All language subtitles for DaVinci-Resolve-17-Edit-VisualEffectsintheEditPage

Hi, I'm Chris.

I'm an editor and a blackmagic certified
master trainer.

And in this video,
we're going to look at some of the effects

that can easily be achieved in the edit
page.

I'm just going to start
by restoring a project archive.

If you right click in an empty space
in the project manager and choose

the Restore Project Archive option.

If you then navigate to the edit
page effects

draw you'll have downloaded
from the website

to follow along.

Once the archive has been restored,

simply double click it to open it up.

Here we've got a project
that's got four simple examples

of a variety of different effects that you
may find useful in your day to day work.

I'm going to start by just simply resizing
the interface slightly.

I'm going to hold down the shift key
and use the scroll wheel on my mouse

in order to be able
to resize the timeline. Track height.

Also, it's useful to make sure that you're
in full extent.

Zoom.

This way you'll always be able
to see the full duration of your timeline.

As you can see, what we have here
is we have a simple opening title

for our Living in the Age of Airplanes
documentary film.

In this case, we've actually got
a fusion title together with three images

which have been composited
using a series of maps.

The match can either be a simple black
and white image

or actually have an image
that has a built in Alpha channel.

Either way, you can use it
in order to be able to put that texture

into the image that you're using.

We're actually going to add a separate

image in the bottom right
hand quadrant of the timeline view.

So first of all,

we need
to edit that image into the timeline.

If you simply right click
on any of the timeline,

track headers and choose add tracks.

This will enable
you to add multiple different tracks

for either video or audio
depending on your need.

We only want one video track,
so just change

the number of audio tracks to zero.

We also want the track to be inserted
a specific position.

Change the insert position to above

archive three

and choose our tracks.

This creates a new track in exactly
the right position on the timeline,

and it just means that we don't have
to move clips up or down between tracks

in order to position them
in the hierarchy of the timeline.

Select the V5 button

in order to target our edit on
to the V five track and just press X

to mark the full duration of the timeline
clips in the compositing bin.

Select the media bin and find the clip.

Archival Air races one Double click
to load it into the source.

Now we're actually going to do
what we call a fit to fill edit for this,

and what will happen is results will
automatically adjust the speed of the clip

in order to fit the end in the points
on the timeline.

Because we're using the whole clip,
we don't actually need to set any

in or out points on the source viewer.

Simply
take the clip from the source viewer

and drag it across to the Timeline viewer
and choose fit to fill.

And the clip is attitude
at the correct duration

and on the correct track in the timeline

instead of adding more tracks.

And we need to this timeline
in order to keep it simple.

What we're going to do

is we're actually going
to convert this clip into a compound clip.

This means that we can
then step into the compound clip

and add the elements we need
without overly complicating the timeline

that we're working in.

In the media pool,

select the compound clips bin.

This means
we're going to create the compound clip.

It's going to go into this bin

along with all the other compound clips
for this project

in the timeline.

Right
click the clip on the V5 track and choose

new compound clip.

Name this archive for

Click Create.

By placing this clip in a compound clip,

we can now open the compound clip
in its own timeline

from the timeline View options Pop up menu

Enable stacked timelines

then right click
archive for in the timeline

and choose Open in Timeline.

The compound clip is now opened
in a separate tab

in its own timeline next to the main
timeline that we're working in.

This means it's just an easy way
that we can switch back and forth between

the different timelines.

We now need
to add the matte to this compound clip.

To do that,

we need to create a new video track below
the one that we've currently got.

So right click Choose Add

tracks,
change the number of audio tracks to zero

and the insert position for the video
track below.

First track click on tracks

from the Mac Spin, Select Mac for Alpha.

The other three match that are used in
this project are actually just

simple black and white images
and they're labeled LUMA.

When we complete this image,
we will actually set

the composite mode
for this clip to be Alpha.

If you're working with a simple black
and white image, you just set it to loom.

Open that clip in the source viewer

and then edit it into the video track. One

might
just need to trim the clip at the end

just so that it lines up
with the end of our archive shot.

Now select the Alpha clip on track one,

Open up the inspector

and scroll down to the composite area.

Change the composite mode from normal

to alpha.

That's told resolve that we now

want to use that matte as an alpha matte.

So like me, click on the video to track

and in the inspector composite controls,

change the composite mode

to foreground.

As you can see,

the video
image is now using the underlying mat

in order to be able
to create a much more interesting frame.

If we now switch back to our title
composite timeline,

you can see just how that image is now
being composited onto the background.

At the
moment, it's still looking a little big,

so we just need to use the transform
controls in order to be able

to resize it and reposition it.

Make sure you select archive for
in the timeline.

Then from your onscreen controls,

enable the transform.

Using the onscreen transform controls.

Simply resize the image

and just move it into position.

Once you're happy with the position
of your composited image,

turn off your onscreen controls,

allow the composite to catch,
and then playback

the opening.

This is just one example

of some of the compositing features
that we have available to us in the page.

But we can do far more
with some of the built in resolve effects.

In this case, we're actually going
to configure the interface.

First of all, close down your media

pool, open up your effects library,

and just make sure that your effects
library is in expand mode

with the inspector open.

Also, make sure the inspector is in expand

mode.

This way, it's easy

for us to locate the effects
that we need in the effects library list.

And also we've got a larger inspector

so we don't have to keep scrolling up
and down the controls.

Select the timeline to make sure you're
looking at the timeline view.

And from the options menu,

choose timeline sort order alphabetical.

Then from the timeline pop up menu,

you can choose the appropriate timeline
from the alphabetical order.

The default for this timeline
list is actually to display

the timelines at the top of the list
that you've used most recently.

However, in this case, it's actually
more appropriate that we actually find

the timeline by the name and the reason
why we need to organize it alphabetically,

Choose the 3D key timeline.

This is an example of a task
that many editors are required to perform.

A green screen key

looks like.

Select the clip on the timeline

and from the list in the effects library,

select your filters,

Scroll through the list of effects

to find the resolve effects Key category.

The 3D key is actually the same key

that you may use in the color
page to do some keying previously.

Select the 3D key

and double click it in order to be able
to add the key to the clip.

In the timeline, you can tell that
the clip now has the effect on it

from the little effects
badge in the bottom left hand corner

in the inspector
switch to the effects tab.

The first thing that we need to do

is actually sample
the green screen for removal.

First of all,
we need to come to our open effects

overlay on screen controls,

then click and hold the mouse

and draw a line across the area of green
that you want to sample.

Instant results.

Well, not exactly.

In this case,
there is actually a little bit of green

fringing that hasn't been picked up
in that initial sample.

But not to worry
if I just come back into this image here

and click and drag on the edge
near that fringing,

you can see I can remove a little bit
more of the green.

Also on the edge of the image here,
there's a little bit

of fringing that I can see.

So again,
I'll just make another selection that

that certainly got
rid of most of the green within the image.

And I can now see the background plate
underneath where I can see the planet.

We can still refine this even more

in the inspector, find the output

controls and change the output pop up menu
from final composite

to alpha, Highlight black and white.

This actually shows us
which areas of the image are solid,

which are represented in white,

and which areas are transparent,
represented in black.

You can see I've still got a little bit
of fringing around the edge of the window

in the inspector.

I can use the matte finesse controls
in order to be able to,

first of all, clean
the black part of the matte

and then the white part just to help clean
up that matte a little bit.

As you can see,
there are many more controls for finessing

your matte, but in this case,
a simple tweak is all we need.

Change the output
pop up menu back to final composite

and then disable your open

effects on screen controls.

Scroll through the shot.

Yes, we've got something
that's kind of working.

However,
there's a lot of green spill in this shot.

The reflection of the green screen
is actually being reflected

in the guys uniform
and also any skin tones.

Thankfully,
the 3D key actually has a simple control

in order to be able to eliminate spill
like this,

simply come up to the clear options
and check the spill box

that's cleaned up that image nicely.

Just so simple.

Compositing tasks like

this are often things that many editors
need to do on a day to day basis.

Another thing that we're often asked to do
is sometimes to be able to replace

a screen that might be at an angle
from the timeline view Pop up menu.

Choose the Transform Timeline.

This is a short scene of the owner
of the citizen change cycle

arriving for work, and in this case
we've got the Citizen Change logo

composited over the opening shot.

What we want to be able to do here
is to actually composite the Citizen Train

logo into the window of the shop
using the new transform effect,

simply select the Citizen Change logo
graphic on the timeline

and then from your effects
library, scroll down

until you find the resolve
effects transform Category

double click the transform effect

and then access the effects tab
in the inspector.

At first glance, it might appear that
this effect is simply replicated.

Some of the controls you may be familiar
with in the video Inspector.

However, there are
a number of different modes in which

you can actually use this effect.

Re-enable your effect

overlays on screen controls

and change

the control mode for the transform effect
from sliders

to interactive canvas,

You're now presented with a grid
which you can actually use

in order to be able to twist and distort
this graphic

using the corner quadrants of the grid,
simply click and drag

the on screen controls
in order to be able to position

the corners of the graphic
into the corners of the window,

try and get it as close as possible.

But don't worry too much if you can't.

Don't forget, though,
you can always zoom in using

the scroll wheel on your mouse
and holding down the middle mouse button.

You can always change the pattern
of the image within the viewer.

When you finished, simply press Z

in order to be able
to fit the image back into the view.

Turn off your on screen controls

in order to be able
to see the composited image,

we can actually use composite modes
in order to help

this image blend a little bit
more naturally into the background

in the inspector, go to the video tab

and from the composite section, change
the composite mode.

You can also play with the opacity as well

to make it a little less
obvious that that graphic is there.

This is all very
well we're helping to sell that image,

but this is always on
the first frame of the shot.

If I actually play this timeline now,

you can see that the camera movement
actually shows up.

The fact that this image
isn't actually part of that window.

Now, the edit page
doesn't actually have the advanced

tracking functions
that you would find in the fusion page.

But many editors are often happier
about putting in some key frames

in order to be able to manually follow
the movement of the camera,

particularly
if that camera movement is smooth enough.

If I return the pie, head
back to the beginning of this clip

in the timeline, and return to the effects
tab of the inspector

under the control options,

I've got the Control Canvas key frame.

I'm just going to simply add a key frame.

At the first frame of this clip.

I'm going to

use the down arrow key
to jump to the next edit point,

but I actually need to see

the last frame of this graphic,
so I'm going to come one frame back.

And now if I re-enable
my onscreen controls,

I can now change the position

of each of those corner points.

And what this will do is it
will actually record the changes

in a new keyframe, automatically

disable your on screen effects,
return the play,

head to the beginning of the timeline
and playback.

It's simple compositing

tasks like this that as editors we often
need to accomplish on a day to day basis.

Now, it doesn't necessarily mean that
this will be the finished effect.

Sometimes all we need to do

is put together
a rough approximation of the effect

just so the director understands
how the shot will work.

When you hand it off
to a visual effects artist,

the next example we're going to look at

is the new video collage effect

from the timeline view Pop up menu.

Choose the video collage background.

We actually have a timeline
that's got four clips

all stacked on top of each other.

You'll notice that three of those tracks
are already disabled.

The image in the first track is of Chris
Lang,

who's the owner of the Organic
Mounting Outfitters chain of stores.

If we enable the clips on video
track to, you can see that

we have an image of a girl
walking through a canyon

on V three.

We actually have a wide shot of a mountain

and on V four we actually have this rather

wonderful image of organ mountain
from the distance.

Now we actually want to use this top
most image as the background.

And in traditional compositing,
what we would normally do is

have this as the background image
at the bottom of the layers,

but that's not how the video collage
works.

The video collage works in the background
that by effectively

creating holes in this image from which we
can see the underlying shots.

So in this

case,
I'm going to select the clip on V for

from my resolve effects
transform category.

I'm going to find the video collage effect

and double click to apply it
to that selected clip in the timeline.

As you can
now see, it's almost like looking

through a window
frame of the underlying shot.

But before I start to position the lower
clips within each of those little holes,

what I want to do is actually customize
the layout of what we call the tiles

in the effects Inspector.

You can see that you've got the controls
for the video collage

and they're actually in two tabs
Globals and tiles.

Click the preview layout

in order to be able to preview
each of the tiles.

You can change the number of columns
and rows by using the sliders.

So for example,
if I wanted many images here,

I could actually change the columns
and rows to the appropriate number.

I only need two columns and two rows.

However, I actually want to remove this
tile.

Number four.

I don't need it and I actually want tile
number two to actually be larger

and take up the position
of tile number four.

To do that, I need to go into the tiles,

control,

click on the tiles

control and change the active tile

to the tile that we want to change first,
in this case, tile four.

If you now click
the manual tile management checkbox,

you can then delete tile number four

switch to tile number two

and then the custom size and shape

controls change the end row to row to.

So using a coordinate system of columns
and rows,

you can choose where a particular
tile starts and where it ends

by opening up the tile style.

And you can choose to add a border.

I'm going to add a slight border
to those tiles.

I'm also going to change the tile color

to a bright green

opening up the drop shadow controls.

I'm going to increase the strength
of the drop shadow

and the distance of the drop shadow

and also adjust the angles
so that the drop shadow

is a little bit
more vertically underneath the clip

and adding a little bit of blur
just to help soften the shadows.

The video collage also has a series

of automatic animations
that you can apply,

so you don't need to worry too much
about getting into complex keyframe

animation, although you have the ability
to be able to do that as well.

In the tile animation section,

I'm going to change the animate
pop up menu

to intro only.

We now have a set

of predefined animation presets.

In this case,
I don't want to use the shrink preset,

but I do want to use the fade

and uncheck shrink and check fade

and I can now specify a duration
for that animation.

In this case, I'm going to set it to 24

frames.

Now you can see I can't scrub

through the timeline in order to be able
to preview the animation.

Now that I've set up the tiles
and adjusted the animation, it's all ready

for me to actually put the images
into each of those tiles.

I'm going to uncheck preview layout,

then select the clip on track V3,

go into my onscreen transform controls

and resize the image
so that it sits nice and neatly inside

the tile in the top left hand corner.

The great thing about this is because
I've specified the size of the tiles,

I don't need to be too concerned

as to
how each of these clips is lining up.

The the video collage is creating means.

I just simply need to frame it
appropriately.

Selecting the image on V2.

I'm going to do the same again.

Resizing and positioning
the image of the girl in the canyon.

Now as I set it here,
you'll also notice that the image

is actually encroaching
into another part of the mask.

So in this case, I'm going to switch my on
screen controls to crop,

and this will
then allow me to crop the image

so that it doesn't actually show
in any of the other math holes.

I'm not going to set the clip on v one,

go back to my transform

and reposition my interview

with a little bit of resizing

into the mask that I created for him.

Turning off all the on screen controls.

I can now playback.

The effect is made
is to see the results of our business.

So this is one
use for our video collage effect.

But the other way that we can use
the video collage is to use it

to create the individual tiles themselves.

From your timeline view a pop up menu.

Choose video collage tiles.

Now, in this case,

we have a timeline that's already set up
with the organ mounting background.

Actually on the video one track,

we've also got an
animated logo that fades in

on video three.

We've got a compound clip of a girl
turning

towards the camera and smiling

video for
we've got a man looking and video five.

We've got the girl from the canyon
walking across the mountain top.

Now, in this case,
I'm going to do the set up

actually on the first shot of the girl
turning towards the camera.

And then once we've got the tile set
and the animation working,

we can then simply copy
and paste the effect to the other clips.

So I'm just going to leave the clip
on video

five and video
for disabled for the moment,

select
the compound clip of the smiling girl

and double click
the video collage to apply it.

As you can see, the background

is now viewable through the matched holes
that are created in the image

from the effects inspector.

Change the workflow from create background

to create tile.

Now you can see that
the girl is actually composited

as a picture in picture effect,
very similar to if we'd have scaled

the clip down using the transform controls
and moved it into position,

click the preview layout tab in order
to get the familiar layout,

we want to have three columns
for each of the three images,

but only one row use the rounding control

to create circular tiles,

then use the vertical offset control

to position
those tiles above the mountains.

Now that we've got the tiles
into position, let's

customize them in terms of the border
and the drop shadow.

Let's go to the tiles tab

and open up the tile styling

and increase the

tile border ever so slightly.

Change the tile color

to about 90% brightness.

Open the drop shadow controls

and increase the strength,

change the drop angle

so that the shadows are appearing
directly beneath the tiles,

Increase the drop distance and the blur

to your particular liking.

Now that we've got the tiles stylized,

we just need to work on the animation.

First of all, position the play head

so that the logo is just about starting
to appear in the viewer.

Then open the tile animation controls.

We are actually going to manually keyframe
the fly animation.

The first of all, we need to choose
the direction of the animation,

change the fly animation pop up menu

to fly up.

This means that the tiles will actually
come from the top of the screen.

Not that they will actually
go to the top of the screen.

At this point, the

fly progress is in the correct position,
so simply add a keyframe

by clicking the White diamond to make it
go red.

Now move the play head
back to the beginning of your timeline

and adjust the fly progress slider

so that the tiles disappear
off the top of the screen.

You should now
be able to preview the timeline

and preview the animation.

You can also adjust

the acceleration of that animation
very easily as well

In the easing and blur of all tiles
control change.

The animation effect is

two out

and then adjust

the ease amount to your liking

so that when you play the animation back,

the tiles will come to a gentle rest
rather than an abrupt stop.

Again.

Now that we've got the animation sorted,
we can now start

to customize the actual tile image itself

at the top of the inspector,

uncheck the preview layout option,

then open up the resize controls

and use the pan and tilt controls
in order to be able to reframe the girl

within the circle.

That's great.

We've now got the animation
working for this tile.

Also, we now need to do
is to actually take that plug in

and copy it onto the other two clips
in the timeline with the Smiling Girl

Click still selected Press Command
or Control C to copy the clip.

Now enable track four

and select the Looking Man clip

Press option or V for paste

attributes and choose the plug ins option

and apply in order to paste the effect.

Now all that has done is actually create
a duplicate

copy of the effect
with all of the same settings.

Onto this new clip.

We now need to adjust those settings
to take into account the differences.

In this clip with the looking
man clips selected, go to the effects tab

in the inspector
and change the active tile

from tile one to tile two.

Now adjust the resize content controls

in order
to fit the guys face into the circle.

And now
I need to paste the attributes again

for the third tile.

Enable
the track for the walking girl clip.

Select
the walking girl clip and press option

or V for paste attributes
because we've already pasted the plug in.

You can see it's already selected.

So all we need to do is click apply

and again in the effects inspector,

change the active tile to tile three

and change the resize content controls

so that the girl fits into the new circle.

We turn the play
head to the start of the timeline

and preview your animation.

I hope you've enjoyed this demonstration

of some of the visual effects
that we have on the edit page.

Individual Results 17.

Don't forget,

you can always join us on the forum pages
if you've got any further questions.

And also on The DaVinci Resolve product
pages, there's a whole section dedicated

to training videos and training guides
that are all available for free.

Thank you very much.