Resolve 16: The Ultimate Crash Course - DaVinci Resolve Basic Training - Casey Faris

[Music] hey guys Casey Farris here thanks for checking out this video today we are looking at a crash course for resolve 16 we're gonna look at the low-down dirty need-to-know stuff so that you can actually open the app and get working and create something even if you've never opened it before I'm not gonna go through every single menu ever I'm just gonna show you the basic need-to-know stuff for the entire app two quick notes before we begin one I'm gonna assume that you've edited video before if you are completely new to video post-production some of this is going to go over your head but if you've used another app to do post-production things like premiere or final cut or Vegas you're gonna feel right at home the other thing is if you like this video check out some of our paid training right here that'll help support the cause help us keep doing this little this little thing here I think that's enough adieu that was a solid intro flam resolves 16 I'm gonna be using this version 16 point 1.0 8.0 so if things look a little different on your screen maybe you have a different version but this is the latest one so that's the one we're gonna use the very first time that you open up resolve you'll see a window like this this is called your project manager this is where you open import/export you kind of manage your projects makes sense yours probably looks like this but without all the other projects what I'll do is just hit new project down here and call it something I'll call it crash course and hit create once you make a new project your screens gonna look something like this it might even look like this or like this either way it's gonna work out so a little bit about what resolve is resolve is designed to be an end to end post-production solution which is fancy talk for it does everything with your video after you're done shooting everything from importing and managing media all the way through editing compositing color audio and all the way through to final render and the coolest part is all of it happens inside one app you don't have to round-trip to another app to do your audio mixing or to do your compositing or everything it just happens all inside of resolve it's super easy super powerful and if you haven't used resolve before it's going to change the way that you do things let's take a look at how all that craziness is structured at the bottom of your screen there should be seven buttons here each of these buttons switches out the interface to a different page each page is a major step in post-production so depending on whatever you're focusing on that's the page where you're going to be let's walk through them I'll start with the media page media page is all about importing and organizing your media that's where you actually navigate to folders on your system and organize things into bins preview stuff the next two pages are the cut and the edit pages these kind of do the same thing but from a different perspective they're both all about building your edit actually building out your timeline putting clips together and making a story we're gonna walk through both of those and the differences we also have the fusion page that's all about compositing so anytime you want to do something fancy in your video like replace a sky or do rotoscoping or put a hundred alien spaceships shooting lasers at somebody or even just make a really nice title that happens inside of the fusion page the color page is where you do color correction and you can get super detailed and just tweak the visual style of your project the Fairlight page is all about audio it's like a dedicated audio app that will do all the professional things that you would be used to like with Pro Tools or audition or anything like that and the deliver page is like when you're done you set your settings for your project and you render it you can even cue multiple renders and export a whole bunch of different versions all at once so resolve is structured in two pages and each page has a job in the post-production workflow and the coolest part is that all of these pages share a timeline that means that if you're building an edit on the edit page or the cut page you can make changes to that same timeline in the fusion page or the color page or the Fairlight page and you can specialize on whatever that task is without having to round-trip or export anything it all just uses the same timeline throughout the app so we're gonna walk through building a project and I'll take you through the need-to-know stuff for all the pages so that you can get working the first thing that we have to do for any project is actually import some media so that we can actually you know work on it and stuff one way that you could import media is go to the media page and navigate to it using this upper left-hand panel this is called your media storage it's a way to explore the files on your system and it's really easy to preview different clips just by mousing over them and you can pick which ones you want to import into the project I'm probably just gonna import all of them so I'll just select them and to import them into the project I'm just gonna grab them and drag them down to the lower half of our interface here that's called our media pool the media pool is a panel that lives in just about every page in resolve and that's where all of the stuff for your project lives anything that's actually imported in the project goes into the media pool again if I want to preview anything I can double click it load it up here into the viewer if you're familiar with video editing that should make a ton of sense there's a bunch of really cool stuff I can do in the media page I can view and adjust metadata by selecting whatever Clips I have and going here to the metadata panel and click this little drop down and hit shot and scene and I can edit a ton of different parameters that's really nice if you want to be super organized or if you have a ton of clips in your project I can also right click and create bins get organized that way drop things into bins there's even smart bins which will look at the metadata like let's say I want to add a keyword to this one call it sunset as soon as I do that down here in my smart bins I can twirl down key words and anything that's tagged with a keyword I can kind of organize it by that so that's the ins and the outs of the media page it's where you import media organize it and you can get super detailed if you want to so for all you people that like to put things in specific folders and tag them and do all of those things oh man that's the place to be so we have our media imported into our project now we want to actually make a story out of it we want to make a timeline right start doing our edits in the lower part of our interface here the next page is cut but what we're actually going to do is come back to that in a minute because I want to explain the edit page first so when you go to the Edit Page resolve turns into a nonlinear editor so if you've used premier or Final Cut or anything else that edits video this should make so much sense I'll show you the basics so you can kind of get your bearings this left-hand panel here this is the media pool that's the same thing as we had in our media page that's this panel right here it's just instead of horizontal its vertical right here inside of there you can still double click on footage and preview it here in the viewer still right-click and make it bin you can even import media directly into the media pool without going to the media page so I'll grab some music here hit open thought I'll import that right into our media pool you could also just drag things into the media pool on any page from an explorer or finder window the great this left hand viewer is our source viewer anything that I have open in the media pool I can preview here I can also set ins and outs just like you would expect I'll scrub through our clip here and I'll hit I on the keyboard for in and move over and hit Oh for out on the keyboard if I wanted to I could also just click either of these buttons for in-and-out and to add this to the timeline I can do it a bunch of different ways one way is I can just grab this clip and drag it down into the blank timeline down here and that'll make a new timeline for me I could also right-click on the media pool go to timelines create new timeline this right-hand viewer this is the timeline viewer so anything that's actually happening in the timeline I can preview here again that should make a ton of sense I can grab clips in the timeline and move them back and forth I can grab the edges of them to trim my clip I can select things I can hit backspace on my keyboard to get rid of that empty space and pretty much if you've ever edited before this interface is really intuitive let's add a couple more clips to the timeline I'll go up to our media pool let's grab this part where she's taking a picture again I'll hit i 4 in / out and this time instead of dragging it to the timeline I can drag it over here over my timeline viewer and I have a few different options here these are really cool they're basically just fancy ways to put this clip into the timeline the one that I use all the time is append at end so I'll just drop it on that and what that does is put that clip at the end of our timeline no matter where my playhead is I can hit shift Z and that'll zoom my timeline so that I can actually see everything that's going on and again I can move things around trim them I can even add a quick crossfade by grabbing this upper edge of a clip and dragging that little handle and that'll just let it fade out like that that's a quick way to add a little transition there's a few different tools that I have for editing you can find a lot of those here in this Center toolbar feel free to play with those some of these toggle snapping toggle linked clips you can add markers I have a blade where I can cut my Clips if I need to most of the time you'll be working with select edit mode which is just your normal cursor that means if I trim a clip leaves that blank space there I can grab stuff move it around it's kind of like your normal way of working but if I go up to the second icon trim edit mode click on that it acts a little bit differently just undo those things I did if I grab the edge and trim it here you'll see it sucks that clip down so that it doesn't have a gap that's a really cool way to work and quickly kind of trim your footage without having to worry about those gaps also if I grab the middle of a clip I can slip it that's a nice quick way to work I could also slide it if I'm over kind of the bottom of the clip slide it back and forth like that so a couple more things if I want to adjust something about a clip whether it's the sizing cropping properties any of the kind of details of a clip that happens in the inspector in upper right hand corner there's three buttons here it says mixer metadata inspector I click on inspector and this little panel pops up and it's a way to adjust a whole bunch of different details about whatever you have selected here in the timeline so I have this middle clip selected and up here in the inspector if i zoom it it's going to zoom whatever have selected and there's a ton of different controls here that are just built into the properties of the clip including stuff like cropping retiming lens correction and fix distortion add distortion there's even a built in camera stabilizer super powerful stuff here in the inspector and the inspector panel is common pretty much throughout resolve basically anytime that you have something selected and you want to change the attributes change something about it you select something adjust it in the inspector the inspector even works with effects which if you go to the upper left hand corner of the Edit page there's a button called effects library and that opens up a panel down here called the effects library this is where you can grab all kinds of different effects if I go to open effects and grab something that gosh and blur I can drag that on top of whatever clip I want in the timeline then up here we'll see it's blurred and with that clip selected I can go over to the inspector click on open effects and adjust all the things with that effect so that's nice to always pretty much have those controls right there so that's the basics of the edit page think about it as a full nonlinear editor just crammed inside of one page of resolve if you're familiar with editing this should be a breeze so now let's take a look at the cut page and how editing is done there let's go down to the bottom of our interface click on cut and right away you'll notice something when I clicked on the cut page it opens up the same timeline inside of the cut page that's how resolv'd works the timelines in your project are accessible from any page and you can make changes to clips and everything that's happening directly in the timeline this is really cool because you can put together a edit in the cut page and then move it to the edit page and then maybe you want to move back to the cut page then you want to do color you have the freedom to move back and forth pretty much whenever you want so let's take a look at the interface of the cut page and then we're gonna look at how edits are actually done here similar stuff first the media pool is right here it's the same as the media pool and the media page and the Edit Page this is where you can view anything that exists in your project one difference is up here by the search bar there's a couple different view options the middle button right here is called clip view and this displays each clip as kind of like a little timeline so you can see everything that's happening with little thumbnail like a little film strip you can check out audio waveforms as well most of these clips don't have audio I feel like it's a little overwhelming to look at stuff this way so I usually just go back to the thumbnail view but it's there if you want it first thing I'm going to do is just delete our timeline and we'll make a new one so let's select maybe our first clip double click on that and that will open it up in the viewer now this viewer is a little different than the viewers in the Edit Page it actually switches in between a source viewer and a timeline viewer depending on what you have selected right now I've double clicked and opened up a clip and so now I have it kind of in source mode the same way as a source viewer I can hit I 4 in / out and make my selection and I could grab this and drag it to the timeline just like before but if you look down here at the bottom part of our media pool we have 6 different buttons these are the edit buttons they're kind of the same idea as these things right here in the Edit Page there are fancy ways to put a clip into the timeline so to start out I can probably hit just about any of these I'll have the first one which is called smart insert and that'll put a clip in my timeline let's do this a couple more times and then I'll talk about how to work with things in the timelines grab a couple Clips here walking this time I'll hit append at end that's going to put that clip right at the end of the sequence and let's pick something else like that again let's do a pend at end and now we have a couple clips in our timeline so at this point you may be asking what is the point of the cut page it seems like it works in a some our way to the Edit Page well the cut page is designed for speed so it's all about putting together probably more simple edits but really fast some people use it to put together a rough cut and then move that edit into the Edit Page but really you can build an entire sequence from beginning to end inside of the cut page and I actually think it's a really nice way to work like I said everything inside of the cut page is designed to help you edit faster one thing you might notice is that there are two timelines here there's the lower timeline down here and the upper timeline right here these are two different views of the exact same sequence the top one is like the zoomed out view that's where I can see my entire project from beginning to end and it's always zoomed out I can always see everything so even if I had a bunch of different clips here I'll just add a few different Clips so that we can see this a little easier so even if I had a bunch of different Clips I can see everything inside of my timeline all at once here in the upper timeline in the lower timeline this is a zoomed in kind of a detailed view think of it like this top timeline being a map of the world and the bottom timeline being your magnifying glass so you're looking at just the little parts you can grab and edit clips in the lower timeline and make really detailed kind of edits and trims rolls and all of that stuff here in the lower timeline and you can move all around your project from beginning to end in just a click in the upper timeline one thing to mention though is that you can actually edit stuff in the upper timeline it's not just a map you can actually select clips and move them around do trimming and everything in the upper timeline as well it's just not as zoomed in not as detailed so why two timelines again it's all about speed if I were to open this timeline in the Edit Page and I wanted to make some detailed adjustments I'd have to move to where I want to adjust it neck control + zoom in and make my adjustment then zoom out control - I can go somewhere else in the timeline if I wanted to I could hit shift Z and see everything and then zoom in make an adjustment hit shift Z move down here shift Z again but it's a lot of zooming in and out which takes time the cut page is designed to just let you quickly move here make an adjustment move down here make an adjustment without having to zoom in or out or toggle anything it's just always available you'll also notice that the lower timeline the playhead doesn't move the timeline moves you can actually turn this on or off with this button right here so if you'd rather move the playhead around you can do that I actually like it in the middle because it's less confusing with the to play heads running around I just have one in the middle and one that I move if I want to do something like split a clip you'll notice I don't really have any tools here that again is because it takes time to go and select a tool and come back and so you can either assign keyboard shortcuts to do things or there's a button right here on the left hand side it just looks like scissors and that just cuts whatever clip were over here in the timeline you could also right-click on the playhead and select the scissors from the little pop-up so I want to talk a little bit more about these edit buttons right here before I do that I'm gonna hit control a on my keyboard to select all of my Clips right click and change their color select clip color and I'll just make them teal that'll just make it a little bit easier to see when we add a new clip to the timeline so there are a few different buttons here I'm not gonna walk through all of them but a couple of notes some of these are smart buttons which means that they do some fancy stuff automatically for instance smart insert will insert a clip in between two other clips and it does that by finding the nearest Edit point that's like the nearest break in the Edit whatever point is closest to our playhead that's the one it's going to use and we can actually see a little preview here of where it thinks the nearest Edit point is right here with this little arrow if I were to move my playhead you'll see that arrow kind of moves around shows me where it's going to do stuff so let's say I want to put a clip in between these two Clips go up to my media pool we'll find something there we go I'll hit in-and-out and now all I have to do is click on smart insert and again I don't need to be right on the edit it's gonna find the nearest edit point and put it right in there that's another one of those things that just kind of saves you time this last button in our edit buttons is called source overwrite this button is insane one of the coolest features of the cut page is how it works with synced clips let me show you this on kind of a multi-camera project let's say I have a multi camera shoot like a cooking show I can drop my main camera in the timeline and I can use this source overwrite button to add shots from other cameras perfectly in sync with this first camera so let's say I want to add some shots from the cutting board camera all I have to do is open that up here in the viewer and find something interesting let's say when she's cutting this prawn in half right here I can set my in and my out and it doesn't matter where I'm at in the timeline I can just hit this right button source over right and it will find the exact moment where this clip is in sync compared to the clip in the timeline the reason that works is because these were synced with timecode so that makes it super easy if you have a multi camera shoot where you sync the cameras with timecode you don't have to sync everything up in a multicam sequence and then switch them you can just add your base layer and then throw interesting shots perfectly in sync using that source overwrite button it blows my mind let me show you something even cooler if we go to the upper left hand corner of our interface right by media pool there's something called sync bin if we click on that that shows all of our media synced up based on timecode and so without even making a multi-camera sequence I can just view all of the cameras that are in sync with what's going on in the timeline and add a shot wherever I want so right here she's putting some stuff into that pan I can just click on this shot and that'll bring up the shot in the viewer it'll set the in right where my playhead is and it'll set the out a couple seconds later so all I have to do is click on this right button source over right and boom I can cut to that camera perfectly in sync so if you have your cameras synced up with timecode it just goes super fast but I don't know about you I don't shoot with sync timecode very often so we can also sync up our cameras using the audio waveforms in our media pool on the upper left hand corner there's this little button called sync clips click on that that's gonna bring up this window now all of these clips are already synced due to timecode but if I click on this second little icon here right by sync by and click on audio it's going to lay out any clip that has a camera name on different tracks and then I can just click on sync and that will analyze the audio waveforms and sync them all up so even if you didn't shoot with sync timecode you can do this one step and then all of those magics smart ways to edit and source overwrite and everything is available even for a non synced shoot this is the easiest multi camera workflow I have ever seen it's freakin awesome and it saves a ton of time I'm going to switch back to our original project can do that by clicking the little home button here down in the right hand corner and double-clicking on our project now let's say I want to add some more interesting clips to our edit but I don't want to take the time to double click each one open it up make a selection and put it down in the timeline the cut page is about speed right and that takes a lot of time to double click every single one check this out in just about the center of my interface very top under the title there's three little buttons here in the upper left hand corner of our viewer the middle one is called source tape and if I click on that it doesn't it doesn't really look like much happens but down here at the bottom of our viewer you'll see it's added these little white lines each of these white lines is where a clip starts or ends and so if I were to move through this you'll see that I have all the clips from our media pool open up at the same time inside of the viewer so I don't have to open each one I can just scrub through it find what I like hit in and out and put them in the timeline however I please this makes it super fast to do something like build a rough cut or a chronological edit like a blog you can really quickly go through and select the shots that you want and throw them into your project I use this all the time especially for things like vlogs where you just want to grab the best moments as quickly as you can and get them up online let's say we want to add a quick transition well there's a couple buttons here in the lower right-hand corner of our media pool and these are smart buttons as well so it finds the nearest edit point just gonna be right here I can tell because this little arrow is right there and when I click on one of these it's going to add a transition so if I click on dissolve that's going to add a dissolve to the nearest edit point it's a really quick way to add a little dissolve and I can adjust all kinds of things up here in the viewer adjust the duration and where it happens and all that stuff okay last major thing in the cut page if I want to adjust something about how a clip looks in the Edit Page we would go over and open up the inspector right that's pretty much true for all of the pages except for the cut page in the cut page a lot of that stuff lives right here in the lower left-hand corner of our viewer there's a button called tools and that opens up a little tool strip here and whatever clip I'm over in the timeline I can adjust here in these little tools is a lot like the inspector it just lives here even things like time remapping camera stabilizer lens correction and all kinds of fancy ways to adjust your Clips so if you want to adjust something about a clip in the cut page that's where that happens that's like a little mini inspector yeah nice so that's the cut page it's like the edit page but it's designed for speed you can't quite get as detailed with things in the cut page but you can build the majority of what you need to do really fast and especially when you're working with saint's Clips multi-camera sequences you can't beat it so you may be asking should I use the cut page or the edit page the good news is you don't really have to decide you can use whichever one you feel comfortable with and you can always switch to the other one later because they share a timeline what I like to do is pretty much just edit in the cut page and if I need to adjust kind of some details on an audio track or do a really specific kind of edit I can just switch over to the Edit Page and make that adjustment and then I can either stay there or just go back to the cut page so that's basic editing and resolve 16 let's get a little more fancy so I've opened up a little edit that I've made with our Clips here just to show these later pages now let's take a look at the fusion page that's where you do compositing titles all of the fancy VFX those kind of things and to show some of that I'm going to open up a clip in the fusion page all I have to do is be over it in my timeline and either the cut or the edit pages and then just click on the fusion page down here that'll open up that clip in the fusion page and now we're looking at a completely different interface that's because fusion is like an entire app just shoved into a page of resolve everything on the fusion page is about compositing that's putting one thing over another it's doing visual effects it's doing graphics it's doing 3d and you can do just about anything inside of the Paige think about something that you might use After Effects for if you're an Adobe person or motion for if you're a final cut person fusions where all the magic happens so let's take a look around the interface first thing you'll notice is that you have two viewers these look a lot like the viewers in the Edit Page but they're not quite the same in the Edit Page this Left viewer would be your source and the right viewer would be your timeline that's not necessarily true in the fusion page because you can preview any part of your composition whether it's at the beginning or the end or a little piece in either of these viewers more on that in a minute on the right-hand side you'll see we have the inspector remember any time that we have something selected we can adjust things in the inspector so that's familiar over here in the upper left hand corner we have the media pool and the effects library those work almost exactly the same as the other pages now here's where things might start to feel a little weird this panel down here is our node graph that's where we put together all of the building blocks for what we're creating in this composition if you've never used nodes before think about them like a flowchart for what you're building you could also think about it like a recipe you're creating a set of instructions or building blocks to tell Fuzion what you want the image to look like if you've used other compositing programs you might be used to using layers where you'd have a background layer and if you want to put text over it you would put text on the next layer up fusion doesn't have layers it has nodes so instead of putting a layer on top you just tell fusion that you want text on top if you're lost don't worry we're going to take a look at this in our nodes down here we have a set of very simple instructions by default every shot that you open up in fusion looks like this we have two nodes a media in and a media out each node tells Fusion to do one thing this first node is basically saying grab a clip from the timeline this clip right here this second node is saying okay now render it and in between whatever you connect together those are the things that you're doing in between importing and exporting your footage so if we were going to do something like blur this image we could grab a node from our tool bar up here grab it and drag it down in between these two nodes wait till this turns blue and let go of it and now with that node selected I can adjust the controls for my blur and now we're blurring our image so we're building really simple instruction import the image blur it and render it it's like a little flowchart yeah so let's get rid of our blur and we're gonna do something fun can scrub through my footage by moving back and forth in my time ruler right here and take a look at what's going on she's just walking through the field and let's say we want to put a little speech bubble right next to her maybe she's saying something or thinking something and we want it to move along with her the cool thing about using nodes is we can just think of the pieces that we need to make what we want and then link them together here's one way to make that little speech bubble happen I think I want to make that speech bubble blue and so I need to start with a solid color easiest way to do that is grab this icon right here this is a background icon and I'll drag that in to our graph and I'm going to start building some instructions and tell Fusion to make a little speech bubble but first let's make sure this is the right color remember with these two viewers you can select what you want to preview so let's preview our background and I'm gonna preview it in the first viewer to do that I'm gonna select my node and hit one on the keyboard that's gonna turn this left if you were black the reason for that is because we're looking at a black background which we are making right here in this node it's black because it's color in the inspector is set as black so I'm gonna change it to blue something like that and now we have our blue background but I want this to be a little speech bubble thing I don't want it to be the entire screen so what I want to do is draw a mask in the shape of a speech bubble so I'll grab this little icon here our polygon mask and with my background node selected I'll just click on that polygon mask button and now up here things have changed because I'm in mask mode and I can draw a little mask and let's just draw a little speech bubble here you can make yours as awesome and perfect as you want and now we've made our little speech bubble now we want to add text on top so let's go back to our nodes and we're gonna make some text easy way to do that this third icon over this T I'll grab that drag it over here I can preview it by hitting one on the keyboard and I'll go over to my inspector and I'll type in what she's gonna say my name and cuz that's her name she wants everybody to know but now we have these two nodes how do we put one over another resolved doesn't use layers that means that you can't take one node and just put it on the layer above another node what we do is we use a node to tell fusion that we want to put something over something else that's called a merge node to make a merge node in my tool bar after my second divider right here there's one called merge I'll grab that drag that down and now I just have to connect this the right way I'm gonna take my background node and grab that little gray square and drag it and drop it on top of my merge node that's gonna set that as the background I'll grab the little gray square from the text node and drag it on top of the merge node that's gonna be the foreground so now I can see what's going on in my merge node by hitting one on the keyboard and now we have those two nodes merged together now let's adjust our text again I'll select our text node and go up here to the inspector and I can change the size and move it around so that it's perfect and now we have our little pop-up thing so now if we wanted to put this over our video we would have to use a merge node at this point if you've used layers before you're probably saying dang that is a lot of work to put something over something else you could just drag it to the top of the layer why is it so complicated two things to say to that first this may seem really complicated to build something really simple like this but once you're putting together more than just a few different elements in your comp you'll start to realize that having a flowchart is a lot easier to navigate than a stack of dozens of layers I was skeptical at first too I was one of those people that commented in YouTube videos about comping with nodes saying way too complicated way too crazy like I know some of you were gonna do because he didn't listen my advice is take the time and learn how to use them and you'll realize that they're pretty freaking awesome the second thing even though you use a merge node to put one node over another there are much quicker ways to add a merge node so that it's just about as easy as dragging something to another layer let me show you let's say I want to put this over this instead of adding that merge node and everything I'm going to take my output from this merge node and drag it over the output of the media in done and if I want to adjust where it is I can just grab it move it around there my name is Linda done done not that hard so we could call this comp good right here if we want to but let's say we want to track the movement of Linda and have this kind of move around with her we can do all that just by rearranging the nodes a little bit first thing I'm gonna do is just delete our merge node and I'm gonna select our media in one that's our original footage and I'm gonna add a tracker an easy way to do that is go up to our effects library in the upper left hand corner click on that go down to tools under tracking we're just gonna grab tracker and drag this down in between our two media and media out I'll move this around to make sure that it's connected and now up here we have a little tracker I'm gonna move to the beginning of our shot and I'll just grab our tracker and put those crosshairs right there over her little carabiner thing clip thing whatever you call that and in my inspector I'll just hit the track forward button looks good and now we have the motion of her backpack tracked and over here in our inspector there's a few different icons here I'll click on the second icon and under operation click on match move what this does is move a node along with the tracker they know that we're gonna move along with the tracker is this merge node right here grab the output and just drag it onto the tracker and now we have stuff tracked on there maybe I'll adjust our positions here just by grabbing these nodes and moving them over now it moves along with Linda yeah nice her name is Linda it's happening guys so there's our nodes for that cop nice little flow chart if I wanted to I can even animate stuff look over to my inspector for my text and let's say we want this to kind of type in there's a little property called right on move to the beginning of our comp click on this little diamond that'll add a keyframe and I'll move our end all the way to the beginning and a few frames in we'll just move the end back to the end so now it kind of types on pretty simple right so there you go there's a nice little composite with tracking and graphics and all kinds of good things this is just the tip of the iceberg for what Fusion can do it can absolutely do anything and the coolest part is that it all lives inside of your timeline and so if I want to add this back into my edit I actually don't even have to do that it's already in the edit check this out normally I would have to export this or roundtrip it from whatever compositing app I was using back into my editor but because I'm in resolve and everything's all connected I can just go back to my cut page or my edit page and there it is it's just already there not awesome by the way we have some really cool video training coming out for fusion you're not gonna want to miss it make sure to check out the link in the description for that now let's take a look at the color page this is where you can get absolutely crazy with color correction color grading and just tweaking the visual aspects of your shots and it is a ton of fun just like the other pages to get this timeline into the color page all I have to do is have the timeline open and just go and click on color that's going to switch out my whole interface and open up my timeline in the color page so these are all the shots from my edit they're already open here and now I can get really detailed with color so interface in the middle here we have the viewer this is what the person who watches your project will actually see this is like the timeline viewer on the Left we have a panel called gallery this is where you can save looks so if you have this really kind of orangish brown look you could right click on the viewer and say grab still and those would show up here behind that we have our media pool which works just like in every other page and down here towards the middle of our interface we have the clips this is just a thumbnail view of all of the shots in your timeline and then we have kind of like a little timeline here which is a lot like the timeline in the cut page except for you can't really do any editing it's just a map down below that are the color palettes everything down here pretty much adjusts your image and you have a ton of tools way more than we have time to dig into right now but pretty much how this works is whatever image you have selected here in your clips is going to show up here in the viewer that's the image that you're going to be adjusting so if you push towards blue with your controls the shots going to turn blue it's not gonna affect the other shots just the shot that you have selected you can reset everything over here by right-clicking in this blank space and selecting reset all grades and nodes let's take a look at some of these panels in the lower left hand corner you have the color wheels this is the main tool that most people use for color correction if you're familiar with something like three-way color corrector or luma tree this should look pretty familiar it's split up into lift gamma and gain lift is the darkest parts of the image gamma is the mid-tones and game is the brightest parts of the image so if I were to grab the middle of this wheel and move it towards pink the brightest parts in our image would be turned pink if I mess with the lift and let's say make it really yellow that's going to turn our shadows more of a yellow so these wheels adjust the color and the saturation of whatever slice of the image you're adjusting we can double click them to reset them and down below this colored wheel there's a little slider here this is called the master wheel that adjusts the brightness of that slice of the image so if you want the brighter things to be brighter you can grab the master wheel under the gain move it to the right and that's gonna make the brighter parts brighter same thing for the lift if I want to make the darker parts darker and grab the master wheel and drag it to the left I'm gonna make the shadows darker so just using the color wheels you have a lot of control over the darkest mid-tones and lightest parts of the image both hue saturation and luminance and the cool thing is if you're not that familiar with color you can use just this tool and get most of what you probably need to get done done in the color page let's take a look at this shot I'll adjust my panels here so that we can see things a little easier let's say I want to make an adjustment to this shot the first thing I'm going to do is turn on our scopes which is in the lower right hand corner here there's three little buttons the middle one turns on our scopes scopes are basically a graph of what the technical values in your image are so it can show you if something is pure white or pure black or what color it is if you don't know how to read scopes I have a convenient video right here and you can check that out and come back to this part and so just using my color wheels I can make some great adjustments to this flat gray looking image by darkening the shadows with the master wheel under the lift and moving up the highlights with the master wheel under the gain maybe boosting the brightness of the gamma and I can preview my color grade and kind of switch it on and off with this button in the upper right hand corner of our viewer it's called bypass color grades and fusion effects and I can click that on and off to see the difference I'm making and see we're already a lot better I'd say maybe this needs a little bit more saturation easy way to adjust that right under our color wheels our primary controls down here but you several things but the middle one is saturation where it says 50 here I'll grab and drag to the right until I feel like I like the brightness of those colors and again I can turn my color grade on and off with that little bypass button then we're getting something that we really like so that's some basic color correction let's say we want to get a little more fancy if I want to do something like select a specific color I can do that in a couple different ways one way is I can key the color just like you'd key a green screen or something like that using this little eyedropper palette I'll select that and then go up on my image and I can click and drag on the grass and now we can see that my color correction is just affecting the grass so again if I were to make things really pink we could really see that's just happening in the grass and I can adjust my selection here by messing with these bars this is just making a selection of the hue saturation and luminance of the image I'll just undo all of that I could also do similar things with the curves if I go back to the curves palette just by clicking this first icon here I have my normal curves which work just like you'd expect if you're familiar with imaging programs I can add some contrast by making a little S curve there I can reset it by clicking this little circle arrow but there's a bunch of dots right above this little palette and that switches the type of curve and there are several different curves and they'll make adjustments to the image based on a specific slice of the image so under hue versus saturation let's say I want everything that's kind of yellow to be d saturated you can make a couple control curves here and then just bring this down and on our image everything that is that kind of greenish yellow can be d saturated so it gives you a lot of control over specific parts of the image using the curves or the qualifier I can also select a part of the image with a mask which they call a window using the window palette so if I just want to affect something let's say inside of a circle I can click circle to add a mask and it'll only affect inside of the circle you can add a whole bunch of different shapes or just turn it off and you can also combine all of this stuff to make a really specific selection like I just want to desaturate the green grass over here on this side of the image so how does this all work together let's take a look at grading a shot same thing I'll bring down the lift bring up the gain bring up some saturation maybe I'll boost our gamma a little bit and give the image looking pretty good then let's say I want to use something fancy like maybe brighten her backpack so we can see a little bit more detail there I can keep what I've done so far and then just make more adjustments using color nodes nodes in the color page are kind of like nodes in the fusion page but they're a little bit different the easiest way to think about it is just a group of Corrections so all of these adjustments that I've made to this image they actually live in this first node up here and I can rename it and we'll call this primary CC because that's our first correction we've made now let's say I want to do some more stuff to this image but I don't want to mess up what I've done here in this node I can add another node by hitting alt s on the keyboard you can also right-click on a node and say add node add serial a serial node is just a node that comes after another one there are a few different types of nodes but most of the time you can use a serial node and it'll work great so this is just whatever we're going to do next let's call this backpack because we're going to be adjusting the backpack so on this image what I want to do is make a selection of the backpack and brighten it up a little bit so I can just grab a circle from the windows and put a circle over the backpack like this and just kind of adjust it soften it out and put it right there over the backpack now I can use the rest of my controls like the game the gamma the lift and really adjust how this looks so that I can see a little bit more of those details if I want to turn this node off or on I can just click on the number right here and that I'll turn it off and on and we can see the difference that it's making there on her backpack so that's a great way to work the only problem is this is a moving shot we could keyframe the position of this but that would take forever so what I'll do instead is just use the tracker that's built into the color page in my middle pallet here fourth icon over is the tracking palette and I'll just hit this little play button and watch this and play that forward and I'll play it backwards and it's just gonna track everything under that mask perfectly and amazingly and magically I had to do so little work there it's stupid the tracker and the color page is freaking awesome it's the best tracker ever so if you want to adjust a specific area in the image you can just put that over and track it and most of the time it works freaking awesome let's say we want to copy this color grade to this other clip we don't want to do this all again right easiest way to copy a grade from one shot to another is select whatever shot you want to copy to so I'll select shot 8 and then middle button mouse click that's click on your scroll wheel on the shot you want to copy from if you don't have a middle button on your mouse you can right-click on the shot you want to copy from and select apply grade and now we have that same grade copied over I can grab my mask put it on the backpack again and I'll hit ctrl T to magically track it looking good so let's say you want to add a color grade over your entire project like you want everything to look kind of like a sepia tone there's a new feature that works with the color page in the Edit Page together to let you add a common look over everything in your project let's head back on over to the Edit Page for a minute and I'm gonna go up to my effects library under effects there's something called adjustment clip I'm gonna grab this and drag it down into the timeline on our second layer and just trim this out and just adjust my endpoint so that it's over my entire project now I can switch back to the color page and our second clip says adjustment clip under it selecting this will let us affect that layer in the Edit Page and everything that we do to that clip is going to be applied over everything so if I were to make this kind of a sepia tone let's say I don't know something like this maybe desaturate it a little bit something like that not only is this happening to the adjustment clip but every thing in our project that's because in the Edit Page we have this adjustment clip over everything so anything that this adjustment clip is over its gonna affect anything that it's not over is not going to be affected so this is not sepia tone and cpiotto adjustment Clips are super powerful and you can color great an adjustment clip and do all kinds of fancy things that you would normally do to a single clip and apply it project wide you can even have multiple different adjustment Clips and have one for each scene in your movie to establish a specific look for each location it is such a cool way to work and it's so easy and again because resolve shares a timeline in between all the pages you don't have to be completely done with your edit before you color grade you can do that whenever you can move back and forth with pretty much no problem if you're interested in color we have some awesome video training coming out we also have some really nice color tools that will give you a really good starting point for color grading check the link in the description for that let's take a quick look at mixing audio in Fairlight right now I have a bunch of visual stuff in my project but I don't have any audio going on I could do quite a bit of work in the Edit Page there's nothing wrong with doing that in fact maybe I'll grab some music and throw it down here in our audio tracks I can cut it trim it fade it just like I would a video clip but if I really want to get more detailed with my audio it's nice to work in a dedicated audio app right well I can do that in the Fairlight page and what's really nice is I don't have to export anything I just click on the Fairlight page this will bring up my timeline here in Fairlight if i go to the toolbar in the middle i can even open up my options here and show my video tracks so that I can get an even better idea of where I am at in my timeline and then I can just get super detailed with my audio here and if you're familiar with any kind of audio software this should make a whole lot of sense I have my tracks here I have my good ol media pool and effects library just like in the Edit Page over on the right I have my mixer where I can see all of my audio tracks I can make adjustments to them my music is on track to you so I'll just bring that down to negative 20 or so something like that now maybe I want to add a voiceover I can go to my media pool I can even right click and import media directly from the media pool grab my vo I can just drag that into the timeline on one of my tracks again things work in a similar way to the other pages if I want to do something like adjust this clips gain I can select it in the timeline and go to the upper right hand corner and open the inspector and now I have all of my controls for my clip say I'll just boost that up quite a bit this is where I can adjust the clip volume pan I also have a built-in equalizer for each clip which i think is really cool to just have built into the inspector another thing that I think is really powerful is in our mixer we have some built-in features that are really amazing first of all if I double click on this little blue line that'll open up an EQ for the track so I don't have to drag an effect on there I can just use this and do whatever EQ I want for my voice over you can get as detailed as you want there another thing I really like is the dynamics panel this is a quick way to add a compressor and a limiter to attract to get your audio sounding nice and full all you have to do is just double click on this square right by Dynamix for whatever track you want to add it to you that'll bring up our panel I'm not gonna go through all of these settings you can look up how to use a compressor how to do audio mixing and stuff I'm not an audio expert but these are kind of the settings that I like for a vo most the time walk across the field and just comes in a lot more full I can even add a limiter if I want to make sure that things aren't getting clipped at all whether you're walking through a field or your name is Linda look at the sky walk across the field I can even sidechain these channels together to automatically dip my music under my dialog all I have to do is just hit Send on my dialogue track and on my music track I'm gonna add a compressor and select listen then I can bring up that track volume quite a bit I'll boost everything up to be better levels adventure is out there whether you're walking through a field or your name is Linda look at the sky walk across the field so I can get really detailed with my audio all inside of the Fairlight page and again I can switch back and forth to the other pages I can do a basic mix and then go back and edit more on our edit page and everything that I do on the Fairlight page translates over non-destructively super red by the way if you're into sound design we have an amazing pack of thousands of sound effects that are designed for video editors check the link in the description for that alright let's say that we love our project and now we want to render it we want to get it out so people can actually see it there's two ways to do that the first really easy one is called quick export here's how that works if I'm in my cut page in the upper right hand corner there's a button called quick export if I click on that that brings up a little window here it sets some default settings and I can just click export there's also presets for YouTube and Vimeo you can even sign in to YouTube or Vimeo and directly upload to your account which is really cool that's great if you just want to export this really quick for somebody to see or if you happen to be really happy with these default settings you can also get to quick export from the file quick export from any page in the app but if you want to get a little more detailed with your render settings that happens in the deliver page down here in the bottom of our interface I'm just gonna click on deliver and again that's gonna switch everything out to a new interface but it's using the same timeline so we're gonna take this timeline and export it however we want and there's just a couple of panels to look at here pretty much the lower half of the screen is just our timeline and our clips so that we can preview things this part is the viewer where the magic really happens here is in the render settings this is where you can select all of your nerdy things format codec encoder resolution frame rate quality bitrate all of that stuff happens here in the video button under the rudder settings we also have a button for audio and then options for your file where you can do a custom name or have it automatically name things go ahead and poke around there you can export your whole project as a single clip or as individual clips so you can have it export every time that there is a cut in your not as a separate render which is really useful if you're doing something like baking proxies or batch rendering a bunch of stuff up here we also have presets for YouTube and Vimeo and a bunch of other different workflows those are great starting points but pretty much when you find the settings you like just click add to render queue and that'll add the job over here in the render queue now it's not rendering yet it's just adding those settings to a list and let's say I'll do one for YouTube and I'll do a custom one and I'll do some audio only all of those are added to my render queue and when I'm ready for it to go I can just click on start render this page up resolved works a lot like you would use Adobe Media encoder or a compressor or a dedicated video rendering video queueing type of app but again it's built inside of resolve so you don't have to export or wait or roundtrip or anything like that it's pretty simple but you can do some really powerful stuff with it if you dive into the settings so that's a little tour of all the pages I've resolved 16 and a great big drink from the fire hydrant all the cool stuff that you can do I know that was a lot but we made it way to go you high-five I hope this shines a light on how to use resolve and how you can use it for your workflow if you have any questions or comments leave them in the comments below if you want to learn more about working with resolve I have hundreds of videos on my channel go ahead and subscribe I'm going to be posting a lot more stuff about resolve 16 and making videos in that app if you want more video training on some kind of specific more detailed stuff check out this link right here I also help run a site called ground control color we make color grading Luntz and presets and all kinds of tools to make your footage look awesome and it's customized to the camera that you're using check that out right here we also have a title pack for the fusion page so if you want a really nice pack of some fusion titles that you can use either in the fusion page or the Edit Page without doing your own copying check that out right here and huge thanks to our friends over at raw dot film for providing that hiking footage for us that's a really cool site where you can actually download the red code RAW files in 4k six k8k some of the best stock footage out there check them out there's a link in the description below thanks for hanging out my name is Casey Faris I will catch you next time [Music]

Channel: Casey Faris

Views: 165,842

Keywords: davinci resolve, davinci resolve tutorial, how to color grade videos, how to color grade in premiere pro, color grading tutorial, color correction tutorial, how to color grade in davinci resolve, resolve 15, resolve vs adobe, resolve vs premiere, switch to resolve, resolve 16, davinci resolve 16, fusion page, davinci resolve fusion tutorial, Resolve 16.1, resolve beta, resolve for beginners, blackmagic resolve, cut page, edit page, multicam

Id: gCyczNNk0J8

Length: 52min 57sec (3177 seconds)

Published: Tue Aug 13 2019