(mysterious music) - What's going on, guys? This is Qazi, and this is probably the most exciting video
of 2021 on this channel. It is the ultimate crash course for beginners in DaVinci Resolve. This is a specifically for colorists, and full disclosure, it is going to be an accelerated course. We're gonna blaze through stuff here, and just check out what
we're gonna be covering in this video. (soft electronic music) This tutorial assumes that you know nothing about DaVinci Resolve, So we're gonna start off
by setting up a database all the way to delivering the
final video to your client. Now, for those that want to
take their color grading game to the next level, I have a
super exciting announcement. From now until May 12th,
I have a special offer on my masterclass. And for those that are not familiar, let's check out what's included. By signing up for the masterclass, you get access to 211
plus on-demand lessons, 100 gigs worth of professionally
shot practice footage, exclusive Facebook community, weekly coaching videos, discounts on FilmConvert
and DaVinci Resolve Studio, and up to $1,000 cash prize for the FCM challenge winner. Sign up now, link is available up top, in the description, offer ends soon. And you know something
interesting that I just noticed? That 57.2% of you are not
subscribed to my channel. So come on guys, smash that Like button, subscribe to my channel
for more awesomeness. Make sure you're following me on Instagram and let's roll the info. (exciting music) All right, so before we begin, just know that this is
an accelerated course. I want to get you from A
to Z as fast as possible by making the most amount of sense, okay? First when you open DaVinci
Resolve, it looks like this. When you click on this little guy, anytime you see this
little guy in Resolve, that just means that there's
a menu behind it, okay? You won't see these databases, you will only see the local database. So what I need you to do,
is click on New Database, and then click on Browse and then select your scratch drive, which is not your operating system drive, and that's just because you
want to protect yourself. If you leave everything on a local drive and something happens to
your operating system, you will lose all your
projects, all your work. So once you have selected a new drive, then in here you can just type in DaVinci Resolve 17 Database, and then hit Create. Resolve will create a new database and link this orange
outline to the new database and you will be ready to go. And once that happens,
you can hide that menu. And then in here, we can
right-click and say Save As. Let's just call it DaVinci Resolve Film. And then now we can just
double-click on the project now we're inside DaVinci Resolve. Usually you'll be inside the Media page. It will look like this. Let's just jump into our Preferences and see what's going on here. Media Storage is where
all your gallery stills and cache files that are gonna be saved, so you want to make sure that
you pick the fastest drive, and preferably different
drive than your scratch drive. Okay? So then you can really divvy up and not have one drive do all the work. Under your Memory and GPU, I usually leave these two auto, I feel like Resolve knows best. Video and Audio Input, Output. If you're using DeckLink
or UltraStudio or Azure, or whatever video card you're using, you're gonna go ahead and
select that here, okay? Then if you hover over
to your Control Panel, I'm using the DaVinci
Resolve advanced panel, so that's what I have selected. By default, it will be set to None, so if you're using Tangent
or any other panel, you can go ahead and choose that here. General, I usually leave it as is. Under User Preferences,
I leave this as is. Under our Project, Save and Load, make sure that you have
these two checked on, Live Save and Project Backups. They're two different things, okay? Live Save, meaning it's
saving all the time. But if your project gets
corrupt, everything is gone. But if you have Project Backups, you can always go back and, you know, bring the project that was
proper before it got corrupted. Also a pro tip, do not
save your project backups on the same drive. You want to select a
completely different drive, so God forbid, if something
happens to your drive, you have a backup where you
can just bring that back and everything is back to normal. I leave these as is. I don't make any changes
here, and that's about it. So let's go ahead and hit Save, and we are ready to go. Now let's check out our
Project Settings down here. So in our Project Settings,
for the Master Settings, you want to select your
Timeline Resolution, but you want to leave your
Timeline Frame Rate as is because as soon as we
bring in our first clip, it will get adjusted automatically. Unless you know your frame rate, then you can select it here. So what I'm gonna do is I'm
gonna leave that to default. And then my Video Monitoring,
you can leave it at default, but if you have a 4K monitor, obviously you can go in here
and select the proper settings, and everything should be good to go. But usually if you leave it to
default, you're totally fine. This I don't change, ProRes 422 HQ for my optimized
media is perfectly fine. Working Folder I don't change, because this is referring
back to what we selected as our media storage. Image Scaling, I don't mess with that. Color Management, we're
gonna leave it to Unmanaged, which is gonna be the DaVinci YRGB. We can also select the RCM
or Resolve Color Managed, but in this video, I'm not
gonna be showing you that, so you can leave it as is. Down here, in our Lookup Tables, go ahead for the 3D Lookup Interpolation, change that to Tetrahedral. I think this is how you pronounce it. It's gonna be a better quality
3D LUT by selecting this. And then for Broadcast Safe, I check this on, just
to be on the safe side. Otherwise leave everything as is in the general options. Capture and Playback, all
of that can stay as is. Hit Save, we are ready to go. Media page is divided into
three different sections. So everything here is on your computer, but let's just go ahead
and select the file we're gonna be bringing in. So I'm gonna go ahead
and select that file, which is right there. So it's a single file, and it opens up in our canvas
on the right-hand side. And a down here, we can see the metadata. So we see the codec which
is ProRes 444, 24 frames, 4K file, 12 bit, all that good stuff. Three different clips from
three different cameras, and I did that on purpose to show you how to properly manage that inside Resolve and how easy it is. So what I'm gonna do
is I'm gonna grab this and drag and drop into my project. And as soon as I do that,
it comes into my project, my frame rates get adjusted. Everything is good to go. Now we can just right-click here and say Create New Timeline Using Selected Clips. Let's just call it DaVinci Resolve Film, and now here's our timeline. Your timeline with always have a miniature timeline icon right there. This is how you will know that it's not a clip, it's a timeline. If I double-click on it, it
opens me up in the Edit page. I'm not necessarily gonna take you through the overview of the Edit page, but I will show you a really
cool technique in here. Go under Timeline and then
click on Detect Scene Cuts. This can only be activated
in the Edit page, okay? Now Resolve this smart enough to recognize different shots, so it went ahead and
spliced everything nicely, but it's not smart enough to know which camera was which, so
now we need to know that. Luckily our editor gave
us the camera spec sheet, so we have all that information. We know that this is from Red Raven. This one is from Canon C200. This one is from ARRI Alexa Mini. So now that we have all this information, we are in our Color page
where the magic happens. And the Color page is broken down into a couple of different sections, okay? So everything up top, I'm gonna explain. Everything at the bottom is
gonna make much more sense when we actually get in
there and start working. So on your left-hand side,
you have your Gallery and your LUTs. LUTs you can just hover
over and preview your LUTs, how everything looks, and
if you double-click on it, you can just select that
LUT and just go from there. Okay? Under your Gallery, you can
bring in your references. So here I have like
tons of these references from different movies, and if I want to create a similar look, I can pop these open and then
use that as my reference. Or what I can do is I can do this, right? I can go here, right-click
and say Grab Still. So this is my reference image before I started manipulating my image. Okay, I can do the same thing here, so I can just go right here,
right-click, Grab Still. I can do that again here. Right-click, Grab Still, so now all of that is preserved. Okay. I'm gonna click that to
get more real estate, and on this side, we see our
timeline, which is down here. So we can navigate through that way, or we can just turn that off. And then here's all our clips right here. If you turn this on and off, you can see all your clips in this area. Usually once I know what I'm doing, I will just turn these off
to get more real estate. So like, I can really
clearly see what is happening on my screen, okay? So this is where all
our nodes are gonna be. This is our node tree right here. So this section usually you
will always leave on, obviously, because this is where you're
gonna be creating your looks. Open Effects is where all our effects are, so Color Space Transform,
Film Grain, Glow, all that cool stuff is
gonna live right here. And then these are all our tools, all our parameters, all the changes that we're gonna make. And one thing that I'm
gonna do before we go in and start grading is right-click on our screen
and say Show Scopes. So you have bunch of different options. You have a one-up, two-up, four-up, and for a four-up, I
usually leave it like this. So I have Parade here, Wave
Form, Vector Scope, Histogram. And in the Vector Scope, you can click on these guys right here and go ahead and turn on
Show Skin Tone Indicator. That's really cool, because
you can just really easily see if your skin tones are right on the money, or if they're off, then you can easily
make those adjustments. For this tutorial, I'm
just gonna do a two-up so you guys can easily see
what's happening on my screen. And what I'm gonna do is I'm
gonna leave Parades there and then choose Vector Scope here. So that should do the trick with the looks that
we're gonna be creating. So before we jump in and start grading our shots, what I'm gonna do is make sure that everything
is properly converted to rec. 709. So right now it's in log, we can see that everything
is sitting in the middle. That's what tells you that, "Hey, this is not converted yet." It is still in the log world. So since we know that this is shot on Red, and we have all the
information that we need, what I'm gonna do is I'm
gonna click on Open Effects, Color Space Transform, drop that on here. And in here, I want to
put in the information that my editor provided me. So Input, Color Space, he had said that it was rec or Red Color 4 so I'm gonna choose Red Color 4 and in the Input Gamma, he
said that it was Red log film. So I'm gonna go ahead
and choose Red log film. And as soon as I do that,
it opens my image up and it converts it to rec.
709 beautifully, okay? So this one is good to go. Now I'm gonna go on this shot right here, I'm gonna drop this on. This one is shot on Canon C200 in C-log 2, so I'm gonna hit C and
go to Canon ceni gamut, and then here, I'm gonna
do a Canon C-log 2. As soon as I do that, it
gets converted beautifully. It looks great. I'm moving on to the next shot. This one, let's drop this guy on and this is shot on ARRI Alexa, So I'm gonna do ARRI Alexa
and then ARRI log C, and boom, it's converted to rec. 709, and you can see that right there. So now that all our images are converted, we are ready to go make some magic. Okay, again, I'm gonna
buy some real estate, so I'm gonna turn that off. So for this particular
shot, my inspiration is Tim Burton's Sweeney Todd, so I'm gonna go for that
kind of desolate feel. Also think of the Netflix's show Dark, so I want to pull a lot of the colors out, but I want to leave tons
of color in my jacket. That's what I want to create, okay? So I'm gonna leave my CST up here and let's just call it CST. And you know, if you guys are wondering how did I label that so easily? Under Keyboard Customization, you can click in the
search and type in label, and under a Label, you
can click on Nodes Label and then hit the plus
button and call it whatever. On my end, I selected tab as my short key. So as soon as I hit that,
it lets me label my notes. You can select whatever you like. I'm gonna go ahead, create a new node, and then I'm gonna bring that down here. And I'm gonna create a
couple of more nodes. And then in here, I'm gonna
create a layer node here, and let's create a few more nodes. This one is gonna be a bit more involved than the rest of the shots, because I want to have
a bit more fun here. So this one is gonna
be called HDR Palette. Here, we're gonna call
it this one our Primaries This one is going to be my Background. And then this one is
going to be my Jacket. And then down here, I'm
gonna call this my Log. And this one is gonna be my Color Warper. Or you know what? This one is gonna be my Mid-Tone Detail. And then this one is
gonna be my Color Warper, and that as of now looks good. All right, so the first
thing that I'm gonna do is I'm gonna start off with contrast, because right now it's just,
like really washed out, so I'm gonna give it tons of contrast. Something like that. Now that opened up my image quite a bit. It looks really nice. So I'm gonna leave that there. And now what I want to do is
add a little bit of warmth, just a tiny bit. So I'm gonna go under my Temperature, and just add a little bit
of warmth, not too much. Then I'm gonna take my Tint, and take some of the magenta out. So I'm gonna leave it somewhere around here. That looks kind of nice. And that is a good starting point. What do I want to do? Do I want to add a little bit more color? I think let's, let's do that. So my focus right now is on her jacket. So I'm gonna pop a lot of color, and then kind of pull it back, maybe somewhere around here. So right around 60ish looks nice. That's good. Now in my jacket, what I want to do is I want
to go under my Qualifier, just hover over her jacket, go here, and then open my key up to like really select her entire jacket. And then I'm gonna take my Saturation and like, pull it back so I really get to select her jacket. And then Luma Qualifier, again, just drag it back to select all of it. And then let's see. Okay. And then let's go under Saturation, open that up. Luminance, open that up. There you go, now the
full jacket is selected, and all I can do is try to make sure that I'm not really selecting anything else and reduce my choices. So I'll pull this closer, modify it a little bit. I'm gonna go under my De-noise, and just get to around 10ish, okay? I'm gonna go under my Blur, and I'm gonna add a little bit of blur. And now we are pretty good
with our selection here. So what does that mean? Layer Mixer basically means that, "Hey, do not mess with
what I selected here, but change everything else up top." Now, if you want to learn
more about every single node in DaVinci Resolve or mastering the DaVinci Resolve node tree, then all of that is
included in my masterclass, link is up top. So here, what I want to do is I'm gonna go under my Sat Versus Sat, and I'm gonna take my Saturation and I'm gonna start pulling this down. And like, look at this. This is what's creating that Tim Burton effect that I wanted to go for. Okay, and it's not doing
anything with my jacket. It's just leaving it as is. Now what I can do is grab it from here and bring some of that saturation back. And maybe leave it somewhere around here. So this creates a really,
really interesting cool effect. And now what I want to do is as of now, this looks okay, so I'm gonna leave that there. In my Log Wheel, I'm gonna go right here. And the trick here is
to take your Highlights and just crank it up to like 26, 27ish, and a lot is happening here, but that's okay. Just stick with me. I'm gonna go under my High Range, and my focus is right on her jacket. I want to make sure when my High Range starts selecting her jacket, that's where I want to
be, something like that. And now I'm gonna go ahead
and reset my highlight. And what I'm gonna do is
now start raising it again, just to kind of give some pop
to my image on the top end. So something like that. Okay. So that looks really, really nice. It does a pretty nice job. Now, our background is
almost like blown out, so we need to control that. I'm gonna go under my HDR Palette, and I'm gonna take my Highlights, and I'm gonna start bringing that down. And as soon as I do that, look at what's happening to my background. It's leaving everything else as is, and it's just bringing my highlights down. And then I can do the
same thing with my light, and I will bring it down a
little bit, but not too much, because that is affecting more
than what I want to affect. So did a really nice job. At that point, I want
to go under my Mid-Tone, and in my Mid-Tone Detail, I really want to crank
that, because again, I want to give it that grungy feel. So I'm gonna take it
somewhere around 40ish, and it really pops my entire image out. And then under Color Warper, I'm gonna select 12 by 12, so there's a bit more information. And then what I want to do
is I want to just grab this and kind of kill it. So like, really make a desolate. So like, look at that. Before and after, I took so
much more life out of it. And that looks really, really nice. I mean, look at where we
started to where we ended up. And what else can we do? So this is already looking
really, really nice. We can create somewhat of a vignette, but before I do the
vignette, I want to do this. I want to add Glow. So I'm gonna pull this down. I'm gonna go into my Open Effects, Glow, drop in the glow, and I'm gonna be using it in
a very stylized way, okay? So I'm gonna set to Soft Light. I'm gonna start bringing this back, and I'm gonna go under my Global Blend, and I'm gonna kill this. I'm gonna really go back, so it's not that extreme. And then I'm gonna take
my Threshold and keep being a bit more aggressive with it. And what I want to do here is this. Hopefully it's not gonna
get too complicated. What I'm gonna do here is I'm gonna say, "Hey take the key from my
jacket, send it through into that glow. And now go under my key
information and invert it. So do not select or
affect my jacket at all, affect everything else in
the glow parameters, okay?" And now we can actually
get pretty aggressive. So I can do this, something like that. And then I can really start affecting that. So look, how much more pop we added in our shot just by doing that. Once again, we can go
back into our HDR Palette and pull some of that information down. So I'm gonna do something like that. And then if I do on and off, like you see, does a
really, really nice job. So we created a really,
really moody scene, because if I park somewhere around here, and we take all of this, kill it. So we started with our CST, this is what the rec. 709 was. And then we did our primaries,
like added some pop, isolated our jacket, and then this is where the look
creation started happening. And then this just really
gave it a nice pop. And then we controlled our
highlights by the HDR Palette, and then grunged up our
image using the Mid-Tone. And then I think this does a lot, like the Color Warper really
brought everything to life. And then Glow just adds that extra three-dimensional layer to our image. And we can do a couple of other things. We can add grain in on a node tree level on our clips, or we can
do something better. I can grab all these
clips, right-click and say add them into a group. And then inside a group, I can go here on the post clip level, and I can say, "Hey, add Film Grain here." So as soon as I drop a Film Grain here, and let's just do something extreme, like this kind of grain, it will still be hard to see on YouTube, but if I really punch in, hopefully you guys will be able to see it, but maybe not to be honest with you. So if I do before, see right here, and then I do after, before, after. So you can see it a little bit, right? Now the beautiful thing
about dropping a grain here is that it's applied to all three clips. So with color grading,
shaving off a minute here and minute there goes a long way, okay? So this is where we are. I mean, it's a very clean looking image, and we can see that our
highlights or our sky is really neutral, like look
at where all my colors are sitting compared to when we started where the blue channel was up top. So I think it's a pretty cool look for what we were going for. So we can just leave that as is, and now move on to our next shot. Now, quick a shoutout to
my brother, Filippo Cinotti for providing this epic footage. Check out his Instagram
page, and give him a follow. Let's get back to the video. Now, these shots are not
gonna be that involved. I want to just keep them pretty simple. So what do we see here? We see that it's way too bright than what it was intended to be. So in this case, what I'm gonna do is I'm gonna go back to my Primaries, I'm gonna take my Offset, and I'm gonna start bringing it down. So I bring my Offset down
to something like this, leave it somewhere around
here, and just look at. In one move, we were able to
get so much information back. Now I'm gonna go under my Contrast and just start adding some Contrast there, like really push it, and just look at that. Couple of steps, and what
we were able to create. And it holds up, it looks beautiful. So let's park it somewhere around here. And now I'm gonna create another node. Let's just name them, right? So CST, Primaries, and then this could be our HSL. HSL is our hue, saturation,
and luminance curves. So in here, what we can do is just, let's just grab yellow, and let's pull it down a little bit to give it a film look. Right? So like, look at that. It just really creates
this nice film effect. And we have to be a little careful, because I don't like what it does here. I like what it does up there. I don't like what it does down here. So maybe let's do this. Let's leave that as is for now. I'm gonna go back in my Primaries, and let's try to bring it
down a little bit more. So I'm gonna go under my Offset
and I'm gonna bring it down. Let's leave it maybe somewhere around here. And now what I want to do is
I want to go under my HSL, create another node, and
this one, let's call it Glow, and let's drop on our Glow effect, and you'll see what we'll be able to do
with a Glow effect here. It's kind of mind-blowing. So I can go ahead and open my image up like that, and now we can just reduce
the overall saturation. So I can go in our HSL curve, and I can just like dial that back, and look how much of a
film-like effect it creates, and it's even. Spread out all the way across
so it doesn't really jump out. So just look at that. Right? Let's kill everything. Did a proper conversion. Then in our Primaries, majority of the work was done. HSL just desaturated
the image a little bit, because after you add
Glow, it just adds a lot of character to the image, and this helped kind of tone it down, just bring it down a notch. Let's move on to the next shot, and this one came from
my other bro, Christoph. Definitely check out his page. He does a lot of work for art grade, and overall just creates banging content. So give them a follow, and now
let's get back to the video. What we can do is again, so this is our CST. We can put that up here, and then in our Primaries, let's just balance it out. So I'm gonna go under
my Color Temperature, and I'm gonna cool it off a little bit. And then I'm gonna take some of the, I'm just gonna add a
little bit of magenta. And if I go into my skin tones
and turn on Skin Indicator, I can see that, you know, before I had too much
yellow in my skin tones, and now they're sitting properly, and all I can do here is, again, just give it a little bit of contrast. Right? And then, let's just see if we want to raise
it up a little bit. So I'm gonna take my Gain and just like, raise it up a little bit. Take my Gamma, raise it up a little bit. And you know what I really want to do is create a cool look. So I'm gonna create a new node, and then this is gonna be my look. And, interesting. And then this is gonna be my look, and here what I want to do is have fun. So I'm gonna take my Lift, and I'm gonna pull it down
quite a bit, like this. And then I'm gonna take my Gamma and go in the opposite direction, and then over to warm it up a little bit. My focus is on her skin. Okay. I'm gonna take my Lift again, and I'm gonna just add a
little bit of more teal. And then I'm gonna take my Gamma, add a little bit of warmth. Take my Gain, add a little bit of warmth. And this is the kind of thing
that we got going on here, which looks kind of cool. Now I'm gonna go under my Log Wheels, and I'm gonna just even out
my black points a little bit, not too much. So I'm gonna lift up my
shadows just a tiny bit. And then that kind of does it, right? So we create a really cool look. If I do before and after, we
were able to create that look just in here. So let's say I'm pretty happy with it. I'm gonna create another node. And once again, let's do a little bit of Glow action here too,
and see how it handles it. I'm gonna drop that on, gonna change that to Soft Light. I'm gonna move that back to like really open up my image. And go under Brightness
and like, raise it up. And what I want to do is I don't want it to actually
feel like too glowy, so I'm gonna control that here. And what I really want to
do is I want to go back here and now control the colors, because I feel like
there's way too much red in the mid-tones. So I'm gonna go under my Gamma, and I'm just gonna kind of pull it down. And same thing with my Gain. I'm just gonna add a little
bit of yellow right there. I want to make sure that my skin is really close to that indicator, though. So if I do before and after, like look at the difference
that we're making. And it's a really cool look. Again, I'm doing it really fast, showing you all kinds of different ways to create these cool looks. Obviously, you can take these skills and then mix and match
and create your own. But if I were to kill all of this, CST was, you know, we did a
proper rec. 709 conversion. Then I did my Primaries just
to kind of balance it out just a tiny bit, didn't
really push it too much. And then this is where the fun began, where I just created a
little bit of a look. And then Glow really added this cool vibe to the entire shot. So now let's say we're
done with our grades. Everything looks good. What we can do is this. That's the beauty of the still gallery. One, we can obviously say
Match Reference, Wipe Frame, and then look at where we
started to where we ended up. So that's really cool. Another thing is that we
can just right-click here and now save our final grade. So the beautiful thing about that is that you can name it whatever you like, and now you have a
graded version available in the form of that still. So say by mistake, if you delete this or if you want to audition something else, you can go ahead and do that. You can always just
right-click and say Apply Grade and it will bring back all your nodes the way you had them and
bring that grade back. And same thing happens here. You can do that. If we were to right-click
and grab that still, we can bring that back, and now we have our
greatest shots available throughout our project. If we want these available
throughout our database, so then whichever
project we're working on, we always have these looks available, what you would do is you
would grab these three and you would just drag and
drop them into your powergrade. Now powergrade is available database-wide. So it doesn't matter
which project you're in. You can just go to Powergrade
and you can access these. Stills are only available
within the project. Now that all of that is set up... Let's just say that I like the layout of how my Color page is set up here, right? So I can do this. Make kind of changes, leave my scopes here, two-up. Get rid of my clips here. And like, I go, "You know what? This is kind of cool. I don't want to do it again. I like how this is set up. I want to save that." So you can save that preset. Under Workspaces, go under Layouts, and then you can just do
Save Layout as Preset, and you can just go ahead and save this. Then you don't have to make any changes. How I have these, a bunch of these like presets saved up. So I can just go in here, select Qazi Edit, Grading, whatever, and then that's that. Now let's move onto our Deliver page. Let's just say that we're
ready to deliver this. This is gonna go on YouTube. If that's what's happening, then you have these
cool ready-made presets that you can use, which is really cool. Or you can just click here. What is it? A 1080P, you know, 2060 project. What is it? You can click on it,
and then usually it does a pretty good job, but one
thing that I would tell you is this. Let's say we're exporting an H264, it's gonna go on the web. Under your Quality, I would say go to Restrict To, and for 1080p files, 40,000 is a good rate to select. The quality is gonna
be really, really good. If you're doing anything that is 4K, or around that, then
set this up to 80,000. You will get a really,
really good quality that way. And again, once you make
these certain changes, whatever it is that you're changing here, once you have everything set up, you can click on these three dots and say Save As New Preset. And then you will have that
preset available right here. So I don't know. Let's just say we saved
this and we call it YouTube HD, and we say Okay. So now see we have that preset
here available at all times, so even if I go select something else, I can always just go back there and click on that one quick button, and it just brings back all my settings. I'm ready to go and I can just
hit Export and that's that. So there you have it, guys. Let's check out these
looks in full screen. (mysterious music) Now I know for some, this was
probably information overload, and for that reason, I took my
time creating my masterclass, which deep dives into a
bunch of these topics. Again, the link is up
here, you can check it out. It's also in the description. It's also in the Comments section below. I really encourage everybody that eventually will join
my masterclass to do it now, because there's a special offer and it only lasts up until May 12th. So definitely check that out. And on that note, smash that Like button, subscribe to my channel
for more awesomeness, and I will see you guys in the next video. (exciting music)
