RESOLVECON 23 (DAY 3) - Learn DaVinci Resolve from Your Favorite YouTube Hosts!

[Music] thank you thank you [Music] [Applause] [Music] [Applause] [Music] foreign [Music] [Music] [Music] [Music] [Music] thank you [Music] foreign [Music] [Applause] [Music] [Music] [Music] thank you [Music] [Music] [Applause] [Music] [Music] foreign [Applause] [Music] [Applause] [Music] [Music] foreign [Music] [Music] [Music] [Music] me screaming [Music] [Music] [Music] [Music] thank you [Music] foreign [Music] thank you [Music] foreign [Music] [Music] foreign [Music] foreign [Music] [Music] [Music] foreign [Music] it's day three you guys [Applause] how cool how cool is this three days of sharing knowledge with one another of collaborating of learning and growing and being creative together this is so cool thank you to everyone who's been a part of this thank you everyone watching on live on our live stream appreciate you all for being here this has been incredible uh day three we are going out with a bang today we have some awesome presentations in store for you today as well as an exceptionally just the icing on the cake on day three you guys it's a little silly it's a little fun we're going to be doing our DaVinci Resolve Battle Royale later today I can't wait for this if you've seen Iron Chef it's a very similar experience like that this event is brought To Us by action VFX Nvidia studio and our friends at Asus providing us with all these awesome laptops over here that are just tricked out and of course resolve con as a whole couldn't be possible wouldn't have been made possible without the wonderful support of our sponsors thank you Blackmagic design thank you Puget systems Nvidia Studio motion VFX Asus audio mammo World audio design desk action VFX and Nob omniscope there are lots of links in the description of this video down below if you are interested in any of those wonderful Brands and uh we're gonna we're gonna get right into it so uh guys put your hands together for our first presenter of the day the one and only Kevin Stratford [Applause] hey good morning everyone how's everyone doing excellent you know I was I wasn't sure how many people were going to show up this morning after the party last night so it's good good to see a full room here that's great um so we're gonna we're gonna do something really fun tonight uh today uh or tonight or this afternoon whatever time it happens to be for all the people uh streaming but we're pulling together a vertical video so think Tick Tock or Instagram reels or Facebook reels we're gonna pull one of those together um and one of the exciting things about this is usually when I pull together this type of content um it's me sitting in front of my camera so it's really cool to be able to see face to face here and interact with all of you here uh before we jump into pulling together a vertical video I just wanted to give a little bit of background on who I even am up here so like Dan said my name is Kevin Stratford and I work as a full-time content creator which is crazy because I think back to when I went to school and graduated that wasn't even a job that existed so this is a completely new profession that has emerged so it's a there's kind of an exciting space to see how these new jobs come about in a previous life before uh working on content creation I worked as a product manager at Microsoft and so you might wonder well how did this guy get over to video editing and and working on YouTube videos so when I was at Microsoft was really interesting is I worked as a product manager so we built Microsoft Office and these different products and as part of that one of the really key components of Building Products is to talk to your customers and to understand what their needs are we would get all types of feedback coming in I mean imagine uh like Casey and crew getting feedback on the course of Microsoft is just a fire hose of hundreds of thousands of comments every single day just a ton of feedback and a lot of it you know people request new features and you're like okay that doesn't exist that's something we should build into the product goes on the backlog goes on the road map and you build it in but then there was also quite a bit of feedback people asking hey how do you should add this feature into say Excel or into word or into PowerPoint but then you go and you go into the product and it turns out that feature is already in the product and and so it's not an issue of like hey this is something you should build it's just that the awareness isn't there and I'm sure all of us can relate to this with DaVinci Resolve when you look at DaVinci Resolve half the time I'm like I'd love to do this I wish they had that feature turns out the features there so the same thing I think all software the more functionality it gets the more complicated it gets uh people just don't know about all of the richness and all the capabilities that exist in that application so what happened is you know people would ask for these things and I you know I was like hey it's an awareness issue let me pull together a video that educates and lets people know that this Rich functionality is already in the product and so then I uploaded it to YouTube and people watched it they enjoyed it and they said hey can you show us more can you do a video on this topic or that topic uh and so I started getting more and more videos out there and as people requested things my video backlog just kept growing and growing and growing I have this massive list of thousands of items uh and and yes it resonated and kept growing and kept growing and at a certain point I said hey there there is a lot of demand for this and what blew my mind and what's so interesting about the uh online video space I'm working on Microsoft and I'm getting a hundred thousand people to watch every single day which is just mind-blowing and it just felt that there was a big opportunity to have an impact and really help people learn how to use technology better uh so that kind of led me to the decision of hey let me leave Microsoft and I'm going to work on content creation full time and so that was three years ago and it's been a fun ride uh so today I mentioned that we're going to work on a vertical video how many people here have pulled together a vertical video or a real or a tick tock before can I see a show of hands nice actually a fair number of people have done it before how did you like the experience is it something you enjoy not so much I was wondering what the response would be with this type of audience for this demographic yeah it's a pain in the ass so one of one of the really interesting things about vertical videos in the past if you say pull together a video for YouTube It's you know 16x9 in terms of the number of services that you could upload a video like that too it's pretty limited right you have you have YouTube maybe Vimeo but you know that's you're not going to get as big of an audience so you didn't really have too many places where you could place your content the really neat thing about vertical video is you can create one video and then you have all of these different platforms where you can place your video so you could upload it to tick tock Instagram Facebook YouTube LinkedIn and I guess X the uh previously known as Twitter but you could basically make one video and you can put it on all these different platforms which is pretty exciting so you get massive massive reach with just one effort of making a video um now one thing one thing that blew my mind so as I was kind of pulling together hey what am I going to talk about today for this presentation I started looking at stats and and for those of you who haven't pulled together Tick Tock or Instagram videos before this may change your mind and maybe kind of push you down the path of experimenting with it uh so when you look just at Tick Tock I think in the United States you know we have 330 million something people living in this country about a hundred million people use tick tock so it's almost about a third of the population is going on to tick tock to consume content and this is this is the stat that just like I I still can't believe it but when you look at the average amount of time that a tick tock user in the U.S spends on the service any guesses for how much time people spend per day on tick tock not quite that long so it does yeah it turns out it's about uh I think the actual status like 56 minutes and 22 seconds so almost an hour of time every single day is going into Tick Tock now is a fun thought experiment I said okay so if people are spending about an hour every single day on Tick Tock over the course of someone's life how much time is that it turns out it's a little over two years of time on Tick Tock like that blows my mind I don't know when I'm an old man I'd want to say oh I spent two years of my life on Tick Tock um and the interesting thing is like is that a good thing is that a bad thing um I think when you look at Tick Tock you have all sorts of different types of content right you have entertainment content you have people dancing uh but I think one of the neat things too is you also have educational content and that's one of the things I focus on so I'm an educational content creator I want to empower people to be able to use technology better so they can accomplish more at work accomplish more at school and so I place educational videos on these different Services I go to tick tock you know maybe you're waiting in line for lunch you have you know a minute before it's your turn and you want to learn something quickly we'll pull out your phone you get a quick tip you're like okay now I learned how to do something um so that's that's kind of what my channel and what my shorts are all about and today what's neat is we're going to pull together a vertical video that I used on my channel uh and the the thing that's interesting is this video went on to get I think it was almost 2 million people watched it so just just kind of mind-boggling uh how many people that works out to be right you see the numbers on the screen but then when you actually see the faces you're like well that's a lot of stadiums worth of people watching a video and we're going to take a quick preview of the video um and and one thing if uh so at the bottom of the stream in the description uh we have a link to all the sample files so if you want to follow along today and actually make your own short you could do that so I'm going to play preview and if you want to get the sample files you could do that so let me pull up the preview here website all right you can turn your drawings into animations go to the following website then upload a picture of your drawing select your character and make sure that the background is removed then confirm all the different joints then you can choose your animation and look at that my little man is dancing that's adorable yeah so yeah that's that's a take uh so with this short video it's really interesting because it's uh like if you look at the time stamp there it's a 21 second video but it's amazing how much work goes into building a 20 second video and we're going to go through all the steps of making this happen and pulling it together and it's gonna be fun we're gonna you know use the edit page we're gonna use the fusion page we're gonna use the fairlight page so we're gonna use a few of the different interfaces within DaVinci Resolve to make this happen um just a few little things kind of fun little tidbits about shorts um so at the beginning always a good idea how do you hook your how do you hook your viewer and so I think a lot of people I'm sure a lot of people here have kids you get your kid drawing how fun would that be if you could take that and then convert that into this animation uh it turns out with AI So Meta pulled this together it's a meta product uh you basically scanning your photo and then it'll identify all the joints and then you can animate it just by clicking on a button so really kind of fun little project if you have kids you can test this out so basically try to hook someone at the beginning this is kind of the hook like hey you could animate this um and then also what's interesting too like throughout the uh throughout the short like here if you look up at the top uh there are these little Easter eggs to see if you get people to engage on it so like oh can I learn how to talk to dogs so people are like why does he have this other tab open so these little kind of Easter eggs Place throughout the video and then it's kind of instructional where it just kind of walks through you know how you go about doing it and then what the final result looks like so in a 20 second time period you kind of get this neat little tidbit that you could go and try on your own so let's uh let's pull this together now so here I have a DaVinci Resolve open and then if you're following along you should have these six different files one of them is just the the final kind of product that we're pulling together and the other five are the files that we're going to use to make this so I'm going to select all these files and let's drag and drop that into DaVinci Resolve and here we have it on the cut page I'm going to jump over to the edit page and I'm going to use this to pull it together uh now one thing that I always like to do and especially I think for a lot of probably our viewers online um this this right here is a really beefy machine so I I have complete confidence that it's going to be able to handle all the editing here but I know a lot of people don't necessarily have the most powerful machines uh so one one thing that I always like to do when I'm editing a video especially if say I'm using a laptop to pull together one of these videos is to select the video file so I have two video files here I'll select them and then right click and then generate proxy media so a lower resolution version of the video file that kind of lower end or perhaps not as capable machines can handle better so that's one of the things I'd recommend and that's one of the things I typically do first in terms of performance too if you don't have a high-end machine another thing that's worthwhile doing is let's see if you go to playback and then timeline proxy resolution you could shift the resolution there down to quarter and I found that that also helps with performance if your machine isn't quite as high end so those those are kind of two things that I typically do first to make sure I have a smooth editing performance so now that now that we have everything down here let's take a quick look at what some of these files are so we have uh five different files here and let me just zoom in on them a little bit uh so we have this laptop frame we'll work with that I also have a screen recording and you'll notice that this is a 16x9 so it's not a it's not a vertical screen recording uh so we're going to work with that and we're gonna we're gonna adjust it so it kind of fits within a vertical frame uh when I go down to this uh talking head video clip here uh this is a vertical video of me so it's it's recorded in kind of the proper 16 by nine aspect ratio so that looks good we also have a so we have the soundtrack or the music that goes along with the video and then I also have some sound effects this wish effect so when you see the screen kind of jumping around we have this sound effect so those are the different files that we're working with today so one of the things I like to do to pull together a vertical video is kind of focus on the audio first so I'm going to pull my talking head video down onto the timeline here so here you see me talking so at least what I do when I film these videos is I'll sit in front of the camera and actually narrate the entire thing uh and then the the screen recording will be kind of overlay or b-roll footage that goes on top of this talking head and so you'll see with the audio track I have uh so I have two separate audio tracks and uh so one of them so I have two different microphones that I'm recording with the audio one or track one this is my kind of professional sounding microphone that I keep close to my mouth it's just out of frame so if you see the video shot of me here if you imagine like an inch above that shot there's a microphone hanging down and then the second audio track this is the on-camera microphone so I have two different audio tracks and the so one of the tricky things if I play this here let's let's have a quick listen you can turn your drawings into animations go to the font so when you listen to that I don't know if you could quite hear it here but there's a slight Echo there and the reason why is the on camera microphone is in sync with the video while the separator external microphone there's a slight bit of latency there and so it's not quite in sync so we're gonna have to get those in sync um so let's uh let's jump over to the fairlight page so I'm going to click over here and let's zoom in I'm going to press the shift key and scroll my mouse wheel just to expand the vertical and then I'll press the control key with my mouse wheel or the alt wheel and here let's zoom in on the horizontal so here we can see it a little better and you'll notice kind of the first thing too is the levels are fairly low so I'm going to right click on these tracks and uh right click there and uh let's start out by just normalizing the audio levels so I'm going to click there and here I'm going to set the target level to zero and actually one thing I want to do is let's zoom out a little bit I'm going to unlink these audio tracks and let's right click on the first one and I want to normalize this I'll set the target level to zero click on normalize and so that brings the audio levels up and I'll do the same with this next track let's normalize that and so here we'll just be able to hear it better and the levels will be better um and so yeah once again you can turn your drawings into anime now you really hear that Echo between those two audio tracks so one of the things I want to do is I want to put these in alignment so let's go first I want to go up to timeline and there's this option for layered audio editing I'm going to turn that on and what that does is if I take this audio track and I pull it down to put them in alignment if I didn't check that box it would overwrite the audio track underneath so that's the reason we're checking that on and one of the things I'm just going to cut a little bit of this clip at the beginning so I'm going to press the let's see control shift Open Bracket and that is not working here the shortcut key is not working so I'll pull this in I'm just going to shorten that a little bit just so I could get those in alignment so I'm just going to pull this track so remember the audio one this is my kind of high quality audio audio track 2 is kind of the on camera mic so it's not going to sound as good so I'm just going to pull that down and I'm just going to eyeball it here and just make sure they're in alignment so there I see the waveforms that looks like it's about an alignment I'm going to press alt up arrow and that's going to throw the audio track up and now if I play it you can turn your drawings into animations it sounds like they're in sync now so I think that's I think that's good we no longer need this audio track underneath so track two so I'm just going to delete that and then this third track is just my PC audio I'm not using that here so I'm going to delete that so now we have kind of one pristine audio track one thing I like to do too is just uh as I play of your drawing if we look over here at the levels for audio one typically for audio for YouTube I like getting that between negative 10 and negative 15 DB I think that's a good level to be at so I think I think all this uh all this audio is in sync now some of the other things I like to do with audio so I've one of the great things about say uploading a YouTube video or a tick tock video is you get lots of feedback from people uh some of it positive some of the negative uh but the way I view feedback is all feedback is a gift um and one thing that a lot of people at least told me is hey when you speak there's there's a strong s sound and so I was like oh okay and let me let me figure out how I can fix that turns out you have a de-esser that gets rid of that s sound uh so up on top top I'll click on effects and right here there's the option for de-esser so I'm just going to pull that down onto the track and I'm just going to go with the male s just to remove that sound so that's now applied to de-esser one of the other things I like to do just to make the audio sound better is to compress the sound so to lower some of the highs and to pull up some of the lows so over here under Dynamics I'll double click here and right here I'm just going to turn on the compressor stick with the defaults and then close this out and that's all I'm going to do with the audio so right here let's go back to the edit page now so here we are in edit and if we listen to it you can turn your drawings into animations go to the following okay so I think that uh I think that sounds pretty good now when we look over on the right hand side so we have these two viewers here we have the uh the source viewer and then we have the timeline viewer over here and the timeline viewer this is kind of reflective of what we're going to be rendering at the end and when we look at this we're pulling together a 9x16 video but we have all these black lines on the on the left and on and on the right and for sure or for short oops for a short or vertical video we don't want that so we need to get rid of that um so over here on the left hand side uh we have this item in the the master uh media bin title timeline so let's right click on that and right here at the top let's click on timelines and then we have timeline settings so I'll click on that and if we come over here right now it's set to use project settings I'll uncheck that and we have all these different options so right now it's set to 1920 by 1080. and we also have this option to use vertical resolution I'll check that and here you see it just swaps those so now it's 1080 by 1920. and that's exactly what those are the dimensions that Tick Tock and scram all these different Services except so we'll go with those and then right down here let's click on OK and now we see those uh those black lines have gone away and let me actually zoom out just so it fits we'll go up here and now that video fits in and those black lines are gone so this is these are the proper Dimensions now um so that looks good one of the things I uh one of the things I want to do here is when we look down at the timeline you'll see that the here at the beginning of the video clip let me play this you'll see I'm kind of getting into position and I'm moving my chair to kind of get ready to start filming so I want to make sure I cut that out and this is this is by far if you don't know the shortcut key this is one that you should definitely use but if you press Ctrl shift Open Bracket that'll basically trim it to where your playhead is which is really really cool and I think actually uh one thing you can do one of the great things about DaVinci Resolve is it's uh you could customize the heck out of it so if I click on DaVinci Resolve keyboard customizations you can customize all the different shortcut keys but I know a lot of people here set that short like Ctrl shift Open Bracket close bracket little complicated a lot of people set it to q and then I think also W so you just press Q to trim the front and then W to trim the end so well worth doing that and that'll definitely speed up your workflow so here I'll close out of that and let's go to the end and here at the very end adorable when the clip ends there I go away and I stop the recording so I also want to trim the end so I'll go up here and I'm going to press the W key which is the shortcut key in there you see just cuts the end so a little kind of efficiency tips as you're as you're working through uh and on your video um so the next thing I I want to do is let's actually jump into the color page now that I've kind of did this is the the footage that I want to keep and let's jump into the color page and this video is going on Tick Tock and Instagram and like all these services and I'm definitely when I when I look at my age I'm kind of on the older end of users of this so I want to make sure that I have a very youthful appearance in these videos so in the top right hand corner I'm just going to do something really basic here let's click on effects click on this search icon and let's search for face refinement and here I'll take this effect and I'm just going to drop it on this main node here and this is this is using some of the AI capabilities in DaVinci Resolve I'm going to click on analyze and it's going to go through and it's going to analyze where my face is throughout this entire recording so there it finds my eyes my eyebrows my nose my mouth and here it'll track it through the entire scene pretty pretty cool Tech anytime I touch these AI features I'm worried I might have a similar experience to the other presentations where things just completely crash but this looks good and then now that it's uh now that it's gone through and it's analyzed the entire scene over on the right hand side we have all these different settings we can apply so one of the one of the best ways to look a little more youthful is to maybe smooth out my skin a little bit so let's put 0.2 on there and look at that my my skincare routine really looks like it's working and uh and then so I one thing about me is I have two young kids and so they they keep me up quite a bit let me also get rid of some of the eye bags under my eyes let me actually zoom in here so you can see what that looks like and let's uh let's remove those eye bags let's apply 0.2 just a little subtle change and let's zoom in here let's see yeah so if I toggle this off and toggle it on you'll notice that the Skin's a little bit smoother those eye bags are gone so just just a few slight refinements to help me fit in with more of the demographic who uses tick tock okay so let's uh let's jump back to the edit page here uh so here in the timeline I have this first section here let me go back and play this you can turn your drawings into animations so that's the intro that's kind of the hook part of the video and I want to I want to cut it there because I want to kind of zoom in to kind of pull people into what's happening so I'm going to press the control and then the backslash key and I guess that is not a shortcut here so I'll press the b key to open up the blade tool and let's slice it right at that point so here if I zoom in you see that the video sliced and I want to zoom in on this and of course with DaVinci Resolve there are many ways to accomplish the same thing so I could use the hero I could click on the video clip let me just click on the video clip so I could just uh in the top right hand corner I can click on the inspector and when I open that up I could just apply a keyframe on the zoom and then that's probably the easiest way to do that so here I'll just check the keyframe on then I'll go up to the end of the clip here another neat little shortcut key that you could use is press the down arrow and that'll send you to the the end of the clip and I'll press the keyframe here and let's just apply kind of a nice slight zoom and I think it's actually looking at yeah so here we now see as the clip goes on we see that return your drawings into animations so I think that looks that looks nice kind of kind of pulls the viewer into what's happening on the scene uh so now now that we have that zoom in on the first clip next I want to focus on you know the actual screen recording and kind of demonstrating that so let's pull the screen recording I'm going to pull I'm going to bring this up into the source viewer over here and let's listen to the talk track and then I'm going to pick the part of the video that aligns with that talk track go to the following website so here I say go to the following website and so this beginning portion here I'm going to zoom out just a little bit the beginning portion here is when I go to the website so I'm going to press I to set that as the endpoint and let's just drop this down on the timeline so here go to the following website perfect and then the next part that I talk about then upload a picture of your drawing and then I say upload a picture of your drawing so I'm just going to scrub through here and then find the portion of the video where I upload the video or upload the the image so right here is where I'm selecting it so I'm going to press the I key set that as the end points and I'm going to drag and drop that onto my timeline and so here we see the upper Direction select your character and make sure that the background is removed okay so I'm going to trim the end of that by pressing the W key there's that shortcut key again yeah playback's going a little bit slow and then so here remove the background so I'm going to set the endpoint here and let's drag this down onto the timeline so I'm basically just aligning the b-roll to match what my talk track is then confirm all the different joints so here we confirm the different joints that all looks good and you can choose your animation and then we have the portion where you choose your animation so I'm just going to jump through here and pick the portion where the animation occurs so here's where I picked the animation so I'm going to set the set an endpoint here and then let's drag that down onto the timeline and then at the very end and look at that my little man is dancing so there I say my little man is dancing so here if I go towards the end of this clip here I have the dancing scene so I'm going to set an end point there and then I'm going to drag and drop that down so it overlays the end and at the very end here I'm going to jump to the end of this clip and then I'm going to trim the the end of the b-roll um perfect so I think all of that all of that looks good and let me just uh trim the end here just so it ends when the talking head portion stops so there I zoom in so here I have all of this footage now so the next thing I want to do is I want to just represent that hey this is all happening on a laptop so I'm going to press the let's press the ALT key let's zoom out I'm going to take this laptop front and I'm going to drag it down on top of this footage so let me expand this out right until there and now I want the I want the screen recording to fit within the frame of this laptop so I want to basically zoom out on some of this so it fits within the vertical size uh so with the uh let's see first I'm going to select all of these clips here and I'm going to let's see let me pull this over okay so I think this all looks good so I'm going to select all these clips and let's create a compound clip oops yeah so I'm going to adjust the zoom on this clip and let's bring that down to 0.25 and I'm going to move it up a little bit let's go with 14 here and I'm going to press Ctrl C on this clip and then select all of these press alt V and that way I could paste the attributes and let's paste all these video attributes in that way all these subsequent Clips have the same zoom level and then here on the laptop I also want to zoom out on this or let's uh let's bring this down and I think 0.31 works well so there it kind of sits right around this footage let me actually move it up it looks like there's a little bit of a gap at the top so here I can move this up and there it fits right within the frame and let me now apply that to all these other Clips let's press alt V and let's apply those video attributes okay perfect and then one of the things I'm going to do I'm going to highlight the laptop frame and the video clip let's right click on that I'm going to turn this into a compound clip and then create that and so now here we have one clip with the screen recording and the laptop frame around it and I'm going to move this up one layer because right now if we look at this vertical clip you'll see the laptop sitting on top of me I don't want that so over here up on top I'm going to click on effects and let's click into generators and I'm going to uh just for Simplicity I'm going to throw a solid background behind it and so I'm going to drag this up to the end and so here we now see the screen recording sitting on top of just a solid background and let me throw in let's go with a nice blue here so now we have the screen recording so as I'm talking go to the following website then upload a picture okay so we have the talk track we have the laptop all of that's kind of in sync with the speech I'm also going to jump to the end here where I demonstrate the animation it's adorable now it says my little man is dancing so I just want to align that so that's in the middle of the frame and here I'm going to zoom in a little bit so we see that dancing guy right there at the end if I go back here right now it's a little zoomed out and I want to make sure that it's a little closer so we're going to jump into the the fusion page here and I just I'll just demonstrate this with kind of one of the shots here uh just an interest of time uh so here at the beginning you know I say hey go to this website uh so I'm gonna we'll press shift spacebar and let's add a transform node in here so I'm going to throw that in so the transform node allows me to zoom in and adjust the positioning uh so right here let me zoom in this is going to be the kind of beginning shot where I say go to the following website I'll zoom in move it over so this way the website is in focus and so here we could play it back and listen to the audio track go to the following website then then it says then upload a drawing so I want to jump out so you can see me uploading the drawing so right here I'm going to add a keyframe and then let's jump 10 frames forward so I'll jump up to frame 87 we're going to add another keyframe and then I say go to the following website so here I'm going to click on this to jump back to the default Zoom setting let's zoom in maybe a little bit more so now we can see uh kind of how it works so go to the following website the following website then and then it kind of jumps out or zooms out some of the things so what I would do is kind of go through the entire clip and I'd uh you know adjust it so the the portion I'm talking about is kind of in Focus uh down here under image adjustment just to make it a little bit smoother when you saw that it was a little choppy as it was going so over here I'll click on animation and let's apply some motion blur maybe 0.4 I think that'll work nicely so now you see when it kind of zooms out then you have that nice blur effect as it's going out and again I'll go through and do this the entire video but just in the interest of time I'll skip over that uh one of the things so here I'm kind of zooming out I'll go back to the edit page and if we go back to the the media pool I have this sound effect right here so whoosh so right now my playhead is right where that zoom out is happening I'll place this sound effect here and let me zoom in just a little bit I'm going to place it so the sound uh plays right as it's zooming out and let me lower the level on that a little bit so let's see how that looks then up so if we watch it then it kind of zooms out and you have that nice whoosh effect that goes along with it um so and what I would do here too is as as kind of the screen is zooming in or out apply sound effects just to support that movement now one thing too one thing I want to show here is as it's zooming out it's just kind of a linear move there so I'm actually going to jump back into the fusion page and right here if we open up the spline editor let me open up the transform and you see this is where that zoom out is happening now select all these items and press the S key on my keyboard and that way you kind of have a slower start and a slower finish so it's a little bit of a smoother animation there but I think that looks good if we go back to the edit page we'll kind of wrap up the video now at the very end we have the dancing man and I want that to be kind of fun so here I have this music track so here I'll just drag and drop it on let me trim the end and then also lower the levels generally I find for music you want that to be around negative 30 DB I think that just works better and that way it doesn't overwhelm the talk track and look at that my little man is dancing that's adorable okay so we have the music uh and then the very last thing that I want to show is with vertical videos uh you'll find that a lot of people consume this type of content uh without their audio turned on and so I think what you want to do is so people could follow along you want to make sure that you have some subtitles that support what's happening and one of the beautiful things in DaVinci Resolve now is you can automatically generate the subtitles uh based on the uh the audio track so here under timeline here's the option to create subtitles from audio I can click on that here you can go through you can choose the language you have all these different settings I'll click on Create and then those subtitles will overlay the video so that'll go through and analyze and it looks like it didn't quite work right but here uh if I if I click on the subtitle we can go up to track and here I could adjust the way these subtitles appear so here I could add some background and here you now see it and I could go through and adjust these different settings if I want to say add you know reduce the opacity or adjust the way these appear but now I have these subtitles I can adjust the position and all of that and if it's working properly you'd see it across the entire video um so this all looks good now the video I think is uh of course you'd want to spend a little more time get all the animations down but lastly click on the deliver page and then under custom export one thing you'll want to do to make sure that the subtitles are burned into the video under custom export at the very bottom you can click on subtitle settings export subtitles and uh and then right here you could choose how what format you want the subtitles to be in and here you have the option to burn into the video so that'll just sit on top of the video so when you export to some place like Tick Tock or YouTube those subtitles will appear as part of the video and then you just go ahead and Export it this option use vertical resolution is checked so it's in the right dimensions and then you go through render the video and you can upload it and that's kind of the kind of high level very quick overview of what that vertical video flow is like cool and I think it's I think it's time for Q a now [Applause] all right thank you Kevin and uh yeah let's start accepting some questions from our audience yeah Paul thanks Dan thanks very much Kevin for the presentation that was awesome to watch um I just note when you said that you're at the older end of the scale I guess I'm buggered in that room in that sense um and uh take a while to get rid of my eye bags and put hair on and do all that sort of stuff so I'm not sure if that's worth it you might have to go with point four yeah but um I'm just wondering with Tick Tock and those sorts of video vertical streaming things the times that I do get on there I just find it's 90 rubbish um trying to find good content like this sort of stuff is the challenge but as a content creator obviously your aim is to get as many views as you can and you said this one had incredibly High number of views but what's the key benefit for you other than the The View rate does it bring business back to your website can you work out what percentage of that like how do you monetize that if you're lucky enough to get that sort of view rate thank you yeah absolutely um so a few a few different ways you can monetize content like this uh so you have um I think it's Tick Tock YouTube Instagram and Facebook these days so you you can actually earn money based on the views for your videos so all these different Services they show ads alongside your video and so you get a cut of that um so that's one way but you do have to get quite a few views to make any you know serious money from it another way is especially if you start getting a lot of views on your shorts um or your vertical videos you'll have companies come out and say hey can we sponsor a video so you put together a you know 60 second video on our product uh and then we'll pay you to do that um so that's another Avenue uh one one other kind of approach is uh if if you have some type of product um you could basically tie it back to your organization um and so that's where you could use something like a say like a tracking URL where you could you could figure out hey how many people actually watch this video come to your product page and actually end up converting um so I I think I'd recommend doing that just to say hey what is the impact or can we measure you know how this vertical video is performing um and then at least for me personally like the reason I do it is I I think like as a content creator you just want to be up on the different platforms and kind of experimenting with them seeing what's working um it also I also sells some courses and so all of it kind of feeds back into the main YouTube channel and I think there's benefit in having audience kind of on all of these different platforms because I think they kind of feed back and forth across all of them um and in fact like anytime I say upload a video to YouTube I go onto Instagram and then you know call out the video to that audience and so it's all about trying to you know get people kind of cross-pollinating across these services foreign first of all you sounded a lot like Grant Petty so that was amazing um but uh so second the so when it comes to thumbnails right now I think there's experiments on YouTube with with YouTube shorts on this because I don't think it's like publicly available yet but when it comes to pushing shorts out because there's significantly quicker content you want to get them out as quick as possible and pump like a bunch of a bunch of them out um would it be how much time would it be worth to spend time making like dedicated thumbnails to shorts if that functionality became available yeah so I I think uh like when you think of when you think of vertical content you have to think of like what is the entry point and uh so a lot of vertical videos uh most of the traffic for I think most most of these short form videos comes from the recommendation or the feed so you know you're on Tick Tock you're swiping through the feed uh and in that case I don't think a thumbnail really contributes much because you're just kind of discovering as you're swiping through uh and so that's kind of one entry point to a vertical video so in that case I don't think it really helps too much to optimize a thumbnail um although like one thing I found is when you upload say a vertical video you also get a lot of traffic from people searching for topics so if you go to YouTube and you search for a topic they also show vertical videos in the results and that's where a thumbnail does make a difference because as a viewer you're looking through all the results uh and you're deciding which one to click on and a thumbnail can help um so I think like the approach I would take is what is the source of traffic for a vertical video and if it's predominantly search then yes thumbnail makes a big difference if it's primarily through the feed then the thumbnail doesn't matter quite as much hi so I had kind of a two-part question for you so I assume your content you kind of knew what you were going for when you started doing this so question a why did you film yourself the entire time if you knew where you were going to overwrite yourself with other stuff and then question B would you just eliminate that track now to reduce the amount of of computation needed to produce this video or why do you why would you leave it there yeah so uh like we saw my workflow like one thing I like doing is when I have the video throughout the entire clip um let's say I decide that hey I want to have like my face in a circle on top of the video um I have that option so it gives me flexibility by having me on there the whole time or maybe maybe I want to have a jump cut where it goes from the screen recording back to me and then back to the screen recording so it just gives me options exactly yeah yeah uh like basically it all comes down to like what what can I do to make it as engaging as possible and I think like if you if you stay on one screen for too long people are going to tune out so just to keep it interesting sometimes like having it like if I'm speaking and not showing anything then I'll shift back to my face once I start showing something again then I'll jump back to the screen recorder product would you cut off that whole section that you've replaced yourself uh in this case I um I haven't noticed any performance difference so I usually just leave it in and it's a lower layer so it doesn't get rendered so yeah what about other languages yeah so uh uh yeah when you when you burn the captions in it's uh like I'm stuck with English one thing you can do is so on like I know like YouTube and these you know all the different at least most of the different services so you could also upload an Associated SRT file uh and that's where you know you could upload in different languages as well but in that case you'd have the burned in captions and then the viewer can also turn on their localized captions and so like you'd have the two captions sitting there um but yeah I I think the the trouble is you have a lot of people watch these vertical videos and they don't turn captions on but they want the captions to be there um so I just place the English captions on and just assume that's going to be close to the audience but yeah not not optimal but yeah do you have any success um using shorts to try to pull people to longer form content or do you kind of treat the shorts as sort of its own video separate of any other content yeah it's uh it's interesting when I when I dig into the stats because that was like one of my big questions like how much do shorts feed the longer form content uh and when I look at the analytics uh it's it's almost like two distinct audiences like I have noticed some comments where they're like oh I love your YouTube videos good to see you on like Tick Tock now um but I think the overlap is uh I think it was like 10 consume both uh but then otherwise most of them are on either long form or most of them are either on shorts um so I think they're like distinct preferences for where people consume information at least that's what I found with my stats I don't know if that's representative but yeah okay any other questions all right let's see we got some from our online audience here uh question for Kevin what shortcuts are good that would make the workflow easier so what shortcuts yeah oh shortcuts yeah shortcuts yeah uh so let's see um one so one thing that I I find helps my workflow a lot um so especially when I like I kind of have a formula for my shorts and they all kind of match that formula um so like in a lot of my videos I'll say Hey you know I have a listical format where I'm like hey five you know tips and tricks and PowerPoint or five tips and tricks in Excel and they and then you know kind of jumps into the you know the screen recording it kind of demonstrates them or you know my face jumps into one of those little circles kind of as I'm going through it and uh and so like a lot of them follow that same formula and so what I end up doing is I just have a project and every time I work on my next short I just open the project again and I drop in like the new talking head video the new audio track but I keep a lot of the different animations that I have in place and so everything's already kind of sitting on the timeline and I just drop in the new video Drop in the new audio and then I just make a few tweaks here and there um but yeah that's that's probably the main thing that I do to streamline the process just like I guess one thing I always try to remember is um like I think shorts like it's it's amazing like you know some of the shorts that you put less effort in end up doing better and I think there's almost this expectation that like quality is a little bit lower on Tick Tock you know you just pull out your phone you start recording yourself and I've experimented too where you know instead of like here um if we look at this shot the talking head like this is with my you know I have my nice lighting and I you know here I have my I'm using my nice camera um but I tried just with my cell phone just recording with my cell phone and just doing the same thing and perform just as well so I think there's this people are comfortable having you know the quality not quite as high um but yeah that's kind of the main shortcut have a project that you know exists and you can just kind of drop content in and really like the one thing I always try to achieve with shorts is to try to keep the cost low as they're producing it so try to move quick uh or quickly with them sure sure uh one more from YouTube here in delivering the final rendered product do we need to go back to the proxy Media or settings he changed at the beginning for a laptop yeah so with uh Once you turn on proxy media when you render the final project it'll go back and use the original source file so you don't have to worry about it using the lower resolution copy um it purely for me I just want it to be a smooth experience so I like as I'm editing I don't really care that much how it looks I just know that when I do the final render it's going to look good great how do you convert a PC video into a YouTube short yeah so I know um some people will take an existing say YouTube video and then turn that into a short right so you kind of Leverage your existing content and then you you make it available for your short strategy um and I think like one thing that I found works well uh so if I jump back to uh let's see the beginning of this goat so here this is this is kind of a um I guess like a 16x9 video so it's a kind of horizontal format um and one thing I like to do is like put it in a laptop frame and then focus in or zoom in on the portions that you're talking about uh sorry I think especially if you have video that's you know 16x9 this is this is kind of a neat technique that you could use uh to bring it into a vertical format like I I don't like as much like it's always a challenge like how am I supposed to film it if it's going to be you know 9x16 uh and I don't want to just zoom in like I want to give context for where you are on the page and so I think that's where here if I go back and play this go to the following website then up so you kind of you kind of jump in and out depending on what you want someone to look at so they kind of have context of you know where you are on the page and then you zoom in on the portions that they should be focusing on um I I find that works well okay great any other questions here in person awesome thank you so uh yeah now the last thing I'm looking forward to seeing all of your viral Tick Tock videos coming off yeah yeah guys give it up for Kevin Stratford [Applause] so cool so cool just again a wealth of knowledge for everyone across the Spectrum whether you're a beginner or an intermediate or an expert there's so much applicable knowledge to be shared here which is why I just love the the resolve community so much so we're going to be jumping into our first break which means we're going to be giving stuff away here when we get back this break sponsored by the following uh sponsors and we'll see you here in a little bit thank you [Music] thank you [Music] [Music] [Music] foreign [Music] [Music] foreign [Music] [Music] [Applause] [Music] [Applause] [Music] foreign [Applause] [Music] all right [Music] foreign [Music] thank you [Music] foreign [Music] [Music] thank you [Music] [Music] foreign [Music] thank you [Music] foreign [Music] [Music] [Music] foreign [Music] foreign [Music] [Applause] Casey Ferris here and I'm really excited to announce our new course Fusion Zero to Hero [Music] this is a course designed to take content creators from knowing nothing about visual effects and Motion Graphics to truly thinking like a compositor we've been making online courses on DaVinci Resolve for a long time we've learned a lot about how to structure courses and how people learn and the very most important thing to me has always been I want somebody to be able to do new and amazing things at the end of the course that they couldn't do before and after a lot of thinking and considering I realized I love to help people learn to make Motion Graphics and visual effects it's like that little extra spice that takes your videos from good to awesome seeing that moment when one of the concepts clicks with somebody is really what makes it worth it to me and it's a magical thing to level up your skills because now you can do something forever that you've never been able to do it can be truly life-changing for that person we went back to the drawing board and we really considered what would be the single most effective High value course we could ever make on Fusion so we got together a pool of content creators who didn't know much about fusion and we asked them what would truly help you reach the next level we came to one conclusion nobody needs a course on Fusion or after effects or blender or any piece of software the software is really just a tool and you can learn how to use a tool in a lot of different ways you can binge YouTube videos you can read books you can just open up the software and mess around with it the one defining factor that we see time and time again that makes the difference when someone is learning Fusion is a mindset change anyone can follow a series of steps to recreate a green screen effect or design an animation but the person who's able to take the concepts from those exercises and internalize them and apply them to new ideas is the one that really unlocks the new levels of creativity like those are the people that we see making the epic videos with original ideas and creating new mind-blowing things so we thought what if we made a course that didn't teach you just how to use Fusion but taught you how to think like somebody who is amazing at Fusion that could really change somebody's career and their their creative power and their life and that's what we've created here with Fusion Zero to Hero it's an online course designed for Content creators who edit with DaVinci Resolve and we start not just with the basics of the fusion page but the very foundations of why you'd even want to use the fusion page we dive into the concepts of visual effects and animation and Motion Graphics to build a solid foundation so that you know what the heck you're talking about and you have an idea of what's involved and the kinds of things that are even possible the course guides you through our specially designed roadmap to take you from knowing nothing about graphics and effects to being comfortable with the tools and creating your own strategies on how to solve problems and create original effects and make beautiful animations we're not just teaching you how to use the tools we're teaching you how to think for yourself the other major problem with online courses is that they're often not really very interactive if we really want to help you learn we have to be able to connect with you on a regular basis so when you get the course if you want to you can join us on Discord which is a free platform where you can connect with other students and ask questions and get help anytime you need so you'll have an invite to join our server that's been totally redesigned to support your Learning Journey and help you build that compositor's mindset and every few lessons you'll have a challenge to test your skills and check in to see where you're at you can post the challenges sort of like homework and get quick feedback from other students and from our team you'll also have access to my new live workshops which are on Discord where I work with you one-on-one to solve any problems or clarify Concepts where you might be having trouble this way of working together and sharing in community and getting that high quality feedback it just turbo charges learning here's what some of our students have to say I didn't know how any of the nodes worked or any of the concepts after just one week everything changed anytime I have interesting ideas or cool things I want to do I know how to do that in fusion and I don't have to rely on the edit tab I basically just leveled up my my video editing game I was completely self-taught when I started the ground control Fusion course so I really liked how it broke it down into these very easily digestible pieces so that you could learn at your own pace and you could also follow along because I'm a visual learner so that worked really well for me the chorus has given me the confidence I needed to go from doing very basic VFX and Motion Graphics to becoming a better compositor it gives you the confidence and the abilities to do what's in your head and bring it to life I thought I knew a fair bit about editing until it came to Fusion now thanks to this course I understand what it is to be a compositor versus an editor I'm actually able to look at other creators videos and understand how to break that down down within the fusion page in my opinion I think overall when you Encompass everything in there and also the compositor's mindset that you'll adopt as a result of this that ability to look at videos understand how things are made and then be able to recreate yourself I think this course is worth the price basically we've created this course to be unlike any other course on the planet you can learn to do an effect anywhere but we're not teaching you how to do an effect we're teaching you how to think like a compositor and that's going to be the key to making the things that you can only dream about so are you in the course is called Fusion Zero to Hero it's available now at groundcontrol.film [Music] [Music] thank you [Music] foreign [Music] foreign [Music] [Applause] [Music] [Music] foreign [Music] [Music] [Music] foreign [Music] thank you [Music] thank you [Music] foreign [Music] foreign [Applause] [Music] [Applause] [Music] thank you so we use Puget systems for all our computers here and for us to be able to experiment we need these powerful computers to be able to pull that off when we think about future projects we don't think about them from a hardware capability like virtual production running into Unreal Engine with real-time rendering it's all just happening right there and at this point now we're getting into artificial intelligence deep fakes image generation audio processing there's a whole bunch of crazy bits of technology and it's working now because we work with Puget computers [Music] [Music] [Music] foreign [Music] [Music] thank you [Music] [Music] foreign [Music] [Music] [Music] foreign [Music] foreign [Music] foreign [Music] foreign [Music] [Music] foreign foreign [Music] hello [Music] foreign [Music] [Applause] [Music] foreign foreign [Music] [Music] thank you foreign [Music] foreign [Music] foreign [Music] foreign [Music] friends come in find a seat enjoyed the the break here we got some stuff to give away it's day three we got to get through this kind of stuff so uh for our online winners we have a copy of Nob omniscope going to Jenny o'burn congratulations a copy of add Pro to must see and a Cloud store mini for Stephanie Moreau congratulations uh you'll be sent an email from the email you used to register so expect an email here in a little bit and an in-person editor uh Tom not Tom Tom Lions won a speed editor congratulations thank you so much uh for those uh those sponsors making that giveaway possible we appreciate it Blackmagic design audio design desk and Mamo world thank you so much all right guys the coolest person in the room is going to be presenting now she literally wrote the book on color uh she doesn't need much of an introduction but give it up for Daria [Applause] uh hey everyone um well it's like a really intimidating introduction I know how to live up to that actually uh hi uh my name is Daria fasoon I am a colorist by trade and I also do a bit of uh like workflow development for companies so that's what I do nowadays and I just want to launch into it I want to show you a case study of a project that I was approached with uh like January this year and it was actually the original filmmaker director of the project who had captured it in 1991 on DV tape and he wanted to restore it to 4K and pretty much submit it to posterity so at the University of Hawaii you wanted it to be a historical document right that would be kept for students there so a lot of the visual cleanup was done via Ai and like the whole story of how I communicated with the client my inexperience with AI and him convincing me that I should do it anyway and that he would basically pay for the trial and error process of me learning how to use it and you know applying it on the software sorry on the footage that's this whole other thing I'm going to focus on the color grading half of the restoration and even though I'm talking about this project in particular and DV tape upscaling I think a lot of it is transferable to just regular color grading hopefully there's a lot of like new stuff here or different alternative approaches that you can take away with you for your own projects uh there is a shared project file that has been uploaded I think on the website I wouldn't advise like following on following along right now because I think I'm just gonna like really run through it there's a lot of stuff to cover a lot of exciting things to show so maybe later on watch it and try to follow along uh so gratefully the director of the film so that's Nicholas Rosa he's actually agreed to share the original project file uh with people so I've I've been able to trim the first five minutes but it's in the original DV format in fields so you can actually kind of set it up the way that I'm about to do so let's see I'll find the original video it'll be in my favorites where is it where am I so it is called here it is and this is what you should be seeing I'm going to mute it uh what's cool is that the first like five minutes of the film or so is basically a montage of a lot of the scenes that show up later on so there's a lot of footage to play around with and as you can see this looks pretty typical to DV tape or VHS tape in terms of like how the colors are captured and represented so there's a lot to work with in terms of restoration to import this clip I would ideally want to use scene cut detection because as you can see the whole thing is baked in right so this would be very difficult to grade as a single file all right so I need these to be separated I'm going to make a bin for my videos videos actually preemptively I can make one for my timelines as well so always good housekeeping I have videos selected and whichever bin you have selected in the sidebar here that's where your imported media is going to land so I'm going to right click and use scene cut detection like so and at the top the viewers are going to represent where the cuts are being detected and placed by DaVinci Resolve I won't go too deeply into this because there's like tutorials about how to use this tool but basically I can click Auto scene cut detect in the bottom left corner and the software analyzes the content of the media and wherever it detects a significant enough fluctuation of contrast and prominence it will assume that that is a new scene there are some things that can trip it up uh like jump Cuts or dissolves right so here for example we have like this transition and that's been sort of designated as like a series of cuts which it's not so there is a conforming process to this stage and I have already done this for us so I've shared this file with you if you'd like to import the seam cut information you can go into the options of this window and where is it load scene cut it's a proprietary file format dot SC for the material resolve but if you were collaborating with someone in a different application you could do the same thing with an edl format it's the same information it's just cut points so I'm going to load scene cut and there it is I've already set it up it's an ahola.sc I'm going to click open and that's cleaned up my timeline so it looks almost identical but there is now more confident Cuts without the dissolves I can also see that there's a couple of cuts that I know are real Cuts right so you can see there's like a one frame here and a different frame on the bottom left which means that the preceding frame is from a different scene but there's not a green line on the edit and that's because it's a low confidence cut right so the software is not super sure if that's really cut I can pick up my magenta confidence line and just drag it down and that will turn the line green so now I have Incorporated it into my cut list all right and that's all I'm going to do so I'm really speeding through this I'm going to add cuts to Media pool and oh this is pretty good um I've got a pop-up saying hey do you want to change the project frame rate and uh the reason I would choose to change versus not changing is basically like what my deliverable standard would be you know whether I'm trying to conform my archival media to my project or vice versa so uh if I knew that my deliverable was you know 24 FPS and I'd already set up my project that way then I would not want to change the files but in this case I actually do want the project to conform to the frame rate of the media because it is it was captured in fields you could probably tell that this is field footage but I'll come back and show you I'm not talking about the literal field in the shop by the way uh I'll come back in a second I'll show you what that looks like but yeah I will click change because I do want it to adopt the characteristics of my video media in terms of resolution and frame rate okay so uh it looks like nothing has happened but if I move this scene detect interface out of the way you can see that all of these clips have been placed into my media pool so that means it's successful and can close that interface by clicking on the X and now I have a series of individual Clips right if I select these you can see that I can drag you know front to end of each clip and they're all individual for grading which is perfect I can now create a timeline out of these can I uh no let's look at the project settings first actually just before I dive into that so I'm going to press the gear icon here and uh this the resolution of the original footage if I look in my metadata is 720x486 so this is the ntsc standard of dbcam so more old school this is pre-high definition video I am going to be upscaling to 4K so I'm going to change my timeline resolution to 4K UHD that will be my deliverable now when it comes pixel aspect ratio is fine with 4K it's always going to be square the timeline frame rate I am going to keep to 59.94 which is the original and you can see that it's not frames per second it's Fields a field is half a frame technically and they're they're interlaced so it's kind of like Venetian blinds you only see half the frame at any given time but on a broadcast signal when you play back 60 frames a second it looks equivalent to seeing 30 Progressive or full frames per second because it's happening so fast you're not even aware that they're missing half of the information they're just constantly like playing through so this is all looking good I don't need to change anything else I'm going to click save and now I can create a timeline out of these clips by default they will usually land in the media pool in the order that they appeared in the like original rendered video but you can double check by going into list View and looking at your start time code so you can see that's all in order and now I'm going to press command a or Ctrl a to select everything right click and create a new timeline using these selected clips all right so the name of the project was anahola restoration and I'll leave all the settings as they were in my project settings cool so that's created a timeline asset it's got a little orange tick telling you that this is the current active timeline and there's a little icon in the bottom left corner so I'm going to drag it into my timeline spin to make it easier to access like so and then I can double click it to launch the edit page and see the film down on the timeline so like I said I've shared the first five minutes of the film this is them you can follow along and do what I'm about to do uh the first thing I had to do for the project before I even did the color correction uh was to upscale it right and to de-interlace it I also had like a pretty long conversation with the director about his intentions for this restoration like how heavy did we want to go in terms of how clear we made it and uh it was like it is for uh like a historical documentation right so it's not about beautifying it necessarily right it's being able to represent a certain period of time and an event that happened during that time so uh something he was very keen on doing as a photographer himself was restoring some of the things that he was not able to do with the limited technology that they had in 91. so they had like access to certain types of like primary grades certain you know types of balancing but there's almost none of that done on this project so he wanted to finally take advantage of that right he wanted to color correct uh he wanted to do some secondary Corrections um and there was also like things in terms of um subject separation right so as a photographer he really wanted people to stand out in the environment that they were in like in in the scenes that he had framed and uh he felt that it wasn't conveyed as successfully as he wanted to the first time around so this was his opportunity to sort of clean it up uh so uh yeah before the secondary grades the upscale was performed with an external AI sorry AI software as I mentioned it was called topaz uh and um I'm not going to do it here and I'm not going to use the footage from topaz but what was funny is that after I had completed the upscaling right so I actually blew this footage up to 4K and I used AI to like sharpen it to not detail uh he really didn't feel comfortable with how it looked how clear it looked he was like why does everyone look so wrinkly you know why are everyone's like Teeth outlined you know it was actually pretty intense so I ended up blending it a fair amount you know probably like uh restoring the original uh sort of VHS tape by about a factor of 70 so there's actually not that much AI in the final project project it does still look like VHS at the end it's just a little bit smoother it's a bit nicer so what you can accomplish on your own with this project that I've given you is probably close to what I've achieved um something else you could do in terms of upscaling inside of DaVinci Resolve itself is there are there is an upscale feature in the clip attributes which we now in 18.5 of 18.5 have access to in the inspector as well so you can see super scale down here on any given clip so in fact Let me let me move on to a clip that maybe has a bit of detail that we can keep an eye on so it's got like a structure and a van in the back here if I have this clip selected so let me see if I can zoom in as well what are the shortcuts on this workstation there we go select that I'll click on the label to expand it and then I can click the toggle to activate it and right now the super scale uh one of the algorithms that it offers is enhanced which is the latest one but you've got 2x you've got up to 3x and 4x and you'll see a slight shift in the image and that's pretty much like intelligently bumping up the quality of the image I'm going to keep it relatively light because I feel like it's already doing a pretty good job so if I turn off super scale you can see it goes a little bit fuzzier let me clear my source viewer there we go so it's not so distracting in fact I'll make it a mono viewer not sure I'll keep it like that cool so when I activate super scale just look at the details on the van and there we go all right so it's upscaled it a bit but it's not too aggressive it still does look like VHS all right in terms of interlacing that is something that DaVinci Resolve will do automatically and you can tell if your footage is interlaced by looking at Motion in a shot and uh you'll basically see the interlaced lines appear around areas of motion so if you've got a moving person or an animal or a car there will be like these actual horizontal streaks interlacing is kind of an interesting phenomenon because it was like an issue for probably a pocket of about like 10 or 15 years in filmmaking because we were shooting in fields but we were editing digitally on digital displays and that's where you see interlacing but you would never see uh fields on a CRT display because that's exactly what they're designed for for that playback and nowadays we don't shoot interlaced we shoot Progressive so there really is just like an actual pocket of like workflows in which we experience this I can show you that the interlacing is happening automatically because if I go into the clip attributes of this one clip where is it I can just go into my clip menu over here find clip in media pool has it highlighted am I missing it there it is I'll go into the clip attributes and you can see here we have our field dominance controls so this is a reference to the fields that it was shot in and by default because the metadata is still present in the file it knows how to de-interlace it based on its lower field preference but if you change it to Progressive this is not a progressive shot so it'll be incorrectly treated so as soon as I click Progressive and I apply this I'm going to click ok there it is this is actually the original footage it's interlaced so so what you saw before that that is uh resolved just doing a really good job of automatically fixing this issue and what you're seeing is like two frames automatically and the reason why there's like a weird ghosting effect is because each field is only capturing 1 60th of a second so if there's motion it's an object will move as it as it goes okay so yeah I just wanted to show you like proof to you this is legit footage but I will change it back to its lower field the interlace beautiful and we also established that we're going to to scale it super scale it by a factor of 2x I can just apply it and Mass to all the Clips in my videos bin by Ctrl a and then right clicking choosing clip attributes and whenever you want to change a parameter across multiple clips you will see check boxes appear on the left hand side so I can select to overwrite the super scale parameter and set it to 2x for all of them and then sharpness and noise reduction I'm happy to leave on like the default medium I'm going to click ok and that's it now everything is set to 2x super scale so we've got a little bit of that finer detail on all these edges okay so that was uh more or less the setup of the project done now we get to start doing the fun stuff in the color page what was really delightful for me was that this was a rare occasion for me to work with color bars so I'm not usually on the receiving end of color bars I'm usually on the sending end right so when you're done with your video projects you pop them in at the start of the playback you send them to a broadcaster and the reason why they need the color bars is because irrespective of what device you're delivering on you know what type of tape what type of Hardware you were working on in whichever standard or whatever year or decade they can read those bars in a very particular way in their Scopes and recalibrate the colors to match the standard that they're viewing and transmitting in right importantly and of course because you're delivering a single self-contained video file once they perform that calibration on just the bars that will apply across your entire deliverable right so then they're going to see the same colors they that you were seeing on your monitor right that's the whole idea behind attaching these to your video file so for me when I saw this I was like oh this is so cool I can actually calibrate these clips so that I can see what viewers in 1991 saw on their CRT displays which I think is really cool so I'll show you as quickly as I can how I was able to do this let me make a node just for this color bars adjustment bear in mind that this is not the same thing as like a color correction or color matching this is not going to say like uh handle any of the issues that the footage had in terms of like balancing for example uh it felt like the camera is unbalanced a fair amount of time like because they were shooting and traveling like in one go they'll go indoors and Outdoors and just keep rolling the camera so some shots are like cooler and some are warmer the color bars are not going to address any of that that still needs to be fixed but okay so what I would really like to have is a reference to uh color bars for the ntsc standard right because right now I can see how my Scopes are interpreting these primaries and the luminance data but I don't exactly know what to do with this just yet so let me turn off colorize and brighten it up the two things that I need the most are these two the vector scope and a luminance waveform okay you can probably guess what the vector scope is trying to do right like what we ideally want to achieve all of these bars need to be landing on the 75 percent legal point in a vector so you can see that they're almost there they're just a little bit off so um I can actually do this yeah just as we are right now uh technically I could do it in the color warper because that controls uh color and saturation right so that's both of these factors represented in the vector scope but I found because uh there is a resolution to the warp it can be a little bit limiting to how cleanly I could move the colors so I wanted something a little less restrictive which meant actually going back to more old school tools and this was something I found consistent across my whole workflow is I kept having to take a step back and go like actually let's go much older school for this and that was the best application for this like relatively low bid depth footage so with the curves I would go to my Hue versus Hue curve and my Hue versus set and I could just use the swatches at the bottom here to drop down a whole bunch of anchors and then I could select a point and rotate or extend the saturation of all of these individual bars interestingly I don't even have to look at the color bars themselves like this is the only thing I'm interested in is the vector scope so let's see what is off in terms of rotation red is almost there but maybe can be cleaned up so I'm going to select the red control point and just Shuffle it off there we go just a little bit the magenta I think is just there it needs to be saturated same thing for blue maybe cyan as well needs to be rotated ever so slightly and maybe desaturated and then green is pretty close we can come back to this cool so that's kind of one thing done already let me zoom in and show you before and after Ctrl d very small adjustment if I go into Hue versus set so this is going to control how close to the center versus to the exterior parameter these points are so low saturation versus high saturation and I could do the same thing see how the magenta point is just a little bit lower than it needs to be I want it to be here I can click on my magenta point and extend the saturation so that goes far and it goes down and it has kind of like offset the rotation a little bit so I can always come back and oops I kind of show kicked my Anchor Point a little bit there we go rotate it and then it's done so I'm not going to spend too much time on this because this is just like one element of working on this clip uh green was the last one to go okay wait where I'm at my magenta again pick Green and that's it I have centered all these points that's my before that's my after and that's pretty much what broadcasters would have been doing on their end uh to varying degrees of complexity if I disable the color bars note and you look at the viewer you can see probably what is it magenta is being affected the most in red and that's all good uh I probably by the way should have like looked at my color management settings before I did all this I think it's yeah it's not color managed that's fine I can keep going with it the way it is uh so the next thing will be the luminance and off the top of my head I might not know where these need to land I mean I kind of do but uh so I just want to be certain because there's so many different uh sort of variables uh so uh thankfully DaVinci Resolve has a color bars generator let me just create one and use it for reference I'll have a dedicated timeline for it so right click timelines create new timeline there we go into effects generators there they are all of them so in particular I'm interested in the simty color bar okay and let's see let me turn on tabbed timeline so I can see both of these at the same time I'll open up this one as well yeah and as I'm looking like as I'm jumping between the two of these do you notice something they don't match do they like a little bit they do the ones at the top but at the bottom it looks very different right so what's really cool about DaVinci Resolve is that this empty color bar generator is just that it's a generator it will refresh and reflect whatever standard it's currently located in so because we've got a 4K project it is actually giving us a 4K UHD symptom bar for that standard which is great if we're delivering 4K which we are later on but I actually want to view ntsc so in this new timeline that I have I'm going to right click go into my timeline settings and I will actually overwrite to my project settings and set my timeline resolution to the original 720 and TSC standard like so so if you're not even sure which one you need you can always look at the original footage and see what the resolution was 720 by 486 I believe is what I need and as soon as I select that the generator changes and it's not giving me the correct bars right identical to what we have in the clients video if I go to the color page now to grab a reference oops they're gone because generators cannot be displayed in the color page it only works with bitmap or full pixel data so you need to rasterize generators before you can work with them in the color page I'm going to right click and turn this into a compound clip which is one form of rasterization in DaVinci Resolve and I'll give it the same name color bars it's nice it's Snappy there we go I go into the color page and now I have like pretty much like imprinted this data and it is accessible to me and the great thing is that if I refer back to my Scopes it is giving me a readout of exactly where all of these swatches live right the limits that are meant to be hitting so I'm going to right click and grab this as a still and then at the top of the viewer I am going to switch to my movie all right and that's giving me a readout for these actual movie bars let me double click to wipe my reference to my viewer and in fact I'm going to drag this all the way across so that I can just use a shortcut to jump between the two right so I'm still using the white mode in the viewer by the way I've just grabbed like the very edge of it so that I'm completely covering up the screen and then when I press Ctrl or command w I'm toggling the wipe action on and off and seeing them on top of each other so there I could see my reference movie is hitting all the right points as a star which is what's happening in my movie one as well and uh when I look at the luminance I can actually see how I need to restore this I could see that there is one white Point element in my reference which is this box over here and in my movie it is landing exactly where it needs to be right so a value of 10 23 or 100 however there's also like this grayer bar in the top left and that's meant to be 75 percent according to the reference right so it's a right flat there on 768. but when I jump to my movie you can see that it's substantially brighter so what I'm going to do is I'm also going to fix this using the curves doesn't mean that this is the most efficient way of doing it but it's the way that I found so if I drag this down you can see that I can bring those bars lower the problem though is that this also drags down the white point so I'm actually going to leave the white point where it was and instead I'm going to Target a lower end of the graph and then I will achieve a dampened gray over here 75 percent um I've just realized though because I'm doing this on yrgb I've also affected saturation so I could probably do the same thing with just the Y curve yeah and not touch the saturation okay so when it comes to luminance that's kind of what I wanted to achieve right so touching the white Point here touching 75 here and then everything else is sort of uh you know quite pleasingly cascaded according to where it needs to be right so for the upper midtones the last thing that's remaining is this detail over here so let me see if I can full screen this there we go might be a little oh it's much easier to see on the projector actually so to my eyes this almost looks like a black horizontal bar with a slightly elevated minibar over here and then there's a slightly darker one to the left so that's our minus two percent and I want to say plus two but it looks more like a plus four but this is ntsc so this wouldn't a different standard anyway this would have been referred to as a an under sheet or a sub black feature and what's interesting is that if you see this on a digital display so let me oops show you the reference not full screen where is it um there it is this is my reference you cannot see this black bar right it's been completely crushed across the Black Point and uh this is actually for the benefit of broadcast transmission technologies what would happen is that the signal would get Amplified before it reached the consumer on a CRT so they would see those negative two percent right back in the day in 91. nowadays though if you transmitted this on a digital signal uh that two percent would remain crushed as it is over here so I will not uh well at the time that I was restoring this I chose not to arbitrarily crush the bottom two percent of the image I decided to keep it because we're on a digital display I'm not envisioning any amplification so people are going to see it exactly as it appears in my viewer so fun fact that amplification of the signal which was accomplished by the mains you know like transmitting signal to the screen is actually why we have legal broadcast levels because you know in the shadows it gives us more details but in the highlights it just blows out the image and it looks terrible so this is why we always have to clamp highlights when we delivered by like dbcam tape um we don't have to anymore as much so I think I've talked enough about the bars I want to make sure we have time is that the remaining time or is that how long I've been talking oh my gosh all right so I did it's no everyone's everyone's been nice around like I ran really badly over last time I talked and Dan was really sweet about it but afterwards like after the conference he came up and he was just like Daria I know where your family lives you know and I was like oh my gosh like it's no Dan I won't do this again I promise okay let's keep going let's keep going um yeah let me show you first of all you're probably curious okay like how is this color bar solution actually affecting the rest of the footage so I'll show you a couple of examples you know and then I'll start building like a fixed node tree so let's see uh anything number four this is the opening shot so why not where is it so I'm going to middle click clip number one to carry across the color bars the adjustment that I just made and this is basically we're going from the digital image that I received let me hide my timelines there we go and kind of expand yeah the viewer so this is the original video I received and this is with the color bars adjustment so as you can see the colors pop very differently and this is more akin to what viewers would have been seeing uh anything else I wanted to show it on I think yeah I think this is all good like I can show it on clip number seven as well see there's a little bit of detail that comes back in the highlights that we didn't see before I think that's quite nice uh but let me reset this for now uh once I started doing the restoration like my uh I think I talked about this earlier like off offline that I don't really have like one workflow for my projects because I work with such a really wide range of Productions I pretty much develop things from scratch every time and I usually color grade like maybe 10 or 15 shots throughout the movie and I try to get a feel for like what it needs and then I get an idea of like okay I find myself repeating the following actions so this is I'm going to incorporate this into my workflow to be more efficient so in this case I found that a fixed node tree was actually one of the better Solutions I personally prefer to keep node pipelines as compact as possible like as simple as I can but in this case it actually blew up and became uh like interesting a bit more complex so let me do this on the basis of clip number four which we've already started with um I'll show you like I'll try to like really quickly build up the Note 3 and then really focus on one or two like interesting factors that I found so so one thing I had was a denoise node this was not applicable to the majority of the footage but there were some late night scenes like they were doing like a luau in the middle of the night and that is very grainy so I had to address that but I had this uh node I had like a rudimentary denoise setup in the what is the motion effects panel but then I would instantly disable it right so as I copied it across the timeline it was not like a heavy process that immediately triggered render caching I would activate it when and if needed and then I would further like tweak the settings okay so that's fine I then had a what am I doing did I start playing back oh right I just hit like my own shortcut for labeling the the nodes and that's not anything here so let me try again there we go so I call it normalization of other colorists call it exposure whichever you call it it's just about writing the uh the tonality of the image your luminance less so the the chrominance or saturation I'm just going to see if I can quickly apply a shortcut oh it is a tab oh thank you Dan all right I will keep using tab then uh all right so normalization something else I found I was doing a lot was uh working on the highlights let me see if I can zoom in there we go for all our benefits actually let's give my give me a bit more room yeah in the node editor so highlights and then parallel to that I was also doing Shadows so it doesn't mean I did it on every single clip but every now and then I'd look at something and I'll be like ah there's a lot of good stuff hiding in the shadows I just want to have a node in which I can focus on that uh what else was I doing um well I was balancing of course and uh something that is very I think common to documentary filmmaking and especially like on older cameras is you can really tell when the temperature or the tint is off so as well as shooting Outdoors uh a lot they were also shooting like interviews and offices you know like 90s offices you know so like really harsh fluorescent lighting and people would be captured like bright green or uh bright purple so I had Temp and tint set up the same way that the highlights and shadows were and again you wouldn't use both on a shot but you would use one or the other and it was sometimes a quicker way to adjust the balance than using like the balance note itself what else uh I also did the contrast oops and that was through like a variety of methods I'm not really going to go I feel like you know there's a lot of tutorials about this stuff uh and oh in fact I think there's been some fantastic ones over the past few days there was a lot of like presentations where I was watching and I'm like this is so great they're like they're covering like the back end of what I'm talking about so I'm not gonna have to go into it as much so thank you everyone of the previous presenters for helping me out uh and then saturation at the start of the next line so just so you understand what I'm doing uh I am essentially making a template that I'm going to reuse across the rest of the movie all right so this is where things got interesting I realized that a lot of the content in the shots was based on memory colors so there was a lot of primary greens yellows Reds and blues and I figured like why not have vectors for those right so I can have dedicated notes just for those channels and then I can tweak them because a lot of what was happening was this kind of thing where we're we've got a montage of the beach um and then suddenly it's another shot it's close up but the water looks very different right so they were kind of using two different cameras to record the film but also they were capturing different times of the day so this is clearly golden hour you could tell because like the the foam looks a little yellow um and then there would be like more midday shots you know and here the water looks a bit more green whereas here the water looks a bit more blue so basically it was just about making something cohesive you know just tweaking the blues to look more like each other so a quick way I found of doing this is making these vectors and I'll show you where you can find them in the color menu you can wear the presets and you can see that there are six vectors and I think I have seen uh like another filmmaker using this for restoration as well they were working with Celluloid film um he was using six I found I just needed the four that I mentioned so green yellow red and blue were the main colors that I kept coming across so I'm gonna call that one green uh what else have we got nope not all tests alt p uh go back to the color presets yellow I'm not even looking at the clock right now I just build build p uh red and blue okay so uh what are these doing uh they have some automatic qualifier selections already in place so when I select green for example that's got a green Swatch and uh let's see let me turn on highlight mode and these didn't always like grab the areas that I needed so while I'm still in the template I wanted to make that correction and just make sure that it was more like representative of the type of colors that I saw in the footage and I also deactivated like saturation and luminance again just for the purpose of this project there we go uh there are a few like yellow elements but again the selection is more like a yellowy green so I'm gonna drag it disable saturation and luminance and you can always correct these after the fact right as you start working you don't have to keep the same range selectors on the hsl and there's not really much red here but this was really helpful for skin for skin tones and then finally you had blue and that's great so again deactivate saturation and luminance and that was pretty good what's interesting is that it's almost like selecting magenta and it's still capturing so much of the sky okay and then um I will show you a few examples of how this works yeah before I move on with the other like the final like touching of touches on the notes so let's see which clips should I show you this on I've got clip number six selected let me middle click clip four and you can see I can take the entire uh note tree across and the only thing happening here would be the mild shift that the color bars are giving us so hang on let me turn off highlight mode there we go so this is just the color bars doing their thing then we move on to clip number seven again apply the entire pipeline and here what bothers me is the color of the water so here it looks a bit more neutral and I'm just going to go into my blue settings and you can use any like amount of features you know any preference that you have you can use the color wheels uh you can even use like the Hue parameter to rotate the colors um or just push it slightly towards blue with the gamma and maybe even brighten it because I think that was lighter in the original footage and it's looking very saturated as well I wasn't really desaturating as much it looks a little different on this monitor compared to the the grading monitor that I had but bear with me all right same thing here I apply the same template pipeline that I had and again I could just make a correction to the blue node this time making it more warmer more green to match this sequence all right so I'm kind of focusing on the water right now but then the sky is looking too similar to the water so I could also make like a new parallel node just for the sky I can reuse the key information from my sky node so I don't have to grab that sort of blue range hsl but I can use a window to limit my selection to just the sky so that way I can grade it separately uh let's see won't really affect the the Shadows anyway because I'm going to go for like more of a mid-tone or gamma range but yeah then I could just rotate the Hue in a different direction or lighten it or darken it or just make it more blue with the gamma bypassing the Black Point so that way there's like a little bit of a separation between the sky and the water it doesn't just look like a monotone and now I'm getting more you know like as it plays back there's a bit more consistency between the shots so that's one of the things I was doing just fixing a lot of skies and a lot of water uh let me see just like a couple of other notes how are we doing we're still doing it we're going to do this it's gonna be fine um how great would it be if like during the Q and A what did I just do whoa what is this setting what is this bar this is blowing my mind is it alt f is that where I am patrol f is a highlight thank you wow oh that was something unrelated okay yeah yeah okay I think it's is it good now what did I do this is definitely the viewer so it looks like I've full screened it okay let's go to the workspace so I don't touch any dodgy shortcuts again uh let's see nope that wasn't it I feel like we need to go into overtime you know because I feel like I'm wasting time now that's not related to my talk right there it is full page there we go there we go and you know what this has been bothering me for like at least half an hour now there's a marker on the timeline you can see it in the top left corner no okay back to the color page okay so order has been restored something I was doing a lot of was de-fringing the footage so if I look at some of these shots these oh yeah these two in particular so you can see how like there's like these blue edges on a lot of like the elements and this tends to happen uh if you're shooting against like a a super bright like background or Sky um you can often see it on the edges of buildings so you can see purple fringing on some cameras I think it also has to do with like chromatic aberration of the lens it's got something to do with that and then yeah here it shows up as like this blue outline towards things and it just doesn't look good right it kind of makes it look more like cheap like foot like cam footage so I was dampening that down lifting some of that blue and also doing a slight amount of like um Sky replacement so not like a heavy duty Sky replacement but just adding a bit of color to the sky so it didn't look pure white so I'll do that in one second as I finish my template I would also have like a series of just serial notes for other things that I was doing like a little bit of face refinement which I can also hopefully show you in a second and I would finish the whole thing off on a vignette just in case uh I I felt like I wanted to like Center the image and draw the viewer's eye so once I had built this is more or less the type of pipeline I was using uh I would grab a still from the viewer and that would be my template so I would even call it that and I would reuse it on the other Clips on the timeline I think maybe Casey already mentioned this for Darren but if you go into your preferences uh as a user I want to say maybe an editing note color yes preserve node numbers when adding nodes so this is pretty important if you want to be able to like transmit changes across these types of pre-built node pipelines because if you do something in node number five for example in Shadows and you want to then copy that effect across all your other nodes or a series of nodes it will always copy to node number five which for me is always shadows in this case right so it's consistent the problem with not preserving node numbers is that if I created something after my normal node that might be relabeled to label five right and then you can't like to Note 5 rather so then you can't copy things effectively so that definitely something I was taking advantage of in this particular project uh by the way if you've got the project files you will be able to get gain access to this template by right clicking in the gallery clicking import you'll have a DPX and DRX file the DPX is just the image for the still the DRX is the actual metadata of the node pipeline so to import it all you have to do is select the DPX click import and the DRX will piggyback on it so they will both arrive together if you right click you can display node graph and all of that data is still in there and you can access it okay where is it going with this yeah a couple of tips oh and with the five seconds that I have remaining yay uh let's see let's see so sorry yes oh sorry the fringing yes I had that closer to the end but let me show you the fringing anyway while we're here uh let's see 13 so make use of the template middle click so let me turn off yeah highlight mode with the blue to add a bit of color to the sky oh first of all make sure that the blue selection looks good and the highlights and it's a little bit aggressive so I will introduce luminance as a factor so that I can exclude the Treetops more effectively like so and in fact I want to drag it a little bit further out because I'm going to be inversing this selection in a second I can also check to see if saturation will improve the result but no it won't so I'll keep it off uh so now with probably a window as well because I don't want to impact the top of the house and the car how do I activate it there we go there we go we've excluded everything we don't need and thankfully this is a locked off shot so I don't even have to track this so looking at that sky in the the waveform or the parades I can dampen it using the gain to make it more like gray let me change my waveform to just luminance base so it's easier to tell there we go what's happening to the sky the reason why I want to make it like gray before I make it blue is is to do with latitude right in the chromaticity so if you look at the waveform right now right the way it was a bit wise big before I corrected it uh it was pretty much compressed right against the white point at the top so there's no latitude there's nowhere for it to go up or down which doesn't seem to matter you know when you're talking luminance but if you're looking at color it means a lot because if you push pixels up you can only achieve more white you know like a pixel value of 10 23 10 23 10 23 is pure white you're not going to get it to be more Blue by pushing the gain down all right so that's our Sky being dropped I now have the the ability to move and Shuffle these parades up and down in relation to one another and this is where you get color so light gray is a pretty good starting point for introducing color into a pure white uh object or element and yeah I could just pick up my gain and drag it towards a certain shade of blue the selection of course is very very rough so I probably would want to put a bit more effort into the matte finesse before I continue but not too much that's the odd thing about working with low bid depth footage is that you do one of the sort of paint with broad Strokes you don't want to be too precise so I'll just denoise as well apply a bit of radius and I won't be too dramatic with like my color change I also think there's a bit of artifacting on the left so I could have done a better job of making that selection I think there we go uh but for the fringing what I would do is I would send the blue matte signal to my Fringe node but instead of working on it directly I would invert it so you can do that in the key mat invert it like so but then come back to the qualifier and once again make a selection on the blue but this time focusing on these chunky blue elements in the footage now there's no like right or wrong way to remove fringing there's actually a lot of approaches you could do it with power windows right you can make selections there's other methods I suppose you could probably use magic Windows as a magic mask to achieve it to a certain extent but with this particular footage because of the bit depth you know that I have to take into account I found this gave me the cleanest results right so now I'm pretty much just selecting The Fringe by using the inverse of the blue section and now I could just go into something like my saturation controls and dampen down the blue all right so it still looks a little bit rough from that initial blue selection I'm going to see if I can further expand it there we go it's kind of gel the two of them together blur radius that's it that's what was missing all right so let's see what happens with that's with without The Fringe it just needs a bit more cleanup and then it'll be practically there and that's before and that's after it's just a little bit darker than I'd want it to be but it's kind of getting there all right uh anything else all right yeah we're I'm getting that signal thank you Dan um okay you know the uh you know then hypothetically what if somebody raised their hand and said hey can you my question is what else were you going to show us today was that that's not gonna fly uh no I I kid of course uh it's q a Time thank you well done Daria thank you let's get into some questions Tom thank you uh two I'm going to try and keep them quick uh there are Parts where you've got like burned in graphics uh like towards the beginning so what do you do to work around that because if you're making mass changes the the color of the graphic might end up changing between shots uh and then the seconds which might be a quick one was when you were bringing in using scene detection is there a benefit to doing that so you've got them as individual Clips rather than just bringing you onto a timeline and doing the the scene detection there where it just keeps it as one clip but just chops it up I don't I'm not really sure what the benefit is of one over the other I guess okay yeah there's two very good questions so yeah actually the graphics was another like a point of conversation uh between me and the director uh I actually like the graphics because they are an element of their time so I wanted to maintain them as much as possible there was a point where he wanted to replace them with new graphics and I think someone else on his end ended up talking him out of it which I was really pleased to hear but at the very least he really wanted to get rid of that red Fringe so that was just kind of similar to what I just did with the blue fringing I had to eliminate and desaturate it try to keep them as clean and white as possible but then I would also just use like a yellow qualifier together with a power window to exclude them from the color correction yeah because they were they would appear between shots so you wanted them to be consistent and the whole like the end of the film has like oh sorry really in credits that were also in this style so that was a lot of like well not a lot of Correction but look once I developed the workflow it worked okay and then the second question was about why did I do it in the scene cut interface versus doing it on the timeline if I'm being perfectly honest I think it's just a matter of habit like that's how I initially use the tool and I sort of continue to find it like a comfortable place to see a comprehensive cut list which I kind of refer to but there's nothing wrong with doing it directly on the timeline so yeah you do it that way and trim yes we aren't able to hear your question unless you speak into the mic okay yeah I'm sorry uh the question was did you use firewire to bring the original files in or were using was it already digital files that you were started with yeah so no I didn't need to use a FireWire uh it was digitized by a company in I believe in Los Angeles before I received the files thanks yeah that's good hi there thanks for a great presentation as always um when I do selections or qualifications on 8-bit footage I also always use six Vector presets because I find it gives a cleaner result then if you do it manually with the qualifier so is it using uh hsl the 3G technique you know like in the qualifier you can switch between the various options of doing the qualifications do you know um I mean what do you mean the 3D qualifier here yeah exactly so this six Victor presets always gives a cleaner result I find on a bit footage well the six only use the hsl qualifier the regular one okay yeah they don't make use of the the 3D qualifier okay I suppose you could just reconstruct your own make your own Vector templates using the 3D qualifiers so yeah I don't see why not thanks yeah okay any other question yeah back here um so uh that technique you showed towards the end dealing with that blue fringing around the trees yeah um is that the same technique you'd use for any sort of chromatic aberration off of a lens or like is there like another sort of approach uh there is another approach uh this is yeah more for fringing because it's uh like mono it's monochromatic one of those words mono something but for chromatic aberration tends to be like dual chromatic right so what you probably want to use is uh believe that it's the chromatic adaptation tool and no it's not hang on I'm lying uh control Z let me undo uh go on I'll find it uh but there is a tool specifically for reducing aperture diffraction chromatic aberration I can hear Sherwin there there it is oh yeah chromatic aberration removal and what's great is that you can actually indicate what your Edge colors are and it covers every possible combination so yeah that's pretty good and then you can combine that with like a power window so in case you've got chromatic aberration on the edges which is what often happens then you can Target on removing those and not just like a blanket application and that like works fine with like stuff that was shot in earliest basically that that particular uh it works fine on what on interlace footage like the on what was shot there uh I'll be honest I've not tried this on interlaced footage I wouldn't have tried it on this because I just I don't feel like it's the same type of I don't see I don't think that what we're seeing is chromatic aberration because it's fringing as a result of I think the dynamic range like not being properly represented because you're not seeing it anywhere else in the footage right we're not seeing just right oh sorry gosh that's like really easy to hit for some reason uh you're not seeing it like present anywhere else so I just didn't feel the need for this tool all right thanks so much oh yeah uh so when it comes to matching our archival footage either with the color bars or to different cameras I've seen some people you for just camera matching in general you use like tetrahedral interpolation that's a column size term um but to to start matching uh like just matching cameras that have like different color biases so is that something that because you use the the H or the Hue versus Hue and huffers is set to initially match the color bars would the the Tetra stuff actually uh help in that in that sense as well is like that or is that just another approach So when you say tetrahedral interpolation you're talking about using it in the hsl curves the more more for like match is so like where there's color shifts in the in the in the color bars because you can with the Tetra you can you know play red green blue cyan magenta and yellow against red green and blue to kind of you know fix them in very broad uh in Broad Strokes I was wondering if that was like a an another approach to potentially match old footage with uh with other things um no I mean I'm afraid of not tried or even heard of that so it sounds fantastic though we could probably talk about it after the fact yeah we'll catch up okay yeah thank you all right back here um going back to your bars when you started moving all the colors to line them up it affects the eye and the queue and the I and the I know the I and Q irrespective to the U but once you move that the I and Q shift out how do you pull those back in or you just leave them the way they are so the iron and Q uh you're talking about you know because these were you know the skin tone see so if you look in the vectoscope you'll see you know when you lined up everything those two little dots down at the bottom there you see those are the eye and the cube down there right which you know um sorry about that um when I started moving everything in place they shifted out of position and so I'm just wondering is there a way to move iron Cube back you know to their here what is it a 90 degree you know relationship let's see hang on thank you yeah I mean you just uh but the same the same adjustment I don't see yeah why not just a an hsl Hue versus Hue yeah just rotate them back into place for those two points any other questions yep uh just wondering about the color management for this yes um like was there anything special as far as like input color space what you use for that for this kind of archival so uh I'm trying to like off the top of my head uh I can't say if I remember what the standard was I think it would have been probably srgb is the input color space uh and my working color space was DaVinci white gamut because we were doing 4K UHD deliverable and again I suspect that he the director might want to take this elsewhere like so far we're only using it for uh let's submit a submission to the university um and they were they actually have a projection system so I had to take their specs into account for deliverable and then I also sent him like a YouTube version as well um but yeah otherwise the working space was wide anything else how are we feeling good got time for one more clearly everybody else in this room is way ahead of me based on the questions here I have a noob question for you based on your your node tree how come some of yours were in parallel and some are in series what is the benefit to having them parallel versus serious vice versa yeah yeah it's a very good question so for me uh my decision to break up notes yeah from serial to parallel the treatment of the signal is actually very similar in parallel versus cereal so it's all about uh what stage you'll want the video signal to be when I perform a certain change so for example working on highlights and shadows after normalization makes sense to me because at the normal stage this is where I'll be unpacking the tonality so to speak right so I'll be extending the highlights to about as high as I want them to go in the shadows and then within that defined range that is when I want to start working on highlights and shadows but I don't have a preference for um like yeah which one I want to work on uh first I just know that I want to work on both of them after normalization and because they're such a separate segments of the Luma waveform I could have kept them linear so in this particular instance it's more just like a an organizational you know like a decision and it's also just good visually to say like okay these are quite strongly related in terms of their uh action and the same thing happens like with the vectors as well they're kind of all separate but they're performing like an action on a similar uh stage so to speak like you change one setting and all four of them change at the same time it's just okay no no Stills yeah separate they're cut they're like standard corrector notes yeah in this case yes yeah awesome guys give it up for Daria so wonderful and so kind even though I know where her family lives [Laughter] I know I'm horrible uh anyway we're going to get into our uh our break here and then get us get set up for our our third and final presentation we still have lots more stuff to give away we will see you guys back here in a little bit thank you thank you foreign [Music] [Music] foreign [Applause] [Music] [Applause] [Music] foreign [Music] foreign [Music] foreign [Music] foreign [Music] foreign [Music] [Music] foreign [Music] [Music] [Music] thank you [Music] [Applause] [Music] foreign [Music] foreign [Music] foreign foreign [Music] thank you [Music] thank you foreign [Music] systems for all our computers here and for us to be able to experiment we need these powerful computers to be able to pull that off when we think about future projects we don't think about them from a hardware capability like virtual production running into Unreal Engine with real-time rendering it's all just happening right there and at this point now we're getting into artificial intelligence deep fakes image generation audio processing there's a whole bunch of crazy bits of technology and it's working now because we work with Puget computers thank you foreign [Music] thank you [Music] foreign [Music] foreign [Music] foreign [Music] everyone find your seats please I'm so excited to give you all stuff let's get let's give away our uh announce our giveaways for our online winners here uh Steven ormarad won a copy of beat edit congratulations compliments a memo world Sebastian h1a Asus Pro art display let's go that is so cool so again uh winners will be contacted via email after the event and we'll have those companies uh drop ship those items to you or to your inbox pretty cool okay uh are in-person winners uh Brian hey that's you back there what camera are you shooting on these days what okay well you just got upgraded to a pocket Cinema Camera 6K Pro [Applause] thank you so much Blackmagic for that and uh John Nini [Music] keaney that's you how would you like uh Nvidia GeForce RTX 3090 graphics card congratulations man thanks for being here please don't tell me you use a Mac because I bet someone here would love to buy that from you anyway thank you so much uh everyone for uh being here and also thank you so much to Blackmagic design Asus mammo world and of course Nvidia studio for making those giveaways happen we have a we have a few more we're going to give away later today so we still have more stuff but I believe that is reserved for our in-person audience only also just a quick message for our in-person audience we want to make sure that you guys had easy access to the incredible motion VFX plug-in that was made for resolve con by motion bfx so you'll be getting an updated email that has the correct link in it sorry about that my bad I was too concerned thinking about if I actually knew where Daria's family lived or not and I put in the wrong address my bad so anyway you guys we're at our we're we were at our our last presentation of resolvecon 2023 I can't believe it's such a surreal thing here but like it's happening or getting there um and then Battle Royale happening later so this uh sponsored presentation comes from our friends at Puget systems my best bud Casey Ferris [Applause] hey guys so uh I'm gonna jump in because we have a lot a lot of uh a lot of work to do here um I for I mean I am I'm really excited to show you this uh one of my favorite things is when when somebody realizes something they're like wait a minute I can do that and hold on hold on like this this thing that I've been wanting to make it's actually possible with just the tools that I have right now and I'm pretty sure that for some of you maybe not all of you but some of you this is one of those things and I I'm really uh I was really excited to kind of come across this so um so a bit of a story time I know I just said I'm going to jump in but I'm going to tell you story first actually so huh um when when I was a young warthog very nice uh back in high school uh I I started watching this this show uh that no one should watch um uh called uh Aqua Teen Hunger for us you guys ever watch that show okay so um as soon as I started getting into video I was like man I wonder if I could make something like that someday knowing nothing about uh about animation or how that worked or anything but I've kind of built like low-key on a mission to make something sort of like that and make it in a really really fun way and uh so a little while ago I realized I'm like man um I think I could probably take a little bit of time and kind of learn how to do this you know and and learn how to maybe use an animation program so I started looking into all the animation programs and um this was also just right when I was getting super Nerdy with Fusion too and uh so I started looking into all these other animation programs that that a bunch of cartoons use and um one is they're really expensive uh some of them um they're really uh difficult to use huge learning curve uh and and very um yeah yeah just just not not an ideal thing um for for at least the workflow that I'm used to but I started to notice that a lot of the things that these these uh animation programs do uh you could do infusion maybe maybe you could do that in fusion and uh I started thinking about it more and I'm like actually you could do nearly all of that infusion if you set it up right and so I want to show you guys just some just some research that I've been doing I call it research because it's very scientific um and my my wife says you're you're just messing around making cartoons with your friends and I'm like yes but it's scientific so I've been scientifically researching this and I'm going to show you now I'm going to preface this your your mind's gonna be blown by the uh the quality of this cartoon because yes I did make it in my hotel room um but I I want to show you a much better cartoon uh in a couple weeks we have something something I want to show you but I want to show you something that's really easy to put together uh so something kind of like this this is just a little a little cute little guy and uh you know he says hello so that's kind of that's kind of cool right so this um Believe It or Not uh was animated infusion it was rigged infusion but it was also drawn in Fusion so like all of the drawing tools and everything were used this was all used all inside of fusion and made in resolve and everything now um again this isn't like the most huge Masterpiece but you can see the potential here right you can see you can see where we're going with this um this is a really cool way of creating art inside of fusion and then making it into an animation rig that lives on your timeline and you can just select the controls here in the inspector and you can move things around here because it's like a little a little puppet and you can do your your keyframing and everything right there in the edit page and what's neat is you don't have to go into another program you don't have to round trip or anything like that and if you do it right it's it's very quick it's a really cool way to do it so I want to give you guys just a taste of what kind of goes into this because animation even um an animation workflow that's that's pretty well uh dialed in and has all kinds of different um little shortcuts and everything like like we've been developing uh it still takes forever and it still takes so long um because it's animation but um I want to show you just a little bit of it okay so uh I want to first talk about how we draw infusion and this I get really excited about this so if you want to you can follow along all you have to do is just open up a new project and I'm just going to go into the edit page I'm wondering why my my um thing isn't working here because I want to show you what's happening oh it is going on then give me just a second because we'll need to do lots of zooming in let's just see if we can see if we can make this work here yeah that should work what's happening there okay okay doesn't work now though cool okay well we don't get to zoom in I'm sorry so Let's uh go into the uh the media pool and just make a new Fusion composition right click say new Fusion composition hit create this is going to help if you know Fusion even if you don't and you're kind of new to Fusion maybe drag a couple of those notes down there and and just see what what's possible so when we make a new Fusion composition we just have this media out and uh anything that we connect to that is just going to be on the screen so I'm going to switch my controls here back to normal and uh the first thing I want to do is just grab a background and drag that in and connect that to Media out so we have a black screen now um I want I have the goal of creating a cartoon character to eventually make a cartoon rig out of uh and so I need some way to be able to draw now um typically this is done in uh design programs of some kind and you can export them in layers and stuff and you can bring them into uh your animation program but we're just going to draw this right into fusion and then we can kind of animate the the nodes uh this way so um one way that we can make a custom shape is we can just grab a background that's going to give us our color let's just make this like green or I don't know bluish okay and then we can grab a mask like a polygon mask just drag that in there and connect it to the background now the background disappears but if we click and drag here we can create a shape cool pretty exciting stuff so um yeah I guess we could do q a now uh so this is cool this is real basic and actually uh this is very handy because uh this is essentially a way to draw a vector shape inside of fusion and um you know even just with this little tiny uh way of doing things I mean you could draw a whole bunch of shapes and make a whole big background I mean this this background that we made that I know is pretty Stunning Pretty uh pretty good um this is just made this way it just it's just masked shapes right but um what I'd like to do is uh is there's a couple ways that you can just make your own tools in Fusion we've looked at how to make macros and stuff and so those are things that you can grab out of fusion and put into the edit page which we will be doing in a little bit but um there's a lot of value here and just being able to kind of make your own tool inside of fusion and so uh again this is really really basic I'm just gonna just get rid of all of our points here so I just have a blank polygon and a background select both of those right click and then go to macro create macro that'll bring up the macro tool which is big and scary but all we do is check what we want to be able to show up in the inspector but we're not really thinking about the edit page we're thinking about If This Were a brand new node infusion that was like a combination node they did all the cool stuff uh that this tree of nodes does but in one little package what kind of controls would we want for this new tool we're making one thing I'd like is I'd like to be able to change the color so under background one I can twirl up image just so it brings up this color thing and I'll select color but to actually have this Color Picker come up you have to say color green blue and Alpha for top left like that okay so those four that'll actually bring up the Color Picker and stuff so and then we'll just twirl it background that sounds great and then this I didn't actually know this until somewhat recently because I've only kind of recently gotten into macros and stuff but polygon one if we twirl that down and go down under controls there's a control called polyline and if you check that that will let you make your own shape on this new tool that we're making so if we do that just click that and then we'll call this let's call this cartoon underscore flat let's just go with that and then I'll click these three dots up here and say save and by default it's just going to open up my macros directory and the great thing is this is exactly where I want it oh so good I'll just hit enter perfect I can close this so now I can get this trash out of here and uh I can hit shift spacebar and I can search for tools and so I'll type in cartoon and that brings up our our tool cartoon flat and I can hit enter and now we have one node that I can select put into our media out and now just by selecting the node and starting to draw I have a shape that's built with a custom color okay I think that in itself is actually pretty cool it saves a lot of time you don't have to have two nodes you have one you're doubling your productivity baby that's uh that's pretty cool um but I looked at that and I went hmm okay that's really neat but uh a lot of cartoons have a stroke around it and a lot of this kind of art style has a stroke so how would I do that well let's actually go back a little bit here I shouldn't have deleted that don't ever delete anything um but let's let's go back to our our polygon over our background let's go ahead and rename some stuff we'll just call this color for this background and we're going to rename polygon I'm just hitting F2 to rename stuff we'll call this shape okay shape and color now if we want to make a stroke around this uh this shape I'll actually give us a shape so we can see what's going on we could do that a few different ways but uh I think what I'll do is just grab another background drag this in and I'm going to merge this background over our color that's going to give us a black screen because we're taking a black background just putting it over okay but we can reuse this shape mask I can just plug this into the background and then we'll have that same shape being applied to the black color and that's laid right over the blue color which isn't really what we want it's kind of halfway to what we want so actually instead of reusing this polygon I'm going to copy this polygon Ctrl C and then double click off of this and hit Ctrl shift V and that's going to make an instance so an instance is like a copy of a node and it has a linked controls and so if I change this mask here in this instance shape it's also changed here on the left on on our regular shape okay so by default everything is linked but if I select this instance shape I could right click on something like border width and then uh de-instance it I could right click on something like solid and the instance that and then if I uncheck solid and let's see what's going on here oh I don't have this connected and then if I push up the Border width look what happens we have a stroke around our stuff here and then I can grab this and move it around and that's going to move both of those masks at the same time which is looking a lot like a shape with a stroke around it huh hmm that's pretty cool so again we could select this and we could make this into our own drawing tool like this is where my mind started to get blown a little bit because I'm like okay yes I could use it for this and it's like it's like when you discover that a tool could work and you're like okay yeah I could do it that way that that seems good but then you're like wait a minute I can make my own drawing tools and then like I said I showed the guys I showed Dan and Sam that we were in the hotel at Las Vegas and uh and I'm like hey check this out and they're like oh yeah that's cool with that and I'm like I made that and they're like what do you mean you made that I'm like I made that tool I can make it to anything and they're just like wait what you know and they're like they're just like Dan's just like laid down for a while it's pretty funny it was pretty funny um and so I'm like okay what's next then all right well okay let's let's actually let's let's just hold up let's back up a minute okay um how many people are like traditional artists like have drawn stuff before or like okay so do you guys know that the egg thing where like you're teaching how to do shading and they they make you draw an egg right so um so you generally draw a shape like that well it's not like this this is a diamond I know shapes okay I'm really good at shapes um but it here's the thing if you draw a diamond with this you select all of the uh the points and you hit shift s it's an egg okay um that one's free that one's free anyway so let's say I draw this egg right um to make this look like it has any Dimension I mean yeah it's it's 2D it looks cool but it but to make it like really go bam bam you know to make it pop a little bit we want to add a little bit of shading to kind of give it some roundness right so um doing my scientific research I looked into how you do this in various programs uh and some of them you know if you're just drawing it you'd kind of paint in that that uh that shade some of them you can make a new shape and you could mask it with this shape and it goes on and on and on basically um it ranges from kind of annoying to a ton of work so I was thinking um why is this so hard to to just shade something I feel like I'm gonna have to shade about 70 billion things if I'm going to use this as like my main drawing tool for for a pro for a cartoon so I'm like okay well um one thing we could do is uh we could just take like a background and we could put this over our egg here and I could take this shape mask and limit that here and then I could mask that this right and so then I could have you know a shade that goes on like that that could work and I could take this merge you know and I could blend it down that kind of thing and that would work that'd be cool but that's like that's like three nodes and I'm like well I I don't know I don't know about that what if what if we did something like a color corrector because I mean really a shade of something is just means it has less light and you know this that's one of the really cool Tools in Fusion that you don't really have in a lot of other animation drawing programs necessarily you don't have a color corrector sometimes you can add a filter or something but like Fusion does this all day and so if I grab this color corrector one thing I'm going to do is go over to options and make sure I have pre-divided post multiply it on if you don't know why I'll tell you later basically it makes sure that it listens to the the alpha Channel and that we're not nothing crazy is going to happen if we color correct this um so now we could do something like take this game down but not only can we take the game down but we could probably even push this a little bit cooler it's always nice to have a little bit cool shadows if you're going to make something kind of stylistic like this and then we could just add a mask to that like this and now we have this shade on our egg right of course I did just such a good job so good but we have that shady part of our egg and what's neat about this is I don't have to go in and change the color and all that stuff I just go to our color here and this is going to change depending on what color I have and it's going to look pretty good that's pretty good it's kind of like an automatic way to shade something so that's pretty neat um and so let's rename this let's call this a shade underscore CC so I remember it's a color corrector node and uh let's do a similar thing let's say I want to do like a highlight okay I'm going to do kind of the same thing just grab another color corrector like this and uh make sure to take pre-divided post multiply in my options here but this time we're going to gain it up a little bit maybe desaturate it a touch maybe make it a little warmer something like that and then again maybe we'll just add a little highlight to this Boop like that and that highlights only going to happen within that mask so we're thinking like okay this is this is how I could maybe draw this egg right here it's a green egg apparently I don't know I don't know how eggs work okay um but what's neat is uh later I'll show you how we can kind of make custom masks and and kind of have this Tool uh accept any kind of mask so that you can really quickly draw and shade and highlight things without having to remask things or Trace things out if you've ever seen art tutorials in a popular layer based image editing software you might see uh people selecting under the stroke and then and then drawing it in and selecting and like half their work is selecting stuff we don't need to do that we can automatically do that which is pretty neat okay so I think we're almost done with our drawing tool it looks pretty good I feel like we could draw a lot of stuff here but let's say uh let's say this was an eyeball or something so instead of an egg this is this is like a little eyeball all right and um it's kind of a wobbly eyeball but it's all right I'll make this kind of more of a white color I'll just go to my color and kind of oh my mouse is freaking out we'll make it like almost white like that because an eyeball it has the white part and then in a cartoon character it has a black circle right so we could put a circle in that uh we could do that a bunch of different ways one thing we could do is uh we could just merge it over and actually we could use one of these tools we already made Cartoon flat cool we could merge this over it like this and I'll just again do my Crazy Diamond thing like this select it shift s and we'll make this kind of dark like that so here's our kind of wobbly eyeball and now we have an eyeball that looks back and forth right but look what happens when we move it out here hmm and if this is a different color or the stroke is a different color then it's obviously like there's something weird here so what we want to do is contain that to the shape so what we can do is just merge this first of all under our our stroke like this and so that when this moves back and forth it goes under the stroke that's halfway there because we don't want this to colorize the stroke we just want it to be kind of inside of the shape and then we can use this same shape that we're masking everything with and mask that merge this and now we have an interior thing that's moving around and it's just inside of that that in itself is like kind of a big deal with the animation programs um they there's there's a lot of different ways that are honestly very complicated and annoying um to make that happen but I was like dude I can hook that up in Fusion in like two seconds and so um we're getting to the point where this is actually pretty cool so I'm like all right we have this let's let's do a little bit of testing and make sure make sure everything's gonna going to be okay here so let's say I don't want to put my highlight on and I'll just get rid of my hat if I get rid of this mask look what happens it makes everything brighter so that's a problem and the thing is when you're making a tool for yourself or you're making a template or something um you have to kind of design to have it not break and be annoying and there's a lot of ways to do this but one one kind of little tricky way that I found to uh to make this happen is I can just take another background and I'm going to put this into the mask of my color corrector okay and what that's going to do is it's going to use this I'm just bringing up the background uh and I'll hit a for our Alpha channel it's using that Alpha channel that transparency to tell the color corrector where to color correct stuff and it's the entire screen so it says color correct everything which uh isn't what we want still but if we go into our color corrector we can go over to our settings here and we can tell it to invert the mask that whatever mask we connect to this so we'll say invert and now since we don't have a mask connected to this background it is not showing up it's not doing the color correction so basically if we don't hook up a mask to this it's not going to do anything which is what we want right if we're not going to intentionally tell it where to highlight stuff we don't want it doing its job we want it to leave it alone okay so what happens if we take this ellipse and we plug that into the background well it's almost doing what it's supposed to do it's highlighting everywhere except that mask and we can actually fix that with the same the same thing if we select background two go to settings and apply Mass inverted we're getting that same result that we were doing but when we get rid of this ellipse it just disappears okay I had been hooking this up with uh if expressions in um ah misery you don't need to do that you can just do this this little simple thing which is really nice and so um let's just call this let's rename this background let's call this a highlight mask input okay because that's what we're really going to use this for and I'll hold shift and just drag this other polygon out copy and paste this same thing connect this here rename it shade mask input okay make sure to flip this shade color correction mask like that and this should do the same thing so if I take this ellipse and plug that in oh why isn't it doing it [Music] oh it's because I don't have this on the mask that'll do it yeah okay so now it only Shades things within that mask if I have it hooked up doesn't do anything if I don't have it hooked up okay great all right I'm also going to kind of get this ready to start just like making our tools so I'm going to get rid of our shape here I'm going to basically get rid of all my shapes so cartoon flat take my shape and just get rid of all of the points here so again I have a blank canvas but it's ready to to be drawn on and I have everything set up here in uh in kind of this little uh I don't know this little Factory that will make this shape based on what I draw okay this is where it starts to get really cool if we select all of these and actually if you select these in a certain order you can kind of Stack the order in the inspector and so maybe we do like shape and then color and then let's do the instance shape and then this background which we're going to remember is the stroke color I should definitely have renamed that but I'm not going to do it and then we can do the shade CC the color corrector which we'll remember is the highlight and then we can probably do the rest of them and that's fine okay even if you don't do it the exact order I do you can just select it all and it'll just be in a little different order it's not that big a deal okay we got to select all of these right click anywhere go to macro and create macro now now this is where we can select what we want to be available in that new major awesome node that we're going to use to draw everything so we want to make sure that we have the shape available so we're going to publish polyline like that we're going to go down to color and make sure that we have the main color which is just color green blue Alpha we're going to go to instance shape which is our stroke mask and make sure we have border width so that we can adjust the the width of the Border and we're going to go to background one which is our border color and we're going to select that and this time we're going to rename this color and just say stroke color cool um shade CC so this is the color corrector for our shade we can again publish anything that we want to be able to adjust and so maybe we'll do saturation one which is just the master saturation there and then let's do Master RGB gain and we'll call this uh let's see it was this shade this is shade right yeah shade so we can do so shade green shade gain and we'll do shade saturation up here okay and then um color corrector this is our highlight again I should have renamed that why I make it so hard saturation one we'll call this highlight saturation I don't the jury's out on how to spell highlight in my opinion I don't care if there's a right way it's out the jury's out in my in my mind okay maybe I'll spell it 10 different ways in the same macro because I just want to watch the world burn okay so we have the shade and the Highlight now we have the shade and mask input so this is really cool so um what we can do is we can actually the the first part here we have the inputs for the nodes and so for this shade mask input we can select effect mask and that will uh publish a little triangle that we can connect things to on our new node here and we can use a external mask so we can just call this shade mask oh and you're gonna love the magic okay shade mask and then highlight mask same thing so instead of effect mask we'll call this highlight mask great I'll also do a couple other little things here merge two this is where we put our internal shape or a little like eyeball black part of the eyeball again should have renamed it but we can publish the foreground like this and we'll just call this internal shape or just internal and then merge one that's that puts our um our stroke over our like flat color and so sometimes if you're drawing uh like the limb of somebody you might want it to attach to their arm to their shoulder or something and you don't want to stroke between their arm and their shoulder and so if we publish the mask for merge one like this which is the the merge for our stroke we can just say stroke mask we can decide where it draws that stroke if we want to just giving us options right so that's a lot of stuff let's call this something awesome how about cartoon shape one yes so awesome and we're gonna hit save and hit save and close okay we'll just move this up and we'll grab the media out we'll just move this up it's not going to hurt anything now shift spacebar cartoon shape one look at this little buddy look at this little buddy we got going on um I'm going to go ahead and plug this in and now we just have to select the shape and we'll start to draw and we have our shape with our stroke we can change the color and if we want to quickly do some shading on it I can grab a polygon right click off of this and then I get a little nice little menu I have a little menu of all the things that I can connect this to either the internal shape the shade mask highlight mask or stroke mask so we'll do shade mask and we'll just kind of do a little bit of shading here and I can be Cavalier about the rest of it boom now there's shade can do this same thing for highlight boom highlight now I can draw a little highlight there um if I want something inside of it again I can do something like a flat right and put this in on the internal and I can draw something and that's going to stay inside of it but under the stroke right so we're just we're building all of that stuff so that we can make it happen if I want to get rid of the stroke somewhere I can take another mask plug this into the stroke mask and I can choose where I want the stroke to be or not be so this is essentially a very very um robust way to draw vector-ish art here in Fusion let's draw something let's draw something with this thing we made so okay I'm going to draw a friend for our for our cartoon bear right remember this guy he needs a friend he does so let's draw him a little friend everybody needs a friend um I'll just make a new Fusion composition and we'll call this friend and uh let's let's go here so I might have time to like draw like part of it but I'll show you the end result too okay so let's do a cartoon shape one and this is going to be his body so I'm going to select that and we'll rename this and we'll call this body and we'll just kind of do like a little I don't know like a little nub in shape like this cool there's this like little body right and so yeah we'll make them a little taller we'll use our little shift s kind of thing and then we'll make him blue he's going to be a blue bear all right see this is so fun like it's like it was all like super intense and now it's just like we're just drawing cartoons man like it just gets it gets it gets less intense real quick when you're making cartoons so it's like all right cool so there's this body there's little nubbins for uh for feets okay there's little feet snubbins and we can change the stroke color something I like to do is grab the stroke the the actual fill color and just make this kind of a shade of that um it just kind of looks a little bit nicer to me so now we have this stroke we can decide how big of stroke we want like this very nice okay um now uh let's let's draw an eye which we have a little bit of uh experience with and let's draw his ear first let's draw his ear actually what I'll do is I'll just copy and paste this body and I'll put this over itself select all this and get rid of it and I'll do my diamond trick like this select it shift s and now we have a little ear for him and now this is where like you start to appreciate this tool because you're like well I need like the pink part of his ear oh do I have to make a uh a background and merge it over and then I have to like make sure everything's right it's like no all you have to do is you can use cartoon flat and connect it to the already existing merge inside of that that uh shape and just draw right here like this ship s like that and then let's make this color let's do like more of a pink like that and there's this little ear we forgot to shade his body so maybe we'll just add a little bit of shade here and uh yeah we'll kind of make a nice little thing like this okay I'll add some shade to that side right there okay so now we have his ear and this is where it gets like really cool with Fusion because like yes you could draw this in another program and you're like why would I do this in Fusion this is why you do this infusion okay so I can take this this ear and I need to duplicate that ear and flip it so to do that uh normally you would like copy and paste the layer you would you know redraw it you do whatever you want but in Fusion we can draw things in a modular way so it's uh it's kind of like if you put things through a series of filters it changes its appearance so we can kind of think about it that way and just grab something like a transform node and let's just uh let's rename this ear so we don't get confused and we'll bring this up in the left so there's our ear but if we take this and bring it into our transform I'll put our transform here on the right we can flip this with our transform like that and then just merge this over where we had it before I hit you on the keyboard and now we have two ears right we don't have to redraw it or anything like that I can offset this however we want okay um I really want these ears actually kind of behind his body and so let's just grab this this body and I'll hold shift and just kind of drag this down and we'll put the body over this and get rid of this merge real quick there we go to kind of like redo a couple things but yeah there's his ears behind his body okay and now here's what's really cool about this uh if I want to set up an animation for his ears to move um I could do something like make another transform node here and I can select this transform node and there's a pivot in each transform node like this and kind of move this around let's uh let's actually look at this on the left there's a little pivot that you can move around and that's where it rotates from and so I can decide where this rotates from and I can rotate this and look what happens to both of his ears Isn't that cool and so you can kind of build this in little pieces and as they stack then it makes your life a little bit easier and you know you can also have these be individual controls and everything but you can set up a transform to be something like the ear control we'll just say c t r l underscore ear and we know that that's something that we want to publish later when we make this into a rig all right we could do a similar thing for uh his eye and same thing so we'll do like cartoon shape one and again we'll just draw a little kind of a box here shift s with all of those selected and there's an i and we'll just take this border width down a little bit we can take it totally off whatever we want to do and then again if we want that you know kind of flat look or that that little flat internal eyeball thing can do this shift s and make this dark like that then again if we move this around it's going to be inside of that eyeball really cool let's go ahead and make a transform after that let me take this transform and move that back and forth and that's kind of our new handle for our eyes again we could publish that Center if we want to and then we could take this and kind of do the same thing we could just make a transform node put this over here like this merge it over and we'll just kind of move this to the side and now we have two eyes and yeah now we can look around and it gets it gets pretty quick like once you realize like oh I don't need to duplicate things I can kind of reuse things over and over again because you can put nodes into multiple different places which is an advantage for a fusion that I haven't seen in a lot of other programs that are designed more for um for animation kind of cool um so anyway I could keep drawing on this guy but I already I already Drew one so I want to show you a little bit on how we would export this one thing I want to show you is that for this like for this ear control when you move these ears back and forth there's a point where you're like yeah that's great that looks good but after that you're like I'm not actually going to use this he looks real awkward when I do that let's not go that far so I don't want to go farther than maybe like 60-ish minus 60 on that angle and then over here yeah we're not going to go past there so like 40. so the range is like negative 60 to 40 or so but this angle if I push this back and forth he can just have a party okay that's not what we want so what we can do and uh the guys showed this during their workshop actually the other day but if you right click on this uh this tool in the inspector you can go over to edit controls and this is really neat if you go down to ID right here you can pick whatever control exists in the inspector already so let's just find angle which is somewhere probably angle it's almost there there it is okay and you can set your range for something like a slider so this uh this control right here is called a screw control and you can just go around as many times as you want but if you set it to a slider and you make this range what was it negative 60 to 40 negative 60 240 like that and I'll make sure this is on the controls page and hit OK what that does is it turns this angle into a limited control and so when you publish this to the edit page and you give it to somebody who doesn't know how Fusion works and really loves breaking things they can just go crazy and no matter what they do at both extremes it looks pretty good right and it's just a little bit easier a little less touchy that kind of thing and so you can build a whole animation rig this way and what's really neat is once you export it like this so you can right click export it as a macro just like you would a title just like you would Graphics in you know just just like if if you were going to make like a a graphics file or whatever you can do the same thing and just all you do is just select your controls and so I'm going to so control ears we're going to pick angle and we can call this you know ears and go through and and you can select anything that you need to export so I have eyes but I didn't rename them anyway so you go through and rename them that's how you would build your animation rig and you can just kind of start to build all of these things and any control that you want you can just export with that macro thing so that's pretty neat so once you do that you can combine an entire uh an entire seen an entire character you can make a macro for each of your characters in your scene or in your series you can draw all of your backgrounds you can do all this stuff and it's all natively infusion and you can put that all in one drfx file and if somebody needs to help you animate you can email them that drfx file because it's really really really small and they have like all of the assets for your animated project isn't that crazy like what a cool thing so um and there is there is a uh a little bit of an art to optimizing these things because um you know Fusion is pretty power hungry program and so there is that side of things and there are ways to make things run a little faster and that kind of thing so you do we did have to do a lot of experiments on that kind of going through that so if you have questions on that let me know but the idea is is pretty cool and we've been having a lot of fun with it and so really the idea here is that once we have a friend we can go into once we've installed this as a generator we can just go into our generators and scroll down and here's our bear so this is just a similar one that I made we can drag this in here like this and then we can grab like our just transform settings and we can adjust where he goes and we can animate him and all the things that he can do here in the edit page and adjust his ears and his eyes and his arms and so you know if he wants to see no evil that's totally fine all of that stuff and like it's it's not lost on me that these aren't like the most amazing characters ever but you see the potential right like it's pretty amazing so I've been really excited to dive into this I hope it's been interesting to you guys too thanks man so cool so cool all right let's move into our q a time with Casey let's do it if you were to hand draw something oh okay can you hand draw something and then trace on top of it are you able to see what's underneath yeah in fact like that's how uh that's how we've been making a lot of characters and stuff uh Dan is an amazing artist I don't know if you guys know but he can just draw stuff on like procreate or whatever and so what we've been doing is taking his procreate uh stuff and then tracing it in Fusion uh in this way and so I mean you can just bring it in like and let me just do this so I mean I already had Drew this infusion but you can pretend that this is just any image you can do that and then just merge uh you can just merge that over or under or whatever you're doing and you just kind of lay it on top like that and then you can do something like you know cartoon shape like this and then you can trace it right you can even bring it up in the other viewer and you can trace it without even merging it so I mean I could take this like this and do one like this and then bring up let's see yeah and then I can grab my cartoon shape and I don't even have to be looking at the cartoon shape I can make my Trace over here because I don't even have to have the cartoon shape connected to be able to see where the path is and then it's like once I have that going then I can just connect this to whatever I'm doing and it's actually actually there does that make sense yeah yeah any other questions come on guys now it looks like with what you currently have the macros you have set like the arms and the eyes are working together is there a way to make it like arm independently eye independently oh yeah absolutely um it just depends on how you connect it that's the cool thing that's the cool thing and the scary thing is that you can uh you can really do anything you want um so I mean even this okay so this rig right here these arms are separate right um and so I I basically the for the blue one I just made I made it just like the ears where they're they're both connected they're just mirrored basically but you can do any number of different appendages and have them have individual controls and stuff for sure um so I noticed on the on the polygon mask there's a roto assist tool um does that help with tracing at all I haven't used that tool personally but is there something I can help with with tracing yeah um that that does help it kind of depends on what you're doing if you have something that's high contrast uh you might be able to to work with that I don't have a lot of experience with it and um with this kind of art it doesn't need to be like super exact when you're tracing something you're kind of just trying to get the feeling of it so um I haven't dove into that very much so you might ask around I wonder if the other Fusion guys have kind of worked with that a little more all right I see you so now you built this out and you want to apply this to a soundtrack and you want it to program the mouth movements and reactions yeah how would you do that yeah so um you can you can uh what we've done is I thought I built it into this but maybe it was another earlier version of it you can draw all the mouth shapes in a series and so you just basically animate the mask for the mouth shapes uh and then so you can let me just I can I can just show you real quick it doesn't take few seconds so like let's say this is your mouth and we'll just we'll just do something like I don't know it's like a triangle right so this is your mouth and then you can go one frame to the right and let's say that that's like an O shape and then the next frame is you know whatever other shape right so we get the idea so you have all of your mouth shapes because that's kind of how it works is uh if you guys don't know they just have several this kind of Animation you have several different mouth shapes and you just match the mouth shape to the phonem that they're saying at the moment and so now if I go back and forth between the the frames here we have the different mouth shapes and we can do this and hook this up to something like a Time speed and if I set speed to zero and if I set interpolation to nearest then I can adjust the delay and as I go in between these shapes I can select that shape and I can make this into a slider and have it limited to however many shapes I have so we had nine shapes working on a project that definitely is coming out at some point definitely and then you just animate that slider and that's actually how a lot of uh that's basically the same way that most animation programs do it as well so pretty cool to take you away you can you can type so reactor there is a there's an audio um it's like a a driver of keyframes with audio can you repeat the question Casey sorry yeah uh the question was can you drive this with uh with like a WAV file and um you can't like automate it uh like an automatic lip sync there isn't a way to do that really well with infusion we actually used a separate thing to help with that a little bit but you can kind of do like a puppet mouth that is open when it's loud and closed when it's quiet and you can drive that with a a audio plug-in from reactor which basically just yeah when it's loud it's at one and when it's quiet it's at zero and then you hook that to like the the Y scale and it just kind of does that and that works pretty darn well for a lot of stuff actually I feel like I've got to ask a question every time here so on your shadows is it possible to convert it from a solid color to a gradient and warp the gradient so that it curves with your shape so that it's not just a straight line gradient but it's actually more uh what you might do is just soften the mask just because you can you can soften that mask uh when you're drawing it I'll show you so let's see this guy so this is this is my um my notes for this guy so here for our body so this is the shade for our body if we just soften that edge we can make that yeah so I mean you can get really detailed with it and again I mean the sky's the limit because you're making your own tool here so I mean you can make it uh you know be a Four Color gradient and you know be driven by you know the red Channel and I mean you could just go insane with this stuff which uh is is a temptation if you want to stretch and squash your character to move around would you put a transform at the very end or how would you yeah you could it depends on what you want to do uh if you just want one part to squash you could do it earlier in the tree but um yeah you could do something like a warper node uh towards the end to kind of like squish him up and down and I haven't played with that a whole lot I've kind of tested it a little bit and uh it works it's fun yeah all right we have a question from uh there are YouTube comments it says can you draw infusion because I know there is a draw tool but I think what they're trying to ask is like is the draw drawing tool different than the style you're showing us here yeah using the pen so I mean there's a paint Tool uh which will let you you know if you have a if you have like a pen display you can you can draw and uh yes you can do stuff like that uh I wouldn't say it's in my experience real optimized for that that's more like if you want to clone something out kind of thing you can get it to work and make like a hand-drawn animation I haven't like I I dove deep enough into that to go I don't know if this is real practical and then I backed out so there might be a really fancy way to do it uh but I haven't come across it okay any more questions here okay I have no other online questions being fed to me so I guess all right must have been clear as well we'll wrap it up thank you Casey you're welcome foreign s like they say uh all good things come to an end Casey you can stay up here actually so we're gonna we're gonna say bye to everybody on stream sneaking off I was thinking off I'm sorry um but yeah you guys this is uh this is the the end of our online time for resolvecon 2023 um it is a a privilege and an honor to be among such wonderful people of such wonderful creatives it's been so much fun to see people's presentations to hear all their expertise their wisdom their their insight into this amazing tool that is given away for free which is really neat pretty amazing and awesome and to give away stuff I love giving people stuff so much you guys it is one of my favorite things to do it's awesome man um but none of this would have been possible without the support given to us by our incredible generous sponsors Blackmagic design Puget systems motion VFX Nvidia Studio Asus audio mamow world audio design desk action VFX and nope omniscope thank you all for making this happen is there anything you want to say before we before we go yeah um big thanks to everybody who's watching online obviously this wouldn't this wouldn't happen without you guys and uh really thankful for for this opportunity this is wild to have an event like this and uh I want you guys to come out to the next one so at start planning now we don't know when it's happening if it's happening or anything like that but uh but we'll tell you we'll tell you soon and I want you to put it on your calendar as soon as we know okay that's right yeah I'm gonna do a special uh thank you and shout out to uh Dolly over here in chat and thank you so much uh MPI our our stream moderation team uh thank you so much to the presenters to the uh Ground Control crew thank you so much for making this all come together Randy I see over there nothing nothing would sound this good if you didn't help so thank you Randy Randy's to me um so thank you all we'll see you next year adios [Applause] all right for everyone else um we're gonna break for lunch and we're back to the DaVinci Resolve Battle Royale see you guys then bye [Music]

Channel: Casey Faris

Views: 86,195

Keywords: Davinci Resolve 17, blackmagic design, casey faris, how to, free video editor, tutorial, davinci resolve 18, resolve for beginners, davinci tutorials, editing, color, fusion, davinci resolve 18.5, resolvecon, resolve convention, fairlight, audio mixing, mralextech, mr alex tech, mralextech resolve, resolvecon23, ground control, blackmagic fusion, blackmagic fusion course, blackmagic fusion training

Id: BFrCNToLTlk

Length: 222min 58sec (13378 seconds)

Published: Sun Aug 27 2023