DaVinici Resolve 19 - Full Course with FREE Practice Footage! [Make A Star Wars Film Scene!]

this is going to be such a cool video we're going to be making this Star Wars fan film scene check it [Music] [Music] out you're late I'm here for the Droid come and take [Music] it we're going to walk through the entire process from beginning to edit to color management to effects and we'll get a little bit of help with some sound design from our good friend Jason and there's a link below where you can download these files and you can follow along and my hope is that you'll just learn how to be awesome at D Vinci resolve okay so click that link in that description download the media and make your own Star Wars goodness let's go so here we are in this blank project the first thing we're going to do is import our media I'm going to go down to the bottom part and click on media go to the media page and I'm going to use this upper left panel this media storage panel to navigate to the media that we downloaded so I want you to click the link below download it unzip it if you have trouble unzipping it make sure to use a different utility like szip on on Windows or the unarchive her on Mac sometimes the built-in zip utility has some trouble when you unzip your files you should have five folders audio footage map paintings Tie fighters and VFX bakes all we have to do is select all of these and then just drag this down into this lower left panel here right under where it says Master just drag those down like this and that I had my stupid camera should give us five bins with our media should be easy as High to have all this stuff in there is no project file with this media because I want you to take this media and make your own thing all right so there's our media it's imported in the project now I'm going to switch over to the edit page now everything you see should look exactly like this if it's not go up to workspace and hit reset UI layout and it should look exactly like this by the way I'm working in Da Vinci resolve Studio 19 pretty much everything that we'll do here you can do in the free version of resolve but resolve 19 is in public beta right now so there might still be some bugs that might act a little strange sometimes but there's a lot of really cool features that I want to show you as we make this so if you haven't updated to resolve 19 I would recommend that for following along here a lot of this will still work in 18 but there are some differences so let's go ahead and double click in our footage and we have six shots here and I'm just going to turn off the audio right now we have our Jedi walking up to the camera we have a couple close-ups of our Jedi we have closeup of our Sith guy we have an over theh shoulder I guess it's not really the shoulder behind the back of our Jedi grabbing his lightsaber and then we have the Final Duel where they run towards each other now this is shot with some toy lightsabers but we're going to make these look really cool that's the power of the effects that we can do in Fusion before we even start editing let's set some project settings let's go down here to the lower right and click on this settings COG and here's our project settings timeline resolution I'll just leave how it is frame rate all of that stuff we can leave but one thing I am going to do is set up our color management switch over here to our third item down and here where it says color science instead of DiVinci yrgb I'm going to switch this to yrgb color managed now what is this doing we're changing resolve into color managed mode and what that means is it's going to take our ugly gray log footage that we're working with here and it's going to put a color transform on that footage so that it looks good on screen and it's going to do it in a very scientific amazing way and there's a lot of stuff before 19 I would have to teach you but I actually don't have to do a whole lot anymore because they fixed a bunch of problems and everything is so much easier now with color management we'll talk a little bit more about how the colors work here in a little bit but for now set this to Y RGB color managed and then we're going to uncheck automatic color management that's because we're going to change a couple of settings here and here where it says SDR Rex 709 this is mostly going to work great for us except for one little thing so we're actually going to scroll down all the way to custom and that's going to reveal all of the settings that it had automatically set which are mostly great except for this timeline color space the one thing that I want to do is change this from Rex 709 into Da Vinci WG intermediate click on that right there and that's all you have to do you don't have to know what any of this means it's totally fine just switch timeline color space to D Vinci wide gamut intermediate and then we're going to go and hit save that's all we have to do and then we are in color managed mode now you might notice that our footage doesn't look any different the reason for that is because we have to tell resolve what our footage was shot with what what kind of camera we used what kind of color science we used to shoot these shots so let's select all of our footage here just going to select these right click and go down to input color space by default it's project recx 79 what we're going to do is go to Blackmagic design and for these this is black magic design film Gen 5 the reason I know that is because we were sure to remember the settings on our camera when we shot this this is really important so make sure this says Blackmagic design film Gen 5 and and look what happens magic happens yes so now anything that we see is going to be pretty accurate to how we shot it it's going to look somewhat like it looked in real life now it doesn't necessarily mean that it looks good it doesn't necessarily mean that it looks exactly how we want it to look but it does look accurate to how we shot it on that day which is a great starting point and a lot better than looking at gray desaturated log footage that's just icky okay so now we're set up and we can start editing our basic story is really simple we wanted to keep this project extremely simple just so we can play around and have a good time here and so these are almost in order anyway I'm just going to double click on this first clip of him walking up we're just going to set our in which is the start of our clip by hitting I and then scroll through this and then right about when he kind of stops we're going to hit o for out okay and then I can just take this and drag it down into the timeline like this and then drag it all the way to the left and now we have our first shot in the timeline ooh one thing that I forgot is we have these black bars on top and bottom which is fine but if I have a widescreen shot like this I like to actually just make the actual video resolution wide so that we don't have those black bars it plays better when you export it to YouTube and Vimeo and all those kind of places and so to switch this let's go down to our project settings in the lower right and here under master settings instead of 1920 x 1080 let's grab this and say 1920 x 8 800 okay that'll switch this timeline resolution to custom then we'll hit save and look what happens it gets rid of those black bars because it's taking this video and it's just putting it into a timeline that's the exact same resolution okay saves a little bit of computer power to so that's good so our guy walks up takes off his hood and he looks and what does he see he sees our bad guy and so we have this over the shoulder shot of him which needs a lot of work but we're just kind of roughing this in right now and so I'll set an in by hitting I and an out by hitting o and I can either drag this down to the timeline or I can drag it over my timeline viewer here and just select a pend at end that's going to throw that at the end of the sequence that works now we're going to cut to shot 102 here where he talks I'm here for the Droid okay again trim this to be about the right length whatever we think and we'll throw this in pendant end so he talks and then we have the response from our bad guy here we'll just throw this in next and we have this kind of worried look and that's real short just a little look like this append at end and we'll have them run at each other again we're going to start couple seconds in I'll hit I for in and right about the time they're in the air like this I think that's where we'll kind of stop it again let's append it end there we go here's what we have so far sorry line okay we'll cut this audio out two one but the idea is that his lightsaber comes on then his lightsaber comes on here for the Droid then we're going to have a line from this guy sound good Sam yeah okay then they run at each other okay pretty good story so far one thing I'll do is uh I forgot to shorten this shot so we're going to cut this to be a little bit shorter we'll just trim this couple seconds in and we can do the same thing for the end feel like we can get out of this a little faster and one shortcut I can use is control shift right bracket and what that'll do is chop off the end of that clip and it'll also trim it and move everything up and left bracket does the opposite trim off the the front of the shot but we're just going to go with something like that for now and so our basic story is here obviously needs a lot but the timing and everything is pretty good let's talk about the audio for just a minute the one line that we're really going to use is this third shot right here I'm here for the Droid I'm here for the Droid okay so that's great except for it's in the left ear only and we're not really going to need any of the other audio so I think I'll just hold down alt and select all of these tracks hold control and select this one so I'm just selecting all of the audio tracks and I'll hit backspace so we just have this one audio track left and I'm going to go over to this audio one this track right click on that empty space and say change track type to Mono what that'll do is just use one of the audio tracks from our recording I'm here for the Droid and that's going to take that what was the left track and put it into both ears and that sounds pretty good I'm here for the Droid the other thing I might do is go over to our audio here and I want to try out our music which is right here this Jedi battle music this was made by our editor Sam who is a genius at making music and so this is all original music which is crazy I mean obviously it's based on Star Wars but dude check this [Laughter] [Music] out so it's just a mix of a bunch of Star Wars themes [Music] so cool so cool if you think this is awesome I want you to say good job Sam in the comments because man that's just just awesome so we're going to take this audio I'm just going to drag from anywhere here and just drag it into audio 2 like this and Sam actually had a rough edit of this video when he started making that music and so it's actually relatively well timed with our cuts and so I'm just going to double check that and make sure that it feels really good this feels great already so awesome [Music] [Music] I'm here for the [Music] Droid [Music] mhm man it works pretty well that's mostly because I kind of remembered about the timing on this but uh for you I'd recommend making sure this cut is right there on this little part where it right where that piano hits now we had the luxury of Sam making this music for us but not everybody has a Sam yeah in which case you're going to need to find some good music do you ever get totally stuck trying to find music for your video You're pouring through random sites trying to find something that actually sounds professional and not the stock music that you've heard on every video ever and then Glorious Day here's an awesome track but it has this weird vocal thing that just ruins it and just like that hours are gone and you still don't have the right music and you still haven't finished your video well I know the feeling and now to avoid that misery I just use audio audio has a huge library of music that you can access for any project from YouTube to films to TV and it's all crazy good quality a couple of weeks ago I met the guy that runs the QA team at audio and he told me that they painstakingly listen to to every single track to make sure it's awesome and so there's only great stuff on the site you know music that you actually want to use for your videos and they're adding new music every single day it's super easy to find what you want with their AI link match tool just paste in a link to your favorite song and it'll magically bring up similar songs that you can use for your videos this saves a ton of time and if you find a song that's almost right except for that pop vocal or those dramatic drums you can download St stems of any track this is nuts every song in their library has alternate mixes and so you can download just the drum track or isolate the guitar and then you can mix the different tracks together to make your own custom song that's perfect for your project best of all audio is super affordable it's just $1.99 a year for unlimited access to the audio library of music and sound effects and if you use the code kc70 you can get 70% off one year of audio Pro that's a whole year year of Awesome music for $59.70 and so if you need music for your videos this is kind of a no-brainer click the link in the description to check out audio and use that code kc70 to get this smoking deal right now and just kind of massage these cuts to feel good to the music now when you're doing your own thing you kind of have to go back and forth and have a rough cut and then make the music to it or uh you know edit the music and kind of get that timing right for us it's a little bit easier cuz we can just match the music and it happens to be a good cut because you know we made a good cut and then made the music to it so we're cheating a little bit here but you get the idea this is the dialogue for our Jedi and so I'll just call this a Jedi D this one we're going to say music and let's add some dialogue from our Sith our bad guy we have two lines from him one of them is standing here where he says you're late and then the other one is here where he says come and take him this whole movie is about this Jedi coming to rescue his Droid from the Sith guy and we're going to add the Droid later in effects we could probably mock that up but for now we're just going to add the voice over the nice thing about having a mask where you don't see somebody's mouth is you can just put their voice whenever you want we have a lot of freedom there the first thing I'm going to do is right click here in our tracks and say add track add mono and this is going to be our Sith dialogue our actor's name is Ryan so we double click on Ryan vo and we should have both of his lines here you're late oh so good so I'm gonna do that kind of third line I like that one hit I for in you're late o for out and we'll drag this down somewhere in this [Music] clip you're late yeah maybe right before this music hit you're late so he says you're late and then he starts his lightsaber and then the Jedi grabs his lightsaber and starts that and by the way to move back and forth on the timeline like this I'm just grabbing it by pressing down on my scroll wheel on my mouse I can just move things back and forth and that works for everything in resolve anything you want to kind of move and scroll around you just grab by pressing down on your scroll wheel and so let's add his line here and that's going to be later in his vo come and take it come and take it yeah that one's good that one's nice and broody come and take it great let's drag this down here to our second track and I'm going to boost it up a little bit and let's do this right before that hit come and take it yeah I love that okay so come and take it and then they run towards each other and that's the end cool this is so awesome so exciting okay so we have kind of the main sound there we're going to add stuff after we have effects and I'm actually going to have our buddy Jason do that because he's a he's a Audio Wizard so more on that in a little bit but let's mock up kind of the effects that we want on here cuz I think most of our editing and our basic sound and everything is done and the effects come next so let's just kind of mock this up a little bit here we have this kind of blank sky and it would be great to put some Star Wars stuff back there and so in our media pool under matte paintings we have a few different things that uh the very talented Dan painted in procreate on iPad and it's admittedly not super realistic we kind of wanted to go for the Retro map painting kind of look but let's just grab this and drag this in we're just going to mock this up okay I'm going to select this and then go to this little button right here this transform button and we can kind of move stuff around like this and kind of mock it up I can go into the inspector and go down to composite right here under opacity we'll just take the opacity down a bit and so we can kind of get an idea of what we want this to look like as far as our Sky replacement goes so we'll have this big radar dish and maybe we'll have I'll just hold down alt and drag another one here let's just take it like this and flip it kind of put one over here we were thinking maybe putting a planet in the sky but we realized that it's kind of foggy and cloudy so you wouldn't really see a planet in it we still put it in the media files in case you want to play around but we do have some mountains that we can throw in and that's going to be kind of the same thing we'll just put some mountains there and T shank this opacity down so we kind of see kind of what we're going for here right we got the mountains in the background that's kind of what we're going for the other thing is it would be cool to have some kind of spaceships flying by one of my favorite is a TIE fighter and so here under our media pool we have several different shots of our TIE fighter and this is just a miniature so again we wanted to do old school and that's how they did all the ships in Star Wars back in the day is they actually shot Miniatures on a blue screen and so we're doing sort of that in that we have a miniature on a blue screen we're not doing the exact same thing where we have a camera in motion and everything we're doing a little bit of a cheaper trick here but we can still do a pretty cool thing so here's kind of a back quarter view of our TIE fighter and so we'll just throw this in like this and again we'll flip it and we'll have some Tie fighters kind of going by okay going into the distance and we could even key frame these if we wanted to we're just mocking this up this is going to be very bad but we'll get the idea of what we're trying to do here so I'm going to extend this TIE fighter out across my whole shot and go to the beginning of the shot and key frame our position and our zoom and hack our rotation too I'm going zoom out like this we'll just bring this off screen and then throughout the shot we're going to have this kind of go this way and get really small okay so again this is bad going to be bad but look we have a flying you know what I mean that kind of thing's happening we'll need to figure out the timing and everything on that but we get the idea our TIE fighter is going by maybe we'll have a couple TI Fighters I'll just change this Anchor Point to kind of move this around same thing here Anchor Point move them around we have three Tie fighters right so cool that's what's happening we'll just have these kind of undo so this is a very bad mockup of what's going [Music] on but you can see it right you can see it in your mind's eye that's important have some kind of vision some kind of plan here cuz it's a lot easier to plan things out here where we can just move things around really easily than when we get super deep into Fusion okay now we got to figure out these laser swords I'm going to figure out our timing here you're late I think right there is what we want I'm going to go over to the effects close our media pool and go to generators and let's just grab a solid color I'll grab that and just drag that in and let's make this red okay there we go and I'll grab our transform and we'll just transform this and just change this around change our rotation and everything and I'm just going to put this block just really really terribly over our lightsaber here so we can just tell when this turns on we're going to make this look good here in a few yeah there we go turn off our transform [Music] controls right okay so that turns [Music] on so now he Gra grabs his and then that one starts too I'm just going to alt drag this solid color and turn this to like a blue cyan kind of look and we're going to change this position change the zoom a little bit change the rotation and I'm just going to kind of move this into place to kind of mock this up again doesn't have to be good at all we we just got to know when this stuff goes down when it happens okay so that's going to turn on like heish so you're late boom red saber grabs the saber turns it on pretty quick grabs yeah yeah I think that's about right move that over just Just for [Music] kicks Maybe just a little [Music] bit yeah great so now we have kind of the basic timing there and we can use that when we build our effects later Dro and we're just going through the whole thing and seeing if there's anything else we need to do let's make a note here I can just use some text I'll just use a normal text note erase reflection right here cuz you can see if you zoom in that there's reflection of the camera guy right there and we don't want that we actually want the reflection of the Jedi there there's also a problem with this light that we have on his face it almost looks like a lightsaber but not quite so we're going to change that to actually look like a lightsaber so we're going to erase the reflection and I'm just going to alt drag this text and we'll say make lightsaber reflection this size down a little bit move this over move this over also going to add one more note of of add Jedi reflection we're going to do all of these things in Fusion but we're making little notes to ourselves so we don't forget right because that'd be embarrassing this guy is fine this we need to add lightsabers right so I'm just going to add text here cuz the lightsabers are going to be on the whole time so here okay last thing I'll do is probably adjust this timing a little bit [Music] okay so I want those to fly by a little bit faster so actually I'm just going to reset all of this transform and we'll have the Tie Fighter start maybe like right about here we'll just key frame the position here maybe a little bit bigger make sure we flip it so it'll start off screen yeah so by here the position is going to be way over here and we're also going to key frame the zoom so we're going to have that like be just about gone okay so let's see if this timing works [Laughter] [Music] let's make these come in a little [Music] faster okay again we're going to have three of these so I'll just adjust the Anchor Point [Music] very good very good okay so this is bad but everything is there it's just needs to look better okay needs to look better sound better and I think this is ready to take the next step on actually have some good effects I'll throw this over to Jay to start working on for the audio you're late we know what's [Music] happening oh we forgot the Droid okay we got to do the Droid where's our boy uh in VFX bankes here we have a clip called Droid 1 and this is just a shot of a miniature uh this is this guy's like maybe 2T tall actually out in the same environment with just a green screen just crappily thrown behind him and this effect works so well it's crazy how good this works the one thing I'll do is select all of these clips and go to input color space and make sure that we tag those right black magic design film Gen 5 and going double click on this and we're just going to grab a little bit of him kind of moving back and forth something like that and throw him here on this shot I'm just going to cross this real quick with our crop controls and the inspector okay and we're just going to roughly size him and move him kind of where he needs to be somewhere like that so we just remember there's a Droid there don't forget to put him in cuz that would suck okay put him there and then in this other shot he needs to be the side shot so we'll do kind of a similar thing in out drag him in right there just trim him okay great let's crop him left right bottom top we could also I mean do a little green screen on him too but it doesn't matter for this it's it's fine so we'll put him back back here make sure he's sized about [Music] right and just to make things easier we're not going to plan on rooing our guy let's just put him right behind where the Sith guy is he'll just be waiting there we go so cool okay so this is roughed in so let's get started with some effects here uh what I'm going to do is just add a marker to our our Clips here right here before and after our Tie fighters fly by just so we have a rough idea of the timing and then I'm not going to probably bring any of this into Fusion I'm just going to hit D to disable those and then go here to our clip itself and then just click into Fusion okay one thing I'll do is go up to workspace and uncheck show page navigation and zoom this in a little bit just so we have some space to work from our in and out and we're going to replace this sky and the first thing that we want to do is probably track this by the way I am going to assume you know a little bit about Fusion during this part if you don't know fusion and you're like what the heck is even going on well I teach Fusion all the time a great place to get started is right up there that's our nine nodes Workshop the nine nodes that you need to make almost anything in Fusion that'll give you a really solid foundation for working with nodes here in Fusion I would probably pause here and get a little bit of with wisdom before we dive in one thing I'll do is go up to playback and I'm going to switch off our proxy handling let's just disable all proxies just so we make sure we're working on the full res footage and I'm going to track the movement of this sky so that we can replace the sky I'll hit shift spacebar and we're going to type in planer tracker and I'm just going to select all of these trees here the trees in the sky and I'm just defining an area where we're going to put a whole bunch of trackers let's go up to where it says reference time and hit set and then I'm going to track to end here we go let's track to the end and we'll go back to our reference time and track it backward okay it looks like everything's working okay now we're going to click this button create planer transform and that's going to make a planer transform node and we'll just hit F2 and rename the we'll call this sky track pxf so we remember this is a planer transform I'll take this planer tracker hold the shift and drag it out like that just cuz we don't really need it in fact I can probably just get rid of it what we really need is this sky trck pxf and now with this planer transform this is the movement of the sky relative to the camera and so this is what we're going to use to stick things to the sky so if I have some text let's just say some text and I run run this through the transform take the output of this transform and merge it over our media one like this we have some text and as we go back and forth it's going to stick to those trees all right so anything that we run through this transform is going to stick to the sky and it's going to do a beautiful job we're going to build our sky on top of that let's go to our media pool over to our mat paintings and the first thing I'm going to grab is our mountains so we'll drag our mountains in we rename this mountains Mii for media in we'll also grab a Radar Radar cormi and we're going to merge these together I'll just drag emerge node here put that into our planer transform and put our radar on top of that one thing I'm going to do is make sure that my planer transform here in the inspector that this scale to source is clicked this is very important this is new in resolve 19 make sure you have this or it will ruin your track just click it on now the mountains let's shift spacebar and type XF for transform and we're going to scale these let's just scale these to be exactly how we want just kind of move these around a little bit sure now that's going to stick take this radar same thing XF and we'll scale this down we'll put the radar over here somewhere okay now let's take these mountains I'll hit one on the keyboard to bring this up here in our left viewer and we're going to mask these mountains so that they kind of Fade Out so let's take just a rectangle mask and plug this right into the blue input of the mountains and we're going to make this really wide and a little taller but then I'm going to bring this up like this so we're just chopping off the bottom of it and then we're going to push up the soft Edge that's just going to fade that out that's going to do a great job bring this up a little bit so now we have this Mist the mountains and our radar let's scale this down and kind of move this rotate this however we want let's put that somewhere in there and this all looks pretty good let's take the opacity of this merge one down and what that's going to do is just blend it with the color of the sky this works for overcast sky like this as well as a blue SK guy you can just take this blend down and look it just pushes it back in the atmosphere so this is really really far away and then you could bring it forward and so we just bring it here until it looks about right so I don't know 37% something like that that looks cool looks like it's really foggy and that just works pretty well in fact because this is faded out at the bottom we almost don't even need to cut out our trees and we can just about get away with it like even here in the trees you'd really have a hard time arguing that that it's in front of the trees so we might just call it good I mean I don't I don't see a reason to fix it if it ain't broke so dang I think we kind of get lucky on that side of things because this is such a foggy day and it's so faded out it's just we we just don't even need to do much here um if we did have some stronger elements here in the background what we could do is we could do something like a Luma mat so I'm just going to type uh lumir the lky version and we'll just run the media in into that I'll hit one on the keyboard so we can bring this up and I'll hit a to bring up the alpha Channel and what we want for a mat if you're going to do any kind of keying or if you're going to cut things out you want a mat to generally be black and white uh you don't want this gray if you want something to be completely opaque and so we're going to push this high threshold down until we just kind of blow out the sky a little more and that's going to be just fine most likely for what we're doing push the low up a little bit and darken those trees and then we're just going to hit invert and that's just going to give us this mat that we can put these trees kind of back over our elements here so we can just merge this over and you can see a small difference here so if I turn off the merge three turn this off and on you'll see there's a difference there's a little bit more definition here in this part of the tree and I just don't think it's going to matter that much but technically that's the right way to do it you can also use use this Luma here as just a mask for everything that we're putting in the foreground so I can take this merge one put this in like this select the merge one we can go over to settings and here we'll just say apply mask inverted and that's going to essentially do the same thing it's only going to put these background elements in where the trees aren't okay so if I were to take this blend all the way back up it'd be a lot easier to see these are in front of the trees right so we have the trees in front of them and we can adjust this key to kind of adjust how much trees we want to see in front of it but we're getting lucky this time and that we don't we probably don't even really need to do that it's not really going to matter that much so I'm just going to get rid of this and we'll just take the blend way down and it's going to be fine it's going to be fine just like that like we're not going to have an issue the one thing I might do is just add a soft mask to my radar kind of like we did with the mountains again just make this a little bit bigger and I just want to kind of fade this out at the bottom just so I don't have that harsh Edge that'd be really easy to see down the road if we decided we wanted to turn it a little bit harsher and kind of fade that out that's just a little safer I don't think anybody's going to really notice that one thing we can do to double check is go up here to these three dots and go to gain gamma and we can push this around push the gain up push the gamer around and we can just really see if we're seeing any problems take the gain down maybe a little bit and just see if there's really any obvious problems here and I mean you could maybe argue like here in the tree but gosh you're just never going to notice it so I'm not going to worry about it cuz I ain't going to do a bunch of work for no reason call me a hack if you must but we're actually going to get shots done today so now we have the background tracked in looks pretty good and again admittedly not the most realistic thing in the world but feels kind of classic Star Wars and that's sort of what we're going for let's get a little bit more organized here we don't need the Lum here or the merge all this stuff is the sky so I'm going to select all of it and hit shift space and type UND for underlay that's going to add this little background thingy here I'm going to double click off of it hold alt click it so I can grab it by itself without selecting everything that's on top of it and I can hit F2 and we'll just call this Sky replace and well why don't we just make it kind of a a blue cuz it's the sky you see so we're doing good here I'm going to get rid of this little Zoom thing just by hitting V on the keyboard now let's talk about our Tie fighters I'm going to open up the key frames panel here just clicking on that and here for our media in look we can see those markers that we added on the edit page so so I'm going to go to fit to all I'm also going to go to these three dots and say show only selected tools and just go down and grab media in okay let's click on this button and give us a little bit more room for our key frames panel here hold control and zoom in a little bit and in between these markers this is kind of where I want our Tie fighters to fly by so let's go ahead and slap a TI fighter in here let's go up to our media pool and here under Tie fighters let's use Tib back.png and I'll just grab this and drag it in close our media pool let's hit one on the keyboard to bring this up so this is a TIE fighter shot on a blue screen and this was actually shot in that same color space so I'm going to select all of these right click and go to input color space black magic design film Gen 5 and that's going to give us a little more realistic colors and let's rename this tie Mi I tii it's different than a my tii it's less fun or maybe more fun depending on who you are and we shot this on blue screen so that we could key this if we want to but honestly with a still I'd probably just take some time and mask it out so I'm going to grab our new multiply tool grab this and connect this here to taiior Mii select that multiply and I'm going to turn off its switch that's so that we can actually see what we're drawing on and on this first polygon I'm just going to go around our Tie Fighter Wing here I don't know what you'd call this I bet there's some like really great it's probably called a side foil or something you nerds you tell me okay so there's one let's go over here to add poly and add another polygon let's rename this I'm going to call it foil foil SL for screen left that's going to be confusing when we move this around but whatever it's fine okay polygon let's do the other one and you can zoom in and be super careful with this but this TIE fighter is going to go past so quickly nobody's going to care how how good of a job we did here again we're being lazy it's okay to be lazy if nobody will ever notice it's totally fine it can come back and bite you but it's not going to this time no way I'm sure of it okay so foil Sr for screen right and then we're going to do the middle part here add polygon and let's just going to go around here I'm just going to just butcher this thing just butcher it oh it's misery can't believe how bad of a job I'm doing and no one will ever know or care okay there we go boom okay and if we turn on our multi-ply look what happens it gets rid of the background yay all right now we have our TIE fighter and we can take this and merge it over everything we're actually going to run this through our planer transform too I'll just hit contrl c crl v hold shift and drag this in between boom like that that's going to make sure that our TIE fighter sticks to our trees for our movement so it actually moves with the background here we're going to take this TIE fighter and let's resize it and to type XF for transform size this down a little bit and I'm also going to flip it use this and flip it like this because it's actually going to fly from screen left to screen right and we'll just kind of mock this up where it will be part of the time maybe a little smaller than that somewhere in there now that we have our TIE fighter already let's go back to our media in and we're going to take note of when we want this to start in fact I'm actually just going to zoom in to right there where our first frame is here on the left and then let's go over here to our next marker so it's going to be pretty much gone by this point so again I'll just zoom this in like this and now we have our work area that goes all the way from left to right and this is pretty much the entire time we're going to see the Tie fighters so it's going to be nice to not get distracted we'll just look at this with one viewer for now let's actually make another transform and I'll show you why in a minute and we'll call this uh main XF for main transform okay our flyby movement is going to be handled by the main transform and and just our kind of scale and general position of this little TIE fighter is going to happen with this one so we'll just call this um TI XF one sure let's reset the center I'll just double click on the center like this and so we have that in the middle so the reason we're doing that is because I plan on adding more Tie fighters and I want to individually be able to move them but I also want to move them as a group and so we have this main TIE fighter movement which I can move back and forth like this but if I want to eventually connect multiple Tie fighters to this so that I can have them you know be in like a little Squadron kind of thing so let's take this main transform and at the beginning of our work area here so that's at frame 48 we're going to have this completely off screen so we're going to have it come this way like this I'm going to key frame this main transform let's just hit Center like that and then towards the end of this we're going to have this come all the way that way and it's going to kind of Go off into the distance like that let's actually make some key frames for the size as well so I'm going to size this down that's handle kind of the main perspective sizing of that guy we'll do like this and it'll kind of disappear into the distance let's just see how that looks I'm going to get rid of our background so we can just play this back a little easier okay so this is flying and I think what we want to do is have it move faster as it's closer and then slower as it goes away because that's kind of how perspective works and so I'm going to go to the spline panel and let's again show only selected tool so this displacement and size let's frame that and I'll select both of these and hit F on the keyboard to flatten those out yeah and we'll kind of fade this out also so let's take the merge three and here with our blend we'll blend this down we'll kind of start it here and then towards the end we'll have this pretty much gone so again we'll just hit F on the keyboard to flatten out that key frame kind of goes off into the distance yeah now I think this main movement probably needs to be faster at first so let's take all of these I hold alt and kind of bring it out here to the left same thing here and we're just going to let this curve be really really fast at first and then really just kind of calm down over time so it goes really quick at first and then just kind of slows down because it's going further away right yeah great so one thing that we're missing here is some motion blur so in this main transform let's go over here to settings and click on motion blur that's going to add some very bad motion blur so we're going to have to boost that up quite a bit I would say sevenish we're also going to take this merge and take the blend down just a touch so we're blending this in with the environment and this is one instance where we might want to do a mat and put this behind the trees so we could do that just like I said before or we can just move it up at the beginning which is going to be way easier maybe not better but easier let's just see how that goes yeah that's cool now I think this I accidentally added another key frame to this blend so let's actually take that down and we're just going to flatten this out like this so that it gets less opaque as it goes away it works pretty well that works pretty well cool one thing I'll do is take this main guy move him to the left just a little bit yeah that's going to work really well now to watch this back I'm going to go back to the edit page go over here to playback and say under render cach let's just say smart and that's going to cash anything it needs a little bit more help playing back and let's just see how this looks in real time o one thing I want to do though is double check my cache settings so under project settings under master settings let's go down here o look at this I think somebody saw one of my videos because I've been complaining about this for a long time usually this is set to uncompress 10 bit which is just going to murder your system but apparently in resolve 19 it's hqx which is actually a great a great thing to set your render cache to so we'll just go ahead and just call that good all right so now we have this flying past I think that looks pretty sweet we're going to do a couple things here here one is we're going to duplicate the Tie fighters and so let's do maybe like a multi merge after this and we're going to take this transform and just copy and paste it a couple times run this TIE fighter into those transforms and then connect each of these to a multi merge see what we're doing here so now we're basically making three copies of this thing just organize this a little bit and we'll put one of these I'll bring up that multi merge we'll bring one of those here like this and another one here like this so now we have three of these okay and as we play this back let's kind of move these back and forth just so we have a little bit of Parallax and so we're going to key frame the center of this boy to start kind of back here and then end this way and maybe we'll have this guy kind of move like this key frame it so something like this and then kind of have those spread apart and that's going to give us a lot more realistic result so now as these fly by they kind of change I think we could probably even have them change a little more yeah let's have them let's have change a lot more so maybe something like this maybe move it up like that this one will have it kind of move down like that and I'll hit control and select all of these go to our spline panel and select these all and hit F on the keyboard for both of these key frames so that it they kind of start and end slowly okay let's just see how this goes so now we play this back yeah much better very cool awesome and again this is kind of going in front of the trees I just don't know if it's going to matter that much but you know what we're going to be cool we're going to do it right let's plug this Luma here in and again I'm just going to change this and hit a on the keyboard and I'm just going to worry about this right here and we're just going to worry about kind of the core of this okay and that's going to basically just give us the sky and we're going to use this as a mask for that merge for our Tie fighters what's going to happen is these are going to go in front of our leaves we can adjust this to be better or worse let's just take this down a little bit maybe blur it just a touch there we go so now there's the difference that we're seeing holding that out so that that it goes behind the trees we're doing a good job we're doing a good job here kids all right that looks pretty sweet I love that last thing I want to do is I want to add a little bit of exhaust here from this engine which we're going to use with the paint tool now if you're unfamiliar with the paint tool it's just a way that you can just paint on a frame and I'm going to just go to normal stroke mode and we're going to do kind of a cyan color make the size a little bigger make this a little bit softer so like 1.5 we're just going to start coloring this in like that and then we'll make this white and just put that here in the middle and we get the idea here too now something we could do because this kind of engine I did a little bit of research this engine has little dots on the edges and so if we wanted to be really crazy we could put Little Dot on each of these little spines that's just Next Level cool right it's probably not we probably won't even see it with the motion blur but it's kind of fun it's kind of fun to know we did it right something like that that looks cool and now we have that exhaust here and we can see it here in the in the finished thing baby that's cool we'll turn on our mountains okay let's see how this looks so sick so sick just going back into the distance the one thing is that when it's kind of overlapping that mountain we probably need to move this mountain over a little bit so let's just take that mountain just take these mountains over a touch just so that they can go into the fog after that and we can do a whole lot of work with this it's just it would never end let's make this a little bigger we could do a whole lot of work perfecting this but we're going to move on I want you to spend as much time as you want making this perfect you get the idea for this shot let's take a look at it so cool so cool all right that's pretty sweet cool the fade right here isn't super realistic we should work on that more but I'm not going to in this video all right this shot is is a lot of work and uh I'm going to come back to this in a little bit let's take a look at a couple different shots here this shot here where we have to erase the reflection add the Jedi and make the lightsaber this is kind of a tricky thing but it's not too bad so let's jump in here I'm just going to get rid of our text for now and we're going to jump into Fusion okay so the big thing we need to do is we need to get rid of this reflection which involves painting things out cloning it like you would in something like Photoshop we're going to do a similar thing here to this light and replace it with a lightsaber looking beam so one thing that we need to do is get rid of this noise because look uh when you play this back there's a lot of noise and if we put a still in here that doesn't have any noise and we mix it with the thing that does have noise that's going to be a dead giveaway okay so let's not do that I'm going to zoom this in here so we can get our work area we're going to reduce the noise now to use the noise reduction tool Tools in resolve you have to have the paid version of resolve the studio version there are other plugins that you can use that you can totally use with the free version uh one of them that I recommend is neat video neat video is amazing but I'll show you just how to do this in the studio version of resolve we're going to type in noise and we're going to go to noise reduction and this is going to bring up essentially the same kind of noise reduction that you get in the color page under the emotion effects pet here I'm going to go to spatial noise reduction and go to ultra NR like that and show the patch and I'm going to click analyze and I'm mostly concerned about the noise on the helmet so I'm going to move this over here and it's going to set my Luma and chroma values how it wants I'm also going to push up the temporal threshold Just a Touch that's going to get rid of a lot of that noise it is going to soften it just a touch but it's not too bad it's going to get rid of a lot of that dancing noise see here here's before and here's after just kind of make sure it's not killing anything else here is getting rid of a lot of that is softening it just a touch but it's not terrible so I think we'll call that good again there are some other tools that are a little bit easier you don't have to know as much about what the heck's going on but I didn't know that much about this and it and it turns out pretty good so we've removed D our noise so I'm just going to take off our noise reduction just so this plays back a little bit easier for now here's pretty much how this is going to work we need to track this reflection and clone it out paint the guy out and we also need to put these drips in front of whatever we paint out so let's go ahead and just start with a Tracker just a regular tracker and with Reflections you have to be careful not to track the actual object but track the actual reflect objects because they're going to move differently right we can see how this part moves different than the trees and the grass and everything there's a little bit of Parallax there so if we don't track this right it's going to be a dead giveaway one thing is this little bit right here we can probably track that I'll turn our noise reduction back on let's take our tracker and I'm just going to put this over our little white part here there we go and we're using intell track let's just see how this goes so I'm going to track forward oh that noise reduction is making it go crazy so let's just take that out there we go tracking this with intell track back and forth and that's I think doing pretty good let's go through here looks like it's pretty much stable on that okay I'm going to make another intell track and we're going to go towards the top of our reflection here and maybe just this part let's just see if that tracks and I'm going to uncheck our first intell track just so we don't track that as well so we just don't need to uh looks like it's working pretty well well back up a little bit we'll track that backwards from current time I think it's doing pretty good so now we have both of our trackers here and I'm just going to take this Tracker out but we're going to use this motion to match move a painted version of this so let's take a still of our original footage and we'll just do that with uh time speed there a node called time speed here just drag this out and I'll hit two on the keyboard for Speed let's hit zero and let's do this at like 120 so delay let's do 120 and so at 120 if we merge this over again like this we shouldn't see any difference when we turn this off and on okay but other places we will okay so that means that we are actually locking the time there at 120 so all I've done is free framed this at frame 120 and it's just putting that over our original footage now we're going to take our tracker and let's just take this and we're going to use this tracker as a merge so I'll just get rid of this and hold shift and drag this tracker in and we'll just call this um reflection track and we'll put this time speed into the green input of the reflection track select that tracker and we're going to go to operation and switch that to match move instead of none we're going to going to switch it to match move like that and now what'll happen is our footage will kind of move around like this but we only want to paste this reflection over this part here and so what we're going to do is cut this out using a mat control so a mat control is a great way to cut something out kind of down the line instead of applying a mask to our media in that would kind of flow through the entire node graph we can use this mat control and do something like attach a mask to the garbage mat which is the gray input and we can draw a little shape here just select the part that we want to grab and I'm going to invert this we just have this around this part here we're just isolating this little patch take this polygon and soften it a little bit soften this Edge Just a Touch so now let's play this back and see if it actually worked and I think for the most part it looks pretty good you kind of have to ignore the front Parts here and just kind of look at the rest of it I think it looks it's not perfect but it's it I think it'll probably work okay a dead giveaway is this noise which I'm going to kind of boost up to so you guys can see it a little better this is why we're going to noise reduce this is because you can see really clearly the difference see that that's why you have to match your Noise Okay so that's why we're going to take the noise out so that it's less horrible and then we're going to add noise over everything so that it actually looks decent okay so I'm going to take that noise out here for a minute and here after our time speed bring this up here in the left viewer and let's just take off our gain in gamma and what we're going to do is we're going to paint over this so that we don't see a reflection using the paint node and this time for apply controls we're going to go to clone for apply mode and then up here we're going to do single brush like this and under our brush controls let's take the size down lot a lot more apparently there we go make sure that you have the paint node selected while you're working on it or else it'll do weird stuff I can hold down alt to capture a piece of the clip and then we can kind of just paint over it like this and we're just going to paint out that reflection holding alt and just kind of grabbing the edges here getting rid of those extra parts just trying to take this part out there we go also going to check still source and take this time at 168 just for good measure so now the entire time we should have that reflection gone then we're cutting it out like this and then we're pasting it over our reflection like that and it should be pretty decent okay so when you zoom in crazy like this you can sort of notice that it's a little weird part of this is going to be helped with the noise reduction and reg graining the whole thing but I think it'll work for now so let's put a good reflection back in I'm going to go to the media pool and here under V effect spakes we have our Jedi standing. PNG let's grab this hit two on the keyboard just to bring him up and I'm just going to very roughly draw a mask around him I'm going to turn off the mask here and just do something like this make a really soft mask turn that back on let's just soften that edge and this is the most hacked job oh my goodness but guess what it's going to work great okay we're going to take this and let's go ahead and just merge this over before we do the reference track so I'll bring this over here let's add a merge we're going to merge this in like this with a transform after it so we'll just kind of do it this way let's take a look at this merge let's take the size down on our Jedi we're going to put him here in the reflection let's see our media out kind of make some room here we're just going to put him in wherever we want I'll just line him up the Horizon a little bit we'll move him over maybe make him a little smaller so we can see him in the distance that works let's just align him roughly here and we're going to do a little bit of color correction also so I'll grab this after media in let's just add a color corrector here and I'm just going to take the gain down and that should just about match cuz it's the same environment and everything somewhere in there I want to make sure I go over to options and click pre- divide post multiply that's going to make it so when I push this lift up it doesn't do anything stupid just push this up a little bit and kind of just match this there we have our guy little reflection of our guy and if we play this back he should be stuck there in the back background and it should look pretty good okay looking pretty good and we can do whatever we want we can add anything to this reflection and at this point he's going to have a blue lightsaber so let's go ahead and add a blue lightsaber we're just going to do that with a background node and we're going to make it cyan like this and again merge this over here things are getting wly so let's let's just let's do some rearranging here take all this down here actually G to help if we move everything to the right a lot so we can kind of build our node structure from left to right we'll have things coming in from the top like this there we go things are going to start making any sense at all starting now start labeling things this is going to be Jedi Mi Jedi mask this background is going to be cyan BG and let's do a polygon mask here and I've set my polygon to default as turned off because I almost always want it turned off when I start drawing with it but in this case I'm going to turn it back on by the way to set a tools default all you have to do is just set your settings how you want and then right click here on the name here in the inspect Spector and go down to settings save default for masks I've done a couple things one is I've turned off the switch to start out with and I've also gotten rid of the shape animation because I usually don't want either of those so that's really helpful but here we're just going to draw a little line where his lightsaber is going to be so starting there and going to there and then we're going to push up the Border width just to touch so look at that now he has a lightsaber and it's so far away you can't tell that that lightsaber isn't great right let's soften that edge Just a Touch like this and we're going to make a similar background here we're going to do the same thing Canan background I'm going to hit contrl C and contrl V and this background we're going to make this a white background like this and merge that over rename white BG this time we're going to not soften it and we're going to take the Border width up just so we can definitely see that push this up a little bit okay so now we have just a little bit of glow here yeah look at that that looks so cool so now he's holding a lightsaber in that reflection is that awesome and this all goes through that track and so everything will stay where it's supposed to be so sweet okay the last thing we need to do is put the water drips back over this because it looks weird that there's no water drips here and they're kind of everywhere else and so I played around with a lot of different ways to do this uh one thing that you could do would be to just kind of Clone this over here and that might work you might be able to do something like take a transform node and run this original footage into that transform node merge it over everything and then just take that transform and just kind of move it down a little bit but then mask it to where you only see it within this little circle that moved down version and we can put a little circle over our guy here over our patch and we can kind of transform this footage under that circle like looking through that window and we can get those drips and they should move pretty much the same way that the rest of the face moves and if we play this back it's going to move almost exactly the same the only thing we'll have to do is apply the tracking data to this window which we could copy and paste this reference track here and we could put this mask into the foreground of the reference track like this grab this go to operation and say foreground only and that's going to move that mask around with us so we have that kind of over everything then we soften the mask and we do something like a brightness and contrast here on this to really kind of make this black and white like really boost up that white a little bit and then do something like multiply this over and so we can kind of get that stuff multiplied over I can take the saturation down and that's going to give us those drips over our guy in a really similar way and that could work so here's before and here's after we're just kind of adding those drips in I feel like that's kind of just a lot of work that it's just okay and so what I ended up doing before was I'm just going to get rid of all of that what I ended up doing before was just making a background and we're just going to make this a clear background and then adding a polygon mask to it like this turn that on and then I just drew in the drips because we're just going to kind of draw some drips in here push up the Border width a little a little bit and we can kind of just make these black drips like this I'll just copy and paste this polygon and I can get rid of this and just make something else you know copy paste selecting all these getting rid of it you know and then kind of same thing you can just multiply this and then take the blend down and it's going to look similar right soften this a little bit soften these edges so we have those drips kind of going over our guy again right so here's before and here's after just drawing in those drips depends on what you want to do kind of depends on what you think one thing I think I'll do is I'll do a better track on the surface of this reflection so again I'll just make a Tracker I'll take this original footage and drop it into it we'll just put a tracker on some of this stuff here then I'll put another tracker here just so we can get the actual movement of the reflection instead of the background and let's track that back and forth okay there's one there's one side and then up here towards the beginning great and now we can use this tracker as a merge basically s this tracker under operation we'll say match move foreground over background under our apply mode we'll go to multiply and then under settings we'll take the blend down this will do a similar thing very similar to what we were doing to soften this Edge a little bit just taking this blend down a little bit just so it matches and now we play this back oh that's kind of being weird looks like our track is a little jumpy so I'm actually going to get rid of this other track let's let's go ahead and reset this track un let's just do a onepoint track here on our reflection tracker operation we'll do match move multiply let's see how this looks okay so now we have that movement and it's working pretty well and I'm just going to blend that down to look a little bit more [Music] decent and move these over a little bit so it's right in front of our guy blend this down a little more just so we don't notice it somewhere in there so here's before and here's after just a little bit of that and that moves along with our other lines so it's already getting a lot better then we take this noise reduction we reduce the noise then we're going to add the noise back in and you can just use this grain effect and a great way to dial this in is bring up the original footage in the left viewer Zoom way in to what we're looking at here so we're going to take the grain size down a little bit take the power way down change the red difference a little bit blue difference a little bit that size down a lot to where we're getting something that's similar make sure these are the exact same size and they should feel very very similar okay and now we have this nice little you know before and after shot of here's before and here's after everything should make sense beautiful the only thing left is to do kind of a similar workflow here for this lightsaber which I will leave you to do on your own but it's a matter of tracking this making a still and cloning this out and then putting a new lightsaber in here which basically how we did this blue lightsaber same thing just a mask on a red background and then a similar mask on a white background I mean this almost works as a lightsaber as it is so anyway we're going to call that decent for now just cuz this video is so long it's so crazy okay and let's switch to this shot where we have our guys running with their lightsabers and our little Droid friend okay go ahead and get rid of our extra notes here and just switch into Fusion ah now we have a nice New shot essentially what we're going to do is we're going to use that same technique of making a colored solid and a white solid and putting just a line mask over each of them and we're going to do that for this whole shot and we're going to animate it to just cover up these toy lightsabers and it's going to work pretty well so I'm going to zoom in our work area here and I'm just going to make a background like this and let's make this cyan call this cyan BG and we'll take our polygon mask and connect it this time I am going to have our shape animation this is how yours will probably come up by default we're just going to start at frame 48 and guess what I'm just going to do a couple points here and I'm not going to close this shape like this I'm just going to draw a line two points like that and then I'm going to boost up this border width to where we have a pretty nice looking cyan saber here and this is going to be good enough to animate now I'm going to switch to my fourth tool over which is just a modify only tool that means that if I click off of this it doesn't want to draw another point which is misery so now I can just select these I can box select them and move things around without their being a big problem okay let's take this border width down a little bit cuz I want this to be pretty pretty reasonable and there's a little bit of motion blur here I'm going to put this in between that motion blur and then down here at the bottom we're going just put this right at the hill of the lightsaber like this again in the center of this line okay now I'm going to go forward until this changes a lot and so it's generally going over into the right but here's where it starts changing so we're just going to go all the way to like here here select all of these and move them over again in between the lines so something like this and now in between this because the movement in real life isn't perfectly linear like it would be when you're key framing stuff it's not going to be totally accurate in fact it's going to be pretty far off but it is going to be somewhat close and I will have to do slightly less work to move things around if I do each side the beginning and the end and then go to the middle like this and then I'm going to go to the middle of these key frames so I have a key frame here a key frame here and I'm going to go towards the middle like this and that's going to be relatively close I'm going to move this over to where it should be like that and then as I kind of get more and more granular this is going to be a little bit closer so again it's just going to be slightly less work might as well do slightly less work if you can and we'll just move this to where it's supposed to be and some times you'll get lucky and you won't even have to put a key frame on these in between frames cuz they're close enough but this one we're going to be we're going to be cool make sure everything's good and I'm just going to walk through this step by step hitting the left and right brackets on the keyboard so here we go just in between I'm not worrying that it's not completely covering stuff it's not that big a deal there's going to be so much going on nobody's ever going to know or care this is that's the name of the game here we're getting away with murder here that's the plan now again kind of in between this 56 and 65 that's where we're going to put this up move this forward a couple frames and we're just going to go through this so I'm going to go through the rest of this we're going to speed it up with the power of editing and then once this starts to really change I'm just going to do the same process over again just going to go through here do this and then I'm going to go through until the main big movement is done so I don't know something like that and then again kind of go back towards the middle of those key frames and things are just easier this way you never want to go step by step like key frame and then key frame the next one cuz you always just be doing more work than you need to cuz like I said you might get lucky and get something really close see this one's almost right it's really close but there should be some minimal tweaking needed and there just becomes less and less work okay here's this and I'm pretty sure we don't even see this frame cuz that's the end frame last frame is 76 okay so now we have this roughly animated over that lightsaber and we'll call this Jedi saber mask like that and now we're going to do some trickiness okay let's take the Canan background I'll hit contrl C double click off and hit contrl V and we're just going to make this white and I'll rename this whitecore BG and just merge this over our cyan back ground like that and we can take the same mask and just apply it to the white and that would work the only problem is that it completely covers our cyan and so instead of doing that we're going to copy the mask contrl C double click off and hit contrl shift V and that's going to paste an instance which I can connect and there are linked properties here that I can unlink so that I can change just one aspect of this but it still shares everything else and so I want to unlink I want to De instance the soft Edge and the Border width okay so I can make the white softer or harder or a different size than the cyan so the cyan will'll probably just push up the soft Edge a little bit and just let this glow and we'll just do a little bit of a soft edge with the white and I mean it's looking looking pretty good I think we'll make this width just a little bigger for the cyan a little bit bigger for the white and like there's some frames where you can kind of see the blur kind of behind it but for the most part it works pretty well now we do want to add motion blur to this and the way that we can do that is if we go into our mask we can go to settings and click on motion blur and check this out it's doing it it's doing it we're going to boost up the quality a lot and adjust that shutter angle to just cover that lightsaber and that's going to give us a pretty good motion blur for our lightsaber this might be a little big now that I look at it let's take that border width down just a touch but now he moves with that lightsaber and we have that nice motion blur the only problem is that it gets a little bit dark when it's motion blurred and lightsaber should be very bright ridiculously bright so one thing we can do is just make this white background whiter so I can go to this white and then instead of 11 one let's do 3 three three that's going to give that this nice solid white when it's doing that motion blur we're going to have that nice kind of Arc when he swings the lightsaber there we go cool and that's going to give us kind of a basic lightsaber look we could do a lot of stuff to make this even crazier for instance we could take take this and add some like displacement to it we could say shift space and then DSP for displacement and let's plug some fast noise into the green input of the displace fast noise is going to make clouds which is going to drive the displacement so I can push up the detail a little bit push down the scale a lot and then this displacement if we push up this refraction strength take down the offset it's going to make this a little bit more violent and crackly which I think is pretty cool we can change this refraction strength and kind of mess with that a little bit let's mess with this on X and Y and let's just do X refraction a little bit more take that offset can just kind of adjust that refraction which is kind of neat and that's going to kind of uncover our background a little bit but that might be something we want to do that just kind of gives that a little bit more organic of a feel you know gives a little bit more organic feel which is kind of cool [Music] depending on what kind of lightsaber you want you can do that all kinds of stuff to do there now for our Sith it's pretty much the exact same process okay the one thing that we'll do is we'll make his blade a little bit longer because this is a play sword and it it's kind of dinky but similar process let's take white background and let's make this one red I'll put this over here put our polygon on top let's just start this back here make this a little bit longer make sure that we have our shape animation on and let's push up the Border width a little bit so we can see the saber make sure to rename this red BG then we can go through kind of the same idea going until there's a major change which is like right there we'll take that back a little bit and we're just going to move this into place and we're going to fast forward through this cuz it's pretty much the same [Music] idea okay there's the main movement of the saber contrl C control shift V plug this into white and merge the white over the red like this de instant soft Edge and our border width push up the Border width on the red soft Edge water width on the right soft Edge and we'll make sure to turn on motion blur quality 10 that white works pretty good yeah cool say maybe make this red just a little bit more intense yeah I like that so these look pretty bright for the environment but I think we're going to darken this down a little bit bit and we might adjust them later but I think it works pretty well might want to do the same displace here for the red one I'll bring the same fast noise into it see how that looks yeah looks cool just changes that a little bit yes so sweet it's pretty easy actually pretty easy it's just basically coloring over the image with that red background and the white background and it works pretty well now when these Clash together I want there to be kind of a big flash of light that's uh that's sort of a thing the studio version of resolve has a flare effect which is quite good and so you can just kind of move this lens flare here and I like to use mirror and we'll just bring this down a touch and we're just going to take the global Corrections and push up the global brightness a little bit and that glare brightness take that down a little boost up the anamorphism a little bit boost up that brightness so it should be really bright this is just going to be for a second maybe even push the scaling up a little bit I mean it gets kind of ridiculous and this isn't quite bright enough and that can be because of the color management stuff and this is probably something we can adjust here in the color page we don't need to get totally crazy in Fusion but I think something like that or these hit together and there's a big flash can take this lens flare and we're going to animate the brightness here so Global brightness let's key frame this here at frame 76 and then the frame before we'll just take this all the way down to zero so like boom hits real quick like that and there's a great big flare and that's going to work pretty well so that is our endot guys running at each other shabam that works cool so those are our lightsabers one thing we didn't do yet is ADD our Droid so let's go over to our media pool go to VFX bace and we're going to say Droid 2 I'll just grab this guy and drag him in and then we'll merge him over but before the lens flare and let's rename this Droid and put a transform after him and size him down like this let's make sure that the timing is Right looks like it's going to work out just fine let's put him roughly where we want him to be which is going to be just behind our guy and let's size him roughly how we want to size them which is probably something like this okay and before we even do the transform we're going to kind of cut him out so I'll hit two on the keyboard just to bring him up like this I'll bring up my Delta here and just grab this background color like this hit two on the keyboard that's just going to get rid of our background I'll hit a for Alpha and this is going to show us our actual mat so even though it sort of looks good we can see from our mat which we want to be totally black and white that there's a bunch of gray in here so we can go over to mat let's just take this threshold and I'm going to push up the bottom part to Black push the down part to where we have just a white silhouette of our guy that's kind of what we're looking for and I'm only really worried about this Edge right here everything down here we're going to worry about later but that looks good I'll hit a and then if I hit two for media out we can see this Edge looks pretty nice this is I think going to work but couple things we want to do is here under replacement mode for our mat we don't want soft color we want Source that's going to get rid of a lot of the noise in junk that the Delta here puts in and then we're just going to grab a polygon mask and I'm going to right click and drag and connect this to our garbage mat and turn this on and I'm just going to basically select all the parts that I don't really want to include which is going to be kind of everything on that side that's going to sort of crop this let's push a soft Edge into here it's going to give us a nice soft Edge down here can actually kind of bring this in a little bit more and we'll get rid of this little edge here too I'll just make another mask there's a bunch of ways to do this but this will be quick we'll just make another mask and I'll just kind of cut that out with a soft Edge too there's a little bit there that we could probably do a better job on but again you can take 100 hours on this okay same thing soft Edge just get rid of that okay the other way you could do this is kind of Trace out the rest of his body and put that in as a separate layer that works too but this is going to be just fine so now we drag this in and just about almost Works how it is going to grab this and kind of adjust this mask to where we don't see any edges and I mean it works pretty well it works pretty well it looks like he's standing there and you just can't be too mad about it and like the lighting works and everything if you look carefully like grass is a different size and everything but at the same time it's like nobody's really going to notice we could do a little bit more clean up on the grass and everything but again you go ahead and do that it looks like he's there though that works pretty well so we got our handsome boy in here a little Droid it's looking pretty good switch back to our edit and I think that's looking pretty sweet could even kind of move this guy over a little bit be right next to him yeah so cool we could do a replace on this Sky I mean you could do all kinds of stuff here we could add at-ats in the background that'd be fun so feel free to go crazy with this footage I mean you can download it and play around and then we have one more shot here and this is quite a bit of work we have two different lightsabers here we have to clone out this blade right here we have to clone out me we have to get rid of this lightsaber and animate the handle flying in and him catching it we have to erase all of that and there's a focus rack so it starts sharp in the background and then moves towards the foreground and we're going to put in our Droid plus we have both of the lightsabers turning on we're going to add smoke to the foreground lights saer there is a ton of work here and this video is plenty long I would say so let me know if you want to see a step-by-step process of compositing this clip and we can do something in the future but for now I'm going to cut to the finished clip with the power of movie Magic and I just recorded an entire course on this because dude there's a lot to do here way deeper than we can go in this video but if you're interested in seeing how we did it comment below and let me know and we're going to make that course available very soon but for now we have all of our visual effects in here and so I'm just going to select all of these text and everything and delete them right click over here in the track headers and let's just say delete empty tracks that'll kind of clean things up a bit and just because I'm pretty sure all of these effects are going to work I'm going to go ahead and render all of these in place now this is optional we can also just let Fusion cache and kind of just think about this but once we get into color it's annoying to kind of run into problems playing back with fusion and so I like to just rightclick on any of these Fusion Clips after I'm done with them and go up to render in place and this will render a high quality video and it will replace it in the timeline and what's cool is if we need to adjust something we can restore the original Fusion composition so that's pretty cool so let's go to codec dnxhr and I'm just going to go DNX HR 4441 12bit let's not include the color grading effects that sounds good and I'll hit render I'm going to make a new folder here in my work files and I'll call it render in place and I'll just put my renders here and I'm going to go through and just render each of these in place it'll just take a few minutes to go through and do that and then our playback and basically the rest of our life is going to be so much smoother let's Batman transition to that shall we okay so everything has been rendered in place I'm going to get rid of these markers here and here so now everything plays back so easily and nicely oh baby it's so great so we have all of our effects in there now it's time to get into the sound design which you can do in Fair light you just switch over to Fair light and here in our media pool we've already imported some audio stuff and we have quite a few sound effects and all kinds of stuff that is included in the work files but because Fair light is not quite my jam I invited a friend Jason just did a huge video on creating the sound design for this entire project everything from doing EQ to adding an editing sound effects all the sounds for the lightsabers setting up buses optimizing the volume dealing with loudness and all of that stuff this guy's just freaking brilliant and if you're into audio there are no better videos on the internet for fair light than Jason yadlovski so if you want to learn some Fair light goodness make sure to check out Jason's video right there but he was nice enough to do all the sound design for this and then just send me the timeline so here I have a timeline from Jason with all of our music and our sound effects and everything in here he put a ton of work into this so let's just listen to this for the audio not the visuals [Music] you're [Music] late I'm here for the Droid come and take it that's awesome that's freaking awesome that sounds amazing so this is sweet I love that I'm going to go ahead and make a duplicate of this timeline I'm going to right click say duplicate timeline and we'll call this for render don't call it final I'll drag this to the master here and in our four render timeline we're going to replace all of our visuals here with our final visuals from our other timeline so I'll just go up here to our little timeline drop down and select timeline one which I did not rename because I'm a professional let's grab all these visuals I'm just holding alt contrl C and go over to our for render timeline and I'm just going to get rid of all of these upper things CU I really just want these clips here so we're just going to move this up I'm going to hold alt select this and hit alt and up a couple times like that then I'll hit contrl +v that'll paste those in at the exact same time I'll hold down alt and select just the video part here and hit D to disable these so now everything should look beautiful and it should sound good too cool this looks great I'm going to go ahead and delete my temporary stuff here making sure I'm holding alt and just selecting the video tracks and not this audio track here and we are good to jump into color this is so exciting man I love having other people do audio that was great let's switch over to the color page and here we are in the color page so I'm going to close my timeline just cuz we don't probably need that I'm just going to use these clips and let's resize this and because we have our color management all set up we can really just kind of get started working here the one thing that I am going to do is I'm going to start with a look so whatever the final look that we want for our project is that's kind of what we're going to uh figure out first and you want to figure that out on a shot that is representative of the entire project and so I would say this one has all the elements that we're looking for and I'm just going to start off by going over here to my nodes and just switching to the timeline nodes you could also do this within a group if you want to but because we just have this collection of shots here it's not going to hurt to put it in the timeline I'll hit alt s to add a Serial node and I'm going to use the brand new film look Creator in resolve 19 so under effects here research for film look Creator this is only available in the paid version of resolve which I would highly recommend getting that just for if no other reason this is a really great tool okay so this film look Creator is going to help us figure out a a kind of filmic style here and by default if we just take the effects all the way down and the color all the way down you see there's nothing going on here and as we turn on the color even before we adjust anything it's adding a look in there in fact even if I reset everything and go to default No Effects there's still some color work that it's doing here and I do like what it's doing it's kind of pushing up the contrast a little bit it's taking that saturation down it's being kind of selective with the color palette and man it just looks pretty good out of the box so we're going to kind of refine this a little bit let's turn off our Clips just so we have a little more room can probably turn off our nodes for now cuz we're just working in one node and I'll just scroll in here so we can see all of our elements all at once and this film look Creator by default is going to use our timeline color space which we have set up in our color management here which is D Vinci wide gamut intermediate which is perfect for this sort of thing and the first thing I'm going to do is look at this and say okay what what do I want to be different one thing is I'll probably take the exposure down just a little bit because I want this to be overall kind of a darker look so I think darker like this uh I feel like I want to punch these greens and make them a little bit more kind of bluish and I wonder if some of that can happen from our split tone and maybe even our subtract of saturation so I'm going to push that up just a touch maybe push our contrast Just a Touch and let's go to split tone let's enable the split tone and I'm just going to push this all the way up just to see if it's crazy sauce and it kind of gives us this teal and orange sort of look which doesn't work really well for what we're doing but if we take this down a lot and we just push a little bit into it that's going to give us a little bit of richness here that might be good let's just take this off and on so now the question is do we like what what it's doing it's adding a little bit of warmth to the highlight here let's also adjust the pivot maybe a little bit and as we adjust the pivot more things become teal or orange so I think we'll push this up just a little bit just to push this a little bit towards the teal side so that's kind of tealing things out a little bit and I think that looks pretty sweet might just take this amount down a little more it's always good to kind of do what you think looks good and then just dial it back a little you can always push more in later if you want to but starting subtle I think is a good move so here's without it and here's with it looks pretty nice also curious to see what Hali looks like here let's click on some Hali Hali is sort of like a glow in the highlights of things so let's just push that up a lot and you can kind of see it here in the skin there's like a little glow see that little thing and it's subtle and it's supposed to be subtle but I do like that I think that looks pretty good now we might revisit that later on other shots and realize that we don't like it I like what it's doing to the lightsaber here okay something like that and I do want to add a little bit of grain here I'll enable the Grain and let's do preset 65 millimeter that just gives us a little bit smaller grein here that looks pretty sweet then there's some other stuff like uh clicker and gate weave and everything I don't really want to deal with that don't think we need any of that and I mean without a lot of work this is a pretty nice look um I would say maybe it's a little just a little heavy on the split tone maybe take the pivot down just a touch so here's before and here's after now let's see if this is doing what we want on the other shots now um we might need to adjust the other shots under this look but let's see if we have any kind of good thing happening here so here this one's obviously too dark so we can switch to our nodes go over to clip and let's just boost up this offset a little bit just boost this up to make a little bit more sense see something like that I think works pretty well maybe we can take the offset down on this one a little bit make it a little darker kind of match those okay same thing here I'm going a middle button Mouse click on shot three to copy this to shot five with shot five selected that's clicking down on the scroll wheel of my mouse okay shot four we want to match roughly to this shot and so that means that a lot of it's going to have to go down but I don't want it too dark right here and so I'm going to push the offset up a little bit actually to keep some of this detail here and we're going to add another serial node and probably just like a soft Circle window here and and we'll switch this to outside take the offset down a little bit for everything else now it's going to be hard to get him to not look like he's glowing so we'll just soften this a little bit something like that that's going to do a pretty good job here so here's before and here's after so the question is does it match with these looks pretty good it's all kind of this tealish green look this shot too we want to match with this so I'm thinking exposure needs to come up a little bit and maybe the saturation down a touch so I do those look similar yeah looks pretty good to me okay and then this one here needs to be similar too one thing we can do is right click on a shot as we're on it and say grab still and then we can go up here to the upper left and click on this image wipe and that will load the image as a split screen that we can compare too so we'll just take this down here and why not we'll kind of match it up and with this shot selected I can do some adjustment here in my offset and maybe boost this exposure a touch something maybe more like that that's looking a little better okay I'll turn off that wipe and let's just play this back and see what we think see if this is working I'll turn off the loop and hit crlf let's play this back just going to do it without any sound just so we can really focus on the visuals here and I'm just looking at everything if there's anything major any big things I don't like looks pretty sweet this looks pretty sweet I would say that this shot maybe looks a little too bright this one looks good that one looks good okay yeah I would say this shot looks just a little bright so let's take the exposure down a touch here just rolling down on my scroll wheel of the master wheel of my offset and I'll just hit back and forth on the keyboard and that's actually just going one frame to the right and one frame to the left but because I'm on the very beginning frame of this shot if I hit left it'll go to the end frame of that shot so it's kind of a little trick because if I just were to hit up and down it's going to show me the beginning of each shot so if we go left and right that works and I think this one's still may be a little bright so we'll do something like that it's looking pretty good I love the flicker of the lightsaber that just really adds to it feels good as I kind of go through here these should all make sense I would say this one maybe just feels a little bit too kind of yellowish green and the sky feels a little bit yellowish green too so we might just take the temperature and just pull it to the left a little bit just to just to see that feels better does this match with this yeah much better so we can really get a really great look and match our shots together by using a couple things one is the film look Creator here um if you don't have the free version of resolve you can build your own look with a series of nodes and stuff if you guys want to learn more about that let me know but that film look Creator is really sweet adds a bunch of stuff all in one node so easy really really great tool in resolve 19 and so we have that look over everything and so without the look these look you know kind of normal and they still match a little better actually under that look might not be a waste of time to go through and just kind of roughly match things just with the uh color Management on before we put our look on there but the look definitely makes everything match looks nice and is more of a representation of what this is actually going to look like and then it's just a matter of going through and especially adjusting just this offset the the exposure that's like the biggest thing that will make shots not match is just if they're different brightness and so this seems to work pretty well okay and we can stop there if we want to I mean that's good that's a that's a nice look and it's subtle and it's it's great let's dig into just like one level deep of adjusting things a little bit I'm going to go back to my Clips here and I would say right here I just want to give a little bit more brightness to him so again we're just going to do a circle window here and I'll just put this here and make it really soft right there and then again we'll just push up the offset you can do so much stuff just with offset okay so here's before and after just really gives them just a little bit more exposure there can maybe even take just the gain up a touch here we go and let's I don't think this moves around that much it probably be fine so yeah we'll add a little bit there seems to work pretty well and when this lightsaber turns on we should really have some light here and so let's see if we can do something and I'm just going to do this the really cheap way and just add a little bit of a mask here on the edge of his hand let's first of all just see if we can make it look good so let's just take the offset over a little bit more blue maybe take the gain up a little bit and we'll soften the inside the outside of this we'll just soften this around his hand like this just so it kind of Fades out over the Contours of his hand like that just have that fade out okay switch to Curves just so we can see that a little better let's move this over touch going get rid of some of these points because I feel like we're just making this too complicated there we go we just want to select the part that's kind of facing the lightsaber a little more and we'll just really fade this out as long as we keep it really soft it's pretty pretty good let's um let's take the gain up just to touch maybe take the gain little bit more cyan that's looking kind of weird let's just take the key output gain that's this third icon over halfway down there's key output this is like the opacity of that node and so I can kind of just adjust that a little bit like 6 maybe just see how that looks just kind of fade this out a little more nice and subtle now let's go ahead and track that we'll go over to our tracker window and just track this forward like that and then here we'll track this backward and we really only need it after it turns on which is going to be right about there and so right here we're going to have that start and to kind of key frame that we're going to go back to our key output gain and we're going to switch over to our key frames right here and this is corrector three and so I'm going to go here to this little diamond and turn that on and that's going to add a key frame to whatever I mess with basically right here at this Frame so I'm going to take the gain and just adjust that a little bit that's going to add a key frame here then I'm going to go one frame to the left where the lightsaber isn't on I'm going to take this output gain and just turn it all the way down okay so basically this node is turning on right there let's just see how that looks okay here's some real light that's that's getting put on him and so we can see how this looks as far as a reference so I'll just grab this still and let's go here and play our still and if we go over to sizing this fifth little icon here you can adjust the sizing and everything of your reference and so I can push this over the pan like this and we're just going to look to make this light on his hand look like this light on his neck okay so one thing is the light on his hand is a little bit less cyan and a little bit more blue let's take this just a little more blue like that that's looking pretty good maybe we could take the gamma down a touch yeah so it's just a little bit more kind of Lighty let's just adjust this a little bit and actually think I'm going to draw this a little differently let's go ahead and reset this just get rid of our power curve here and I'll reset my power curve here and let's just select the parts that are going to be facing down pretty much and we'll adjust the inside softness here outside softness a little bit and just kind of fade this out along where that light would be hitting and kind of falling off now you might be asking why aren't you just doing this with the relight plug-in my guess is that it's not going to be this exact you're absolutely welcome to try it yourself if you want to but that looks pretty good looks pretty good so let's take this down a little bit here yeah definitely get that idea happening we're going to go ahead and track this back and forth and we really only need this on after he turns on the light so we're going to turn it on probably right there again we're going to take our key output gain grab our color corrector move this and then and go one over turn that gain all the way down and then I'm going to turn off that key frame thing cuz that'll just get you in trouble yes make sure we don't have a key frame on our color corrector here it stays the same the whole time defocus is also doing a bad job boy here is where we want it on adjust our key frame and we'll take this down to something reasonable so like 564 and then one frame to the left we'll turn this all the way down so now it's yes so good so now we have that coming in and then it's Lighting on his hand a little bit more which I think really helps this you could also add some light here and to his arm and everything feel free to go crazy on that but you get the idea let's see what else we want to do here I'd say maybe brighten up this helmet just a little bit I'll just hit um alt p and make a parallel node that's just because I'm going to kind of mix these Corrections together a little bit and I just want it to want them to play nicely together so we'll just grab his helmet here I'll hit control T to track this not much movement but go with that and now we can adjust something like our offset and push that up we can just see in the helmet a little better I think that looks a little bit more natural a little easier I would say maybe just a t Touch of contrast there we go so here's before and here's after we get a little bit little bit of love and again in VFX you might want to replace this with the lightsaber but it's cool it's cool next this looks good on this shot maybe we want to do something with the sky I feel like the sky is just maybe a little too bright and so let's grab a gradient window and maybe put this down like this and just take the offset down again yeah I feel like that just stops blooming the trees so much looks a little more natural that's going to help that looks nice I would say for whatever reason our Droid he looks a little bit bright and I I know he's probably not but if he looks a little bright let's just just take him down a touch it's really easy to do just go ahead and do just kind of a quick mask on him something like that and we'll just take the offset down a touch oh yeah I think that works soften it just a a little if we turn this off and on we shouldn't see some big problem that looks good I'm pretty sure he's just standing there yep so that looks good just taking him down just to not be so bright that seems to work a little better yeah sits him in there just a little better we can probably do a similar thing on this other shot so here I feel like he's maybe just a touch bright I do another serial node I could do a parallel note here um what I'm doing isn't going to interact like nothing's Crossing in front of him I'm not doing any work in another window that's going to kind of cross over our Droid that much and so I'm not that worried about doing that but yeah let's do just a real basic shape around our dude this is going to be pretty blurry shape let's just make this really pink so we can really see what we're doing soften this a little bit it's just going to kind of BL my mat I'll redo my offset here and let's just take it down a touch there we go so here's before here's after just taking him down adding a little bit more of those Shadows could probably take it down even more yeah just making him sit in there a little bit more feels a little more realistic feels like he's less like he's pasted on there it's really cool to be able to do like part of this infusion and the part of this in color cuz there's so many easy things you can do in the color page and just fix little problems that might take a little bit longer to fix infusion really nice okay so we can keep tweaking this forever but uh we're going to call this done so this looks really great we're going to give this one final watch through and make sure we like it you're late I'm here right here I think that what we just did is messing this up a little bit let's look yeah it's like especially here in the grass it's like dark that grass more than it should so one thing we could do would be to Just Adjust this and move this up a little bit so it's not so dark on that grass just get rid of a lot of these things here okay there's definitely a little bit more work we could do here this is a really challenging shot because the focus moves a little bit and this kind of slips a little bit when we have that moving focus and so how to fix that would be probably just to move this over a little bit as it gets blurry that would probably fix a lot of that but that's okay you can fix that on yours right you're late okay let's look at this I'm here for the Droid come and take it that reflection looks good that's cool this lightsaber looks yellow that's probably because of the Hali let's look yeah so like I said there's probably so for some things that are bright it works really well and some things it kind of does that so one thing we could do would be just to break out the Hol and just have it not over the blue we could also put just the lightsaber into a media out in the fusion page and then we can use this as a mat to kind of hold it out um I don't care that much about the H so I'm just going to turn thetion off and I think it's going to fix a lot of problems and it just won't be that big a deal so yeah cuz with that h on a lot of the time it's fine but right here especially it's makes that it does help help this lightsaber a little bit but eh it's fine and the one last thing I might do is just add a little bit of brightness to this flash here again let's just alt s to make a Serial node and I'm just going to put a circle node right here here make it really really soft and just boost the gain a little bit just so this is a little bit brighter maybe we'll even make this kind of purplish because it's the blue and the red coming together and yeah we're going to animate that key output gain here too so this is corrector 5 and I'll turn on the key frame there and then just wiggle it to add the key frame go left one frame and turn that gain all the way down and then make sure to turn off this auto key frame like this yeah that looks a lot better so before after yay fixing stuff in color okay this looks sick you're late one thing is I think we forgot to add the blur we forgot to blur this guy he's just a little bit too sharp again we could go back to Fusion but I think what we'll do is just add a little blur to the existing mat we have I'll just push that up a little look how easy that is at a Touch of a blur yep that's the difference I think that works a little bit better sits him sits him back into the environment a little more I think this one's fine let's take a look [Music] you're late I'm here for the Droid come and take it this project has been so much fun we had a blast making this and hey if you want more videos like this please let me know and we'll make more films and make more big free courses like this and if you haven't already make sure to download those media files there is a link right here to do that and uh yeah if you want to learn more about resolve 19 here's a video about that right there you sweet friend you watch this whole thing let me know that you watch this whole thing down in the comments okay I want to know who the ogs are who the who the best Watchers are

Channel: Casey Faris

Views: 38,973

Keywords: blackmagic design, casey faris, how to, free video editor, tutorial, resolve for beginners, davinci tutorials, editing, fusion, casey faris fusion tutorial, fusion tutorial for beginners, davinci resolve 19, Star Wars, short film, full course, Make A Star Wars Film Scene in DaVinici Resolve - Full Course, VFX, Color grading, Audiio

Id: wH9mgsSDu14

Length: 128min 52sec (7732 seconds)

Published: Sat May 04 2024