Today, I am going to teach you how to reframe
any 360 videos in Blackmagic DaVinci Resolve 16 - to create 4K UHD video for YouTube or
Facebook and square or 9 by 16 social videos for Instagram, completely FREE. The 360 reframe techniques I am going to show
you will help you to achieve the same quality as you saw in GoPro MAX or Insta360 official
commercials. I will teach you how to create cinematic motion
blur, and easy ease on your reframe videos to have the professional touch that you can
NOT achieve in just a mobile app. Basic, it is like what you have already learned
from my GoPro FX Reframe series in Adobe Premiere, but this time, FREE in DaVinci Resolve 16. This is an in-depth tutorial that will help
you from Zero to Hero in 360 reframe video editing. I will show you how to get the best video
output from the most popular 360 cameras in 2020 - GoPro MAX, Kandao Qoocam 8K, and the
Insta360 ONE R. We will tackle technical problems like why your Qoocam 8K .mov file can not
ready by your computer. And why no-stitch workflow from Insta360 ONE
R is a bad idea altogether. There is so much to cover in this video, so
no silly jokes from your boy and let's just dive right in. Hey, what's up everybody, it's your boy Hugh
here from CreatorUp. This is the first episode of my DaVinci Resolve
16 360 video editing series. Everything I am going to show you here is
FREE. So not like my Adobe Premiere series, you
have no excuse not to learn this and get better video results. So go download and install the free version
of DaVinci Resolve 16 on Blackmagic website. First, we will talk about how to get the best
video quality out from your Qoocam 8K to get it ready for editing in DaVinci Resolve. If Qoocam 8K is not your 360 camera, here
is the timecode of GoPro MAX, and here is the timecode of Insta360 ONE R. Or you can
skip the camera part completely to jump straight to DaVinci Resolve with this timecode. Stitch Qoocam 8K in ProRes
First, download and install Qoocam Studio if you have not already. Open it up. Click edit, and drop in the video files from
your camera to the studio. Move your playhead in the middle of the video
and make sure the horizon line is level. If not, adjust the Yaw, Pitch, and Roll to
make it level. We are actually pretty level here. Also, I highly recommand to film in 10-bit
color depth with your Qoocam 8K to level the powerful color grading feature later on in
DaVinci Resolve. Adjust the color correction on or off to check
your stitch line depends on your sun location. In here, as you see, we should turn it off
to have a more even blend of lights. Make sure you turn on stabilization and click
ADD TO QUEUE. Click the render tap, make sure you DO NOT
choose mp4 h.264 or mp4 h.265. Because of your NLE, Davinci Resolve here,
will not be able to have smooth playback of a compressed codec. Also, you are losing your video quality, which
is bad for reframing. Choose mov ProRes and go head and hit render. So the 10-bit ProRes file from Qoocam Studio
can only be played back in Adobe Premiere or DaVinci Resolve. But in Premiere, it takes forever to read
the files. It is actually a Premiere problem. You can open it up in QuickTime player if
you are on Mac and resave it solve the problem. If you are using DaVinci Resolve, you don't
need to do anything. Okay, let's move on to GoPro MAX. Stitch in GoPro MAX in ProRes or Cineform
If you have GoPro MAX, you should use either the GoPro Player on Mac or MAX Exporter on
PC to get the stitched files. I already have an in-depth tutorial on that,
so check here instead. Again, don't use H.264 or H.265 as editing
intermedia format. It will crash your DaVinci Resolve. Use ProRes on Mac and CineForm on PC. When the new GoPro Player on PC is released,
I will do a follow-up tutorial, so don't forget to subscribe and hit the bell. Stitch in Insta360 ONE R in ProRes
So as you all know, Insta360 ONE R has this thing called No-Stitch workflow. Literally, all reviewers tell you to use it. Bad, very bad suggestion. Your boy tells you don't! I know this is the DaVinci Resolve tutorial,
but I just want to show you real quick in Adobe Premiere of the No-Stitch workflow compared
to the "Stitch" workflow. So you have an idea why that is bad for you. Here we have a .insv file drop directly into
Premiere. It stitched. But when you playback - look at my preview
window. I have the top-spec Intel CPU and Nvidia Titan
RTX with 24G of V-ram - and if I can not playback smoothly - no one can. Look at the exact same file render from the
"stitch" workflow. It plays back smoothly even with OBS is on. Let me show you the stitch workflow. Open up Insta360 Studio. Drop in the same insv files. That is my uncle's dog. Check FlowState Stabilization. Here, if you are doing 360 reframe, check
the Lock Direction. It will make reframe easier. But if you are cutting 360 videos, then don't
check Lock Direction to avoid making people sick in VR headset. Choose Normal or Lens Guard depends on you
use Lens Guard or not. I will not suggest to use Lens Guard if you
want to best image quality. The same goes to GoPro MAX. Check dynamic stitching and chromatic aberration
to remove purple fringes. Then you can click the export button right
here. Open up the export dialog box. The most important setting, you guess it,
it change from H.264 to ProRes. Also, don't choose Color Plus here. As we are going to color grade professionally
in DaVinci Resolve. Reframe360 - a different way of thinking reframing
in 360 So the current approach, either using the
ONE R mobile app with your phone or the GoPro FX reframe plugins in Adobe Premiere, you
are editing in keyframes in a linear timeline. You do need to have some animation background,
understand keyframing, and a fix timeline approach. It is okay for me as I have a strong Adobe
After Effects background. But for everybody else who is not an animator,
this is not an effective approach. As a storyteller or a filmmaker, you should
always focus on storytelling and how the reframing is going to help you to tell your story better
- instead of just another cool gimmicky tiny planet shot. The Reframe360 plugins for DaVinci Resolve
takes a different approach. You think in Camera and Camera Angles. You first decide how many virtual cameras
and camera angels you are going to use. For example, camera 1 is a close-up camera. Camera 2 is a medium shot camera. Camera 3 captures what the subject is looking
at, which is the back camera, and camera 4 is a bird-eye view or the drone shot. And then maybe cameras 5, 6 and 7 are effects
cameras that do Tiny Planet, inverted Tiny Planet and a Verigo Zoom camera. Then, based on the storyboard or the script,
you want to open with a wide establishing shot - which is camera 4. Then you want a close-up to the subject, which
is camera 1. Then you want the camera 2 for a medium shot,
back to camera 1 for close up, then end with one of the effect cameras. Then cut to the next scene. But you see here, now you think like a Director
instead of an animator. Download and Install the FREE reframe360 plugin
You can do over capture and 360 reframe with DaVinci Resolve Fusion 16 directly without
any plugin. But Fusion 16 is not in the free version of
Resolve. We are going to deep dive into Fusion 16 and
learn how to edit 8K or 11K 360 VR video. But in this tutorial, which is aim for everyone,
we will install this little free plugin to do the same thing as what Fusion 16 or GoPro
FX ReFrame can do, or even better. So go ahead and click the download link in
the description below. And big shoutout to Stefan from Austria to
develop this free plugin so we can use it and create awesome content. After you download the file, unzip it and
put it into this folder in your PC. Which is Program File / Common Files / OFX
/ Plugins and just drop in the entire folder there. If you do not have the OFX folder, you need
to create it and then create the Plugins folder inside the OFX folder, and drop in the files
there. At the time of recording, the Mac version
is not ready yet. But I will put the details instruction on
Mac in the description below when I have it. DaVinci Resolve Basic - Timeline
Now open up DaVinci Resolve. Double click Untile Project to create a new
project in your database. Let's start by staying organized. So, in the long run, you can find your media
quicker and faster. As you see my folder structure, we have footage,
audio, and graphics. Within audio, we have music, Sound Effects,
and VoiceOver. In Graphics, we have photoshop for things
like tripod patch and logo. After Effects folder for CG render files. We will cover all of these in future tutorials. I want to slip into some professional editing
advices bit by bit, so you can learn and get better from each video you watch. I want to help you to get better. You can thank me by giving this video a thumb
up. Now you will see how valuable this folder
structure can help you. Just to show you, under footage, I organized
footage by cameras - as different cameras have different resolution and frame rate - a
very common problem in 360 editings, which will create a nightmare later on. Make sure you are on your Media Tap. Click Audio, Footage and Graphics folders
and drag it into Master Bin like so. As you see, all the folder structures got
bought in as Bin structure inside Resolve. And we are off a good start. Go to Edit Tap and now, another very important
point, we need to decide the Timeline specs. If you are uploading on YouTube in 4K UHD,
set it as 4K UHD. But if you are uploading on Instagram, then
you should use 9 by 16 for IGTV or 1080 by 1080 for Instagram post. Don't worry, we will cover all of them in
this tutorial. Yes, I can easily sell this tutorial on Udemy
or Skillshare for $10.99 - but I did not. Instead, giving you all the knowledge you
need for free. So, please give me a thumb up, comment below,
and most importantly, share this video on your social media like Twitter, Facebook or
Reddit. Right-click on the master bin level and choose
Timelines - Create New Timeline. Let's start by creating YouTube 1080P first. Click Use Custom Settings. Go to Format, make sure the size the 1080P
HD, and the frame rate is 29.97fps, which matches with GoPro MAX. Here, Mismatched resolution files - you HAVE
TO set it to Stretch Frame to all Corners. Why? Well, your final render file will be in 16:9,
9:16, 4:5 or 1:1 - but your source 360 file is always going to be 2:1. And any other setting will not fill the full
frame which will leave a black hole like commonly see in some bad reframing video. This is the trick to fix that really quickly
without guessing the scaling. If the scaling is off, you will see the stitch
line. Just to show you real quick why this is so
important. I create a timeline using the default setting. Drop-in a GoPro MAX footage, drop in the Reframe
360 plugin. If you pan around, you see this black hole
in nadir and zenith, top and bottom of your video. Using Stretch Frame to all Corners fix that. Here we have a GoPro MAX drone shot on a race
track. Under OpenFX, if you scroll down, you see
our plugin. Drop it onto the timeline. Open up Inspector window right here. Go to OpenFX. The Main Camera Parameters is like the master
control. You don't use that until the end for global
adjustment. Go down to Aux Camera Parameters. Let's create a close-up camera 1. By moving the Rectilinear Projection to 1,
you basically remove all fisheye distortion like the curve adjustment in GoPro FX Reframe
plugin in Premiere. Click Copy Camera to copy your current settings. Change the Edit camera to 2. Also, make sure you check Show Edit Camera
to see the current camera you are working on. I move the Yaw to the left, get more field
of view and bring back the GoPro Look. This camera placement is when the race cars
pass the finish line I want to look there. Then for camera 3, I want to look at a different
direction. So I change the Yaw and Pitch. Then camera 4 is my wide center shot. I can always hit the refresh icon to get the
value back to 0. Pitch down a little bit as the actual camera
is moving here as well - so it is a pretty complicated situation. But we are good here now. We have close up, medium shot. left and right shots. Even a Dutch angel if you want to by changing
the Roll. Kidding here, we don't really want Dutch angel. But we do want some effect shots. So Camera 5, we create Tiny Planet. We copy and paste in camera 4. Zoom Field of View all the way out. Cram up the Tiny Planet slider all the way
to 1. Move the pitch and zoom back in the field
of view until you do not see the drone anymore. By hovering your mouse on the number, you
can have very precise adjustment. BTW, have you noticed how smooth the adjustment
is in DaVinci Resolve? Resolve runs on your GPU - so it is a lot
smoother than Premiere, which runs on CPU and GPU. Take a look at the exact same clip inside
Premiere with GoPro FX Reframe. First, you notice my timeline is red. Meaning it requires to render. Also when you change number, it does not refresh
the screen as smooth as Resolve. When playback, it is not real-time - even
tho I have Titan RTX as my GPU. So this is the advantage on working inside
DaVinci Resolve - it is a lot faster and more reactive. Okay, let's create one more camera. Camera 6 for inverted Tiny Planet to see my
drone. This plugin is also very easy to create the
popular Vertigo Dolly Zoom effect by animate the Rectilinear Projection slider like what
you see here. We will use this effect in our next Qoocam
8K example. Now we have all the cameras. We are going to turn off Show Edit Camera. And we put different cameras into different
time spots. Let's open our race car movie with a wide
establishing shot - which is camera 4. Hit the Keyframe icon to insert the camera. To help you see the camera position in the
timeline, we are going to hit the snake icon. Then click the drop-down arrow right here,
select show Camera Sequence. As you see here, you have camera 1 to camera
20 to choose from. Play the video. You see, we have smooth, real-time playback. Right before the orange car pass the finishing
line, we want to look at the close up at that direction. That is Camera 2. Type in 2 in Camera Sequence will insert camera
2 right there. Then I want to immediately quick pan the camera
to Camera 3 - to see where is the race cars coming from. So type in camera 3 right here. Don't worry about the exact timing. The cool thing about this approach compared
to GoPro FX Reframe is that we can adjust the timing later easily. Next, we go to close up with camera 1. Next we will add a Tiny planet camera 5 to
give a birdeye view of the race track. Play the video to get the feeling of timing. Hit the keyframe again to keep the camera
5 for a bit. And then we are going to end with an invert
tinyplanet shot. So insert camera 6. So now, let me internationally turn off the
Blend Acceleration. Play the video, and you see the video move
from camera to camera. But it is really robotic and unnatural. This is what usually looks like in Insta360
ONE R app or GoPro FX Reframe plugins without adding keyframe easy ease on your animation. Again, if you are not an animator, you have
no idea what I am talking about. What is Easy Ease? What is Keyframe velocity? What is bezier curve? Well, you don't need to worry about any of
this. The plugins extract all the complicated concept
in Premiere or After Effects into a simple Blend Acceleration slider. You can just move this slider to find a more
natural look in your animation. As you see right now, all the animation look
really natural and have that professional, easy ease touch. I will go more in-depth in my Fusion 16 tutorial
about keyframe animation, which is part of this Resolve tutorial series. So if you are interested to learn more, don't
forget to subscribe. So in here, it is a little too long to go
to camera 5. Here is the cool part. You can adjust timing directly here by holding
down shift and drag like so. You also see the live update on your preview
windows to find the exact timing - which is impossible in Premiere. Hold down shift lock your camera choices. But if you want to swap camera, move up and
down will allow auditioning different camera - as you not always know which camera look
the best. Now everything looks great, except the animation
still looks kind of not natural. Well, it is missing motion blur. The biggest reason why I will suggest GoPro
FX Reframe plugin instead of editing in your GoPro mobile App or Insta360 ONE R app mobile
app, and Final Cut Pro 10 solutions is because they are all missing motion blur. If you scroll down here in Motion Blur Parameters,
you can add Shutter Angle and Samples to have a realistic motion blur. Let's have 0.5 Shutter Angle and 15 samples. Close down the gap between the cameras. We see now the animation looks a lot better
and natural. If you park your playhead between keyframes,
you see the blur. By reducing samples, you see the blur look
less real. But it will make your render faster. So the hyperlapse or timeshift in the Insta360
ONE R App motion blur is about 8 samples. So it still looks kinda bad. In DaVinci Resolve, you can control that and
have, let's say 20 samples to have really cinematic looks, which you can not do in any
mobile app. Look at that, it just looks amazing. Lastly, if you want to make some global changes,
you can go up to Main Camera Parameters and change it here. Reframe Qoocam 8K
So let's have a different example. Now we want to create an Instagram post with
the Qoocam 8K 10-BIT ProRes file we just rendered from the Qoocam Studio. Right-click on the timeline and create New
Timeline. Choose Timeline resolution Custom and Make
sure it is 1080p by 1080p and use Stretch Frame to all Corners. Qoocam 8K is 30fps. Make sure you set it here. Drop in the Qoocam ProRes file. Add the Reframe 360 plugin. Click B to bring up cut tool. Cut from here, and we want to start the video
from here. Hit A back to select tool and hit delete to
remove the beginning part. Set the first camera like so. Copy the camera, create the 2nd camera as
a tracking camera of me. When I look at the other side. We want the camera 3 to show what I am looking
at - which is a wide shot of the wall. Camera 4 will be another track camera to follow
me up. And then the last camera will be a Vertigo
Dolly Zoom effect camera. To do that, you bring the Field of View all
the way to the bottom. Bring Tiny Planet and Rectilinear Projection
all the way to the max, which is 1. You see this perspective zoom effect. Now we assign cameras again using the Camera
Selection Parameters. Uncheck show edit camera. Go to the beginning to insert camera 1. Toggle open keyframe graph so we can see the
cameras. Insert camera 2 right here. Then I look up, we pan the camera following
my glaze. Insert camera 3 again to give viewers some
time to check out the arts. Then we insert camera 4 to track me again. And we end the shot with camera 5 like so. Hit B again to cut out the extra frames. Add some blend acceleration and motion blur
like so. As you see, our Qoocam 8K video plays smoothly
inside DaVinci Resolve. There is no long loading time, like Premiere
and no crashing even with motion blur and easy ease keyframe animation - which are very
taxing on computers. So if you experience crashes and infinite
loading in Premiere with Qoocam 8K - well, I don't know what tell you. It is Premiere codec problem. Neither transcode it in Media Encoder into
DNxHR or use DaVinci Resolve as I show you. So the biggest benefit shooting with Qoocam
8K is the 10-bit color depth. You can finally kinda color grade with 360
footage without seeing banding immediately. This is not a color grading tutorial - that
is coming in its full dedicated in-depth tutorial - but let me show you a quick version so you
get everything you need from start to finish your 360 reframe video. We right-click on the video and select show
scope. We only care about Waveform and Vectorscope
here. We select a good part of the frame we want
to target. Bring down the shadow here until the bottom
of Waveform is touching 0. Like so. Then we bring down the gain as the image is
already blown out. So we can recover some lost highlights. Qoocam 8K footage is actually too contrast
to my taste. So I lift the Gamma to make it less contrast. Again, this is a personal taste as I like
wash out look - which is really in now on Instagram. Now correct the white balance using the eyedrop
tool right here. Click on the white part of the image. There you go. As you see my Qoocam 8K is actually guessing
perfectly in white balance. The eyedropper tool is making things worse. You can see that in the Waveform monitor. So undo that. Now let's increase the saturation right here. Take a look at before and after. Very nice. This tutorial is getting out of hand long. So to trick a little bit. We are going to use a LUT I developed for
360 videos instead of really color grading it. So go ahead, right-click, add node, and add
a serial node. Go to LUTs, under folder HughLut - you will
find out Orange and Teal look LUT with skin tone protection. I also provide it absolutely FREE in the spirit
of FREE in this tutorial. Yes, if you are still here, you just got a
free Valentine's Time gift from your boy Hugh. The download link is in the description down
below. Hey, don't forget to share and like this video. Double click to apply my LUT. As you see, it is way too strong. Yes, your boy is EXTRA but it does not mean
you have to be. Go to the KEY panel right here. Dail down the Key Output Gain. Like 0.4 will be great. Subtle but stylish. It def make your works stay out from others
noobs. 360 cameras like Qoocam 8K or Insta360 ONE
R are very noisy, especially at night. Qoocam 8K has to go to denoising and resharpening
using Temporal NR in Resolve. But all these are not FREE features. You need the Studio version to do that. So I will save that for the next tutorial
- for the Pros. For Instagram post, come on, you don't need
to denoise and sharpen your footage. Go to Delivery Tap. Name your file and choose an output location. For Instagram delivery, use mp4, H.264 as
the codec. Very important, open up Advanced Settings
and make sure you check Force Debayer to highest quality. Then hit Add to Render Quene. So for Insta360 ONE R, the workflow is exactly
the same as GoPro MAX. As a matter of fact, this workflow will work
on the brand new Labpano Pilot One, Insta360 Pro 2 or even the Titan. Again, for resolution more than 4K, you will
need the Studio version which is not free. But at least, this is all you need to know
to make great 360 reframe videos that does not SUCK. For the Pros, you can bring in your finished
360 videos, turn it into mono with Fusion 16, and follow the exact same workflow to
generate 2D promotion video for Instagram or Facebook. If you are still here, congratulation. You just become a better 360 editor and have
the ability to create better content that helps move our industry. This is just a teaser first episode of what
you are going learn in this epic series. We will teach you how to remove tripod, how
to stabilize 360 footage, how to track and insert 3D text like what you saw in my Sao
Paulo Video, how to denoise and deflicker, and how to do 3D 360 and VR180 all within
DaVinci Resolve and Fusion 16. I will even teach you how to integrate After
Effects with Resolve and bring in some 360 goodies from AE to make your piece a bomb. At least in visual quality. I can't help to tell better stories. That is on you. But at least, now you have the tool to do
it right. This series will be FREE. Absolutely Free. No one sponsors me. But if you work for Blackmagic, please hit
me up. Let's work together to make your software
better for 360 filmmakers. If you are a developer, the 360reframe plugin
is open source. Github link down blew. It still needs some works to make it available
to Mac user. So it will help the community if you step
up and finish the plugin for mac users. So don't forget to subscribe and hit the notification
bells so you won't miss this epic series on DaVinci Resolve. Free with Love. And I will see you next time in VR. And for real, next one will be about VR - not
just reframe.
I export stitched video as a low bitrate to use as low quality proxy for fast editing, but then use the no-stitch (Premiere Pro plugin) to do the final render to maximize the quality.
I think it’s symbiotic check this out