all kinds of crazy stuff here. And this all lives in this one node. If I

this all lives in this one node. If I rightclick and say add node, add serial,

rightclick and say add node, add serial, that's going to make another node in a

that's going to make another node in a series after this node. And so I'm

series after this node. And so I'm starting with the image that this node

starting with the image that this node gave me. So if I desaturate it, and then

gave me. So if I desaturate it, and then maybe I add a little bit more contrast,

maybe I add a little bit more contrast, then that correction is going to happen

then that correction is going to happen after this first correction. I can click

after this first correction. I can click on the number of the node to turn it off

on the number of the node to turn it off and on. And so I can quickly see what my

and on. And so I can quickly see what my image looks like with or without certain

image looks like with or without certain corrections. That's a really nice way to

corrections. That's a really nice way to work. And so all of the corrections and

work. And so all of the corrections and all of the work that I'm doing down here

all of the work that I'm doing down here lives in a node of some kind. And we can

lives in a node of some kind. And we can have as many nodes as we want. And it's

have as many nodes as we want. And it's really up to us to figure out how we

really up to us to figure out how we want to group those corrections. For

want to group those corrections. For instance, some people like to adjust the

instance, some people like to adjust the brightness in the first node. And I can

brightness in the first node. And I can hit Alt S to add another node here. And

hit Alt S to add another node here. And maybe in this second one, they like to

maybe in this second one, they like to adjust the contrast.

adjust the contrast. Alt S. Maybe in this third one they want

Alt S. Maybe in this third one they want to adjust the temperature or the tint or

to adjust the temperature or the tint or whatever and make something warmer or

whatever and make something warmer or darker. And even though you could do all

darker. And even though you could do all of this in one node, it's nice to split

of this in one node, it's nice to split it up into three different parts so that

it up into three different parts so that you can see what it looks like without

you can see what it looks like without the exposure or without the contrast or

the exposure or without the contrast or without the warmness. You can rightclick

without the warmness. You can rightclick and select node label to rename this. So

and select node label to rename this. So this could be warm, this could be

this could be warm, this could be contrast, and this could be exposure.

contrast, and this could be exposure. And you can kind of split this up into

And you can kind of split this up into different jobs. There's no right or

different jobs. There's no right or wrong way to do this. It's really up to

wrong way to do this. It's really up to you to stay organized and to do things

you to stay organized and to do things how you want. You can always reset a

how you want. You can always reset a clip's color by right-clicking in the

clip's color by right-clicking in the empty space and saying reset all grades

empty space and saying reset all grades and nodes. That's going to reset

and nodes. That's going to reset everything. And when a clip doesn't have

everything. And when a clip doesn't have any color adjustments on it, its number

any color adjustments on it, its number is gray. As soon as we touch something,

is gray. As soon as we touch something, its number turns rainbow. That's how we

its number turns rainbow. That's how we know that we've changed some kind of

know that we've changed some kind of color in this clip. So, it's really easy

color in this clip. So, it's really easy to see the clips that you haven't

to see the clips that you haven't changed and the clips that you have. So,

changed and the clips that you have. So, the color page, just like the other

the color page, just like the other pages, uses the edit timeline. So, this

pages, uses the edit timeline. So, this is the same timeline from our edit page.

is the same timeline from our edit page. It's our current timeline that we have

It's our current timeline that we have up. And any color that we do in the

up. And any color that we do in the color page happens by looking at the

color page happens by looking at the image that we want to adjust, which

image that we want to adjust, which automatically selects it down here on

automatically selects it down here on our thumbnail timeline. We can do any

our thumbnail timeline. We can do any kind of adjustments we want down here

kind of adjustments we want down here with the color palettes. All of those

with the color palettes. All of those adjustments live in the nodes. And then

adjustments live in the nodes. And then whatever our image looks like here in

whatever our image looks like here in the color page, it will also look that

the color page, it will also look that way in the edit page. Again, without any

way in the edit page. Again, without any kind of roundt tripping or rendering or

kind of roundt tripping or rendering or converting things or anything like that.

converting things or anything like that. So the idea is that we can quickly go

So the idea is that we can quickly go through our entire edit and we can make

through our entire edit and we can make all the colors look exactly how we want,

all the colors look exactly how we want, make everything look really good, and

make everything look really good, and that all lives on our timeline, and we

that all lives on our timeline, and we can export our edit with our color

can export our edit with our color applied. Now, we're going to get into

applied. Now, we're going to get into the major color palettes down here. The

the major color palettes down here. The stuff that you really need to know here

stuff that you really need to know here in just a minute. But first, we got to

in just a minute. But first, we got to build a little bit of foundation here.

build a little bit of foundation here. We got to talk about it. Color

We got to talk about it. Color management. Let's take a look at this

management. Let's take a look at this shot here. I'll just bring this up full

shot here. I'll just bring this up full screen. And there's a couple things to

screen. And there's a couple things to notice about this shot. This was shot on

notice about this shot. This was shot on a Blackmagic Pocket Cinema Camera 6K. If

a Blackmagic Pocket Cinema Camera 6K. If you don't know what the heck that camera

you don't know what the heck that camera is or you don't care, it's no big deal.

is or you don't care, it's no big deal. But the way this camera shoots, and much

But the way this camera shoots, and much like a lot of professional cameras these

like a lot of professional cameras these days, this shoots in a log format. Now,

days, this shoots in a log format. Now, what the heck does that mean? Log is

what the heck does that mean? Log is basically a way for a camera to capture

basically a way for a camera to capture more colors and more ranges of

more colors and more ranges of brightness by kind of desaturating and

brightness by kind of desaturating and decontrasting the image. There's a lot

decontrasting the image. There's a lot of technical mumbo jumbo here that I'll

of technical mumbo jumbo here that I'll cover in another video at some point,

cover in another video at some point, but basically what happens is to get the

but basically what happens is to get the very most data packed into the video

very most data packed into the video signal, what the camera does is it makes

signal, what the camera does is it makes the blacks not as black, it makes the

the blacks not as black, it makes the whites not as white, and it makes the

whites not as white, and it makes the colors not as colorful. And we end up

colors not as colorful. And we end up with this kind of gray nasty looking

with this kind of gray nasty looking image. And so this image has a lot of

image. And so this image has a lot of potential. It could look really good,

potential. It could look really good, but right now it doesn't look very good.

but right now it doesn't look very good. It's sort of like if you're going

It's sort of like if you're going camping and you buy the world's greatest

camping and you buy the world's greatest tent. It comes in a box and the tent is

tent. It comes in a box and the tent is all rolled up in a bag and it's all kind

all rolled up in a bag and it's all kind of crushed in. It could be the best tent

of crushed in. It could be the best tent in the world, but right now it kind of

in the world, but right now it kind of looks like a box with a bunch of fabric

looks like a box with a bunch of fabric stuffed in it. So, in order to actually

stuffed in it. So, in order to actually go camping and have a good time, you

go camping and have a good time, you have to take that tent out of the box

have to take that tent out of the box and spread it out and based on the

and spread it out and based on the instructions, set up the tent so that it

instructions, set up the tent so that it looks right. That's kind of the same

looks right. That's kind of the same thing that we need to do with this

thing that we need to do with this image. All the information that the

image. All the information that the camera saw is kind of crushed down into

camera saw is kind of crushed down into this gray nasty looking image. And what

this gray nasty looking image. And what we need to do is follow the right

we need to do is follow the right instructions from the camera to unpack

instructions from the camera to unpack this image and make it look nice again.

this image and make it look nice again. That process is called color management.

That process is called color management. It's pretty much for any kind of image

It's pretty much for any kind of image format that isn't Rex 709. What does Rex

format that isn't Rex 709. What does Rex 709 mean? REX 709 is the color space,

709 mean? REX 709 is the color space, the kind of image colors that look good

the kind of image colors that look good on your screen. So, for instance, this

on your screen. So, for instance, this video that you're watching right here is

video that you're watching right here is in Rex 709. My skin is saturated.

in Rex 709. My skin is saturated. There's good contrast and everything

There's good contrast and everything like that, but without any color

like that, but without any color management, it looks a little bit more

management, it looks a little bit more like this, which is kind of desaturated.

like this, which is kind of desaturated. The colors aren't as bright. And so,

The colors aren't as bright. And so, there needs to be this step. Takes our

there needs to be this step. Takes our image from gray nasty looking to

image from gray nasty looking to actually looking good. And so, this

actually looking good. And so, this image right now is Rex 709. and it

image right now is Rex 709. and it doesn't need any color management. It

doesn't need any color management. It doesn't need to be changed into a format

doesn't need to be changed into a format that looks good on your screen. It

that looks good on your screen. It already looks good. Whereas this footage

already looks good. Whereas this footage doesn't look good out of the box. We

doesn't look good out of the box. We need to convert it. Now, what some

need to convert it. Now, what some people will do and what has been done

people will do and what has been done for a long time is somebody will look at

for a long time is somebody will look at this shot and say, you know, I know what

this shot and say, you know, I know what this shot needs. It needs a little bit

this shot needs. It needs a little bit more contrast and it needs a little bit

more contrast and it needs a little bit of saturation. If I add that to this

of saturation. If I add that to this image, then that's going to look really

image, then that's going to look really good. And so, they might use some color

good. And so, they might use some color tools. I'm just going to kind of do this

tools. I'm just going to kind of do this quickly because we're going to get into

quickly because we're going to get into these tools here in just a second. And

these tools here in just a second. And they'll up some contrast and they'll up

they'll up some contrast and they'll up some saturation. And so they've taken

some saturation. And so they've taken this image that looks gray and nasty and

this image that looks gray and nasty and made it look good on the screen. But

made it look good on the screen. But there's one important part that we

there's one important part that we missed here. And that is we didn't

missed here. And that is we didn't follow the instructions. So this is like

follow the instructions. So this is like taking our tent that's all packed up and

taking our tent that's all packed up and then just kind of spreading it out and

then just kind of spreading it out and trying to put it together just

trying to put it together just willy-nilly. It might work and it might

willy-nilly. It might work and it might be a good tent, but a couple things are

be a good tent, but a couple things are going to happen. Is one, it's probably

going to happen. Is one, it's probably not going to be exactly right. And two,

not going to be exactly right. And two, it's going to take a lot of time. And

it's going to take a lot of time. And also, I'm sort of just guessing how

also, I'm sort of just guessing how bright things should be. I'm just kind

bright things should be. I'm just kind of looking on my screen and saying, "Oh,

of looking on my screen and saying, "Oh, yeah. Okay, this white should be about

yeah. Okay, this white should be about that white, and this black should be

that white, and this black should be about that black, and these colors

about that black, and these colors should be about that bright." And if I'm

should be about that bright." And if I'm being honest, I don't really have any

being honest, I don't really have any idea of if they are supposed to be that

idea of if they are supposed to be that bright, if this wall is supposed to be

bright, if this wall is supposed to be bright white or not. I can guess, but

bright white or not. I can guess, but I'm not really going to know. And so,

I'm not really going to know. And so, basically, I'm taking a bunch of time to

basically, I'm taking a bunch of time to kind of guess how the color should look.

kind of guess how the color should look. And so, what we do instead of manually

And so, what we do instead of manually color correcting this is we use color

color correcting this is we use color management. Color management takes the

management. Color management takes the instructions from the camera that

instructions from the camera that recorded this image and made it look

recorded this image and made it look gray and it kind of reverses those

gray and it kind of reverses those instructions to sort of unpack that tent

instructions to sort of unpack that tent and set it up perfectly so that it looks

and set it up perfectly so that it looks exactly how it was intended to look. So,

exactly how it was intended to look. So, how the heck does that work? Well, we

how the heck does that work? Well, we kind of touched on this earlier in the

kind of touched on this earlier in the Fusion portion of this video, but what

Fusion portion of this video, but what we got to do is go to our media pool and

we got to do is go to our media pool and let's right click on our color timeline

let's right click on our color timeline and go to timelines, timeline settings.

and go to timelines, timeline settings. I'm going to uncheck use project

I'm going to uncheck use project settings and go over to color. For this

settings and go over to color. For this color science, the default color

color science, the default color science, which is basically just how

science, which is basically just how Resolve thinks about colors is called Da

Resolve thinks about colors is called Da Vinci YGB. What that basically means is

Vinci YGB. What that basically means is that it's not going to mess with your

that it's not going to mess with your colors in any way. All of it's going to

colors in any way. All of it's going to be manual. Anything that you do is going

be manual. Anything that you do is going to be manual adjusting sliders and

to be manual adjusting sliders and buttons and things like that. So,

buttons and things like that. So, instead of that, we're going to switch

instead of that, we're going to switch this from Da Vinci YGB to Da Vinci YGB

this from Da Vinci YGB to Da Vinci YGB color managed. What that's going to do

color managed. What that's going to do is do its best to look up the

is do its best to look up the instructions that cameras use to make

instructions that cameras use to make those log images and it's going to apply

those log images and it's going to apply kind of reverse math to those

kind of reverse math to those instructions to make the images look

instructions to make the images look good. Now, if you're not that into this,

good. Now, if you're not that into this, you can absolutely just say Da Vinci RGB

you can absolutely just say Da Vinci RGB color managed and then hit okay. What's

color managed and then hit okay. What's going to actually be slightly better is

going to actually be slightly better is if you go to Da Vinci RGB color manage,

if you go to Da Vinci RGB color manage, uncheck automatic color management.

uncheck automatic color management. Right here where it says color

Right here where it says color processing mode, switch this to HDR, Da

processing mode, switch this to HDR, Da Vinci widegamut intermediate. This is

Vinci widegamut intermediate. This is going to basically do the same thing as

going to basically do the same thing as automatic color management. It's just

automatic color management. It's just going to be a little higher quality. If

going to be a little higher quality. If you have questions about that, if you

you have questions about that, if you want me to dive into it, let me know.

want me to dive into it, let me know. But we can switch it to this. All you

But we can switch it to this. All you have to do is make your settings look

have to do is make your settings look like this and then hit okay. Now,

like this and then hit okay. Now, nothing is going to happen by default.

nothing is going to happen by default. All we've done is just told Resolve,

All we've done is just told Resolve, "Hey, we're going to use some color

"Hey, we're going to use some color management." And it said, "Okay, these

management." And it said, "Okay, these images still look gray and washed out

images still look gray and washed out because we haven't told Resolve how we

because we haven't told Resolve how we shot these images. We haven't told it

shot these images. We haven't told it what camera we used. So, what we can do

what camera we used. So, what we can do is go up to our media pool and we can

is go up to our media pool and we can shift select all of our images that are

shift select all of our images that are from the same camera. And I can right

from the same camera. And I can right click on any of them and go down to

click on any of them and go down to input color space. This is where we tell

input color space. This is where we tell it what camera we used. So there are a

it what camera we used. So there are a whole list of different cameras. If

whole list of different cameras. If you're shooting on an iPhone like a 15

you're shooting on an iPhone like a 15 or 16 Pro, something like that, you can

or 16 Pro, something like that, you can select Apple log. There's Blackmagic

select Apple log. There's Blackmagic Design cameras. There's Canon cameras,

Design cameras. There's Canon cameras, Nikon, Leica, Samsung, Sony, all kinds

Nikon, Leica, Samsung, Sony, all kinds of different cameras here. This was shot

of different cameras here. This was shot on a Blackmagic Design camera. We shot

on a Blackmagic Design camera. We shot this on Blackmagic Design Pocket 6K and

this on Blackmagic Design Pocket 6K and the color science was film Gen 4. Now,

the color science was film Gen 4. Now, how the heck do I know that? Well, we

how the heck do I know that? Well, we wrote it down when we shot it. Odds are,

wrote it down when we shot it. Odds are, if you have a professional camera of

if you have a professional camera of some kind, there is a way to look up the

some kind, there is a way to look up the color science. You can Google, "How do I

color science. You can Google, "How do I look up the color science for whatever

look up the color science for whatever your camera is?" It's usually in your

your camera is?" It's usually in your menus under picture styles or something

menus under picture styles or something like that. And chances are, if you have

like that. And chances are, if you have a professional camera, you probably

a professional camera, you probably bought it for that reason anyway. So,

bought it for that reason anyway. So, however you shot this footage, that's

however you shot this footage, that's what you tag this as. If you don't know

what you tag this as. If you don't know how you shot the footage, you should go

how you shot the footage, you should go and try and figure it out because the

and try and figure it out because the only way to do this the right way is to

only way to do this the right way is to actually know. All right, Blackmagic

actually know. All right, Blackmagic Design Pocket 6K Gen Film Gen 4. And

Design Pocket 6K Gen Film Gen 4. And look what happens when I click this.

look what happens when I click this. Boom.

Boom. Now we have footage that looks correct.

Now we have footage that looks correct. So this has good contrast, good

So this has good contrast, good saturation. The images don't look

saturation. The images don't look perfect. We can still make them look

perfect. We can still make them look better. There's still some style we want

better. There's still some style we want to add, but it doesn't look halfway

to add, but it doesn't look halfway black and white like it did. This

black and white like it did. This actually looks as scientifically close

actually looks as scientifically close as it can possibly be to how the colors

as it can possibly be to how the colors looked in real life when we shot this

looked in real life when we shot this footage. And you'll notice that I didn't

footage. And you'll notice that I didn't tweak any sliders. I didn't move

tweak any sliders. I didn't move anything up and down. I didn't change

anything up and down. I didn't change anything around. All I did was enable

anything around. All I did was enable color management and then go to my

color management and then go to my footage and tell Resolve what color

footage and tell Resolve what color science I used. Blackmagic Design Pocket

science I used. Blackmagic Design Pocket 6K film Gen 4. And that gives us a great

6K film Gen 4. And that gives us a great starting point for our color correction.

starting point for our color correction. It really kind of gives us the best of

It really kind of gives us the best of both worlds. We have all this

both worlds. We have all this information that we packed in when we

information that we packed in when we recorded the footage and we're unpacking

recorded the footage and we're unpacking it scientifically so that we can have

it scientifically so that we can have the most information and work in the

the most information and work in the highest quality possible when it comes

highest quality possible when it comes to adjusting our colors. Color

to adjusting our colors. Color management is a just a massively huge

management is a just a massively huge topic, but it's honestly not that much

topic, but it's honestly not that much more complicated than this. In Resolve

more complicated than this. In Resolve 20, they've made color management a lot

20, they've made color management a lot easier. You just enable it in your

easier. You just enable it in your timeline settings under color. Make sure

timeline settings under color. Make sure you have these settings. Any footage

you have these settings. Any footage that you have that's log, you rightclick

that you have that's log, you rightclick input color space and select the color

input color space and select the color space that you used. If you don't know

space that you used. If you don't know the color space or it's footage that

the color space or it's footage that wasn't shot in log, then you can just

wasn't shot in log, then you can just set your input color space to same as

set your input color space to same as timeline or project Rexto9 and it's not

timeline or project Rexto9 and it's not really going to do any tweaks to your

really going to do any tweaks to your colors. It's just going to try and leave

colors. It's just going to try and leave them alone. But do yourself a favor and

them alone. But do yourself a favor and don't skip this step. Color management

don't skip this step. Color management is essential for getting good color

is essential for getting good color grades. It gives you a higher quality

grades. It gives you a higher quality image at the end and it saves you a

image at the end and it saves you a bunch of time because I don't have to go

bunch of time because I don't have to go through and make all of these look

through and make all of these look normal before I even start thinking

normal before I even start thinking about how to make them look really

about how to make them look really great. I can just start with the normal

great. I can just start with the normal image and be on my way. So, now that we

image and be on my way. So, now that we have our color management set up and

have our color management set up and everything is ready for us, let's jump

everything is ready for us, let's jump into what the heck we do in the color

into what the heck we do in the color page. Let's just pick a shot. Maybe this

page. Let's just pick a shot. Maybe this shot number eight here. And let's just

shot number eight here. And let's just have a look at how we would adjust an

have a look at how we would adjust an image just so we have a little bit more

image just so we have a little bit more room. I'm going to close my clips and my

room. I'm going to close my clips and my timeline panels just so we have some

timeline panels just so we have some room here. Maybe even close my effects.

room here. Maybe even close my effects. Sure. I'll even zoom in and crop this a

Sure. I'll even zoom in and crop this a little bit. And let's talk about how we

little bit. And let's talk about how we would actually adjust an image. Again,

would actually adjust an image. Again, because we're looking at this image in

because we're looking at this image in our viewer, that's the image that we're

our viewer, that's the image that we're going to be adjusting with the color

going to be adjusting with the color palette, all of the windows that live

palette, all of the windows that live down here. And there are a lot of

down here. And there are a lot of different color palettes. Look at this.

different color palettes. Look at this. We can really just go through a whole

We can really just go through a whole bunch of these things. And the good news

bunch of these things. And the good news is that you don't need to know all of

is that you don't need to know all of them. Really, you only need to know a

them. Really, you only need to know a couple to do most of the work that you

couple to do most of the work that you need to do here in color. And the one

need to do here in color. And the one we're going to start with is right here,

we're going to start with is right here, this lower left panel called the

this lower left panel called the primaries. And I'm actually going to

primaries. And I'm actually going to make sure that I'm on this little button

make sure that I'm on this little button right here. Up here, this should say

right here. Up here, this should say primaries color wheels. That's the one.

primaries color wheels. That's the one. By the way, if you don't have three

By the way, if you don't have three panels here, like one,

panels here, like one, two, three, and it's two panels or even

two, three, and it's two panels or even one, and maybe these little icons are

one, and maybe these little icons are squished together, don't worry about it.

squished together, don't worry about it. you have the same panels. Almost all of

you have the same panels. Almost all of these panels are in the free version as

these panels are in the free version as well. Again, if something is just in the

well. Again, if something is just in the paid version, I'm going to tell you, but

paid version, I'm going to tell you, but sometimes what it will do is squish one

sometimes what it will do is squish one or two of these panels together for

or two of these panels together for different resolutions on your screen.

different resolutions on your screen. So, if you have your scaling or your

So, if you have your scaling or your resolution set to something different

resolution set to something different than mine, it might not quite look like

than mine, it might not quite look like mine, but you should have the same

mine, but you should have the same panel. So, this primary color wheels

panel. So, this primary color wheels palette, this, I'd say, is where you do

palette, this, I'd say, is where you do most of the work when you're adjusting

most of the work when you're adjusting your colors. And even though it looks

your colors. And even though it looks like there are a lot of controls,

like there are a lot of controls, there's really only three kind of main

there's really only three kind of main controls down here. One is the color

controls down here. One is the color wheel. The other is this little slider

wheel. The other is this little slider here. The other kind of control are

here. The other kind of control are these little number boxes. And if you've

these little number boxes. And if you've never used anything like this before, I

never used anything like this before, I want you to do me a favor and just

want you to do me a favor and just follow along with me. Open up this image

follow along with me. Open up this image and grab the center of this color wheel

and grab the center of this color wheel and just push it around. Just grab it

and just push it around. Just grab it and drag it. And you can see as you drag

and drag it. And you can see as you drag your mouse around, it's going to move

your mouse around, it's going to move that little dot in the middle of the

that little dot in the middle of the wheel away from the center. And the

wheel away from the center. And the farther it gets away from that center,

farther it gets away from that center, the more color it's going to push into

the more color it's going to push into your image. And the direction that it

your image. And the direction that it pushes is going to be the hue, the color

pushes is going to be the hue, the color that is pushed into the image. And so if

that is pushed into the image. And so if I want to make this look very blue, I

I want to make this look very blue, I take this and move this down to the

take this and move this down to the lower right a lot. And that makes this

lower right a lot. And that makes this very blue. And so that's like a third of

very blue. And so that's like a third of what you need to know as far as actual

what you need to know as far as actual controls down here in the primaries. The

controls down here in the primaries. The second one, this little slider, this is

second one, this little slider, this is called the master wheel. And if you grab

called the master wheel. And if you grab the master wheel and you move your mouse

the master wheel and you move your mouse to the right or to the left, that makes

to the right or to the left, that makes things brighter to the right or darker

things brighter to the right or darker to the left. You can also mouse over

to the left. You can also mouse over this and scroll with your scroll wheel.

this and scroll with your scroll wheel. Adjust that. And so just with these two

Adjust that. And so just with these two controls, we can adjust the tint of the

controls, we can adjust the tint of the image as well as the brightness. And

image as well as the brightness. And this color wheel master wheel combo,

this color wheel master wheel combo, this is just duplicated three more

this is just duplicated three more times. And so it's the same basic kind

times. And so it's the same basic kind of control, but why is this split up

of control, but why is this split up into four parts? Well, what's happening

into four parts? Well, what's happening here is if you move the offset, that's

here is if you move the offset, that's going to adjust the colors of the entire

going to adjust the colors of the entire image. Same thing for the offset master

image. Same thing for the offset master wheel. The brightness is going to go up

wheel. The brightness is going to go up or down for the entire image. But lift,

or down for the entire image. But lift, gamma, and gain splits the image up into

gamma, and gain splits the image up into kind of the darker part, the midtones,

kind of the darker part, the midtones, and the brighter parts. And so, which

and the brighter parts. And so, which one you grab depends on what you want to

one you grab depends on what you want to adjust in the image. And so, if I want

adjust in the image. And so, if I want the brighter parts to be more yellow, I

the brighter parts to be more yellow, I select the gain because that's the

select the gain because that's the brighter parts. And I push this a little

brighter parts. And I push this a little bit more towards yellow. Now, this is

bit more towards yellow. Now, this is going to make the entire image a little

going to make the entire image a little bit more yellow, but it's going to be

bit more yellow, but it's going to be strongest in the bright parts. So, we

strongest in the bright parts. So, we can see how it's really yellow right

can see how it's really yellow right here and in here in the brighter parts.

here and in here in the brighter parts. And the parts that are black are maybe

And the parts that are black are maybe just a little yellow, but not super

just a little yellow, but not super yellow like these brights. If I were to

yellow like these brights. If I were to do the same thing, take the lift, which

do the same thing, take the lift, which is the darkest parts, and push those

is the darkest parts, and push those towards yellow. We'll see we're starting

towards yellow. We'll see we're starting to really tint the darker parts of the

to really tint the darker parts of the image, but the brighter parts right here

image, but the brighter parts right here stay white. That's because this is

stay white. That's because this is strongest in the darker parts of the

strongest in the darker parts of the image. And then, as you might imagine,

image. And then, as you might imagine, the gamma, these are the midtones, and

the gamma, these are the midtones, and this is going to be strongest in the

this is going to be strongest in the medium brightness kind of parts of the

medium brightness kind of parts of the image. So, depending on what you're

image. So, depending on what you're going for here, you might choose to

going for here, you might choose to adjust the offset, lift, gamma, or gain

adjust the offset, lift, gamma, or gain of your image and adjust the color or

of your image and adjust the color or the brightness of that part. So, for

the brightness of that part. So, for instance, if I want to make the bright

instance, if I want to make the bright parts brighter, I can go to the gain and

parts brighter, I can go to the gain and take this master wheel and drag it to

take this master wheel and drag it to the right, and that's going to make the

the right, and that's going to make the brighter parts brighter. The darker

brighter parts brighter. The darker parts are pretty much going to stay kind

parts are pretty much going to stay kind of where they are. If I want to make the

of where they are. If I want to make the darker parts darker, I can go to lift

darker parts darker, I can go to lift and take that master wheel and take it

and take that master wheel and take it to the left. And that's going to make

to the left. And that's going to make the darker parts darker. And I can go

the darker parts darker. And I can go really, really crazy on this. And that's

really, really crazy on this. And that's going to darken the darker parts. But

going to darken the darker parts. But look, the bright parts stay the same. So

look, the bright parts stay the same. So if I want to do something like give this

if I want to do something like give this image more contrast, one thing I can do

image more contrast, one thing I can do is take the bright parts and push them

is take the bright parts and push them to the right to brighten that up and the

to the right to brighten that up and the dark parts and push it to the left.

dark parts and push it to the left. That's going to give this more contrast.

That's going to give this more contrast. And again, all of these adjustments,

And again, all of these adjustments, anything that I do down here lives in

anything that I do down here lives in this node. So I could turn this node off

this node. So I could turn this node off and on to see what's happening. So I'm

and on to see what's happening. So I'm just upping that contrast by pushing the

just upping that contrast by pushing the gain up and the lift down in their

gain up and the lift down in their master wheels. If I want to reset

master wheels. If I want to reset anything that's happening in the

anything that's happening in the primaries, I can click this little reset

primaries, I can click this little reset button. I can also rightclick on this

button. I can also rightclick on this node and say reset node grade. That will

node and say reset node grade. That will reset anything that is done in this

reset anything that is done in this node. If I want to boost up the

node. If I want to boost up the brightness of kind of medium tones right

brightness of kind of medium tones right here, I can take the gamma and push that

here, I can take the gamma and push that up. That's going to leave the bright

up. That's going to leave the bright parts about where they are and the dark

parts about where they are and the dark parts about where they are and push up

parts about where they are and push up the midtones. So, what we've gone over

the midtones. So, what we've gone over here pretty much covers all of this

here pretty much covers all of this panel. These little numbers, these

panel. These little numbers, these little controls here, these are called

little controls here, these are called the primary controls. And the primary

the primary controls. And the primary controls are other kind of little

controls are other kind of little specific things about the image. So, for

specific things about the image. So, for instance, there is a contrast control.

instance, there is a contrast control. So, this is another way that I can put

So, this is another way that I can put some contrast into the image. I can take

some contrast into the image. I can take this contrast and drag it to the right.

this contrast and drag it to the right. And that again is going to make the

And that again is going to make the darker parts dark and the brighter parts

darker parts dark and the brighter parts brighter. The pivot adjusts kind of the

brighter. The pivot adjusts kind of the split between what it thinks is dark

split between what it thinks is dark versus light. So if I push this pivot to

versus light. So if I push this pivot to the left, it's going to think more

the left, it's going to think more things are bright. If I push it to the

things are bright. If I push it to the right, it's going to think more things

right, it's going to think more things are dark. And so I can use this contrast

are dark. And so I can use this contrast and pivot to dial in the contrast of my

and pivot to dial in the contrast of my image to be exactly how I want. And that

image to be exactly how I want. And that might be a little bit more easy than

might be a little bit more easy than pushing up the gain and the pushing down

pushing up the gain and the pushing down the lift. We also have temperature and

the lift. We also have temperature and tint, which is an easy way to adjust

tint, which is an easy way to adjust something like white balance. Or if I

something like white balance. Or if I want this whole thing to feel a little

want this whole thing to feel a little bit more cool, I can take the

bit more cool, I can take the temperature and just grab that and push

temperature and just grab that and push that to the left. And now kind of a blue

that to the left. And now kind of a blue tone. And I can balance it between green

tone. And I can balance it between green and magenta like this. I can warm it up

and magenta like this. I can warm it up by bringing the temperature to the

by bringing the temperature to the right. And I can double click on any of

right. And I can double click on any of these to reset them. Down below I have

these to reset them. Down below I have some more controls. Shadows are the

some more controls. Shadows are the darker midtones of the image. Highlights

darker midtones of the image. Highlights are the brighter midtones of the image.

are the brighter midtones of the image. So it's almost like you have a master

So it's almost like you have a master wheel kind of between the lift and gamma

wheel kind of between the lift and gamma and the gamma and gain. That's what goes

and the gamma and gain. That's what goes right here. We have the saturation of

right here. We have the saturation of the whole image. So that's how strong

the whole image. So that's how strong the colors are. If I take this and drag

the colors are. If I take this and drag it all the way to the right, we have

it all the way to the right, we have very punchy colors. Hue is what actual

very punchy colors. Hue is what actual color things are. Pretty rarely use that

color things are. Pretty rarely use that unless you're trying to actually change

unless you're trying to actually change the color of something. Color boost is

the color of something. Color boost is like saturation except for it targets

like saturation except for it targets the things that are less saturated. And

the things that are less saturated. And so if you want to saturate the things

so if you want to saturate the things that are less saturated, you could push

that are less saturated, you could push up the color boost a little bit. And

up the color boost a little bit. And there are a few other buttons and

there are a few other buttons and sliders here that you can learn at some

sliders here that you can learn at some point, but these are the main ones.

point, but these are the main ones. lift, gamma, gain, offset, saturation,

lift, gamma, gain, offset, saturation, temp, tint, contrast, color boost. Those

temp, tint, contrast, color boost. Those are the big ones. And the cool thing is

are the big ones. And the cool thing is that just understanding this part of

that just understanding this part of this panel, you can do so much. You can

this panel, you can do so much. You can really make your colors look good for

really make your colors look good for your movie. I mean, this is seriously,

your movie. I mean, this is seriously, this is all you need. This combined with

this is all you need. This combined with color management, there's no reason why

color management, there's no reason why you can't correct your shots and make

you can't correct your shots and make them look really nice. So, here's what I

them look really nice. So, here's what I want you to do right now. Find this clip

want you to do right now. Find this clip and I want you to play around with the

and I want you to play around with the primaries. make this shot look as good

primaries. make this shot look as good as you can just using the primaries

as you can just using the primaries palette. So, one thing that I might do

palette. So, one thing that I might do is just push a little bit of contrast in

is just push a little bit of contrast in here. I might maybe push up the offset a

here. I might maybe push up the offset a little bit. Maybe I'll take the

little bit. Maybe I'll take the temperature a little bit more blue. I

temperature a little bit more blue. I can push and pull this contrast, adjust

can push and pull this contrast, adjust the pivot a little bit. Maybe push up

the pivot a little bit. Maybe push up some saturation. Maybe we'll push some

some saturation. Maybe we'll push some color boost instead. Something like

color boost instead. Something like that. Maybe take that offset up just a

that. Maybe take that offset up just a little bit. And so now we have a really

little bit. And so now we have a really nice looking image here. Has some

nice looking image here. Has some contrast. We have some blue coming in

contrast. We have some blue coming in from the windows. We have some warm on

from the windows. We have some warm on her face. overall looks pretty nice.

her face. overall looks pretty nice. This really is the Swiss Army knife of

This really is the Swiss Army knife of the color page. If you learn just the

the color page. If you learn just the primary color wheels, I'm telling you,

primary color wheels, I'm telling you, it's so powerful cuz check this out. We

it's so powerful cuz check this out. We can go to any shot. I'm just hitting

can go to any shot. I'm just hitting down on the keyboard. Sure. Let's grab

down on the keyboard. Sure. Let's grab this shot here where he's zipping up the

this shot here where he's zipping up the backpack. We can adjust this. Maybe

backpack. We can adjust this. Maybe we'll take the gain down a little bit.

we'll take the gain down a little bit. Push the gamma up. Put a little contrast

Push the gamma up. Put a little contrast in there. Maybe a little saturation just

in there. Maybe a little saturation just to make this look really nice. Maybe

to make this look really nice. Maybe it's a little bit too warm. We could

it's a little bit too warm. We could take the temperature down. Make that

take the temperature down. Make that temperature a little bit more blue.

temperature a little bit more blue. Yeah, something like that. And we can

Yeah, something like that. And we can have a nice looking shot. Here's before,

have a nice looking shot. Here's before, which was just way too bright. After

which was just way too bright. After looks good. Here's this shot right here,

looks good. Here's this shot right here, which kind of feels gray and a little

which kind of feels gray and a little bit dark and maybe a little bit green.

bit dark and maybe a little bit green. Maybe we'll take this offset up a little

Maybe we'll take this offset up a little bit. Push some saturation in there.

bit. Push some saturation in there. Maybe take this away from green a little

Maybe take this away from green a little bit. Just push this tint a little bit.

bit. Just push this tint a little bit. Maybe take the temperature a little bit

Maybe take the temperature a little bit blue just to balance out those whites a

blue just to balance out those whites a little bit. Maybe add a little contrast.

little bit. Maybe add a little contrast. Play with the pivot a little bit. And

Play with the pivot a little bit. And here is before and here's after. See

here is before and here's after. See that difference? Isn't that amazing what

that difference? Isn't that amazing what we can do just with this one panel?

we can do just with this one panel? Isn't that nuts? This is the kind of

Isn't that nuts? This is the kind of thing that is available to you for free

thing that is available to you for free in Resolve. This is why Resolve is the

in Resolve. This is why Resolve is the king of the color correction apps. It's

king of the color correction apps. It's the best app in the world for color

the best app in the world for color correction because all of that power is

correction because all of that power is right here. Isn't that nuts? You already

right here. Isn't that nuts? You already know enough to color grade like a whole

know enough to color grade like a whole movie. Now, is there more that you can

movie. Now, is there more that you can do? Are there more techniques? Are there

do? Are there more techniques? Are there more tools? Absolutely. But this primary

more tools? Absolutely. But this primary color wheel panel, this is the bee's

color wheel panel, this is the bee's knees. So, take some time, go through

knees. So, take some time, go through these shots and see what you can do.

these shots and see what you can do. Here's our outside shot again. Maybe we

Here's our outside shot again. Maybe we want to just take the exposure down a

want to just take the exposure down a little bit. Maybe add a little contrast.

little bit. Maybe add a little contrast. Maybe brighten this up. I can push the

Maybe brighten this up. I can push the gain a little bit more orange. We can

gain a little bit more orange. We can have kind of a more of a sunset look

have kind of a more of a sunset look here. Just push this pivot down. Maybe

here. Just push this pivot down. Maybe take this saturation down a touch. And

take this saturation down a touch. And we can make a really cool look compared

we can make a really cool look compared to what we had just using those

to what we had just using those primaries. Ah, so cool. Now, I'm going

primaries. Ah, so cool. Now, I'm going to rightclick and reset all grades and

to rightclick and reset all grades and nodes right here. Let's talk about the

nodes right here. Let's talk about the second most useful palette here on the

second most useful palette here on the color page. And that is the custom

color page. And that is the custom curves. The custom curves right here.

curves. The custom curves right here. This, if you've used an image editing

This, if you've used an image editing app that has curves like this, is going

app that has curves like this, is going to feel very familiar. If you haven't,

to feel very familiar. If you haven't, pretty much how this works is this is a

pretty much how this works is this is a graph. A graph of the brightnesses of an

graph. A graph of the brightnesses of an image. So, the bottom part here, this is

image. So, the bottom part here, this is the input. That's the input

the input. That's the input brightnesses. This axis is the output.

brightnesses. This axis is the output. down here is black and up here is white

down here is black and up here is white and in the middle is like gray. And so

and in the middle is like gray. And so if I were to find a point from left to

if I were to find a point from left to right that's maybe in the middle right

right that's maybe in the middle right here, this would be the input gray. So

here, this would be the input gray. So that would be right there on that line.

that would be right there on that line. If I want to make the gray parts

If I want to make the gray parts brighter, I would push this line up

brighter, I would push this line up because right now it's gray equals gray.

because right now it's gray equals gray. And if I want the gray to be light gray,

And if I want the gray to be light gray, I could say gray equals light gray like

I could say gray equals light gray like that. So I'll just take this and push

that. So I'll just take this and push this up. And what that will do is push

this up. And what that will do is push up the midtones basically. That's maybe

up the midtones basically. That's maybe a little strong. So I can push this up

a little strong. So I can push this up like this. The black parts are down

like this. The black parts are down here. And so I can push the black parts

here. And so I can push the black parts up. That's going to essentially do the

up. That's going to essentially do the same thing as my master wheel and my

same thing as my master wheel and my lift. This upper part is like the master

lift. This upper part is like the master wheel of my gain. So if I take my gain

wheel of my gain. So if I take my gain up and to the left, that's going to make

up and to the left, that's going to make more things bright. I can also take this

more things bright. I can also take this down and take the brightness of the

down and take the brightness of the bright parts down like that. I can take

bright parts down like that. I can take this black point and move it to the

this black point and move it to the right and keep it on the floor. And that

right and keep it on the floor. And that just makes more things black. And so you

just makes more things black. And so you have a lot of control over your image

have a lot of control over your image with this curve. So if I want to make

with this curve. So if I want to make the brighter parts of the image a little

the brighter parts of the image a little brighter and the darker parts of the

brighter and the darker parts of the image a little darker, well, I can make

image a little darker, well, I can make what we call an S-curve. Kind of looks

what we call an S-curve. Kind of looks like an S. And that's going to add a

like an S. And that's going to add a nice bit of contrast to my image. This

nice bit of contrast to my image. This S-curve is pretty much how you get kind

S-curve is pretty much how you get kind of a filmic contrast. There's always

of a filmic contrast. There's always some kind of version of this curve built

some kind of version of this curve built in. And usually you can add a few

in. And usually you can add a few different things. You could push up

different things. You could push up these blacks a little bit, crush the

these blacks a little bit, crush the lower mid tones down, maybe take

lower mid tones down, maybe take highlights down a little bit, but push

highlights down a little bit, but push up the upper mid tones. And you have

up the upper mid tones. And you have this nice kind of highlight roll off

this nice kind of highlight roll off there. Maybe even want to crush the

there. Maybe even want to crush the shadows in a little bit more. And so now

shadows in a little bit more. And so now we have this nice feeling that's nice

we have this nice feeling that's nice and rich just from this curve. I tell

and rich just from this curve. I tell you what, getting used to using this

you what, getting used to using this curve, oh man, you can make such nice

curve, oh man, you can make such nice images. And especially when you combine

images. And especially when you combine this curve with these primary color

this curve with these primary color wheels, chef's kiss. There are a lot of

wheels, chef's kiss. There are a lot of controls over here that honestly I don't

controls over here that honestly I don't use that often, so I'm going to skip

use that often, so I'm going to skip them. This is the important part right

them. This is the important part right here. You can also use this button right

here. You can also use this button right here to make big old curves. So if you

here to make big old curves. So if you want to get really detailed with your

want to get really detailed with your curve here, you could totally do that.

curve here, you could totally do that. But there are also some other kinds of

But there are also some other kinds of curves here. Selecting this second

curves here. Selecting this second little icon, this will bring us our hue

little icon, this will bring us our hue versus hue curves. Just like this curve

versus hue curves. Just like this curve is the input brightnesses versus the

is the input brightnesses versus the output brightnesses. These other curves

output brightnesses. These other curves are kind of just other graphs. So this

are kind of just other graphs. So this one is the input hue. So that's the

one is the input hue. So that's the actual color of the light versus the

actual color of the light versus the output hue. Okay. So if I want to take

output hue. Okay. So if I want to take stuff that is kind of this reddish part,

stuff that is kind of this reddish part, I can select the red and maybe I can add

I can select the red and maybe I can add a couple other little control points

a couple other little control points here. And if I push the red around, I

here. And if I push the red around, I can kind of move this back and forth and

can kind of move this back and forth and just change the reds. So this is great

just change the reds. So this is great if you need to change specific color.

if you need to change specific color. You can just kind of target that

You can just kind of target that specific color here on the chart. And

specific color here on the chart. And boom, we have a purple house. It's very

boom, we have a purple house. It's very selective. Similarly, we have hue versus

selective. Similarly, we have hue versus saturation. So you pick the hue that you

saturation. So you pick the hue that you want to adjust the saturation for. Maybe

want to adjust the saturation for. Maybe this green. By the way, you can click on

this green. By the way, you can click on the image when you have these curves up

the image when you have these curves up and it's going to add a control point

and it's going to add a control point for you. So I could click and drag and

for you. So I could click and drag and just color over where I want to select.

just color over where I want to select. That's going to select all the kind of

That's going to select all the kind of yellowish green. And I can take the

yellowish green. And I can take the saturation down. And so now we have all

saturation down. And so now we have all of these trees just black and white.

of these trees just black and white. See, here's the difference. It's not

See, here's the difference. It's not affecting the house too much. It's

affecting the house too much. It's mostly this kind of green stuff. We also

mostly this kind of green stuff. We also have hue versus luminance. So that's

have hue versus luminance. So that's just the brightness of certain hues. So

just the brightness of certain hues. So if I want to darken this backpack, I can

if I want to darken this backpack, I can select this backpack and maybe take that

select this backpack and maybe take that down a little bit in our hue versus

down a little bit in our hue versus luminance. That can be kind of nice

luminance. That can be kind of nice sometimes. We also have luminance versus

sometimes. We also have luminance versus saturation. And so depending on how

saturation. And so depending on how bright something is, you can adjust how

bright something is, you can adjust how saturated it is. And so a little trick

saturated it is. And so a little trick some people use is just to desaturate

some people use is just to desaturate anything that's getting close to white

anything that's getting close to white and desaturate anything that's close to

and desaturate anything that's close to black. And so really we only have

black. And so really we only have saturation in the midtones. And oftent

saturation in the midtones. And oftent times you can add a pretty harsh curve

times you can add a pretty harsh curve on this and it doesn't make that big of

on this and it doesn't make that big of a difference unless you have a really

a difference unless you have a really harsh push on it. So if I push this

harsh push on it. So if I push this offset really blue, you can see that

offset really blue, you can see that with this curve on it, we don't add too

with this curve on it, we don't add too much blue to the shadows or the

much blue to the shadows or the highlights. These are still black and

highlights. These are still black and these are still white. So if I were to

these are still white. So if I were to take this out, everything would be blue.

take this out, everything would be blue. We also have saturation versus

We also have saturation versus saturation. So if something is more

saturation. So if something is more saturated, we can remap it to be less

saturated, we can remap it to be less saturated and so on. This kind of helps

saturated and so on. This kind of helps us kind of keep our saturation problems

us kind of keep our saturation problems under control. We have something that's

under control. We have something that's just way too bright. Then we have

just way too bright. Then we have saturation versus luminance. So if

saturation versus luminance. So if something's more saturated or less

something's more saturated or less saturated, you can turn its brightness

saturated, you can turn its brightness up or down. So yeah, if I could only

up or down. So yeah, if I could only teach you one panel, it would be the

teach you one panel, it would be the primaries. If I could only teach you two

primaries. If I could only teach you two panels, it would be the curves and the

panels, it would be the curves and the primary. And now before we go any

primary. And now before we go any further, I want to stop and talk about

further, I want to stop and talk about the scopes. This is pretty darn

the scopes. This is pretty darn important when it comes to color

important when it comes to color grading. And I don't want you to watch

grading. And I don't want you to watch through the color part of this video and

through the color part of this video and not know how to read scopes cuz that

not know how to read scopes cuz that would be sad. Down in the lower right,

would be sad. Down in the lower right, we have a panel called color scopes. And

we have a panel called color scopes. And you can select the kind of scopes with

you can select the kind of scopes with this little drop down here. There are a

this little drop down here. There are a few different kind of scopes. Parade

few different kind of scopes. Parade waveform, vector scope, histogram, and

waveform, vector scope, histogram, and CIE chromaticity. We're going to start

CIE chromaticity. We're going to start with the waveform. And I'm going to put

with the waveform. And I'm going to put this into big mode. That'll bring up our

this into big mode. That'll bring up our big scopes here. And I'll switch this to

big scopes here. And I'll switch this to a single scope. And I'll go to this

a single scope. And I'll go to this little menu here. And I'm going to turn

little menu here. And I'm going to turn off colorize and switch this to Y mode

off colorize and switch this to Y mode just because it's easier for me to

just because it's easier for me to explain some things. This is called a

explain some things. This is called a waveform scope. And the idea of this

waveform scope. And the idea of this scope is that it is a graph of all of

scope is that it is a graph of all of the colors in your image. So every pixel

the colors in your image. So every pixel in your image has a little dot on this

in your image has a little dot on this graph somewhere. And on this graph on

graph somewhere. And on this graph on the x-axis here, we have the horizontal

the x-axis here, we have the horizontal position of each pixel. All right? So

position of each pixel. All right? So that means that a pixel that's over here

that means that a pixel that's over here on the left is going to be somewhere

on the left is going to be somewhere here on the left of our scope. A pixel

here on the left of our scope. A pixel that's going to be in the middle of our

that's going to be in the middle of our image is going to be somewhere here in

image is going to be somewhere here in the middle of our scope. But we really

the middle of our scope. But we really only care about the horizontal position

only care about the horizontal position here. Why is that? Because the up and

here. Why is that? Because the up and down is the graph of the brightness. So

down is the graph of the brightness. So it's the horizontal position and the

it's the horizontal position and the brightness. So, what that means is that

brightness. So, what that means is that if we had something really bright, let's

if we had something really bright, let's actually let's go to a different shot

actually let's go to a different shot that's a little bit easier to figure out

that's a little bit easier to figure out here. If we had something that's a

here. If we had something that's a little bit brighter on the left side of

little bit brighter on the left side of our image, it's going to be on the left

our image, it's going to be on the left side of our graph and it's going to be

side of our graph and it's going to be towards the top. So, this bit right

towards the top. So, this bit right here, this is going to be this kind of

here, this is going to be this kind of bluish part. It's a little bit towards

bluish part. It's a little bit towards the top. It's at about 10% into the

the top. It's at about 10% into the image and it's brighter. So, that is

image and it's brighter. So, that is right here. If we look at our scope, we

right here. If we look at our scope, we also have something on the right side of

also have something on the right side of the image that's a little bit brighter

the image that's a little bit brighter than this blue. And it's especially

than this blue. And it's especially bright, right? There's like something

bright, right? There's like something really bright right here. Something like

really bright right here. Something like that. And so, let's look at this. Yeah,

that. And so, let's look at this. Yeah, there we go. We have this lamp right

there we go. We have this lamp right here. So, it's really bright right

here. So, it's really bright right there. We also have the second lamp,

there. We also have the second lamp, which is this spike right here. This

which is this spike right here. This lamp is right here. We have something

lamp is right here. We have something bright right here. So, that's going to

bright right here. So, that's going to be this part of his arm. And so we can

be this part of his arm. And so we can kind of tell what the brightness of

kind of tell what the brightness of things are from this waveform scope.

things are from this waveform scope. This graph is from 1023 to 0. What the

This graph is from 1023 to 0. What the heck does that mean? There's technical

heck does that mean? There's technical reasons. Basically, 1023 is pure white

reasons. Basically, 1023 is pure white and 0 is pure black. So if you have an

and 0 is pure black. So if you have an image with things that should look

image with things that should look bright and things that should look pure

bright and things that should look pure black, you're going to have a signal

black, you're going to have a signal that stretches from 0 to 1023. A lot of

that stretches from 0 to 1023. A lot of things in the real world aren't actually

things in the real world aren't actually pure white and pure black. And so oftent

pure white and pure black. And so oftent times you'll have stuff that's almost a

times you'll have stuff that's almost a zero and maybe somewhere up in here. And

zero and maybe somewhere up in here. And that's in fact what we have right here.

that's in fact what we have right here. Right here. That's kind of where our

Right here. That's kind of where our image lives. Let's look at another image

image lives. Let's look at another image here. Here's one that's a little

here. Here's one that's a little brighter. You'll see we have this big

brighter. You'll see we have this big kind of purple blanket here that's

kind of purple blanket here that's somewhat darker. That's right here in

somewhat darker. That's right here in our signal. We have brighter parts. This

our signal. We have brighter parts. This little edge right here. This kind of

little edge right here. This kind of bright part. This bright part. That's

bright part. This bright part. That's right here. We have his shirt, which is

right here. We have his shirt, which is going to be hereish. And once you go

going to be hereish. And once you go through a few different shots, you can

through a few different shots, you can start to be able to read the scope a

start to be able to read the scope a little better. Here in this shot, we

little better. Here in this shot, we have this really bright part here.

have this really bright part here. That's this. This waveform scope is

That's this. This waveform scope is great for knowing the brightnesses of

great for knowing the brightnesses of things. But what's even more helpful is

things. But what's even more helpful is the parade. So, we can switch from

the parade. So, we can switch from waveform to parade. And what that is is

waveform to parade. And what that is is basically three waveform scopes next to

basically three waveform scopes next to each other. One for the red channel, one

each other. One for the red channel, one for the green channel, and one for the

for the green channel, and one for the blue channel. All images are made up of

blue channel. All images are made up of a combination of red, green, and blue

a combination of red, green, and blue light. And the percentage of light in

light. And the percentage of light in each channel determines what color

each channel determines what color things are going to be. If you have

things are going to be. If you have equal parts red, green, and blue light,

equal parts red, green, and blue light, that makes a neutral color like gray or

that makes a neutral color like gray or white or black. So, what's cool about

white or black. So, what's cool about this is if we can find something that's

this is if we can find something that's supposed to be relatively neutral, let's

supposed to be relatively neutral, let's say this pavement right here, we can

say this pavement right here, we can find that on the scope, which is going

find that on the scope, which is going to be right here, and we can balance

to be right here, and we can balance that using our color wheels to kind of

that using our color wheels to kind of fix the white balance. So, if this came

fix the white balance. So, if this came in like this, we would know that this is

in like this, we would know that this is a little bit tinted blue because if this

a little bit tinted blue because if this is assuming this is supposed to be gray,

is assuming this is supposed to be gray, which you honestly don't know, but it's

which you honestly don't know, but it's probably going to be pretty close to

probably going to be pretty close to gray, this signal should be equal across

gray, this signal should be equal across these channels. And so, if I can adjust

these channels. And so, if I can adjust this offset and make that signal equal,

this offset and make that signal equal, then the image is going to look

then the image is going to look balanced. Like here, let's try another

balanced. Like here, let's try another shot. If we wanted to white balance to

shot. If we wanted to white balance to this wall, we can pick the wall here in

this wall, we can pick the wall here in our signals and we can balance that out.

our signals and we can balance that out. Right now, the red channel is a little

Right now, the red channel is a little bit higher than the green channel, and

bit higher than the green channel, and the blue channel is a little bit higher

the blue channel is a little bit higher than the green channel. So, what this

than the green channel. So, what this means is this is going to look just a

means is this is going to look just a little bit pink. Now, it's hard to tell

little bit pink. Now, it's hard to tell just by looking at that image, which is

just by looking at that image, which is honestly why we have the scopes, but I

honestly why we have the scopes, but I can take this offset and I can push this

can take this offset and I can push this around until, and I just need to do it a

around until, and I just need to do it a little bit until these are right about

little bit until these are right about equal. And now this is going to be a

equal. And now this is going to be a neutral color. That's going to be a

neutral color. That's going to be a gray. We could also do this for the

gray. We could also do this for the window, which we can tell just by

window, which we can tell just by looking at it is a little bit blue, but

looking at it is a little bit blue, but we can confirm it with this signal right

we can confirm it with this signal right here. Red, green, blue. If you have blue

here. Red, green, blue. If you have blue higher than red and green, it's going to

higher than red and green, it's going to have more blue light, which means it's

have more blue light, which means it's going to be tinted blue. Actually, a

going to be tinted blue. Actually, a little bit more cyan because the green

little bit more cyan because the green is high, too. So, again, we can take

is high, too. So, again, we can take this offset and we can move this around

this offset and we can move this around like this. And if we move this around

like this. And if we move this around and just balance those signals, then we

and just balance those signals, then we can balance those out. And now this is

can balance those out. And now this is like a neutral white. Okay, it's like a

like a neutral white. Okay, it's like a neutral bright gray. Everything else is

neutral bright gray. Everything else is thrown off though because this is more

thrown off though because this is more of a blue light that's coming into the

of a blue light that's coming into the window and the white neutral light is

window and the white neutral light is more on our subject. And so when we

more on our subject. And so when we balance this to white, everything else

balance this to white, everything else kind of turns yellow. So I'll just reset

kind of turns yellow. So I'll just reset that. We can look at this again. We have

that. We can look at this again. We have this is blue. This is maybe just

this is blue. This is maybe just slightly magenta. So depending on if we

slightly magenta. So depending on if we think either of these should be white,

think either of these should be white, then we can balance to that if we want

then we can balance to that if we want to. I can also use my temperature and

to. I can also use my temperature and tint to kind of balance it a little bit.

tint to kind of balance it a little bit. Sure, something like that might be a

Sure, something like that might be a little bit more accurate to an actual

little bit more accurate to an actual balance here. Kind of depends on how you

balance here. Kind of depends on how you want it to look. By the way, it's not

want it to look. By the way, it's not totally essential that you get

totally essential that you get everything perfectly neutally balanced.

everything perfectly neutally balanced. What's important is that the image looks

What's important is that the image looks how you want it to look. Okay, that's

how you want it to look. Okay, that's kind of the bottom line when it comes to

kind of the bottom line when it comes to color correction. If anybody tells you

color correction. If anybody tells you that you need to balance everything and

that you need to balance everything and that everything should have pure bright

that everything should have pure bright whites, completely neutral whites,

whites, completely neutral whites, that's not necessarily true. Sometimes

that's not necessarily true. Sometimes the style that you're going for or the

the style that you're going for or the feeling that you might want to go for in

feeling that you might want to go for in your movie or something that your client

your movie or something that your client might want would be pure neutral whites.

might want would be pure neutral whites. Then in that case, yes, you should make

Then in that case, yes, you should make everything pure neutral white. But

everything pure neutral white. But that's not like a universal thing that

that's not like a universal thing that you need to do for every video. In fact,

you need to do for every video. In fact, pretty much look at any movie and you'll

pretty much look at any movie and you'll see there's usually some kind of tint to

see there's usually some kind of tint to it. It's not always purely beautifully

it. It's not always purely beautifully white balanced. There's a little bit of

white balanced. There's a little bit of style there. The other major scope that

style there. The other major scope that we can talk about here is the vector

we can talk about here is the vector scope. You can think of this like a big

scope. You can think of this like a big color wheel. The closer this signal is

color wheel. The closer this signal is to the middle, the less saturated it is.

to the middle, the less saturated it is. The farther it goes out, the more

The farther it goes out, the more saturated it is. And the direction is

saturated it is. And the direction is the hue. So if we had stuff kind of

the hue. So if we had stuff kind of coming over here towards this B, that's

coming over here towards this B, that's going to be really saturated blue.

going to be really saturated blue. Something up here towards this red is

Something up here towards this red is going to be really saturated red. So you

going to be really saturated red. So you can really tell what colors are in your

can really tell what colors are in your image just by looking at this vector

image just by looking at this vector scope. So just looking at this, we can

scope. So just looking at this, we can see we have a little bit of orange and a

see we have a little bit of orange and a little bit of red. And guess what? Skin

little bit of red. And guess what? Skin is basically light orange. And then we

is basically light orange. And then we have this red. We also have just a

have this red. We also have just a little bit of this kind of cyan blue,

little bit of this kind of cyan blue, which is obviously right here.

which is obviously right here. Everything else is somewhat neutral. If

Everything else is somewhat neutral. If we push the saturation up a lot, we can

we push the saturation up a lot, we can see that this image kind of grows and

see that this image kind of grows and now we have really saturated stuff.

now we have really saturated stuff. Generally, you have this invisible line

Generally, you have this invisible line in between these targets. This right

in between these targets. This right here is like pure magenta, pure blue,

here is like pure magenta, pure blue, pure cyan, pure green, pure yellow, and

pure cyan, pure green, pure yellow, and pure red. And usually, you don't want

pure red. And usually, you don't want your signal even touching these things

your signal even touching these things because it's going to be way too bright

because it's going to be way too bright and it's not going to look natural. You

and it's not going to look natural. You usually want your signal like something

usually want your signal like something like that. That's what tends to look

like that. That's what tends to look natural. You don't usually want it too

natural. You don't usually want it too small like this or it's going to look

small like this or it's going to look desaturated and black and white unless

desaturated and black and white unless you're going for it. But if you're

you're going for it. But if you're looking for just like a normal amount of

looking for just like a normal amount of saturation, you know, maybe somewhere in

saturation, you know, maybe somewhere in there. But the reason that we have

there. But the reason that we have scopes is so that we have some data on

scopes is so that we have some data on what our colors actually look like. The

what our colors actually look like. The reason we need that is because it's very

reason we need that is because it's very easy for your eyes to get used to an

easy for your eyes to get used to an image. You can look at an image and

image. You can look at an image and after a while, even if it's kind of

after a while, even if it's kind of crazy, like I could take this offset and

crazy, like I could take this offset and just push this pretty orangish red and

just push this pretty orangish red and it won't take long just staring at this

it won't take long just staring at this image for your eyes to sort of get used

image for your eyes to sort of get used to it. And they say it usually takes

to it. And they say it usually takes like 10 seconds for your eyes to just

like 10 seconds for your eyes to just kind of accept the colors and it sort of

kind of accept the colors and it sort of just doesn't seem so bad anymore. Like

just doesn't seem so bad anymore. Like right now, I'm looking at this image and

right now, I'm looking at this image and I go, you know, it's a little warm. It's

I go, you know, it's a little warm. It's not crazy. It's not unreasonable, but

not crazy. It's not unreasonable, but this is where we were. It's a huge huge

this is where we were. It's a huge huge difference this warmth that we're

difference this warmth that we're putting into that image. But after a

putting into that image. But after a while, your eyes don't really notice it.

while, your eyes don't really notice it. But when we look at the scope, the scope

But when we look at the scope, the scope always notices it. It says this thing is

always notices it. It says this thing is warm. If we look at the parade, this red

warm. If we look at the parade, this red channel is huge compared to the green

channel is huge compared to the green and blue channels. It is a warm image

and blue channels. It is a warm image objectively. And so the scopes are a way

objectively. And so the scopes are a way for you to tell the tint of an image,

for you to tell the tint of an image, the brightness of an image without your

the brightness of an image without your eyes playing tricks on you because they

eyes playing tricks on you because they do really quickly. In fact, it's usually

do really quickly. In fact, it's usually advised like once you switch to a shot

advised like once you switch to a shot to figure out what you think of that

to figure out what you think of that shot in the first like few seconds

shot in the first like few seconds because if you look at it longer than

because if you look at it longer than that, your eyes start to play tricks on

that, your eyes start to play tricks on you. Okay? So, you'll see a lot of

you. Okay? So, you'll see a lot of people that are into colorists and

people that are into colorists and people that are good to color kind of

people that are good to color kind of switching in between shots like this.

switching in between shots like this. I'm just hitting up and down on the

I'm just hitting up and down on the keyboard. And when you do that, it lets

keyboard. And when you do that, it lets your eyes kind of reset. All right. So,

your eyes kind of reset. All right. So, I go from this one to this one and I go,

I go from this one to this one and I go, I feel like this needs a little bit of

I feel like this needs a little bit of saturation. I can push that up. I feel

saturation. I can push that up. I feel like it needs a little bit of contrast.

like it needs a little bit of contrast. Right? And so we could push that in

Right? And so we could push that in there and then maybe look at something

there and then maybe look at something else for a while. Maybe literally just

else for a while. Maybe literally just look away from your screen and then look

look away from your screen and then look back and then yeah, I mean that looks

back and then yeah, I mean that looks looks pretty good. Maybe it's a little

looks pretty good. Maybe it's a little bit cool. Could maybe add a little bit

bit cool. Could maybe add a little bit of warmth there. Something like that.

of warmth there. Something like that. Maybe take away that green just a touch.

Maybe take away that green just a touch. And so color is part of the way making

And so color is part of the way making decisions on your image, but also part

decisions on your image, but also part of the way resetting your eyes and kind

of the way resetting your eyes and kind of keeping moving because that's the way

of keeping moving because that's the way that you can really make good decisions

that you can really make good decisions with your colors. If you're just spend

with your colors. If you're just spend all your time looking at one image and

all your time looking at one image and you never kind of reset your eyes, your

you never kind of reset your eyes, your eyes will play tricks on you and you'll

eyes will play tricks on you and you'll end up with all kinds of weird stuff.

end up with all kinds of weird stuff. So, for a lot of what I do in the color

So, for a lot of what I do in the color page, I'm pretty much just using these

page, I'm pretty much just using these three palettes, the primary color

three palettes, the primary color wheels, the curves, and looking at the

wheels, the curves, and looking at the scopes, usually on the parade, because I

scopes, usually on the parade, because I can go through a whole movie and do a

can go through a whole movie and do a lot of work and make things look really

lot of work and make things look really good just using these tools. And yeah,

good just using these tools. And yeah, those are kind of the basic controls for

those are kind of the basic controls for actually adjusting an image as a whole.

actually adjusting an image as a whole. Okay, so we have a good idea of how to

Okay, so we have a good idea of how to adjust a single image here in the color

adjust a single image here in the color page. But color grading is more than

page. But color grading is more than just adjusting a single shot. It's all

just adjusting a single shot. It's all about adjusting all of the shots so that

about adjusting all of the shots so that they work together in the context of the

they work together in the context of the movie. So, one of the first things that

movie. So, one of the first things that you're probably thinking is, "Okay, if I

you're probably thinking is, "Okay, if I make an adjustment to one shot and I

make an adjustment to one shot and I want to do the same thing on another

want to do the same thing on another shot that's very similar, do I have to

shot that's very similar, do I have to do all that work again?" And of course,

do all that work again?" And of course, no. That would be terrible. You can

no. That would be terrible. You can easily copy a color grade from one shot

easily copy a color grade from one shot to another one just by selecting the

to another one just by selecting the shot that you want to copy it to and

shot that you want to copy it to and then mousing over the shot you want to

then mousing over the shot you want to copy it from and then clicking down on

copy it from and then clicking down on your scroll wheel. That's this button

your scroll wheel. That's this button right here. clicking down on this scroll

right here. clicking down on this scroll wheel and that will instantly copy the

wheel and that will instantly copy the color grades from the shot that you

color grades from the shot that you clicked on to the shot that was

clicked on to the shot that was selected. And you can do this with

selected. And you can do this with multiple different shots, too. If I hold

multiple different shots, too. If I hold shift and select all of these, middle

shift and select all of these, middle button, mouse click here. If I have a

button, mouse click here. If I have a couple grades selected, it's going to

couple grades selected, it's going to ask me, do you want to replace the

ask me, do you want to replace the existing active grade? I'll say, and now

existing active grade? I'll say, and now it will put that blue over everything.

it will put that blue over everything. All right, so that's how you quickly

All right, so that's how you quickly just copy one grade to another. Anytime

just copy one grade to another. Anytime you want to reset a node, you can

you want to reset a node, you can rightclick here in the empty space and

rightclick here in the empty space and say reset all grades and nodes. You can

say reset all grades and nodes. You can also shift select everything and then do

also shift select everything and then do the same thing. Just right click in the

the same thing. Just right click in the empty space, reset all grades and nodes,

empty space, reset all grades and nodes, and that will reset it for everything

and that will reset it for everything that's been selected. So, this is great

that's been selected. So, this is great because then you don't have to duplicate

because then you don't have to duplicate work that you need to do on every single

work that you need to do on every single shot. So, we can just color grade this

shot. So, we can just color grade this shot. That looks good. And then anything

shot. That looks good. And then anything that's similar, just middle button,

that's similar, just middle button, mouse click right there. This one's

mouse click right there. This one's probably pretty similar. This one's

probably pretty similar. This one's probably pretty similar. We can at least

probably pretty similar. We can at least start with that. Here's similar. And we

start with that. Here's similar. And we can go through and very quickly work

can go through and very quickly work through our entire timeline. When I have

through our entire timeline. When I have my mouse over these thumbnails, I can

my mouse over these thumbnails, I can also hit control A on the keyboard to

also hit control A on the keyboard to select everything. And then I can copy a

select everything. And then I can copy a grade from a shot like this. Just

grade from a shot like this. Just clicking down on that scroll wheel. And

clicking down on that scroll wheel. And I can copy that. And I can also

I can copy that. And I can also rightclick reset all grades to reset

rightclick reset all grades to reset everything. Now, there are a lot of

everything. Now, there are a lot of different ways to copy grades and parts

different ways to copy grades and parts of grades and and group shots and use

of grades and and group shots and use parts of the grades and all of that

parts of the grades and all of that stuff and we just don't have time. This

stuff and we just don't have time. This is a multiple hour tutorial and we still

is a multiple hour tutorial and we still just don't have time to get into that.

just don't have time to get into that. But there are ways to do that. If you

But there are ways to do that. If you want more info on that, let me know in

want more info on that, let me know in the comments and we'll make a follow-up

the comments and we'll make a follow-up video. But right now, the need to know

video. But right now, the need to know stuff is that middle button mouse click

stuff is that middle button mouse click copies those grades. And anytime that

copies those grades. And anytime that I'm adjusting the colors on a shot,

I'm adjusting the colors on a shot, we'll just make this really pink just so

we'll just make this really pink just so we can see that happens to just this

we can see that happens to just this clip. And that adjustment I made lives

clip. And that adjustment I made lives in this first node of the clip. Now

in this first node of the clip. Now these nodes live in what we call the

these nodes live in what we call the clip grade. See there are different kind

clip grade. See there are different kind of layers of our color grades. You can

of layers of our color grades. You can think of these sort of like different

think of these sort of like different groupings. So each clip can be adjusted

groupings. So each clip can be adjusted by itself. So I can make this one green.

by itself. So I can make this one green. I can make this one orange. I can make

I can make this one orange. I can make this one blue. And these can all look

this one blue. And these can all look different, right? That's because they

different, right? That's because they all have their own node tree that lives

all have their own node tree that lives in each clip. But there is also a node

in each clip. But there is also a node tree for the timeline. If I go up here

tree for the timeline. If I go up here to these little dots and I click on this

to these little dots and I click on this right dot that you can just barely see

right dot that you can just barely see right here, that's going to switch to a

right here, that's going to switch to a new node graph here. And if I right

new node graph here. And if I right click and say add node corrector and

click and say add node corrector and then link this up like this is going to

then link this up like this is going to be a node that applies to the entire

be a node that applies to the entire timeline. That means all of these shots.

timeline. That means all of these shots. So, if I have 186,000 shots in our

So, if I have 186,000 shots in our timeline, this is going to apply to

timeline, this is going to apply to 186,000 shots. If I have three shots,

186,000 shots. If I have three shots, it's going to apply to three shots. All

it's going to apply to three shots. All right. And you'll notice as I switch in

right. And you'll notice as I switch in between these, I'm still looking at the

between these, I'm still looking at the same timeline node. So, let's take this

same timeline node. So, let's take this and maybe let's take the saturation and

and maybe let's take the saturation and turn the saturation all the way down.

turn the saturation all the way down. So, we're making this black and white.

So, we're making this black and white. Now, when I switch through this, look,

Now, when I switch through this, look, everything's black and white. What the

everything's black and white. What the heck is going on? Every single clip in

heck is going on? Every single clip in here has its own color grade. So, its

here has its own color grade. So, its own set of nodes. And then those nodes

own set of nodes. And then those nodes are being put through these nodes, the

are being put through these nodes, the timeline nodes. Okay. So, we're going to

timeline nodes. Okay. So, we're going to turn this bright blue. And then we're

turn this bright blue. And then we're going to put it into this node right

going to put it into this node right here, which turns it black and white.

here, which turns it black and white. And all of these clips have their own

And all of these clips have their own nodes. And I'll just move some of these

nodes. And I'll just move some of these around so we can see the difference when

around so we can see the difference when I switch in between. These are all

I switch in between. These are all different nodes. If I have several

different nodes. If I have several different nodes here on each one, right?

different nodes here on each one, right? If I switch in between the clips, they

If I switch in between the clips, they all have separate trees for their nodes,

all have separate trees for their nodes, but they all share the same timeline.

but they all share the same timeline. So, anything that I put in this timeline

So, anything that I put in this timeline is going to happen to all of the clips.

is going to happen to all of the clips. So, if I make it black and white,

So, if I make it black and white, they're all black and white. If I give

they're all black and white. If I give it a little bit of contrast like this,

it a little bit of contrast like this, they're all going to have that intense

they're all going to have that intense contrast. So, this is a great way to

contrast. So, this is a great way to make a style that goes over every single

make a style that goes over every single clip in your timeline. It's the perfect

clip in your timeline. It's the perfect place for establishing a creative look

place for establishing a creative look for your project or for something like

for your project or for something like this, making it making it all black and

this, making it making it all black and white, making it all look like old film

white, making it all look like old film or whatever. Whatever you put here is

or whatever. Whatever you put here is going to be applied to each of these

going to be applied to each of these nodes. But after the clip, that's why

nodes. But after the clip, that's why all of these look black and white. Even

all of these look black and white. Even though they're super tinted, all these

though they're super tinted, all these different colors, the result is black

different colors, the result is black and white because we're tinting them

and white because we're tinting them like crazy and then desaturating. So

like crazy and then desaturating. So again, just this level of understanding.

again, just this level of understanding. Oh my goodness, you can do so much cool

Oh my goodness, you can do so much cool stuff with this. Let's right click on

stuff with this. Let's right click on these timeline nodes and reset. And I

these timeline nodes and reset. And I can hit alt s to add a serial node, a

can hit alt s to add a serial node, a new corrector here. Then I'll switch

new corrector here. Then I'll switch back to my clip nodes. Crl+ A,

back to my clip nodes. Crl+ A, rightclick, and reset all grades and

rightclick, and reset all grades and nodes. And what I can do is make a

nodes. And what I can do is make a common look here in the timeline. And so

common look here in the timeline. And so let's just make something that's pretty

let's just make something that's pretty extreme just so we can see it. Okay,

extreme just so we can see it. Okay, normally you wouldn't probably go quite

normally you wouldn't probably go quite this extreme. We're getting crazy. We're

this extreme. We're getting crazy. We're having fun. So, let's say that we have

having fun. So, let's say that we have some bright orange kind of highlights

some bright orange kind of highlights and some kind of cool blue shadows. All

and some kind of cool blue shadows. All right. And we'll just really push this.

right. And we'll just really push this. And I'm going to right click and label

And I'm going to right click and label this. And we'll call this teal orange.

this. And we'll call this teal orange. Now, this isn't the best looking grade

Now, this isn't the best looking grade in the world. There are much more

in the world. There are much more tasteful ways to do this, but just

tasteful ways to do this, but just pretend that this is whatever style you

pretend that this is whatever style you want to add. Okay, I'll make another

want to add. Okay, I'll make another node by hitting Alt S, and then I'll

node by hitting Alt S, and then I'll make a little S curve like we were

make a little S curve like we were talking about earlier. Great. And maybe

talking about earlier. Great. And maybe I'll make another node. And let's go to

I'll make another node. And let's go to our luminance versus saturation. And I'm

our luminance versus saturation. And I'm just going to saturate things in the

just going to saturate things in the middle. And then take anything that's a

middle. And then take anything that's a little bit brighter and desaturate the

little bit brighter and desaturate the bright parts and the dark parts like

bright parts and the dark parts like this. So now we have this very intense

this. So now we have this very intense look. If I hit control and D, I can

look. If I hit control and D, I can disable these nodes. And so we're really

disable these nodes. And so we're really putting a lot of style into this. Okay.

putting a lot of style into this. Okay. Again, this may or may not be what you

Again, this may or may not be what you like, but the principle here is that we

like, but the principle here is that we have one creative look that we're going

have one creative look that we're going to put over our entire movie. And we

to put over our entire movie. And we call this, surprisingly, the look. It's

call this, surprisingly, the look. It's a really technical term. And we're not

a really technical term. And we're not only going to have this look on this

only going to have this look on this shot because we're working in the

shot because we're working in the timeline nodes. As I switch to the other

timeline nodes. As I switch to the other shots, we're going to have this same

shots, we're going to have this same kind of teal and orange look. Now, when

kind of teal and orange look. Now, when you add this kind of look, especially

you add this kind of look, especially one that's really extreme like this,

one that's really extreme like this, your other shots aren't necessarily

your other shots aren't necessarily going to look good, because that's

going to look good, because that's really only going to happen if you have

really only going to happen if you have an image that has similar colors and

an image that has similar colors and saturation and exposure and everything

saturation and exposure and everything to the clip that you designed this look

to the clip that you designed this look on. So, for instance, I could switch

on. So, for instance, I could switch over to shot six and it looks as

over to shot six and it looks as expected, but I switch to shot five and

expected, but I switch to shot five and what the heck is going on? It looks, as

what the heck is going on? It looks, as my daughter would say, poopy. It looks

my daughter would say, poopy. It looks like poopy. So, in order to make this

like poopy. So, in order to make this less poopy, let's switch over to our

less poopy, let's switch over to our clip nodes. And here's where we can

clip nodes. And here's where we can adjust our colors really before it goes

adjust our colors really before it goes into that creative look. And for

into that creative look. And for instance, maybe this needs to be a

instance, maybe this needs to be a little bit brighter. I can push up the

little bit brighter. I can push up the offset and that's going to help a lot

offset and that's going to help a lot because now we're pushing a little bit

because now we're pushing a little bit more colors into the highlights and

more colors into the highlights and those highlights get tinted orange. And

those highlights get tinted orange. And so, we have a lot less that is tinted

so, we have a lot less that is tinted teal and we actually have something that

teal and we actually have something that like sort of looks like it belongs in

like sort of looks like it belongs in this world. Okay, maybe the dark parts

this world. Okay, maybe the dark parts need to be a little bit darker. I can

need to be a little bit darker. I can take the lift and push that down. Can

take the lift and push that down. Can add a little bit of contrast like that.

add a little bit of contrast like that. And now we have two shots that sort of

And now we have two shots that sort of look like they belong together, right?

look like they belong together, right? But the idea here is that the more

But the idea here is that the more extreme your creative look is, the more

extreme your creative look is, the more you might have to tweak all of the shots

you might have to tweak all of the shots and make sure they match together in

and make sure they match together in order to have that kind of cohesive look

order to have that kind of cohesive look actually work. So for instance, shot

actually work. So for instance, shot seven, that's it's not good. So we can

seven, that's it's not good. So we can take that offset up. Maybe maybe push

take that offset up. Maybe maybe push this lift up a little bit and kind of

this lift up a little bit and kind of really push this around a little bit so

really push this around a little bit so we get a nice looking image with that

we get a nice looking image with that look on it. If we're planning on doing

look on it. If we're planning on doing this extreme look like this and we

this extreme look like this and we didn't set this look first, then we

didn't set this look first, then we might look at these different shots and

might look at these different shots and they might look like they match

they might look like they match relatively well. But what happens when

relatively well. But what happens when you have this extreme look is it can

you have this extreme look is it can sometimes amplify the differences in

sometimes amplify the differences in between these clips. And so we always

between these clips. And so we always want to make our look first, especially

want to make our look first, especially if it's an extreme look like this. That

if it's an extreme look like this. That way we can view our shots with that look

way we can view our shots with that look applied and make some adjustments here

applied and make some adjustments here in the clip nodes so that the shots

in the clip nodes so that the shots actually look somewhat reasonable. Okay.

actually look somewhat reasonable. Okay. And we can go through and make our

And we can go through and make our adjustments however we see fit to

adjustments however we see fit to hopefully get these things matching and

hopefully get these things matching and looking decent and get a good result.

looking decent and get a good result. So, that's the big bird's eyee view of a

So, that's the big bird's eyee view of a workflow is you want to figure out what

workflow is you want to figure out what your creative look really is before you

your creative look really is before you do tons and tons of work on everything

do tons and tons of work on everything else because the work you do in this

else because the work you do in this creative look may make some problems in

creative look may make some problems in your shots worse and it might make some

your shots worse and it might make some problems completely irrelevant. So, it's

problems completely irrelevant. So, it's a good idea to make sure you put that on

a good idea to make sure you put that on first. So, this is the smartest

first. So, this is the smartest workflow. Make sure you have that

workflow. Make sure you have that creative look and then go back and match

creative look and then go back and match your shots together. Now, I'm not really

your shots together. Now, I'm not really a fan of this creative look. It's a

a fan of this creative look. It's a little bit too extreme for me. And it

little bit too extreme for me. And it also brings up one little pet peeve that

also brings up one little pet peeve that I have about color grading. A lot of

I have about color grading. A lot of people, they'll see a tutorial on the

people, they'll see a tutorial on the internet and they'll say, "Oh, look at

internet and they'll say, "Oh, look at all of these controls I have over color.

all of these controls I have over color. I can just go crazy and I can make all

I can just go crazy and I can make all kinds of wild color looks." And so, they

kinds of wild color looks." And so, they end up making something that sort of

end up making something that sort of looks like this. Because they watched

looks like this. Because they watched The Matrix 5 years ago, and they

The Matrix 5 years ago, and they remember it being green, which was

remember it being green, which was really cool. And so, now they want their

really cool. And so, now they want their movie to look green. Here's a great big

movie to look green. Here's a great big colorist secret. The reason a movie

colorist secret. The reason a movie looks good is often not because of the

looks good is often not because of the color grading, but because of how it was

color grading, but because of how it was shot and the lighting and the set design

shot and the lighting and the set design and the costumes and things like that.

and the costumes and things like that. That's what gets a movie 80 90% there.

That's what gets a movie 80 90% there. The color grading is just like the spice

The color grading is just like the spice on top. It's like the salt on something

on top. It's like the salt on something that already tastes good. It just

that already tastes good. It just enhances the flavor. And so putting this

enhances the flavor. And so putting this heavy style on this image that wasn't

heavy style on this image that wasn't designed for this kind of style is going

designed for this kind of style is going to look bad. You just can't change the

to look bad. You just can't change the character of the image too much or else

character of the image too much or else it just doesn't look natural. It just

it just doesn't look natural. It just doesn't look good. And so a quick hack

doesn't look good. And so a quick hack that will save you years of pain, years

that will save you years of pain, years of torture, years of unhappy clients is

of torture, years of unhappy clients is just this. Look at the footage before

just this. Look at the footage before you start adding style to it. Just look

you start adding style to it. Just look at your color managed footage and think

at your color managed footage and think about the style that's already there

about the style that's already there because that's where the best color

because that's where the best color grade is going to live. It's going to be

grade is going to live. It's going to be a enhancement of that existing style of

a enhancement of that existing style of that existing tone. So in this shoot we

that existing tone. So in this shoot we have these kind of cooler toned windows.

have these kind of cooler toned windows. We have the warmer toned lamps. We have

We have the warmer toned lamps. We have these kind of red and maroon and blue

these kind of red and maroon and blue tones. We have just a little bit of

tones. We have just a little bit of green. We have white walls. That's the

green. We have white walls. That's the kind of set design that we have. It's

kind of set design that we have. It's not really dark and moody. It's not

not really dark and moody. It's not super bright and clean. And so our color

super bright and clean. And so our color grade needs to be somewhere in that

grade needs to be somewhere in that feeling. And so if I were creating a

feeling. And so if I were creating a look for this shot, a creative look, the

look for this shot, a creative look, the first thing I would do is just make sure

first thing I would do is just make sure that we have decent exposure on this

that we have decent exposure on this clip because this is what we're going to

clip because this is what we're going to design our look on. And I think the

design our look on. And I think the exposure looks pretty good. I could

exposure looks pretty good. I could maybe just bring it up just a touch.

maybe just bring it up just a touch. Maybe I'll just push the offset up just

Maybe I'll just push the offset up just a little bit with this master wheel.

a little bit with this master wheel. Okay, maybe just a little bit of

Okay, maybe just a little bit of contrast just to take some of the fog

contrast just to take some of the fog out of it. So, here's before and here's

out of it. So, here's before and here's after. Very subtle adjustment because

after. Very subtle adjustment because this is shot pretty well. Okay, there

this is shot pretty well. Okay, there aren't any major white balance issues.

aren't any major white balance issues. There aren't any major exposure issues.

There aren't any major exposure issues. It looks pretty good. Now, if we want to

It looks pretty good. Now, if we want to enhance it, I can switch to the timeline

enhance it, I can switch to the timeline nodes. I'll hit Alt S to add a serial

nodes. I'll hit Alt S to add a serial node. And this is where I'm going to

node. And this is where I'm going to start to build my look. And if you've

start to build my look. And if you've never built a look before, if you've

never built a look before, if you've never really tried to stylize something

never really tried to stylize something before, I would really highly recommend

before, I would really highly recommend that you stay with something like this.

that you stay with something like this. take this curve and make just a slight

take this curve and make just a slight scurve. All right. What that's going to

scurve. All right. What that's going to do is give us a little bit of contrast.

do is give us a little bit of contrast. It's going to take away some of the

It's going to take away some of the muddiness here. So, here's before and

muddiness here. So, here's before and here's after. It's just going to clarify

here's after. It's just going to clarify things a little bit. Let's rightclick

things a little bit. Let's rightclick and just let's just call this S curve.

and just let's just call this S curve. Let's make a new serial node. Alt S. And

Let's make a new serial node. Alt S. And then let's take that image and maybe

then let's take that image and maybe let's play around with the temperature.

let's play around with the temperature. So, I can go here to where it says

So, I can go here to where it says temperature and tint. And maybe just

temperature and tint. And maybe just push this, push it a little to the left

push this, push it a little to the left and see how we like it. Push it a little

and see how we like it. Push it a little to the right and see how we like it. And

to the right and see how we like it. And I think just pushing this a little to

I think just pushing this a little to the left a little bit cooler feels nice.

the left a little bit cooler feels nice. That starts to feel cleaner. It starts

That starts to feel cleaner. It starts to feel like it's at night time. Like

to feel like it's at night time. Like here's before. We have this gray gray

here's before. We have this gray gray green kind of look. And here's after. It

green kind of look. And here's after. It just feels like it's clarified a little

just feels like it's clarified a little bit. That feels nice. Okay. And even

bit. That feels nice. Okay. And even though this look isn't extreme, it's

though this look isn't extreme, it's still a nice look. It still looks good.

still a nice look. It still looks good. If I select both of these and hit Ctrl +

If I select both of these and hit Ctrl + D to disable. Here's before. Here's with

D to disable. Here's before. Here's with no style. And here's with the style

no style. And here's with the style added. It's very subtle, but it feels

added. It's very subtle, but it feels natural for the image. We're not

natural for the image. We're not fighting against the production here.

fighting against the production here. We're just taking what already looks

We're just taking what already looks good and enhancing it. Maybe we want a

good and enhancing it. Maybe we want a little bit brighter colors here. Maybe

little bit brighter colors here. Maybe we can make another node. This second

we can make another node. This second one is a temperature. Maybe this third

one is a temperature. Maybe this third one will do some saturation. So, let's

one will do some saturation. So, let's just push up our saturation knob a

just push up our saturation knob a little bit. We don't want to go too

little bit. We don't want to go too crazy. Once we go up here, that's just

crazy. Once we go up here, that's just too bright. Okay, we can always check

too bright. Okay, we can always check this on our vector scope. I'll make this

this on our vector scope. I'll make this a little bit bigger so we can see it.

a little bit bigger so we can see it. Here's our vector scope. We can even go

Here's our vector scope. We can even go to the little controls here. And I like

to the little controls here. And I like to turn on extents. That'll show the

to turn on extents. That'll show the very most extreme parts of our image

very most extreme parts of our image here. And see here, when we push the

here. And see here, when we push the saturation up, these extents are almost

saturation up, these extents are almost all the way out here. And some of the

all the way out here. And some of the blue is even beyond like it's way too

blue is even beyond like it's way too blue. Remember, we don't want things

blue. Remember, we don't want things that saturated. We really want stuff to

that saturated. We really want stuff to stop like hereish. All right. We want

stop like hereish. All right. We want this graph to be like here. All right.

this graph to be like here. All right. So, we can take the saturation down.

So, we can take the saturation down. Let's just put it somewhere in there.

Let's just put it somewhere in there. There. Our extensor like here for the

There. Our extensor like here for the red. The blue is maybe still a little

red. The blue is maybe still a little bit hardcore, which we could fix with a

bit hardcore, which we could fix with a curve maybe. But we're still putting

curve maybe. But we're still putting quite a bit of saturation in here.

quite a bit of saturation in here. Here's before and here's after. We're

Here's before and here's after. We're really brightening stuff up without it

really brightening stuff up without it being way too bright. Okay. Also, your

being way too bright. Okay. Also, your saturation and everything is going to

saturation and everything is going to depend on your lighting and the

depend on your lighting and the exposure. the colors of the things that

exposure. the colors of the things that you're shooting, the context, the tone,

you're shooting, the context, the tone, all of that stuff. Maybe let's work on

all of that stuff. Maybe let's work on these blues. Let's go to the hue versus

these blues. Let's go to the hue versus saturation. And we see we have this

saturation. And we see we have this spike here in the blues, which is

spike here in the blues, which is certainly going to be right here. I can

certainly going to be right here. I can take my color picker and just draw over

take my color picker and just draw over this. And that's going to make a couple

this. And that's going to make a couple little control points here and a control

little control points here and a control point in the center. I can take this

point in the center. I can take this control point here. And look at this

control point here. And look at this vector scope while I do this. Here's our

vector scope while I do this. Here's our blues. And what we're really trying to

blues. And what we're really trying to do is bring this little cloud this way.

do is bring this little cloud this way. All right. So, if we take this curve and

All right. So, if we take this curve and I push this down, look what happens.

I push this down, look what happens. That squishes that cloud down to

That squishes that cloud down to something that's reasonable. And again,

something that's reasonable. And again, I don't want this that far beyond just

I don't want this that far beyond just like halfway out. So, somewhere in

like halfway out. So, somewhere in there. That's where that's going to look

there. That's where that's going to look actually reasonable. All right. And so

actually reasonable. All right. And so now we still have our saturation getting

now we still have our saturation getting pushed up, but our blue isn't out of

pushed up, but our blue isn't out of control here. It doesn't look neon blue.

control here. It doesn't look neon blue. And so now we have a look that looks

And so now we have a look that looks really nice and it isn't just completely

really nice and it isn't just completely wild compared to what we shot. So again,

wild compared to what we shot. So again, here is before and here's after. Still

here is before and here's after. Still looks nice, not too different. The other

looks nice, not too different. The other advantage to doing it this way is that

advantage to doing it this way is that your shots are going to match a little

your shots are going to match a little bit easier than if you're doing some

bit easier than if you're doing some insane thing where you turn all the skin

insane thing where you turn all the skin purple or something like that. So I'll

purple or something like that. So I'll just open up our clips again and we'll

just open up our clips again and we'll go through here, go back to our clip

go through here, go back to our clip nodes, and I'll just select everything

nodes, and I'll just select everything and reset all the grades, everything

and reset all the grades, everything except for that shot I was working on.

except for that shot I was working on. Okay. And now we have this look applied

Okay. And now we have this look applied to all of our shots. And it'll be a lot

to all of our shots. And it'll be a lot less tweaking to make this look good

less tweaking to make this look good under this look. Maybe take the gain

under this look. Maybe take the gain down on this one. And flipping back and

down on this one. And flipping back and forth, we have a little bit closer

forth, we have a little bit closer match. Now, there are some problems

match. Now, there are some problems where this shot maybe looks a little bit

where this shot maybe looks a little bit too blue. This one maybe looks a little

too blue. This one maybe looks a little less blue. We could do things like

less blue. We could do things like highlight this window and turn it more

highlight this window and turn it more blue and that kind of thing, but we'll

blue and that kind of thing, but we'll get to that in a minute. The idea is

get to that in a minute. The idea is that we want all these shots to feel

that we want all these shots to feel like they live in the same world. When

like they live in the same world. When we're matching shots, that's really our

we're matching shots, that's really our main goal. Shots might not match 100%

main goal. Shots might not match 100% completely, especially when you're just

completely, especially when you're just starting and especially when you've just

starting and especially when you've just started a project and you haven't done

started a project and you haven't done lots of work on all the shots yet. But

lots of work on all the shots yet. But you want them to feel like they could

you want them to feel like they could live in the same world, right? So, they

live in the same world, right? So, they should have similar saturation. One

should have similar saturation. One shouldn't be way too bright. We could

shouldn't be way too bright. We could take this one down and just adjust this

take this one down and just adjust this to where they all feel like they could

to where they all feel like they could live in this world. This one maybe looks

live in this world. This one maybe looks a little too yellow. And you can go

a little too yellow. And you can go through and just use your first

through and just use your first impression when you switch to the shot.

impression when you switch to the shot. This one maybe looks a little bit too

This one maybe looks a little bit too green to try and match this the best you

green to try and match this the best you can. Okay. Same thing here. Let's take

can. Okay. Same thing here. Let's take this down. It's a little bit too

this down. It's a little bit too saturated. Sure. And we can turn that

saturated. Sure. And we can turn that into a night shot with some work, but

into a night shot with some work, but we'll just leave it like a daytime shot

we'll just leave it like a daytime shot for now. And now we have these all

for now. And now we have these all matched. This one maybe looks a little

matched. This one maybe looks a little purple now that I look at it again.

purple now that I look at it again. Okay. Adjust this to look good. But now

Okay. Adjust this to look good. But now we've done a couple things all at once.

we've done a couple things all at once. We picked a style for our scene and

We picked a style for our scene and we've started matching these shots to

we've started matching these shots to sort of look like each other. And that's

sort of look like each other. And that's going to help this scene not be

going to help this scene not be distracting when we play it back. You

distracting when we play it back. You don't want people thinking about why do

don't want people thinking about why do the colors look like that or why doesn't

the colors look like that or why doesn't one shot look like another one. You want

one shot look like another one. You want them to be invested in the moment. And

them to be invested in the moment. And so there shouldn't be any shots that

so there shouldn't be any shots that kind of just stand out. They should all

kind of just stand out. They should all just feel like they live together. And I

just feel like they live together. And I think we're pretty much at that point

think we're pretty much at that point here. It's not a perfect match, but it

here. It's not a perfect match, but it works. That's a great place to be in

works. That's a great place to be in your color grade. So now, if you want to

your color grade. So now, if you want to get a little bit more picky, I want to

get a little bit more picky, I want to show you a technique that is so helpful

show you a technique that is so helpful for matching your shots. What we can do

for matching your shots. What we can do is we can find a shot that we like.

is we can find a shot that we like. Let's say we like this one, and we can

Let's say we like this one, and we can rightclick here on the viewer and select

rightclick here on the viewer and select grab still. What this will do is grab a

grab still. What this will do is grab a still shot of this image, and it will

still shot of this image, and it will save it to our gallery. So our gallery

save it to our gallery. So our gallery is a panel that lives up here in the

is a panel that lives up here in the upper left. Click on gallery and that

upper left. Click on gallery and that comes up here. And they call these

comes up here. And they call these stills, but it's really more like a

stills, but it's really more like a saved preset, a saved color grade that

saved preset, a saved color grade that also includes a still image. It's like a

also includes a still image. It's like a color grading preset with a thumbnail.

color grading preset with a thumbnail. And so what's cool about that is if I

And so what's cool about that is if I were to reset this and I don't know,

were to reset this and I don't know, let's just do something really

let's just do something really different. I'll just desaturate it and

different. I'll just desaturate it and make it really dark or something so that

make it really dark or something so that we can see this difference is that if I

we can see this difference is that if I have one grade on this shot, I can

have one grade on this shot, I can middle button mouse click on this still,

middle button mouse click on this still, boop, like that, and apply that color

boop, like that, and apply that color grade right here from the still just

grade right here from the still just like I can from a different shot. So,

like I can from a different shot. So, you can easily save your color presets

you can easily save your color presets up here in the gallery. But what's also

up here in the gallery. But what's also great is that you can rightclick and say

great is that you can rightclick and say play still right here. And what that'll

play still right here. And what that'll do is give you a still frame of that

do is give you a still frame of that color graded image that you can compare

color graded image that you can compare with the other shots in your timeline.

with the other shots in your timeline. And so now I have a really nice kind of

And so now I have a really nice kind of split screen where I can compare one

split screen where I can compare one shot to another. And so if I have a

shot to another. And so if I have a couple shots that were maybe shot at a

couple shots that were maybe shot at a little different time, I can compare

little different time, I can compare these with a split screen and I can do

these with a split screen and I can do some work to match these and make these

some work to match these and make these feel like they live in the same world

feel like they live in the same world again. And so that's great if you're

again. And so that's great if you're trying to get an exact match on a setup

trying to get an exact match on a setup like this. But it also works if you're

like this. But it also works if you're comparing similar subjects. So for

comparing similar subjects. So for instance, this guy's face both here and

instance, this guy's face both here and here. See here? This looks a little bit

here. See here? This looks a little bit more pink. This one looks a little bit

more pink. This one looks a little bit more kind of yellow. And so maybe it's

more kind of yellow. And so maybe it's going to help this shot if we push it a

going to help this shot if we push it a little bit of green in there. Maybe a

little bit of green in there. Maybe a little less blue. And maybe that's going

little less blue. And maybe that's going to feel a little bit better. So yeah,

to feel a little bit better. So yeah, already that feels like it's matching a

already that feels like it's matching a little bit better. Maybe the

little bit better. Maybe the saturation's up just a touch. And now we

saturation's up just a touch. And now we can match these together using this

can match these together using this still. Same thing here for this other

still. Same thing here for this other shot. We want all of these to feel the

shot. We want all of these to feel the same. And that looks pretty good. That's

same. And that looks pretty good. That's a pretty good match, I would say. Same

a pretty good match, I would say. Same thing here. Let's take a look at this.

thing here. Let's take a look at this. That's also a pretty good match, I would

That's also a pretty good match, I would say. You can really drive yourself crazy

say. You can really drive yourself crazy second guessing your match. The best

second guessing your match. The best idea is to immediately decide whether it

idea is to immediately decide whether it matches or not, and if it's close

matches or not, and if it's close enough, move on. If it bothers you

enough, move on. If it bothers you later, you can come back and adjust it.

later, you can come back and adjust it. But you can go through your whole movie

But you can go through your whole movie and you can compare it to this one shot.

and you can compare it to this one shot. And this is a really good idea because

And this is a really good idea because this one shot is like your constant. You

this one shot is like your constant. You can always see how bright or dark or

can always see how bright or dark or saturated or blue or yellow or green

saturated or blue or yellow or green something compares to this. The shot

something compares to this. The shot that you initially graded this saved

that you initially graded this saved still right here. This is what we call

still right here. This is what we call our hero shot. It's our hero that we

our hero shot. It's our hero that we always compare all of the shots to. This

always compare all of the shots to. This is how you get a consistent look from

is how you get a consistent look from beginning to end in your color grade.

beginning to end in your color grade. Because what can happen is you can say,

Because what can happen is you can say, "Okay, I want this shot and this shot to

"Okay, I want this shot and this shot to match because they're next to each

match because they're next to each other, right?" And you can maybe make

other, right?" And you can maybe make those match, right? You'll say, "Okay,

those match, right? You'll say, "Okay, this one needs a little bit more

this one needs a little bit more offset." Then you go to this shot and

offset." Then you go to this shot and you go, "Okay, I need these to match."

you go, "Okay, I need these to match." And so you try and figure out like, "Oh,

And so you try and figure out like, "Oh, actually this one needs to be a little

actually this one needs to be a little bit more pink, right, to match with

bit more pink, right, to match with that. And then this one and this one

that. And then this one and this one should match. And now this one doesn't

should match. And now this one doesn't match at all. And so this one should

match at all. And so this one should really be more pink." And what ends up

really be more pink." And what ends up happening is you get this shot matches

happening is you get this shot matches good. These shots match well. These

good. These shots match well. These shots match well. And you get a slow

shots match well. And you get a slow drift from one shot to the other. And

drift from one shot to the other. And then the first shot and the last shot

then the first shot and the last shot don't look anything alike. That's why we

don't look anything alike. That's why we always compare all of our shots to this

always compare all of our shots to this one constant shot so we can easily tell,

one constant shot so we can easily tell, oh, this one's way off or this one's way

oh, this one's way off or this one's way off or this one's a lot closer. Then

off or this one's a lot closer. Then you're comparing your last shot and your

you're comparing your last shot and your first shot to the exact same thing. So

first shot to the exact same thing. So take some time and try that right now. I

take some time and try that right now. I want you to open up maybe shot five and

want you to open up maybe shot five and adjust it. Go into the timeline nodes

adjust it. Go into the timeline nodes and make a look that you like. It can be

and make a look that you like. It can be subtle like this or you can go ahead and

subtle like this or you can go ahead and make something that's a little bit more

make something that's a little bit more extreme. Play around. Have fun. That's

extreme. Play around. Have fun. That's what this is for. But just know that the

what this is for. But just know that the more extreme your look is, the harder

more extreme your look is, the harder it's going to be to match your shots.

it's going to be to match your shots. But do that. Make a creative look for

But do that. Make a creative look for this shot. Right click, grab still. And

this shot. Right click, grab still. And then you can rightclick and play still

then you can rightclick and play still here. and then match all of your shots

here. and then match all of your shots to it using this split screen technique.

to it using this split screen technique. Again, make sure that you go to your

Again, make sure that you go to your clip nodes to do those adjustments

clip nodes to do those adjustments because you're only going to want to

because you're only going to want to adjust that one shot and not all of them

adjust that one shot and not all of them in the timeline. This kind of thing,

in the timeline. This kind of thing, just practicing this over and over again

just practicing this over and over again is going to be so helpful for you. There

is going to be so helpful for you. There is so much more to go over and to say

is so much more to go over and to say just about workflow here, but I want to

just about workflow here, but I want to show you a couple of my favorite tools

show you a couple of my favorite tools here in the color page. The things that

here in the color page. The things that really feel exciting about color. We're

really feel exciting about color. We're going to dive into a concept called

going to dive into a concept called secondaries. Now that we have our shots

secondaries. Now that we have our shots relatively matched and our creative look

relatively matched and our creative look made and everything, it's a good time to

made and everything, it's a good time to get into my favorite part of color

get into my favorite part of color grading, which is secondary corrections.

grading, which is secondary corrections. I'm just going to close my clips and

I'm just going to close my clips and just focus on this one shot for this.

just focus on this one shot for this. Now, what is a secondary correction? A

Now, what is a secondary correction? A secondary correction is basically a

secondary correction is basically a correction that happens to one part of

correction that happens to one part of the image. And that can either be like a

the image. And that can either be like a physical area on the image or it can be

physical area on the image or it can be something that targets a specific color

something that targets a specific color or saturation or hue or something like

or saturation or hue or something like that. Basically, what we've been doing

that. Basically, what we've been doing so far are primary corrections. A

so far are primary corrections. A primary correction is a correction that

primary correction is a correction that applies to the entire image. Whereas a

applies to the entire image. Whereas a secondary correction is a little part of

secondary correction is a little part of the image. Okay. So to do that, what

the image. Okay. So to do that, what I'll often do is hit alt s and make a

I'll often do is hit alt s and make a serial node. Okay. This is a node that

serial node. Okay. This is a node that comes after this node. And so we're

comes after this node. And so we're going to take this image and we're going

going to take this image and we're going to refine it further. And some of this

to refine it further. And some of this we've already learned about with these

we've already learned about with these curves. And so I could do something like

curves. And so I could do something like select just these reds and adjust the

select just these reds and adjust the saturation of them. That would be a

saturation of them. That would be a secondary correction. So we have our

secondary correction. So we have our original footage, we have our primary

original footage, we have our primary correction, and then we have our

correction, and then we have our secondary correction which adjusts these

secondary correction which adjusts these reds. But I can also do a correction to

reds. But I can also do a correction to just a part of the image using a mask

just a part of the image using a mask which in the color page is called a

which in the color page is called a window. So, I'm going to go to the

window. So, I'm going to go to the Windows palette right here. It looks

Windows palette right here. It looks like this little ellipse with the little

like this little ellipse with the little control points on it. And here in this

control points on it. And here in this palette, it lets us make masks for

palette, it lets us make masks for whatever is happening in this node. So,

whatever is happening in this node. So, if this node turns everything pink and

if this node turns everything pink and then I apply a window just by clicking

then I apply a window just by clicking on one of these shapes, like this

on one of these shapes, like this ellipse shape, that's going to apply

ellipse shape, that's going to apply that correction just inside of that

that correction just inside of that window. So, it's a mask that's applied

window. So, it's a mask that's applied to this node. Now, something to notice,

to this node. Now, something to notice, we're not cutting out the image. All

we're not cutting out the image. All we're doing is limiting the corrections

we're doing is limiting the corrections that happen in this node to only happen

that happen in this node to only happen inside of this mask. So just this

inside of this mask. So just this absolutely like exponentially increases

absolutely like exponentially increases the amount of freedom that you have

the amount of freedom that you have adjusting your images. So I'll just

adjusting your images. So I'll just reset the primary color wheels here and

reset the primary color wheels here and let's move this around and let's do

let's move this around and let's do something like just brighten his face.

something like just brighten his face. I'm going to adjust this circle mask and

I'm going to adjust this circle mask and yeah, maybe I will actually turn this

yeah, maybe I will actually turn this purple here for a second so that we can

purple here for a second so that we can see what's going on. I can adjust the

see what's going on. I can adjust the size and the shape and everything of

size and the shape and everything of this mask by grabbing this bounding box.

this mask by grabbing this bounding box. But we also have these little red dots

But we also have these little red dots here that I can pull. And what that does

here that I can pull. And what that does is it softens the mask. And so if you

is it softens the mask. And so if you get into any color grading tutorials and

get into any color grading tutorials and you watch a colorist that's been doing

you watch a colorist that's been doing it for a while, they almost always just

it for a while, they almost always just use a big circle mask. A big soft circle

use a big circle mask. A big soft circle mask. The reason is because you can do

mask. The reason is because you can do so much stuff with just a soft circle.

so much stuff with just a soft circle. Look at this. I don't have to roto his

Look at this. I don't have to roto his face or anything. And I have, look at

face or anything. And I have, look at this. I'm doing a really extreme

this. I'm doing a really extreme correction to his face. And I just have

correction to his face. And I just have this soft circle mask. And I can go down

this soft circle mask. And I can go down here to this little button and turn off

here to this little button and turn off our overlays. And it honestly doesn't

our overlays. And it honestly doesn't look terrible as far as the actual mask

look terrible as far as the actual mask goes. It's hard to tell where the mask

goes. It's hard to tell where the mask starts and stops. And this is like the

starts and stops. And this is like the most extreme possible example of doing a

most extreme possible example of doing a localized secondary color correction.

localized secondary color correction. And so this is a great way to isolate

And so this is a great way to isolate any kind of adjustment that you just

any kind of adjustment that you just want to happen to part of your image. So

want to happen to part of your image. So we have our face selection here. And

we have our face selection here. And maybe I'll just make this a little bit

maybe I'll just make this a little bit smaller. Maybe just adjust one side of

smaller. Maybe just adjust one side of his face a little bit. Then I'll reset

his face a little bit. Then I'll reset my correction here. And one thing I'll

my correction here. And one thing I'll often do just to quickly turn off this

often do just to quickly turn off this overlay is just switch to a different

overlay is just switch to a different palette here. So I can switch to the

palette here. So I can switch to the curves and any adjustments we make are

curves and any adjustments we make are still going to apply to that mask

still going to apply to that mask because it's applied to this node and we

because it's applied to this node and we have this node selected. So anything

have this node selected. So anything that we do is going to happen just

that we do is going to happen just within the mask because we're masking

within the mask because we're masking that node. So what I like to do is

that node. So what I like to do is switch over to the curve and let's say I

switch over to the curve and let's say I want to brighten this side of his face.

want to brighten this side of his face. I can just push up the brightness there

I can just push up the brightness there like this. Maybe more the darker parts.

like this. Maybe more the darker parts. Yeah, just add a little bit of fill

Yeah, just add a little bit of fill there. So here's before and here's

there. So here's before and here's after. Here we go. We can add a little

after. Here we go. We can add a little bit of brightness to his face if we want

bit of brightness to his face if we want to. We could also do the opposite. I can

to. We could also do the opposite. I can move this over here. Let's reset this

move this over here. Let's reset this again. Let's reset our curves here. And

again. Let's reset our curves here. And we can take it down a little bit. And

we can take it down a little bit. And again, big soft circle window is magic,

again, big soft circle window is magic, man. Telling you. Just going to put that

man. Telling you. Just going to put that right there. And now we can darken that

right there. And now we can darken that side of the window. Here is before. And

side of the window. Here is before. And here's after. So now we can shape the

here's after. So now we can shape the light using these controls that we

light using these controls that we already know, but just combining it with

already know, but just combining it with a mask. Now, let's say that I want to do

a mask. Now, let's say that I want to do multiple things, like I want to darken

multiple things, like I want to darken this part, and I want to maybe brighten

this part, and I want to maybe brighten his eyes a little bit, maybe change the

his eyes a little bit, maybe change the color of his lips, whatever I want to

color of his lips, whatever I want to do, and I want to do all of those things

do, and I want to do all of those things to this shot. What I would recommend is

to this shot. What I would recommend is that you do those in parallel nodes.

that you do those in parallel nodes. Now, there are some reasons for this

Now, there are some reasons for this that are honestly a little bit hard to

that are honestly a little bit hard to explain. If you're really interested in

explain. If you're really interested in learning the different kinds of nodes in

learning the different kinds of nodes in the color page, let me know. But it's

the color page, let me know. But it's honestly not like super super important.

honestly not like super super important. Here's just a good general rule to go

Here's just a good general rule to go by. If you're doing a primary correction

by. If you're doing a primary correction where you're adjusting the entire image,

where you're adjusting the entire image, a lot of the time I'll just use a serial

a lot of the time I'll just use a serial node. If you're going to do multiple

node. If you're going to do multiple different things, adjust a bunch of

different things, adjust a bunch of different parts of the image like this.

different parts of the image like this. I would do those all in parallel nodes.

I would do those all in parallel nodes. To make a parallel node, rightclick and

To make a parallel node, rightclick and go to add node, add parallel. You can

go to add node, add parallel. You can also hit alt p. And what this is going

also hit alt p. And what this is going to do is basically take this original

to do is basically take this original image and that's going to feed it to all

image and that's going to feed it to all of these different corrections. So each

of these different corrections. So each one of them have the same starting

one of them have the same starting point. And so this node right here isn't

point. And so this node right here isn't looking at this image. It's actually

looking at this image. It's actually looking at an image that looks like

looking at an image that looks like this, which can be convenient if you're

this, which can be convenient if you're doing things like selecting stuff by

doing things like selecting stuff by color or brightness. Then you don't have

color or brightness. Then you don't have the other nodes kind of messing with

the other nodes kind of messing with that. And so let's just rightclick and

that. And so let's just rightclick and say node label here. We'll just say

say node label here. We'll just say darken window. For this one, let's

darken window. For this one, let's brighten his eyes. So maybe we'll make

brighten his eyes. So maybe we'll make another kind of soft circle here. I'll

another kind of soft circle here. I'll just put maybe on this eye just to

just put maybe on this eye just to brighten it up a little bit. Maybe we'll

brighten it up a little bit. Maybe we'll just take this curve and just push that

just take this curve and just push that up just a touch just to brighten it. I

up just a touch just to brighten it. I don't know if I like that. Maybe I'll

don't know if I like that. Maybe I'll take the offset up a little. Yeah, I

take the offset up a little. Yeah, I like that a little better. Take the

like that a little better. Take the offset up. Then I can also add another

offset up. Then I can also add another window just by going here and clicking

window just by going here and clicking this plus circle like this. That'll add

this plus circle like this. That'll add another circle window. And those are

another circle window. And those are both going to be applied by default,

both going to be applied by default, just added together for our node. And

just added together for our node. And you can see in the little preview here

you can see in the little preview here that it's only affecting the eyes. You

that it's only affecting the eyes. You can also go here to this tab, which is

can also go here to this tab, which is the key tab, and we can look at the

the key tab, and we can look at the selection that we're making. So, we're

selection that we're making. So, we're brightening his eyes. And then over

brightening his eyes. And then over here, maybe we'll adjust his lips. So,

here, maybe we'll adjust his lips. So, let's do that curves trick here. Hue

let's do that curves trick here. Hue versus hue. I'll just select his lips

versus hue. I'll just select his lips like that. And maybe we don't want those

like that. And maybe we don't want those quite as pink. I'll just push that down

quite as pink. I'll just push that down a little bit. Widen out these here a

a little bit. Widen out these here a little. It's going to just tone those

little. It's going to just tone those red lips down a little bit. And we're

red lips down a little bit. And we're also going to limit this with a window.

also going to limit this with a window. That's the cool thing is you can do

That's the cool thing is you can do multiple things in one node. I can put

multiple things in one node. I can put curves and stuff with our primaries and

curves and stuff with our primaries and sharpening and all kinds of stuff into

sharpening and all kinds of stuff into this. And then I can limit it with this

this. And then I can limit it with this window. So I'll take circle window and

window. So I'll take circle window and just limit it to the lips right there.

just limit it to the lips right there. So now I'll just disable these by

So now I'll just disable these by hitting Ctrl + D. Now we have our

hitting Ctrl + D. Now we have our original footage. We have our primary

original footage. We have our primary correction. Then we darkening this side

correction. Then we darkening this side of the screen, brightening up his eyes a

of the screen, brightening up his eyes a little bit, and changing the color of

little bit, and changing the color of his lips. And because these are all in

his lips. And because these are all in parallel nodes, these nodes are going to

parallel nodes, these nodes are going to interact with each other in a way that's

interact with each other in a way that's expected. If that's too much for you,

expected. If that's too much for you, it's really okay. Just do your big wide

it's really okay. Just do your big wide corrections in serial nodes and your

corrections in serial nodes and your little localized corrections in parallel

little localized corrections in parallel nodes. You'll be fine. Now, we have our

nodes. You'll be fine. Now, we have our masks set up here, and we have some

masks set up here, and we have some specific masks like right on his eyes,

specific masks like right on his eyes, which is cool, and it looks good for

which is cool, and it looks good for this frame. But as soon as we play this

this frame. But as soon as we play this back, there's some problems. Now, it's

back, there's some problems. Now, it's not so obvious on this shot, but if we

not so obvious on this shot, but if we look with the overlay, we'll notice that

look with the overlay, we'll notice that we're not really selecting his eyes. His

we're not really selecting his eyes. His head is moving around. And so, this

head is moving around. And so, this brightness on his eyes should really

brightness on his eyes should really follow his eyes, right? So, how do we do

follow his eyes, right? So, how do we do that? Well, we can use a tracker right

that? Well, we can use a tracker right here in the color page that is

here in the color page that is absolutely mindblowingly fantastic.

absolutely mindblowingly fantastic. Check this out. I'm going to start at

Check this out. I'm going to start at the beginning of my clip, just cuz

the beginning of my clip, just cuz that's where we set this up. And I'm

that's where we set this up. And I'm just going to put my windows where I

just going to put my windows where I want them to be. And I'm going to select

want them to be. And I'm going to select this window and go over to this next tab

this window and go over to this next tab here. This is our tracker tab. And I'll

here. This is our tracker tab. And I'll just hit this track back and forth

just hit this track back and forth button. And look what happens. Watch

button. And look what happens. Watch this. It just locks onto his eye and

this. It just locks onto his eye and tracks it in 1 second. Okay. Same thing

tracks it in 1 second. Okay. Same thing for this one. Tracks it. Crazy. So now

for this one. Tracks it. Crazy. So now look at that. They perfectly follow his

look at that. They perfectly follow his eyes. Isn't that nuts? It's like no

eyes. Isn't that nuts? It's like no effort to track stuff in the color page.

effort to track stuff in the color page. And again, it's very forgiving because

And again, it's very forgiving because really a lot of the time you're using

really a lot of the time you're using pretty soft masks. And so it's amazing

pretty soft masks. And so it's amazing how quickly you can refine an image,

how quickly you can refine an image, even an image that's moving and zooming

even an image that's moving and zooming and doing all kinds of stuff and people

and doing all kinds of stuff and people turning their heads and all of that. You

turning their heads and all of that. You can get really fine on these details. Do

can get really fine on these details. Do the same thing on the lips. We'll just

the same thing on the lips. We'll just make sure we select this window and then

make sure we select this window and then track this back and forth. No problem.

track this back and forth. No problem. And it completely follows his face.

And it completely follows his face. Isn't that nuts? That's just wild. There

Isn't that nuts? That's just wild. There are so many other things you can do in

are so many other things you can do in the color page. I'm trying to keep it to

the color page. I'm trying to keep it to just the essentials, but man, it's hard.

just the essentials, but man, it's hard. Let's hit alt P and make another node.

Let's hit alt P and make another node. And in this one, I want to soften kind

And in this one, I want to soften kind of the details in his face. Now, there

of the details in his face. Now, there are a lot of ways to do this, but one

are a lot of ways to do this, but one way that works pretty darn well is to

way that works pretty darn well is to take this mid detail slider here and

take this mid detail slider here and just push this to the left. And look at

just push this to the left. And look at what that does. That kind of gives us

what that does. That kind of gives us that kind of Instagram kind of gloss

that kind of Instagram kind of gloss filter. Look at that. That really starts

filter. Look at that. That really starts to soften his skin. All right. Now, it

to soften his skin. All right. Now, it makes everything else look really bad.

makes everything else look really bad. And so again, this is one of those times

And so again, this is one of those times where we're going to want to combine

where we're going to want to combine this with a selection of some kind. So

this with a selection of some kind. So one thing that we could do would be to

one thing that we could do would be to just again grab a soft circle window. We

just again grab a soft circle window. We can just put this in here like this. And

can just put this in here like this. And that's probably going to give us a

that's probably going to give us a pretty good result, honestly. So here's

pretty good result, honestly. So here's before. Here's after. But there are a

before. Here's after. But there are a few problems here. We're blurring a

few problems here. We're blurring a little bit of the background here. It's

little bit of the background here. It's going into his eyes a little bit,

going into his eyes a little bit, blurring his hair. And so it would be

blurring his hair. And so it would be nice if we could just select his skin.

nice if we could just select his skin. And there are automated, a little bit

And there are automated, a little bit fancier ways to do this in the paid

fancier ways to do this in the paid version of Resolve, but I want to show

version of Resolve, but I want to show you just an old school trick. All right,

you just an old school trick. All right, we're going to keep this window on here.

we're going to keep this window on here. We're going to just limit it to

We're going to just limit it to something like this. But then we're

something like this. But then we're going to make another selection just by

going to make another selection just by selecting his skin here. Now, how do we

selecting his skin here. Now, how do we do that? We can go to this fourth tab

do that? We can go to this fourth tab right here and select this little

right here and select this little eyropper. What this will do is this will

eyropper. What this will do is this will make a selection kind of like we select

make a selection kind of like we select with our windows, but it's doing it kind

with our windows, but it's doing it kind of like the way that you will select a

of like the way that you will select a color for a green screen. And so I'll

color for a green screen. And so I'll actually turn off our window here and

actually turn off our window here and probably turn off our midtone detail

probably turn off our midtone detail too, just so we can see just what this

too, just so we can see just what this is doing. And I can take my eyropper and

is doing. And I can take my eyropper and just drag over his skin like this. And

just drag over his skin like this. And that's going to set these sliders to

that's going to set these sliders to certain values. What this is basically

certain values. What this is basically doing is keying our image and setting

doing is keying our image and setting the mask for this node to be whatever

the mask for this node to be whatever colors are included. It's selecting by

colors are included. It's selecting by the color. And I can see this a little

the color. And I can see this a little bit better if I go up here to this icon,

bit better if I go up here to this icon, which is our highlight icon, which will

which is our highlight icon, which will turn on our highlight mode. And that

turn on our highlight mode. And that will pretty much put this on this gray,

will pretty much put this on this gray, and just show you the colors that it's

and just show you the colors that it's selecting. So, we can go back to our

selecting. So, we can go back to our qualifier here. By the way, this is

qualifier here. By the way, this is called a qualifier. And we can adjust

called a qualifier. And we can adjust these sliders back and forth and the

these sliders back and forth and the softness of this selection to only

softness of this selection to only select his skin color. All right. Maybe

select his skin color. All right. Maybe turn off the saturation. Probably turn

turn off the saturation. Probably turn off the luminance because it doesn't

off the luminance because it doesn't help too much. And we can get a good

help too much. And we can get a good selection here using this key because

selection here using this key because what we really want is just the skin.

what we really want is just the skin. Once we have a pretty good selection

Once we have a pretty good selection here, we can go to these matte finesse

here, we can go to these matte finesse controls. And this will let us adjust

controls. And this will let us adjust our selection a little bit. One thing

our selection a little bit. One thing that's going to help is if we push up

that's going to help is if we push up this pre-f filter just a touch, that's

this pre-f filter just a touch, that's going to get rid of some of those blocky

going to get rid of some of those blocky things. We can also clean the black and

things. We can also clean the black and clean the white. That's going to fill in

clean the white. That's going to fill in some of those holes. We also might just

some of those holes. We also might just want to play with this center until we

want to play with this center until we get mostly just his skin. We don't

get mostly just his skin. We don't really want his eyes or anything. So

really want his eyes or anything. So maybe we do want to adjust the luminance

maybe we do want to adjust the luminance here. Just push this around. There we

here. Just push this around. There we go. We're mostly just wanting his skin.

go. We're mostly just wanting his skin. Something like that. And this process is

Something like that. And this process is very tricky to make this work. And so

very tricky to make this work. And so you really only want to do these kind of

you really only want to do these kind of things with subtle adjustments. And so

things with subtle adjustments. And so maybe we'll do something like that. And

maybe we'll do something like that. And then limit it with the window even more.

then limit it with the window even more. So I can take this and just select his

So I can take this and just select his skin like this. And now we have mostly

skin like this. And now we have mostly just his skin being selected. Then I can

just his skin being selected. Then I can switch out of highlight mode and I'll

switch out of highlight mode and I'll take this midtone detail down. And

take this midtone detail down. And that's going to soften his skin in a way

that's going to soften his skin in a way that's a little more subtle. So we

that's a little more subtle. So we aren't messing with the rest of the

aren't messing with the rest of the image so much. We're just dealing with

image so much. We're just dealing with some of the details on his skin. That

some of the details on his skin. That gives him just a little bit more

gives him just a little bit more softness. You can really overdo this,

softness. You can really overdo this, too. So we're just going to push this up

too. So we're just going to push this up just a little bit just to take the edge

just a little bit just to take the edge off. And so that's how you can do a

off. And so that's how you can do a little bit of beauty refinement and

little bit of beauty refinement and everything. Again, what this qualifier

everything. Again, what this qualifier is doing is it's making a selection. And

is doing is it's making a selection. And in that selection, we can do anything

in that selection, we can do anything that we would do to this node, just like

that we would do to this node, just like we can with a window. But you can get

we can with a window. But you can get yourself in trouble here because if you

yourself in trouble here because if you do some kind of really extreme

do some kind of really extreme correction, so if I take this gamma and

correction, so if I take this gamma and push it blue, you can really easily see

push it blue, you can really easily see this selection. All right? And usually

this selection. All right? And usually it doesn't even look as good as this.

it doesn't even look as good as this. You can really get yourself in trouble

You can really get yourself in trouble with this kind of thing. And so if

with this kind of thing. And so if you're going to do something like change

you're going to do something like change a color, I'd highly recommend that you

a color, I'd highly recommend that you do that with something like this hue

do that with something like this hue versus hue curve because it's just a lot

versus hue curve because it's just a lot harder to get yourself in trouble. But

harder to get yourself in trouble. But these are all things that we can do to

these are all things that we can do to just refine each image even more. Let's

just refine each image even more. Let's do another shot. Again, I'll hit alt s

do another shot. Again, I'll hit alt s for a new serial and then a couple of

for a new serial and then a couple of parallels. Alt P like that. And we can

parallels. Alt P like that. And we can use these kind of circle windows to

use these kind of circle windows to really darken down parts of our frame. A

really darken down parts of our frame. A lot of the time I'll just grab the

lot of the time I'll just grab the offset and push that down. And you can

offset and push that down. And you can really make a big difference in your

really make a big difference in your shot just with these little windows. And

shot just with these little windows. And you can add multiple windows to each

you can add multiple windows to each node. And remember, you can always add

node. And remember, you can always add more windows to each node. And they

more windows to each node. And they don't have to be the same kind either.

don't have to be the same kind either. This window is one that I use a lot.

This window is one that I use a lot. This is a gradient. And what it does, if

This is a gradient. And what it does, if I were to make this pink, this does the

I were to make this pink, this does the correction and then fades it out over

correction and then fades it out over this line. And so I could do something

this line. And so I could do something like push this here on the side. And

like push this here on the side. And then let's not make this pink. Let's

then let's not make this pink. Let's just have that darken stuff a little

just have that darken stuff a little bit. And we can just darken one side of

bit. And we can just darken one side of our frame pretty easily. Okay. Really

our frame pretty easily. Okay. Really gives that a lot more impact. Maybe we

gives that a lot more impact. Maybe we want to darken this part because there's

want to darken this part because there's just too much light here. Same thing.

just too much light here. Same thing. Probably just a soft circle would do

Probably just a soft circle would do fine. Put it here. Take that offset down

fine. Put it here. Take that offset down a touch just so it's not so distracting.

a touch just so it's not so distracting. So here's before and here's after. And

So here's before and here's after. And you can go absolutely crazy on this and

you can go absolutely crazy on this and do this for every single shot if you

do this for every single shot if you want to. I'd recommend that you wait to

want to. I'd recommend that you wait to get this detailed on stuff until you

get this detailed on stuff until you have time. The very first thing that you

have time. The very first thing that you should do when color grading your shots

should do when color grading your shots is get a creative look and then match

is get a creative look and then match them all together. Once you have that,

them all together. Once you have that, then if you have time, you can go

then if you have time, you can go through and make things look prettier

through and make things look prettier and prettier. But don't start with that

and prettier. But don't start with that even though it's fun. You can't always

even though it's fun. You can't always start with the most fun thing,

start with the most fun thing, unfortunately. Last thing I want to

unfortunately. Last thing I want to touch on in the color page are there are

touch on in the color page are there are a couple other color wheel palettes that

a couple other color wheel palettes that you'll see used on a regular basis if

you'll see used on a regular basis if you watch color grading tutorials. One

you watch color grading tutorials. One is the log wheels. The other one is the

is the log wheels. The other one is the HDR wheels. Now, what the heck? Why are

HDR wheels. Now, what the heck? Why are there so many wheels? Here's the short

there so many wheels? Here's the short answer. These primaries, if I were to

answer. These primaries, if I were to Let's go to a different shot here so we

Let's go to a different shot here so we can see what's going on. These

can see what's going on. These primaries, if I were to grab this gain,

primaries, if I were to grab this gain, let's look at our waveform here. If I

let's look at our waveform here. If I were to take the gain and push that up,

were to take the gain and push that up, what that's going to do is adjust the

what that's going to do is adjust the entire image, but it's going to adjust

entire image, but it's going to adjust the brighter parts stronger. All right?

the brighter parts stronger. All right? It's like in the curves when you take

It's like in the curves when you take the top part and you move it like this.

the top part and you move it like this. In fact, that's pretty much what gain

In fact, that's pretty much what gain is. All right. The gamma adjusts the

is. All right. The gamma adjusts the middle, but it leaves the white point

middle, but it leaves the white point and black point where they are. So, it's

and black point where they are. So, it's basically doing this. The lift adjusts

basically doing this. The lift adjusts the black point, which is doing this.

the black point, which is doing this. So, it affects the entire image, but

So, it affects the entire image, but it's a lot stronger in the darker parts.

it's a lot stronger in the darker parts. Okay. Now, if we go to our log wheel, we

Okay. Now, if we go to our log wheel, we have a similar layout here, but look

have a similar layout here, but look what happens when I adjust the

what happens when I adjust the highlights. As I push this up, actually,

highlights. As I push this up, actually, not a lot's happening. And that's

not a lot's happening. And that's because adjusting these highlights is

because adjusting these highlights is like putting a dot here and then

like putting a dot here and then adjusting the white point from there. It

adjusting the white point from there. It sort of limits the adjustment to the

sort of limits the adjustment to the upper part of the image. And really, you

upper part of the image. And really, you don't see a whole lot going on because

don't see a whole lot going on because we don't have that brightest stuff. Same

we don't have that brightest stuff. Same thing for the shadows. As I move those

thing for the shadows. As I move those around, it only affects the lower part

around, it only affects the lower part of the image like this. There's an

of the image like this. There's an anchor right here. So, to see that

anchor right here. So, to see that difference, lift does this. Shadow in

difference, lift does this. Shadow in the log wheels does this. So, it's

the log wheels does this. So, it's limited to just the dark parts. And you

limited to just the dark parts. And you can adjust where that little cut off

can adjust where that little cut off point is with these sliders right here,

point is with these sliders right here, the range sliders. And so, as I push up

the range sliders. And so, as I push up the shadows, see, I'm pushing those up,

the shadows, see, I'm pushing those up, and it's really only affecting this part

and it's really only affecting this part of the image. But as I adjust the range,

of the image. But as I adjust the range, then I can have it adjust more or less

then I can have it adjust more or less of the image. And so, I could do

of the image. And so, I could do something like push my highlights really

something like push my highlights really yellow, and it doesn't really affect

yellow, and it doesn't really affect anything until I bring this highlight

anything until I bring this highlight range down and start to tell it that

range down and start to tell it that more things are highlights. So, there we

more things are highlights. So, there we go. Now we're considering this part and

go. Now we're considering this part and these parts of the image as highlights.

these parts of the image as highlights. And now things are getting yellow,

And now things are getting yellow, right? So it's basically just splitting

right? So it's basically just splitting up the image into kind of thresholds.

up the image into kind of thresholds. Highlights adjusts this, shadows adjust

Highlights adjusts this, shadows adjust this, mid tones adjust this. Instead of

this, mid tones adjust this. Instead of adjusting the entire image, it splits it

adjusting the entire image, it splits it up. Okay. So what the heck do you do

up. Okay. So what the heck do you do with these kind of things? This is if

with these kind of things? This is if you're trying to adjust something really

you're trying to adjust something really specific. Like for instance, if I want

specific. Like for instance, if I want just this window to be darker, but I

just this window to be darker, but I don't want to adjust anything else, I

don't want to adjust anything else, I could take my highlights down a little

could take my highlights down a little bit and then adjust this range to where

bit and then adjust this range to where it starts affecting the window. And so

it starts affecting the window. And so now I'm mostly just adjusting the

now I'm mostly just adjusting the highlights without even touching the

highlights without even touching the shadows and the mid tones so much. And

shadows and the mid tones so much. And so again, this is for secondary

so again, this is for secondary corrections for the most part. Something

corrections for the most part. Something that's confusing about calling these log

that's confusing about calling these log wheels is a lot of people think that if

wheels is a lot of people think that if you have log footage, you should use the

you have log footage, you should use the log wheels or that log wheels only work

log wheels or that log wheels only work in log space or that by using it, it

in log space or that by using it, it turns it into log or anything. None of

turns it into log or anything. None of that's a thing. Where this starts and

that's a thing. Where this starts and stops is this is called log wheels.

stops is this is called log wheels. That's it. Just ignore everything else.

That's it. Just ignore everything else. This is what they call the adjustments

This is what they call the adjustments that split up the image into these tonal

that split up the image into these tonal areas. Okay. The HDR pallet is basically

areas. Okay. The HDR pallet is basically a big boy version of that. Instead of

a big boy version of that. Instead of splitting it up into three parts, it

splitting it up into three parts, it splits it up into six parts. That's it.

splits it up into six parts. That's it. And so we have the range control for

And so we have the range control for each one and the softness for the

each one and the softness for the threshold of each one. And it's split up

threshold of each one. And it's split up into six parts. If you click on the

into six parts. If you click on the little sunshine for any of these, you

little sunshine for any of these, you can see what it's affecting. So

can see what it's affecting. So specular, basically nothing. Highlights,

specular, basically nothing. Highlights, things that are a little bit darker.

things that are a little bit darker. Light is that range. Shadow is this

Light is that range. Shadow is this range. Dark is this range. and black is

range. Dark is this range. and black is this range. And so it splits it up into

this range. And so it splits it up into these tonal ranges and you can adjust

these tonal ranges and you can adjust each one to your liking. Basically, if

each one to your liking. Basically, if you want to get really detailed with

you want to get really detailed with things, my advice, if you're brand new

things, my advice, if you're brand new to color, don't even worry about the HDR

to color, don't even worry about the HDR wheels. Don't even touch them. Sometimes

wheels. Don't even touch them. Sometimes maybe you'll get into the log wheels,

maybe you'll get into the log wheels, but honestly, just stay with primaries

but honestly, just stay with primaries because that is going to be able to do

because that is going to be able to do 99% of what you ever need to do, and

99% of what you ever need to do, and it's much, much simpler. Now, something

it's much, much simpler. Now, something about color. This is one of the most fun

about color. This is one of the most fun things about color. They have these

things about color. They have these color surfaces that are really cool.

color surfaces that are really cool. It's basically a way for you to be able

It's basically a way for you to be able to touch all of the controls with

to touch all of the controls with hardware knobs and sliders and

hardware knobs and sliders and everything and it makes it go a lot

everything and it makes it go a lot faster and it's more fun, more tactile.

faster and it's more fun, more tactile. There's all kinds of good reasons to use

There's all kinds of good reasons to use a color panel. They have multiple

a color panel. They have multiple different versions. The most affordable

different versions. The most affordable one being this Da Vinci Resolve micro

one being this Da Vinci Resolve micro color panel, which actually works with

color panel, which actually works with an iPad, which is really neat. There are

an iPad, which is really neat. There are three track balls here and those

three track balls here and those correspond to lift, gamma, and gain. And

correspond to lift, gamma, and gain. And there's these rings that rotate around

there's these rings that rotate around the track balls, which correspond to the

the track balls, which correspond to the master wheels. And then a lot of these

master wheels. And then a lot of these knobs and buttons and everything are

knobs and buttons and everything are basically these things. All right, so

basically these things. All right, so there isn't really anything that you can

there isn't really anything that you can only do on a color surface. It just

only do on a color surface. It just makes things a little bit easier and a

makes things a little bit easier and a little bit faster. They have a bigger

little bit faster. They have a bigger version of the color surface called the

version of the color surface called the mini panel and an absolute crazy

mini panel and an absolute crazy spaceship version which is called the

spaceship version which is called the advanced panel which has a million

advanced panel which has a million different buttons and things. And like I

different buttons and things. And like I said, this is really fun and it gives

said, this is really fun and it gives you the tactile control that is there's

you the tactile control that is there's just really nothing like it. And these

just really nothing like it. And these color panels are a little bit expensive.

color panels are a little bit expensive. The micro color panel starts at $559.

The micro color panel starts at $559. The mini panel is about $2,300 and the

The mini panel is about $2,300 and the advanced panel is $30,000. But the

advanced panel is $30,000. But the question is, do you actually need one to

question is, do you actually need one to do color? No. No. You don't need one to

do color? No. No. You don't need one to do color. In fact, I would recommend

do color. In fact, I would recommend that unless you plan on doing a lot of

that unless you plan on doing a lot of color. And when I mean a lot of color,

color. And when I mean a lot of color, color grading more than a thousand shots

color grading more than a thousand shots a week. I think that's when it really

a week. I think that's when it really gets useful to have a color surface. If

gets useful to have a color surface. If you're doing that kind of volume of

you're doing that kind of volume of color work, it's absolutely worth the

color work, it's absolutely worth the investment and it makes it more fun. If

investment and it makes it more fun. If you're making a video every couple weeks

you're making a video every couple weeks and it has 80 shots, honestly, it's

and it has 80 shots, honestly, it's probably not going to be that big of a

probably not going to be that big of a deal that you get a color surface or

deal that you get a color surface or not. So, do you actually need it? Not

not. So, do you actually need it? Not really. If you're really into gear and

really. If you're really into gear and you want your desk to look really cool

you want your desk to look really cool and you really want to practice getting

and you really want to practice getting quick at color, maybe you're wanting to

quick at color, maybe you're wanting to be a colorist and maybe eventually do

be a colorist and maybe eventually do 1,000 shots a day. If you're really

1,000 shots a day. If you're really hardcore on that, then yeah, you should

hardcore on that, then yeah, you should totally get one. Or if you have the

totally get one. Or if you have the money and can responsibly spend it and

money and can responsibly spend it and you need to justify something like this

you need to justify something like this to your boss or spouse, you can show

to your boss or spouse, you can show them this part of the video. They

them this part of the video. They absolutely need a color surface. It's

absolutely need a color surface. It's imperative. If you don't have a color

imperative. If you don't have a color surface, what are you doing? Do you even

surface, what are you doing? Do you even video? Go ahead and make that

video? Go ahead and make that investment.

investment. Are they gone? Okay. So, there's about

Are they gone? Okay. So, there's about 11 billion other things that I want to

11 billion other things that I want to show you on the color page. If you want

show you on the color page. If you want to learn more about color, let me know

to learn more about color, let me know in the comments. We'll talk more about

in the comments. We'll talk more about it. But we got to move on. We got to

it. But we got to move on. We got to keep going. The porcels who edit this

keep going. The porcels who edit this video are going to have my hide if I

video are going to have my hide if I don't keep moving. So, let's go. All

don't keep moving. So, let's go. All right. Let's talk about the Fairlite

right. Let's talk about the Fairlite page. So, this is the audio world of Da

page. So, this is the audio world of Da Vinci Resolve. You can think of this as

Vinci Resolve. You can think of this as like the main dedicated audio app. In

like the main dedicated audio app. In the Adobe world, this would be like

the Adobe world, this would be like Adobe Audition or something, or for

Adobe Audition or something, or for those of us who've been around for a

those of us who've been around for a little bit, something like ProTools.

little bit, something like ProTools. This is the dedicated audio part of

This is the dedicated audio part of Resolve. Now, you can do a lot of audio

Resolve. Now, you can do a lot of audio stuff in the edit page of Resolve, but

stuff in the edit page of Resolve, but you can think of this as there's two

you can think of this as there's two separate apps here. There's your editing

separate apps here. There's your editing app which has general effects and it has

app which has general effects and it has some audio tools and you can add clips

some audio tools and you can add clips and you can move them around and you can

and you can move them around and you can fade things and you can adjust volume

fade things and you can adjust volume and that kind of thing. So, it's like

and that kind of thing. So, it's like the basic version of adjusting audio.

the basic version of adjusting audio. Whereas an audio app, the idea is that

Whereas an audio app, the idea is that you can get super detailed with your

you can get super detailed with your audio. You can have lots and lots of

audio. You can have lots and lots of tracks. There are specialized audio

tracks. There are specialized audio effects, plugins, all kinds of things.

effects, plugins, all kinds of things. And it's just really tuned into making

And it's just really tuned into making good audio. And that's exactly what's

good audio. And that's exactly what's happening here in Fairlite page. Just

happening here in Fairlite page. Just like the other pages of Resolve, your

like the other pages of Resolve, your timeline here in the edit page can just

timeline here in the edit page can just be opened in Fairlite just by clicking

be opened in Fairlite just by clicking on the Fairlite page. So here we are.

on the Fairlite page. So here we are. Here's our color timeline that we've

Here's our color timeline that we've been working on. And this part down here

been working on. And this part down here is a similar interface where we have our

is a similar interface where we have our timeline and we can adjust the height of

timeline and we can adjust the height of our audio tracks. But look how big we

our audio tracks. But look how big we can make these audio tracks. And look

can make these audio tracks. And look how much we can zoom in here. So I'll

how much we can zoom in here. So I'll just put this in here and just hit

just put this in here and just hit control plus a bunch. We can really zoom

control plus a bunch. We can really zoom in here crazy, even down to the sample

in here crazy, even down to the sample level of audio. So, Fairlite can get

level of audio. So, Fairlite can get just as crazy as you want to get when it

just as crazy as you want to get when it comes to getting detailed with your

comes to getting detailed with your audio. One of the first things you might

audio. One of the first things you might be thinking is, okay, I can do a lot of

be thinking is, okay, I can do a lot of this in the edit page, right? I can zoom

this in the edit page, right? I can zoom in and I can get crazy with audio here

in and I can get crazy with audio here in the edit page. When should I move to

in the edit page. When should I move to the fairlight page? What's the point of

the fairlight page? What's the point of doing Fairlite stuff over the edit page?

doing Fairlite stuff over the edit page? And the honest truth is that you can

And the honest truth is that you can move back and forth. It's not really

move back and forth. It's not really that essential that you're like ready to

that essential that you're like ready to do audio before you go into the

do audio before you go into the Fairlight page. A lot of the time what I

Fairlight page. A lot of the time what I do is I'll jump into Fairlite and I'll

do is I'll jump into Fairlite and I'll adjust some things that Fairlight's good

adjust some things that Fairlight's good at and then switch back to the edit and

at and then switch back to the edit and kind of keep editing. And then if I want

kind of keep editing. And then if I want to mess with the clip, maybe I'll go

to mess with the clip, maybe I'll go over to Fairlite and adjust the clip and

over to Fairlite and adjust the clip and everything. What's really cool is that

everything. What's really cool is that this whole timeline on the Fairite page

this whole timeline on the Fairite page is the same as the edit page. And so if

is the same as the edit page. And so if I add a fade on the fairlight page and

I add a fade on the fairlight page and switch over to the edit page, we have

switch over to the edit page, we have that same fade right here on the edit

that same fade right here on the edit page. If I were to write click and

page. If I were to write click and change the clip color here on the

change the clip color here on the fairlight page, guess what? That clip

fairlight page, guess what? That clip color is on the edit page. And so it's

color is on the edit page. And so it's nice because you can really just go back

nice because you can really just go back and forth. And this is huge because in

and forth. And this is huge because in basically every other app ever, you

basically every other app ever, you can't do that. you would have to do

can't do that. you would have to do something like export your timeline as

something like export your timeline as an XML or some kind of format that an

an XML or some kind of format that an audio app can open, which means that you

audio app can open, which means that you should have things pretty well dialed in

should have things pretty well dialed in and pretty much finalized before you go

and pretty much finalized before you go into the audio app. And you don't even

into the audio app. And you don't even have to worry about that with Fairlite.

have to worry about that with Fairlite. We're so spoiled. You can just switch

We're so spoiled. You can just switch over to Fairlite and do some

over to Fairlite and do some adjustments, switch back to edit, no

adjustments, switch back to edit, no problem. Okay, so we can switch into

problem. Okay, so we can switch into Fairlite and back if we want to get a

Fairlite and back if we want to get a little bit more fancy with our audio.

little bit more fancy with our audio. But let's take a second and look at the

But let's take a second and look at the interface here. So right here we have

interface here. So right here we have our timeline. And this acts pretty much

our timeline. And this acts pretty much like it does in the edit page. There are

like it does in the edit page. There are tracks, there are clips, you move around

tracks, there are clips, you move around in time, all of that. Now, it's possible

in time, all of that. Now, it's possible that on your system you don't have the

that on your system you don't have the video tracks. If you go up here to this

video tracks. If you go up here to this little icon, there are all kinds of

little icon, there are all kinds of options for viewing our timeline. And

options for viewing our timeline. And there's actually a similar button to

there's actually a similar button to this in the edit page right here and the

this in the edit page right here and the cut page, right? So, anytime you want to

cut page, right? So, anytime you want to adjust how your timeline looks, there's

adjust how your timeline looks, there's some kind of version of this. But here,

some kind of version of this. But here, this top menu item is display video

this top menu item is display video tracks. And so, if you're just working

tracks. And so, if you're just working on audio, sometimes you don't really

on audio, sometimes you don't really need the video tracks. But, I don't

need the video tracks. But, I don't know, for me, it's comfortable to be

know, for me, it's comfortable to be able to see the video tracks just so

able to see the video tracks just so that this looks a little bit more

that this looks a little bit more familiar to the edit page cuz sometimes

familiar to the edit page cuz sometimes I'll have clips colored a certain way or

I'll have clips colored a certain way or arranged a certain way that kind of

arranged a certain way that kind of helps me navigate where things are on

helps me navigate where things are on the timeline and I don't want to lose

the timeline and I don't want to lose that in Fairlight. Over here on our

that in Fairlight. Over here on our track headers, we have our mute and our

track headers, we have our mute and our solo. So, we can mute tracks and solo

solo. So, we can mute tracks and solo tracks. Solo basically just mutes

tracks. Solo basically just mutes everything except for that track. We

everything except for that track. We have meters for the tracks. And I'll

have meters for the tracks. And I'll tell you something in Fairlite, tracks

tell you something in Fairlite, tracks are your best friend, okay? You need to

are your best friend, okay? You need to be good friends with tracks. Don't be

be good friends with tracks. Don't be afraid to add lots and lots of tracks.

afraid to add lots and lots of tracks. Get familiar with how tracks work

Get familiar with how tracks work because tracks are the magic when it

because tracks are the magic when it comes to audio. We'll talk about that

comes to audio. We'll talk about that more in a little bit. Over here to the

more in a little bit. Over here to the right, we have our mixer. And this is

right, we have our mixer. And this is where we adjust controls for our mix as

where we adjust controls for our mix as well as each track. This is where we can

well as each track. This is where we can set inputs for recording. We can add

set inputs for recording. We can add effects. We can adjust dynamics, which

effects. We can adjust dynamics, which we'll get into in a little bit. We can

we'll get into in a little bit. We can adjust EQ. We can route each track to a

adjust EQ. We can route each track to a separate bus, which is like a group of

separate bus, which is like a group of tracks, like a submix. We have pan

tracks, like a submix. We have pan controls and our volume here for each

controls and our volume here for each track. Up here in the middle, we have

track. Up here in the middle, we have our tools, which are very similar to the

our tools, which are very similar to the edit page. Playback controls. Again,

edit page. Playback controls. Again, very similar. And we have a big bunch of

very similar. And we have a big bunch of audio meters here. This is going to show

audio meters here. This is going to show you the volume of every single track in

you the volume of every single track in your mix. We have a loudness meter here,

your mix. We have a loudness meter here, which helps monitor how loud things are

which helps monitor how loud things are perceived, which can be good if you're

perceived, which can be good if you're doing broadcast things and even somewhat

doing broadcast things and even somewhat useful if you're making mixes for

useful if you're making mixes for YouTube. And then we have our viewer

YouTube. And then we have our viewer here. It's a lot smaller, but we can

here. It's a lot smaller, but we can actually pop this out and make a little

actually pop this out and make a little bit bigger viewer if we want to. I'll

bit bigger viewer if we want to. I'll just pop that back in. But really, we

just pop that back in. But really, we have a lot of space here in the timeline

have a lot of space here in the timeline because this is where we're going to do

because this is where we're going to do most of our work. We're going to be

most of our work. We're going to be adding sound effects and mixing things

adding sound effects and mixing things and moving them around. A lot of that

and moving them around. A lot of that happens in the timeline and the mixer.

happens in the timeline and the mixer. Up along the top, we have some familiar

Up along the top, we have some familiar windows, our media pool and our effects.

windows, our media pool and our effects. Those work just like the other ones. We

Those work just like the other ones. We have our metadata and our inspector.

have our metadata and our inspector. Again, same thing as the other pages.

Again, same thing as the other pages. And some other panels that we might get

And some other panels that we might get into here in a little bit. So, let's

into here in a little bit. So, let's work on something, shall we? Let's

work on something, shall we? Let's switch back to the edit page here for a

switch back to the edit page here for a second. And in the Fairlight folder, if

second. And in the Fairlight folder, if you imported it with me at the beginning

you imported it with me at the beginning of this video, you should have several

of this video, you should have several different files here. I'm just going to

different files here. I'm just going to rightclick here in the empty space and

rightclick here in the empty space and hit timelines, create new timeline. And

hit timelines, create new timeline. And we'll call this Fairlite timeline. Hit

we'll call this Fairlite timeline. Hit create. And let's build our quick time

create. And let's build our quick time that we can work through together. You

that we can work through together. You should have a movie here called

should have a movie here called Fairlight Page Video Track. Drag this in

Fairlight Page Video Track. Drag this in like this. And then there's also

like this. And then there's also Fairlight Dia. That's short for

Fairlight Dia. That's short for dialogue. We'll drag this down here. And

dialogue. We'll drag this down here. And this is going to be the audio for our

this is going to be the audio for our scene. And we're going to make sure this

scene. And we're going to make sure this came through just right here in a

came through just right here in a second. But this is a different scene

second. But this is a different scene from the same movie that lends itself to

from the same movie that lends itself to some sound design, some mixing, some

some sound design, some mixing, some fun. So, let's switch over to the

fun. So, let's switch over to the Fairlite page and take a look at what

Fairlite page and take a look at what we've got in the Verite page. By

we've got in the Verite page. By default, it shows you a little bit more

default, it shows you a little bit more about the audio channels. This dialogue

about the audio channels. This dialogue is coming in as a mono track. The reason

is coming in as a mono track. The reason I know that is because this track is a

I know that is because this track is a stereo track. I can tell by this little

stereo track. I can tell by this little 2.0 right here. What that's going to do

2.0 right here. What that's going to do is have a list of channels within this

is have a list of channels within this track. So, this dialogue is actually

track. So, this dialogue is actually just one track that comes in on the left

just one track that comes in on the left channel. Hold up, I got to get my

channel. Hold up, I got to get my headphones. There we go. So, if we play

headphones. There we go. So, if we play this back, we're just going to hear that

this back, we're just going to hear that on the left speaker. And there are

on the left speaker. And there are actually more tracks in this wave file.

actually more tracks in this wave file. So, let's open this up in the media

So, let's open this up in the media pool. Rightclick and go to clip

pool. Rightclick and go to clip attributes. We're going to go to audio.

attributes. We're going to go to audio. And we're going to make sure that our

And we're going to make sure that our format is set right. We should set it

format is set right. We should set it like this. format mono audio one mix

like this. format mono audio one mix mono audio 2 mix. You can pick which

mono audio 2 mix. You can pick which track you want on each of these. That

track you want on each of these. That looks good. And I'll hit okay. And let's

looks good. And I'll hit okay. And let's take this dialogue and let's drag this

take this dialogue and let's drag this down. And look at this. This is actually

down. And look at this. This is actually adding it in two different tracks. So

adding it in two different tracks. So why don't we instead why don't we

why don't we instead why don't we rightclick on this track here and say

rightclick on this track here and say change track type to mono. And then we

change track type to mono. And then we have our audio 2. This is mono as well.

have our audio 2. This is mono as well. So let's get rid of this and just move

So let's get rid of this and just move this down. So that's what we should have

this down. So that's what we should have is two separate tracks like this.

is two separate tracks like this. Sometimes things just don't come in

Sometimes things just don't come in right for whatever reason on the edit

right for whatever reason on the edit page. Sometimes when you have fancy

page. Sometimes when you have fancy audio tracks, you might need to jump

audio tracks, you might need to jump into fair light to get that working. But

into fair light to get that working. But this is what we should have is our

this is what we should have is our dialogue wave should have one channel on

dialogue wave should have one channel on this track and one channel on this

this track and one channel on this track. And both of these tracks should

track. And both of these tracks should be mono. Okay. So now if we play this

be mono. Okay. So now if we play this back, because these are mono, they're

back, because these are mono, they're both going to come out of both speakers,

both going to come out of both speakers, but they are going to be separate tracks

but they are going to be separate tracks here.

Where is he? I had him and then you pushed me.

I had him and then you pushed me. Great. So, this is just the dialogue for

Great. So, this is just the dialogue for our sequence and probably 75% of what

our sequence and probably 75% of what we're going to be doing here in Fairlite

we're going to be doing here in Fairlite is stuff that you've really already

is stuff that you've really already learned in the edit page. So, this

learned in the edit page. So, this section of this video is going to be a

section of this video is going to be a little bit shorter, but I do want to

little bit shorter, but I do want to show you some specific stuff in Fairlite

show you some specific stuff in Fairlite that's really neat. One thing that we

that's really neat. One thing that we can do is split each of these up into

can do is split each of these up into little clips, which again happens like

little clips, which again happens like you would on the edit page. But you'll

you would on the edit page. But you'll notice when I click on this, it actually

notice when I click on this, it actually selects both of these tracks. So, I'm

selects both of these tracks. So, I'm going to select this, rightclick, and go

going to select this, rightclick, and go down to where it says link clips and

down to where it says link clips and uncheck that. Now, I can move each of

uncheck that. Now, I can move each of these separately, which is probably

these separately, which is probably going to be really good for what we're

going to be really good for what we're doing. And I can use the same shortcuts

doing. And I can use the same shortcuts that I was using. I can split each

that I was using. I can split each track. I can just select it like this. I

track. I can just select it like this. I can grab and trim it very similar just

can grab and trim it very similar just like we would on the edit page. Just

like we would on the edit page. Just splitting and trimming like this. And

splitting and trimming like this. And it's silent here. So, we don't really

it's silent here. So, we don't really have to trim this, but I like to do that

have to trim this, but I like to do that just to keep organized a little bit. A

just to keep organized a little bit. A little bit easier to think of these in

little bit easier to think of these in little chunks. And it also feels like

little chunks. And it also feels like it's empty here, which it is. There's no

it's empty here, which it is. There's no sound at all here. And so that kind of

sound at all here. And so that kind of reminds us that hey, we need to actually

reminds us that hey, we need to actually add some sound to this in order for this

add some sound to this in order for this to feel like a finished professional

to feel like a finished professional kind of product. Now, something that's

kind of product. Now, something that's really unique to the Fairlite page is

really unique to the Fairlite page is its way of selecting pieces of clips.

its way of selecting pieces of clips. So, let's zoom in here a little bit.

So, let's zoom in here a little bit. I'll go ahead and close my media pool

I'll go ahead and close my media pool just so we have a little bit of space.

just so we have a little bit of space. Make this a little bigger. And let's say

Make this a little bigger. And let's say that I want to select and adjust this

that I want to select and adjust this waveform right here. In the edit page,

waveform right here. In the edit page, what I would have to do would be to go

what I would have to do would be to go here and split this and then I have this

here and split this and then I have this as a separate thing. But what I can

as a separate thing. But what I can actually do in the fairlight page is I

actually do in the fairlight page is I can select regions. So I can grab this

can select regions. So I can grab this second tool here, which is range mode,

second tool here, which is range mode, and I can click and drag. And that's

and I can click and drag. And that's going to set an in and an out, and

going to set an in and an out, and that's going to let me go in and be a

that's going to let me go in and be a little bit more detailed with the actual

little bit more detailed with the actual sounds itself. So I can make this

sounds itself. So I can make this selection and hit backspace, and that'll

selection and hit backspace, and that'll just get rid of that part of the audio.

just get rid of that part of the audio. I can also grab this line and push it

I can also grab this line and push it up. And that's going to add little key

up. And that's going to add little key frames to this volume line. And so I can

frames to this volume line. And so I can push that up like that. And then if I

push that up like that. And then if I want to select a different part, I can

want to select a different part, I can do it like this. And so that makes it

do it like this. And so that makes it really easy to be able to select a piece

really easy to be able to select a piece and kind of adjust it without having to

and kind of adjust it without having to do a bunch of manual key framing and

do a bunch of manual key framing and stuff. Now the thing that's not great

stuff. Now the thing that's not great about this is that if I want to say move

about this is that if I want to say move this clip around, I can't. I'm just

this clip around, I can't. I'm just selecting parts of it. I would have to

selecting parts of it. I would have to switch to this other mode. But what I

switch to this other mode. But what I can do is switch to this focus mode and

can do is switch to this focus mode and that's a combination of these tools. So

that's a combination of these tools. So if I'm on the top part of the clip, I

if I'm on the top part of the clip, I can do my range mode just like before.

can do my range mode just like before. But if I'm on the bottom part of the

But if I'm on the bottom part of the clip, I can grab the clip and move it

clip, I can grab the clip and move it back and forth. And so this is a really

back and forth. And so this is a really nice way to work inside of Fairlite,

nice way to work inside of Fairlite, especially if you're going in and

especially if you're going in and adjusting pieces of your clips. Just

adjusting pieces of your clips. Just remember to be on the top part of the

remember to be on the top part of the clip if you want to adjust a range and

clip if you want to adjust a range and the bottom part if you want to move

the bottom part if you want to move things around. So yeah, just like the

things around. So yeah, just like the edit page, I can hit alt and add little

edit page, I can hit alt and add little key frames here to the volume. But

key frames here to the volume. But what's cool is I can animate a whole

what's cool is I can animate a whole bunch of stuff in the same way. And to

bunch of stuff in the same way. And to select what I want to animate, I can go

select what I want to animate, I can go over here to this little drop down where

over here to this little drop down where it says none. And there are all kinds of

it says none. And there are all kinds of things that I can key frame here. So by

things that I can key frame here. So by default, it's the clip volume right

default, it's the clip volume right here. But I can also adjust the fader

here. But I can also adjust the fader level. It kind of does the same thing,

level. It kind of does the same thing, but for the track. And so what this is

but for the track. And so what this is going to do is automate this slider. And

going to do is automate this slider. And watch what happens when I play this

watch what happens when I play this back. It turns it down. And so you can

back. It turns it down. And so you can key frame anything in the mixer for the

key frame anything in the mixer for the track. Just like that. And this is the

track. Just like that. And this is the kind of thing that you just can't do on

kind of thing that you just can't do on the edit page. And now if I want to

the edit page. And now if I want to remove that automation, I can hold

remove that automation, I can hold control and alt and just click on these

control and alt and just click on these little points and get rid of it. Yay. So

little points and get rid of it. Yay. So we have our dialogue here in our movie.

we have our dialogue here in our movie. But what's really going to help here is

But what's really going to help here is to add a little bit of room tone, a

to add a little bit of room tone, a little bit of ambience. And so let's go

little bit of ambience. And so let's go over to our media pool here in our sound

over to our media pool here in our sound effects folder. We should have a clip

effects folder. We should have a clip called GC ambience interior bathroom,

called GC ambience interior bathroom, which is going to be really helpful. And

which is going to be really helpful. And so this is just kind of like the sound

so this is just kind of like the sound of the air, sound of the environment,

of the air, sound of the environment, the room tone here. And that's going to

the room tone here. And that's going to kind of fill in some of these little

kind of fill in some of these little gaps that are just completely silent.

gaps that are just completely silent. You pretty much never want that. That's

You pretty much never want that. That's called dead air. We don't want that. And

called dead air. We don't want that. And before I play this back, I'm actually

before I play this back, I'm actually going to take the volume down here for

going to take the volume down here for our preview because these ambients are

our preview because these ambients are very, very loud. So, there we go. That's

very, very loud. So, there we go. That's kind of what we're looking for is that

kind of what we're looking for is that little that little bit of just kind of

little that little bit of just kind of ambient noise. And in this preview, this

ambient noise. And in this preview, this is where we can set our in andout just

is where we can set our in andout just like we would normally do in the viewer

like we would normally do in the viewer in the edit page. But I'm just going to

in the edit page. But I'm just going to use this whole thing. I can grab it and

use this whole thing. I can grab it and drag it down here. And I can either drag

drag it down here. And I can either drag it to an existing track or I can make a

it to an existing track or I can make a new track just by dragging it down like

new track just by dragging it down like this. So, let's put that in. And this is

this. So, let's put that in. And this is going to be our ambience. Now, before

going to be our ambience. Now, before long, our tracks are going to get crazy,

long, our tracks are going to get crazy, and so it's probably a good idea to

and so it's probably a good idea to start renaming these. All you do is

start renaming these. All you do is click on the track name. And so, we'll

click on the track name. And so, we'll call this dialogue dash guy, and we'll

call this dialogue dash guy, and we'll say uh dialogue dia/girl.

say uh dialogue dia/girl. And this is going to be our ambience

And this is going to be our ambience amb. You can name these however you want

amb. You can name these however you want as long as you recognize it. And the

as long as you recognize it. And the first thing I'm going to do on this

first thing I'm going to do on this ambience is I'm going to take the volume

ambience is I'm going to take the volume down on this track. So, to do that,

down on this track. So, to do that, that's going to be in our mixer. And

that's going to be in our mixer. And it's a little bit confusing because the

it's a little bit confusing because the mixer is right here on the side. And

mixer is right here on the side. And what we're going to do is look for track

what we're going to do is look for track three. So there's A1, audio one, audio

three. So there's A1, audio one, audio 2, and audio 3. Here we have audio one,

2, and audio 3. Here we have audio one, audio 2, and where's audio 3? Well,

audio 2, and where's audio 3? Well, there is a little scroll here that we

there is a little scroll here that we can scroll over. Or we can even move

can scroll over. Or we can even move this out a little bit to see more

this out a little bit to see more tracks. And so here on track three,

tracks. And so here on track three, we're going to take this fader all the

we're going to take this fader all the way down. Let's take this to like, I

way down. Let's take this to like, I don't know, -20, something like that,

don't know, -20, something like that, and just see how that sounds compared to

and just see how that sounds compared to our audio. There we go. That's a little

our audio. There we go. That's a little better. push this up so we can hear it.

better. push this up so we can hear it. So, that ambience is still a little bit

So, that ambience is still a little bit hot. We'll take this down a lot lot

hot. We'll take this down a lot lot more. And what's nice is I can play this

more. And what's nice is I can play this back while I'm adjusting the volume in

back while I'm adjusting the volume in this track, which is a little bit harder

this track, which is a little bit harder to do here on the interface or in the

to do here on the interface or in the inspector. So, I can just take this down

inspector. So, I can just take this down and just bring it up just to where I

and just bring it up just to where I start to notice it. I don't even know on

start to notice it. I don't even know on your on your speakers, but it definitely

your on your speakers, but it definitely like it sounds like there is air in the

like it sounds like there is air in the environment now. So, that's great. Let's

environment now. So, that's great. Let's go ahead and close our media pool and

go ahead and close our media pool and we'll just work with this again. Let's

we'll just work with this again. Let's just grab the edge of this and I'll just

just grab the edge of this and I'll just split this just like we would on the

split this just like we would on the edit page and get rid of this edge.

edit page and get rid of this edge. There we go. And now we have our

There we go. And now we have our ambience. We can also colorize a track

ambience. We can also colorize a track just by right-clicking and going down to

just by right-clicking and going down to change track color. And this can be

change track color. And this can be really helpful for organizing your

really helpful for organizing your different types of sounds. And so maybe

different types of sounds. And so maybe we'll have our dialogue apricot. Sure.

we'll have our dialogue apricot. Sure. Right click track color apricot. That'll

Right click track color apricot. That'll also colorize them here in the mixer.

also colorize them here in the mixer. It'll be a little bit easier. Ambience,

It'll be a little bit easier. Ambience, let's turn green. Sounds good. Now,

let's turn green. Sounds good. Now, let's add a little bit of music. So,

let's add a little bit of music. So, same thing, media pool. We're going to

same thing, media pool. We're going to go up to our fair light directory

go up to our fair light directory because we have our music right here.

because we have our music right here. Same thing, just drag it in. We'll just

Same thing, just drag it in. We'll just butt this up here. And so, we have our

butt this up here. And so, we have our music that's a little bit long for our

music that's a little bit long for our scene. Now, if we want to make this

scene. Now, if we want to make this music fit the length of the clip, there

music fit the length of the clip, there are ways to do that in the studio

are ways to do that in the studio version of Resolve. That's pretty fancy.

version of Resolve. That's pretty fancy. So, I'll show you that. I'll just kind

So, I'll show you that. I'll just kind of move this over here for a second.

of move this over here for a second. This whole clip is about 17, 18 seconds,

This whole clip is about 17, 18 seconds, something like that. So, what we could

something like that. So, what we could do is trim this and then select it and

do is trim this and then select it and go to the inspector. And there are some

go to the inspector. And there are some really cool AI adjustments that we can

really cool AI adjustments that we can make to clips here in the fairlight

make to clips here in the fairlight page. This one is going to be AI music

page. This one is going to be AI music editor. And so, what we can do is we can

editor. And so, what we can do is we can select a target length. So, let's say 17

select a target length. So, let's say 17 seconds. So, just 1700. And then hit

seconds. So, just 1700. And then hit adjust. It's going to analyze that clip.

adjust. It's going to analyze that clip. It's going to go through and figure out

It's going to go through and figure out where all the beats are and all that

where all the beats are and all that kind of stuff. And it's going to try and

kind of stuff. And it's going to try and make it shorter. and it will do a decent

make it shorter. and it will do a decent job. It's going to actually make this

job. It's going to actually make this about 20 seconds. So, let's actually

about 20 seconds. So, let's actually maybe see if we can get this to maybe

maybe see if we can get this to maybe we'll target like 15 seconds and then

we'll target like 15 seconds and then hit adjust. There we go. Yeah, it's

hit adjust. There we go. Yeah, it's going to want to do 12 seconds or

going to want to do 12 seconds or something. So, you can get it close, but

something. So, you can get it close, but it should do a pretty good job of making

it should do a pretty good job of making everything happen on beat. So, let's

everything happen on beat. So, let's listen.

[Music] and that works. But if you don't like

and that works. But if you don't like what it's doing here, or if you don't

what it's doing here, or if you don't have the paid version of Resolve, here's

have the paid version of Resolve, here's a really easy way that you can shorten

a really easy way that you can shorten your music. I'm just going to reset this

your music. I'm just going to reset this AI music editor and look at this full

AI music editor and look at this full length. And let's just align this where

length. And let's just align this where we want it to be. Just get rid of our

we want it to be. Just get rid of our inspector here. Let's take a look at

inspector here. Let's take a look at this. I think we want this to come to a

this. I think we want this to come to a head right when that toilet happens.

head right when that toilet happens. Yeah. So, let's actually just trim the

Yeah. So, let's actually just trim the front of this here. And let's have this

front of this here. And let's have this end right about where that toilet

end right about where that toilet happens.

happens. And then you push me.

And then you push me. Let's have that just end right about

Let's have that just end right about there.

there. I had him and then you pushed me.

I had him and then you pushed me. Yeah, that's nice. So, we have that kind

Yeah, that's nice. So, we have that kind of awkward empty feeling there. Maybe

of awkward empty feeling there. Maybe we'll just fade this up like this.

we'll just fade this up like this. [Music]

Where is he? I had him and then you pushed me.

I had him and then you pushed me. Yeah. So, that actually works without

Yeah. So, that actually works without having to do a bunch of edits. But I'll

having to do a bunch of edits. But I'll just alt drag this out so I can show you

just alt drag this out so I can show you this. If you want to shorten a clip and

this. If you want to shorten a clip and have it on beat, this is the easiest way

have it on beat, this is the easiest way to do it. And you don't need any AI

to do it. And you don't need any AI stuff. You can just do this yourself. A

stuff. You can just do this yourself. A lot of music you can listen to and count

lot of music you can listen to and count on the beats. And then you want to cut

on the beats. And then you want to cut it and splice it on the beat. This one

it and splice it on the beat. This one is a little bit harder to count, at

is a little bit harder to count, at least for me. And so really what we want

least for me. And so really what we want to do is just split this right here. And

to do is just split this right here. And we'll just kind of trim this to be

we'll just kind of trim this to be shorter. And really a great way to do

shorter. And really a great way to do this is just to look at the waveform and

this is just to look at the waveform and look for similar waveforms. So this and

look for similar waveforms. So this and this look similar. And so what I'll do

this look similar. And so what I'll do is just trim this to be right on that

is just trim this to be right on that peak here. And move this down. Let's

peak here. And move this down. Let's just see how this sounds.

Decent. And what we could do is rightclick and say 24 frame crossfade

rightclick and say 24 frame crossfade like that. Pretty good. And now we have

like that. Pretty good. And now we have a shorter version of the song. So that's

a shorter version of the song. So that's a great way you can splice a song. But

a great way you can splice a song. But we don't even need to do that right

we don't even need to do that right here. We can just have it fade in. And

here. We can just have it fade in. And then right there we'll also have this

then right there we'll also have this fade out. Great. Now this is going to

fade out. Great. Now this is going to actually be masked a little bit with a

actually be masked a little bit with a toilet flushing sound. So that's going

toilet flushing sound. So that's going to be in our effects that we add to

to be in our effects that we add to this. And really a great way to go about

this. And really a great way to go about adding your sound effects and everything

adding your sound effects and everything is to do it in passes. Just like we edit

is to do it in passes. Just like we edit in passes and do our color and passes

in passes and do our color and passes and everything, doing this audio in

and everything, doing this audio in passes is really helpful. We're

passes is really helpful. We're basically looking for the big obvious

basically looking for the big obvious things, the things that are going to

things, the things that are going to take somebody out of the experience if

take somebody out of the experience if they don't hear it. And we want to add

they don't hear it. And we want to add those effects. So, anything that should

those effects. So, anything that should be making a sound that should be really

be making a sound that should be really obvious, boy, that better be in it.

obvious, boy, that better be in it. Okay, so let's go through here. And what

Okay, so let's go through here. And what I'm just going to do is just hit M on

I'm just going to do is just hit M on the keyboard for a marker. That's going

the keyboard for a marker. That's going to add a marker to our sequence, and

to add a marker to our sequence, and that'll help us remember to add the

that'll help us remember to add the effects there. Okay. So, we need So,

effects there. Okay. So, we need So, right as we go, we need this closing

right as we go, we need this closing door sound

in the story, she falls down from inside the door. So, we definitely need

the door. So, we definitely need something like that.

something like that. [Music]

[Music] Probably opening the door might be good.

Probably opening the door might be good. And then you push me.

And then you push me. We need the toilet flushing sound right

We need the toilet flushing sound right there for sure.

there for sure. Oh, no.

Oh, no. Moving the book. We need some kind of

Moving the book. We need some kind of audio for that. Opening the lid. Yeah.

audio for that. Opening the lid. Yeah. So, all of that kind of needs to happen.

So, all of that kind of needs to happen. By the way, this scene, if it's

By the way, this scene, if it's confusing, out of context. So, the kid,

confusing, out of context. So, the kid, he just shoved her in the bathroom

he just shoved her in the bathroom holding the alien and she fell down and

holding the alien and she fell down and accidentally flushed the little blue

accidentally flushed the little blue alien down the toilet. So, this is where

alien down the toilet. So, this is where things really get bad. So, let's just go

things really get bad. So, let's just go through this. So, this first effect we

through this. So, this first effect we need is the door closing. And we can

need is the door closing. And we can open up the media pool and look for our

open up the media pool and look for our door closing stuff. But I want to show

door closing stuff. But I want to show you a really cool thing about Fairlite.

you a really cool thing about Fairlite. So let's say that you have a whole bunch

So let's say that you have a whole bunch of sounds, like we're just giving you

of sounds, like we're just giving you like 20 sounds or something. But if you

like 20 sounds or something. But if you have 700 sounds, it can be really hard

have 700 sounds, it can be really hard to go through and listen to every sound

to go through and listen to every sound and try and figure out the exact sound

and try and figure out the exact sound that you want. And so this sound

that you want. And so this sound library, this is a way that you can tell

library, this is a way that you can tell Resolve where all your sounds are and it

Resolve where all your sounds are and it can index them and make it really easy

can index them and make it really easy to find the sounds that you need. All

to find the sounds that you need. All you have to do is go to these three dots

you have to do is go to these three dots and say add library. And we're going to

and say add library. And we're going to navigate to our files and our sound

navigate to our files and our sound effects folder that we downloaded and

effects folder that we downloaded and hit select folder. But you can select

hit select folder. But you can select any folder on your system, anything that

any folder on your system, anything that has all of your sounds. And then it's

has all of your sounds. And then it's going to go through and scan all of the

going to go through and scan all of the sounds and index them so that it can

sounds and index them so that it can quickly find them. And if you have lots

quickly find them. And if you have lots and lots of sounds, it might take a

and lots of sounds, it might take a little bit, but this is going to be

little bit, but this is going to be really quick. Sound library sounds. Scan

really quick. Sound library sounds. Scan successful. Hit okay. And now we can

successful. Hit okay. And now we can search here and it will quickly bring up

search here and it will quickly bring up anything. So if I type in toilet, here

anything. So if I type in toilet, here are all of the toilet sounds. Toilet

are all of the toilet sounds. Toilet sounds. So we have toilet flush, toilet

sounds. So we have toilet flush, toilet lid open. And we can just double click

lid open. And we can just double click this to play it back. So there's our

this to play it back. So there's our flush,

flush, toilet, dropping the book on the toilet,

toilet, dropping the book on the toilet, opening the lid, all of that. We can

opening the lid, all of that. We can find the toilet stuff really easily. So

find the toilet stuff really easily. So let's type in door. Now we have all of

let's type in door. Now we have all of our door sounds. So doorork knob sound.

our door sounds. So doorork knob sound. Yeah, that's good. We need the door

Yeah, that's good. We need the door closing.

closing. Yeah, good. So, here we can set our in

Yeah, good. So, here we can set our in and our out just like this. I

and our out just like this. I And we can drag this into a new track.

And we can drag this into a new track. And I can take off snapping so that I

And I can take off snapping so that I can move this back and forth really

can move this back and forth really easily. Good. And we'll get rid of this

easily. Good. And we'll get rid of this marker here. We need the kind of falling

marker here. We need the kind of falling down sounds. Let's type in body. That'll

down sounds. Let's type in body. That'll bring up. We have our body drops.

bring up. We have our body drops. There we go. And we can use JK and L to

There we go. And we can use JK and L to play this back. So, these are all

play this back. So, these are all different sounds that we can layer to

different sounds that we can layer to make it seem like there's body hitting

make it seem like there's body hitting the floor. So, to do that, let's make a

the floor. So, to do that, let's make a few more tracks here. I can add tracks

few more tracks here. I can add tracks by right clicking on any track and just

by right clicking on any track and just going to add tracks. And let's add a few

going to add tracks. And let's add a few mono tracks. Let's do five mono tracks.

mono tracks. Let's do five mono tracks. We'll add those. We'll do below audio 5.

We'll add those. We'll do below audio 5. Sounds good. Make sure we rename this.

Sounds good. Make sure we rename this. And generally, like it's okay to add a

And generally, like it's okay to add a million tracks. All right. There is a

million tracks. All right. There is a limit to the tracks, but it's a really

limit to the tracks, but it's a really big limit. So just add a new track for

big limit. So just add a new track for every new sound. What I would do is

every new sound. What I would do is group similar sounds that are in a

group similar sounds that are in a similar environment at the similar time

similar environment at the similar time on a track, but otherwise pretty much

on a track, but otherwise pretty much make everything else a separate track

make everything else a separate track just because then you have control over

just because then you have control over all of those tracks with the faders. And

all of those tracks with the faders. And it's really easy to kind of mix things

it's really easy to kind of mix things later. So this one will be called a

later. So this one will be called a door. This one is music. And let's just

door. This one is music. And let's just make these really tiny. And all these

make these really tiny. And all these tracks, we're going to call this body

tracks, we're going to call this body one, body two, body three, and so on. So

one, body two, body three, and so on. So now we have five tracks here. I can hold

now we have five tracks here. I can hold shift and scroll up to give us a little

shift and scroll up to give us a little bit of room here. Let's just grab some

bit of room here. Let's just grab some of these body drops. Just set an in and

of these body drops. Just set an in and out. Something like that. Drag this into

out. Something like that. Drag this into body one. Let's go a little further. Get

body one. Let's go a little further. Get some other ones like that. Drag this in.

some other ones like that. Drag this in. Good. We'll use the knuckles body hit.

Good. We'll use the knuckles body hit. Sure. Just like that. Throw that in

Sure. Just like that. Throw that in here, too. So now we have five different

here, too. So now we have five different tracks of all of these different sounds.

tracks of all of these different sounds. And I can quickly trim these using my

And I can quickly trim these using my arrange selection here. Just grabbing

arrange selection here. Just grabbing the empty spaces and getting rid of it

the empty spaces and getting rid of it like that. It's really nice way to trim

like that. It's really nice way to trim this stuff if I need to. Good. And now

this stuff if I need to. Good. And now we can just layer these on. So, we'll

we can just layer these on. So, we'll just shove these all together like this

just shove these all together like this and just see what it sounds like. Let's

and just see what it sounds like. Let's just see how it goes.

just see how it goes. Yeah. And click solo just on these.

Yeah. And click solo just on these. There we go. Maybe I'll just kind of

There we go. Maybe I'll just kind of move these around and maybe spread them

move these around and maybe spread them out a little.

out a little. Good. So now we have something

Good. So now we have something definitely falling down, crashing, that

definitely falling down, crashing, that kind of thing. And if we want to control

kind of thing. And if we want to control all of these tracks together, we can

all of these tracks together, we can group them. I can select body one and

group them. I can select body one and shift select body five and hit CtrlG.

shift select body five and hit CtrlG. And this is going to make a group. And

And this is going to make a group. And we'll just call this body drop. And

we'll just call this body drop. And we're going to link all of these

we're going to link all of these controls here. Let's just go ahead and

controls here. Let's just go ahead and link all of them and then hit save. And

link all of them and then hit save. And now what's going to happen is if I

now what's going to happen is if I adjust the controls for any of these, it

adjust the controls for any of these, it actually adjusts them all. And so I can

actually adjusts them all. And so I can link all of these different parameters

link all of these different parameters for my tracks. And even though they're

for my tracks. And even though they're on different tracks, they're working as

on different tracks, they're working as one track. So that's a nice way to do

one track. So that's a nice way to do it. So if I want this to be quieter,

it. So if I want this to be quieter, can bring that down. So that kind of

can bring that down. So that kind of works. And I can link these together

works. And I can link these together like that. The other thing I could do

like that. The other thing I could do would be to put these into a bus. A bus

would be to put these into a bus. A bus is sort of like a group of tracks, but

is sort of like a group of tracks, but it's really more like a separate mix

it's really more like a separate mix that each track goes into. What a bus

that each track goes into. What a bus will do is route the output of all of

will do is route the output of all of these tracks into one track and then you

these tracks into one track and then you can control it like we were doing with

can control it like we were doing with these sliders, but you can also add

these sliders, but you can also add effects to all of the tracks all at

effects to all of the tracks all at once. And it's actually really nice. And

once. And it's actually really nice. And so to do that, we can go here to our bus

so to do that, we can go here to our bus outputs and select a different bus. But

outputs and select a different bus. But we need to have another bus first. So we

we need to have another bus first. So we can go up to Fairlite and go to bus

can go up to Fairlite and go to bus format. This is going to be a list of

format. This is going to be a list of all of our buses. By default, there's

all of our buses. By default, there's something called bus one, which is a

something called bus one, which is a stereo bus, and that is the main output.

stereo bus, and that is the main output. So, the thing that our audience is going

So, the thing that our audience is going to hear. Anything that we want our

to hear. Anything that we want our audience to hear, it goes into bus one.

audience to hear, it goes into bus one. Let's make another bus. That'll add

Let's make another bus. That'll add that. And let's uh let's call this a

that. And let's uh let's call this a body bus. And heck, let's make it a

body bus. And heck, let's make it a different color. How about blue? Great.

different color. How about blue? Great. And then we'll hit okay. That's going to

And then we'll hit okay. That's going to add another bus here. And we can tell

add another bus here. And we can tell our tracks to go into a different bus.

our tracks to go into a different bus. So, right here where it says bus

So, right here where it says bus outputs, take this little drop down and

outputs, take this little drop down and switch this to body bus for each of

switch this to body bus for each of these tracks. All right. And now

these tracks. All right. And now something interesting is going to

something interesting is going to happen. I'll close our sound library.

happen. I'll close our sound library. Give us a little room here. When I play

Give us a little room here. When I play this back, listen.

this back, listen. Those tracks are playing back. There's

Those tracks are playing back. There's audio happening here in the meters, but

audio happening here in the meters, but we don't hear it. Why is that? It's

we don't hear it. Why is that? It's because we're sending these to that body

because we're sending these to that body bus. So, this bus right here, but we

bus. So, this bus right here, but we don't hear the body bus. The body bus

don't hear the body bus. The body bus doesn't have any output. Our bus one is

doesn't have any output. Our bus one is automatically our main mix, so it

automatically our main mix, so it doesn't need a bus output. But body bus

doesn't need a bus output. But body bus doesn't have anywhere to go. So what we

doesn't have anywhere to go. So what we should do is hit this plus and say bus

should do is hit this plus and say bus one. And now what's going to happen is

one. And now what's going to happen is all of these tracks are going to go into

all of these tracks are going to go into bus 2, our body bus. And then everything

bus 2, our body bus. And then everything that happens in body bus is going to go

that happens in body bus is going to go into bus one. All right. So we're

into bus one. All right. So we're routing it all through this one little

routing it all through this one little pipe before we put it into the mix. So

pipe before we put it into the mix. So now when we play this back, there it is.

now when we play this back, there it is. No problem. The advantage here is that

No problem. The advantage here is that we could set our volume back to zero on

we could set our volume back to zero on our tracks and then just turn it down in

our tracks and then just turn it down in the bus.

the bus. Okay, in this case it doesn't really

Okay, in this case it doesn't really matter whether you turn it up in the

matter whether you turn it up in the tracks or the bus, but the real

tracks or the bus, but the real advantage to having a bus is that you

advantage to having a bus is that you can add effects. Now, we haven't gotten

can add effects. Now, we haven't gotten much into effects, at least here in the

much into effects, at least here in the Fairlite page. Probably the most

Fairlite page. Probably the most familiar version of effects would be to

familiar version of effects would be to go into the effects panel here, and we

go into the effects panel here, and we have all kinds of audio effects that we

have all kinds of audio effects that we can drag onto a clip. And so real quick,

can drag onto a clip. And so real quick, let's just solo the girls dialogue.

let's just solo the girls dialogue. We'll just play this back here. I'll

We'll just play this back here. I'll just loop this part by hitting I and O.

just loop this part by hitting I and O. You pushed me. I had him and then you

You pushed me. I had him and then you pushed me.

pushed me. And so any of these effects I can grab

And so any of these effects I can grab and put onto a clip. So sure, let's grab

and put onto a clip. So sure, let's grab this flanger. Let's get crazy. And when

this flanger. Let's get crazy. And when I drag on an effect, that's going to

I drag on an effect, that's going to come up with this little dialogue here

come up with this little dialogue here where we can select presets and adjust

where we can select presets and adjust all the different crazy things about

all the different crazy things about these effects.

these effects. you push me.

you push me. Okay, I can turn an effect off or on

Okay, I can turn an effect off or on with this little switch. This is like a

with this little switch. This is like a broken out version of what's in the

broken out version of what's in the inspector. In fact, if I went over to

inspector. In fact, if I went over to the inspector and under effects, just

the inspector and under effects, just like in the edit page, we have our

like in the edit page, we have our controls for our effects. And we can

controls for our effects. And we can change those around or delete it or

change those around or delete it or click on this little icon here to bring

click on this little icon here to bring up our fancy interface again. So, this

up our fancy interface again. So, this is an effect that's applied to a clip,

is an effect that's applied to a clip, but we can also apply it to a track. And

but we can also apply it to a track. And so, let's grab delay and put this on the

so, let's grab delay and put this on the track. We can drag that right on the

track. We can drag that right on the track header and that will apply to the

track header and that will apply to the track itself.

track itself. I had it and then you pushed me.

I had it and then you pushed me. Great. That works. We can also see that

Great. That works. We can also see that effect in the mixer. Here we have our

effect in the mixer. Here we have our delay effect added right here in the

delay effect added right here in the mixer. And so we can add effects with

mixer. And so we can add effects with this little plus. We can select a effect

this little plus. We can select a effect from the list and that works. And we can

from the list and that works. And we can add effects to tracks as well as buses.

add effects to tracks as well as buses. And so I could put an effect on this

And so I could put an effect on this bus. So we'll add a little bit of

bus. So we'll add a little bit of reverb. Let's say let's go back to

reverb. Let's say let's go back to bodies here. And now that's going to add

bodies here. And now that's going to add reverb to our body hits. And that's

reverb to our body hits. And that's because this is applied to the bus.

because this is applied to the bus. That's actually taking all of this stuff

That's actually taking all of this stuff and routing it through our reverb and

and routing it through our reverb and all the other things in this track and

all the other things in this track and then putting it into our bus one, which

then putting it into our bus one, which is our main output. Now, not only can we

is our main output. Now, not only can we use effects like this, but we can also

use effects like this, but we can also use these kind of builtin strip effects

use these kind of builtin strip effects here. And this is actually going to be

here. And this is actually going to be really convenient for these body hits

really convenient for these body hits because we want it to sound like they're

because we want it to sound like they're happening on the other side of the door.

happening on the other side of the door. So, in a different room. And if you want

So, in a different room. And if you want something to sound like it's in a

something to sound like it's in a different room, you want it to sound a

different room, you want it to sound a little bit muffled. And that muffled

little bit muffled. And that muffled sound comes from cutting out the high

sound comes from cutting out the high frequencies, which we can do with an EQ.

frequencies, which we can do with an EQ. So, to add an EQ to any track, all we

So, to add an EQ to any track, all we have to do is just double click on this

have to do is just double click on this little cyan line, and that's going to

little cyan line, and that's going to bring up our EQ. If you're not familiar

bring up our EQ. If you're not familiar with an EQ, it's short for equalizer.

with an EQ, it's short for equalizer. And it's basically kind of like curves,

And it's basically kind of like curves, but for your frequencies. So the higher

but for your frequencies. So the higher frequencies are over here, the lower

frequencies are over here, the lower frequencies are here. And then this line

frequencies are here. And then this line is the volume of those frequencies. And

is the volume of those frequencies. And so if you want the higher parts to be

so if you want the higher parts to be louder, you take something towards the

louder, you take something towards the right and you push it up like this. If

right and you push it up like this. If you want the higher parts quieter, you

you want the higher parts quieter, you push this low like this. See? And now

push this low like this. See? And now that sounds like it's muffled, like it's

that sounds like it's muffled, like it's happening in the other room. So that's

happening in the other room. So that's exactly what we want to do is take this

exactly what we want to do is take this side of our signal and just push it

side of our signal and just push it down.

down. There we go. We can even take one of

There we go. We can even take one of these other numbers and push it up a

these other numbers and push it up a little bit just to give it a little more

little bit just to give it a little more thump.

thump. Yeah, that's good. And so this EQ is

Yeah, that's good. And so this EQ is being applied to all of our tracks here

being applied to all of our tracks here all at once because they're going

all at once because they're going through this bus. This again is so

through this bus. This again is so valuable because really think about just

valuable because really think about just about anything you need to do. This is

about anything you need to do. This is the kind of essential stuff is putting

the kind of essential stuff is putting audio into tracks. You can group the

audio into tracks. You can group the tracks if you want to. You can arrange

tracks if you want to. You can arrange the audio in time here on the timeline.

the audio in time here on the timeline. And then you can route these tracks

And then you can route these tracks through different submixes using buses

through different submixes using buses and apply any kind of effects or

and apply any kind of effects or anything that you want to the individual

anything that you want to the individual clip, the track, or the bus. So you have

clip, the track, or the bus. So you have so much control over your audio. And

so much control over your audio. And again, this is stuff that you don't

again, this is stuff that you don't really get in the edit page. But

really get in the edit page. But something to mention is that this audio

something to mention is that this audio will still play back in the edit page.

will still play back in the edit page. It'll sound just like it does in the

It'll sound just like it does in the fairlight page in your timeline. And so

fairlight page in your timeline. And so that's really the essentials of adding

that's really the essentials of adding sounds and messing with them and doing

sounds and messing with them and doing the sound design part of your movie.

the sound design part of your movie. It's all about that clips, tracks,

It's all about that clips, tracks, buses. Now, I'm going to skip ahead to a

buses. Now, I'm going to skip ahead to a timeline that I had prepared just so I

timeline that I had prepared just so I can show you a couple more things. You

can show you a couple more things. You aren't going to have this timeline. I

aren't going to have this timeline. I want you to build this yourself, but

want you to build this yourself, but it's using all of the techniques that we

it's using all of the techniques that we just went over. So, let's take a listen

just went over. So, let's take a listen to what we have here. You have all of

to what we have here. You have all of the resources to be able to make this.

Where is he? I had him and then you pushed me.

There we go. So now we have a lot of action and everything happening here.

action and everything happening here. When it comes to the audio, we have the

When it comes to the audio, we have the toilet flushing, we have the ambience,

toilet flushing, we have the ambience, we have the music, we have the effects

we have the music, we have the effects of stepping and moving around and all of

of stepping and moving around and all of that. and it really feels like a fleshed

that. and it really feels like a fleshed out scene. This is an entire huge audio

out scene. This is an entire huge audio app that just has so much to go over,

app that just has so much to go over, but these are really the essentials that

but these are really the essentials that you need. I do want to go over one more

you need. I do want to go over one more part, which would be working with our

part, which would be working with our dialogue. One thing that we can do is

dialogue. One thing that we can do is take our dialogue and we can route that

take our dialogue and we can route that into a bus. And so, let's go up again to

into a bus. And so, let's go up again to Fairlite. So, you can do this on your

Fairlite. So, you can do this on your timeline if you want to. I can go to

timeline if you want to. I can go to Fairlite bus format. Let's add a bus.

Fairlite bus format. Let's add a bus. And we'll call this a dialogue bus. and

And we'll call this a dialogue bus. and we're going to take A1 and route that to

we're going to take A1 and route that to dialogue bus. A2, route that to dialog

dialogue bus. A2, route that to dialog bus. And take our dialog bus and route

bus. And take our dialog bus and route that to bus one. So now all of our

that to bus one. So now all of our dialogue is going to go through bus one.

dialogue is going to go through bus one. What I can do, I'll just solo these real

What I can do, I'll just solo these real quick. If I want to balance out this

quick. If I want to balance out this dialogue a little bit, I can go to my

dialogue a little bit, I can go to my dynamics here, which is this green line.

dynamics here, which is this green line. I can double click on that. And this is

I can double click on that. And this is going to do a lot of work with kind of

going to do a lot of work with kind of how loud and quiet things are. That's

how loud and quiet things are. That's just dynamics is the fancy word for

just dynamics is the fancy word for that. And for your dialogue, a lot of

that. And for your dialogue, a lot of the time, what you want to do is make

the time, what you want to do is make sure that it's loud enough to be heard

sure that it's loud enough to be heard and not too loud to where it's clipping.

and not too loud to where it's clipping. And so again, we have an interface

And so again, we have an interface that's sort of like our curves where if

that's sort of like our curves where if we play this back, you can see there's

we play this back, you can see there's this little visualization here. And this

this little visualization here. And this shows how loud the signal is coming in

shows how loud the signal is coming in along the bottom. And on the side, this

along the bottom. And on the side, this is how loud the signal will be coming

is how loud the signal will be coming out. And so we can use a variety of

out. And so we can use a variety of these tools to change that signal. So,

these tools to change that signal. So, one thing that's pretty common is to

one thing that's pretty common is to turn on the compressor. And what that

turn on the compressor. And what that does is adds a little curve right here.

does is adds a little curve right here. And so, as things get louder, it turns

And so, as things get louder, it turns it down. So, it makes sure that as

it down. So, it makes sure that as things get loud, they don't get too

things get loud, they don't get too loud. It rolls off the louder parts of

loud. It rolls off the louder parts of the signal. And so, this threshold is

the signal. And so, this threshold is where it starts to roll it off. And

where it starts to roll it off. And ratio is how heavily it does that. So,

ratio is how heavily it does that. So, what I like to do is have my threshold

what I like to do is have my threshold down here a little bit and push my ratio

down here a little bit and push my ratio down so that if something's too loud, it

down so that if something's too loud, it just kind of gets dampened down. And

just kind of gets dampened down. And what we're really looking for here is

what we're really looking for here is there to be just a little bit of gain

there to be just a little bit of gain reduction. So this little thing should

reduction. So this little thing should have just a little bit of that. That's

have just a little bit of that. That's just taking the louder parts and pushing

just taking the louder parts and pushing them down a little bit. And then we can

them down a little bit. And then we can take that and we can push this makeup up

take that and we can push this makeup up a little bit. And what that's going to

a little bit. And what that's going to do is make the entire signal louder. So

do is make the entire signal louder. So it's kind of like we're taking the

it's kind of like we're taking the louder parts and squishing them down.

louder parts and squishing them down. And we're taking the quieter parts and

And we're taking the quieter parts and pushing them up. And what that's going

pushing them up. And what that's going to do is level out the dialogue so that

to do is level out the dialogue so that we don't have things that are too quiet

we don't have things that are too quiet or too loud. Now you can get yourself in

or too loud. Now you can get yourself in trouble with this. you can make it a

trouble with this. you can make it a little bit too hardcore. So, you want to

little bit too hardcore. So, you want to be careful. You want to listen to it.

be careful. You want to listen to it. Make sure it still sounds good. But,

Make sure it still sounds good. But, this is a quick way to be able to make

this is a quick way to be able to make sure that your dialogue is audible,

sure that your dialogue is audible, especially with something like a

especially with something like a documentary or projects that have a

documentary or projects that have a little bit more runand gun audio that

little bit more runand gun audio that isn't perfectly recorded. This can

isn't perfectly recorded. This can really help make sure that you can

really help make sure that you can actually hear everything that's going

actually hear everything that's going on.

on. Where is he?

Where is he? I had him and then you pushed me.

I had him and then you pushed me. So, now this is a lot louder.

So, now this is a lot louder. Where is he? I had him and then you

Where is he? I had him and then you pushed me.

pushed me. But it's not too loud. It has that

But it's not too loud. It has that presence. In fact, there is a dynamics

presence. In fact, there is a dynamics just like this on my voice right now as

just like this on my voice right now as you're listening to it so that when I

you're listening to it so that when I say stuff that's pretty quiet, you can

say stuff that's pretty quiet, you can still hear it. And when I talk really

still hear it. And when I talk really loud, it's not too loud. But this

loud, it's not too loud. But this dynamics panel, spend some time with it.

dynamics panel, spend some time with it. Play around with it because this is

Play around with it because this is really powerful. It can help you get a

really powerful. It can help you get a good mix in a lot less time. And just

good mix in a lot less time. And just this panel, there's so much to go over.

this panel, there's so much to go over. We just can't do it all. A great place

We just can't do it all. A great place to start would be to up here where it

to start would be to up here where it says default, go to something like

says default, go to something like dialogue compression. And that's going

dialogue compression. And that's going to give you a pretty good result. Where

to give you a pretty good result. Where is he?

is he? I had him and then you pushed me.

I had him and then you pushed me. And that's going to be a really great

And that's going to be a really great starting point for kind of leveling out

starting point for kind of leveling out your audio. So I usually do some kind of

your audio. So I usually do some kind of compression on the dialogue. Little bit

compression on the dialogue. Little bit of EQ as needed on each of these tracks.

of EQ as needed on each of these tracks. We have this track of the mom, some

We have this track of the mom, some voice over from the mom, and we made it

voice over from the mom, and we made it seem like it's far away by one turning

seem like it's far away by one turning it down a little bit. Although we do

it down a little bit. Although we do have a little bit of compression on it

have a little bit of compression on it just so that her voice isn't up and down

just so that her voice isn't up and down too much. And we also have this EQ that

too much. And we also have this EQ that again just cuts out these higher

again just cuts out these higher frequencies.

frequencies. Hello. You guys left your bikes on the

Hello. You guys left your bikes on the steps again.

steps again. So now it sounds like it's farther away

So now it sounds like it's farther away when we take this EQ off.

when we take this EQ off. Oh, you guys left your bikes on the

Oh, you guys left your bikes on the steps again.

steps again. It sounds like it's a lot closer. It

It sounds like it's a lot closer. It doesn't sound like it's outside. Like I

doesn't sound like it's outside. Like I said, there is so much to go over here,

said, there is so much to go over here, but this should really get you started

but this should really get you started with the Fairlight page. If you really

with the Fairlight page. If you really want to get detailed with your audio,

want to get detailed with your audio, this is the very best way to do it. And

this is the very best way to do it. And the thing that's so amazing is that

the thing that's so amazing is that Fairlite shares the timeline. Just like

Fairlite shares the timeline. Just like the color page shares the timeline,

the color page shares the timeline, Infusion shares clips from the timeline.

Infusion shares clips from the timeline. These three pages all work together with

These three pages all work together with the edit page to help you make the very,

the edit page to help you make the very, very best project possible. Speaking of

very best project possible. Speaking of actually making a project, your project

actually making a project, your project does not exist. Your movie is not a

does not exist. Your movie is not a thing until you actually deliver it. So

thing until you actually deliver it. So go ahead and pick a timeline that you

go ahead and pick a timeline that you like. maybe one of these that you've

like. maybe one of these that you've been working on and just click on the

been working on and just click on the deliver page for me. That's going to

deliver page for me. That's going to bring up our deliver interface. And this

bring up our deliver interface. And this is much less complicated, much more

is much less complicated, much more simple, a lot less to go over here. But

simple, a lot less to go over here. But what the heck does the deliver page do?

what the heck does the deliver page do? There are really three main phases here

There are really three main phases here when you're talking about working with

when you're talking about working with footage. There's production, which is

footage. There's production, which is actually shooting the footage. Of

actually shooting the footage. Of course, there's pre-production before

course, there's pre-production before that, but then there's post-production,

that, but then there's post-production, which is editing, effects, graphics,

which is editing, effects, graphics, sound, color. That's post-production.

sound, color. That's post-production. And then there's delivery. And delivery

And then there's delivery. And delivery is converting your project from a file

is converting your project from a file that just lives inside of Resolve into a

that just lives inside of Resolve into a movie that people can actually watch.

movie that people can actually watch. Something that you can upload to YouTube

Something that you can upload to YouTube or you can give to a client or put on a

or you can give to a client or put on a website or store on a hard drive that

website or store on a hard drive that doesn't need all of your original media.

doesn't need all of your original media. It's kind of its own thing. So that's

It's kind of its own thing. So that's pretty much what the deliver page does

pretty much what the deliver page does is it takes your same timeline. Again,

is it takes your same timeline. Again, this shares a timeline with the edit

this shares a timeline with the edit page and everything. This will take your

page and everything. This will take your timeline and convert it into a movie

timeline and convert it into a movie that people can watch. Pretty simple

that people can watch. Pretty simple interface. We have our viewer here. We

interface. We have our viewer here. We have our timeline down here. And we have

have our timeline down here. And we have our clips right here. Clips is just a

our clips right here. Clips is just a quick way to select each clip. Timeline

quick way to select each clip. Timeline is kind of just a way to look at what's

is kind of just a way to look at what's on your timeline. But you don't really

on your timeline. But you don't really do any editing or moving anything around

do any editing or moving anything around here. This is mostly just for reference.

here. This is mostly just for reference. The big action, the big stuff happens

The big action, the big stuff happens right here in our render settings. This

right here in our render settings. This is where 99% of the work happens in the

is where 99% of the work happens in the deliver page. This is where you decide

deliver page. This is where you decide what kind of movie format you want to

what kind of movie format you want to make. What kind of file are you creating

make. What kind of file are you creating here? What kind of quality and

here? What kind of quality and resolution and encoding and audio and

resolution and encoding and audio and everything do you want? And your choice

everything do you want? And your choice on all of that stuff is going to be

on all of that stuff is going to be dependent on what you're making. And if

dependent on what you're making. And if you have no idea what you're doing, the

you have no idea what you're doing, the great news is that you can start up here

great news is that you can start up here with some presets. If we scroll back and

with some presets. If we scroll back and forth, we have presets for YouTube,

forth, we have presets for YouTube, Vimeo, Tik Tok, all kinds of stuff. And

Vimeo, Tik Tok, all kinds of stuff. And really what any of these do when you

really what any of these do when you click them is it just sets all of the

click them is it just sets all of the settings down here. And it's really

settings down here. And it's really split up into three different tabs.

split up into three different tabs. Video, audio, and file. Video is all

Video, audio, and file. Video is all about the visuals, right? Audio is the

about the visuals, right? Audio is the sound, and file is kind of how things

sound, and file is kind of how things are named and organized. You have an

are named and organized. You have an option to render this in a single clip,

option to render this in a single clip, so just as a movie, which is what you're

so just as a movie, which is what you're going to do most of the time. But you

going to do most of the time. But you can also render your movie as individual

can also render your movie as individual clips. That means that you can render

clips. That means that you can render each clip on your timeline as a separate

each clip on your timeline as a separate movie. And so for various reasons, you

movie. And so for various reasons, you might want to do that. If you're wanting

might want to do that. If you're wanting to convert a whole bunch of clips into

to convert a whole bunch of clips into separate movies, that works. If you're

separate movies, that works. If you're wanting to prepare your shots to go into

wanting to prepare your shots to go into a different app or if you want to prep a

a different app or if you want to prep a bunch of media for a course like this, I

bunch of media for a course like this, I used that kind of thing a lot. But most

used that kind of thing a lot. But most of the time, you'll hit single clip and

of the time, you'll hit single clip and then it gets into the details of the

then it gets into the details of the video. So, you have to pick your format

video. So, you have to pick your format and your codec and your encoder. And if

and your codec and your encoder. And if you're lost at this point, you're like,

you're lost at this point, you're like, "What the heck is any of that?" I'll

"What the heck is any of that?" I'll show you the most common things to pick

show you the most common things to pick here in just a minute. But I do want to

here in just a minute. But I do want to give you a little bit of information.

give you a little bit of information. When you make a video file, there are

When you make a video file, there are basically kind of like two main things

basically kind of like two main things that you're selecting. One is the codec

that you're selecting. One is the codec and the other is the container. You

and the other is the container. You could think of this as if you were

could think of this as if you were organizing a bunch of papers. If you had

organizing a bunch of papers. If you had a big long document and each frame of

a big long document and each frame of your video was a paper, let's say, the

your video was a paper, let's say, the codec is kind of the way the papers are

codec is kind of the way the papers are printed and put together. So, what kind

printed and put together. So, what kind of quality you used on your printer,

of quality you used on your printer, what size of type, what kind of paper

what size of type, what kind of paper you used, it's kind of like the details,

you used, it's kind of like the details, right? The container is sort of like the

right? The container is sort of like the box that you put it in. So, what's sort

box that you put it in. So, what's sort of confusing is you can have a codec in

of confusing is you can have a codec in different containers. So, examples of

different containers. So, examples of codecs would be DNx HD, ProRes, H.264,

codecs would be DNx HD, ProRes, H.264, H.265, 265 capform and there are a bunch

H.265, 265 capform and there are a bunch of others. You don't really need to know

of others. You don't really need to know all of them. You just need to know that

all of them. You just need to know that this is the codec. It's the specific way

this is the codec. It's the specific way that video is kind of encoded and

that video is kind of encoded and created. It's kind of like the type of

created. It's kind of like the type of images that are being made. And the

images that are being made. And the container is the file format that it's

container is the file format that it's kind of putting those images into. So

kind of putting those images into. So the container is called format here in

the container is called format here in Resolve. So there are a bunch of

Resolve. So there are a bunch of different formats, AVI, Synon, all kinds

different formats, AVI, Synon, all kinds of stuff. Do yourself a favor and unless

of stuff. Do yourself a favor and unless you have any reason not to select

you have any reason not to select QuickTime. QuickTime will let you create

QuickTime. QuickTime will let you create videos for just about anything you need,

videos for just about anything you need, unless you have a client that asks for

unless you have a client that asks for something specific like an MP4 or a MXF

something specific like an MP4 or a MXF or something like that or if they need a

or something like that or if they need a series of stills like a TIFF sequence or

series of stills like a TIFF sequence or something like that, just click

something like that, just click QuickTime. And then the codec. There are

QuickTime. And then the codec. There are a bunch of different codecs here. And

a bunch of different codecs here. And this mostly has to do with how

this mostly has to do with how compressed the images are. There are

compressed the images are. There are very compressed formats like H.264 and

very compressed formats like H.264 and H.265. And there are formats that are

H.265. And there are formats that are less compressed, things like ProRes, DNx

less compressed, things like ProRes, DNx HR, and then there, of course, is

HR, and then there, of course, is uncompressed. Never do that. Never do

uncompressed. Never do that. Never do that.

that. You always want some kind of compression

You always want some kind of compression just because the compression is so good

just because the compression is so good these days, and it's going to be an

these days, and it's going to be an insanely massive file if you don't have

insanely massive file if you don't have compression on it. Okay, encoder,

compression on it. Okay, encoder, probably just leave at auto. Resolution,

probably just leave at auto. Resolution, you're going to usually use a timeline

you're going to usually use a timeline resolution. Frame rate is usually going

resolution. Frame rate is usually going to be the timeline frame rate. And the

to be the timeline frame rate. And the rest of this you can probably just leave

rest of this you can probably just leave as default. For audio, same thing.

as default. For audio, same thing. Probably leave it as default. And for

Probably leave it as default. And for your file, you want to make sure that

your file, you want to make sure that you name it right. You can switch it to

you name it right. You can switch it to automatically do timeline name, which is

automatically do timeline name, which is helpful if you're rendering a bunch of

helpful if you're rendering a bunch of different timelines. Or you can just set

different timelines. Or you can just set a custom name and just type it in right

a custom name and just type it in right there. You can also tell this to use a

there. You can also tell this to use a subfolder and do a bunch of stuff that I

subfolder and do a bunch of stuff that I very rarely do. So, what settings should

very rarely do. So, what settings should we use? Well, it's come to my attention

we use? Well, it's come to my attention that most things in life can be

that most things in life can be expressed with a ven diagram. So, we're

expressed with a ven diagram. So, we're going to do that here. If you've ever

going to do that here. If you've ever heard the expression that you can have a

heard the expression that you can have a job done fast, cheap, or good, but not

job done fast, cheap, or good, but not all three, this is kind of what we're up

all three, this is kind of what we're up against for our codecs here. You can

against for our codecs here. You can have something that's a small file size

have something that's a small file size or looks great or plays back easily. And

or looks great or plays back easily. And you can often get something that does

you can often get something that does two of these, but there isn't really a

two of these, but there isn't really a way to get all three. And so, if you

way to get all three. And so, if you want your video to look really, really

want your video to look really, really good, you have a couple options. One is

good, you have a couple options. One is you have a more compressed option, which

you have a more compressed option, which would be like H.265. This codec looks

would be like H.265. This codec looks really good and it's a small file size.

really good and it's a small file size. A lot of cameras shoot H.265 these days.

A lot of cameras shoot H.265 these days. Consumer cameras, even kind of the Sony

Consumer cameras, even kind of the Sony mirrorless cameras, iPhones, those will

mirrorless cameras, iPhones, those will shoot H.265 because it's a small file

shoot H.265 because it's a small file size and it looks good. The only problem

size and it looks good. The only problem with H.265 is that it is sometimes hard

with H.265 is that it is sometimes hard to play back on some systems because

to play back on some systems because it's so compressed. Your computer has to

it's so compressed. Your computer has to do a lot of work to decompress it and so

do a lot of work to decompress it and so it can kind of be hard to edit. Now, if

it can kind of be hard to edit. Now, if you're not going to be editing this and

you're not going to be editing this and you're just putting it out on, say,

you're just putting it out on, say, YouTube, that's a pretty good choice

YouTube, that's a pretty good choice because it's a small file size. It's a

because it's a small file size. It's a quick upload and it looks good. Now,

quick upload and it looks good. Now, there are a couple codecs. One is called

there are a couple codecs. One is called ProRes. The other one is called DNx HR,

ProRes. The other one is called DNx HR, which I know sounds super technical, but

which I know sounds super technical, but it's just the name of the codecs. And

it's just the name of the codecs. And those are designed to look really,

those are designed to look really, really good, but their file size is big,

really good, but their file size is big, big files. The advantage is that not

big files. The advantage is that not only do they look good, but they also

only do they look good, but they also play back easily. they aren't as

play back easily. they aren't as compressed and so if you need to edit

compressed and so if you need to edit them, your computer doesn't have to work

them, your computer doesn't have to work as hard. It is a bigger file, but it's

as hard. It is a bigger file, but it's also uh higher quality than H.265. It's

also uh higher quality than H.265. It's especially good if you need to save it

especially good if you need to save it out into a video file and then convert

out into a video file and then convert it again later. The less compression the

it again later. The less compression the better. And so ProRes or DNx HR really,

better. And so ProRes or DNx HR really, really fantastic if you need to export a

really fantastic if you need to export a video that you're going to edit more

video that you're going to edit more later or if you're going to give a

later or if you're going to give a highquality version to somebody that

highquality version to somebody that they might need to cut a clip from at

they might need to cut a clip from at some point or if you want to archive

some point or if you want to archive your movie so that you can go back and

your movie so that you can go back and edit it in 5 years. ProRes or DNxH are

edit it in 5 years. ProRes or DNxH are super great. Really, the only

super great. Really, the only disadvantage is the file sizes are big.

disadvantage is the file sizes are big. Now, we also have H.264, which actually

Now, we also have H.264, which actually plays back pretty easily these days.

plays back pretty easily these days. Even though it is really compressed, it

Even though it is really compressed, it has a very small file size. The problem

has a very small file size. The problem is that it doesn't look so great. Looks

is that it doesn't look so great. Looks a little bit blurry, a little bit

a little bit blurry, a little bit blocky, and especially in kind of

blocky, and especially in kind of detailed shots, m not the best. And so,

detailed shots, m not the best. And so, what format do you export? Well, it

what format do you export? Well, it depends on what is more important to

depends on what is more important to you. Do you want it to look great and

you. Do you want it to look great and play back easily? That's ProRes. Do you

play back easily? That's ProRes. Do you want a small file size and have it play

want a small file size and have it play back easily? You don't really care if it

back easily? You don't really care if it looks that great, H.264. If you want it

looks that great, H.264. If you want it to look great and have a small file size

to look great and have a small file size and you're not that worried about

and you're not that worried about actually editing it, H.265. These are

actually editing it, H.265. These are probably the main codecs that you're

probably the main codecs that you're going to run into, especially if you're

going to run into, especially if you're a beginner. If you're doing something

a beginner. If you're doing something like creating movies for Netflix or

like creating movies for Netflix or something like that, they're going to

something like that, they're going to probably want some other different kinds

probably want some other different kinds of codecs, but this will do great to get

of codecs, but this will do great to get you started. So, what's nice is up here

you started. So, what's nice is up here in our render settings, we have some

in our render settings, we have some presets. So, I can just select H.264,

presets. So, I can just select H.264, H.265, or ProRes. And that's going to

H.265, or ProRes. And that's going to set my settings to be probably just

set my settings to be probably just plenty good until you get much more

plenty good until you get much more nerdy about this. If you have the paid

nerdy about this. If you have the paid version of Resolve, you can render

version of Resolve, you can render H.265. 265. Literally clicking on H.265

H.265. 265. Literally clicking on H.265 master and setting a file name is a lot

master and setting a file name is a lot of the time what I do when I'm rendering

of the time what I do when I'm rendering something out. That is a great small

something out. That is a great small video file that you can upload to

video file that you can upload to YouTube or play back on a website. You

YouTube or play back on a website. You can give to people and generally they

can give to people and generally they can play it back. It's a little less

can play it back. It's a little less compatible and a little bit harder to

compatible and a little bit harder to play back than H.264. So be aware of

play back than H.264. So be aware of that. Do some tests. The other thing is

that. Do some tests. The other thing is that I believe on PC if you have the

that I believe on PC if you have the free version of Resolve, it won't let

free version of Resolve, it won't let you render H.265. I think you have to do

you render H.265. I think you have to do H.264. So, this is yet another reason to

H.264. So, this is yet another reason to get the paid version of Resolve because

get the paid version of Resolve because you can render out H.265 in the free

you can render out H.265 in the free version. On Mac, I believe you can just

version. On Mac, I believe you can just render out H.265, no big deal, but

render out H.265, no big deal, but there's some licensing thing with uh the

there's some licensing thing with uh the Windows version or something. But

Windows version or something. But ideally, if you're going to render out

ideally, if you're going to render out to something like YouTube, I would just

to something like YouTube, I would just click on H.265 master and call it good.

click on H.265 master and call it good. The optional step, the the thing that I

The optional step, the the thing that I would recommend if you're going to

would recommend if you're going to render for YouTube is click on this

render for YouTube is click on this resolution and upres this. So, if you

resolution and upres this. So, if you have like say a 1080p video, I would

have like say a 1080p video, I would switch this to ultra HD. That's going to

switch this to ultra HD. That's going to render this out at four times the

render this out at four times the resolution. Why the heck would we need

resolution. Why the heck would we need that? Well, it doesn't actually make the

that? Well, it doesn't actually make the image look any better. There's no magic

image look any better. There's no magic there. What it does is if you're going

there. What it does is if you're going to put this on YouTube, if you upload an

to put this on YouTube, if you upload an Ultra HD video to YouTube, YouTube uses

Ultra HD video to YouTube, YouTube uses a different compression and the video

a different compression and the video ends up looking better on YouTube. So,

ends up looking better on YouTube. So, it's really kind of just tricking

it's really kind of just tricking YouTube to be nicer to the video, which

YouTube to be nicer to the video, which I know is kind of weird, but that's a

I know is kind of weird, but that's a great way to do it. So, if you're

great way to do it. So, if you're rendering out for YouTube, H.265 master

rendering out for YouTube, H.265 master and then upres to Ultra HD once you have

and then upres to Ultra HD once you have all your settings set. And so we'll just

all your settings set. And so we'll just call this um movie dash YT for YouTube.

call this um movie dash YT for YouTube. Once you have your settings set, you can

Once you have your settings set, you can pick a location. I'll just browse. I'll

pick a location. I'll just browse. I'll just put this on my desktop. You should

just put this on my desktop. You should put it somewhere else. Okay. Don't put

put it somewhere else. Okay. Don't put it on your desktop. That's that's lame.

it on your desktop. That's that's lame. And then we go down here and select add

And then we go down here and select add to render Q because I'm uping this. It's

to render Q because I'm uping this. It's telling me, hey, you know, this isn't

telling me, hey, you know, this isn't actually going to look any better,

actually going to look any better, right? Like it's it's really why are you

right? Like it's it's really why are you doing this? And you just say it's okay.

doing this? And you just say it's okay. Just add. I know what I'm doing. And

Just add. I know what I'm doing. And that's going to add a job here to the

that's going to add a job here to the render queue. And so this is like a

render queue. And so this is like a to-do list. You're telling it to render

to-do list. You're telling it to render this timeline to the desktop in H.265

this timeline to the desktop in H.265 format, but it's not actually going to

format, but it's not actually going to render it out and convert it into a

render it out and convert it into a movie until I hit this render button

movie until I hit this render button right here. Now, why didn't it just

right here. Now, why didn't it just render it? Well, you can make multiple

render it? Well, you can make multiple different versions of your movie for

different versions of your movie for different purposes. Maybe I want to

different purposes. Maybe I want to render out a different version. Maybe

render out a different version. Maybe one somebody can just watch on their

one somebody can just watch on their computer. There's no reason to upres

computer. There's no reason to upres this to Ultra HD. So, I could just

this to Ultra HD. So, I could just switch back to timeline resolution.

switch back to timeline resolution. We'll call this movie. We'll just say

We'll call this movie. We'll just say computer. Okay. Add to render Q. That's

computer. Okay. Add to render Q. That's going to add that. And then, let's say

going to add that. And then, let's say maybe I want a version of my movie

maybe I want a version of my movie that's really high quality that I'm just

that's really high quality that I'm just going to kind of put on an external hard

going to kind of put on an external hard drive or put on a server or back up

drive or put on a server or back up somehow just so that I have it. I just

somehow just so that I have it. I just want the highest quality version of this

want the highest quality version of this video so that I can keep it safe. That's

video so that I can keep it safe. That's what we would call an archive version.

what we would call an archive version. to make an archive version in 2025. What

to make an archive version in 2025. What I would do is select this ProRes preset.

I would do is select this ProRes preset. And honestly, that's probably good.

And honestly, that's probably good. Probably just do that. If you want to,

Probably just do that. If you want to, you can go into the type and select

you can go into the type and select something like ProRes 4444 or the XQ

something like ProRes 4444 or the XQ version. And this is going to be higher

version. And this is going to be higher quality. Chances are you probably won't

quality. Chances are you probably won't actually notice a difference. ProRes 422

actually notice a difference. ProRes 422 HQ is fantastic. And so then I would

HQ is fantastic. And so then I would call this movie

call this movie archive.

archive. The other thing I would do is go to the

The other thing I would do is go to the audio tab. Make sure this codec is

audio tab. Make sure this codec is linear PCM. That means wave files, files

linear PCM. That means wave files, files that aren't compressed. I can push up

that aren't compressed. I can push up this bit depth. If you want the very

this bit depth. If you want the very highest quality audio, you could go to

highest quality audio, you could go to 32-bit float. Sure. And then this is

32-bit float. Sure. And then this is really cool. You can output different

really cool. You can output different audio tracks for your movie. So you

audio tracks for your movie. So you could have 16 different audio tracks if

could have 16 different audio tracks if you want to. And you could render each

you want to. And you could render each track in your mix as a separate track.

track in your mix as a separate track. And so this is great for something like

And so this is great for something like an archive where you might want to go in

an archive where you might want to go in and remove some audio or replace the

and remove some audio or replace the music or remix your audio or whatever

music or remix your audio or whatever you want to do down the road. This is a

you want to do down the road. This is a great thing to do for your archive

great thing to do for your archive version. And so right here, I'll put

version. And so right here, I'll put track one. I'm just going to actually

track one. I'm just going to actually switch this to all timeline tracks like

switch this to all timeline tracks like this. And that's going to render all the

this. And that's going to render all the timeline tracks. Now for this one, I

timeline tracks. Now for this one, I only have one track. If we switch over

only have one track. If we switch over to our fairlight timeline, we have all

to our fairlight timeline, we have all these different tracks. And we can

these different tracks. And we can render each one of these as a separate

render each one of these as a separate track. That awesome. So, I'll go ahead

track. That awesome. So, I'll go ahead and add this to render Q. And once we

and add this to render Q. And once we have all of the different formats we

have all of the different formats we want, all we have to do is hit render

want, all we have to do is hit render all. That'll go through pretty quick and

all. That'll go through pretty quick and render our movie. And let me just show

render our movie. And let me just show you this archive version here. Let's

you this archive version here. Let's just add this to a new timeline. Check

just add this to a new timeline. Check this out. So, we have our high quality

this out. So, we have our high quality video here, but we also have

video here, but we also have all of the tracks that it rendered out

all of the tracks that it rendered out as separate tracks,

as separate tracks, which is so cool.

which is so cool. And now if we have this video file, we

And now if we have this video file, we have all of the audio and visual in the

have all of the audio and visual in the highest quality possible all in one file

highest quality possible all in one file that we can go through and edit later if

that we can go through and edit later if we want to. We can open up in 10 years

we want to. We can open up in 10 years and render to some new format that's

and render to some new format that's even better. And it's kind of future

even better. And it's kind of future proofing yourself. You know what I'm

proofing yourself. You know what I'm saying? But that's pretty much the

saying? But that's pretty much the deliver page is you set your render

deliver page is you set your render settings here, you add them to the

settings here, you add them to the render queue, you can kind of stack them

render queue, you can kind of stack them up and then render your project. So, at

up and then render your project. So, at this point, we pretty much covered all

this point, we pretty much covered all of the need to know stuff about Da Vinci

of the need to know stuff about Da Vinci Resolve, and I hope that this is really

Resolve, and I hope that this is really encouraging and empowering for you. I

encouraging and empowering for you. I hope that you feel like you can jump

hope that you feel like you can jump into Resolve and actually start using

into Resolve and actually start using it. If we've never met before, my name

it. If we've never met before, my name is Casey, and I'm part of a company

is Casey, and I'm part of a company called Ground Control. And our mission

called Ground Control. And our mission is to encourage you and empower you to

is to encourage you and empower you to be able to make things that you want to

be able to make things that you want to make. That's a really big part of what I

make. That's a really big part of what I feel like my purpose is here on on Earth

feel like my purpose is here on on Earth is to tear down anything that's in the

is to tear down anything that's in the way of creativity so that you can

way of creativity so that you can express yourself and make the things

express yourself and make the things that you want to make because that's

that you want to make because that's good for the world and it's good for

good for the world and it's good for you. It's good for your mental health.

you. It's good for your mental health. It's good for I mean so much stuff. So

It's good for I mean so much stuff. So that's one of the big reasons why we

that's one of the big reasons why we made this video is it needs to exist. I

made this video is it needs to exist. I mean, Resolve is one of the most

mean, Resolve is one of the most powerful tools for post-production

powerful tools for post-production available, and it's free, and you can

available, and it's free, and you can get started so easily. And so, I never

get started so easily. And so, I never want knowledge or confusion about an

want knowledge or confusion about an interface to be what's in the way of you

interface to be what's in the way of you creating things. And if you've watched

creating things. And if you've watched this far in the video, odds are you're

this far in the video, odds are you're probably pretty serious about getting

probably pretty serious about getting better at Resolve. And so whether you're

better at Resolve. And so whether you're brand new to video editing or just brand

brand new to video editing or just brand new to Resolve, I want you to make sure

new to Resolve, I want you to make sure that you get that media and you open it

that you get that media and you open it up, you play around, you start to edit,

up, you play around, you start to edit, and you start to mess around with Fusion

and you start to mess around with Fusion and mess around with color grading and

and mess around with color grading and mess around with audio. Actually put

mess around with audio. Actually put this stuff into practice because that's

this stuff into practice because that's where you're really, really going to

where you're really, really going to learn. Go out and shoot some videos with

learn. Go out and shoot some videos with your phone. Throw it into the timeline

your phone. Throw it into the timeline and cut it up and start making videos.

and cut it up and start making videos. They don't have to be perfect. They

They don't have to be perfect. They don't have to be amazing. Just start

don't have to be amazing. Just start making stuff. It's so important. We find

making stuff. It's so important. We find that our students that get the most out

that our students that get the most out of our videos and courses are the ones

of our videos and courses are the ones that really put their hands on and start

that really put their hands on and start working and start actually learning

working and start actually learning things by doing. And so I want you to do

things by doing. And so I want you to do that in any way that you can. Now, if

that in any way that you can. Now, if you need some help with that, if you

you need some help with that, if you need a little bit of direction,

need a little bit of direction, something a little bit more solid than

something a little bit more solid than go shoot something with your phone, we

go shoot something with your phone, we do have a course that we just made

do have a course that we just made called Make a Film in Dinci Resolve.

called Make a Film in Dinci Resolve. This is really the perfect next step

This is really the perfect next step after you watch this video because now

after you watch this video because now you have a foundation of how the heck

you have a foundation of how the heck resolve works and all of the important

resolve works and all of the important things that you need to know to be able

things that you need to know to be able to make stuff. But where the rubber

to make stuff. But where the rubber really hits the road, where it really

really hits the road, where it really starts to lock into your brain is when

starts to lock into your brain is when you go through the whole workflow of

you go through the whole workflow of making a project from beginning to end.

making a project from beginning to end. And so what we did is we shot a movie

And so what we did is we shot a movie and we got all of the media together

and we got all of the media together that you would need to be able to edit

that you would need to be able to edit that movie. This isn't a really long

that movie. This isn't a really long movie. It's a little short film, but it

movie. It's a little short film, but it has all of the unedited, ungraded

has all of the unedited, ungraded footage, all of the sound effects and

footage, all of the sound effects and graphics and assets that you need. And

graphics and assets that you need. And we packaged them up in a little kit. And

we packaged them up in a little kit. And then I recorded an entire walkthrough of

then I recorded an entire walkthrough of creating the project from very

creating the project from very beginning, like just holding a bunch of

beginning, like just holding a bunch of media going, I don't know what to do

media going, I don't know what to do with this. I don't even know how to

with this. I don't even know how to organize it to making the rough cut and

organize it to making the rough cut and getting your story laid out in the edit

getting your story laid out in the edit page. Doing some pretty impressive

page. Doing some pretty impressive visual effects in the fusion page. doing

visual effects in the fusion page. doing the color grade, matching the shots,

the color grade, matching the shots, mixing the audio, and making it look and

mixing the audio, and making it look and sound beautiful all the way to final

sound beautiful all the way to final render. We walk you through the entire

render. We walk you through the entire process of creating that from start to

process of creating that from start to finish. And that's a little bit more

finish. And that's a little bit more than you get with this video where we

than you get with this video where we have examples of things that you can do

have examples of things that you can do in each page, but it's not like a

in each page, but it's not like a cohesive project. And when you put that

cohesive project. And when you put that project together yourself and you have

project together yourself and you have ownership over that edit and then you're

ownership over that edit and then you're doing the effects and you're doing the

doing the effects and you're doing the color grade all in one thing, at the end

color grade all in one thing, at the end you're going to have a film that you can

you're going to have a film that you can show your friends and family and say, "I

show your friends and family and say, "I edited this entire film from start to

edited this entire film from start to finish. Everything that you see was

finish. Everything that you see was touched by me." And that's such a cool

touched by me." And that's such a cool feeling and I want that for you. So if

feeling and I want that for you. So if you want to take the next step and you

you want to take the next step and you watch through this video and you said,

watch through this video and you said, "Man, I just cannot get enough of this."

"Man, I just cannot get enough of this." The perfect next thing to do is to check

The perfect next thing to do is to check out this course. There's a link in the

out this course. There's a link in the description. I'll also put a link on

description. I'll also put a link on screen right thereish. And because you

screen right thereish. And because you watch this video all the way through,

watch this video all the way through, you'll get a special discount. Does that

you'll get a special discount. Does that sound good? But either way, whether it's

sound good? But either way, whether it's through this course or through just

through this course or through just shooting your own stuff, you need to get

shooting your own stuff, you need to get to work because the more reps that you

to work because the more reps that you get in making things, the easier it'll

get in making things, the easier it'll be and the more cool things you'll be

be and the more cool things you'll be able to make. And that's what it's all

able to make. And that's what it's all about.

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YouTube Transcript:Introduction to DaVinci Resolve - [Full Course] for Beginners (2025)

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Introduction to DaVinci Resolve - [Full Course] for Beginners (2025)