How To Get Started with DaVinci Resolve

[Music] how's everybody doing today [Music] it's been a it's been an eventful week [Music] here on the old Daniel batal Channel it's good to see some of your familiar faces there in the chat today I uh wanted to take a minute more than a minute many minutes to talk about um some options here I think a lot of you people in the who are here today and might be watching the replay know what happened on with Fillmore a lot of you are filmora uses suddenly our lifetime license is no longer apply to the new update doesn't mean we can't use the existing filmora 11 but it was a weird punch in the face that a lot of us just kind of took like wait what so what we're thinking here is a a good friend of mine Jay lippman who's been on the channel before who is also a filmora license holder I think he's a lifetime license but also his um his main editing software is DaVinci Resolve and I've said all along I think DaVinci Resolve is one of the best options out there especially considering they have a free version that you can start using right now but it's a very professional level software and for someone who has been using something like filmora and wants to switch it can be very confused using like I don't even know where to start so I said you know what let's bring on someone who actually knows where to start and he can actually get us through understanding how to start using the software and hopefully you know give you guys some ideas a feel of what it is if you want to try it yourself because you can start using it for free so ladies and gentlemen would you please welcome to the Daniel vittel show my good friend Mr J Littman there he is Jake good to see you Belle [Music] in there it's been a while since we've done something like this huh it has it has I'm I'm excited to be I've been sitting here kind of just wrapping up the year and kind of I missed uh missed being on camera so this is yeah this is yeah it's been a long time since we did it um quick shout out to magic flying potato for the 10 super chat Merry Christmas Daniel and Megan and YouTube Jay I'll share that with you coffee's for everyone courtesy of magic flank potato thank you pal much appreciated um yeah we're excited for this too uh Kathy you know I it's one of those things I think you know I'm not going to get off on a tangent about filmora a lot of us had a really great experience with the software for a lot of years and a lot of us are feeling that maybe it might be time to try something else maybe some people are still using filmora if you do and you love it stay with it uh but if you're thinking about moving in a different direction I think that there are other softwares out there that have a lot more capabilities uh DaVinci Resolve being one of them it was funny Jay it was on their website and I was just looking at all the movie accreditations they have right on the main page people have been using DaVinci to do some of their production and I'm just like Thor uh you know 11 Thunder whatever that one was you know it's like all of the Black Widow movie like all these blockbuster movies and I'm like wow they all integrate using DaVinci Resolve that's the level of software that we're talking about today yeah it's uh it's awesome now all those movie credits at least most if not all are specifically color grading Da Vinci resolve uh when it first was released it was just a color grading tool that's that's all it was it cost a ridiculous amount of money it was like tens of thousands of dollars um back then and uh over the years ever since Da Vinci I think 12 they started integrating some editing features and they kept uh they just kept building on it and building on it and now it is uh it is quite literally an all-in-one editing Suite you can do anything that you need to do with just you know a little bit of creativity and and some time to learn the software it it you can I I would imagine that given time um those editing tools are going to start taking place in in Hollywood movies as well not just the color grading but actually as it stands yeah it is it is uh the industry standard for color grading so do me a favor Jay as as always when we go live and we actually hear how YouTube filters our stream your volume's a little bit low now so can you mind popping that up just a little bit more so we can make sure that people can hear everything you have to say how do we sound now that's wow that sounds wonderful you sound more manly not a lot is it too loud is it too much is that good right how do you sound Megan sound good tell us how we sound along the way here folks all right so right off the bat listen what I'd like to do is allow you to share your screen show people what this looks like when they open up DaVinci Resolve and let's kind of walk through some of these things so that later on I will make sure that I Chapter this so that if you want to come back later on anyone watching here or in the replay can find the different portions of how to bring in footage how to cut footage how to um how to learn how to do some train Transitions and you'll be able to come back and use this as hopefully a reference to open up the software yourself and so to say okay I'm going to try this Jay's going to lead me through it so Jay let me uh let me do this let me pull this uh let me pull that right up here to begin with um can you just kind of open up things and show people what to expect I'll get our faces out of here so they can get the maximum experience yeah sure so we've got uh sorry I'm I'm I this is the dual monitor when you're sharing a screen is weird um here we go all right so uh let's open up DaVinci Resolve now it it installs just like any software would install it's going to do all this stuff automatically and you don't have to worry about anything um so that that's pretty self-explanatory um when you first open up DaVinci Resolve you're going to be taken to What's called the project library or the project manager and this is where uh you have a list of all of your open projects here and this is where you can also start a new project so I actually have a project that I need to uh that I need to edit I just did a little Studio Tour um for my Vlog channel so we're going to use that as the example footage for today so you can also let me just go back real quick this is the main screen you can also create folders so if I zoom in here you can see I've got some folders here so you can split it up so I've got uh my YouTube channel YouTube videos podcasts uh I'm in the middle of creating some visual effects products that I'm going to be selling on my website uh some fusion training stuff you can create different subfolders and if I click into YouTube you can see we've got all of my open YouTube videos right here so what we're going to do all right hold on yeah let me start here I'm getting apparently we're here loud now so we're a hair loud like getting a little bit of gain on your mic so just slightly back it off we want to make sure that this is the right experience for everybody if I'm in it it's gonna ruin it but they're gonna have to deal with that so let me start here I want to start really simple yes if you were just now someone who doesn't have anything listed in here yet they just got the software all right they just got the software and they just opened it up they wouldn't have this what would they be looking at in terms of what would be the blank start from a clean slate with nothing what is the what does that look like how do we open a project that has nothing in it just I'm just opening the software yep that's what we're about to do so let's pretend all of this is blank what we're going to do is come down here to new project we're going to click on that and we can give the new project a name so we're just going to call this studio tour and hit create and I think I accidentally oh look at that there's an update available that's another cool thing about DaVinci Resolve is when you open it up um it will automatically tell you if updates are available I'm going to skip this one I'll update it later listen don't mention updates there's a lot of sensitivity worry they're free I promise um so now we're looking we're looking we're looking at at a basic layout right now let me let me see this is what we're expecting this is what's going to open up um we're going to take a look at this thing and say okay explain what we're staring at right here with this default open screen yes this is uh this is the cut page in DaVinci Resolve DaVinci Resolve is split into seven pages so if we come down to the bottom of our screen we'll see oh let's not do that media cut edit fusion and I screwed up on my zoom in but we've also got fairlight and deliver we're going to go through these one by one I'm going to explain what each one of them does but at least with mine um when I ever whenever I open it up it defaults to the cut page so this is what you should see in a brand new project with nothing in it when you first open it up and I will say I went ahead and installed the free version this morning and that's exactly what I saw too I had it on a different computer and I've used it before a bit but I wanted to see right from the beginning set up it actually it I put the free version in and then it led me through a quick check it checked to see if my system requirements would kind of run the software do those things it kind of it made sure all of the proper uh it actually started looking for things like VST plug-ins so it did a little bit of a warm-up to sort of go okay just taking a look at your computer making sure we can do this and that was kind of fun um let me see quick question here we had uh Daniel I keep getting a pop-up here to buy the full version and that is 300 bucks I think there's probably prompts I think I saw I didn't see a pop-up personally they might have one in the free version you do not if there's a let's quickly explained there are two different versions of of DaVinci Resolve there was a free version that has some restrictions limitations that is completely free to use right now correct Jay that is correct so there's a um there is a free version and then there's a paid version the paid version is called DaVinci Resolve studio now all of the basic tools that you will ever need to create a video are available in the free version of DaVinci Resolve so if you're not doing anything too fancy um you can do whatever you know I worked off the free version of DaVinci Resolve for a long time I actually edited an episode of a TV show in the free version of DaVinci Resolve and there's no there's no like watermarks or any of those things that like well is it really free is there what's the catch can I actually make something but it's going to say resolve when I export it across the screen no the the I mean the first year of me doing DaVinci Resolve tutorials they were all done in the free version there's no watermark there's there's nothing there are there's just limitations there are things that that that you don't have access to there are certain I don't know the full list but there are certain um built-in effects that you can't use uh in the free version one of those is their noise reduction in the color page you can't use that anything that is powered by DaVinci resolves AI is reserved for the paid version and the big thing and this is the reason why I would kind of push towards studio if you're working with a dedicated GPU uh when you get the studio version you unlock things like GPU accelerated effects and GPU accelerated exporting which seriously cuts down on export time um so uh basically if you want to take full advantage of your GPU I would definitely suggest upgrading but that's that's a one-time payment of 295 dollars and then you never have to pay anything again well let's the caveat I made sure that I checked the Android User now agreement and they are very clear in the current end user license agreements just like they do in every other software now they do reserve the right to change that down the line they've been clear about that and stuff but people have purchasing not unlike some other companies we have been dealing with but for now have you you bought the license have you ever had to buy another license in any of the updates upgrades we're going to call them to date no no I have not I was just trying to think but uh no you never have to pay I haven't had to pay to update or upgrade to the latest version or anything like that uh when you purchase a studio license you get a license key that's good for two machines um so I have it on my desktop and I have it on my laptop they also just released an iPad version I heard like yeah it just came out I was a tester on the beta and it just came out uh publicly for uh like two days ago I think um and they have again a free version and a paid version the paid version is a one-time fee of 95 and that just gives you this page that we're looking at now the cut page and also the color page I'm hoping that they introduce fairlight which is uh the audio page but right now you get cut and you get color and I've tested it out and it's great for simple videos and even better her for if you're on set and you want to or you're traveling and you would begin and edit you know on and it feels the same the lay it's not like a separate like a lot of the people who may have used something like filmora like filmora had the desktop only version they did have like a filmora go that was an app but it was nothing I remember filmora yeah yeah no this is like you go in there and it's it's da Vinci resolve like there's a couple things that are in different spots just to optimize it for the size of the screen that it's on but other than that like it's DaVinci Resolve it's got the cut page and the color page and everything that is available in the cut and color page on the full version is available in the iPad version right so it's like one of the things um uh Amy Johnson Crowe said so it's kind of like how Photoshop Elements is more of a stripped down version of Photoshop not too dissimilar this yeah there's limits I wouldn't say but this actually I think one of the differences is this really doesn't once you learn to use this it's not like you upgrade to the pro version the studio version and and it completely changes the layout it's just a lot of things it'll still feel the same you'll still feel like you've learned the software it's just suddenly some of the other features Advanced features are now accessible to you is that a fair statement or not that that's that's exactly right and you can still test out some of the studio actually you could test out basically all of the Studio Effects um in the free version you just at that point they put a watermark on the video and and say you can't export it with this effect on it but you can test it out and be like wow that's really cool and uh testing some of that stuff out is honestly why I decided to eventually upgrade to Studio okay so that's the only situation by which you get a watermark is if you tried accessing some of the the the pro the studio level the pro paid level features and you left them in your edit but everything you've but it'll it'll prompt you to go hey you're using that if you want to use that you need to pay you know you can remove that and say like okay I'm not going to use that effect and that would allow you to go right back to exporting with the free version is that without any Watermark that is exactly right yes okay let me see couple questions see let me get this one uh question what's the advantage of using this on my iMac over iMovie for creating my YouTube videos you want to handle that Jay yeah sure um so to be honest and this is going to sound really weird uh but to be honest there may not be an advantage um it all really depends on the types of videos that you want to make I'm a big believer in there is no best there is only best for me and um so if you want to get some more you know iMovie is a very simple editor and it's really good for making simple videos but if you want to get more involved and you want to make more um creative and complicated edits if you want to start adding uh some effects and not just adding effects but building your own effects if you want to really dive into audio and make sure that your video is sounding like good than something like DaVinci Resolve is going to be better than iMovie it really all depends on your goals and and what you want DaVinci Resolve there is a steeper learning curve a much steeper learning curve than iMovie but what you are trading off or what you're gaining in in uh in exchange for that learning curve are the tools and the flexibility to literally make anything that you want to make and here's another that's awesome thanks for explaining that Jay when I was looking at the licenses today the the free versus the studio paid version um uh question of question the Platypus said something that I think is absolutely correct I think I saw that that was one of the things they said uh the free rate version you can run up to 4K and I believe 60 frames per second is the ceiling of aspect ratio and and frame rate um so yes I think that's I think I'm quoting that correctly and then I the the studio version goes nuts it's up to like a ridiculous um you know kind of I don't build that big I don't ever go any bigger than 4K you know you'll never see it I don't either and and very few like a couple of people just to be just to put out a video about it have been because uh you can upload I think up to 8K on YouTube um and people have done that just to be like hey this is what an 8K video looks like on YouTube I think I think MKBHD did it once but but really like most people are not going to go about 4K and and by the way that is that is export that is the export limitations if you have 6K footage that you want to edit in DaVinci Resolve in the free version you can you just won't be able to export that any larger than 4K is that the same thing that's true with um frame rate let's say I took a 120 FPS piece of footage that I was trying to do super slow-mo and then I slowed it down and it was only going out it's 60 frames when I was done I can still do all that stuff inside of the free version yes perfect yeah yeah as far as footage that you bring in there really is no limitation they both support raw video uh which which is great so if you're shooting black magic raw like I do on my main camera then you can bring that in and then you really get some cool stuff that you can play around with but um yeah it you there are no limit rotations to the footage that you can bring into DaVinci Resolve all those limitations are on the export side fantastic quick thanks to codiations for the Super Chat uh good sir Merry Christmas glad you were able to make it I'm glad you were able to make it here too as well my friend thank you for the Super Chat so let's try to move right through this I want to make sure people can can get as much value as possible so here's the window that they would be looking at when they opened the software we're in what they call the cut page now let's say okay the first step what everyone thinks about is I want to bring in a piece of footage that I filmed how do we go about doing that well I would actually back up one step there's one step before that right the first thing that the first thing that you're gonna do is is make sure that your project settings are so oh yeah let's do that project show us how we do that so there is uh there are a couple different ways you can get to project settings you can come up here to file and go to where is it project settings there you go so there's your project settings we'll come back to those in a second the other way and the way that I usually do it is to come down here to this little gear icon and that will also open up your project settings now there is there's a lot to go through here I I'm going to kind of go over what I typically set up here but you've got your timeline resolution so this is a Ultra HD or what most people refer to as 4K so 3840 by 2160 if you hit this drop down box I mean you got a ton of different presets um all different kinds of aspect ratios and and just so many things so is that also where like if can we pull up like if someone was doing a short can you go to a 9x16 yeah so here here's a really cool thing they actually just added this in DaVinci Resolve 18. so let's go ahead let's say we're going to do a short we'll do uh where is 1920 by 1080 okay so here we go we got this little check box here use vertical resolution it'll automatically swap it oh that's cool yeah the brand brand new brand new in DaVinci resolved you just set the aspect ratio and it swaps it by itself that's fantastic yeah it's it's yeah it's really cool um so there we go we're gonna go back to 4K because I just I just have to do 4K there we go can't upload 1080p um you can a pixel aspect ratio don't even worry about that it's Square by default just keep it on Square uh you can set your timeline frame rate again tons of different options all the way from 16 up to 120. um I typically stick with 24 playback frame rate um just keep it the same as your timeline uh it's it's just why would you have a timeline frame rate different than your playback frame rate um video monitoring so this is what's going to set uh these ear settings for your actual playback monitor within DaVinci Resolve where you watch the video that you're here hey Jay do you have a did you say you have a zoom key to go in a little closer I do and I keep forgetting to use it so here we go Chad is asking we're trying to be responsive to the chat just so they can see a little bit better here we go video uh so video monitoring this is these are the settings for the actual you know screen that you're watching the video that you're creating and I typically keep mine at 1080p 24 frames per second just so I have a little bit smoother playback um although I just swapped out my GPU so I could probably go up to 4K but you just have a bunch of different options here as well just keep the frame rate the same as your timeline and your playback frame rate um and then you can do whatever resolution you want lower the resolution the smoother playback you're gonna get typically unless you have a a you know super optimized computer um and that's pretty much all you have to change uh in this page right here that's your basic project settings that most people are used to they know they're going to set the aspect ratio the frame rate uh bit rate things like that so that's right here you can do that either upper left or lower right corner with the gear icon this is the first step get it set figure out what what the Project's going to be what what aspect ratio what resolution and then you just click what okay saved yeah once once you've got it all set you've gone through all these menus and set up everything then you click save one pro tip I'll give real quick the fairlight menu here this is your basic audio settings um I would YouTube by default once is looking for around -14 lufts that's how loud they want your video to be if it's louder than that they're going to compress it and if it's quieter than that it's going to stay quieter than that but then all the videos you know before and after they watch your video are going to be louder so uh Target loudness level I would put it minus 14 lufts that way when we get to audio mixing you can make sure that you're normalizing to the correct level and your video will be loud enough for YouTube so yeah we apologize that this is still a little tough to read on the screen it's just I can zoom in more I think we're not seeing the zoom right now so the zoom's not looking through on the screen share oh no yeah so it's just one of those things that's all right that's that's fine um so listen but the the idea here is we we really want to build this in a way that you when you open up the software you can kind of follow along and you will see these things on your monitor and you can sit there and go okay he tells me look at the screen so we apologize with some of these Advanced softwares there's more features there's means there's more buttons that means the text is going to be a little smaller quick question while we're there is there a way to increase the display of the software itself uh not within the software you'd have to go into your display settings right okay um yeah uh but but in the software itself as far as I know there is not a way to do that okay um let me stop interrupting here that's okay so yeah you you go through there's a whole bunch of stuff color management that is stuff that's just leave that alone until you're ready to like really dive into color grading um but yeah you got color management General options uh all sorts of stuff here um one thing that I do want to talk about is proxies real quick sometimes especially if you're working on a lower powered computer you bring in footage it doesn't play back right and then you have to generate proxies you can set your proxies in here in these Master settings if you come down to optimized media and render cache you can set what kind of file you're going to have uh you know has a proxy prores will be an option if you are on a Mac the closest equivalent to that on Windows is dnhr or DN yeah dnhr so you can set all your proxies in here and then once we actually bring some footage in I'll show you how to create the optimized media and it'll it should work a lot better and I think that's one of those things that he noticed coming from something like filmora where it just said like turn proxies on turn proxies off more in-depth level of talking about the type of proxies that you can build the type of files uh type uh that you're using so just more more of the same kind of same thing anyone who doesn't know what proxies are is it just takes the footage that you're using in your project and it sort of makes a a a copy of it but at a much lower um a lot less information let's put it that way in it so it's not forcing the does it would you say it's a compression ratio how would you better explain a proxy it is what it is um playback has a lot less it has a little bit to do with resolution um but it is mostly the compression on the file that determines how well a video is going to play back the more compressed a file is um the more power is going to be required by your computer to uncompress it and get it ready to be edited so most consumer level cameras film in a delivery format which is h.264 h.265 there's a considerable amount of compression on those files an editing friendly format is something like prores or dnhr which has a lot less compression so you can actually theoretically depending on your computer I could play back a 4K dnhr smoother than I could play back at 1080p h.265 file yeah it's it is it really compression is like the the big enemy of playback okay it's like it's like you're it's like your software is always trying to um interpret the language right that's exactly what it is like speaking Russian it has to turn it back into English and it's always doing that one extra step instead of being natively going oh I can just I can just read exactly what's in front of me so that's the thing with proxy files a lot of people who might be trying this and go I tried this on my computer but it didn't run really smoothly I was having hiccups because I have an older computer one of the things you can do is set the proxy files up so it uses these lower information um restrictions on the footage it'll it'll allow you to edit just like it will and what happens is on export it'll use the full um the full files that you original files is that the way it works or you tell me um when you create this is so hard to explain um because that's kind of the way that filmora would do it it would just set the proxies but it would only use them during the edit on the export it would switch to the original files that yes that is exactly right so the the proxies are um they're they're connected to you know they're dynamically linked with the original files so so on export you know it goes okay I know we've been using kind of some squash down files that we can handle a little bit easier but when we export don't worry we're going to use the full the full you know project files that you originally had brought in that is correct yes cool all right so now we have this let's say we get to this point we've got a project set we've got the basic stuff whatever settings a 4K project we know the aspect ratio we know what the what the frame rate is we know that we've got some proxy files set up and all those things what's the next thing we do how do we start bringing things in and go okay well I got a project set yeah we start building something so there are a couple ways to do that uh when you're done with your settings just hit save and there are a couple ways to bring in your footage the way that I prefer to do it is in the media page and and I'll tell you why oh hold on give me one second here I'm in a dual screen workflow and that is just going to confuse everybody there we go oh so that's one thing that you know quickly I'm going to keep changing things right yeah that's one thing that people aren't used to is this actually in DaVinci Resolve you can split out the screens right you can have you can separate things so that you can have maybe like the preview window up on one page and doing something or maybe one of the other panes or one of the splits doing on the other side so you're using more than one monitor to actually work the system tell me how that how that works out yeah so the uh so DaVinci Resolve has the ability to use dual screen now this isn't in every single page there are a couple pages that are only single screen so like the cut page for example you can't do dual screen so if you switch over to the cut page and you're in a dual screen workflow it'll automatically cut it down same thing with the deliver page where you export everything it's gonna take a dual screen and it's gonna bring it down but everything else media edit Fusion uh color and fairlight can all be used dual screen um and as far as like moving things around you can resize the windows um so you can resize and this is in every page you can just kind of make every section bigger or smaller but you can't actually really move things around what you can do in the edit page so we'll go to the edit page real quick um and we'll come into workspace and you can do dual screen you can also if you're doing dual screen you can set your primary monitor which for me is Monitor one where did I go where I lost it there we go so dual screen turn it on right and right now you can only see one of my screens but this is where I would do all my editing this screen right here on the other screen is where my media pool is it's where my edit index my edit history is all my effects and all of that stuff are in the second screen and then you've lost me already yeah I know let me just so you you're so you're so you're so uh you're you're so fluent in this so if I'm sitting here let's start right with that original that original window that we were looking at which was the cuts the cuts the content yeah okay so we're here this is where we're starting this is the default page and we say I just want to take find my footage on my computer and bring it into my project right so what we're going to do is we're gonna come over to Media all right let me get out of dual screen real quick all right we're in the media page the media page is the best place to organize your project and bring your footage in for a couple and for reference that's the tabs along the bottom we had started on the second one that's marked on the bottom and you went back to the first as media right I went back to the first DaVinci Resolve these Pages down at the bottom down here are set up in basically in order of operations so you start which is weird that they don't start it off when you open it up on the media page I don't know why but you would start with media that's where you organize your project you bring your footage and then you move over to cut cut is basically where you do your rough cut it's where you figure out what part of each clip is going to go into your time running stop running over the horse with the cart here let's let's let's start with that page bring something and show me can I bring something do I bring footage in here can I bring like I'm using images pictures if I'm using sound what do we start with the basics is that does that all happen here that all happens here so all right bring something in for us step one step one is we're going to create a couple of folders so we can keep our footage organized right so we're going to come down here this is our bins we're going to right click and hit new bin and we'll just call this footage if I can actually type correctly [Laughter] and then we're going to create another new bin and we're going to call that audio so they use the word bins but is it a bit like a folder you're just creating like subfolders that you're going to bring things into it is exactly a folder yes perfect it is it is just a folder and then there's other different types of bins we'll talk about that later but um yeah so we got footage we got audio and for good measure just to keep things really organized we're going to create a bin for timelines you can have multiple timelines in one project again we'll get to that later all right now we're ready to bring our footage in the cool thing about the media page is it connects with all of the files in your computer so this is basically the file explorer in your computer right here you don't have to go outside or drag and drop or or anything oh so you don't have to hit file and then search and then find that it's right there it's like looking at right there I love it so all of the footage from eye open projects are on my D drive in progress videos Vlog i title all of my uh my Vlogs like Friends episodes so this is the one with the new studio and we've got footage here so I've got a-roll and b-roll and here's another cool thing let's say I've got my footage organized into a-roll and b-roll I can take this bin or this folder bring it into my bands just drop it over footage it's going to ask you if your frame rate is different than your project settings it will ask you if you want to change the frame rate I don't and there you go we've got a-roll click b-roll here and drop that into footage and there's all my b-roll and then we'll come up to audio and this is going to be my music that I'm going to be using and I'll just drop that into audio and now all of my files that I'm going to be using for this video are in the project that's awesome so so you've got a nice organized section right here from the media page we've brought in all those different things and if you were going to do maybe there was some some static images some pictures or something you're going to use so you can create an image folder the same thing our image bin yeah you could bring folders of whatever any individual files or or complete folders and put them all in those bins so everything's going to be nicely separated in that lower left section we're bringing them in from up above upper left is finding the stuff from your computer lower left is these bins where we're going to bring stuff and organize and make sure we have it all set for this project is that correct that's correct and there's a ton of stuff you can do in here you can change the metadata you can add labels and notes to each of your Clips you can create in and out points of different clips and create sub Clips like you can do this is basically um the pre-production version of editing this is where you do all of your preparation in this page and the bigger the project you have the more preparation you're going to do but anything you need to do to prepare to edit can all be done within the media page okay so you don't have to a lot of us are used to using things like you know like a lot of us are coming from filmora and we would do things like well you bring it up then they do have some options but most of the stuff was done in the timeline we were bringing things down and then cutting them down in the timeline but here we have this media section where if we want to we could spend a little more time like reducing I only want this clip from that piece of footage and things like that and relabeling things and getting everything prepped so all the instead of having a messy kitchen we have all the ingredients laid out is that fair yes that is it that is a very very apt metaphor yeah that's that's exactly it this is your this is your preparation page cool all right so real simple stuff you just brought in some very simple things you brought in some audio you brought in some video clips so now that we have just this you have like some music background what would be like the next step for a lot of us is okay I brought a few things in I got that without having to learn every button on this page what's the next step that I go got it in there now what's how do I start a project how do I now put this into some kind of a timeline and just start trying to do something with it yep next step is we're going to head you can head either to the cut page or you can head to the edit page now both of these are great for cutting footage you're going to get a lot more flexibility in the edit page which is the page that we're on right now um a lot you're going to get a lot more options you're going to be able to like separate the audio from the video do you know J and L Cuts all the all the fancy stuff if you want to go fancy you want to use the edit page if you're doing Simple Stuff where you just want to run through and do a rough cut or something like that the cut page is great for that especially if you get if you want to to show my camera real quick Daniel um I have a tool here that was specifically made for the cut page this is The DaVinci Resolve speed editor uh and and this is literally made uh for the cut page it works in the edit page as well but it's got a bunch of different shortcuts you can do multi-cam with it uh you you can set in and out points you can do all of the things and if you have this and you're using the cut page you're just going to fly through and edit it's it's amazing I can't remember how much it is but you're just showing off now I am just showing up this is my newest toy okay I'm gonna show it off I haven't even made a video about this yet and it specifically is designed to work with DaVinci Resolve so it's a it's like a it's an actual keyboard I mean it's a controller designed to do really fast workflow stuff yes yeah it is specifically for DaVinci Resolve so we'll get there we will get there we'll get there so now we want to start cutting footage before we have to do that we have to create a timeline okay so right now again we're in the cut page which would be the that's the second the the default page it opens up to but we've already put stuff into our we went to the first media page tab whatever you want to call it brought in our stuff we went to the second one this is that basic where you said you could do the sort of basic stuff now tell it so now what's the next step how do we do we're creating a timeline I'm used to having just the timelines there and you just put stuff in it yeah we we have to create a timeline and like I said you can have multiple timelines within a project uh which a lot of people like to do especially like the Multiverse uh yeah it is um well you can have different versions of each edit you know you have the rough cut in one timeline and then you can copy that stuff over to a new timeline and refine it a little bit and then copy that stuff over and do your editing on another timeline if you want like you can just have it safe so you have all these different versions of your edit so you can always go back yeah see for like for filmora users like us we'd have to save that version then like copy and then you have different saved projects whole projects not different timelines you'd have to be like yeah I did this in one version but I resaved it and made some different tweaks so I have it'd be complete project so this is great this is just right in separate timelines so show us how to do separate timelines so okay so we're going to open our timelines folder because our timeline's been sorry let me use a correct terminology here sorry I'm throwing you off yeah that's all right uh and and we'll just right click create new timeline and we can give our timeline a name we'll just call this main because it's our main timeline here you can designate the number of video tracks we'll just uh I usually start with two video tracks and we'll say two audio tracks which we'll use for dialogue and since we're using them for dialogue we're going to change our audio track types to Mono and we can choose to either use the project settings so it'll be a 4K timeline 24 frames per second or we can uncheck this box and we can change the format we can turn it into a vertical resolution timeline so if you're going to create a video and then make a short out of that you can copy the main timeline and then create use vertical version in the timeline settings and you're already set up to do a shortcut so now could you do you could do could you literally have like 16 by nine regular um you know widescreen timeline going on and a separate short so like in one Pro in this one thing you go no I'm making my short and my in my regular video at the same time yeah so here we'll we'll do that right now no no don't take me too far down that rabbit hole I will get lost it's super easy it's super easy I promise so what we're gonna do is we're going to create our main timeline right so this is our main timeline and for whatever reason they didn't put it in the timeline spin so we're just going to do that okay and now we'll create another new timeline we'll call this shorts uncheck use project settings come over to format use vertical resolution and now we're in a vertical resolution and now we've got our main timeline and our shorts timeline okay so now when you're clicking back and forth you're not going to see both of these at once you would see whichever one you have activated exactly and that is indicated by this little red check mark here in the top okay so so seeing that most people are probably going to start you know just by trying to bring in their 16x9 footage I'm not trying to insult any shorts people out there if we were on you would click on the 16x9 you've now created that timeline it's now activated we see the red arrow in the upper left now how do we start bringing footage into this 16x9 project so we're gonna come over come back to our Master Bin here so this is this this up here ax sorry I went over to the wrong screen uh this acts kind of like the file path on your computer so right now we're in the Master Bin which contains everything and we're going to click into footage okay now it's Master slash footage so now we know we're in the footage we're going to start with some a-roll right and here we go now the cut page has a lot of tools there's a lot of stuff to do in the country let's keep it simple talk about three year old here because I am when it comes to this so the the first thing we want to do is get our footage into our timeline the easiest way to do that and the most like it is in filmora um is to just take a piece of footage from the bin and drag it on to your timeline there you go okay and then what we can do is we can scroll through all right I'm going to start this clip right here right and what we can do is we can come over there are a lot of different tools here but you can use keyboard shortcuts there are a ton of keyboard shortcuts in DaVinci Resolve the most common one for cutting footage is Ctrl B and there you go we just made a cut and we're going to delete this piece of footage and with the cut page one thing about the cut page is it automatically Ripple deletes so if you are cutting a piece out of let's let's say we're going to make a cut here and then we'll scroll down a little bit farther and we'll cut here if we want to take out this middle piece it's automatically going to close that Gap that is one thing that you need to keep in mind in the cut page is that now is that something that's taught like I'm trying to address the fact that we probably have a lot of filmora users who are used to turning that on and off in the cut page it's going to do it by itself Always by default and you can't change that Ripple delete that that is correct okay so that's why I would say if you're doing something like a vlog Style video um I I would just use the cut page for a rough cut I would just bring it in I would cut out the usable pieces and then move on to the edit page and to be clear right this is the default thing there's the next one that that that the default page we show in the cut page it's the very rough stuff this is the one you said for Fast and Furious kind of stick it together this is this is what it's going to do and and the next tab over I'm not I want to get deep into what was the third uh page called the edit page yeah so that's the edit that's where you'll be able to have much more controllability that's where you're diving deep into how you you know arrange your timeline correct exactly so um so like I I typically just use the cut page like I said rough Cuts I don't even put the music in in the cut page it's just I run through the footage I don't put the b-roll in it's just running through the footage finding the usable a-roll Cuts getting a rough timeline together um because it's it's really fast especially if you have that speed editor that I showed earlier it's just it it's really really really fast cool one quick question here now I'm looking at this and I'm wondering if people are seeing the same thing I'm seeing the timeline that seems to be at the bottom sort of a familiar thing for any video editor but on top of the time like I can see the playhead right in the middle of the footage but above that that narrow band that separate separates it from the preview window and the bins up top it seems to be a smaller narrower version is that also is that the is that the full timeline what am I looking at here tell me what those two large section and smaller sections are okay that is a very good question and I was I was you read my mind because uh this is a very important part about the cut page so in filmora and in most video editors you're used to if you want to like get a really good look at what you're editing you zoom in on the timeline to your piece of footage so that way you can make more accurate cuts and all that stuff and then if you want to see the whole timeline as a whole you got to zoom out right usually there's a keyboard shortcut to do that but either way with the cut page that's that's gone um the cut page you have two different timelines you have your zoomed in version down here and this is where you make all your Cuts right and this is where you can see like the the details of your edit you can also and then this top one is the bird's eye view timeline so let's go ahead and I'm just gonna I'm just gonna throw a couple other pieces of footage in here um and you know what we're going to do can I do it no I can't do it in the cut page um what we're going to do is we're going to click on this piece and we'll um we'll we'll just throw it on top here this top one is always going to be the zoomed out version of your timeline so is that the entire project the narrow one is start to end of what you have what you physically put in there so far yeah this is this is you're always going to be able to view every single video clip at once here so that way the way that it's set up is if you are you know you're you're working over over here on this piece of footage right but then you want to jump down to the end of your timeline to a different clip you can just click on here instead of having to scroll all the way down and now you're closer to the end of your timeline so it's just a quicker way to navigate exactly quick question we got an honest question coming from the chat here major question does a hundred dollars I assume they're referring to the filmora cost Justified months of learning a new software and its headaches plus the hours and hours of downtime figuring out edits or watching cringy video editing tutorials um first of all I take offense to the fact that you think Jay has cringy you have not seen his channel he's he's only slightly cringy at moments yes exactly but here's the thing here's one of the things I want to sit I've stuck with filmora for years and years and years very specifically because it was simple it was easy and it did what I needed to do to do for the kind of edits I was making one thing Jay said earlier is just that it may not be right for you maybe you can do everything you need maybe you don't even need filmora maybe you can do it all in iMovie what we're talking about here is I wanted to give people uh an alternative uh software and not just an alternative that was similar to filmora because if you like filmora by phone Mora what I wanted to give you was an alternative that's a much higher tier pro-grade level software so the investment in learning this software is it's probably going to be one of the last video editing softwares you'll ever need to learn regardless of how you advance over the years it has all of the things not even I mean feel more not to not feel more it does what it does very well but Fillmore has a lot of things I used to hate like there was no ability to do things like put like a special my own custom VST effects on my audio I couldn't add reverbs that I wanted to I couldn't bring in compressors that I wanted to use or if I had noise Gates and things that I wanted to use I couldn't do that this software does all of those things and more and it's the industry standard for color grading it's better than anything it's better than Adobe Premiere Pro better than Sony Vegas but any of the Final Cut Pro this is the kind of this is the kind of software that not only can make great edits but you can I mean you it's it's the industry stranded even in the movies they they use this software to get the color and the look just right so this is a really a higher tier thing that people were like look if I'm gonna jump off that cliff and learn something that is going to take a while what's the right one I think this is the best option most because you can download the free version and you can just start using it right as opposed to Adobe that's subscription based every single year you pay again and again and it gets expensive and I was trying to give people an option for pro level affordability uh and someone right here in my good friend Jo can actually show us how to use it if that makes sense but good question fair question it is and I agree with you and you know as far as like do I learn DaVinci resolver honestly the only reason why I would and and do I do I do still know how to use Adobe and I do still have a creative uh Cloud subscription and I still have well I don't have it installed but I have the ability to install Premiere Pro whenever I want is because occasionally I will do freelance editing work and sometimes the client that I'm working with is you know mandates that Premiere has to be used you know so if you're not in that like if you want to make professional look ing videos creative videos you want the flexibility um of professional software and you have no intention of ever like working for somebody else then I would say DaVinci Resolve is the way to go uh because it has everything you need um the only reason why I have Premiere Pro is because it's technically you know in the freelance world in the commercial world it's still the industry standard when you're talking Hollywood then you're getting into Avid and all sorts of crazy stuff but um but yeah and I think that just to be clear here the reason we're trying to give people um you know when you change it's exactly that the hours it takes to learn something to get down the rabbit hole I said let's come let's approach this today uh from the point of view of someone who might have been using Fillmore and they're probably making YouTube videos and they just want to come over and figure out how do I get started because you go from something that was basically you know it was a go-kart and you get put behind the wheel of a Ferrari and you know there are a lot more things going on and if we just we'd want to simplify it so that people can download it for free try it on their computer get it set up so it can run and just go home try it yourself bring in a piece of footage play with it cut it and and use this as a guide to decide if it's the kind of software you might want to continue learning on or if you want to try something else yeah exactly all right so from that point on we've talked about so now you're telling us this is great we get a bird's eye view of the entire timeline and a close-up version below it as we're scrubbing through and what are you using to move the playhead around are you clicking somewhere what's getting it or using keyboard shortcuts as you're scrolling through the timeline there's a couple different ways to do it uh the the most um the most common way especially in here is to just take your mouse and up near where the time code is on the timeline you can just drag and that'll scroll through you also have the uh Infamous I think this was a thing in filmora um uh it was jkl I think I usually I usually could just click into the timeline and use the arrow keys would take me through the timeline yeah so the the arrow keys you can use the arrow keys um and that you can uh you know up and down will bring you to like the beginning or end of the clip and then right and left will be frame by frame gotcha playing you can either do spacebar there you go or you have uh jkl now I prefer jkl and here's why so Jay plays the content backwards oh wow K pauses l goes forward now if you want to listen to it let's say you got a long video talking head videos they suck to edit because they're you just gotta sit there and watch and watch and watch and watch if you want to go through it quickly you hit L twice oh boy we didn't hit it again filmora oh wow faster and faster yeah so it's like super scrub you can just scrub right through it and actually find the thing at like two three times speed yeah and if you hold down k l oh is this the slo-mo version yep or wow K and J we'll go should if my keyboard yep will go backwards in slow motion backwards that's awesome and one thing I should say that you did that I just want to make clear one of the things in in filmora and we're we're creating extra video tracks and extra audio tracks you did a thing I saw you do that you just grabbed the footage brought it down and dropped it in the timeline above your other track and it created automatically created another track that's is that what you typically do when you're putting something into another track or is there also another way to go I want to add three more video tracks or is there how do you actually approach that so you can do that I was going to show that in the edit page okay where it's going to make more sense but you can do you just uh actually I'm gonna have to show you in the edit page okay but typically in here if you're going but if you're kind of roughing something out you go it's going to be three different tracks let's say there's going to be like you know a bunch of different layers you got three different video tracks you just grab it drop bring it down to the timeline and drop it above the track that you're currently on yeah just realized I was on the wrong my mouse was on the wrong page again I keep trying to click on the screen share okay [Laughter] so yeah so you can you can right click uh and hit add video track okay um and it'll just add another video track or um let's delete that track you can just drag here and it will will it not oh maybe it won't say I never do this in the cut page oh is it because all right you already have two tracks there it's trying to stick it in there I did it on the first one so in general well because I I started remember when I set up my timeline I started with two uh video tracks gotcha so I I try and predetermine how many tracks I'm gonna need gotcha so in this case scenario if we started using the cut page and let's say we wanted to add a few more tracks that would be down on the left just right click is it right click right click at the track head and hit add video track okay now with stacks on top that we're kind of used to that from for more users and then you can bring something and drop it into that track yes okay um now one cool thing we're not going to go to and we're not going to go deep into this I just want to show you one tool in the cut page that makes it super super fast to work with Okay what we're gonna do I'm just going to uh real quick I'm going to delete this real quick up here there's a couple different ways to view your footage okay right now it's in Timeline mode so this monitor is looking at what's ever in the timeline there's also Source clip where it's going to look at whatever video clip you have selected in your media bin and from here you can set in and out points which I think were a thing in filmora and then when you drag from this into your timeline it will bring only whatever's in between those in and out points into the timeline let's and then and this is something that not a lot of filmora users actually use because it was tricky to figure it out but what you're saying is if there's a clip up in the bin the upper left where your media is and you say it's an 18 minute clip but you don't want all 18 minutes down in your timeline and then try to cut it down you actually click on it the you change the view to what are we calling that view the this is Source clip Source clip it puts it up here in the preview and you can say I just want pre-select this portion of that clip and then when you bring it down it'll just bring that section yep so let's do it right now let's um we'll just do a quick example here so let's say I wanted to start my clip here here I'll go uh keyboard shortcut for endpoint is I and we'll do an out point there wait did you hit o I did hit oh I was out got it yeah pretty self-explained sorry another reason why I love jkl because if you have your fingers resting on jkl on your keyboard I and O are right there whoops I accidentally tapped it um so we'll do I and we got our Oak Point already set so um and just quickly I saw you could actually drag those in and out points once they're up there yeah you can drag him if I wanted to keep this longer I can drag it out and it'll give me a zoomed in view of the audio perfect waveform down here um so I can really decide yeah because I'm a huge I I edit by looking at the audio all the time like I don't listen to when something stops I'm like I look at where the waveform ends okay that's the quiet Point you're gonna You're Gonna Love a really cool uh a really cool thing but it's really just a speed editor thing but it would convince you to buy a speed editor I guarantee you'll have to convince me to spend money all right so yeah we have a selection here what do we do next we have a couple options we can drag it into the timeline that's quick and easy we also have a couple different ways we can put it into our timeline so we've got smart insert smart insert will place the video in between the nearest cut to the playhead so if I had two video clips in here right uh let's actually do that real quick we'll put yeah I was just going to say that show this in real time right and we'll put uh we'll just let's let's put a piece of b-roll here okay and footage all right a-roll let's say is this where my yep here's where my in and out point was right let's say I wanted to place that in and out point in between these two pieces of footage right but my playhead wasn't quite where the cut was what DaVinci Resolve will do is it will figure out where your nearest cut point is and if I click the smart insert icon it'll automatically put it in between those two pieces of footage oh nice yeah um so you can do smart insert you can append uh which will just place your selection at the end of your timeline you can do Ripple overwrite which is a little hard to explain and I never use it and you'll probably never use it so we won't worry about it um this is the close-up tool which I'll show in just a second uh you can place the footage on top of you know whatever clip is already in the timeline or you can buy on top do you mean it would add it to another another to another video okay so okay yeah so if I just come over here hit uh uh place on top it just added it do a new thing um and then the last thing you can do is just source overwrite so it'll it'll just it'll replace the footage in the timeline basically okay do I have a lot of options there a lot a lot of options but just that at the end of the day we're just talking about how to take the media on the cut page um get it ready bring it down into the timeline looking at the cut page which is very rough not the fine tuning and stuff so the fastest way to do it is either the drag from that Source or just hit append or if you're working with b-roll or something do place on top yeah that's pretty that's pretty much it um one other really cool tool is let's say you have a talking head video you know if you're on the talking head portion for too long it gets boring people leave this is very important for YouTubers and something that I use all the time let's say I wanted to change the camera angle here but I only have a single camera if I hit this button here this is the close-up tool it's going to place a five second clip same clip here and it's normally in a regular talking head setup it would punch it in to about like 1.2 or something like that and it would automatically change the position to keep your eye line uh create so just basically automatic punches to your video so it's almost like a close-up like it does it just it jumps to a crop and then make sure that it's centered so instead of spending all that time cutting it and going cut it and then shake a crop and zoom tool and zoom in and go I need it to be this is a One Click Boom this section I'm gonna just change I'm just gonna zoom in I'm gonna crop it I'm gonna get a closer cut of that footage that's already in there yeah wow yeah yeah and there's also a boring detector well that would be going off a lot with me yeah all of these little gray highlighted Parts in the timeline yep um I have it and I'll show you this there's a little icon over here with some z's if you click on that and edits longer than six seconds are boring so you hit analyze and it'll go through your timeline and any parts of your timeline if a clip of footage is longer than six seconds long it'll say hey it'll highlight it and say something needs to happen between here and here wow so the video where was that C2 show me where that was where was it top left of the timeline just top left gotcha yep it's right but right yeah I see it perfect right wow that's awesome yeah so all the things that like you know the the some of the the easier software they don't have all these features so you think well it's easy to use some of these easier using features but the amount of steps it takes to do something like that either we don't have these features or or you have to sort of go through a lot of steps to figure things out and like actually watch and listen and you know this is fantastic yeah so the cut page has a lot of stuff so typically my general workflow quick overview I do a rough cut I go to the edit I uh refine the rough cut put in all my b-roll all of that stuff and then I come back to the cut page and I use that boring detector to see where I need to do uh you know use that close-up tool to change the camera angle or maybe add an extra piece of b-roll or maybe a graphic you know or something like that um and that way I know I'm keeping the timeline moving at a a good pace and then I move on to color and audio and all that stuff so okay let me ask you to do something for me here okay so I think we're all kind of getting what the cut page does I love it it's sort of the the Reader's Digest version of putting your timeline together right so just get it in there stuff it in there you can tweak it later an average person I'm thinking is going to say I just filmed my footage yeah I didn't film a million things not that YouTubers don't do that we do that all the time if everyone knows heavy projects but simple I filmed this one thing I'm gonna bring it in let's pretend it's a talking head if you cut it up into a bunch of pieces and you got rid of I think you've shown us how to do all of that delete yeah can you put together a quick timeline I don't care if it makes sense just take a piece of footage in a single track cut it into you know whatever 12 pieces whether they make any sense or not bring it into the timeline as one piece of footage and then kind of yeah just cut it up quickly and so that we can take that and then move over to the next step and talk about well what if I wanted to put a transition in what if I wanted to got it what if I wanted to tweak it and get more detailed with the the way that goes together all right let's start it let's go Bare Bones here one one video track here uh where's my long this is it so I actually uh for whatever reason I don't know what possessed me to do this but when I filmed this Vlog uh because it was just in one room and walking around pointing out different stuff in the room I I filmed it all as one piece of footage basically that's nothing wrong with that quick question where's the proper place to download DaVinci from it's actually a is it the Blackmagic design is that the actual blackmagicdesign.com on the support page okay there you go perfect um so I am going to real quick we'll we'll just act like I'm using real keyboard shortcuts it's all the same stuff from using um I'm gonna be using Ctrl B to cut I'm going to be using uh backspace or delete to delete footage and I'm not going to mess with in and out points because we're already in the timeline so it's just going to be cutting and deleting yeah some Quick Cuts let's pretend it was someone looking at their footage and they're like let me get it let me find the right lines just yeah hack it now I'm gonna yeah I'm gonna use I'm gonna use my um my speed Editor to get it through it quickly so it's so fancy yes I know so here we go we're gonna go ahead split the footage and uh we do need so normally you would have to select it and uh and then and then you would hit delete um with this speed editor though split split and then you don't even need to there you go boom wow split and here's the thing that I said would convince you Daniel uh you can hold that as a button on the speed editor called Trim in so you hold that down uh when you can slide right to the next thing oh you don't have to go flying through your timeline find where you start talking again that's so cool yep and so we'll just go and uh oh lost my place there we go boom and we'll just do split and for the purposes of saving time we'll make one more cut and split and we'll just delete the rest of this boom okay there you go right nice so now this is a very typical thing where someone would bring their footage in we fought we know how to do that all we know how to get it in the timeline we've now cut everything out that we don't need we've got the pieces of well this is do you threw it together but this would be piecing that together so now from here someone says okay those are very just very rough cuts of I took out I found the lines that I wanted to use this is it now how do we get to the next tab is called the I'm sorry the next page edit page edit page so and this is where we can dive a little deeper yep so at the very bottom you would then click the next page at the very bottom yep and that's right show us some magic there edit here we go so this the great thing about the edit page and the cut page is anything you do in the edit page will be reflected in the cut page and vice versa so these are all the exact cuts that we made in the cut page all right here um from here you've got a lot of different options this is where you can separate audio from video right so that is something that I like to do now they're right now it's automatically separated to unseparate them there's a little chain link here and you can select that and now they're connected and they move together no matter what if I turn that off oh I can just grab the audio move that around and let me move the audio to a different track and we can do maybe some J and L Cuts here let me zoom in on my timeline real quick so J and L cuts for the people out there and we've talked about it on my channel is just when sometimes you want to have like the last words or something from the previous clip still being finished out while you start the next the the video and or audio of the next clip a lot of times we do that on YouTube edits where it's like you're really trying to keep a fast pace and maybe the last s of the word is trailing and you want to get right back into the next thing and have it fast paced easy way to do that have anything like uh and and show them why they call that like right there that's what we call a j cut and if you're wondering why they call it a j cut is because it actually if you look at how he pulled the footage in it actually draws the shape of the J the two short pieces and then and then it goes over to the left to do that I'm sorry this would this would be a yeah this would be an L cut I'm sorry I'm gonna take it backwards you would look at the top piece right there yeah and you pulled it over so the top video and then the lower audio attached to it the lower audio is longer to the right so if you go straight down and over it's an L cut that's because that's that L is it's trailing that audio from the first clip over and it makes the shape of an l and you can do the opposite of with that too if you depending on your perspective but yeah this is really cool this is kind of what we know this is familiar to uh to a familiar filmora user Yep this is this is going to be a little bit closer to what you know uh in filmora um so yeah so the timeline uh timeline Works actually remarkably like the filmora timeline you can move audio around um one thing is like let's say I wanted to bring this piece of footage up it'll automatically create a video track um if you wanted to add another track you can hit add track which will just automatically add another video track or you can hit add tracks and you can actually let's say I wanted to create not 13. dear Lord uh that's unlucky yeah three new uh video tracks and two new uh yeah audio trick so this is similar to in in Fillmore they have what they call the track manager and does it also say it's a little hard to read you wear those tracks of putting it above or below a certain track you can assign where so if you wanted to add three tracks above track four or three tracks squeezed into above track one and two you could you could assign where they're gonna pop those new tracks in yep exactly and then we can also choose for audio tracks whether they're going to be mono stereo 5.1 5.15 you're only going to need to do stereo and mono people unless unless you're doing Hollywood stuff right you know um so you know mono or stereo uh for this what we're going to add to for you know sound effects and music so we're going to keep those stereo perfect and we'll do add tracks and there you go we've got our two stereo tracks so now if anyone's just looking there it just uh the other tracks above it now is that why we do we sell those video tracks disappear they just hire in the timeline right now or yeah they're just they're up here so you can it's out there oh that's an interesting way it displays though so it's holding the one of the things we're used to in film or this is an interesting difference you may not recognize because you don't use filmora as much as you used to we did you use it a couple of times if you move through the filmora timeline everything moves like when you go up you go you the the audio tracks disappear below and you're going up you're literally climbing a ladder this is actually holding the audio tracks separate and then you're SP you're able to scroll through the video tracks without the audio tracks moving is an interesting thing yep and same way let's say I had like 15 audio tracks here I can scroll down the audio tracks on the video would would stay still where were you clicking to do to differentiate from from where you're scrolling uh either on your video it just depends on where so right now I'm hovering in the audio section there's a bar here which unfortunately my zoom in isn't working right but basically if your mouse is hovering in the audio section and you start scrolling you're going to be scrolling through the audio tracks is that correct and if you bring your mouse above Into the Blue video tracks you start scrolling you're going to see your video tracks move ah okay and there's also scroll bars on the right so you can click and drag oh perfect oh love it that's awesome okay so in this situation this is all kind of familiar stuff thank you so much this is really helpful so let's say we're doing some of these things in between those clips like if you you have a bunch of Clips put together if you wanted to do like the next thing like I'm not going to go crazy I would just like to put a dissolve transition in between these two how do we do something like that uh there are a couple different ways so DaVinci Resolve and there is a way to change your preferences here but DaVinci Resolve um has some kind of default Transitions okay um so let's say I wanted to put uh transition right here all I would need to do is mouse in between those two clips right and they'll be you'll see the mouse icon kind of changes too yeah I can see between the second and third video clip yep yep if you right click what just happened that was weird right click you I can add a two frame cross dissolve I can add a four frame cross dissolve I can add an eight frame cross dissolve or a 16 frame cross dissolve so let's say I just want to do an eight frame crust is off and now if we play and there it is now can you adjust how many frames is a way to drag that yeah so again mouse over the edge okay another very familiar thing to filmora users they usually find the transition up in a separate place but we're used to stretching them to make the transition happen longer or shorter so it's very similar thing here in in resolve exactly cool are there other transitions that are presets that that you can oh boy oh my friend okay over Let's uh I'm gonna get rid of my media pool for a second so you guys can see it a little bit better but over here this is your effects Library uh there's a lot of stuff in here um I also have extra stuff in here because you know I've gotten plugins and presets and all sorts of stuff over the years but uh and and honestly I've had some of them for so long that I don't remember what's default and what's not um but if we come into video transitions just click on that we've got dissolved transitions we've got Iris transitions which are you know oh yeah here's the cool thing if you want to know what a transition will look like um you just have to Mouse over it and it'll preview it for you oh wow on your own footage too that's awesome on your own footage too yeah so we've got a bunch of Iris ones uh motion so and you're not clicking you're just mousing over it and just moving the mouse and it's showing you what that would look like in the spot in the timeline that you're at is it in the spot that in the timeline or is it using the previous two clips or something ah good question Daniel as that is a great question and I use and I used to know the answer to that but in general if you're gonna yeah it doesn't really matter but you can see how that's going to affect your footage very cool it looks like it's too different right okay now let's say you just put a dissolve between the second and third clip let's pick something that you might want to use something cool and if you wanted to put it between the first and second clip how would you do that same thing just come over here uh let's say I want to do let's do Edge wipe I like doing Edge wipes when I'm doing color grading tutorials to show the before and after okay so and it's a drag and drop it's a dislike grab them drag them drop them in the timeline yep and then if I play it there you go so um now this actually is a great segue because I don't like the way that the edge wipe acts normally where because it typically wipes if I go frame by frame wipes bottom to top I typically like doing left to right gotcha let me introduce the inspector this is going to be your best friend oh boy so the inspector is where we change the parameters of whatever is selected in the timeline okay the inspector can be found in the top right corner of your screen you can activate it and deactivate it by clicking inspector in the top right corner of your screen so I've got this piece of footage here right now we're in transition let's go to video and here is where I can Zoom I can change the position I can rotate I can change the Anchor Point I can change the pitch and the yaw and I can basically do whatever I want for the most part here um I can crop that's actually so fast for for some of us who coming from filmora we're used to we'd have to like right click on the footage in the timeline choose the individual thing that we want to have happen like I'm going to crop and zoom and it would open the crop and zoom window you'd have to set all the things then say okay and then close it out this is all in the upper right you're selecting the footage and all of the options are right there you just you just go okay I'm gonna start I'm going to change all these things and you don't have to keep opening separate Windows to do it it's right there in the upper right yep and if I if I take it too far like I obviously did here um and I just need to reset it back to zero there's a cut if you want to reset an individual setting you just click over that so you just double click over that setting so let's say I want to reset the zoom I just double click on the zoom and it goes back to one uh position back to one or if I need to do reset all of the transform settings there's a little uh like Arrow clock thing here yeah the refresh the refresh clock goes back to zero nice reset the crop all that stuff um this is also where you can change your uh composite mode which is a little bit more advanced basically um let's just for basically uh it's kind of like in Photoshop you know you put one thing over another thing and you want to make it overlay or screen or add yeah and for people who use filmora they call it compositing as well it's it's like the transparency the trans you can you know if you have two tracks the one on top is blocking the one below but you want to see a little bit of below you pull back the comp composite so you're doing that right and it's probably here it probably has settings does it have blend modes if I would yeah that's that's what the composite mode is is the blend mode so you have add color color burn all that stuff right and then you can chain right below that is opacity oh fantastic um you can do speed change um now some of these are may or may not be available in the studio version or in the free version um but you got speed change so I can change the direction of the footage if I wanted it to move in Reverse I can do that uh if I want to set a freeze frame I can do that and it'll basically make it cut and turn the rest of that length of that clip into a freeze frame okay stop here for a second because again filmora uses when we would do a add a freeze frame it would actually insert it and extend everything so like in in film or if you're in a clip and you say hey right click add a freeze frame it actually decides to preset about say you know whatever up two seconds it'll add a freeze frame and move the entire um everything in the in that project forward and insert this sort of a gray bar inside of the footage here what is it doing when you say you add a freeze frame is it turned everything for the rest of the clip as a free frame freeze frame or yes okay yeah so basically wherever your playhead is that's where the freeze frame is going to start and then once you set a freeze frame it's going to stay a freeze frame until the end of the clip can you halfway between where it started the freeze frame and the end of the clip could you decide that's where I want the freeze frame to end you kind of need to make it uh make that decision before you set the freeze frame so let's go ahead and we'll just re-uh how do I oh hey good old handy dandy control z um undo so let's say I just wanted from here to here to be a freeze frame yep I just come back to the beginning of that selection and hit Freeze Frame and it's just going to turn that whole selection into a freeze frame so okay so you're using the parameters of where you cut it and to decide how long that Freeze Frame will be exactly cool very cool yep so what other kind of things like okay so here's some basic stuff this is stuff that people do every day they want to know how to put their footage open up the software get their footage in get their audio and get their images and get them in the timeline start adjusting things putting in some transitions um that kind of that really straightforward stuff let me see um um I'm gonna I'm trying to stay up with the chat too if there's some questions um let me see here oh Jay's battery exhausted that we've lost them oh no we never gonna use you again Jay you just have to speak over this um there's a cable man there's a question here from I'm gonna pull up this question from Amy Johnson Crowe when you're in the free version is it obvious what features aren't a part of it because she'd hate to edit something using premium features and then not discover that to export is there a way to see that do you know that J off the top of your head the do you need a minute to get yourself plugged in uh I can I can talk and plug at the same time you are a multitasker my friend I am this is the difference between a guy who's used to using DaVinci Resolve and multiple pages and Fillmore uses like me that are like hang on shut everything down so the the I don't think there's a way to tell before you add an effect but as soon as you add an effect that is only available in the paid version you'll get that watermark in your uh on the video and it'll do a little pop-up and say this is only available in the paid version you can preview it but you mean when you add it to your project not on export does it immediately add it in there yeah no immediately immediately yeah so if you tried something you said let me what is this you bought let's say a transition I'm not going to say that that's the truth but let's say there was a transition that was a paid transition for some reason if you brought it in it would immediately throw a watermark up and let you know hey that's a pay a paid feature yes okay cool good question Amy uh okay let's see we should be good now it's showing that the past we had a quick question there someone asked if if DaVinci Resolve has the capability this we'll see if you have the answer of this one oh Megan's asking do we have someone in the room oh my goodness can you edit 360 footage in DaVinci Resolve foreign I feel like the answer to that is yes but I've never done it okay so I don't know for sure with a few extra things you could do it in Fillmore you had to use a third-party software so I'm sure it's got to be the same thing if it's not native yeah I I think I think you can do it in the fusion page um but I'm not 100 sure okay Jerry happened to throw in there he said when you hover over the effects themselves you'll get a pop-up too if you probably wouldn't you've been using the pay version so long you're like I don't remember I don't remember that at all but that's what Jerry thanks Jerry that's a great tip there that could be new since you know I upgraded it yeah yeah I mean I upgraded to Studio in version 16 and we're now on 18.1 so yeah I think a lot of us are going to be learning the um um learning along the way a quick question we got here from um droning Western on arrest in Australia the other thing they have um in Fillmore they call beat detection where you can bring in an audio track and if you're going to try to edit to it it listens to the track and drops markers on the beat batteries I lost my battery again yes um yeah that's fine um I may just have to put a new battery in uh um no that that is not a thing in DaVinci Resolve so that is um score one filmora yeah there is there are a couple things in in DaVinci Resolve or that aren't in DaVinci Resolve that are in some of the more um the entry level mid-tier not even I wouldn't even say entry level or mid-tier I would say the more content creator Centric software right the definitely Fillmore was always built to be push button right like tell me how to do this easy like I don't want to have to even that's what a lot of people liked about it was don't make it hard do the work for me do the heavy lifting some of the stuff we're getting into here with this software is like you know it does sort of assume along the way that you know how to look at a waveform like the beat detection is cool and I've used it a few times but in general I tend to know I know how to look at a waveform and go that's the beat yeah and I'll find and I use markers I'll put markers in my timeline and go that's the marker I want to hit that's the marker I want to hit um because even beat detections only kind of get you close to the ballpark so great great question though that's I I edit the same way you do like even if I had the option for beat detection um I I wouldn't I wouldn't do it yeah interesting um okay quick question coming from the chat from people who are used to using filmora do you need to render at all in DaVinci now in Fillmore you would have a render button that would go through when it would you know render the files not export it would just apply like a rough mix to the things that are in your timeline to optimize the playback uh do you have to that depends on your computer can you have a render feature yes it does okay that was my next thing where is that at so that is you know my favorite place to use that is actually um on some of the more problematic uh some some of the like third-party like drag and drop titles that I have um tend to lag a lot so what I will do is I will I will render those as kind of separate videos um but what we'll do here is uh we'll just do it with a video clip let's say I did a bunch of effects to this clip and now it's lagging and blah blah blah blah um what I can do is right click and hit render in place and now I can choose my video format same as choosing your optimized media in the project settings so let's say I want to do a dnhr 444 12 bit which is what I usually do include video effects include Fusion composition include color grading effects and you hit render and then you just choose the folder I actually have because it does create another file on your computer um so I have a folder specifically for my render and place files and then I just hit select folder and it'll render it out and then I'll have the optimized version in my timeline um and we'll be good to go that's cool for a couple of reasons one because one of the things is when we do that in filmora it also has a file that it pre-decides where the render files go this allows you to put it where you'd like here really quickly and for more you have to open up preferences and go through a couple of clicks but you can render out just a portion like in filmora it's basically goes from beginning to end and if it needs rendering it starts at the beginning and just renders through you can say here's the trouble spot this is where I got a lot of crap going on I just want to render this area of my timeline because that's the hiccup and you can actually just do those sections yes um there's a there's a caveat to that like yeah so I can't like let's say uh let's say all three of these clips here were one big massive spot right I couldn't like I could highlight them and do the render and place thing but it wouldn't like render out one single clip it would give me three Clips which I guess is a good thing if I let's say wanted to make these just one single clip and do a render in place the first thing I would have to do is right click and do new compound clip and then I could give it a name like uh I don't know intro and I would hit create and basically just combined all those clips into one big one and then I can render this in place and have an optimized version of this so real quick question for people who are used to using Fillmore what if you wanted to render the whole project how would you go about rendering everything you have on on your screen you just select everything and hit render um no that is a setting up in the top menu you would come to uh playback and this is where you can say like if you have proxies that you're working with you can there's lots of stuff you can do here but you can choose to disable all your proxies prefer proxies if you have them or prefer camera Originals so that's where you can set up that timeline proxy resolution this is going to uh basically determine um are you playing back at Full Resolution half or quarter resolution yeah people used to filmora users are used to seeing that on on the upper right under the preview window yeah and now uh to answer the question render cash is where we're going to find how to render the entire timeline so you can do it's never really going to render the entire timeline by default um there's a couple different options here you have none smart or user user something that you set up in preferences smart basically DaVinci Resolve is going to determine how much power is it going to take to play this part or this clip back smoothly and if it if that length you know exceeds a certain threshold it's going to render that clip automatically that's cool oh that's nice yeah I like I like that you're not waiting for an entire sometimes in filmora you change you change one thing and it throws off the entire rendering of the whole project you have to go render the whole thing again just because you moved or you know like you added something to the timeline and it could change everything so this is much more um it's much more Precision right it's um surgical in the way it's doing it the only time that is going to happen is if we are doing what we did before where we dragged in a clip um where we dragged in a clip you know and then cut it up in the timeline if DaVinci Resolve determined that that clip needed to be rendered in order to play back smoothly then every time you make a cut it's going to re-render gotcha all right and it'll just keep doing it ahead of time all right quick question here I want to make sure we keep this moving as much as possible very obvious things that that most users are going to do one big thing that I think is missing here and you mentioned it earlier titles if we now want to add some text over our edit here that we have going on we've got things laid out nice we've got some transitions going on we've got all kinds of rendering figured out we know how to do that we want to add some titling and some text how do we do that Jay uh that can be done in the effects Library if we come down to conveniently named titles let's go all the way up these are some basic titles here uh that DaVinci Resolve has built in so you got a left lower third a middle lower third a right lower third uh scrolling scrolling text same thing if you just Mouse over it it'll do the thing yeah it shows you what it does I love that and then there's regular old text just a regular text thing and then there's text plus that gives you the ability to uh just kind of add some umph to it so we'll we'll do one of each so let's do uh let's do a basic text right basic title here and is this much like um people who use filmora know that pretty much whatever fonts you have loaded into your system your computer most for the most part get reflected in the software is that true of DaVinci as well that is yes that is true cool um so let's go ahead and select our text here and again in the inspector because our inspectors where we adjust the parameters of whatever is selected in our timeline now we can change our text to uh this is a stupid title and inspector our window in the upper right that's sort of when you select that thing in the timeline the inspector like in filmora anything you click in the timeline opens up like a deeper dive in the upper left here if you to click in it uh in the timeline it's opening up the inspector which is the same thing deeper dive into that component that asset in the upper right yep now you're not go it's not going to open it so if you don't have the inspector selected and you select text it's not going to open up the inspector does it do it if you oh it does if you double click though so there you go so you'll have to double click the thing in the timeline to automatically open the inspector cool um but yeah you can change your font again mouse over the font and it will preview it automatically so we'll just do that one um if there's different font faces like you know italic bold all that stuff that's you can change that here you can change the color so you can do a predetermined color or you can do whatever custom color you want and uh you know basic stuff size tracking which is the space in between the letters again you can reset all of that stuff one of the things that filmora had historically didn't do but Fillmore Pro did can you rotate this stuff on its axis the titles the text ah yes yes not that we usually do it in in um because you can you know this regular spin but can you do the Star Wars effect can you rotate them on their axis so they fold back or or you know left to right X or y-axis not this particular text this is just basic text okay so if we wanted to do stuff like that come here we'll grab a Text Plus and at first glance it's going to look the same right but um we can do a lot more with this so we're uh let's go ahead and select this is a smart title uh all right so again we'll just um why not we'll do that one and keep choosing ones that don't have a different font face um we'll we'll go with yellow why not and again same stuff size tracking you can change the anchor the vertical anchor here uh uh no that was the wrong one um where is it Direction horizontal reversed horizontal so yeah this this is where we start getting into some cool stuff so we can do uh reversed horizontal so if you wanted to flip the text you can do vertical uh reversed vertical we're just going to go horizontal here line Direction top down bottom up uh we can do right on so okay key framing should we talk about keyframing real quick yeah give us a quick example of a keyframing something so this is like text keyframing yeah so let's say and basically anything can be keyframed okay let's just put that anything in DaVinci Resolve almost can be keyframed uh position Zoom anything but let's say I wanted to do kind of a quick write on effects here right so let's say we come we're at the beginning of our Title Here these little diamonds next to each setting are keyframes so we'll set a keyframe and let's say I wanted it to come to be right there it'll automatically set a new keyframe when you have a change oh so the minute you move the playhead and you made a change in the title it dropped a new keyframe in there automatically exactly gotcha now let's say I wanted to do a write off as well what I would do is I would move the player hey tax season's coming we need all the write-offs we can get exactly God tell me um I'll be here all night uh move the playhead to where you want the write-off to start and then you click that diamond again it'll set another keyframe move it to the end and write off and when you play back very cool and then it disappears real quick question what if you wanted to move keyframe can you if you want to keep frame not just it it being written but let's say you wanted to have it like move across the bottom of the screen the entire complete sentence roll into the screen and then maybe roll back off um is there a way the keyframe the positioning on the uh you know in the preview window and moving around and have a keyframe that way 100 percent so let's go ahead and you know what I want to do I'm going to do something really cool uh uh so what we're gonna do is we're actually kind of go over there's a bunch of different tabs here so you've got your basic text tab right which we've already talked about we've got layout and this is where we can start doing what you talked about so let's let's do this all right we're going to start right here and is this all are we paying attention to this the where the playhead is at when we do these things are those two the only reason why I had the playhead where I was is just because I needed uh text to be visible on this oh so you could grab it yeah right so let's go ahead and move back here and we're gonna set a keyframe at the position that we set and now let's just go to right here we'll reset our Center which should set another keyframe did I not set a keyframe at the original position yeah I might have missed it well that was not cool Jay you're supposed to be an expert here I am an expert but no look at that okay there we go set oh and if you accidentally create a keyframe you didn't want to create uh you can navigate your keyframes uh there's little arrows that point that show up uh on the other side I had a similar thing there was the keyframe and little tiny arrows that are hard to see and that'll move you from the next one to the next one left to right yep like I totally didn't there okay here we go now we're gonna do what we wanted so if I did this correctly this is going to play and we're gonna roll in we're gonna slide in from the right as it's typing on oh cool and then disappears yeah all right well listen I I we covered a lot of ground here today and and so much that it's become pitch black midnight where you're at yeah right from this point real straightforward kind of stuff I I dig what's going on we can talk all day about this from this point let's say this is the project we've got it I've got it edited I had my text I got it caught I got my transitions I got my audio all where I wanted it to be how do we export this thing export easy we go to the deliver page okay deliver page down the bottom very last yeah okay very last page very last one um and you've got a lot of options here they're uh there's so many options and they are people think think like a YouTuber here I know it's hard for you with your with your videography you want to think like a YouTuber I mean like just what exactly you want to go quick and dirty yes YouTube preset let's do uh YouTube 4K uh you can choose a different Whatever video Codec you want uh so your your choices your choices in the free version I think are just h264 and h.265 um because I'm on the studio version and I have a new 4000 series Nvidia GPU I also have av1 um but I'm pretty sure h.264 and h.265 will be the option for most so it's the h.264 uh type go Nvidia it's just basic settings here encoding profile Auto Base main high high 444 I would keep it on auto for most people which audio track do you want to it's going to default to your main bus audio codec is AAC and you can choose to upload directly to YouTube so you can create a title in here you can create a description in here if you've already got a thumbnail made which Daniel will tell you is a very good idea have a thumbnail made before you make the video right you can select upload thumbnail oh wow you can actually all at once it's uploading not only this is your videos but your title your description and your thumbnail this is brand new at DaVinci Resolve 18 and and this is really cool let's say I had markers through all this you know what let's let's real quick let's real quick just just to give an example uh hit M for marker which I think is pretty Universal if you hit M again while you're still over a marker it'll open up a little dialog box so you can uh name that marker so we'll just call this beginning hit done let's go uh let's go to the middle here we'll hit another marker we'll call this middle and we'll just come down to the what is this doing all the way out here we'll just call this and done all right come back to the deliver page so we're uploading to YouTube this is a video you can type in your description like my son wrote it and chapters from markers so it'll actually read the titles of all your markers it will create chapters and put them in the description of your video oh wow uh if you have multiple different color markers in your video so like let's say you have red just to remind you that you need to put b-roll somewhere when you come back to it later but you use just blue markers for your titles you can tell it all the uh all the the chapters are going to be the uh blue markers oh and when you upload it you will have your chapters in there um which saves a ton of time so yeah you can you can upload you can set your um you can set your visibility private public or unlisted uh you can even choose the category film animation Auto and vehicles all that stuff that you usually have to choose you can choose all of that right here and you uh add to render queue oh I didn't choose a path Where I Was Gonna Save the the hard copy of the video oh so it's saying hey before you so before you upload it to YouTube we also want a place to save the entire video is it doing it simultaneously no it's gonna render it out and then it's gonna upload okay um so we'll just uh save it there and yeah it'll add it to the render Cube queue and you just hit render all and it'll start rendering it out it'll upload it make sure we understand the language here by render do we mean export export okay render is export yes very cool one quick question there's another thing a lot of people like to do sometimes and filmora finally get around to doing this recently is allowing people to export just a portion of their timeline if you're going to do a snippet of something um how is do you have the ability to export markers and go I only want to export from you know 30 seconds into 60 seconds in uh yep um so what you would do uh that's the whole purpose of there being a timeline in the deliver page uh you can let's say I just wanted to render out the part where this title is what I can do is hit I to set an endpoint o to hit an out point and it will render all the parts of my timeline so Ino are our favorites when we're trying to find in and out points and that's going to be our export it'll only do what you just did there and I'm assuming you can grab those up above where the arrows are and slide them to yes and then what you would do so this this one right here this is going to be my whole timeline so what I would need to do is we'll just do this Untitled to and then when I add it to the render queue this first one is going to be my full video this second one is going to be just that section and to render all of them I need to select both of them so I just hold down shift and select the ones that I want and then I hit render all and it'll render this one then it'll render this one oh wow so it's really in filmora you'd basically have to do the thing export and if you wanted to do a different version you'd have to come back and change the settings and go oh I just want to do a section this is actually creating a cue that says like I'll do this first but then I also want to do a different action and then after that do a different export action and you can actually put them all in line getting ready to do their things and once you select them and say render which export and in language like me it'll start exporting all of those different actions based on what you've told the software you wanted to do yep love it man that's awesome that's now I know there's some other tabs in here quickly I don't want to I want to get I want to keep this digestible there's a couple other Pages yes correct yes that we skipped over like the audio page can you quickly show us the audio page so people who might want to do something with the audio they can control it eqs or anything like that yep so here we go Fair light is audio that is the uh uh first I guess second over from the right it's got a music symbol it's kind of hard to miss um music note sorry what did I call it a music symbol uh Let Me Clear My in and out points here okay so here we actually have you have heard Daniel use this term a lot talking about Reaper this is a fully functional Daw or doll digital audio workstation so basically everything that you can do in Reaper you can do right in with it right within DaVinci Resolve um which is really cool it supports VST plugins uh and you can do all the things you can um and you can do them all at the track or the clip level so let's say I wanted to put some EQ on this entire track I select the track oh I can relabel the track if I want but I select the track I can come over into my mixer and I can go into Dynamics which is this yellow line you just double click opens up Dynamics turn on a compressor play around with your settings do your makeup gain boom you can also do EQ across the entire track which is very handy for talking head videos where you have one audio Source on one track or even one audio Source on two tracks you can copy settings between tracks or you can actually create sub mixes to bounce all of the dialogue for those two tracks into a new track also very useful because like in filmora if you had a bunch of different audio clips there was never a good setting in the master controls to go I want all of these clips to you know they're all I cut my voice up but I want them all to be you know this EQ you could you'd have to EQ one then you'd have to copy the effect and paste it onto all the other ones but this is controlling everything on the track you're applying this to like a true mixing console anything that could that's on this track is going to get affected this this way if you choose to yeah this uh fairlight both fairlight and fusion were both um external apps so these were these were different softwares different companies that Blackmagic design Acquired and then integrated them into DaVinci Resolve the real question though did they charge more or did they just add it into the software it's funny like the the was that a shot across the bile that might have been but no the funny thing about Blackmagic design remember when when it was just a color grading tool it was like a I don't remember I I it was a ridiculously expensive like system yeah you know and the longer they've gone they've added more but now it's you know a one-time thing of 295 you know um it's it's it's really cool but yeah you can you can do every anything you want you can add plugins you can um like I said create sub mixes this fairlight when it was a standalone thing it was literally built for video post production so here's where we can add we could you know EQ connect compression get everything leveled out change the tonality we could add Reverb to stuff all those can happen right here in the audio page uh the audio page yes audio page what's the other there's one more page in here that we didn't touch I believe uh there's two two more pages we did oh okay don't we'll we'll save the best for last so let's go to let's go to let's go to fusion fusion is scary this is the thing that everybody runs away from okay uh this this is keep it simple for us here Fusion is visual effects it's compositing just like Photoshop is a compositor um the biggest difference is where Photoshop deals in layers and after effects deals and layers uh Fusion Deals Deals in notes um but basically uh well if you don't know what compositing is compositing is basically putting something on top of another thing and playing around with it so it all looks like it's one thing um that that and and that's what Fusion is for we'll go ahead we'll do something super simple okay just to show you real quick media in is the clip that you're bringing in to Fusion media out is your final result you have two monitors monitor one I usually have whatever part of my composite I'm working on media out or the second monitor is usually my current final product okay I have one question though now when I'm looking at this how do I know what I'm looking at from that project let's let's start here we're going to go back to the edit page okay I want to do something I'm going to delete my transitions real quick it might help if I zoomed into my timeline uh uh and also my brain is starting to not like me there we go let's delete my my transition here okay let's say I wanted to put just a big black circle over my face right uh there's a couple things I can do I can select the clip and just go into the fusion page and it'll do that but it sometimes gets a little wonky the best way to do it if you want to work with something infusion you select it in the timeline you right click new Fusion clip and it'll turn it into a fusion clip and then if it's selected and you go into the fusion page and now you are looking at the clip this clip is this is basically the the timeline where where in that clip you are this clip is 37 frames long all right so I've got my original which I'll put in here how did you how did you just put that in the first window there are two little dots okay right below the node or you can select it and just hit the number one and if you wanna in number two then you just put it number two okay so you just select it pick one or two and it'll put it in that screen it's probably easy for dumb people like me very that's the easiest that's that's the easiest day yeah that's the easiest thing you're gonna do in Fusion all right here we go we're gonna do a super simple composition black circle over my face okay so let's create our black circle easiest way to do that really from where we are is with a background node which don't be confused by the name you can use background notes for anything this toolbar here has a whole bunch of commonly used tools and this first one just happens to be background so we're going to go ahead and we're going to drag a background node onto our little note area okay does it matter where you put that in the node area no okay but so this is it a bit like running cables though you can kind of put them anywhere you want but trying to keep something structured is probably a good thing to do yes and there's a very easy way to do that if you just right click in an empty area of the the node graph you just go down to arrange tools to grid and now wherever you move it it's just going to snap to the grid oh nice and it's going to be much easier to keep it connected Okay so we need to see this uh we need to make our black circle out of this black or out of this background so what we're going to do is Select our background we're going to press the number one on our keyboard and you see we have a black background um we also need to place this background over our original footage it is currently just kind of floating there in The Ether it's not connected to anything what we need in order to do that is a merge node a merge node does exactly what it sounds like it merges one thing to another thing um easiest way to select a merge node or to create a merge node grab the thing that you want in the foreground there's a little uh Square on the right side of the nodes you just select that drag over to the square of the thing that you want in the background and now we've created a merge node and if we Mouse over these little orange and green arrows that nobody can see because you're it's too small but uh we can see that our original footage is going into the background of our merge and our black background is going into the foreground of our merch so effectively even everything we just saw there is you just took a layer of black and put it over everything yes okay and now because I sneakily saw it in the chat somebody said is can you mask yes you can um and that's what we're going to do to create our Circle okay we're gonna grab another node okay so to create a we're going to create a circle out of this black background we need to mask it in order to do that we select our background node and we can come up here and there are a few different ways of creating masks we can just create a basic rectangle mask we can create an ellipse which is also called a circle which we can also turn into an oval basically it's a round mask uh we can do a polygon mask which is you can make a bunch of straight lines that connect to each other or we can do B spline which will kind of round it off naturally and and whatever we're going to do super simple ellipse and it already created a circle mask we can resize that mask we can just come up into our screen here and we can grab any one of these edges we can change the shape or we can with that mask selected we can come over and we can make it a soft Edge in our inspector so you have the inspector in all of your pages so that's really cool we can change the center of our mask right here the width the height the angle you can keyframe all of that so if I wanted it to spin I can bring my playhead to the very beginning of the composition keyframe the angle and get one more frame oh nope one frame back and I can just spin it spin it's a minute spin it spin its minute and now if I come back and I play I've got a spinning black circle I saw that in early Star Trek episode so let me ask this question Jay so really simply because these are nodes so you get each little element that you're doing here right and you see here's the here's the in and out basically to begin with you had two screens you had like this is what it is um unaffected and then the second one was the the final output does it matter on either because you got like sort of like uh on each one of those nodes it's like a DOT at the beginning on the left side of it there's a DOT on the right side of it how do you know where to connect each thing like how do you know what's an in what's an out like where how are you making those decisions when you bring something in because I noticed when you brought the first thing in the first what do you call it a background node it was like you grabbed it on the right hand side and attached it to the right hand side of the very of the number one image I was like why did you choose the right why did you how do you know which side to touch and grab and pull things from so on the right hand side of every single node uh by default so if I disconnect this real quick by default when you just have a node floating there in The Ether there is a square on the uh on the right side that is your node's output every single node has this um this is your so what we're doing is we're basically just connecting the output of our background node wow so the output of our media in node which was our original footage and it will create a merge node and do this so what's happening is uh it is connecting the output which is that white square that's on the right side of every node to the input of a merge node the inputs are the triangles the outputs are the squares and each color triangle represents something different so the green is foreground the Orange is background and blue is mask gotcha that'll take a little time for me to learn to get it like Smooth if you if you can't remember you can just Mouse over it or I think if you hold um is it shift if I hold shift and drag no there's a keyboard shortcut if you hold something down and drag it over a merge node it'll kind of just pop up and ask you which input you want to use but you can also just Mouse over it what's interesting is it's almost like Plumbing right we're so used to doing from what you just do it it's almost like no you want the water to go from here to here to here to here here and then back out so it's almost like a not quite exactly like that but a bit of Plumbing like you're rerouting the way the signal goes goes through here here and then goes out and I think if you can get that that in your head as you're just interrupting the signal and putting something in there so that before it ends up being the final product we're going to divert it and have it go to the mask or have it go to a color or have other things happen to that stream of what's happening on that clip yeah there's yeah it's exactly it you're creating a pipeline you know um and you can do all kinds of things with it and you don't that's going to be a much deeper dive but that's cool I think you could probably get lost in this this is probably one of those things like you'll you'll probably spend more time mastering this particular page than you will like a guy like me who has an audio background I'm not afraid of mixing and I'm and most of us in here are used to bringing in video clips and doing that in a timeline so the cut page will make sense the more detailed media page am I remembering the names right yes would make sense um but then when we get into this is what was uh so the fairlight I would understand but what's the name of this page again this is the fusion page the fusion page and this is where you're getting deeper into this node-based system where you can create a lot of visual effects that are happening in your project yes and again we're we're talking into not industry standard tool but industry standard workflow the industry standard for visual effects compositing in Hollywood is an a software uh called nuke and nuke as a node-based compositor yeah I think that a lot of us have been using these sort of like filmora type things where they're very you know Point click and it's not very deep functionality but it does it quickly this is going to give you a lot more depth and control but there's a bit of a learning curve that comes with it yes what I like is that you know what what you've done here in the in in this project actually looks exactly like you do in real life look at the camera look at the plaque on the face I think it's a it's a perfect reflection of your real life situation I'll give everybody a quick tip if you really like want to dive into fusion um if you come into your effects panel if you come down to the am I in the no I'm in the right one okay yeah here we go let's go into oh DaVinci's not okay there we go um if you go into templates Fusion you can you got a ton of stuff here like uh let's say we'll do something super easy like a color wheel if you drag the color wheel template into your your node graph oh is that not that's not what I thought it was hold on let's try something a little bit more okay I'm not gonna look too deeply into it basically if you if you go in to here there are some templates where it's already just a bunch of nodes mixed together and if you just kind of dive in and start picking it apart and seeing what each node does it's a really good way to learn fusion and okay can you create can you silly question like you just did this can you create this fuzzy black node system and save it as like your own preset custom node yes uh so if you did something once you go I can save that because I use that a lot in my edits I tend to do this thing and it would be great whatever that might be like a block coming up that you wanted to put I don't know behind text or something like that yeah you can you can do that in Fusion you can create you know lower thirds and awesome all sorts of stuff that you want to do um and you can yeah you can do all that stuff it's kind of uh a pain in the butt there's great videos about it on how to save those things um to be able to be reused and but uh but it's it's kind of it's an evolved thing that I'm not going to go through yeah I don't know um I do want to talk to you about because we'd be remiss if we didn't mention this is the color grading that was the last page that we hadn't gone into yet there we go we're saving the best for last all right color grading fun stuff let's go to a clip that doesn't oh yeah by the way uh real quick thing very important to know about DaVinci Resolve is order of operations okay you'll notice that when I click over to the color page I've got that black dot on my face and that is because DaVinci Resolve processes Fusion before it processes color so anything that I do in the fusion page uh will be affected by anything that I do in the color page is it from left to right is it literally every page is in order from left right at the bottom it is literally from left to right okay if you follow from left to right you're good you organize rough cut finesse cut visual effects and compositing color grade audio done but there's nothing stopping you from like um bringing some footage in color grading at first then going back and adding effects is there other than that color grading might change the uh would have changed the the overall color grading of any effects you add yes okay so the black thought would be color graded when you added the black dot because the color grading comes after yes gotcha yeah but um so there you can create empty Fusion Clips in the edit page and so if you're gonna do titles or Graphics or anything like that I would always suggest creating them in an empty Fusion clip uh that way you are not going to affect them with color grading if that makes sense show us some of this simple most of us coming from filmora had very basic color grading stuff I mean and this is next level stuff so show some people some basic stuff looking at the footage uh understanding the histogram just kind of looking going what does this actually do there's a lot of buttons for color grading there are a ton of buttons uh in color grading okay so thing that you need to know about the color page it is again node based composite or not compositing node-based color grading okay so you actually split this up into steps uh and you can do a lot of really cool things with it okay we're gonna do a basic color grade of this clip right here and what we're going to do first order of operations we're going to do a basic contrast white balance saturation first okay we're going to do it on this node here so we have this note selected let's go ahead now there's a couple ways to do contrast you have your basic contrast slider like this okay double click on it to reset you can also if you want use curves we have color curves here so a very famous type of curve is an S curve where you bring down Shadows raise highlights just a little bit you can even raise those blacks if you want just a bit give you that nice understanding from a lot of people who have they've just started adding curves to filmora from left to right when you're looking what you're seeing here left everything to the left much like an equalizer everything down to the left would be darker or the lower stuff and then everything to the right would be your your brighter tones you know so you're going darker mid and the high light tones left to right when you're looking at this what you're calling an s-curve in those Peaks correct exactly yes um so we've got a nice little curve here um now with color grading uh there's an amazing two amazing colorists uh DaVinci Resolve uh on YouTube that I would highly suggest checking out the content one is Darren mosten the other is Cullen uh can't talk Colin Kelly um and Colin Kelly kind of gave me my my biggest lesson with color grading which is always do broad Strokes first okay so we're going to adjust we're adjusting our contrast we can adjust our exposure a little bit we're a little bit too Overexposed here I think so we're going to bring down our exposure and where were you just clicking right there for the explosion okay so these are color wheels sorry I got I got lost in my own workflow that happens here too fast for us uh see these are color wheels color wheels uh are exactly what they sound like they're they are wheels that are just the color uh and exposure of the different we'll call them luminance ranges lift gamma gain in other words Shadows mid-tones highlights um so and then you have offset offset adjusts the entire thing so if I wanted to put a purple cast over my entire image I could do just put purple over my entire image if I wanted to adjust the exposure of my entire image I use the offset wheel okay and that's that little wheel slider down underneath there's a wheel slider down underneath that's exposure this is color I'm going to reset my offset wheel um left is Shadow so if I wanted to put a little bit of teal into the Shadows I use the color wheel to drag put a little teal into the Shadows if I want to put a little orange into the highlights I go over to gain put a little orange into the highlights now I've got myself a little teal and orange color grade nice okay so we're looking at those color wheels it's Shadows mid-tones highlights and then sort of the offset is like the master that's everything it's affecting everything all at once exactly and then you've also got temperature tint contrast uh pivot has to deal with contrast um you can set your highlights uh your shadows color boost which looks like saturation but isn't saturation and that's just a whole different conversation uh well what about something simple like white balance a lot of us have like you know cards and we go I've come in I just want to quickly white balance my footage so that if it happened to be very in an environment that was like very color written because the bulb happened to be very yellow or something and you want to go I want to balance it get the white balance straight what would we do what's the simplest way to white balance the footage okay simplest way to white balance footage let's go ahead and we'll we'll start with a fresh grade and the first thing I'm first thing that I'm going to want to do is adjust exposure so let's just do that real quick I'm not even going to go through my methods I'm just going to do it there we go bring the Shadows down we're going to adjust actually that's pretty basic contrast curve okay now what we're going to do is we're going to add a second note we are done with the exposure step okay so we're going to right click on our node add node and a Serial node is just the next node down the chain okay you can add cereal or cereal before there's also parallel layer and outside that's for a totally different thing that's that's another conversation again so we'll just do a Serial node okay and we're gonna white balance now there's a couple ways to do white balance there's the more complicated more professional way but quick and dirty if you come into your color wheels and you select this eyedropper here upper left of the color wheel section yep yep you select uh you just click on the the eyedropper and you drag it over something in your image that you think should be white we're going to zoom in oh too far with this looking good yeah right and we'll just we're going to select my eyeball because that always produces some interesting results for me that would go full bloodshot right click on it and it'll just adjust your entire image to make whatever is supposed to be white White now and for a lot of people we always we always try to remind people like you see me doing my channel I have a white balance card you can buy really cheap it's like a true right non-reflective or a great card you can put it up there and it just shows something white that you hold up like next to your face if you're doing a talking head and you can click on it in your footage you hold it up before and you so when you're in your edit you have something that actually that you know is true white or should be white uh as a reference point exactly so yeah so uh we've broken it into steps we've made we've done our exposure we can label the nodes so we don't get lost so we'll just call this exp for exposure okay we will label this one WB for white balance or one or Warner Brothers whichever you prefer uh and then from there you know again we're doing quick and dirty we're not we're not going with necessarily industry standard best practices here we can add one more node the uh for the the shortcut for serial node is alt s uh and here we'll do what we did before just a quick teal in the shadows orange and the highlights and now we've got uh we'll just call this look because that's our look and now in three nodes we've adjusted exposure fixed our white balance and created a look cool so we kind of got that's like you know there's your color grading to a certain degree right there yep um nice I love it I think man that's it's it's some of this I think is going to be confusing to people as they get into it because with anything that's a higher functioning piece of software it's going to be tricky it is going to be a learning curve Jay I think you've done a great job today at really making it easy for people to come in download the software install it start bringing in footage and follow along and go I'm going to try that I'm going to try cutting I'm going to do it and follow along here to um to be able to actually start using the software and say I know how to I know how to at least get in Cut things up add a few transitions a little color fix my audio and Export it um so I can't even thank you enough for how helpful this has been today can you do me a favor and make sure that you send me the names of our uh the channels that you think are on YouTube um of guys that have been helping you that you think have been really useful for other portions of learning DaVinci Resolve because I've already added your link to Jay's Channel if you're interested Jay on his Channel shows all kinds of crazy stuff you can do in DaVinci and in general just in terms of um videography and actually editing he's just got a great channel that just talks about making content um so definitely check out his his channel I've got that Linked In the description I will add any of Jay's recommendations there too so that we can you can hopefully use this as a resource to come back to and anyone who is interested in learning the software and getting started will have at least a good uh jumping off point to have some references of you know what to do and where to look for some other people who also uh can help you down that path yes I will definitely send those to you there's there's there's a lot of there's a a lot of DaVinci result you know what there's also a uh a Discord there's a Discord with a whole bunch of us DaVinci resolved YouTubers just in there helping people out and giving advice and and stuff so I'll send that link to you too awesome well listen as we uh I can say honestly you've never looked better uh where's my ellipse mask so you can at least you gotta get that circled down Jake thank you so much I I I can't tell you how much I appreciate you coming on and helping um so many creators out there the way you did today and for everybody who's watching I will absolutely go back in the next 24-48 hours and I will chapter this and I will break it up so you can find the portions and be able to go I just want to learn about that section um and get it so it's digestible and you can download the software I'll make sure I put links to where to download the free version of DaVinci Resolve and hopefully this will be helpful for people who are looking for something to move on to next and maybe consider it as an option so Jay again thank you so much my friend I can't I can't thank you enough no problem sorry my camera died but thanks for having me on that's all right we'll just make it all about me it's all about me yeah he's just like my guardian angel he's the voice in the background so everybody I hope you guys have uh have learned something here today I hope you all have a fantastic uh holiday uh into the New Years and and we'll be talking more about these kind of different options as we move forward on the channel and I don't be surprised if you see Jay back on here but don't be afraid to go to Jay's Channel and ask him questions because he's one of those guys like me that likes to actually answer the comments section so uh wishing you the best and we'll talk to you all again soon [Music]

Channel: Daniel Batal

Views: 80,319

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Id: mYX5SrLtkWk

Length: 147min 24sec (8844 seconds)

Published: Fri Dec 23 2022