All language subtitles for 4 SEAMLESS Video Transitions You SHOULD KNOW!! Davinci Resolve Tutorial

All right.

We all love those super smooth,
seamless transitions

that people like Daniel Schaefer
and Ben T.K.

create. I mean, they look awesome.

The thing is, though, to create a great,
seamless transition,

you need to know what to look for.

So that's why in this video,
I'm going to teach you four awesome,

seamless transitions
that will make your videos look way better

and at the same time
give you the tools necessary

to create more advanced,
seamless transitions like Ben, T.K.

and Daniel Schiffer.

So all of that stuff and more coming up.

But first, different new here.

My name is Billy.

Rebecca and I make weekly to meet
to resolve tutorials about different

effects, transitions and workflows
that'll help you become a better editor.

So if you want to level up your editing
skills, click that.

Subscribe on and the Bell notification
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put out. But let's get into it.

So the first transition that we're going
to go over is the whip pan transition.

Now, this is one of the most widely
known transitions out there,

and it's pretty simple to edit.

If the footage is shot, right?

To make a good, seamless whip
pan transition.

We need a shot where the camera
is moving to the right or left

and the right at the end.

It just whips really hard and creates
a lot of motion blur.

And for the second shot,

instead of getting our subject
and then whipping at the end again,

what we'll do is at the beginning,
we'll whip into our subject.

And once again,
we want to be conscious of colors

because it's going to help us
create a more seamless transition.

So if you're whipping the first shot
into the grass, you should also have

our second shot coming from the grass
so that it's going to look like

just one continuous shot.

So now if you see your seamless whip pan

transition, correct,
it only really should need a few cuts.

So our first clip
will want to move forward

until we find the place
that has the most motion blur like this

and we'll make it cut and remove
everything else to the right of it.

Now, on our second clip, in the beginning,
we'll find the place

where we're also having
the most motion blur like this

and make a cut
and remove everything to the left of it.

Now, just put both the clips together.

So now for take a look at it.

You can see that
first of all, it looks super seamless,

and that's because the motion blur
is actually hiding the cut

along with matching the colors
that are in the motion blur.

Now, if one part of the whip

is so much faster or so much slower,
you can actually use speed

ramping to go ahead and fix that
and match the speeds correctly.

So what we're going to do is right
click on our first clip and go down to re

time controls and we'll find the place
where it starts to whip the camera.

Then click this dropdown arrow
right here and hit add speed point

and grab the top blue tab right here
and drag it up to about 200% like this.

Now Will right click it again
and go down to re time curve

and we'll hit this dropdown
air right here on the top left

and uncheck re time
frame and check re time speed.

Now we can see our speed change
from 1 to 200% and that is not smooth.

So we got to make that super smooth.

We'll want to click on the Keyframe,
hit the curve button right here.

And with these handles,
we'll want to drag it out like this

so that we're creating a speed ramp
right here.

Then we'll go ahead and do the same exact
thing. But to the other clip.

Now, the second

seamless transition
is also like the poster child for all

its seamless
transitions is called the frame

blocking or the masking transition
to shoot the frame blocking transition.

We just need something to move
past the frame.

So whether it's a tree or a sign
or a person or whatever,

we just need something to move
past the frame.

Now, for both of your shots, you need to
have the movement going in one direction.

So if your first shot
is moving to the right,

your second shot also needs to be moving
to the right.

Now, that brings me to the editing part
of this transition.

So individual resolve on our timeline,
we have our two clips.

This first clip is the one
that we want to transition from

and also it's a clip that has the post
wiping in front of it like this.

And the second clip is the one
that we want to transition to.

So what we'll do is find the last frame
where this post is covering the right side

and then move it above to video layer two
and then grab our second clip

and move it under just like this.

So you can see that there's
this overlapping section right here.

Now, what we'll do is

click on this first clip
right here and go into the color tab.

Now that we're in the color tab,

we need to go ahead and mask everything
that comes after this poll right here.

So what we'll do is go

down to the Windows
tab right here and click on the pen tool.

Now, I'm going to move forward
one frame by hitting right on my keyboard

and we'll go ahead and draw a mask
right at the edge of this post

and make sure that it's a pretty wide
mask.

So like, make sure it goes way out here.

So now that we have our mask in place,
you'll see that nothing happens at all.

And that's because
we don't have our Alpha output enabled.

So do that.

We'll go to the load section
right here and right click,

go down to add alpha output.

So now self output is going to pop up
right here and we'll just click

and drag it to the blue section
right here.

Now, clearly
the mask is masking out the wrong section.

So what we'll do is
go down in the window tab right here

and we'll click this button
and it's just going to invert like this.

So now that we have

that all set, I'm going to go over here
to this little dropdown menu

and turn off our power windows
so that I can see the edge of our mask.

And it's honestly pretty rough
sort of blend that better.

I'm going to go down to the softness
in our window tab and just drag it up ever

so slightly.

Somewhere around like 1.5
seems to be a really good natural look.

So now once your heart is content
with how that looks, we'll

actually go ahead
and turn it back on our power window

because we need to actually go ahead
and animate this mask forward.

Now, to animate stuff,
we need to use keyframes.

So we have to open up
our keyframe section, which is right here.

Then we'll enable our keyframes

by clicking this diamond button
under corrector one

because this is the know
that we're doing all of our work.

And so if you're doing this effect

correct, or to enable the keyframes under
corrector two and so on and so forth.

However,
just enabling keyframes is not enough.

We have to slightly move our mask

and we can just move it
right back to the original place.

But by doing that, it's going to place
our first keyframe right here.

Now just move back one keyframe
and pull this mask all the way off.

This will just make sure that our mask
doesn't show up until we actually want it

to now move forward four frames
and drag our mask forward like this

and then move forward four more frames
and drag the mask forward again.

And every single time, just go ahead
and resize it, make sure that it's

adjusting the way it should until it's
all the way off the screen like this.

Now, once you've finished masking,

you want to make sure that it actually
looks good.

So to do that,
we'll actually start moving backwards

frame by frame to make sure that this mask
is following the edge of that post.

Now, to make sure that it's actually
correct, we'll disable the alpha output

just briefly and move backwards
frame by frame

and adjusting it to the edge
so that it looks good.

I want this to your liking.

Go ahead and enable your Alpha
alpha again.

And there you go.

The third seamless

transition that you're going to learn
is called the frame fill.

And the idea is kind of similar to
the frame blocking or the mask transition,

but instead of using a mask
like we did earlier,

the idea is to transition from one clip
to another by filling the frame

with a color,
whether it's covering your lens

with your hand
and pulling it off at a new location.

The possibilities are endless
With this type of transition,

as long as you can
match the color of an object in the frame

so that we can make it seamless
so the end of the frame will transition.

We're going to go to our first clip

and find the place where the frame
is being completely filled just like this,

and we'll make it right here
and remove everything to the right of it.

Then on our second clip,

we'll find the place where our frame
is being completely filled.

But it's just about to back up
and reveal the rest of our shot.

So we'll make it here
and remove everything to the left

and then place both clips together
like so now, if you don't like how slow

the transition is, you can go
ahead and retirement and make it faster.

But I'm personally okay with this.

Now, the fourth seamless
transition is called the match move.

So the match move
is pretty straightforward.

If our first shot is moving to the right,
the next shot

we will want to be moving
towards the right also.

The reason why is because the motion
itself is going to be the transition,

especially if we can match that speed
because it's going to seem like one thing.

It's just flowing right into the other.

Now that actually added the match move
transition.

It's super simple because honestly,
the movement is the transition.

As long as you guys have footage
that's moving in the same direction.

But let's just say that I don't.

So right here I have a clip that's moving
forward and the next clip is moving away.

What I can do is either

reverse the first clip right here
so that it's moving backwards

or reverse the second clip
so that it's moving forwards.

And I'll do that
by clicking on the clip and hitting AR

and then checking reverse speed
and then hit change.

Now you can see that both clips are moving
in the same direction.

So all I'll do is find
where there's a lot of movement

speed in the second clip
and cut it down to that.

And I'll also do that in the first clip

and now we'll just
put both of them together

so that the movement helps
us flow into the next shot.

And once you get the

basics of the match move transition,
you can also add in a person

and their movement over multiple clips
like this.

This is considered a match move transition
because both the camera and my wife

are moving in the same direction.

Now. It really is a these are pretty
beginner level, seamless transitions.

And the reason why
I'm even telling you guys these is because

if you can master these building blocks,
you can then create some insane

looking, seamless transitions
by using these methods right here.

Now, after learning
these four seamless transitions,

if you're looking for a quick and easy
drag and drop transition, I got you.

I just created this

awesome drag and drop shaped transition
pack for DaVinci Resolve.

So click the link in the description today

to get those transitions
and make your videos look so much cooler.

If you thought this video video's helpful,
give it a like and also share it

with your friends so that they can put
these transitions in their videos too.

And if you want more videos
like this, click on the top for a playlist

with all of my adventures of tutorials
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