This video is brought to you by Track Club. Use the link in the description to get one month of music for your videos completely free. In case you haven't already heard, everyone is switching to DaVinci Resolve. And for good reason too, it's an amazing video editing software. Chances are if you clicked on this video, you've probably been thinking about making the switch yourself, either because you're sick of your current editing software crashing and freezing all the time, not naming any names, or just because of But switching to a new editing software can be a bit daunting if you don't know what things are called, where to look for them, or even where to start. So in this video, we're going to look at some things that you absolutely need to know if you wanna make that transition to editing in DaVinci Resolve as smooth as possible. And if you stick around until the end, I'll be giving away a free copy of DaVinci Resolve Studio to one lucky person, so make sure you stay and find out how you can win. All right, secure the cup and let's dive in. (upbeat music) Okay, so we're at the computer, and a real quick disclaimer, this is not going to be a deep dive into everything you need to know about DaVinci Resolve. The idea of this video is to give you a headstart so that you start in the right place. So let's kick things off with project management. When we open up DaVinci Resolve, the first thing that we see is our database. On the left-hand side here, as long as this button is enabled, we're going to see our different project libraries. DaVinci Resolve works as a database workflow, not on specific project files. So what that means is within a specific database file, or what they call a project library, we've actually got a number of our projects within that, rather than having individual project files for each session. So you can see on the left-hand side here that I have a project library for my 2022 work, and then I've got one for my 2023 work, and then I've got a local database, which I'm pretty sure is just the default one that they automatically make for you. But let's say you had a bunch of different types of work that you like to do. For example, maybe you had client work, and then you had personal work. So you can make a couple of different project libraries that maybe had different settings or whatever, so you could keep things organized there. If you want to add a project library, you can click right down here. You can name it, you can put it in a specific location, and then you hit create. The next thing you'll need to know is how to create a new project with the settings that you want. So right now you can see a bunch of my different projects, and there's this one at the top called Untitled Project with a little check mark. Technically, we could just open that, and we don't have to change the name or save it or anything right off the bat if we don't want to. Or we could click on New Project here, and then we could create a name for our project. So let's just call this Best Video Ever, and we'll hit Create. Now notice I didn't get to choose any kind of settings or anything like that for the project. That's something we're going to want to do. Now in order to do that, there's this little cog button down in the bottom right corner, or you can hit Shift-9, and it'll bring up your project settings. Now without going through every single thing here, I'm going to tell you some of the most important things that you want to make sure you have set up. So first of all, your timeline resolution. That's the resolution that you're going to be working in. I usually leave this at 3840 by 2160 because that's what I film in. You've also got the option to use vertical resolution. So if you want to swap those two numbers because you're making stuff for verticals, you can do that here. You can see it just swapped them around. Then you've got your timeline frame rate. I generally am at 23.976 because again, that's what I'm filming at and that's what I want to output. And then playback frame rate is generally the same as that. You don't really need to worry about video monitoring unless you're using specific Blackmagic hardware to output to some kind of reference monitor. And then down here, this is where your optimized media and render cache live. This is the kind of stuff that DaVinci Resolve uses to make the playback smoother while you're editing. So if you're creating any kind of proxy media, that's going to be right here. I choose H.264 and then I let it choose the resolution automatically depending on what it thinks I need. And then there's optimized media, which I let it choose the resolution automatically again, but I changed the format to ProRes 422. And then finally, we've got our render cache format. So that basically means that anything that DaVinci Resolve doesn't think our computer can handle smoothly, it can render into a cache. So it makes it a little bit easier. I set this to ProRes 422 proxy because it's smaller file size and it's easier for the computer to read. Then we've got some check boxes below that. So we can enable background caching after five seconds. So that just means that it won't be trying to cache things if you're actually doing things on the screen. And then we can choose for it to automatically cache transitions in user mode. There is a mode where we can decide where it only caches things that we tell it to. But if we're in user mode, it'll automatically cache transitions, it can automatically cache composites and it can automatically cache fusion effects. I find my computer can handle transitions so I don't want it caching them. Composites, I don't ever really do, so I just leave that off. But fusion effects, it's quite nice to have them cache automatically. Down below here, you can choose the locations where it's going to create those proxy optimized or cache media, as well as gallery stills down here. So you can choose where those are all going. And then you wanna make sure that you're cleaning those out every once in a while because they can get quite large. Now, there are a lot of other options that you can choose within your project management, but I think those are the most important ones with the exception of maybe color management. If you're just starting out on DaVinci Resolve and you don't wanna think about color management quite yet because you're not quite there, I would choose DaVinci YRGB and then I would go in here and I would choose Rec.709A if you're on a Mac and Rec.709 Gamma 2.4 if you're on a PC for both the timeline and color space. So in my case, I would choose Rec.709A. Personally, because I do a few more advanced things with color grading, I choose DaVinci Wide Gamut Intermediate and then I output to Rec.709A. Now this is really important and it's going to save you a whole bunch of time in the future. If these are the settings that you're going to want on every project that you make going forward or most of them at least, go up to these three dots in the top right corner and choose Set Current Settings as Default Preset. What this'll do is every time you make a new project, it'll start from these settings. If you wanna tweak a couple of things, that's fine. And then what you can also do is save those current settings as a preset. So you'll notice up here that I have two different presets, one for 4K 23.976 and then another one for 4K DCI. They're exactly the same with the exception of the resolution. And if you make these presets up here, now it's easy for you to change to a different type of project. So I can just hit Load Preset and it will have changed. So now I'm in a DCI mode. And if I hit Load Project on the other one, now it'll change back to my regular 3840. And then you would just hit Save. In this case, I'm gonna hit Cancel because I already loaded those settings. Let's play a fun game. Since we're all people who edit videos, let's say the worst part of video editing at the same time and see if we get the same thing. Ready? One, two, three, One, two, three, running out of snacks. Yeah, no, yours was better. Although I don't really have that problem anymore since I started using Track Club. Track Club is a music licensing platform built for creators that makes it so much easier to get the perfect music for your videos. They just don't help with the snack thing yet. The quality of music on Track Club is absolutely fantastic. It may not be the biggest library out there, but every song on there is something that you would actually want to listen to, nothing bland or lacking flavor. They've also got an amazing search function and great curated playlist. So finding the style or type of music that you're looking for is a piece of cake. But the tastiest part of this musical muffin is something called Mix Lab that allows you to remix the songs right on the website so that you can download custom versions just for your video. So if you found a song that was super close to what you wanted, but you needed to get rid of the guitar solo or maybe just turn down the percussion a little bit, you can totally do that super easy in Mix Lab. So if you are sick of not being able to find the perfect music for your videos, there's a link down in the description. It'll give you one month absolutely free. You can try out Track Club and fall in love. Huge thank you to Track Club for sponsoring this video. Please send snacks. I am obviously hungry. Now that we've got our project settings set up and we're on this blank page, what we wanna do is go up to the DaVinci Resolve menu, hit Preferences, and then we're gonna do some system preferences just to make sure things are lined up correctly. So right off the bat, you can set up your memory and GPU to do what you want. If you think that your computer is gonna have trouble giving all of that memory or all of your GPU to DaVinci Resolve, if you've got lots of things going on in the background, you can dial these back so it limits it a little bit. I pretty much max it out and it seems to work pretty fine. Under Video and Audio I.O, you can change your audio if you want. I've just got it set to System Audio, so whatever my computer is set to, that's what it's going to use. But if you've got a separate interface, you can change that here. Under the General tab, there are a few things that you wanna make sure that you have checked if you're using a Mac. First of all, use Mac display color profiles for viewers and then automatically tag Rec.709 scene clips as Rec.709A. When you change these and you have your color management set up to output to Rec.709A, we should be able to get rid of the gamma shift that sometimes happens in DaVinci Resolve, but also in other programs as well. It changes one little setting in the output file so that it looks the way that it looked on your screen when you were color grading it after you export it as well. I know that's a huge headache for a lot of people, so this, in my experience, has fixed that problem completely. Then under User, we also wanna go to Project Save and Load Settings. We wanna make sure that Live Save is on. This works like a Google Doc where it's constantly saving all the time, so if you just close it, it should be saved. We've also got Project Backups on and Timeline Backups, and then you can set how often you want them to back up and where you want them to back up to. I just leave this on the default and it seems to be fine. Now, there's lots more you can get in there. I suggest kind of going through and just reading everything, but we're gonna click Save for now because that's all we need. Okay, so now we've got all of our basic settings done and we're looking at an empty project, probably going, what the heck is this? Where do I do anything? So let's take a look at all of the different pages in DaVinci Resolve. Down at the bottom of the page, you'll notice all these different little tabs, and these are the different pages or even like different little programs all within DaVinci Resolve. So starting off on the left, we've got the Media tab. This is going to allow us to import media. So over here in the top left, we can see our media storage. So this is where I would go into my hard drives and I could go into YouTube videos and find my video files, and then I could import those video files down into my media pool down here. On the left-hand side of the media pool, you can see that right now it's gone into the master bin, but if I right-click here, I can create a new bin and let's say call it footage, and then I can drag that file into the footage bin. So you can create kind of a folder hierarchy if you want, you can organize things over there. You've also got the ability to double-click and load clips into the viewer so that you can scrub through them, make sure they're what you're looking for, and see the clip details down in the bottom right. Up on this very top, you'll see a bunch of buttons on every single page, like inspector, audio, all these kinds of things. They change depending on the page you're at, but if you're not seeing something that you think you should be seeing, chances are it's up in one of these things and you just need to enable it. Now the next page over is called the cut page and we can get there either by hitting Shift 3 or we can click on the button. In fact, all of these different pages at the bottom start with Shift 2, Shift 3, Shift 4, Shift 5, 6, 7, 8. Now, why does it start at 2? Well, that's because Shift 1 will bring up our project library and actually in order to show you what the cut page does better, I'm gonna hit Shift 1, open up my project library, and I'm gonna open another file. So this is what the cut page looks like on a project that's already done. In the top left corner, we see that media pool and we can choose how we want to see it. Right now, we can see folders, but I can also make it into a list mode. I can also open that side panel if I want so that I can get to the different folders from there. So if I'm looking at all of my footage here, I can open this and see what my folder hierarchy is. On the right-hand side, we've got a viewer. So if I double-click, it'll change over. So now I'm seeing my source file over here and up in the top left of that, I can change it to seeing what's in the timeline. Or this middle button is kind of interesting as well. It's called source tape. And it's looking at everything that's within this folder that I'm highlighted on. So my footage FX3 folder that has all this footage in it. And it's made it almost into one really long video file. So now I can scroll through all of them. And you see on the left-hand side, how it's highlighting each clip as I get to that point. So now if I really wanted to, just like you would typically choose an in and out point, and then you would drag it onto your timeline, I can do that, but I can do it from all of these clips rather than just from one at a time. So if I hit I, and then I go to another spot and I hit O, now I can drag that onto the timeline if I wanted to. But if you prefer to work with individual clips, you can just click this source clip and it'll change the view here. And then whatever one you're clicked on, you can then set your in and out points and drag it on from there. So in the middle here, you can see that we've got kind of a bird's eye view of our entire project. So we've got all of our subtitle clips up at the top there. I've got a bunch of video clips down here. Audio is down in green at the bottom. And on the left-hand side, you can see them all labeled. And then we're seeing another view of that below that, where we get a little bit more of a direct look at it. So it's really just getting a different look at the same thing in different ways. So if I want to go somewhere near the end of the timeline, I can move the cursor by clicking on the top of this part here. And you see that it moved the bottom one as well. So these cursors are the same. They're just different views of the same thing. Some people really love the cut page. They think it's a really great way to build your projects out. I personally am a bigger fan of the edit page, which we're gonna move to next by using shift four. Now, once again, we are looking at the exact same thing. If I change something in the cut page, you'll see it reflected in the edit page as well. So this is still the same project, still the same timeline, everything. It's just a different view. This is more on par with what I'm personally used to coming from Premiere Pro back in the day. And I find it a little bit easier for me. In the top left here, typically I've got my media pool. I can see my folder hierarchy there. I can see any files that I want here, and I can drag them onto the timeline at the bottom. If you're not seeing your folder hierarchy for some reason, you can click this button here. Below that right now, we're seeing the effects, but we can put those away if we want a little bit more space for our media pool, or you could swap them out for your edit index or your sound library. Personally, I mostly keep this kind of a view here. In the middle, we've got our timeline viewer right now, but we also have the ability to make it a split viewer. So we've got a source viewer and our timeline viewer. So right now, if I double click anything in the media pool, it will load it into the source viewer, and then I'm able to set my in and out points again and drag it onto the timeline if I want. But if I go back into single viewer mode, we get a little bit more room, and we can still double click on this. It'll switch over to a source viewer, and then I can set my in and out points, and I can drag that onto the timeline, and it automatically snapped back to the timeline because I kind of like highlighted the timeline. So for example, if I go back into a source viewer mode, I choose an in and out point, and then I'm like, where did I want to put that again? And I go back down here and I click anywhere on the timeline, it is going to snap this viewer into timeline viewer mode. So now if I want to go back and look at where that clip was again, or choose the in and out points, I have to double click on it, and then I can go back in here and drag it back down to where I want. There are definitely all sorts of quick commands to make all that quicker, but we're keeping it basic here. And then at the bottom here, we've got our timeline, and the timeline generally looks the same way you would have experienced it in any other video editing software. We've got video tracks on the top, audio tracks on the bottom. We can move them around a little bit if we want. If we hold shift and scroll, we can make them either bigger or smaller. Up here at the top, we've got a subtitle track, which only comes up when you actually add subtitles onto your project. And then in the top right here, we've got our inspector currently, which basically is going to give us information about any specific clip that we're highlighted on. So if I grab this clip here, it's going to show me the transform controls. We've got cropping, we've got dynamic zoom, which allows you to do those slow push zooms in or out. We've got composite modes. We've got stabilization, lens correction, retime and scaling options, and then super scale. So if we've got something that is a smaller resolution than our screen, we can have it super scale it up with good quality. So this is pretty much anything that you might need right off the bat. Also, if you highlight a clip that has audio in it, you can go over to the audio tab of the inspector, and you've got a bunch of options here, including volume, panning, voice isolation, dialogue leveler, basically all of the things that you might need to access quickly are right there for you. Similarly, you can see that they're grayed out right now, but we can also go to an effects tab. So if there was an effect on this specific clip, that would be highlighted. If there was a transition on this clip, that one would be highlighted, and we could get to the different settings that we might need for that. Image settings, if it was an image, and then we've got our file option. So this is kind of the metadata, and we can put in different information about that file if we want to. The next tab is the fusion tab. Now this is for effects and compositing. This gets really complicated, and I barely touch this. It's very much like After Effects, if you're coming from Premiere Pro or the Adobe world. I'm not even gonna really touch on this today, because if you're just getting into DaVinci Resolve, you're probably not gonna be touching this right off the bat. But one thing that is cool is wherever your cursor is, let's say I'm highlighted on this one clip, if I click on the fusion, now I'm doing fusion things to that clip. And so anything that I do in here will then be reflected back in the other pages. So again, it's all one timeline. We're just seeing it at different stages and different phases in the production of that video. And speaking of which, if we move over to the next one, it is the color tab. And this is everyone's favorite tab in DaVinci Resolve, because this is what it's known for. This is where you can color correct and color grade your projects. Again, there's a lot to look at here. I don't wanna get too advanced. I have other videos on color grading if you wanna check those out. But this is where you can mess with all of your color wheels. You've got your curves here. We've got our different waveforms and scopes down in the bottom right corner. We've got effects up in the top right. We've got nodes, which we'll talk about in a little bit. Our viewer, and then we've got our power grades and stills, which are basically like presets that we can save so that it makes our grading process a little bit more easy. So anything that you save in stills by right-clicking on the viewer and hitting grab still is going to save a preset of whatever your node tree is and whatever effects you have on that clip. It's gonna save it within the project. Anything that you put in a power grade folder by right-clicking and hitting grab still while you're in a power grade folder like this, that's gonna save that preset so it's accessible for all projects within that project library. So these here are all looks that I wanted to be available from other projects that I might want to apply onto this project. It's a great way to make your grading quicker. I have a whole video on it if you wanna check it out. Moving on though, the next page is the Fairlight page. And this is the audio editor of DaVinci Resolve. On the left-hand side, again, we have our media pool if we want it. We've got an index of our tracks and our groups down here, but we can hide those away. In the bottom here, we can see again, we've got our video tracks, but they're kind of condensed. Then we've got all of our audio below that. Up top here, we've got our meters. So as we play it, we've got a bunch of different metering options and things that we can do. Down in the bottom right here, we've got our mixer, which shows us all of our different tracks. So right now I've only got three or four tracks here with our main master bus. And then on the right-hand side, again, I've got an inspector. So if I select any of these audio files, I get access to kind of the most important things that I might need right off the bat. And we can hide that away and kind of expand the screen. And like you can see in the top right, we've got a little viewer so we can see what's going on while we're messing with our audio. And then finally, we've got the deliver page, which is basically how we export our files. So on the left side here, we've got our render settings, so we can choose different presets or we can make our own different presets. And we'll talk a little bit about rendering later. Then if we click clips, we can see all the individual clips that we've got here, or we can hide that. We can see our timeline down at the bottom. And then on the right-hand side here, we've got a render queue. So if I wanted to set up a bunch of different things to render and then I can hit render all and it'll go through that. Again, we'll get back to that in a little bit. But first things first, I wanna go back to where I spend most of my time and you'll probably spend a lot of yours, if you're like me, the edit page. And what I wanna do is go back to our best video ever. And in the edit page, so far, all we've done is imported that one file. Now we can import files by either right-clicking and import media, or we can just go into finder, grab some files and drag them in. Or if I even go to a folder and I drag it onto another folder, it'll create that folder inside with all the files in there. So for example, if you're like me and you like to organize your files inside finder first, so I've got these three different folders full of video files already labeled, I can just take all three of those, drag them onto master, and it created three different file folders for me, or bins, that contain all the video files that were also in the folders in finder. Now, something that's super important that's gonna save you a ton of time in this view is something called PowerBins. And if you're not seeing this, you wanna click on these three dots in the top right corner of your media pool, and you wanna click show PowerBins, and show SmartBins too while you're at it. PowerBins, like we saw in the color page with the power grades, are different folders that will carry over between projects within a project library. So you can see here that under the master power bin, I've got two different folders. I've got defaults and I've got assets. Under defaults, what I've got is a bunch of empty bins, and this is how I typically set up all of my sessions. So first thing I do as soon as I've opened up a new project is I grab all of these by clicking one, and then shift clicking the last one, and then I just drag them onto master. And now I've got a basic bin setup. So I've got an empty folder for footage, empty folder for audio, graphics, timelines, images, and then I've got something called reusables, which basically contains a bunch of assets that I use on almost all my projects in this project library. So it's got things like different types of text that I use, and then it's got my intro, so you probably saw that earlier in the video, so on and so forth, things that I'm gonna use all the time. Below PowerBins, we've got SmartBins, if we have that enabled. And this is just a way to filter or get at really quickly certain types of media or certain media with keywords within them. So if we click on collections here and open that up, it will automatically give us all of our video clips, all of our audio only, dialogue if we've already sorted through and made note of what was dialogue, music, effects, so on and so forth. And then if you right click within SmartBins, you can add a SmartBin, and you can create your own kind of filtering system based on properties of different types of media. Probably don't need to be using SmartBins right away, but later on, once you get into a couple of projects, you might find a really good use for them. The next thing that's gonna make your life way easier when getting used to DaVinci Resolve is the keyboard shortcuts. And I don't mean you have to learn all of DaVinci Resolves, but check this out. So if we go up to the DaVinci Resolve menu and go to keyboard customization, we can see all of the quick commands or keyboard shortcuts that we can use. Now, obviously this is a lot to look at, but if you go up to the top right here, they've got presets. So we've got DaVinci Resolve, Adobe Premiere Pro, Final Cut Pro, Media Composer, and Pro Tools. And then I've also made my own. So if you're coming from one of these other programs, you can just change it over to get exactly the same shortcuts as that program. So the transition should be a lot easier. But also if you want to add anything or change anything, you can just search for it here. So let's say we wanted to do auto-align clips based on waveform. So we wanted to create some kind of keyboard shortcut for that. So I'm gonna go click in this keystroke area here, and then I'm gonna go Ctrl, Alt, Command, W. Now when I save it, it's good to go. And that's saved as part of the DaVinci Resolve, Dana preset. After you mess around with some things, you can go and save as new preset, or you can import a preset if you find one online, you can export your preset, and you can delete them as well. The other thing that this page is handy for is if you're used to something in another piece of software and you're not 100% sure how to do it or what the keyboard shortcut might be here, and for some reason the presets aren't working the way you thought they would, you can come in here and start searching around or just seeing things if anything looks like it might be handy for you, maybe something that wasn't a keyboard shortcut in your previous software, maybe it is here, or maybe you can make it. The options are so endless. So that's keyboard shortcuts, but one of the things that intimidates a lot of people about DaVinci Resolve is on the color page with the nodes, but they don't have to be so complicated. So taking a look at this image here, we've got a node in our nodes view here. If we wanna toggle that on and off, now you can see it. In general, if you want to, you could do all of your color correcting on this one node and you don't ever have to have multiple nodes. That's it, you could do it all. I could turn down the offset to make it a little bit less bright, add a little bit of saturation, I could change the contrast, that could be it. I don't ever have to do anything beyond one node. Let's reset that. But if I want to, I can have multiple nodes. So let's say on this first node, all I wanted to do was turn down the offset to make it a little bit less bright. Then I wanna right click on that and I want to go to add node, add serial. The other way you can do that is by hitting option or alt S. And so now that made a node right after. Now you can see the arrows here. It's going from the media into the first node and then from the first node into the second node. Now this is super important because the second node is seeing the output of the first node. So anything that we do on the second node, we're looking at this image that we've already made slightly darker. Let me use a little bit more of a crazy example here. I'm clicking on my first node. So I'm now doing all my color correcting on my first node and I'm going to make it very blue. So now if I go into my second node and I go down to my curves and I go to hue versus hue and I create a spot in red and I try and move the red, it's not doing anything because I made the whole image blue in the first node. So now there's no red left in the image to move around. So if I disable that first node and then I go move around the red, you can see that it does a whole lot anywhere that there's red in the image. But again, when I had moved everything over to blue in that first node, it changes what the second node is seeing. So it's this kind of linear stack or layer of different images going into each other. One more quick example, just in case that didn't stick. So I'm on the first node, I'm going to grab my curves and I'm going to pull it way down. So you can see on the right-hand side that all of the image is now below that 60 line. Now, when I click on the second node, you see how the waveform underneath the curves moved? So the first node is looking at an image that looks like this. It's pretty well balanced in the middle of the frame here. And then on the second one, it's way lower because it's been brought down everything below that 60 line. Hopefully that makes sense. Again, I have other videos on color grading that kind of dive in a little bit deeper to this, but nodes don't have to be that scary. And again, if you want to do it all in one and you just want to use all the tools that are available to you in the color page, by all means, you can totally do that. But because I said I wasn't going to try and do too deep of a dive, we're going to move on here. The last thing that you want to know when you're using DaVinci Resolve as a beginner user or as a user from a different type of software is how to export your file using the Deliver page. So we're going to click Deliver and zoom way in. This is my timeline. It's currently only got that one clip on it. It automatically selected an in and out point of everything that was on that timeline. But if you need to, you can hit I and you can hit O to set a custom in and out point for your timeline, what you want it to export. Then up in the top left here, we've got our render settings. Now there are a bunch of different customized presets up here, some for YouTube, Vimeo, Twitter, so on and so forth. But you can also make a custom one here, create your file name, your location, choose all of your settings that you want to do. Again, if you're using a Mac, you want to go down into advanced settings. You want to make sure that this is either set to same as project if you set up the project correctly to start with, or you want to go down here and choose Rec.709 and Rec.709A. And that should, if you have your project settings all set up and you have this all set up and you export it like that, it should look how you see it on your screen when you export it and open it up in QuickTime or upload it to YouTube. It should look about the same. But backing up a second, if we close that up, we've got the kind of basics up here. So we can choose our format, codec, we can choose our resolution frame rate. We can choose the quality that we want. I like to do for 4K videos. I like to do 80,000 kilobits per second. We can choose our audio settings. We can choose our file settings if we want to do something in there, but I just kind of leave that. And then all we do is hit Add to Render Queue. It's gonna ask me to name it and give it a location because I didn't. And then it pops up over in the Render Queue on the right hand side. Now, if you want to change something, you can click this edit icon here, the little pencil, and it'll pop that back in over here. So now we're editing that and we can click Update Job if we wanted to change one thing. Let's say we wanted to just like make it a little bit less. And then we can hit Update Job and it will update it in the Render Queue. If we've got multiple things over in here, we can either Render 1 or if we Command or Control click on Multiple, we can hit Render All. Let's just Render 1 for now. And then it says how long it took to complete it. If you want to render that same thing again, let's say you go back into the Edit page and you change some things. You just want to re-render that one and overwrite the previous file. You can right-click and hit Clear Render Status and then just render it again. It'll ask you if you want to replace the existing file, click Replace, and you're good to go. So there you go. You are off to the races with DaVinci Resolve, but at the start, I promised I would be giving away one free copy of DaVinci Resolve Studio, the paid version of the software. So if you want a chance to win that, all you have to do is go down to the description. There are detailed instructions on what you need to do to enter. It's pretty easy. So just go ahead and do that now and you'll be entered to win. Huge thank you to Blackmagic Design for putting up this one activation for this giveaway. If you enjoyed this video and you got something out of it, you may want to watch this one next and make sure to subscribe to the channel. Thank you so much for watching and I'll see you next time.
