Chirstmas Live Q&A plus ATEM Mini Pro Giveaway

[Music] [Music] hello how's everybody doing i hope you're well hope you can hear me i've got my screen up i've got you guys up so i'm hoping that we're all going to have a good day today we'll just be able to hang out on this live chat and uh yeah have some adventures old fun but also we're going to be doing the giveaway as well for the a10 mini pro as well which is just right there it's exactly that one right there is the one that will be coming out to the lucky winner as well so we're gonna box this one up we're gonna get it out to as quick as we can but uh lovely to see you all i'm just gonna give it a moment or two uh one thing i should draw your attention to really quickly is the top corner we have a countdown that is the time that you have left if you haven't already entered the giveaway to win the a10 mini pro you have 11 minutes left to go and do that so if you want to the link is in the description just hop over i'll wait that's fine go and do that bit get yourself entered then come on back and then you'll be included in the draw basically i decided that there would be a couple of people who maybe haven't seen the post that i've been putting out previously about the fact that they could win this atem so i wanted to give you whoever was joining us live a chance to be able to jump on and do that real quick so you've got 11 minutes counting down from now so uh there we go but um yeah for those of you obviously who may be watching the stream for the first time my name is alex cameron i'm a certified davinci resolve trainer i've been a filmmaker for over the last decade or so i hate to admit uh it feels like a long time now and um been mostly working in sort of corporate work and so doing videos for people's businesses and things like that but also we did a whole stint in weddings probably did nearly in nearly a decade at least in weddings as well so come from a wedding background world uh where obviously things like you know fast production turnaround times things like that are all very important equally being able to get things right in camera first time because obviously a lot of time we don't get the chance to do retakes and things like that so come from that sort of background i'd love to know from you guys where you guys are coming from in the world today where you're watching from let me know what your sort of experiences with filmmaking generally are you beginner intermediate advanced are you using davinci resolve hopefully most of you are but if you're not what are you using instead maybe you're thinking about switching to davinci resolve and if you are again let me know because that will be very interesting to hear and see who we've got watching not many of us on at the moment but that's great and it's lovely to have you here and i really appreciate it because i know it is three o'clock on a friday just before christmas which is kind of crazy right that we've already managed to make it to christmas um through what seems to be another unbelievable year and um yeah it's just mental to sort of think that we we've you know had to put up with so much and so well done if you're here and you're watching the live stream then well done give yourself a pound in the back because you deserve it and again i appreciate some of you may well be working or just about to leave work but that's kind of why i tried to go for the three o'clock on a friday hopefully you're all in that mood now you're ready to kind of shack off work for the day and get yourself ready for the festivities whatever that might be if obviously of course i appreciate not everybody's a christmas celebrator here so of course if you're just celebrating the holidays in another way if you're not celebrating at all you're all welcome so it's great to see you all and thanks ever so much for coming great to see darren darren austin's here watching thank you very much darren indeed he is into he's color grading and he's yes still at school day here has a song in the background well i appreciate that skill is immediate i doubt that very much but um yeah appreciate you having having you here darren it's great to see you um incidentally just a little quick plug obviously darren is doing a another live stream on the tuesday this coming next week i should say um which is going to be huge there's like loads of prizes he's managed to get together some great prizes as well so do head over and check out darren's channel after this after this don't rush it once but yeah after this get off over there make sure you've just got yourself a reminder set up for his live stream on tuesday which is going to be great fun and you always learn a heap when you you know uh go on to lauren's darren's live stream so nice to see you here darren i'll be good um martin clay thanks again nice to see that you're here and commenting and uh you've been a great supporter this year so i really appreciate your your time and your help and your support and equally i should say that to everybody as well thank you so much because we this time last year we were sitting at around i think just under a thousand subscribers and now we're just over 5000 subscribers so it's been so great to see how how that's worked but also because for me it's about making an impact on other people's lives hopefully um i learned a lot of what i learned in in my life through youtube i'm learning from other people who are you know willing to give their time and their expertise uh freely in this way and i think it's just only right that i try and give back and um it's lovely to see that we've been able to help a lot of people and do that so you've got seven minutes left on that giveaway just as a quick check um tudor nice to see you tudor ah from romania kefac hope you're well um switch from premiere to resolve loves it only for fun on my youtube channel cool software project manager awesome that's what you do for a daily job tutor that's epic um but it's nice to know that um we've got some people watching from all around the world which is amazing and i think that's interesting as well because i think for me davinci resolve when anyone asks me what a the best free editing platform is i always say drinks resolve now i'm a certified trainer i appreciate that so i'm a little biased perhaps i don't have to be necessarily in the role that i do um i just thought that it was the best platform for me at the time having used premiere having used final cut 10 having used final cut 7 um when that was very first out so you know i've seen a lot of the different editing platforms out there and and when it came to my professional work this was just that the platform that just made the most sense it just had so much going for it that you know and i love the you know the background of the company behind behind it as well i think it they're trying to make it affordable and accessible for everybody and you know with the free version of different resolve it's the best free editing platform out there is it the easiest one to get your head around not necessarily is it we know that if you're used to using davinci resolve it might be something that's you know a little bit overwhelming when you first look at it but i think hopefully if you get it broken down quite early on you watch some great people out here uh obviously who are doing some fantastic work on on youtube to help educate uh the general masters about different results and hopefully more people find it less overwhelming and actually you have a platform that you can grow with you know you start off you learn one platform you don't have to then chop and change or move from one to another because you know it didn't sort of have all of the features that you needed at the time hi graham nice to see you graeme i'm from edinburgh i was i was in scotland recently actually i went up to do a commercial shoot and um funny enough that's one of the reasons i've been quiet on here as well so just another apology for me that we haven't had a lot of videos out recently uh just been snowed under with professional work and trying to get obviously that you know those paying jobs have to get done we have to get those out unfortunately because you know that's what pays the bills at the moment but um you know we'd like to see you know more and more of our time moving towards the training side of things and as you may know we've got some davinci resolve courses that are coming out i'm currently working on them that's another thing i've been doing so um felt like trying to get those done was important as well so they're actually available now on our website there is a link in the description if you were interested in checking them out the courses are coming in sort of an order the first one we're going to do is an introduction to davinci resolve for beginners and that will be a certified course as well so there'll be an opportunity for you to take an exam at the end of it if you'd like to to become a certified end user the moment it's on pre-sale it's 50 off and that's because we haven't finished it yet full transparency lessons one two three are done and then we've got another which actually equates to about 384 hours almost of training so still quite a lot of training just in those few lessons um and then ultimately as the lessons are ready they'll be dripped out um to people who've already pre-bought and anybody else who's sort of gonna buy but obviously the price will go up once it's ready to be launched so just a quick plug sorry about that um but if you're interested in learning about doing resolve and you're a beginner particularly then that course might be of interest and there's a link in the description for you to jump on and do that so um but anyway thank you graeme rule for coming in and joining us today i really appreciate you doing that and sorry if i have to look away because i've got stuff over here so i could just see what's going on for you guys um but hopefully you can hear me and see me you've got four minutes left to join that giveaway what we're going to do is we're going to just jump over to davinci resolve and we'll have a little look at davinci resolve because why not right so we'll jump over to davinci resolve and one of the things i wanted to do was a bit silly and it's a bit fun but basically i wanted to walk you through a quick project that i was working on the other day in a semi-professional capacity basically i uh in another world i run a i help my friend run a quiz show so we have an online quiz club uh called carry on quizzing and basically this carry-on quiz club was started in lockdown and we're back in yeah 2020 march 2020 and we started doing it we did a free quiz show every single week his mum writes the quizzes and um basically we put this quiz show out it's ten rounds also five rounds ten questions general knowledge and we did it every week for 17 weeks and we did that all remotely so me producing the show from here he was at his house and we were doing like a video chat and then sharing that and yeah we did it pretty well and we were quite happy with it and then a lot of people said when we started we'd stop a lot of people said oh keep going and we said okay well we might have to charge if that's all right they said yeah fine so you know we just said well okay what's reasonable we'll do two quizzes a month 10 pounds a month anyway so we run this quiz show and every every year we do a christmas show and we normally do a little bit of a fun vt or a fun intro we have a guest host and we do something kind of fun we do we film it and make it enjoyable and um basically it was just a question that um we wanted to do something fun we didn't have a lot of time to do it so we decided we'd do like a message to our um supporters and to our members and say thank you very much for being our members uh for the year and we're looking forward to next year and we wanted to do a little sort of scene so what i'm going to do is i'm going to jump over to davinci resolve i'm going to show you the scene that we we ended up creating um it's not perfect as i will show you it's not perfect but it works and it was great fun and then i'll show you some of the things that we did to achieve it in davinci resolve because it's quite quick we can do it relatively speedily and i think it was nice because we used a few different sort of areas of the different parts of the program so basically yeah i wanted you to kind of see that so um also just to let you know we're using um we are using an atm mini pro at the moment to do a little bit of this camera work so the blackmagic design um pocket cinema camera is the main camera that we're looking at here and that's feeding into the atm and then on into the computer which is such a great use of this particular tool even if you're not using it as a switching device just using it as a camera input works really really well and i'll tell you another thing about the atm pro uh that we came to how we came to use it recently as well once we've done a little bit later um just in the comments how we're getting on the mini panel darren's asking me how i'm getting on how how much quicker well i'll tell you there before i start i've got it here it's right right in front of me i had it over here tucked under my my sort of reference monitor and i i was not using as much as i wanted to so i kind of made right put it front and center then i'll make sure i use it so i did and i am using it more definitely for me a learning curve and i'm going to do a video actually next year about my my experience with the mini panel from someone who has never used a panel before to going into a mini panel immediately and so seeing how i adapted to the use of it so if you're not subscribed already please do make sure you just hit that subscription button make sure you're subscribed and you'll get that video and it comes out next year but yeah no the panel is definitely made me faster um once i've got through that learning curve of just kind of taking my hand off my mouse and and doing as much as i can with the panel uh i think the default for someone who is a keyboard or mouse editor for some time the defaults just to go straight back to that mouse and your hand just kind of drifts there naturally so you kind of gotta go nope shake that off shake it off bring it over here ah mini panel right okay see how we go and funnily enough there's some things that still frustrate me about the mini panel as well which um you know certain buttons not maybe being there which you think oh that's a silly why isn't that button there that makes no sense like you know an outside node do i use that an awful lot and that's not on there but of course um i'm using a stream deck an elgato stream deck which i actually i'm actually using today as well and i've i've had that set up for davinci resolve for quite some time and it's really handy especially when you are then starting to work with a panel to then have that separate sort of button options where you can have you know limitless really button options for you that you can very quickly use so again you're just speeding up your workflow because you're kind of working you know here rather than some mouse keyboard mouse moving and it just means that that travel is just minimized and you can it does make you much faster and also when you've got macros available where you can press one button and it does several things at once that's super helpful again for editors because again if we can take five button clicks make it one that's got to be a better thing for us right so yeah stream deck's a great way of kind of complementing that if you didn't go for the full advanced panel um which obviously is a bit pricey for a lot of people um they're saying he's already got i ate many pro as well so good stuff good stuff i mean to be honest i i installed an a10 mini pro iso extreme so i don't know if it's the ice mini extreme or the extreme iso anyway the extreme iso the biggest best one that you could get i installed in a customer's studio for him and it was a a huge it's a big bit of kit but it's still small in comparison to some you know atms and vision mixers and things like that but it was it's a really decent size lots more buttons but the big thing for me is that the inputs that that makes the big difference is because you have got two um usbc inputs or outputs i should say because you can then take it out to a webcam like i'm doing here today but you can also record to a disk at the same time so you haven't got to give up one or the other which obviously unfortunately with the the iso and the mini pro you do have to do which is a slight downside but um most of the time you're either using it in one way or the other so it's not the end of the world but i tell you what the extreme one is a really good bit of kit so tudor was just asking did you use the davinci resolve speed editor absolutely i do i have one right here and i and i use this actually do you know what i found is that i'm stuck under my desk hang on there we go um the speed editor just here it's a it's a really useful bit of kit i love it and the the thing i love about it is it's wireless you know you just pick it up you put it over there you go back to your panel or keyboard or whatever it is you bring it back over here start using it again i i love it i've definitely i'm interested to see how they'll refine it because i think there's options to be for it to be refined i think there could be you know you could have like a keyboard map layout and you could then say right well i don't want this button to do that or maybe you know even if they sold you a bunch of like blank button caps or ones that you could write on yourself or something so you could customize it a little bit to the way you like to work um you know if you don't do a lot of multi-camming work for example um then this sort of panel in the middle here where you've got the kind of all the multi-cam buttons it's there's it's just kind of there and you and it's kind of seemed like a waste of space if you're not going to make the use of it right so and there are some other things that i think particularly in the cup page i've found are awkward you know the ability to just sort of select the clip that's under the playhead move it more easily i mean there is a move button but it's not always easy it's not like a move just like sort of as like a kind of moving up the timeline it's a bit it's a bit awkward um and there are definitely buttons missing um i can't think of them off the top of my head i'm trying to kind of recollect all this information as i'm going but so yeah i mean but but again it's making me faster and the jog wheel's lovely that's one of the biggest bits i enjoy is the jog scroll and the scroll wheel because you're able to just zip through zip back through your footage much more easily and i really like that facility but also if you're using the source tape mode particularly to look through rushes or select or build out that maybe a rough cut timeline it's so good you'd source source tape in and out bang onto the timeline roll it through in out bang onto the timeline roll it through it just works so well and the fact that it was shipping you know with davinci resolve studio kind of you can't go wrong can you really um i did actually when they they've just reduced obviously the price of the main keyboard editor that they've got the special davinci resolve editor's keyboard which was like a thousand pounds they've reduced it by half nearly um and i was tempted because i thought if i could just replace my keyboard with that one with a jog wheel that might be even better way to work for me so i thought about it but it's a lot of money for a keyboard still but it's very well made so you know i might still splurge who knows who knows but you know i think it's great too how about you do you use it um i i think it's a great thing and again it depends on what you're doing i mean sometimes you do something quickly you don't need it sometimes you're into a bigger session you think right sit back relax and get the keyboard out second hdmi out of the extreme is great i agree graham you're absolutely right that second h yeah another yeah the hdmi out is very helpful because as you say you can have like i'm doing today actually i've got my program going out to a monitor so i can see my monitor here but also at the same time if i press you know my multiview i lose my program out so having that extra hdmi out makes it very flexible especially if you're using in a in a live broadcast scenario where you're taking maybe people's laptops in and then you're feeding out an hdmi to their monitor or also your monitors for your program but you can also feed out the hdmi fully for them on a projector so you can actually kind of help all of that production come into one little unit which makes it again really really cool indeed um yeah i agree without losing the multiview so cool so cool indeed right okay so the time-lapse turns to the giveaway is gone and that was gone a while ago so apologies about that so that is now closed we will be drawing that in just a second or two so before we finish the live stream we'll go over and do that uh what i wanted to do was to jump over and we'll go to davinci resolve so let's jump over to davinci resolve so i'm using my webcam for this so apologies if i look pink which is a bit bizarre but um so let me explain again so we were doing our this thank you basically video for our members and we wanted to say thank you and we wanted to do it in this the guys of love actually so we wanted to do the whole cards at the door thing and we thought of a different way a couple of ways of doing it and then we thought what we'll do is we'll we'll comp in my friend simon here doing the cards he's the quiz host and we'll comp him into the scene with with keira knightley so we needed to then obviously get that scene from love actually kind of downloaded so we kind of got hold of that and then we wanted to bring it into resolve so what we were doing here if you can see on the screen there's our there's our screen there's our shot i'm just going to turn off my audio and we're going to just basically take this and we're going to comp simon in into this scenario where this chap is instead doing the cards so we wanted to do a comp and just out of interest one of the things i was looking at here initially when we were like okay how easy is this going to be to do was okay what's the background like yeah well that background can all be our background there's a lovely if you just look just here there's a lovely straight line oh that wasn't my straightest line but there's a lovely straight line just there where the door frame fits which will obviously make this a little bit easier and actually for the most part this area here where her hair is and her jumper is doesn't move an awful lot as this as it goes through the through the sort of shot let me just play that through it doesn't really move an awful lot so it's quite easy to essentially track it and and sort of mask it out so that's really cool for us so hopefully you're seeing what i'm looking at cool so what we wanted to do is i wanted to bring it in and i wanted to break up the sequences because of course there was no need for me to do any sort of vfx work on a shot where it's just her because that's her reacting to you know our talent as he as he's doing his card so this is a shot we're going to use separately but we needed to break this up so of course you know using a tool like scene cut detection was was really great for that so if you have the studio version of resolve of course you're going to need to do it at the point where you bring this into the media pool so here's my clip in the media pool in fact not the media pool the media storage i should say so this is actually on my local hard drive so here's the clip and i want to bring that into my media pool but before i do it if you're not on the studio version of resolve you have to make sure you right click and then go to scene cut detection first and then it will open the scene cut detect window and then essentially you can go through and you can auto scene detect and that will then in fact if i do it that should just run through quickly and it's going to tell me where it's detecting all the different scenes so this is for everybody who's not using the studio version of resolve it'll run through and detect all the scenes and then basically it's finished at this point and it's saying right let's have a look at these different scenes so as you can see looking at these three viewers at the top you've got previous frame current playhead frame and then next frame so at the moment they're all kind of the same and as they go through you'll see they're all slightly different and then when it gets to a cut you'll notice this green line here is what davinci resolve thinks is a cut so if i just frame through very slowly till i get to it what i should see in a minute is there's my current playhead and you can see here this one here is my current play head frame this is my next frame and this is my previous frame and so if i just jump it forward one frame you'll see that now i've got this has come in and it's now correct and what you're looking for is essentially when you're on a cut and if i just move back and through for the cut points here which is not that one there's a way there's a button there we go if i go to the cut here just using this index on the side if i go to this cart what you're looking for is for these two frames here to be the same okay if they're the same then that's an accurate cut if you find out that they're different or not quite right then you haven't got an accurate cut so basically at the moment everything that is green is considered to be a cut so we can then just jump through where it thinks the next cut is which looks pretty good and then again the next one and so on and so forth and you can you can actually manually if you look just down here you can actually manually add or delete extra cuts if you need to and equally you can prune cut points as well so if you for example there was one in here that wasn't right you simply go up to these scissors just in the right hand side here and hit prune and that will remove that from the from the cut index here equally if you think that maybe it's including some shots or not shots that are that it thinks it's cuts but they're not you can use this pink line as your line of tolerance so actually if you drag it down a little bit more it's going to start including more cuts and it's then if you drag it up it's going to exclude certain cuts you see how my edit index here on the right hand side starts to decrease if i drag it down it increases all the different cuts and again if i jump back to a cut that's not a car let's have a look find one that is a bad one maybe these are quite close it's done a pretty good job on the whole i mean you could probably and i think actually in this case we could drag it down a bit because i think it was missing a few cuts before let's have a look at this one over here if i just move my playhead here there's a shot here where the door opens like that and you can see here there's lots and lots of little little sort of blank lines here and that's a scenario where it's going to include things that aren't actually you know cuts you don't want that many cuts just because the door's opening yeah so um we'll deal with this cool so i'm just going to actually what i'm going to do is if you would then hit add cuts to media pool what that will do is it will add all the cuts into the media pool and all the media all the cuts from this particular uh broken up timeline would then just jump straight into our media pool ready for us to work on as individual clips or individual shots i should say i'm going to not do that i'm just going to come out because i want to show you the other way of doing it real quick as well so if you are on studio you can simply just drag that into your media pool and then we'll just change the project framework i'm i'm going to change it no i'm not going to change it in this case i'm just going to drop it in and that's basically just because it's different frame rate to my project frame rate if i go up to this sequence here you can see here on the metadata that this is at 24 frames per second and if i go to my project settings my project set is to 25 frames per second so i'm going to leave it at 24 and we're going to work on it from there so there's my shot and obviously as you can see it's one big long shot if i added that to my timeline nothing's broken up i haven't got my separate scenes so if i want to just right click that sorry buggy pun if i take it into the edit page and drop it onto a timeline so this is what i did dropped onto your timeline and i should say that we did all of this in four hours we shot it edited it and had it ready in four hours which is why it's not perfect so we added it in obviously again you can see it's all one long shot that we don't need and you then come up to your clip where is it now it's moved timeline scene there we go timeline and then detect scene cuts okay so this is if you've got studio and you don't hit the text scene cuts and then davinci resolve will zip off and it will start detecting the little cuts in the scene for me and then i'll leave that all in the timeline to make the cuts for me so here we go it's just going through and doing that now while i'm waiting for that funnel agent very kind of you that's very kind to say thank you very much indeed for sharing that that's very kind i'll just bring that up on the broadcast everyone knows what i'm talking about there we go that's very kind of you thank you very much indeed cool so as you can see in davinci resolve we've now got all of our cuts broken up and for the most part if we just use our up and down arrow keys to navigate through we can see that for the most part things are pretty good and all i'm doing is i'm navigating to a cut using the up or down arrow and then left or right to check my cut and obviously if for example if if it thought a cut point was was here and i wouldn't refrain back obviously that's not a cut you can see that's not a cut that's not a different scene or clip okay cool so now at this point i was able to say right okay which of the shots that i need to work on and which are the shots that i can ignore so obviously you know for example this shot let me find a shot of her there we go that shot there i didn't really need to do a lot with that shot here i didn't really need to do a lot with so i could then easily mark or flag the ones that i needed to work on and so in this case let's work on one a little bit further on because it's a little bit easier to explain so we then had a situation where we had okay all these shots broken up and now i needed to bring in the clips of my my colleague doing his shots and stuff so i just grabbed all of those shots that we had and brought them in as well so they're all brought in at the moment if i just check my project settings you'll see that in the color management i'm just working in a davinci yrgb rec 709 gamma 2.4 color space okay and again if you're not sure what that means then again stay tuned to the channel because we'll do some color management stuff in another in another video or equally go and check out darren's stuff because he's done one on colour management i'm pretty sure so um have a look but anyway if we wanted to we could go into colour management and have all of these shots look normal or look rec 709 but at the moment this you can see is just very flat and showing in log and that's absolutely fine we'll fix that in a minute but that was just shot it's blackmagic raw camera shooting in 6k so one of the pocket cinema camera 6k pros so what we are going to do now is we're just going to bring this in and try and get it into our timeline and start comping this in so in this instance i'm not going to do the whole timeline but i will show you what we did so hits us him going through the shots and this was the second take and i think the second tape worked better so what i did in this instance and this was actually where the cut page could come in really handy or the speed editor as well because what i could do here was load up the source tape and then look through my my footage so there's the love actually sequence there's that shot and then this is him doing a second take and now i can say right this is my second take and i want to get a shot so this is him doing that let me just put a in point there then that's the next shot so i'm going to mark it out and then i just can simply add that down onto the timeline i can drag it down i can do whatever i want i can use one of these options here and in this case i want to place it on top because it's going to be b-roll so let's come over here to these little icons for all these different insert operations and i'm going to come to this one here which is place on top and i'll just drop that down on top if i come back down over to the edit page you can see that that's now dropped in place where i want it and now i can trim it if i need to i could have done that of course in the cut page too so we just trim that and we're gonna look underneath there we go so that's the shot we want to kind of bring it into and actually what i'll do is i'm just gonna double check what he's doing in this shot so at this point he's then changing card to another perfect that'll do so actually what you'll notice is that we need our talent to be in the background of this shot because if they're in the foreground they'll sit over the top and we don't want that we want him to appear as if he's behind keira knightley if you can look at the shot here you can see how he appears she's in the foreground doors in the foreground and he's sort of behind it so what we actually need to do in this instance is i'll just take that one out for a moment and i'm going to just zoom out again i can use this button here to zoom out or keyboard shortcut shift z and what i'm going to do is i'm actually going to grab all of these clips and i'm going to move them up a track so i can put simon underneath so in this case i'm going to just marquee select them all pressing the option key down and i'm then selecting just the video tracks and then i can either drag it up or i'm going to again press option and the up arrow key and they all move up into that second track perfect so now what i want to do is i'm just going to grab our shot of simon so i can again i can go back to the cut page if i want to go back to my source tape find the shot that i want so it's the one where he's just about to change cards in fact this one wasn't at this take so let's go to here and he takes it off and shows the next card perfect that's my shot and i want to bring that in and in this instance i can either just drop it in i don't believe i have to place it on top i can just insert that in fact i'm just going to i'm not going to append it let's just where are we going okay that's sort of not done what i wanted to do that's fine let's go back to the edit page and we'll drag it in manually because just for the time sake i want to make sure i'm doing it properly so it was there marking it in with the i key marking an o for the out and i'm just going to bring it in and drop it in the timeline where i want it trim it down to fit perfect okay so now we've got this sequence here and you can't see obviously simon yet because we now got him underneath so now what we're going to do is we're going to jump over to the color page now i could have done this in fusion 100 i could have done this in fusion but decided not to because i thought the color page was a little bit more i just found out i could finesse it a little bit easier for me obviously whatever way you want to work but the fusion page also sometimes can i find can sometimes slow things down a bit as well so what i wanted to do here was i've got my shot of our man and i need to cut him out and i need to give us just keira in the foreground so of course this is where the not perfect element of this all comes in because of course depending on how long you take to make your mask will depend on how good this actually looks but just for now we're just going to see how we do this and so you've got the idea and you can then finesse and play with it to your heart's content so first thing we want to do is go to our power windows and we're just going to take the default curve and click that so that we get our pen tool and the first one i'm going to do i'm just going to zoom out slightly so i can see what i'm doing i'm just going to draw a window around this doorway here oops i've done the wrong sorry big pun i don't want to curve in this one there we go something like that it doesn't have to be precise necessarily perfect there i'll do that for now cool so as you can see in the highlight window i'm just looking at this and if i put on my highlight with shift h i can see that i've just selected that part of this frame which is fine for me and then what i also want to do is create another one to also put in here now i could do that on a separate node i suppose i could put it in the same node if i wanted to as well for me i think i did it in the same note if i remember rightly so let me just zoom in again and this one's a little bit more tricky because we have to be a bit more fine as we go around here but as i say you can take a lot of time to do this so we're going to add another curve so you can see just here we've got a another curve option i'm going to click that and we're going to just slowly and somewhat carefully i say somewhat carefully draw around the edge of keira knightley i'm going to put loads of points in just so i can play with it if i want to and there we go put another one in there there we go okay so i've now got her as well again if i put the highlight on i can see that i'm looking at both of them two different separate areas like that which is fine so now what i'm doing is i'm essentially saying ignore this man in the background and only show me what's in the windows but to get that to actually work i need to add a alpha output to this so you can see this little blue circle up here is an alpha output from this particular node and i need to be able to feed that back into the edit page by saying add alpha output so you can now see i've got a little blue dot i'm going to connect the blue dot to the other and now we see that that disappears and if we come back to the edit page you can see that now we've got simon poking through although it looks a bit funky and that's partly because they've got the blanking obviously they've got the sort of wide aspect letter box there so we can actually fix that by doing that as well for our sequence so in which case here come back to timeline down to output blanking and then 235 which is the same as theirs so now that's starting to look a little better not perfect yet by a long shot but a little better so let's now jump back to the color page and we'll look at this particular shot now one thing i haven't done yet is i haven't added any softening or anything to my mask so when i was in the edit page you can see if you look at it carefully there's a very nasty hard edge here the hard edge here isn't so obvious because it's obviously straight edge anyway but it would be nice to just soften that up a little bit so before i do that one thing i want to do is i want to track this because she does unfortunately move whilst we were locked off they weren't and she also moves in the frame so i'm actually going to just go back um there we go i'm going to make sure i'm back at the beginning i didn't need to do that i could have used this very new nice feature individual resolve 17.4 where it allows you to track back and forwards from the frame that you're on but let me make it easy by going back to the start i'm just going to quickly refine my mask to make sure that i'm happy with it as i say this is where you could take hours to do it we had literally half a day to get this done so i didn't get a chance to be perfect in the end but now i'm going to jump over to the tracking tab with that window selected and all i'm going to do is i'm going to track this through so i'm just going to use the track forward now the options here depend on you know what you're trying to track so in this instance don't really need perspective 3d i might need to rotate and zoom and tilt and pan so we'll leave those on i'm going to turn that one off and i'm going to track forward thank you tudor for that appreciate your comment on that i'm trying to do this live um i hope you're not we're not going to ever run too much i'm going to try and only be about an hour so there we go so that's just now tracked through and you can see that that's now tracked through and actually for the most part she's pretty steady so it's done a pretty good job right so that's not too bad cool and we might do the other one as well so let's just do that quickly so let's jump back to the other one go back to the tracker and then we'll track that forward as well and that's track through and again it just helps us out a little bit so now that's tracked we can now go about setting our edges to be a little bit softer so let's go to window i should say selected but it can be awkward to see you know what you're actually doing to the edge and even if you zoom in and kind of mouse over here you can't really see what's what's happening so what i like to do is actually turn off this overlay just so you for a moment while you make your amendments and to do that you can simply use a keyboard shortcut which is shift and then i don't know what it is it's not the tilde key but it's the it's an apostrophe it's basically the one next to the zed it's probably a terrible way of explaining it but let me just do that so shift and apostrophe and you can see i've now turned off my overlay which is really cool in fact you can also do that there as well i believe by turning that to off turning it back on again so there you go just under there just on the view you've got that option there i wasn't sure if that was going to completely turn off the window altogether together but no okay so now i've done that i can actually now change my softness down here in my window tab softness i can just gently change that softness until i get to a level where i'm happy make sure it's time i will turn it back on just to make sure it's actually doing something there we go and then applying the softness there if i wanted to do that i could but i found the softness is okay just a bit of basic softness and then if i go back to the edit page and we look at that edge let me just zoom out again that edge is a little bit nicer now you can just see here it's a little bit finer a little bit nicer there so that's good so again we'll do the same thing with keira knightley so let's go to her mask and again we're just going to add some softness i'm going to turn off my overlay so i can see there we go oh tell you why my alpha outfits disappeared i'm on a different clip nope let me have my alphabet output back in that's why we couldn't see anything i was wondering why the softness was looking a bit funky there we go okay so that software has always been done too much so we can roll that back in and if we this is an interesting one because obviously i can't see the composition at this point so this is a bit of a pain however if i use this little button here which is the unmix and i unmix it now i get to see my live composition i can see the other layers underneath okay so now i can see the layers underneath i can see what effect this softening is having there we go let's just go back to that window let's turn off the overlay and you can see okay now i've got this slight haloing effect with the other ones coming through from underneath and i need to just dial that back a smidge so again if i do that come across a touch and make sure that was selected and you can see the overlay they're changing let's just roll it back a bit not too much but it's not it's nice if i turn that i can't turn it all completely off and if i dial that back to zero you can see how that hard that edge is let's turn it to 2.34 i think it was and then it's just a little softer just helps us hide that and again we'll do the same with old kira knightly over here so you can see at the minute we go to hers she's got some softening on if we take our softening off okay it's a horrible nasty hard edge let's go back and just gently soften that off a little bit of soften not too much just enough very very small right you can see really small amount in fact and if i might get a tiny bit more there we go and there is a little bit of a sort of error here of course and that's down to largely where the position of my mask is if i turn my overlay back on and just start repositioning that have a little bit of a fiddle then obviously it can help it and get a lot better if i zoom right out actually it's overall not too bad remember we were doing this very quickly so we just needed a fast result not the most perfect way of doing things but there we are and obviously because it's tracked through it does generally do pretty good job indeed there's a small little area here where there's a mistake again if you need to amend your mask and the way it's tracking come to the tracking tab make sure that you turn yourself over to frame mode from clip mode because that will then allow you to independently make these keyframes as you make amendments to the mask and davinci resolve will automatically animate these keyframes for you so that they are all blending together nicely moving from one to the other so for example if i wanted to make an amendment here i'd go to frame i'd then move my frame just a little bit and again you these aren't particularly long clips so it's not too tedious but unfortunately when it comes to rotoscoping that is part of the tedium of rotoscoping and then we turn that off and you can see we've actually made that a little bit better and again that's going to automate so that it sort of hides it and it's again at the end now i can maybe just tweak that again just really quick cool and again i'm just trying to show you for example a bit of fun and it's christmasy themed as well right so so now we've got simon at the minute here and again i'm not going to worry too much about my imperfect edges but what i want to do now is i want to make sure simon's firstly graded and i also want to fit him into the frame a little bit better now i can do this in the color page but and i just like to do it in the edit page just for those people who are editors so in this case select simon in the timeline go to the inspector and then i can just zoom him out and the nice thing is because we filmed quite wide and because we filmed on 6k i had the ability to really move and change this image if i wanted to crop in on it if i needed to and that was another reason why it was important to do that just reposition him so i'm happy with where he is so now he's nicely sort of fit into that frame repositioned and the blanking is helping us hide the other middle mistakes and bits and pieces that were going to be created because of the mismatch back into color and then if i wanted to grade this shot particularly then i could either as i said work in a different color space so that or color management so that this would automatically sort of grade itself for me in this instance actually i used a color space transform from the of fx so i just brought in a color space transform dropped it in and then gave it the input color space that i was using which in this case was this one i believe and this one so there we go so we've got a nice sort of starting point starting to happen and again the reason we put it after this initial first node is because what we want to do is we want to be able to grade some of this after this uh transform we want it sorry before this transform because we want to work with our full dynamic range so now if i need to make any tweaks to this in terms of its color it's looking pretty good but if i wanted to for example here i could add some contrast i'm going to use my mouse to do this [Music] oops there we go my computer's been slow every now and again when you start doing a grade sometimes there we go just add a bit of contrast pop the saturation just so you can see it all happening and maybe some sharpness if i want to actually i might put the sharpening at the end but you know for the most part we've now kind of comped him he's not perfectly in the scene because what we would really want to do is match the black levels between her and him so actually if we wanted to do that let's just try that we'll come to the hdr palette which is this one over here my pro mouse has stopped working sorry about that and i'm going to use this option right down the bottom here called black offset i'm just going to drag the black level up a little and maybe you have to keep it going a bit i might need to do a bit more work actually in the shadows as well but again we could we could sort of start playing for ages and asian ages and i don't really want to drop the contrast as well um and maybe just actually drop the saturation as well a little bit but we're starting to get there right so the point is you kind of play with it and have a bit of fun uh anyway so now we're back in the edit page and we're starting to get him comped in which is pretty nice okay ignore that little small error there but the point is he's now pumped into the frame quite nicely um we did have another challenge where we use this shot and of course we've got the back of our the wrong talents head here so we needed to replace it and actually what we did in this case and i'll do it very quickly and then we'll wrap things up and we'll do the draw but i wanted to show you this because i thought it was fun because we used the color page we could have used the fusion page we used the cut page the media page we were flying around all over the place we actually did some fairlight stuff as well and so we got this shot here of simon stood in front of a green screen and we just wanted that because we wanted to isolate this side edge here so what i did in situations where i wanted to see simon of course actually in this case if i just take this one as an example mark it in mark it out drop it in all i needed to see was simon's head over the top of the initial talent so in this case what i did is i repositioned it slightly oops just repositioned it slightly so he was sort of in the right place and then i went back into the color page and again they've got a fantastic keyer in the in the open effects in the edit page now but i did it in here and it works mostly the same but you come into this qualifier and then you come across to your little option here which is the 3d qualifier and then all i was doing in here was basically using making sure i had my target range selected my picker i would then simply drag over the range that i wanted to select which is my green screen there we go and then i've got that and actually what i need to do you can see here if i highlight it i'm actually selecting it but i want to invert it so in this case i inverted it and now i've got my sort of isolation starting to happen but of course i've still got this area on the side here that i need to crop out and apologize i appreciate i might be going quite quick so well done if you're hanging around and staying with us but basically i want to get rid of that area now so again i can do that with a a window and again i just want to make sure i'm only seeing this part of the the the frame so again i'm just going to grab the curve i'm actually going to give myself as much of this green screen to work with as possible there we go and you can see now that i'm literally only using that part of the frame and everything else is being ignored again i need to feed that through as an alpha output so that we can start seeing the composition coming together and again we need to do some work on the softening just a little bit but also we need to do a little bit of work in the kia itself because you can see if i zoom in here you can see there's a little bit of oddness and chatter and all sorts of stuff going on if you come down into the map finesse tools here just next to the well just under the the 3d qualifier palette what you can then do is start cleaning up your blacks and cleaning up your whites and just if you're not sure what that means if i turn the highlight mode back on and then come to the black and white viewer so you can see the black and white mask the highlight black and white you can see so cleaning up black cleaning up white is obviously going to correspond to the area you want to clean up you can also then denoise as well so this little denoise will help just hide a few of those rougher edges that we don't necessarily need to see again it's not a perfect science in this case and obviously i still need to grade it so that it matches up with our mat with our talent and a little bit of saturation maybe maybe drop the blacks a little bit more again i could play with it for quite some time to get this just right but the point is we can then easily comp our man back into the frame and it looks like she's looking at him which is pretty cool so what i wanted to do um before we finish just show you the final version of the cut i'm not going to show you the whole thing i just thought it'd be quite fun to to have a look at what we finally created and you've seen how we kind of went about creating some of that in davinci resolve live which i hope you kind of appreciate but um yeah let me play the video and you can just have a quick look at it and then we'll come back and we'll do the draw but have a look [Music] we'll get it oh hi who is it it's carol singers that that initial one was very hard to hide as well because there's a lot of movement going on and i didn't have time to play with it but from now onwards you can it's pretty pretty good it's pretty seamless and considering we're doing it very quick it was just a bit of fun so uh yeah the sort of thing you can do in dimension resolve with not really that much i suppose not really that much knowledge and not that much time you can achieve something that's quite good fun anyway i'm gonna stop that now and we're just gonna jump back over to the main camera here and i hope that was enjoyable and a bit of fun for you all i don't know if anyone's got any questions please by all means throw those into the comments there and um yeah we're going to do the draw so what i have got in by way of the the system that we use to do the draw is essentially we're using an app called king sumo and it's going to do the draw for me unfortunately i've never done it before in terms of how the draw works so it basically just says are you ready to award the award or this prize and i go yes and it will do it and hopefully it'll give us a winner but it doesn't give us any names it just gives us emails so i'll read out the first part of the email and i hope that that person may be watching or is going to watch later and can add in the comments that they were watching and that was them obviously i will be in touch to get their details as to where i have to send it and yeah we'll go from there but thanks everybody who entered thank you for following us this year it's been amazing and thank you again for for taking part in this it's hopefully been a bit of fun but let's do that now so i'm just going to pop over i'll leave you with me for a second i'm going to come over to the draw and i'm going to hit let me see it should be should be finished now is it not finished let me refresh that page okay so it's saying ready to award 561 entries so ready everybody ready to awards ready to order [Music] okay so the winner of the ateneo pro this one right here that's going to be getting that sent out to them is i don't want to say this badly but it's luis and it's either yeah louis jacques or quint kinov um so i think it's lewis anyway but i'll put your um email up in a minute um or in the description i'll just link that as a um lewis and your name and hopefully that will be you and you've seen it and you'll be grateful for the atm pro and you'll make lots of great use of it um i'll be in touch anyway but congratulations indeed to lewis [Music] and for all of you who watched live i really appreciate that and we'll be doing certainly a lot more a lot more videos um later in in and into new year obviously as i said the course is going to be coming very very soon i i have to finish it within the first quarter of next year and i have to finish i have to finish almost all the courses by the the the start of the next or quarter two in 2022 so um yeah there's about five courses to come out there's going to be the beginner one but then also if you're interested in color fusion fairlight or advanced editing we're going to be doing all of those as well and there's tons of there's tons and tons there's like three or four days worth of training in each one they're really intense they're all certified as well so they will all have the ability for you to pass the end user exam at the end which is all managed by blackmagic design so i really hope that that's of interest if it is as i said they're all on pre-order at the minute because they're 50 off basically because i'm working on them and so essentially as soon as the content is available you will be sent that content into your into your account so if you're interested you want to get yourself a bit of a deal they're available right now um that's the last sort of plug from me really but again description has all of the information if you're interested in that otherwise i suppose that all just reminds me to say thank you very much indeed for watching tudor martin funnel agent darren um everybody who again might watch this as well later thank you so much indeed i do greatly appreciate all of your time and your support this year helping us get to 5000 i hope that next year we can take that on a bit further and we can go again but anyway thank you very much indeed guys i've had enough of your time is there any other questions at all that anybody has if you have what them in the comments right now otherwise we will go about our merry way and start christmas i suppose now you can start i've officially told you we can get it going cool good stuff incidentally if anyone likes a quiz an online quiz and you would like to join as a quiz member it's 10 pounds a month you get two live quizzes and a bonus round every month so okay i said it was gonna be the last plug um but yeah carry on quizzing.com if you're interested in having a live quiz it's quite fun we do it at the moment about 70 other members so uh yeah enjoy anyway right shut up thank you ever so much indeed guys and i hope we will see you all very soon in the new year otherwise bye for now [Music] [Applause] [Music] you

Channel: Alex Cameron - Depiqd

Views: 91

Keywords: davinciresolve17, davinci17, resolve17, depiqd, alex cameron, davinciresolvetutorial, davinci resolve tutorial, davinci resolve tutorial for beginners 2021, davinci resolve tutorial color grading, davinci resolve tutorial 2021, davinci resolve tutorial 17, davinci resolve 17 tutorial for beginners, davinci resolve 17.4, davinci resolve 17 transitions, davinci resolve 17 free, davinci resolve 17 color grading tutorial for beginners, davinci resolve 17 effects

Id: S0PGoOFBUCc

Length: 54min 52sec (3292 seconds)

Published: Fri Dec 17 2021