RESOLVE 17 CRASH COURSE - Davinci Resolve 17 Walkthrough [BEGINNER]

[Music] oh hi i'm casey ferris i make videos on davinci resolve here on youtube make sure to subscribe for more of that do it anyway today we are doing a massive crash course on resolve 17. if you've never opened resolve before oh boy this is going to give you a great idea of what the heck is even going on let's jump in first things first what is resolve how the heck do we download it and get it which version should we get and all of that stuff resolve is a video editor but it also is amazing at color correction and effects and audio mixing it's just an end-to-end post-production app right so it does everything from basic edits to color correction to compositing and effects infusion to super advanced audio workflows and fairlight and can manage media and render to any format ever basically to download resolve you just go to blackmagicdesign.com and here where it says support go onto this page and find resolve and you can download the latest version here under latest downloads right now we're going to be working with resolve 17 public beta 3 so if things look different in the future that's probably why but this is where you can download whatever the latest version is now they have two flavors of davinci resolve they have davinci resolve which used to be called davinci resolve light and then they have davinci resolve studio studio is the paid version the regular resolve is the free version i get asked a lot what the difference is basically either of these would work great for almost any kind of work that you're doing this free version of resolve is very very powerful and it gives you like 80 90 of what you'd ever want from resolve there's no watermark there's no trial version there's no commercial limitations or anything like that it's just literally really amazing software for free and if you're looking for a catch there really isn't one what you get with resolve free is just freaking amazing i mean it's just insanely good that said with resolve studio you do get a few more features which may or may not actually matter to you one of the big ones that people look at is performance resolve studio tends to take a little bit more advantage of your hardware and if you're doing really high resolution stuff working with raw a lot it might be worth it to upgrade just because of that there's also a resolution limitation davinci resolve works up to uhd you can use any kind of media but you can only render uhd whereas resolve studio renders 8k and above there are also a couple of fancy effects basically like really fancy tracking features really fancy plugins and that kind of thing and resolve studio is 300 and at least so far there have been free upgrades for each version i bought the studio version back in resolve 12 and where it resolved 17 it was a free upgrade so pretty good deal 300 bucks you get the fancy version of resolve but almost everything that we're going to go over today is in the free version when you're ready to download it you can click on one of the many download links and it'll come up with some kind of window that asks okay do you want the latest like stable version or do you want the beta the betas actually tend to be pretty stable in my experience so i would definitely try this out first resolve 17 because there's a lot of cool features in the newer version and that's what we're going to be working with today one last thing to mention is because this is a video editing app you are going to need a computer that has some pretty good hardware i wouldn't expect resolve to run real well if you have a system with like an i5 processor or less if you have less than like eight gigs of ram if you don't have a pretty decent video card you kind of have to have some pretty good hardware to run either version of resolve you also have to have some pretty good storage i mean if you have 500 gigs or a terabyte or so at least of storage you can play around with that's going to be best for video editing because you do want some space to play around with because video editing does take up quite a bit of space if you don't have that stuff it's not gonna work out real well for you okay okay i'm glad we had this talk once you download and install resolve it's gonna act something like this you have this loading screen and then you'll see this window this is called your project manager and this is where you open new projects manage them put them in folders that kind of thing and so what you'll probably want to do is go down here and click on new project it'll ask you what to call it we'll call this crash course resolve 17 and hit create then it will throw you into resolve if you ever need to get back to the project manager you can click on this little home icon down here and that'll bring it back up one thing to mention about this window right here this is how you navigate your resolve database and without getting super technical a resolve database is just a place on your system where all of your projects live if you've used other video editing apps you might be used to saving your project in a specific folder and then trying to save your media in a specific folder and all of that stuff well you still have to manage your media but resolve saves all of your projects in the same place and it's just where resolve likes it if you guys want more details about that let me know in the comments but what you need to know is that you manage your projects here if you want to import a project that somebody sent you you can right click here in the blank space and import a project there you can also make a new project and if you right-click on a project that you have open you can do all kinds of fancy things like export the project for other people to use you can even export a project archive which includes media and everything that you need to share it with other people pretty awesome but let's jump into actually doing things when you open up a new project your screen will look something like this you're going to be opened up in the cut page now resolve is broken up into different sections called pages you can find those down here and each page is focused on a different aspect of post-production so the cut and edit pages are made to do the what you would normally think of a video editor doing taking video clips putting them in timelines moving stuff around and kind of building your edit and whenever you click on a different page it switches out the interface that's because you need different interface things for different things that you're doing right the fusion page is for special effects for graphics for basically fancy things anything that you would say use like adobe after effects for or apple motion that kind of stuff happens in fusion whereas the edit and cut pages this is basically like what you would think of in final cut pro or premiere or vegas if you're familiar with other video editing software the color page is all about color correction the fairlight page is all about audio and the deliver page is how you render things it's kind of like if you've used adobe media encoder or compressor this is where you take your project and actually export it so people can see it this far left page is the media page this is where you can import and manage media adjust metadata and do all kinds of nerdy things so even though it opens us up in the cut page we're actually going to start with the edit page so let's click on edit and we'll kind of walk through this interface as we build something over here on the left side you'll see this grey panel called the media pool the media pool is where all of the media for your project lives this is video audio music pictures anything that you want to actually use in your project so let's import something the easiest way to do that is right click here on the media pool and just go to import media i have some footage here provided by our lovely friends over at raw.film they're a super amazing website where you can download ungraded footage raw footage shot on red and it's all just beautiful stuff i also grab a couple music tracks from art list which is my favorite stock music site they make it super easy to find music for your video and you can search based on video genre and feeling and it's just a wonderful experience but i'm going to select all of this and hit open and that's going to throw this media over here in our media pool so now we have this footage ready to use in our project and we can preview it by mousing over any of these thumbnails and we can see a little preview here in this left-hand viewer i can double click on that and it'll stay and i can kind of scrub through this so this is just previewing the piece of media before i do anything it's kind of just like opening it up in a video player that's what this source viewer is for once i have a clip that i know i like i can grab it and drag it down into our timeline the timeline is where we actually edit things this is where we put clips end to end where we adjust the order of things put them up in layers make things shorter or longer all of that kind of stuff happens here in the timeline and anything that happens here in the timeline will show up in this right hand viewer which is called the timeline viewer so this is what whoever watches your movie will actually see and that's really the basic process of editing is finding a clip over here in the media pool and deciding if you like it and which parts you like and adding it to your project with the right timing in the timeline so let's get a little more detailed on how this works right now what we've done is just open up a clip here make sure we like it and then drag it into our timeline with the whole clip and there's nothing wrong with doing that because in the timeline we can use our various tools and adjust things with the mouse to adjust how long a clip is a really simple way is to just grab an edge of a clip and that makes it shorter or longer so if i want to cut out some time let's say i don't want her to move to the other side of the table i just want her setting down this glass i can grab the edge of this and then trim that so that the clip ends right there so now we have her just sitting down that glass and then the clip ends if we have a blank space here the person who watches our movie is going to see a bunch of black so we don't want a blank space usually an easy way to deal with that is just select this blank space and then hit backspace on the keyboard and that'll get rid of things we can also cut the middle of a clip using this tool right here our blade you can just select that and then click anywhere inside of the clips to cut them then we can select whatever clips we want and get rid of them with backspace and select that blank space and hit backspace again to make sure we don't have a gap there we can also make that a little faster by selecting this clip and hitting delete on the keyboard that's like the little delete button that will get rid of the clip as well as the space another thing to mention is when you trim the end of a clip like this it will leave that space but if you go up to this second icon here trim edit mode and you do the same thing it actually kind of sucks everything down so that you don't have a gap so that's a really quick way to make a bunch of clips shorter if you were needing to do that for your edit and there's a ton of things here to learn but we got to keep moving if you're familiar with video editing at all this will make a ton of sense and if you're brand new to video editing then the timeline is just where you decide what the viewer sees the other thing that we can do is just pick a section of a clip before we add it to the timeline so if i were to grab a random clip here i can actually just grab part of this to make my life a little bit easier down here so let's say we just want to see let's say we just want to see these balloons coming through the doorway we don't really want to see her walking all the way across the room right something like this maybe we can set the start of the clip right here just by hitting i on the keyboard i for in and the end of it by setting it out with o so o for out and now we see it's just selected this section so if i were to grab this image here and drag this down into the timeline we just have that section so that makes things a lot easier also when you add things to the timeline you don't have to just drag them down to the timeline there's a few different ways that you can do it one really neat way is if you grab it like this instead of dragging it to the timeline you can drag it over here on top of the timeline viewer and you have a few different options this will add this clip to our timeline in a bunch of different ways a couple of these to note is insert which will just put this clip wherever the playhead is down here in the timeline so when i drop this on insert look what happens it splits that clip that we were over and just throws this right here in the timeline in between one that i use quite a bit especially when i'm just throwing a bunch of shots down into the timeline to work with later as i'll grab it like this drag it over the timeline viewer and select append at end and no matter where the playhead is in the timeline it always adds that clip to the very end of the sequence so it's really easy to just grab some clips that i need and append at end and i don't need to worry about dragging them to a specific place or anything like that just append it end and keep moving there's a really cool way to do this in the cut page as well so say appended in great all of these options here are just ways to add whatever clip is in your source viewer into the timeline last couple things in the edit page anytime that you want to adjust something that could be the position or a any kind of property of a clip in the timeline this can be a video clip or an audio clip anything that you have selected in the timeline you can adjust some of the more advanced properties by going to the inspector the inspector is a panel that is hidden by default but if you go to the upper right hand corner you'll see these little buttons up here anytime you see a button like this in resolve it means there's a panel that you can open so if you click on inspector that opens up this inspector panel you are going to be best friends with this panel because it basically controls everything in almost all of the pages there's some version of you select something and adjust it over here in the inspector and with this clip selected here in the timeline if i adjust things in the inspector we can see it update in the timeline viewer and i'll let you play with all of this stuff there's a ton of stuff to do here from moving stuff around and rotating it to cropping speed changes camera stabilization correcting lens distortion and one of my favorites dynamic zoom which if you just click this on kind of gives you that little ken burns zoom out effect automatically very very helpful no matter what you're doing ah yeah that's nice speaking of other panels if you go up to the upper left-hand corner right here by the media pool and you click on effects library that will open up a panel down here in the lower left hand corner that has all kinds of effects again this is like way too much stuff for us to go over in this crash course but a couple things to note if you want to add text over your video which is pretty common right under toolbox if you click on titles there are a bunch of different titles that you can grab and throw into your edit and they all work basically the same you select here in the edit and then again over in the inspector anything that you have selected you can adjust the details with here and so we'll call this flowers and you can pick your font and your size and all of that stuff right works great there are a ton of different titles to check out these lower ones the fusion titles these are the more complicated more advanced and usually animated titles and they're really cool but they do take a little bit more system resources because they are using fusion to do some more fancy stuff the effects panel is where you grab titles it's also where you generate things like color bars and gradients and solid colors for backgrounds stuff like that but you also have your video filters which you have quite a bit in the free version and the studio version has a few more really fancy things these are things like blurs and different kind of color effects glows and sharpens stuff like that here's a vignette effect which you can just drag into your timeline on whatever clip you want and that'll add a very strong vignette over stuff which again you can select the clip and go up to the inspector under effects and adjust this to be reasonable at all but that's pretty much the ins and outs of the edit page if you want to learn more about creating youtube videos we actually have a training course called the youtube editor's master training it takes you through the entire process of editing a youtube video everything from basic edits to sound to color to graphics and effects if you're just getting into youtube or you want to up your skills that's a great thing to check out it's available now at ground control dot film now let's talk about a similar page called the cut page down here in the lower part of the interface i'm just going to click on cut and the whole interface of the app switches out to the cut page now a couple things to note here if we scrub back and forth with this playhead this is the exact same project that we were working on in the edit page that's because all of these pages share the same timeline that means that you can work on different aspects of your project at any point by just switching pages this gets really helpful later when it comes to effects and color but even now even just with editing the edit page and the cut page have different strengths the edit page is more of a traditional video editor again something that you'd be used to if you worked with premiere or final cut and as the two viewers and your media your effects your timeline properties of things but the cut page is kind of all of those things but optimized more for speed and this is something a lot of people get kind of hung up on is it's really hard to figure out why should i use the cut page when the edit page does edit do i only chop things in half do i only literally cut things in the cut page and then i edit things in the edit page the truth is you can do a lot of the same things in either page but the cut page works better for kind of specific jobs it's really optimized more for i would say a little bit simpler edits that you have to do really fast something like maybe a news story or a vlog stuff that you just want to put a bunch of clips together and build a story in the timeline as fast as you can we'll get a little bit deeper on how this works but let's look at the interface all the pages in resolve do share quite a few of the same panels so here's the media pool this is the exact same thing that you find in the edit page it's just kind of stretched out a little bit and then over here is our viewer now this viewer is a little different than the edit page because it actually switches out between source and timeline there aren't two that you look at at the same time the other thing that's a little different is you'll notice there's two different timeline windows here now this isn't two separate timelines this is just two views of the same timeline this upper timeline is the zoomed out view you can see your entire project from beginning to end stretched across the screen and then this lower part is the zoomed in view so if you think about the upper timeline being like a map of the world and the lower timeline being like a magnifying glass on the details and by default the playhead and the upper timeline moves and in the lower timeline everything moves under the playhead one stays still and one moves now you can change this with this little button over here this lock playhead button but i find that a little bit distracting and not really necessary i actually like it how it is by default because i really only want one playhead moving i don't want to have to go and chase down two playheads now something to know about the upper timeline this isn't just a view you can actually do edits with it so i can grab this music and trim it i can grab clips and move them around trim them and do all kinds of stuff here in the upper timeline if that's the way that i want to do it and then if i want to get really detailed i can trim clips with a little more precision in the lower timeline i really like this because the thought here with this design is speed if you're at the beginning of your timeline and you're adjusting like your title let's say and then you want to adjust the end of your timeline normally in the edit page when you're zoomed in like this what you'd have to do is scroll down to the end and it takes a little while right of course one thing that you could do in the edit page is hit shift z and that will zoom all the way out and then you can move your playhead over to wherever you want and hit shift z again and zoom back in and that's pretty fast and i definitely work like this a lot in the edit page but the thought with the cut page is that you don't have to do all the zooming in and zooming out you have both of those views all at once so if i want to adjust the detail at the end of my timeline i just click here at the end of the timeline and now i can adjust the details right if i want to go back to the beginning i just click at the beginning here and adjust it it takes a little bit of getting used to but it's actually a really cool way to work a couple other differences here if you have a clip selected you can go to the upper right hand corner and click on inspector just like in the edit page that's actually new in resolve 17 but we also have these tool controls which are right here in the lower left hand part of our viewer if we click that it gives us this little toolbar which adjusts a lot of the things that exist in the inspector but with just kind of all the tools laid out in kind of a little minimalist fashion here so if we want to do some cropping we can just quickly do that here in this little toolbar these are the same controls again as in the inspector so if i roll this down we see we have it cropped it's really just dependent on what you're comfortable with gosh there's a ton of stuff to go over here but i do want to show you a couple factors that i think sets the cut page apart from the edit page the first one is source tape normally what you would do if you want to grab a piece of video is double click on it either in the edit page or the cut page and then set your ends and your outs right and then somehow add it to the timeline whether that's dragging it to the timeline or you know in the edit page you can use your edit modes here and you can do a similar thing in the cut page if you have your clip selected here in the source viewer all of those buttons pretty much live like right here so whatever you have selected if you want to let's say append it end you can just click this button and it will append that clip to the end of the project right but with source tape it takes all of your footage and it puts it end to end here in the source viewer to get to source tape click on this middle icon right here in the upper left-hand corner of our viewer but now we see these little white ticks here and those are the dividers between each of my clips that's been opened up here in the source viewer from my media pool and so it's really easy to just like buzz through all of your clips and set your in with i and you're out with o and go over here and hit append in fact what i like to do here is set a keyboard shortcut for append which you can set a keyboard shortcut if you go up to davinci resolve under keyboard customization make sure we have all commands here selected and i'll type append and here append it end of timeline i like to just click that and set that as p and by default it will give you a little error and say hey don't set this to p that's set as something else and you'll have to unassign p but that's okay but that's fine for me you can assign this for whatever you want then i hit save and now i can go through source clip here with my fingers on the keyboard i o and then when i have this selected i can hit p and it will append that clip to the end of my timeline so i can really quickly go through and go i o p i o p i o p i o p o op i o p and pick whatever clips i want and you can see how quick that is this alone for me is like the reason to use the cut page because man if you need to put together something really quickly put together a bunch of b-roll put a bunch of stuff together for a vlog man that's fast look at that now i have all those clips with the right ins and outs in the timeline super neat right now let's take a look at one of the other major benefits of the cut page which is multi-cam i'm going to right-click and import media into the media pool here and get some multicam media and let's make a new bin i'll just right click and say add bin we'll call this multicam i'll throw those clips into the bin and open it up here so here i have a multi-camera shoot we have my lovely wife cutting an apple so we have the wider top down shot here we have a close-up top down shot and we have the host right we also have sync audio so these are all shot on different angles at the same time so they actually sync up in time if you line them up correctly normally what you would have to do in say the edit page would be to make a new timeline and drag each one of these in and sync it up just right which isn't terribly hard with just a couple clips but it's still kind of a lot to deal with with all these different tracks and stuff there are ways to do this in the edit page that are really nice but for now i want to show you in the cut page we can select all of these clips in the media pool and right here in the upper left hand corner we can select sync clips this little recycle button here and that'll bring up this window right here the sync clips window and what this is going to want to do is sync up all of our clips based on something so if you have fancy cameras you can use time code a lot of us are going to use the audio so we can select audio and then just hit sync and what that does is think about the audio waveforms in each of these clips and it's going to line them up so that everything's in sync so that anytime something happens it happens on all of the cameras at once so that's really handy if we like it and we think it's right it definitely looks like it's right here i can tell because these little spikes in the waveforms line up all through these tracks we can just hit save sync and now up in the media pool we have these little blue recycle icons and that shows that all of these are synced together the cool thing about that is that we can use some of the fancy things in the cut page to edit these in a really neat way so let's get rid of all of these tracks on our timeline so we just have a blank timeline here we can go up to this panel here the sync bin that opens up behind our media pool and here we can see kind of like what we had before we have all of our clips and everything lined out on different tracks and so we can really easily see what's happening on any of these cameras and we can select any of these angles by just clicking on it here in our source viewer and maybe i'll go over and just hit append at end to add that to the track now that we have one of our clips laid out it will actually read the time code from this clip in the timeline and the sync bin will find whatever is in sync so really what i can do instead of adding a bunch of tracks together and kind of cutting them is i can just add my main track and scrub through here and whenever i see something that's kind of cool like right where she cuts that apple i can select the camera i want to cut to and it'll set a little in and out here so i can add this moment to the timeline really easily if i go over here to place on top i'll click that and that will add that little moment here perfectly in sync for my multicam shoot and again if i select this and go up to my sync bin i can always see what is in sync here what she's doing so let's have her cut this apple right here and select this and place on top and i can just keep going through my sequence looking at all of my cameras and picking whichever camera i want to add next add on top and just keep going like that which is a little bit of a different way to edit a multicam sequence because you don't have to have them all in the timeline you don't have to necessarily switch out clips it's almost like a hybrid of regular editing and multicam editing and this is definitely worth playing around with that's about as deep as we can dive on this crash course definitely worth playing around with now when it comes to the cut page i feel like a lot of people don't really get it like why would i use this page over the edit page and the couple reasons that i just showed you are probably the main reasons for me but where the cat page really gets intense is when you have the speed editor keyboard so this is a speed editor and it's basically like a tiny little keyboard that is optimized for the cut page in resolve so all of these buttons are designed to do kind of the most common things that you would do in the cut page and probably the biggest deal is this jog wheel right here when we move this back and forth it moves our playhead back and forth in the timeline we can also switch between whether we're working with the source or the timeline with these buttons up here if i hit source then this actually brings up our source tape and we can quickly roll through some of our media and find the parts that we like and that we want to add to our clip what makes this really fast are these edit buttons right here these buttons are the same things that are on the interface here they're just a little bit more convenient to get to so let's say we want to continue doing our multicam edit here we can hit the sync bend button that'll bring up our sync bin and we can do a lot of the normal things that we'd be able to do with a mouse but this is really cool so let's say we find a shot that we like i don't know something like this and we want to add a new camera instead of selecting the camera and doing the in and out like we did before i can actually just hold down one of these buttons so i can hold down camera two and roll with my jog wheel and check out what happens it just paints on that shot and then when i let go it goes back to my sink bin and so i can really kind of decide what shots to cut to just by kind of doing this and cut to shot two until she's done and cut to shot three and if i select live overwrite then anytime that i pick a new shot let's say let's pick two i can just click that and then it will paint in two for as long as i want and then i'll switch to three and i can kind of step through this as fast or as slow as i want without having to like play it back in real time that kind of thing and i'm just picking the shots that i like it's just a really cool way to work with multi-cam stuff not to mention that this also works really well with our normal way of finding b-roll and click on source and that'll bring up source tape and i can walk through our b-roll really quick kind of like it did before place things on top and it just is really nice and believe me once you work with this keyboard the cut page starts to make a little more sense and it feels really nice you can just look at the image on screen and not worry about where your mouse goes you're just concentrated on the content pretty nice there's a lot more to explore on this cut page but we got to keep moving if you like this and you want to dive a little bit deeper into resolve we actually have a davinci resolve master training available at groundcontrol.film it goes through the basics of resolve in a lot more detail than we did today and if you're looking for a resolve to be your video app of choice i cannot recommend this highly enough now let's take a look at the fusion page to get there just in the lower part of the screen click on fusion and by default it's going to open up whatever clip we are over with our playhead first of all what is fusion fusion is a entire compositing app that is built right into resolve if you think of something like after effects or apple motion or even like photoshop for still images those are all compositing programs and so if you're kind of familiar with at least like how photoshop works think about fusion as sort of a version of photoshop but for video that means you can make graphics you can do special effects and explosions and you can clone things out you can do all kinds of things anything that's like magical or really fancy pretty much happens in fusion so let's take a look around the interface some of this will look pretty familiar if you go to the upper left-hand corner you can see we can open up our media pool which we've already learned about same with the effects library very similar to the other pages also familiar should be the inspector and then we have our viewers this is where things start to be a little bit different though in the edit page we also have two viewers this left one is the source viewer so where we preview stuff and the right one is the timeline viewer what the person who watches our movie is actually going to see the difference in fusion is that either of these viewers can be set to pretty much any part of our composition so this right hand viewer could be what the person watching our movie is going to see or it could be just part of it it just depends on how you set each of these while you're working more on that in a second down here we have our playhead and our timeline transport controls and under here we have our toolbar the toolbar lets us grab certain tools kind of like the effects library where you grab an effect and drag it onto something this is a similar thing so you grab an effect and you drag it down here into our nodes let's talk about nodes for a second nodes are the essential part of learning fusion they're the little building blocks that let us accomplish whatever we want to do think about this like a flow chart or a recipe by default when we open up a clip in fusion we have a very simple recipe and each one of these nodes is a step in that recipe so this first one is called media in this just tells fusion to open up a piece of media so bring in a piece of media right and then it connects to this other node which is media out and that instruction is basically just hey render this to the timeline we're not really doing anything so far we're just opening up a clip and rendering it to the timeline all the fancy things will happen in between connected here to our nodes so let's say we want to blur this image what we have to do is add an instruction in between these two nodes so in my toolbar here i'll grab this little teardrop and that makes a blur node but nothing's happening to our footage yet because we haven't connected it so to break a connection just mouse over the last part of it here until it turns blue and then just click on it once to delete the connection each little node has a little gray square that is the output and then it has the little arrows and those are inputs by default if you grab an output and just drag it to the middle of a node that will add it to the main input same thing for blur grab the output and drag it onto the media out and now we're starting to see we get somewhere but it's not very blurry because our blur size is only at one any time that we add a node if we select it and go up to the inspector we can adjust the properties of it just like we adjust the properties of a clip in the edit page or the cut page same thing so i can push up this blur size and now we're blurring our image so that's the idea we're building instructions for fusion grab a clip blur it and render it to the timeline let's say we want to put some text over this image build some kind of cool graphic right well you would just go to the layers panel and wait a minute there is no layers panel that's because fusion doesn't use layers which throws a lot of people off because this is a compositing program and compositing is all about putting layers on top of other layers for the most part but remember we're building in nodes which are instructions and so it actually does work the same way we just have to tell it that we want stuff over other things so if we want some text over this blurry image let's go over here to this tool right here this little t text plus and i'll drag it in to our nodes but right now fusion has no idea that i want to put the text over things we just have a text node near our other nodes the way that you put something over something else in fusion is with a merge node so i'll show you the long way to do it and then i'll show you the more practical way really what needs to happen is we need to break this connection and after blur we're going to add a merge node which is this icon right here drag that in and hook that up like this and then hook our text up to the green input of the merge so the merge is saying okay take this blurry image and use it as the background this yellow input is the background use our text and put it as the foreground and then render it out so let's select our text node and go up to the properties and type something weddings are fun and now we have our text over our blurry image and we can adjust the size and the properties and everything of this we can even use this little widget move things around and we have our nice little title here right so if you've ever worked in another compositing program you'd probably say gosh that's a lot of work to just put text over something else well i'd agree so let me show you the little faster way let's get rid of this merge node now we're back to where we were just the blur connected to the media out and our text near it remember if we grab this little gray square we can connect this to things well if we want to merge something over something else we can take this output and drop it on the output of another node just like this and it will automatically make that merge and hook it up correctly so it's a lot faster it's actually about the same speed as just dragging one layer on top of another so now we have our little composite and once you kind of get used to how the nodes work if you can be patient and just learn how they're hooked up then i think you'll find that compositing in fusion actually makes a lot of sense it's really fast it's really easy i'm somebody who's been using after effects forever and i really really like working in fusion let's say we want to do some fancy animation to this thing well any time that we want to animate something we can select it and go up to the inspector and these little diamond icons i call a keyframe diamond and anytime you click this it will basically remember what this number is at the current time so let's say we want this text to kind of grow out of nothing we can go to a certain time so let's say this starts at 164 so let's say 20 frames in or so we want this to be right here about this size i can click on this keyframe diamond and that will lock in the size here at frame 183 and then i can move my playhead over to the beginning and we'll just bring our size all the way down so now if i click off of this and hit space bar to play it back i see our text coming in animating in like that super easy and just about anything in fusion can be animated like that in fact you can even do some of this animation in the other pages the advantage of working in fusion even for something simple like this is that you have a lot more control over the speed of things you can kind of finesse the the keyframes and the animation a little bit more let's take a look at doing that here in the upper right hand corner there are some other panels we can open one of my favorites is the spline panel if we open that up that shows up down here and this is where we can kind of finesse our animation we just have to tick whatever we want to adjust and then it shows us this arbitrary line but if we go over here to zoom to fit now we have a graph of our animation our size for our text starts at zero and then it animates over time all the way up to 0.13 or so but right now we see these corners are really harsh that means that it's just stopping immediately instead of slowing down before it stops and it's always nice to have something slow down before it stops so if we select this keyframe we can actually grab the little handles and adjust the way this graph works so we can kind of push this out like this and now let's take a look at our animation see how that moves there see it kind of eases in yeah nice so you have a lot of control over how your animation works here in the spline panel so this is an example of some graphics that you might create in fusion but you can do a lot more than just text and everything because really you could probably build this in the edit page if you wanted to so let's do something a little bit more fancy i'll get rid of our text but this time i'll go up to the effects library in the upper left hand corner and twirl down tools let's go down to shape the shape tools are just ways to draw shapes inside of fusion and these are actually new with resolve 17 so let's grab an ellipse drag that down here and the other thing that you'll need anytime that you make shapes is a render so s render so you connect any shape to render and we can merge this over our blurry image and now we have our ellipse i can use these shapes to build graphics which i can composite over other things i can combine with text all that kind of stuff i can even merge multiple shapes together by grabbing this merge let's say i want a star maybe and this merge will combine those different shapes there's also different shape effects like duplicate which will take whatever shape you run into it and copy it a certain amount of times and if we adjust things a little bit we can get some really cool effects without doing a ton of work just by using that modifier so once we have that set up right we can really make some more advanced things and the sky's the limit to whatever you want to make so definitely worth looking at these effects and these tools and exploring all of the different tools here on the toolbar all of these effects here on the toolbar live up here in the effects panel too this is just more of a convenient way to get to them for the ones that are used more often remember how i was talking about the two different viewers well right now our right hand viewer is actually what the person who watches our movie is going to see the reason for that is because we are showing media out here in the right hand viewer so this media out node remember is what will be rendered and if you see there's a little white dot on the right this means that we're viewing it in the right hand viewer if we hit one or two on the keyboard with our node selected we can we can tell it which screen we want to put it on so this is really helpful if you want to just look at part of your image so let's say i just want to look at the blurry background i can select blur and hit one on the keyboard that way i can kind of preview just different parts of my comp so here's just our shapes just the text just the shapes and background that's a really nice way to kind of break things up and especially if something's looking weird and you're not really sure where it's from that's a great way to just isolate things there is so much more that we could go over here in the fusion page just on titles but i want to show you one other aspect of what fusion is really good at because remember we were talking about how it's kind of like photoshop and you can do all kinds of different effects and stuff well we can even do visual effects here in fusion so let's say for whatever reason we aren't supposed to show this painting right this is normally something in say like photoshop or an image editing program you would clone this out well we can do this in fusion as well in a whole bunch of different ways one way is by using a node called paint which is this icon right here grab this and a little note if you drag it on top of the line to where it turns blue that will actually add it in between the two nodes and with this paint node selected i can go up here to my inspector and there's all kinds of different controls with how i can paint on this image i'm going to select clone and then up here in the upper part i'm going to select this fourth icon over which is just a single stroke brush and now if you're familiar with cloning things out i can hold down alt and select the area i want to clone and then just clone it over here just like that that makes it really easy and now if we do a good job make this a little softer break this up a little bit now we can clone that piece out of our image and there's ways to track this so that it moves along with the video and everything if you guys want to see a tutorial on that let me know in the comments below but you can do things like that inside of fusion so here's the before and after removing that painting but yeah fusion is a very very powerful program we can do all kinds of stuff in it you can do lightsabers and explosions and screen replacements all these things it's just about as deep as you want to go but that's a basic overview of how it works if you can kind of get your head around how the nodes hook together you'll be off to a really good start if you want to learn more about fusion we have a graphics training where you can follow along step by step and create a bunch of different kinds of motion graphics inside of fusion it's a great way to get your feet wet with nodes and really start to make your own awesome graphics in resolve all right let's take a look at the color page down in the lower part of our interface just click on color and again what this does is opens up our existing timeline here in a new context this is essentially an entire color correction app built right here into our editor and resolve actually started as a color corrector so this is all that resolve was at one point and the other pages have been added over time so naturally resolve is a really really good color correction program i would argue probably the best color correction program around so let's take a look at generally how things work again in the upper left-hand corner we have our media pool works the same way here in the middle we have our viewer this is what the person watching our movie is actually going to see over on the right we have our nodes which is very similar to the way nodes work in fusion but you rely on it maybe just a little bit less really what we need to know for this point is that any color correction that we do lives inside of a node so this is kind of just a group of color correction stuff that happens so anything that we do in these lower panels that's going to live right here in this node and we can make different groups of corrections and turn them off and on more on that in a minute towards the middle of our interface we have our clips this is just a quick way to navigate in between the shots on your timeline in a visual way and below that is kind of a similar thing our mini timeline this sort of looks like the mini timeline inside of the cut page except for you can't actually make any edits or anything it's just for selecting which clip you're on and seeing which layer it's on and everything usually i don't really care about this i usually just close it so i can go up to right here where it says timeline and close it just to give us a little bit more room now the bulk of what you're going to be doing in the color page of resolve happens down here in the color palettes the lower third of the screen and really whatever clip that you have selected let's say we have this balloons clip that's the one that we're going to be working on whichever one that we see here in the viewer that's what all of this stuff will affect where normally in say an editor you would have to select a clip go up to the inspector and adjust its properties that way or put a specific effect on top of it and adjust the properties and whichever one you selected if you have the effect on and everything that's how you do color correction well in the color page it's just whatever you're looking at that's what you're color correcting so it makes it a lot more simple this is a page that's a little bit intimidating for some people because there's just so many little things but really if you can kind of take it at that point like whatever i'm looking at that's what all of this adjusts so how do we make an adjustment the main tools that you'll use like 90 of the time to do your color are right here the color wheels and the curves by the way if your screen doesn't look like this and the curves and everything are behind the color wheels that's just because of your screen resolution and it's kind of automatically set by resolve so down here in the lower left hand corner we have our color wheels these are the primaries color wheels this is just the most basic way to adjust your color in resolve and if you've ever used something like a three-way color corrector this will make a whole lot of sense let's start with the offset controls because it's a little bit easier to see this color wheel changes the hue and saturation of our color so that means like the color and the intensity of it so if i were to grab this and push it really far towards pink we can see in our viewer everything's turned really really pink and the farther away from the middle we go the more intense the color is so if we want to make this a little bit warm we just take this and push it just a little bit warm just a little bit off of center towards this warmer side and now that's what we have if we want it to just be insanely orange we push it way far to orange and that's what we get so the direction is the actual color and how far away from the center it is is how strong the color is below this color wheel there's this little slider think about it like a great big steering wheel just put on its side right if you were to push this up like this what happens is it brightens the image if you were to push it to the left that darkens the image this is called a master wheel the master wheel just adjusts the brightness of that part of the image now you'll notice there's four of these wheels the offset controls basically the image as a whole so this is for really big adjustments in fact i don't generally use the offset very much but it is a great way to learn just how these color wheels work usually what i use is the lift gamma and gain and this is basically just splitting up the image in three parts the darkest parts of the image or the lift the mid tones or the gamma and the gain is the brightest parts of the image so depending on what we want to do if we want to make the brighter parts of the image warmer then we go down to the gain and we push it a little bit warmer and that will warm up the brighter parts of the image if we want to make the shadows a little bit cooler here in the lift we can push the lift cooler and now we get the cooler shadows and the warmer highlights so this is pretty much how you control the different tones of the image the same goes with the master wheels if we want the bright things to be brighter we push to the right on this master wheel and the brighter things get brighter if we want the darker things to get darker we push to the left on the left master wheel and the darker things get darker and of course anything in the middle we can push up or down here with the gamma and that adjusts the middle parts it's really important to just play around with this and kind of get your head around it but if you can understand that the image is split up into the darkest midtones and lightest parts of the image this is the color and intensity and this is the brightness then you're going to be doing really well you can reset each palette by clicking on this little reset all button up here that'll bring us back to where we were another tool that i use a lot is the curves the curves work just like they do in an image editing program think of it like a line graph of the colors the darkest parts are right here and the brightest parts are right here so if we want the mid-tones a little bit brighter we can grab these mid-tones and push them up to make them brighter see what happens in our image right if we want the darker parts darker we can't go down anymore but we can push this to the right and that'll make the darker parts darker same thing for the brighter parts push those up and make those brighter and you really have a lot of control over your image with this curve so just using the color wheels and the curves you can do a lot all right so that's the primaries and the curves which are kind of the main tools that you're going to be using to do your primary color correction now what that means is just the main color correction that you do over the entire image one of the tools that's really important anytime that you're color correcting is the scopes now the scopes live down here i can click on the second little icon here to bring up the scopes if you don't know how to read scopes check out this video right here very very important if you want to do color we're not going to go over it today because i already have a video on it but you know what i mean we have our kind of main correction here let's say we want to do something else to this image we want to kind of adjust it a little bit further in fact to start us out with i'm going to maybe make this a little bit less harsh i'm just going to make this just a little bit more just like of a normal looking shot without that big contrast let's say we want to adjust this a little more well everything that we've done so far here in these palettes lives in a group called a node like i said this is a little bit different than the fusion nodes where a node does one thing in fusion a node can do like a bunch of different things all together it's really more like a group here in the color page if we want to keep this image but then work on it a little more for some like details we can make another node another group of corrections by right clicking on this node and going down to add node add serial it's called a serial node because these are linked together in a series and it does matter the order that they're put in because this node is looking at this color corrected image right now so if we were to make this really pink that happens after our initial color correction and so we don't get confused we can right click and label them so this one's called primary that's just the fancy word for the overall main color correction that you do to a clip and then let's call this one secondary and a secondary correction is just basically like a part of the clip or adjusting a detail of something right adjusting a specific color or a specific area on the screen and let's take a look at how to adjust just specific parts of the shot here in the color page one great tool is the windows palette which is this fourth icon over here on my screen looks like a ellipse i'll click on window and these are basically like masks right so if i click on this circle it's going to add a circle mask to this secondary node right here so anything that happens in this node is only going to happen inside of this circle so again if we make everything really blue it's only going to happen inside of the circle this is great because we can select just a part of the image like let's say this plant and i'll just make it really soft you can adjust the softness using these little red dots and maybe i'll go down to my primaries and i'll boost up the gamma just a little bit boost up the gain a little bit and maybe just warm this up just a touch right so now we're just making a really subtle adjustment just within this window here and we can turn off the overlay by clicking this little menu here and select off and we can really quickly see what we're doing by clicking on the number for any node that we're on so click on this number and that will turn the correction from that node on or off and so we have that subtle little pop here on the plants pretty neat but because we're working with video i'll just turn on our overlay again sometimes a shot will move back and forth and if you're selecting part of a shot it's kind of a problem in this specific case it's not that big a deal because we have a really really soft subtle correction and i mean if we turn this off and we play it back you're never going to notice that you made that selection there right which that's a good thing to remember if you have a soft window a soft selection you don't always need to worry about it moving too much but if we were worried about it we can use one of the coolest features of the color page and resolve which is the tracking so i'll just go to the beginning of the shot and hit ctrl t on the keyboard look at that it just tracks it all the way through it's nuts and this tracker pretty much always does an amazing job anytime you have something that you need to track and pretty much just throw a window on it and it will track pretty well it'll do a pretty good job let's track these flowers ctrl t like you don't even really have to try very hard even on a really difficult shot like if we want to track her face you know if we want to like have a window on her kind of warming her up i can add a circle window here to her face hit ctrl t here and look how it kind of messes up well i can actually go like part of the way through the shot and right before it messes up i'll just move this over to track something that is a little easier to track ctrl t again i'll move it back before it messes up and i'll just select the side of her head here track it again and we've kind of tracked this in pieces but it remembers just the movement and not exactly where the window is and so we can effectively track her face even though there's stuff moving in front of it it's absolutely crazy how easy it is to track things and resolve so that's how you'd select just a part of the image this is also how you would do something like a vignette you know you'd brighten somebody's face you would do like rotoscoping all of that kind of stuff is the same basic way all right let's take a look at another shot i'll just do a basic correction on that i'm going to bring down some of the shadows i'm going to boost up the gain and the saturation just to touch so now we have this kind of poppy looking shot and let's say we want to select a specific color and maybe change that color or just adjust things that are that color there's a couple different ways to do that one way is here in the curves palette that we were using earlier there are these little dots up here and if you click on the little dots these switch out little pages here in this palette that will let you select certain hues and saturations and values in the image and then you can take whatever you selected and transform it so check this out with this hue versus hue curve open i can just click on a color that i want to change so let's say this pink and it makes three dots here and if i move this middle dot up and down look what happens to our image it changes the hue of that kind of specific range of hues and i can move these other dots around to adjust how much of my image it's going to select so that's a nice way to kind of just change some color and then there's similar things for hue versus saturation you can grab a certain hue like this greenish yellow and adjust your range and then desaturate just that kind of yellowish green hue and there's a bunch of different modes like this luminance versus saturation saturation versus saturation all these kind of things luminance versus saturation is really nice because if you have a really strong look like this maybe it doesn't look super realistic but you can desaturate just the darkest parts of the image and get a very different feeling look that might be a little bit more classy depends on what you're going for but those are great tools now a tool that's kind of similar to this that's actually brand new in resolve 17 is called the color warper so the second icon over here looks like a pinwheel that brings up the color warper palette and this is kind of like a hybrid of a couple of the curves we'll just reset our other curves here and let's say i want to kind of do a similar thing i can select a specific color again by just clicking with my eyedropper here on the image and then down here in the color warper we'll see it's selected where it thinks that color is and then i can move this around on my color warper and my image will change and if i change direction along this wheel it changes the hue and if i'm further away from the center it saturates it and if i'm closer to the center it desaturates it this pretty much works a lot like the color wheels here so if you're farther away from the center it's more saturated and the direction is the actual hue the the color so that's really neat because you don't have to go into two different curves to adjust different aspects but here's what's really cool if i click on this image i can actually click and drag right on the image and it will move that point around down in the color warper so i don't even have to click here and then go down to my color warper and move stuff i can just concentrate right on the image and then just kind of push these colors around to be what i want so let's say i want this to be more of like kind of a purple i can just kind of push this more towards purple land too saturated can just bring it down a little less saturated something like that maybe it's too much and i can really just dial that in just by looking at the image and clicking and dragging maybe we don't like the color of these leaves i can grab these and adjust those as well so maybe we want it a little bit more cool that's a really nice way to just adjust things right on the image super powerful there's a lot of details here to go over but we got to keep moving i do want to show you one more tool that i think would be really helpful also it's new in resolve 17. over here behind the color wheels there's a little icon that says hdr this is kind of a more advanced version of the color wheels so if we click on that that's going to bring up much more complicated scary looking color wheels these might look intimidating but it really does the same thing as the color wheels it just breaks up your image into more kind of detailed parts instead of lift gamma and gain so the darkest parts the mid-tones and the lightest parts it switches this out into six different parts so the black is like very close to actual black dark is a little lighter shadow's a little lighter light is a little lighter highlight is a little lighter and specular is really really bright right so if you have an image with a lot of different tones in it so like this image here we have the bright windows in the back we have all these mid-tones here we have the kind of the darker parts here in the fireplace this might be a tool that is really helpful for you in fact you can even see which tones these are going to select by holding down these little icons here on top of each color wheel so when you hold them down it's just going to highlight in the viewer what you're going to be selecting so it's a really nice way to be like oh i need to adjust these windows where is that okay all right the highlights adjust the windows so maybe we want to bring the exposure down on just those windows we can grab whatever wheel is just going to adjust the windows and we can adjust the colors there that's a really nice way especially when you have something like a blown out window outside or if you're shooting in raw or some kind of high dynamic range footage that's a great way to just adjust the tones that you want to adjust right so here in the fireplace let's find which one of these selects the fireplace so the dark the dark definitely selects it so we can boost up the exposure here and the darkest parts and it's just going to boost the darkest parts of the image and we can really dial in those tones and of course just like everything in resolve we can combine this with something like a window right we could just mask this part and adjust just the darkest parts and we have a ton of control over the different parts of our image super neat what's really cool about the hdr wheels is that you can even adjust kind of the threshold for each of these tones you can do that with these little sliders here but a better way to do that if you click on this little zones graph button here you can move the thresholds around here on this histogram and so if a lot of my shot is happening right here i can actually split this up a little more so we'll have the light parts adjust this of the darker parts kind of adjust this and we can kind of move this around so that we can make better selections right and now when we switch back to our wheels we have selections that make a little bit more sense based on the tones that are actually in our image so now the light actually adjusts everything that is a little bit more light in the image right you can boost up that exposure kind of give this a nice subtle pop really really cool play around with the hdr palette it's not just for hdr footage or for hdr projects you can use it on sdr footage it's actually just a really nice way to split up those tones the last thing i should mention is how to copy a color correction in between two clips it's actually really easy but it's not that intuitive right so let's say i really like this color grade but i want to apply it to anything that is similar all i have to do is select whatever shot i want to copy my color to and then middle button mouse click that's click down with the scroll wheel on whatever i want to copy it from so i'll just copy it from this one and maybe i want this one to be the same thing little button mouse click and we can kind of go through anything that's similar and add that similar grade to it and it's going to copy all of the nodes and everything so you have to be careful with what you're copying but this is especially useful like if you want to do a basic grade on one shot and you can hit ctrl a and select everything here in the clips and then middle button mouse click and get a really good starting grade on like every shot in your project so that's really the ins and outs of the color page you select the shot that you want to adjust you can use either your hdr or your primaries to do kind of your basic correction kind of finesse things with the curves if you want to you can make new nodes to select specific parts of the image and adjust them separately you can use these secondary curves or the color warper to change specific tones in the image and you can get a lot more detail with the hdr color wheels all right now let's jump into working with audio in fairlight to bring our project into the fairlight page you just click on fairlight down at the bottom and again our entire timeline is just opened up in this new world basically fairlight is basically an entire audio suite like an entire app that's built into resolve this is very similar to if you've used pro tools or adobe audition or logic it's completely focused on the audio portions of your project so a little tour of the layout we have our timeline here this is where all the tracks will be we have our viewer up in the upper right hand corner then we have this huge intimidating bank of audio meters up here and we have our mixer panel and the lower right by now a lot of this should seem very familiar if we go to the upper left hand corner we can open up the media pool which works the exact same way as other pages same thing with effects library although we only have audio effects here and fairlight has quite a bit of different audio effects that we can drag onto things just like you would expect if you want to add a certain effect you can drag it onto a clip you can also drag it onto a track to have it apply to everything in that track so a couple things to start out with here in the middle of our interface we have our toolbar just like the other pages and right here we have the timeline view options this is pretty important to know that this exists there's also similar things in the edit and cut pages but one thing that might be really helpful is right here video tracks if we click on that then we can actually see our video tracks and our clips and everything which might be really helpful if you're trying to navigate through a project and you're syncing up your audio with your video that kind of thing just to note that it's there so it looks a little bit less like you're just diving in the middle of a audio app and it's just more of a focus on audio inside of the video app getting around in the interface works almost exactly like it does in the edit page if i hold down shift and roll with my scroll wheel i can zoom up and down like this if i hold ctrl and roll with my scroll wheel i can move back and forth alt will zoom in and out on my mouse so that's a nice way to kind of navigate around here because you'll often find yourself zooming into certain sounds and that kind of thing my default selection mode is just my normal selection mode right i can select clips move them around just like you can in the edit page but because fairlight is focused on audio you can get a little bit more detailed this next mode is called range selection and that is like selecting just parts of your audio so if you want to select just a little bit and then delete it that's a great way to do that without having to cut and move different clips and things like that but we also have kind of a hybrid mode of both of these which is called edit selection mode this lets you grab clips and move them around in the tracks move them back and forth but depending on where your mouse is if it's an upper part of the track you can select just part of your audio if it's in the lower part you can grab things and move them back and forth if we want to make a cut with our audio we can select it and then just click this scissors which is called razer for some reason and that will split our audio now with our edit selection mode we can trim just like we normally could and you see it kind of shows you the entire waveform of your track right so you can easily tell like oh i want to include this little part you can roll you can grab the edges and fade them out and this is just generally really useful if you want to get a lot more detailed with your audio if you're trying to finesse different levels that kind of thing speaking of that if you want to change your audio levels you can hold down alt and click on this volume line at any point and that will make little control points and you can adjust the volume of your different sounds that's a nice way to work if you're really trying to get detailed just back up a little bit here but that's the basics of working with stuff in the timeline it's very simple if you're familiar with moving stuff around in the edit page it works a lot like that it just gives you opportunity to be a little bit more detailed so let's take a look at a couple things that i think are the most useful if you're trying to get some stuff done here one big one is the sound library in the upper left hand corner we can click on sound library and that will open up this panel this is a really great way to search for any sound that exists on your system so if i'm looking for something like a whoosh i can just type in whoosh and this will bring up all of the wishes that i have on my system really cool i don't have to navigate anywhere i can just double click i could just really quickly just double click to preview any of these once i find the perfect one i can grab the whole thing from here and just drag it into my track i can also set an in and out up here just like you would in a source viewer i for n o for out drag the middle down into the tracks this is just a really quick way to find any sound that's on your system now it doesn't automatically find everything you have to kind of tell it where your sounds are so over here under the three dots you can click add library so you can search for wherever you keep your sounds you know your sound effects folder or whatever on your hard drive and then you just hit select folder and it will analyze all the sounds i only had four clips in this little sample folder but if you have you know 7000 clips it'll take a few minutes and basically it thinks about all of them and catalogs them then you hit ok and from then on anytime that you want any of your sounds like ambience they just come up pretty much immediately it's so awesome so this is great when you're obviously focusing on audio so in the fairlight page but this panel actually exists in the edit page as well so over here same place same idea does the same thing so i'll search for ambience interior so here's like some kitchen ambience and i'll just drag that to a new track now we're really starting to build our audio tracks so let's take a look at getting a rough mix going here i'm gonna get rid of my whoosh and bring in a voiceover which just like everywhere in resolve you can either do through the media pool or you can just grab it from like an explorer window and i'll just drag this into our timeline here so we have our music we have our voiceover and we have our ambience and just to make things prettier and easier let's color these clips i'm going to right click on any clip and go up to clip color and let's make our music violet and we're going to make our voiceover orange and we'll leave our ambience green and to stay organized we can even rename our audio tracks so i can double click on this we'll call this music and we'll call the second one vo and our third one ambience if we want to rearrange these tracks we can right click and say move track down i usually like to have my voiceover on my first track and my sound effects under that and then my music under everything else but it doesn't really matter you can do it however you want and we can preview each track by itself if we just click on solo here so now i can solo this track and see how it sounds when you're preparing for a wedding you always want to make sure that you have pink balloons sounds okay except for it's coming out of one ear the reason for that is because we have a mono sound that's put on a stereo track there's a bunch of different ways that we can fix this the easiest way is if your vo is just mono to right click on your audio track and select change track type to mono and now you always want to make sure that you have pink balloons because if pink balloons are important to you you just gotta have them it's beautiful now we've just been playing our voice over you always want to make sure that you have pink balloons the levels are actually pretty okay the reason i think that is because we're bouncing around like kind of the yellowish range here in our meters be able to see a pink balloon if it isn't there there's a lot of technical stuff with audio but generally when it comes to audio you want it to be as loud as you can without clipping now it depends on a bunch of different factors it depends on what kind of video you're creating this for if it's for broadcast or for youtube or for you know some other outlet there might be specific factors uh as far as like loudness as far as specific like peak levels and stuff like that and there are ways to make sure that you are doing well when it comes to those specs but that's probably for another video we want to mix the rest of our audio based on kind of this level nobody's going to be able to see a pink balloon and now we want to set just the general levels of everything else to be not horrible okay this is kind of the first pass of audio the first thing that i know is going to have to be a thing is both this ambience and this music is going to have to turn way down because ambience is usually very very subtle right this is kind of just the room tone so one way you can turn stuff down is by just grabbing the line that's kind of hard to see right here but there's a line on every audio track grab this and just drag it down here to negative 15 something like that that's probably a good starting point for ambience and we'll just solo this this is just a very basic kitchen room tone this may or may not be what we actually want for the project but this is how you would do something like that then as far as our music goes our music is going to be really loud that's because basically all music is mastered just super loud and when you're adding it especially background music to a video you pretty much always want to turn your music down at least a little bit and if it's under voiceover like we have here you want to turn it down a lot another way you can turn something down is select it here and then open the inspector just like you would in the edit page and then you can bring the volume down here so i'm going to bring the volume down to like negative 18 or so that's again that's a good starting point so that we don't just blast our ears completely off while we listen to this okay so let's take a listen there we go [Music] so now we have this nice little music let's see how this sounds all together when you're preparing for a wedding that ambiance is always wait make sure that you select that open the inspector if people bring that way down important to you you just gotta stop them boost it until we can kind of hear it nobody's gonna be able to see a pink balloon nobody's gonna be able to see a pink balloon if it isn't there because that's how i don't know if you can hear this on the recording or not of the real world where things have to be a thing this is also somewhat of an annoying ambience but you get the idea you can set your ambience level and everything to make sense for whatever environment you're in another thing in this inspector that i think is really neat is if you have anything selected you can adjust the volume the pan the pitch but there's also a built-in equalizer so you don't have to add an effect or anything like that it's just built into the clip attributes and so i can turn on this equalizer and play my vo somebody's going to be able to see a pink balloon if it isn't there and i can adjust the tone of that right there so if you need to do any eq it's built in you don't have to add it as an effect very nice so another major thing i want to highlight here is the mixer the mixer is where you're going to do so much work in fairlight because you just have a ton of control over what is going on again you have a built-in eq for every track so if you just double click on this little cyan line it comes up with a very nice eq where you can eq an entire track altogether but we also have this dynamics panel which for whatever track you want to adjust you can double click the square right here and that'll bring up our dynamics panel this is really powerful especially for things like vo often times you'll want to make the louder parts quieter and the quieter parts louder to kind of balance out your voice you want to make it loud enough where people can hear it in fact my voice over for this tutorial is ran through this exact thing so if you're not an audio person you might look at this and go oh god what do i do well here are some basic settings that i do for um a voiceover that is recorded at a decent level basically i just turn on the compressor what the compressor does is just turn down the things that are too loud and so let's just play this back you always want to make sure that you have pink balloons because if pink balloons are important to you and we can see on this middle line right here this is when it turns down the gain from the compressor and so anything that's too loud it just turns down right here because if pink balloons are important to you and the question would be what is too loud well that's set with this threshold right here basically anything over 15 decibels it's going to turn down a little bit at this point it's going to make about half as loud as it actually is so this is just to make sure that things just don't get too loud right you want to make sure that you have pink balloons again without getting super detailed what you really want to do is take this compressor and turn this threshold down as it plays to where you start to see this blue line pushing down a little bit whenever you're preparing for a wedding you always want to make sure that you have pink balloons because if pink balloons are important to you you just got to have them that's really going to dial back those things that are a little bit too loud i'm also going to push this ratio up just a little bit and it's just going to be a little bit harsher with turning stuff down that is too loud now every voiceover is different so don't just copy my settings but the important thing is does it sound good because if pink balloons are important to you you just gotta have them the idea here is to balance how much of the louder parts you're turning down versus if you're turning them down too much and that kind of just takes some playing with and then once you've kind of turned it down it's a good idea to push this makeup up a little bit because it's coming in a little bit quiet then we gotta boost it up so that it's easier for everybody to hear you always want to make sure that you have pink balloon so what i do is look at this output here and what i'm aiming for is for this to kind of bounce around like negative 10 negative 6 somewhere in there it really depends on what you're doing because if pink balloons are so we might boost this up just a touch you just gotta have them nobody's gonna be able to see a pink balloon you always want to make sure that you have pink balloons because if pink balloons are important to you again depending on settings and everything you might do this a little bit differently but if you don't know much about audio you can start with this and kind of learn as you go balloons are important to you you just gotta have them i aim for kind of the peaks of the voice to kind of be around there because i know that's gonna be loud enough for somebody to if somebody's watching like a youtube video they'll be able to hear it on their you know grandma's laptop with really terrible speakers right so that's a great kind of start with things you always want to make sure that you have pink balloons because if pink balloons are important to you you just gotta have them the other thing i like to do if i have music playing under this is to cut out a little bit of the frequencies where the human voice is and you can do that with an eq and here's the basic idea we'll select our music track that's our third track here and double click on this eq line that'll bring up our eq and this number four here what i really want to do is just cut out a little bit of where the human voice is which is usually around 1 or 2k something like that you can cut out maybe 5 or 6 db right here and it's subtle but it makes the voice just kind of cut through the music a little bit more and you can actually have music a little bit louder and you can still understand the voice over really clearly when you add this little thing balloons because if pink balloons are important to you you just gotta have them now that i have this scoop i can actually select my music track go back to my inspector and boost this up a little bit because if pink balloons are important to you you just gotta have them and i can actually boost that quite a bit nobody's gonna be able to see a pink balloon and still understand it's gonna be able to see a pink balloon if it isn't there because that's how science works and work so and it kind of depends on you know how how loud you want your music and everything but that's a great little trick again this depends on your voiceover so one little trick to figure out kind of where your voice lands is to analyze the frequencies of the voice which we can actually do really easily if we just solo this go over here to our mixer and then right here where it says effects we can add an effect there actually is a frequency analyzer which will definitely do the job and it will analyze what the tones of the speech is right because so we can see kind of where important to you where it's landing now the problem is that it's really hard to kind of because if pink figure out exactly where the strongest points are so what i like to do instead of using the frequency analyzer is actually use the noise reduction click on noise reduction and this has an analyzer in it too and we don't even have to reduce the noise so check this out i can click on learn and then play this back you always want to make sure that you have pink balloons because if pink balloons are important to you you're just going to turn this off and on nobody's going to be able to see a p and you can see kind of a general idea of where the voice shows up right so we have a lot here in like the 208 range and then a little bit up here in the 2.2 and so we can take away those same ranges from our music so somewhere around here at like 2 and then somewhere here at like 208 something like that and because we're making room for this voice it should cut through the music a lot better let's just play our music here but he's going to be able to see a pink balloon nobody's going to be able to see a pink balloon if it isn't there because that's how science works and we're part of the real world where things have to be a thing so that's just a nice way to give a little bit of clarity to your voiceover so let's say that we have our project done and it looks and sounds amazing we love it it's the best and now we want to actually render it out so people can see it well that generally happens in the deliver page so down here below you can click on deliver and again it switches out the entire interface this one is all about actually outputting your movie so if you've ever used like adobe media encoder or apple compressor that kind of stuff this is sort of the resolve's version of that you can take your timeline or multiple timelines everything in your project whatever you want to do and render it out for people to see on the left side of the screen this is where most of the action happens this is the render settings so this is where you actually adjust all of the things when it comes to rendering then of course we have our preview here and our clips and our timeline and then over on the right we have our render queue so let's take a look at our settings there are a bunch of presets here that you can use as a starting point if you don't know what you're doing so if you click on the youtube preset it gives you kind of the recommended settings that resolve has for rendering for youtube one advantage of using this preset is that you can actually upload it directly to youtube so if you sign in with your youtube account which you can do under davinci resolve up here under preferences under internet accounts you can sign into youtube vimeo twitter frame io and resolve will remember that and so you can actually upload this directly to youtube that's pretty cool i do use that for some things but one disadvantage is that you don't have a lot of control over all of the settings for your render which if you want your render to actually turn out really nice you do want to adjust some of the settings so what i like to do usually is click on the youtube presets i'm usually making a youtube video and then switch back over to custom and so that'll give you a good starting point for your render settings now i have a whole video on this about render settings so if you want to know why i recommend this you can check that out but the youtube render settings that i use are quicktime under codec i do h.265 this is only available in the studio version on pcs but it is in the free version on mac and under encoder i do nvidia resolution even if it's 1080 i'll scale it up to ultra hd and under quality where it says restrict usually i'll make this number these these first two numbers twice the frame rate so if this is 30 frames a second i'll make it 60 000. if it's 60 frames a second i'll make it 120 000. this is 24 frames a second so i can make it 48 000. this will give you the nicest quality for the amount of space and time it takes up for a youtube video now if you don't have the paid version of resolve the studio version i would recommend h.264 with very similar settings here and that'll look pretty good too if you want the ultimate quality and you don't care about having just a massive file even with the free version you can select dnxhr and that will be very very nice i would say dnxhr hq same thing ultra hd and that will give you just a stunningly good video that is very big so make sure that you have a lot of hard drive space whatever settings you have once you're done with that you can click add to render queue and that'll ask you where to put things i'll just put it somewhere really pro like my desktop and if we are upscaling it's going to say hey why are you doing that are you sure you want to upscale and we'll just say add yep and then over here in the render queue it will add a job so this isn't rendering yet this is basically just adding this to a to-do list and when we're ready we can tell resolve to render everything so the cool thing is that we can do multiple different jobs multiple different timelines multiple different versions of the same timeline whatever we want to do and then just batch render all of these so let's say we want a version for twitter we can just click on the twitter preset name it adjust our settings and hit add to render queue and then over here in the render queue those will be stacked if we have them all selected or none of them selected that will render all of them at the same time when we click render all or we can just select one to render if we want to so that's really the deliver page pretty simple of course you can get really nerdy with the render settings and everything but this is where that happens and if you really don't know what you're doing or if you're just starting out just click on the youtube preset and name it export it and see how it goes then when we're ready to render we just click on render all with every version of resolve this kind of video just gets bigger and bigger but you stayed to the end that's amazing if you want more training on davinci resolve make sure to subscribe to this channel and you can check out our resolve 17 playlist right here um that's where it lives lives right there unless i forgot to put the thing if i forgot to put the thing it's on my youtube channel that's how that works so you could go there still i'm pretty sure i'll remember you never know it's it's a magical world

Channel: Casey Faris

Views: 707,842

Keywords: resolve 17 crash course, davinci resolve, davinci resolve tutorial, davinci resolve 17, how to use davinci resolve, resolve 17, davinci resolve 17 tutorial, video editing, blackmagic design, resolve tutorial, new in resolve 17, what is new in resolve 17, blackmagicdesign, free video editor, video editing tutorial, davinci tutorial, davinci resolve free, crash course, davinci resolve tutorial for beginners, davinci resolve 17 new features

Id: ozj-aQH0kiE

Length: 86min 22sec (5182 seconds)

Published: Thu Dec 17 2020