Hey guys, in this video I am going to show you 10 AI features in Davinci Resolve that will really speed up your workflow. Now don't worry. Artificial inteligence still an't replace your creativity but it can help you with a lot of these mondane and repetative tasks. So let's just into the first feature. Now this one is pretty cool if you ever spend a lot of time trying to seperate a part of your image because you want to apply a specific color grade or maybe let's say you wanted to blur the background and leave the foreground unaffected. So Depth Map will essentially analyze your scene so it can figure out what's the foreground, the main subject, let's say in the background in your shot so you can apply the different effects just to that part of the image. So here I have a shot from my upcoming shark film which by the way if you haven't seen my last video I'm gonna show you how I came up with the story for this film definitely check it out and I will be doing more videos about how I shot this film, how I did the post-production and all that stuff. Right now I'm just gonna be using some of the shots as examples in this video. So here under the color panel I'm gonna go to effects and I'm gonna look for Depth Map and here it is. Now I already have two nodes up here which are for color grading so I'm gonna create a new node where I'm gonna apply the Depth Map effect so just drag and drop it under and it's gonna take a second and you see recognized our two actresses and then it also knows that there's sand over there and as it gets further away it gets darker because it's basically further away. Whatever is darker means it's further away from the camera, whatever is lighter is closer so you can of course adjust that if you want for example target just that sand there or the actresses or if you had a foreground you could do that too. In this case maybe I'll apply like a lens blur effect to kind of make the depth of field kind of seem more exaggerated so I want to blur the background a bit more without affecting without affecting our actresses. our actresses. So I can go in here and play around with some of these settings which I'm not gonna go into all too much depth because it would take up too much time but definitely if you guys want to see me kind of explain in depth any of these features in this video then let me know in the comment section below. So there looks pretty good and I like this gradient because that will essentially mean that the lens blur effect will not be applied here to where the sand is. It's gonna get sort of gradually applied further you know as things get further away. So now I can go and to create another node and then to that node I'm gonna apply the lens blur effect. There it is drag it and in order for that effect to only be applied to our depth map I gotta connect the blue here to that blue. And now as you can see this is how it's looking. Now we actually in this case applied it to the wrong part of the image so I can go back to our depth map and I can invert it and now you'll see the lens blur effect is applied there actually in the background. And you can see how quickly that is done. Again you can refine the edges and play around with all those settings and another cool thing is that it's again it will track throughout the whole shot. So again you don't have to rotoscope or track anything in there. So as you can see as the girls are moving through the scene it's keeping that basically depth map corresponding to them and it's applying that effect to that part of the image that I want. Now this essentially is like letting AI do all the rotoscoping for you so you don't have to sit there and do it frame by frame. If let's say you want to cut out your subject and you want to put something behind your subject or composite it on top of something else or behind something or let's say apply a certain effect just to that part of the image. So let's jump right here. So here on the color page I'm going to select my node and I'm going to apply the magic mask too and I'm going to go here magic mask. You have different options. You have the object mask and you also have the person mask. Object mask is honestly what I use most of the time but if you want to get very specific like let's say with the person mask you can go to the whole person or features. So for example I could select let's say I want to just adjust the hair for example. So I can track the hair so I'm going to select the little hair tool and I'm going to do the plus one and I'm also going to make sure to turn on the mask. So you can see right away it recognizes the hair. Now of course you can track it so we will do it for the whole shot. So for example go here and as you can see it does a really good job and actually detects which part of the scene is just our actor's hair. I'm actually going to delete this. I'm going to detect the whole person so again I'm going to choose the color picker with the plus sign. Just here select the person. You can see it already recognizes everything. I'm going to track it forward and just show you guys kind of what else you can do with this. So you can see it does a really good job even here like detecting the hand and knowing that here that's not part of our actress. You can also go to better. Now it is going to take a lot longer depending on how powerful your computer is but it will then detect all of these details. And there it is. It already did a much better job as you can see up here. This is very blurred but it can kind of recognize the fingers. If I go to faster you'll notice it just kind of does a big blob for the hand. So better definitely is more detailed especially here on the face again. This is faster. This is faster.
You can see it didn't detect those edges as good. And once I'm happy with it I'm just going to here create another node and I'm going to connect again the blue here to the blue of that node telling that node that essentially I want to apply that mask to this one. I'm going to turn off the mask preview and now like I said again you can apply any effect to it you want. You can just cut out the person. You can put text behind them and then you can add an alpha output. So up here and I'm going to now connect the blue from our magic mask here to that meaning we just cut out the girl. Now back here on my edit page I'm just going to take this and I'm going to duplicate it and I'm going to put it on top of it. Now the bottom one I'm actually going to go now and I'm going to adjust the color grade to that and in that case I'm going to turn off that mask. So now essentially what we have is we have here on the top we have a version that has just a girl cut out and the bottom one has the whole scene. So if I for example put them like this and then put let's say some text in behind them. Let's say go to basic title and now you can see it looks as if the text is there behind the girl and I can make it for example bigger and as you can see you get a pretty cool effect. Of course you know if you really want to still look good you're going to have better looking font text maybe animate the text but you get the point. Now this one's pretty self-explanatory you get something in your shot that you don't want to have there you can use this tool to get rid of it. So here's another shot from my shark film and you'll notice there's a lot of boats there in the background that obviously I don't want them to have there because in the story they're supposed to be stuck out in the middle of the ocean with no help around. But it just so happened that when we were filming there was a lot of fishermen out in those waters. So now I'm going to have to get rid of all those boats so this is how you do it. So here on the color page I'm going to take one of the nodes here that I have and I'm going to apply a window. I'm going to actually draw over it. Basically you want to draw over this object that I want to remove which is that ship there. Now I'm going to go also and go here to the tracker and I'm just going to track it forward. And just always double check make sure it's tracking properly looks like it is. I'm going to create another node and again I'm going to connect here the blue to the blue one and in the effects here you look for your object removal apply it to this new node. Let's zoom in here so I can see clearly. Now my object up here is very small so I'm going to adjust this analysis boundary to be very very little like maybe not on the striven too. I'm also going to select object and I'm just going to do scene analysis. So now you can see kind of more or less where it's being applied and how it's being distorted. And it looks like it's okay that's basically the area that is being affected. And now I'm going to zoom out a little bit and now up here in clean plate I'm going to click build clean plate. And you can see right away it removed there. You can also like blend it you can do for example here adaptive blending see whether that makes it look better or not for you. look better or not for you. You can for example increase that and you know I can kind of just scroll through the scene now if I look at it here full screen you can see yeah it looks pretty good. So this is before this is after now obviously I got to go and do that for all the other all the other ships.
ships but again this is how easily you can now remove objects in your shot. If you're ever working with a shot where maybe the lighting is not the greatest on your subject or maybe the makeup wasn't done or it was done badly or like in my case when my shark film basically we're filming out on the boat the whole day and everybody was tired was very hot people were sweaty. And so this is how my actor looks here in this shot. You can see he's got a lot of spots there. Well I can use the face refinement now to get rid of some of these problems. So here on the color page I'm just going to create first another note and in effects and then look for face refinement like the effect here and we can sort of start playing around with this setting. So I'm going to zoom in here so you guys can see better. This is how our actor looks right now. Like I said a lot of these little hot spots there from the sweat. So we can just first go and click the analyze button and it's basically going to track his face. And as you can see it does a pretty damn good job. It actually tracks all of this like basically figures out where his nose eyes eyebrows are lips. Now I'm going to turn off the overlay here so we can just look at his face. So here I can go for example to the beauty automatic and you can just pull it and see if I can move it all the way there. I can turn it on and off going to see what it does as you can see without it. You can see all the little like the little wrinkles there and stuff like that. That kind of smooths it out. You can also adjust the scale of it to make the effect kind of work better depending on the size of your actor's face. So see if I bring this down because his face is kind of smaller in the shot you notice it kind of does that you know applies that effect a bit better. Now I'll tell you one big tip with face refinement is less is more. You never want to apply any of these basically settings all the way. So here I'm going to drag now the amount kind of to somewhere maybe let's say do it halfway and again before after subtle but it does smooth it. Now for example I can go here you have other things like for example smoothing so I can actually smooth this you can see there and it gets rid of some of those wrinkles further but in this case I actually don't want to do that. I'm going to reset all of that stuff. I'm actually going to go here and see shine removal. I'm going to apply that and look what it does it removes some of that shine there that was on his head. We can also for example go here to forehead so as you can see you have a lot of settings here you can do eye retouching if his eyes were open you can actually brighten up the eyes. Now I could for example get rid of the like let's say eye bags now as I apply it you'll notice basically what it does is it brightens up the eye bag so it's kind of just brightening up that area so you could do that. But yeah you have a lot of settings here that you can kind of play around with you have blush retouching lips retouching like for example if you wanted to make his lips more you know red I'm not sure if that looks good on him but let's just leave it up here maybe. Let's actually see how it looks in the shot so this is again before and after you can see definitely helped kind of take away some of those harsh highlights there on his face and it just kind of makes the skin look a bit smoother and as you can see because it analyzed the face it actually will apply it to the whole face as the face is moving and face as the face is moving and even as
even as it's rotating because it knows now where the eyes are in the nose you know all that stuff and so it actually follows the features and applies that effect so you don't have to do it frame by frame. This one is truly amazing when you're working with a shot where the audio is just horrible and you can't hear what the person is saying. We'll just clean it right up for you. So up here in the inspector go to the audio setting and just go to voice isolation and you turn it on. Now this is another shot from my film Shark Bait. Like I said I'm going to be able to see more behind the scenes and tutorials and also the final film. If you guys want to see that as always subscribe and follow me on my website. But yeah in this shot we actually did have good audio recorded with a professional boom mic but this is the audio that was actually recorded in the camera. So let's say somebody hands you footage like that and just has horrible audio like this. And they want you to edit this and make it sound good. Well this tool might just save your ass. So here like I said it's very simple and then inspector under the audio settings you have voice isolation. We'll just turn it on and that's pretty much it. Now you can adjust the intensity of it but this is how it sounds when now it's applied 100 percent. And of course if that sounds a little bit unnatural you know you can take it down a little bit. So let's see if I put I put it down to like 62 here. So as you guys can hear this thing really is pretty spectacular and being able to isolate the voice of the person in your shot so you can clean up any unwanted background noise. unwanted background noise. And this is pretty cool because it will allow you to sort of adjust a little bit the lighting after the fact while you're already editing the shot. So here in DaVinci Resolve I have this shot. This one is not from my shark film. This is actually from this website I started using recently which is Raw Film. It's a stock video website. No they're not sponsoring this video. This video in fact is not sponsored by anybody except those of you guys who are buying my filmmaking tutorials or filmmaking LUTs on my website again at TomAntosFilms.com If you haven't been there go check it out. But yeah Raw Film I started using them recently and they just have like really professional stock footage. It's all shot on red. They do actually have a few shots like drone shots that are shot on not on red cameras but otherwise it's all shot on red. All of the footage is raw. It's like 4-8k so you can download the raw clips and you can really fine tune and sort of adjust the color grading on it. And what I also like is that they have for example these collections. So for example if you go here let's say for example here this guy working on a gym. You'll notice that they don't just have one shot of him. They have multiple shots so you can actually edit a whole sequence with it. And they have lots of these other collections like here a drone and a bike. So again if you're looking for top notch quality beautifully shot and beautifully lit stock footage then check out Raw Film. Anyways getting back here to the Mini-Resolve I'm gonna go and just look here in the effects tab for relight. effects tab for relight and once you find And once you find it you just drag and drop it. it you just drag and drop it. And doesn't seem like much happened here but if you move it around you'll notice that it essentially builds sort of like a 3D representation of your scenes. It already recognizes where the people are you know kind of more or less the shape of them And then you can move around this virtual light and you can you know essentially relight your scene. So I'm gonna turn off this thing here and I can now for example with this light I can increase the intensity of that light and you can see like I can make it look like for example there's a light here on this table right. Now in this shot I might actually want to hear if you turn off the effect you'll see that there is a sort of a directional light up here coming in from the screen left. So let's say I just want to accentuate that so I'll go you know choose a directional light. I'll pick it for something like here and you know just move it in so that it's not it's not creating these creating these really really noticeable shadows. You can also go in here and you can adjust you can do like shadow softness you can play around with all these things. So for example on this shot if I want to just just make that directional light be a little bit stronger then this is how it would look. So again this is without the effect and this is with the effect added. added and because it's And because it's AI it will again track and follow and figure out how your subjects and objects are moving in the shot. This feature is great for anyone who's working with standard widescreen video but then also has to do a vertical version for platforms like tiktok or Instagram. So for example here I have a shot that was shot regular 16x9 or actually a little bit even wider than that and now I'm going to reframe it here into a vertical format. So as you can see the problem is that our actor is kind of going in and out of frame, right. Well normally you would have to kind of manually go in there and adjust the position and animate that. Well not anymore. And now in the here transform settings you have this option called smart reframe and you can choose basically you know reference point or you can just do auto. Most of the time I just click auto and just click reframe. Let it analyze the clip and that's it. You can see you can already watch the shot and it nicely keeps the actors face here throughout the whole shot yet it also looks natural. You really can't make this any simpler than that. So let's say you've shot a lot of footage with a lot of different people. Maybe you've done a wedding video or like in my case a film and you want to be able to group your shots based on who's in it so that it just makes it easier later on for you to find a specific shot of that person. Well face recognition is going to make that super easy. So here I've got a folder with all kinds of shots so I'm just going to select all of these and right click here and I'm going to go analyze clips for people. So I just let it kind of go through and analyze all of the clips and now it's going to group the faces for you so you can find it easier. So you can see it right away to recognize these faces so I can go in here and for example we can add a name so I can put our character's name in this case because this is for the shots in my film. And now the cool thing is as you can see we can go for example based on the actor we can find all of the shots with that person. Now once you close that it might seem like nothing happened but if you look at the actual metadata here and you look at the shot and scene you'll notice that it adds metadata for each of the people for example like in this case we have the two girls that are in this shot. So we can use this now to create smart bins. So go to here preferences for the entry result, user editing and then here you go automatic smart bins for people metadata. Go save and now here under the smart bins you'll have a new option for people. You can expand that and you can see each of the actors names in this case and when I click on it it shows me just the clips with those people. So now for example when I'm editing and let's say I want to find a certain shot with Jennifer I can just click on this folder and here all of the shots with her will pop up. Whenever you're editing a long shot of somebody talking, you know how hard it is sometimes to find that specific sentence or word that the person says. Well, editing with text makes that actually very easy. So here I have a clip of me talking, doing a desktop review. So I can right click on it and go audio transcription. Go transcribe. Now I'm just going to let it go through and sort of analyze the whole clip. Now, this clip up here is actually very long. It's almost one hour long, so it's going to take around four minutes to analyze the whole clip. Just because I had a lot of like me repeating the same line, you know, making mistakes. But anyways, let me just jump to the end when it's done analyzing it. So now that it's done, as you can see, I can scroll and I can see all of this text, because again, I did a lot of talking. But I'm going to go right up here to the top and I know I did the intro many different times. I had a lot of different mistakes. And it looks like here is like the last time that I said it. So it's probably the good take. So I can just highlight this text and I can create, for example, a sub clip. I can play it. But in this case, I just want to drop it into my timeline. So there and then, for example, I have another line that I said so I can go here. And I'm going to drop this clip here, too. Now here is another part where I'm talking about the sponsors. And I'm just going to select that again. And again, I'm going to drop it. And as you can see, you can very easily now kind of go through and you can select just the parts that you want. And you can very fast start building your timeline so that you can, you know, again, edit this very fast. As you can see, a really cool feature that's going to definitely speed up the workflow if you're editing a lot of these talking head videos. Whenever you get footage from a client and you got to start editing it, you know that before you can even do that. First, you got to do the painful task of sort of organizing all of your clips so you know what's where and what it's for. Well, again, DaVinci Resolve's AI tool here is going to really speed that process up. So in this folder here, I've got a whole bunch of different video and audio files, and I can just select all of them. Right click up here and go audio classification, go analyze, and I'm just going to wait for it to do its thing. Once it's done, you're going to go here to Smart Bins and you'll be able to see under collections all of your clips categorized. You have audio video clips, you have dialogues. For example, we'll show you which clips have some dialog in it and they don't have to be necessarily just video clips. They can be also audio clips. You have the same thing for music. Go here, you have all your music tracks, your sound effects tracks and clips with just silence, which in this case, I don't have any. Not only that, but you can go to subcategories and you can even go here. You have, for example, effects, you have boat sounds. So you can go here to nature sounds. They even found wind sounds, clapping, clicking sounds, wood. It found even animal, like for example, tiger and some other recording. I'm not even sure what that is. Car sound effects. This will definitely speed up the whole mundane task of having to organize your media before you can actually start the creative process of video editing. Of course, DaVinci Resolve has a lot more than just these 10 AI features. There's, for example, other things like automatic subtitles, super scale, hyperspeed or automatic scene detection. So if you guys want me to do other videos about some of these features and a whole bunch of other really cool stuff that DaVinci Resolve offers, then just let me know in the comment section below. Definitely check out my website at TomAntosFilms.com And if you haven't already subscribe to my newsletter, so you're notified of my future videos. And if you really like this video and you found it helpful, it would help me a lot. If you could hit that thumbs up button and leave a comment below. Thank you, guys. I'll see you in the next one. Bye.
