 What's yours? I'm Sean Carlson with Blackmagic Design. I've taken over the art list YouTube channel today temporarily to give you this little free editing session with Blackmagic Design's Resolve 17 studio. So just a little bit of the details to get out of the way. This is all part of the edit challenge, right? The art grid art list edit challenge 2021. So I'm using all the same footage that you will use in this challenge. Essentially, you're just going to cut together your own piece using only footage from art grid art list. And then you can win $75,000 worth of prizes. So I mean, there's three-pocket cinema cameras available. There's copies of DaVinci Resolve. There's a number of other things, including, you know, up to $75,000 in filmmaking gear. So now that I got all the details out of the way, I'm really just going to dive right in and I'm going to show you what I've done with the footage, kind of walk you through the features and how I've used them. And then I'm going to get to a couple of comments or questions that you might post. So if you have any specific topics you want me to cover, drop them in the live. And let's see what else do I need to cover before I jump right in. Nope. Looks good. I'm good to go. All right. So I think we should start right here on the screen. So, John, whenever you're ready, take me full. Thank you, sir, on the spot. All right. First thing I'm showing here is the cut page. Now, the cut page, you know, new in version 16 essentially allowed us to have all of the tools available to us in a single interface. You know, the benefit of doing this is obvious to anyone that has a single screen, something like a laptop, you know, while I can control this with the speed editor. And, you know, I highly recommend that if you're going to get resolve, you just get the speed editor version because essentially you buy the speed editor and it comes with the studio version of resolve when you buy the bundle. Now, so I have control here, but I just want to show the interface options as you hover over these areas of the screen. You'll see that this one in particular is specifically designed to kind of maximize your viewing space on a single screen. So really good for a laptop, you know, back in the day when you might have been roaming the halls of any be with your own camera, capturing your own footage and then sit down at lunch on your laptop and cut your little promo together. This is what the cut page is really designed best for. Now, it's not to say that the tools are missing or, you know, aren't available. I've hidden some here, right? There's a tool button. There's some controls up here in what's called the inspector. So basically every time anything is selected, its tools will appear in the inspector. You can see that outlined right here in timeline. So let me just go through what I've done here. Now we don't have to go full screen. This is fine. So I kept this short and sweet just so I can talk more about the features here. You know, the tools themselves in the cut page, I'm looking at dual timelines. So I always have this upper timeline, which is essentially like an overview of my whole cut. And I have this lower timeline that's expanded. And, you know, I would imagine that a lot of you were probably familiar with Resolve. I've seen some of the comments that, yeah, all right. So clearly I was playing with no audio so you can't hear that I've cut that in. But good thing you can hear me. All right. So I'm looking over at the comments to make sure that we're keeping up on everything here. And I noticed in some of the comments people were excited about working in Resolve, which is great because obviously DaVinci Resolve, you know, if you go to our website at blackmagicdesign.com, you can download a free copy of it. There's two versions. There's the free version and the studio version. Everything I'm doing today, I'm going to be showing you the studio version, but know that there are a handful of things that are different between studio and free. The top line items, the UHD output. You can go with, you know, 2160p60 output in the free version. You can make, you know, 16K or 32K frame sizes in the studio version. If you need custom frame sizes, all kinds of options available to you, including some hardware rendering acceleration when you get to, you know, H.264 and 5. So just to pop open something really boring like the preferences first, I also want to introduce this area here, which is for GPU configuration because that's another big difference between the studio and the free version. The studio version allows you to have multiple GPUs. So in this case, I'm working with one internal GPU, which will open up to the free version as well. But, you know, if I had a stack or I had an external chassis full of GPUs, I could see them and I could customize the processing mode in the selection here in this panel. The other thing here in this panel includes the things I just mentioned, like decoding H.264 and 265 with hardware acceleration and GPU for black magic raw decode and GPU for D-Bear and decompression of the R3D in Resolve. So everything we do is GPU and CPU based. Obviously, we try and throw a lot of the processing at the really powerful GPUs that are available. So before I leave this panel, you can see that I'm in the system tab, but the user tab is actually specific to your login and you can create a preset and you can save and import and export these presets to your systems. So if you get up and work on someone else's system, you can simply bring your preset over and load your preferences. I like to turn this one on as well, the editing. This is an edit focused session, so I'm going to point out things that I like that I tend to use in Resolve. I turn on the Smart Bin for timelines. Smart Bin is a metadata driven bin that organizes your content. So turning on a Smart Bin for timelines actually just kind of collects them in their own bin. I know a lot of people like to organize their bin, their hierarchy, their project database to look a certain way, including bins or folders for everything, and particularly a lot of people choose a bin or a folder for their timelines. I've taken to using this instead of that method, and there's some logic to this, especially if you're going to use the simultaneous collaborative features of DaVinci Resolve, which you might be doing. It's kind of an advanced workflow, but it's something that's pretty easy to get into if you just have a couple of people and a couple of studio resolves. Actually, you can do this now. The collaborative workflow is available in the free version of Resolve also. So these are all capable of helping you out even if you don't have the studio paid version. But like I said, chances are you're just going to try and buy a speed editor, right? That's what you see right now is I'm actually controlling it with the jog wheel. Okay, so back out here. I want to show you the edit page. If I navigate without my mouse, it's because I'm using the Shift keys. These are hot keys, essentially. And if you look at the bottom, Media, Cut, Edit, Fusion, Color, Fairlight, and Deliver are the workflow pages, and they can be navigated with Shift 2, 3, 4, 5, 6, 7, and 8. Shift 1 and Shift 9 are these at the lower half over here. I see the Project Manager, Shift 1, and Project Settings. So if you're looking at my screen on the bottom right-hand corner here, as I move my mouse, hopefully you can see that. And if you haven't already, please take your screen full screen because I know we're setting up 1080p, but sometimes it can be really difficult to see the interface elements, so I want to make sure you're not lost. Okay, so what I did was I brought all my media into the media page. Now it's important to show these as they relate in the workflow. Media is usually your first step. And the top left-hand corner is going to be my media storage. These are the actual locations that these files exist on my computer. And you can see that here. If you look at the little metadata panel, and it tells you volumes, et cetera, and point to where that is, a go-to layout preset to share. Now I wouldn't say there's a go-to layout preset, and I tend to use dual screen, but in this case because I'm demoing and I have to show everything all at once on one shared screen, I've turned that off, but in the Workspace menu you can see that, well, one I've turned full screen on so I don't have any of the dots on the top left, you know, the close or full screen dots. But then essentially I'm just using this mode, so I have a single screen, just the iMac Pro, and I normally configure this for my video output as well when I don't have a video monitor connected. But dual screen is not on right now. So everything kind of lays out by itself. And if you ever get stuck and you've changed things, you can just reset here. You probably saw that, you know, reset you out. Sorry, I'm moving my mouse a little weird. There we go. Reset UI layout. I'll let go of the mouse so it moves. So it stays there and you can see it. Okay, so now in the media page, right, I can preview this media, and I can do that of course with my speed editor, Jogwheel, which I love. And at the same time, you'll see some details about that, whether you've actually imported this media into your timeline or not. The lower half of this project or this page here is my project and the media within. So I've already imported all this media. I have organized it into these bins. So here you can see, you know, I've got, I've got music separated. There's my waveform. And I'm probably not sharing that audio with you from my screen, but you can clearly see my view meters bouncing. And that, you know, that allows us a whole bunch of options here. We can, you know, preview the spot. We can mark, we can mark it out. We can add markers, et cetera, things like that. There's the marker overlay. All it did was hit M twice. So let's just remove that marker, remove the marker. And you see that I've got this Visit the City campaign. So that was what I chose for my little edit. And I'm switching into the edit page to show you. I just built basically, you know, a 30 second spot cut to some music. So the question about like, how do you determine where you make your music choices, you know, where your music edits land? If you're talking about a trailer, you clearly have to have, you know, you're likely going to have more than one clip, right? In this 30, 30 spot, I basically just had one clip. And I just Frankensteined it into bytes, little chunks that I could use and kind of cut together in time. Well, I've done that here in what's called this 30 spot music bed. If you look at this timeline view options, if you can see what just hovered over with my mouse, if I enable this lower, this left hand stack timelines option, that's what I'm looking at now. And that actually allows me to have multiple timelines, if I have multiple open timelines in my project, you know, like just the string out with my content. Yeah, let's go back. Haha, you. All right. Well, you're going to have to wait just one second. Maybe we should go back to full screen on me, John, while I get this launched again. So I can stretch, right? It's the beauty of live. I got a production going on here. So you can take me back. Now, John, I've got the UI up again. I'm just launching the art list. What you're looking at here is, yes, the speed editor wants to be updated. Great. I just launched my project manager and it did so so that you can see that, you know, in this thumbnail view, I'm just looking at my projects. That is a little different if you're not used to resolve. Yeah, the resolve works with a database and essentially holds all the projects in this database. And if I expand this little area over here, left of the name projects where it says show hide databases, you'll see that I'm currently looking at a Postgres shared database as opposed to a disk database. Now, the difference here is that on, you know, every version we used to be limited to the disk databases, and now they can also access shared databases. The shared databases allow us the opportunity to, you know, enable collaboration for simultaneous use or just to, you know, to check in and check out open projects. But basically, this database is shared to anyone who has the correct IP address that's listed here. Very, very simply, these are your live project files. These are the currently live versions. And if you've exported from here, which you can, right-click, choose export project or export with spills and luts, these are dead files, right? When you export one, you've removed it from the database and you've archived it somewhere else. So think of that as an archive. Think of it like an incremental save or a backup that you have somewhere else. It's not the current version of this file. It's the current version as of the date that you saved it. Your live versions are always in your database. Now, one other thing I want to show you is if I right-click in the empty space, I've turned on dynamic project switching. And I've done that so I can just open the second project at the same time. So, yes, I'll just go through and say, great, the gallery needs updating. Since that asked me for something that's kind of relevant to what I'm going to show you, let's go to the project settings. Because I don't want to spend too much time going over the basics of the project settings necessarily, but to point out a few things that are key in understanding how Resolve works. The master settings here control the timeline resolution for all new timelines in the project. And the frame rate is fixed basically once you've imported your media after you've set this. Now, what that means, and of course I've matched my video monitoring to UHD as well, what that means here is that we are resolution independent and we can create timelines independent of that resolution. I can also switch this resolution at any time. So while I'm working with this in a UHD project, if I switch this down to 1080 HD instead, yeah, I'm going to have to change my video monitoring, but that's not going to mess with you guys because you're not looking at my video output. But all I've done now is if you look at my, if you look at the actual scale here of the viewer on the top left-hand corner of this viewer as I used my middle mouse to scroll in and out. And again, if you have a third, you know, a three-button mouse, it's highly recommended and I'll be showing you why as well. My little three-button mouse is very simple, but it's got a middle click. If you click the middle mouse button and move, you now have a pan and this works across all the viewers. Every viewer here has the same pan option. So just I get in the habit of using a three-button mouse all the time and I recommend it. So you can see that at 82%, that's my new frame size. And if I go back here and switch it back to UHD 4K, and again, I've ignored that here. Let's go and fit. Then what we see is that nothing appears to change in my viewer. I'm looking at the 1080 timeline as opposed to the UHD timeline. And that's because, let me go back to my media pool and let's just show you the list view for a minute. And I'm going to expand the media pool to include my hierarchy. So when I've done that, that opened up with smart bins. I mentioned smart bins because I do turn them on. That includes user smart bins for, you know, any circle takes or ProRes media. These are things that I've already set because in most cases I want to, you know, want to be able to separate the content and organize it automatically in my timeline and in my project. But it also turns on keywords and people shot and seen. So by default, you know, it picked everything in the scene because if there was anything listed in the metadata here for scene, right? So now again, this clip is selected and its tools appear and then specter to the right. When I moved to the file tab, which is new to 17 and I really enjoy this new update here to resolve adding these features and kind of separating the features into this panel. Well, what this gives me is a whole bunch of detail including, yes, you're absolutely right to be shocked. This is 12K from our Ursa Mini Pro 12K footage that I'm just tossing around. Here it is. If you look at it in my timeline, clearly it's going to fit to my viewer and it's doing that all based on this image scaling setting. So I've got scale entire image to fit and match timeline settings right now. So that's handling my resolution jump, right? That's handling the fact that this is 12K media and the fact that this media now opens up this tool and I can see, let's go to the image palette, I can choose how to decode my 12K, right? By default I'm looking at the project setting and the decode quality is the project setting again. But this is another case where if I know this 12K media is coming into my 1080 timeline and I just need it because I can do punch-ins and reframes, if I wanted to, I can just choose a lower resolution to decode into. I know I'm never going to punch in past X number so this could be my choice. I could just go to 4K and it gives me four quadrants of my 1080 frame. But there's a lot of new features built into the image panel. Before I bore absolutely everybody with all these little features, I just wanted to show off a few things and let me go back to my other timeline. So now the other timeline is actually in another project. Since we opened up the dynamic project switching option, you'll see this little pull-down menu at the top. So 12K, let's switch to the art list edit. And for the art list edit, I mostly grabbed HDMP4 but I also threw in some kind of mismatched footage as well. So let's show you a little trick. If I drag select across my media pool, you'll see all of the media here. It might even be nicer to see it in this new metadata view which essentially shows me thumbnail and details. And then as I click on these, you'll see this is a 422 HQ, 2997, 1920 by 1280 interesting frame. This one is 4K by 4096 by 2304. Double click, in this case I've turned off a function called live media preview. So let me turn it on and you can kind of see how that updates now. Now I don't actually have to click any of this media to preview it in my source viewer in the edit page. This is my source, this is my timeline viewer. And you can tell actually since quick navigation is my style, you can see that this red indicates the source viewer is active and the white indicates that the timeline viewer is not active. That means that my tools are actually going to control whatever is active in this view. But Q, toggle Q on your keyboard and you can now just jump back and forth. So Q, great I want to find this piece right here. Q, now I'm controlling where I want it to edit. Great, I mark in and out. I can then add the smart insert, the append, the ripple override, or the source override. Neither of these is active now because I made the timeline active. So I've performed my edit. Now that's just very simple and with no hands. This is keyboard only. But if you're using a mouse, if you grab any of these files here from the source viewer or directly from the bin and drag them over to the overlay in the timeline viewer, you can see that you have these seven favorites essentially. These are the ones that we use the most, so these are the ones that you're going to have access to. Append at end, if you're trying to slug all your content down into your timeline first, mark in, mark out your selects, and get them into a string out, append at end will always add to the end of your timeline where you were in your cut. So to keep that in mind, the overlays work, the keyboard shortcuts work. I tend to use keyboard shortcuts more than anything, but I want to make sure you can see where the tool is that I'm actually using. Q is selecting whatever your mouse is over. Actually, Q doesn't even follow my mouse. So you can see my mouse is over here on the lower half of the actual linear timeline with the time bar. Q is still toggling between my source and my timeline viewer. So that question just popped up live. All right, yeah, I guess the UI of the software is having a hard time being squished down into 1080 pixels and sent to you folks over the internet, so apologies if it looks a little blurry. All right, let me not waste any more time, and I'm just going to close up this one here. I just did the very basic, you can't hear it, but you can see my VU meters here. I'm going to turn that down for myself because I can certainly hear it. And what I just did there was I hit the dim button, right? You can see that there's a volume slider on the edit page, and the dim button here just drops you minus 20 dB. It's a really simple option, in fact. So let me go right now back to the other timeline. I'm in this view where I can see stacked or tabbed versions, and while I'm there, let me just show you again. Let's close that one and open a stack. A stack timeline allows me to do the same view, but in this case, whichever one is active has the red playhead. This is something that you're going to notice if you do go into the collaborative workflow. Red playhead indicates the active timeline. Gray playhead indicates you don't have a control over it in a collaborative workflow. So in this case, it's just showing me the difference between the focus. So as this has focus now, these controls are working. And the beauty of the stack timeline is, as you've probably seen in other tools that do similar things, I can just mark a range. Obviously I can say in-out range, or I can just select the clips as I did just there by drag selecting, and I can simply drag into my active timeline from here. So now having put those clips into the timeline, I can make new edits from them. So let's show you what I'm actually doing. If I use the speed editor, there's a function called trim in, trim out. And trim in and trim out on the cut page is automatically a... I'll just go ahead and close the whole stack. On the cut page is automatically a ripple function. So it's just to kind of make it simpler to create your assembly. So if you were to perform these trim tool functions and say, great, I like... Let's get to that spot, right? So I can split my clip. I can ripple delete the rest. I can trim the in. You see, as I mouse over this, or as I use the jog, scroll, shuttle dial, however you define it, what it's actually showing me in the viewer is my two-up. It's showing me the previous edit and the next edit, and then it's showing the number of frames that I'm trimming. Now, all of these can be done, obviously without mouse interaction. But since I have a pointer here and I need to show you what I've done, let me just go back to my edit page. But the normal edit tool, and this kind of differentiates how they're working, the normal edit tool can roll, right? In this case, it can't roll because clearly there's no trim. But then it can actually trim, right? In this case, trim the tail, trim the head. You can see the direction change as I mouse over this clip. And of course, it'll reposition, right? It'll just simply drag over. The screen itself, it draws in, you know, 60 frames, right? And that allows for, you know, very smooth interactions and, you know, updates. There's visual cues everywhere. One of the things that I kind of neglected to point out, because it's probably going to be hard for you to see at this tiny, tiny little window here that I'm sharing, if you can see it, and I'm going to move my mouse in the general area, I'm looking at this area right here. There's a downward carrot animation. The downward carrot animation, right? Little down pointing arrows. They switch based on where I am on this clip to give me visual indication of where my next smart insert edit would work or where my trim in or trim out is actually functioning. So if I'm over here on the head of this clip and I'm choosing to trim out, I'm behind the head of this clip. I'm actually trimming the tail of the previous edit point. If I choose trim in, obviously it's going to trim, as you would expect, the head of this current clip. If I move over the halfway point and trim out, well, now it's trimming the tail of this same clip. And again, having moved halfway over, if I trim the in, now I'm trimming the in of the next clip. So smart inserts and the smart indicators are telling me precisely where my edit functions are happening. This is an edit page, sorry, this is a cut page feature. The other features, these are completely editable here in either timeline, as you see fit. Roll at its trim head and tail, reposition. If I just grab this clip and drag it here, it's repositioned. There's obviously, there's some other things like I can click and hold with my speed editor and I can reposition. That's a really useful feature. I really enjoy having the speed editor. So let me go to the edit page and show you what I've done. Option Y to select everything from the play head forward and then I just created a little space here. Now, I mentioned that this can roll, this can trim head, this can trim tail with the normal edit function. If I switch now into the trim edit function, these are ripple trims. So the trim head and trim tail ripples. And if I hover over the middle, you can see that it's changed. It's no longer this mouse indicator, this is a double-sided. And yes, sorry if I'm going too fast with the keyboard shortcuts. I do actually have to remind myself to use my mouse so you can see what I'm doing. Right now, it's all mouse. So with the play head in the edit page, as I hover over this clip with my mouse, and hopefully you can see that. I'll just keep moving it for a minute. If I hover over the middle in the picture thumbnail and then click, this is just a slip. So I'm slipping my in and out points of an edit without adjusting the duration. If I click down here into the lower area where the name is or the title of this clip, then actually what I have now is I have a slide. I have a repositioning slide. So you see the four up display is showing the lower left quadrant. There's no edit point here. So let's just say, let's do this. I'm on a Mac, so my shortcuts are command, but anywhere I say command, just replace that with control. In most cases, that's going to be your shortcut. And if I say option, that's going to be alt, if we're talking about Windows. So what I did there was I just used command shift. So with this clip selected, command shift, and then it'll just snap over to reposition the edit points. So that's all I did. I just moved this over here and said, great, I want to live there. I could do it with the keyboard, but then you wouldn't be able to see it happening. So as I slip this clip now, since it's within another edit, you'll see all four of these in the four up display. You'll see the lower left is now my previous edit. The top left and right are the new in and out points, and the bottom right is my next edit. As I use the slide tool, you'll see the same thing. Sorry if it wasn't updating there for a minute. Only now it switched. The bottom two are actually indicating the edit points, the previous and next edit, because I'm repositioning this clip. So then let's do something else with this footage, because I've done a few things to it. There's some indicators of speed, and here, let's do this, watch. There's my mixing console. Now everyone actually got to hear that. That's great, because I turned my speakers up. We're going old school here. So just to show what I'm up to, these indicators here, let me go ahead and use this zoom function on my timeline so you can see what we're doing. So here is the full extent zoom. This will always show your entire edit. Even as you added footage to it, or trim footage, it'll automatically adjust to show you your entire edit. This is just a default full extent zoom. So if you're using a mouse, you can click this one. If you're using a mouse and you want to click custom zoom, the keyboard shortcut for that is Shift Z. Custom zoom, really functional. Yes, it will also do the same thing, which is to show everything. But with the command and plus or control and plus on your keyboard, plus and minus will zoom out, right, with the control or the command key held. Now, so I've just zoomed in. This is not my custom zoom. You can see that right here. It shows you that I'm in custom zoom mode. So here's a great keyboard shortcut, Shift Z. Shift Z will toggle me back to the entire extent, but Shift Z is a toggle. So Shift Z again, and I'm jumping right back to my thing. So if I need to be able to jump in and out, everyone needs to constantly zoom in, zoom out to make your edit choices. This is how you work normally. This is how I work normally. This is why I use this function. Keep in mind, if I switch with Shift 3, to jump to the cut page, notice that that's kind of irrelevant now. I always have this lower expanded version. So if I need to see frames, like here, like where is my edit point? I can clearly, you can see the frame edit point lights up green to indicate where it's going. I'll show you that in the edit page as well, just in case you're not yet familiar with the way cut works. Just to give you an option, right, the cut page is so fast, it might even be great to just use it, even if you're familiar with the edit page. Use the cut page first, get your assembly in, because one of the things I'm going to show you right now, and again, no, no, well, it's keyboard shortcut. So I'm going to show you with the mouse as well. But there's a button on here that toggles between source and timeline. So I'm currently in timeline view. If you look at this viewer on the top left-hand side, you'll see these little icons over here, to the left of the name where it says Nightlife 30 Text. Right, over here, this is the timeline view. The next one over is the source view, right? It's called source tape. And then, if we do source clip, that's actually dropping into a single clip. So if I hit the source button, well, now it wants to look at my entire media pool, and you can see the hierarchy here of what I'm looking at. My entire media pool, let's switch to scroll. So I can look at everything that's in my project file, every clip, and it'll simply, you know, jump between them as I look for it. This allows me to edit directly from the source into my timeline, or just use the preview options. In fact, there's something called a fast preview. So if you just click that, fast preview is going to go over all of your footage at the rate that it believes it needs to review them so that you can get enough content. If you've got a really short clip, then it plays it back real time. If you've got a really long clip, then it plays it back much faster. And we are 37 minutes in, so I really have to start moving. I'm going to show you a couple of features that I definitely want to get to before I run out of time. So let me just move back to the edit page. Let me use my shift Z to do this. And I know I want to talk about the speed ramp. And so let's just go, let me just do that from the string out, because I've got a couple of examples that are kind of built in here. Yes, I use speed ramping, and I use speed controls in the edit page for the nightlife 30 spot. But let's just show you this one right here. So here you go. This footage was shot high frame rate. So it's all available to me to edit, and really the only thing I had to do there was decide to play it back, interpret it at high frame rate so that it would play back in real time and then drop back into 100% playback and it plays back slower. Speed ramping is poor and locked compared to Premiere. Well, I hope to convince you. Here's what I've done. Let me just go ahead and show you that with this selected, yes, there are video controls that you can see the speed change. And you can see some of these details. This is new to 17. And some of these make it a little easier for you to figure out what we're doing. If I do it very simply on this and say yes, we're playing that forward and the ferry is going under the bridge and to the right. But if I click this reverse button then the ferry is going the other way. So this is very simply the speed change and the freeze buttons built into the speed change tool are really going to be easy to use. And then I'll tell you that when we drop into real re-timing that's where we really sing. So let's show you what we do. Command R to turn on the re-timing control. Shift C to turn on the speed curve which I've shown as re-timed speed control. So here's my ramp. And you can see that I go from, well, 900% speed playback smoothly right down to 100% speed because this is high frame rate shot footage. But very simply, let's just switch to the trim tool and then let's add another speed point. Like here with it, with it still, you know, mid-air. Okay? Add a speed point and now I want it to go back to playing back incredibly fast. So let's just drag this handle up to, I don't know, whatever that is, 900%. Select this smooth with Bezier. Let me go ahead into this now detail zoom which automatically focuses in on what resolve you might want to look at. Again, I can do custom zoom, my own specification. Detail zoom is a real quick back and forth just so I can see. So here's the custom zoom option. I just zoomed in some more. So let's smooth this speed point out, just a hair and then I'll zoom back out and let's just hit play. So here it is put back to real time just like that. The action isn't right, so let's say I want it right here on this action. So let's just grab this handle and let's stretch it out again and let's see. I don't know what you think about that Pierre, but I think that's pretty sexy. So I'm going to stick with it. Now before I run out of time, I did want to show you let's switch over here to my timelines. Fusion Fusion is something that not a lot of people are familiar with because it's node based and a lot of people I know prefer they're compositing any vertical stack. Well, the Resolve edit timeline is really just a vertical stack. So if you want to do some basic compositing you can do that in the Resolve timeline. There's an awful lot of things that you can do like not the least of which here let's just grab another clip. So you can see that I've already overlaid this clip. This clip has its tools available here in the inspector. So let's go to the composite mode. So if the composite mode needed to be screen or add or overlay or exclusion or hard light, here let's just say difference. So now everywhere there's picture underneath it as the picture moves you can see that it's changing changing the interpretation of the composite mode. There's a lot of advanced compositing you can do in the edit page. Just get rid of this and I'm going to drop into the fusion comp that I've built. Really quickly go to the effects library and then go to your tools and just kind of turn that down. You can see all of the tools available here and you can hover over and you can get a sense of what they're doing. Okay there's a whole bunch of tools here in fusion. Now this might look like salad okay, give me two minutes and I'm definitely going to show you what this really means. It's just a flow chart. And if you've been familiar with color page and mind me for just jumping over this is also just a flow chart. So we build our grade in a flow chart essentially. The signal goes in to this one and then we apply some change like here. We cool it off. You can't even see that because I'm bypass. So we can disable the nodes because I'm on the wrong thing. There we go. Cool it off. So there's our footage. You see that we've adjusted our scope. Let me go ahead and right click and reset everything on that one. So back in the fusion page you can step through the workflow at any point and the workflow is available to you here. I just navigate between them you know. Alright yes I am I'm 43 minutes in. Alright well I'm going to move fast but I definitely want to cover this before we're done. So I know this was somebody somebody had asked earlier about the fusion aspect of things. These are just nodes. Every node feeds in to another node with the pipeline. So this is the background. The three dots at the bottom indicate my viewers. So this is the very first viewer. There's basically just one element in the background. It's this new solid background. So if I drag it up that's another short way of getting it to that viewer. And then I can change the background color to a gradient or something this is my background. And then I've added just a rectangle to limit my background. And then I've just adjusted what I show in that rectangle. You see that by having it selected click on these they actually connect in the flow. So you don't really have to remember how they connect at this point. You just leave them selected and then move on to your next one. It'll simply chain over. So now if we do what I've done here let me just go ahead and not rebuild it from scratch. I'll show you what I've done. There's my rectangle. Let me go to the end so you can see what it looks like. Now I've got a merge. Everything in fusion is A over B. There's foreground, the green line over background, the yellowish orange light. And then that is now a texture. I've added a texture to my background rectangle. You can see it kind of in here with a little bit of alpha here. And it's also animated, right? I created a little C's rate so you can see that it changes. So adding a texture the result is this Let's go to the end so you can see it. There's my rectangle with the texture in it. I've now added that as the background. I've added new elements. The new elements I've added is very simply I added a color wheel. And then I transformed my color wheel to shrink it and put it over there. And then I added a posterization effect to my color wheel. And then I have limited that with an ellipse. So there's an ellipse in the effect mask that's limiting the range of this glow that I've added in this posterized. And then that's being merged A over B. Again, this is the foreground over my rectangle. So it's just like stacking vertically, right? Imagine that the rectangle is my solid. It's at the bottom of my stack. This posterized version of whatever graphic I've added is now above that in the column, right? Let's get to the other merge now because this is actually where it gets fun. So let's show you the merge 3D. I've added a 3D title here with lighting and everything. And this is again why the three-button mouse is incredibly important because these two fingers, the middle mouse and the left mouse I am going to press both and then push my mouse forward and back. That gives me my zoom in and out to my 3D environment. Now middle mouse, right mouse, middle mouse, right mouse is in orbit around. So I can orbit through my space. What I'm kind of doing and hopefully that's not too small that you can't see what that looks like. There's a virtual camera. Middle mouse click again is a pan just like every other place in the viewers. There's my light, virtual light, virtual camera. There's some text and some things going on and they're all animating. So I've added a title. I've added another title. I added a little bar and they're all in this merge with a light and a camera to look at. The end result of this merge is I render it out to 2D because again I can't play in 3D in a 2D environment. My video pipeline is going to be two dimensions going out, right? Video signal output. That ends here at the render. I've added a lens blur to that as well and then I've added a merge now to composite that title that I created in 3D over this other one. Definitely get your questions in because I'm going to be running out of time but I wanted to focus on this for sure. The end result is media out, you see the dot here that indicates it's on viewer 2. The merge is being shown on viewer 1. Let's do this merge on viewer 1 so you can see. As I move across the things are animating, the light is wiping across it. This is probably going to have to cache again for me because you can see that caching as I moved into it in Fusion. I just wanted to show this building it from scratch because clearly there's so much you can do inside Fusion from scratch without plugins. It's not to say that we don't include plugins. There are open effects plugins resolve effects plugins that are available to Fusion. There are amazing amounts of these plugins actually. Let's go to the effects library and show that as I hover over them because I've enabled that here, hover scrub preview I can actually see how they're going to preview what I'm doing. Here's my triangle iris cool, I've saved the picture here's my four-way split. Now onto some more interesting things not just simply wipes. I've got some user presets like curvy additive dissolve. Let's just go ahead and show you let's put another clip in here right and then I'll just make that a dissolve cool, I'll undo just make that a ramp up out of a dissolve. I can't see what I'm doing there we go now with that selected you can you can hover over to preview or you can just kind of see what it's doing let's show you, let's expand this really quickly and then shrink that, there we go so with the additive dissolve you can see this is a curve well it's a curve that I've defined and I can change this curve, you want a different kind of an additive dissolve preset great, here it is. I just happened to have saved this as my user setting so I've created a favorite it shows up here it's incredibly easy to modify and save your own user favorites there are a number of fusion transitions built in that are really really nice right now so I would recommend looking through all of these because it will get you a lot of the way and if you just want to start with titles, you saw me build one but let's just say if I was to put a text box over here this text box is another element and it's pretty simple to modify because it's tools again they show up in the inspector but if you did need to customize this drop in a fusion, the top most element now, being a fusion comp double click here's what's rendering in there here, here's your text so with this node selected double click to open that you know test footage, okay cool back into edit you can see test footage is updated yes I can do that directly here in the edit page but yeah so I think I'm nearly out of time and okay so which do I prefer the cut page over the edit page and vice versa alright that's a valid question and to be honest you know I'm an editor from before the cut page existed you know from before a single view existed and I am so comfortable here in the source record style of editorial it's just it's my wheelhouse whatever I will jump into the cut page all the time for my very very first assembly because I've got the speed editor I can use like no mouse whatsoever to drop and you know move through my source footage like a source tape right when I switch here I can see the entire bin as just this one tape so here just scrub over and you can see these are all the clips that are in this particular bin view okay it's incredibly handy it makes it really easy to do but yes obviously I prefer the kind of the ability to do it and yes you color your footage in DaVinci you're probably going to send out an XML and then import that XML so just like you would anywhere else go to your bin okay and then go file import import timeline is what we're looking for because the timeline offers the XML the EDL the AAF right even the new ones from resolve like DaVinci resolve timeline DRT and DRB even come in so you can see I have a few set up here that are that are examples so you can import the whole timeline obviously if you work with someone in resolve it's going to be a lot easier to bring in resolve project everything comes across most of everything comes across and in XML these days and AAF translates a whole bunch more stuff now including in 1731 there was a change I think in dot 3 there was a change to the AAF interpretations that brought over compatibility with even more nested sequences so you know some of these things that you might have if you're working professionally with other people other editors there's definitely ways of doing this in fact the easiest thing is hey I just made this timeline right this nightlife but I need to send it to somebody so let me go to my timelines and go right click and choose timeline export export my DRT just hand somebody the DRT if they have the media it's going to automatically work it's going to connect to the media hopefully it's in the same path but it'll find it and import it if they don't have the right media then you need to do something else you need to go to file media management or DRA so you'd say timeline you'd say the 30 second spot and the music bed need to go over used media with handles etc preserving hierarchy here's my current size here's my new size and then browse to where I'm going to put it okay and if this is a copy process it takes the original and then the trans code is just you know you get to pick do I want to make a proxies of this right when I make my trans code of my editorial or do I want to put it into a different format maybe they can't play H.264 very well so I'm going to go to ProRes422 or whatnot and then also know that we can do let's see render in place feature render in to out to premiere I'll tell you that if you find that you need to do more of those render in place things maybe your system can't handle it go to the playback menu and go to render cache and set it to user or smart mode smart mode makes more assumptions about what it thinks it needs to cache and then user allows you to do things definitely turn on so that it will play back you know no problem or render the whole thing for color output right that way it will play back full speed in the color page if you go to the project settings again the boring part but if you go to the project settings master settings scroll to the bottom right here optimize media and render cache where you're going to set those those preferences I tend to work where I set a proxy media and an optimized media and a render cache format to a broadcast deliverable format that way when I get to the deliver page in the advanced settings I can turn on bypass re-encode when possible and use render cache images use proxy media that way I can render from the footage that I already have it's cached it's ready to go it doesn't have to process anything else so I definitely don't want to go over too much more but I do want to show my color work because I did say that this is all mixed media you can see in the color page there's 4 to 2 you can see there's some raw media here too as well right there's some there's some raw files well in order to get there really quickly I did color management wire gb color managed okay in color managed it's going to read the metadata and it's going to read based on the dot 3 extension to determine or in some cases the nclc it's going to read that from the files and makes some determinations about it in this case I know I'm going out to 709 so my preset is for 709 okay and the output space is 709 but I could just as easily move to a DaVinci wide gamut which I've been recommending now more often than not because this gives me the flexibility to decide later do I really need to export this you know the netflix p3d65 simpy2084000 nits well I can because these transforms happen non-destructively everything in here is being calculated in 32 bit floating point and that means that essentially we just have a larger bucket of data in the in the resolve timeline and processing stage okay so everything everything gets transformed from your input in this case the color managed environment is saying let's move us all into a scene the scene is going to be 709 okay so bring whatever footage I have in into that scene make it transform to that 709 many cases this came in 709 many cases it came in log and I actually had to interpret it like this this came in log and you know ungraded okay now I'm definitely I'm definitely running up against my last three minutes here so I just wanted to show that I've thrown a little grade on top of these things but to be fair let's just go ahead and I'm just going to toggle that off this is where it started and that's because it interpreted you know the the footage the way that the way that it came in and the same thing for the red footage let me turn that off you can see yes you know it gets a little a little less a little less sharp you can only really see that in the parade that's a pro is pro is clip that's DNX HQX right this came in log again right so in my grade you can see that I've just applied a little tiny bit but a lot of that happened without my interference because of the fact that I was in YRGB color managed so just know that you can do that then of course you have the ability to input color space make a change right but like I said the interpretation is based on the metadata so most of the time resolve is going to be right sometimes you might want to override that alright I don't I don't want to take up any more of your time because I know that I'm pushing up against an hour and I really pushed it all right to the edge you know resolve is a really deep program wanted to make sure that you got to see you know a bunch of what I was able to do in it today but definitely I just want to mention again that the the art list art grid edit challenge I might as well go to my first my first picture here there we go let's go back I have it on unmix right edit challenge 2021 so go to the link that's you know that's in this this YouTube page right here and then you know join up try to win you know maybe you'll get a resolve license maybe you'll get some other camera gear maybe you're gonna get you know one of our cameras in fact you're looking at me right now on one of our cameras I have that set up as a webcam so one of my favorite things this last you know 18 months or so has been working with some customers that actually need to use webcams a lot more and you know may have had our cinema cameras well this cinema camera can be controlled with this ATEM that I have so I have an ATEM mini I just switched to you know my my full my full video output we were doing this for edit review remote edit review with clients that were in Mexico and Colombia so this is you know another incredible use with some of our other hardware that we have here but I'll go back to my full screen and then I just want to I want to thank everyone for viewing and allowing me to take over this this you know art list YouTube channel for for a little bit of time and and I hope you were able to learn some amazing tricks and tips and you know leave comments and let us know what you thought alright thanks so much