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CHRIS: Hi, I'm Chris.

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

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And in this video,
we're going to look

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at some of the effects
that can easily

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be achieved in the Edit Page.

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I'm just going to start by
restoring a Project Archive.

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If you right click in an empty
space in the project manager,

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and choose the Restore
Project Archive option--

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If you then navigate to
the Edit Page Effects.dra,

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you'll have downloaded from
the website to follow along.

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Once the archive
has been restored,

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simply double click
it to open it up.

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

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of a variety of
different effects

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that you may find useful
in your day-to-day work.

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I'm going to start by
just simply resizing

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the interface slightly.

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I'm going to hold
down the Shift key

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and use the scroll
wheel on my mouse

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

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

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This way, you'll always be
able to see the full duration

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of your timeline.

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As you can see, what
we have here is,

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we have a simple opening title
for our Living in the Age

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of Airplanes documentary film.

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

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with three images, which
have been composited

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using a series of mattes.

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The mattes can either be a
simple black-and-white image,

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

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Either way, you
can use it in order

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to be able to put that
texture into the image

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that you're using.

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So we're actually going
to add a separate image

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in the bottom right-hand
quadrant of the timeline viewer.

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So first of all, we need to edit
that image into the timeline.

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If you simply right click on any
of the timeline track headers

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and choose Add Tracks,
this will enable

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you to add multiple different
tracks for either video

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or audio, depending
on your need.

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We only want one video track.

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So just change the number
of audio tracks to zero.

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

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Change the insert position
to above Archive 3.

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And choose Add Tracks.

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This creates a new track in
exactly the right position

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on the timeline.

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And it just means
that we don't have

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to move clips up or
down between tracks

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

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Select the V5 button in order
to target our edit onto the V5

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track, and just press X
to mark the full duration

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of the timeline clips.

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In the compositing bin,
select the media bin

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and find the clip,
Archival_Air_Races1.

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Double click to load
it into the source.

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Now, we're actually
going to do what we call

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a fit-to-fill edit for this.

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And what will happen is,
Resolve will automatically

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adjust the speed of the
clip in order to fit in

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and the out points
on the timeline.

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Because we're using
the whole clip,

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we don't actually need to
set any in or out points

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on the source viewer.

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Simply take the clip
from the Source Viewer

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and drag it across to
the Timeline Viewer,

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and choose Fit to Fill.

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And the clip is edited
at the correct duration

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and on the correct
track in the timeline.

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Instead of adding more tracks
than we need to this timeline,

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in order to keep it simple,
what we're going to do is,

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

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This means that we can then
step into the compound clip,

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and add the elements we need
without overly complicating

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the timeline that
we're working in.

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In the Media Pool, select
the Compound Clips Bin.

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

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It's going to go into
this bin, along with all

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the other compound
clips for this project.

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In the timeline, right click
the clip on the V5 track,

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and choose New Compound Clip.

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Name this Archive 4.

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Click Create.

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By placing this clip
in a compound clip,

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we can now open the compound
clip in its own timeline.

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From the Timeline View
Options pop-up menu,

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Enable Stacked Timelines.

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Then right click Archive
4 in the timeline,

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and choose Open In Timeline.

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The compound clip is now
opened in a separate tab

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in its own timeline,
next to the main timeline

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that we're working in.

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This means it's just
an easy way that we

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can switch back and forth
between the different timelines.

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

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To do that, we need to create
a new video track below the one

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that we've currently got.

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So right click,
Choose Add Tracks.

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Change the number of
audio tracks to zero,

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and the insert position for the
video track below first track.

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Click Add Tracks.

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From the mattes bin,
select Matte 4A.

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The other three mattes that
are used in this project

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are actually just simple
black-and-white images.

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And they're labeled Luma.

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When we composite this
image, we will actually

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set the composite mode
for this clip to be alpha.

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If you're working with a
simple black-and-white image,

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you just set it to Luma.

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Open that clip in
the Source Viewer.

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And then edit it into
the Video track 1.

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You might just need to
trim the clip at the end,

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

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Now select the alpha
clip on track 1.

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Open up the Inspector,
and scroll down

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to the composite area.

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Change the composite mode
from normal to alpha.

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That's told Resolve
that we now want to use

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that matte as an alpha matte.

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Select the clip on
the video 2 track,

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and in the Inspector
Composite Controls,

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change the composite
mode to foreground.

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As you can see, the
video image is now

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using the underlying
matte in order

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to be able to create a much
more interesting frame.

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If we now switch back to our
Title Composite Timeline,

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you can see just how
that image is now being

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composited onto the background.

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

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So we just need to use the
transform controls in order

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to be able to resize
it and reposition it.

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Make sure you select
Archive 4 in the timeline.

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Then, from on-screen controls,
enable the Transform.

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Using on-screen
transform controls,

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simply resize the image, and
just move it into position.

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Once you're happy
with the position

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of your composited image, turn
off your on-screen controls,

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allow the composite to cache,
and then play back the opening.

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This is just one example of
some of the compositing features

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that we have available
to us in the Edit Page.

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

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In this case, we're
actually going

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to configure the interface.

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First of all, close
down your Media Pool.

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Open up your Effects Library.

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And just make sure that
your Effects Library is in

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expand mode.

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With the Inspector
open, also, make

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sure the Inspector
is in expand mode.

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This way, it's easy for
us to locate the effects

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that we need in the
Effects Library List.

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And also we've got
a larger inspector.

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So we don't have
to keep scrolling

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up and down the controls.

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Select the timeline
to make sure you're

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looking at the Timeline Viewer.

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And from the Options menu,
choose Timeline Sort Order

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Alphabetical.

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Then, from the
Timeline pop-up menu,

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you can choose the
appropriate timeline

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from the alphabetical order.

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The default for
this timeline list

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is actually to display the
timelines at the top of the list

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that you've used most recently.

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However, in this case, it's
actually more appropriate

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that we actually find the
timeline by the name, hence

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the reason why we need to
organize it alphabetically.

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Choose the 3D Keyer Timeline.

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

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to perform, a green-screen key.

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Select the clip on the timeline,
and from the list in the Effects

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Library, select your filters.

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Scroll through the
list of effects

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to find the Resolve
Effects Key category.

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The 3D Keyer is actually the
same keyer that you may use

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in the Color Page to do
some keying previously.

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Select the 3D Keyer.

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And double click
it in order to be

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able to add the keyer to
the clip in the timeline.

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You can tell that the clip
now has the effect on it

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from the little FX badge in
the bottom left-hand corner.

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In the inspector, switch
to the Effects tab.

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The first thing
that we need to do

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is actually sample the
green screen for removal.

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First of all, we need to come
to our Open Effects Overlay

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on-screen controls.

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Then click and hold the
mouse, and draw a line

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across the area of green
that you want to sample.

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Instant results--
well, not exactly.

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

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

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But not to worry.

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If I just come back
into this image

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here, and click and drag on
the edge, near that fringing,

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

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Also, on the edge
of the image here,

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there's a little bit of
fringing that I can see.

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So again, I'll just make
another selection there.

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And that certainly got
rid of most of the green

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within the image.

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And I can now see the
background plate underneath,

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where I can see the planet.

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We can still refine
this even more.

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In the Inspector, find
the Output Controls

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and change the Output pop-up
menu from final composite

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to Alpha Highlight
Black-and-White.

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

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which are represented in white,
and which areas are transparent,

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represented in black.

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You can see, I've still got a
little bit of fringing around

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the edge of the window.

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In the Inspector, I can use
the Matte Finesse Controls

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in order to be able
to first of all, clean

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the black part of the matte,
and then the white part,

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just to help clean up
that matte a little bit.

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As you can see, there
are many more controls

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for finessing your
matte, but in this case,

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a simple tweak is all we need.

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Change the Output pop-up
menu back to final composite.

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And then disable your Open
Effects on-screen controls.

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Scrub through the shot?

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

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

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The reflection of
the green screen

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is actually being reflected
in the guy's uniform,

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and also in his skin tones.

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Thankfully, the 3D Keyer
actually has a simple control

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in order to be able to
eliminate spill like this.

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Simply come up to
the Keyer Options,

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and check the Despill box.

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That's cleaned up
that image nicely.

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Simple compositing
tasks like this

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are often things that
many editors need

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to do on a day-to-day basis.

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Another thing that
we're often asked to do

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is sometimes to be able
to replace a screen that

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might be at an angle.

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00:12:28,600 --> 00:12:31,010
From the Timeline
Viewer pop-up menu,

250
00:12:31,010 --> 00:12:33,820
choose the Transform Timeline.

251
00:12:33,820 --> 00:12:37,840
This is a short scene of the
owner of the Citizen Chain

252
00:12:37,840 --> 00:12:40,460
Cyclery arriving for work.

253
00:12:40,460 --> 00:12:44,020
And in this case, we've got the
Citizen Chain logo composited

254
00:12:44,020 --> 00:12:45,700
over the opening shot.

255
00:12:45,700 --> 00:12:48,670
What we want to be able to do
here, is to actually composite

256
00:12:48,670 --> 00:12:53,060
the Citizen Chain logo into
the window of the shop,

257
00:12:53,060 --> 00:12:55,690
using the new Transform effect.

258
00:12:55,690 --> 00:12:59,740
Simply select the Citizen Chain
Logo Graphic on the timeline.

259
00:12:59,740 --> 00:13:02,420
And then from your
Effects library,

260
00:13:02,420 --> 00:13:07,630
scroll down until you find
the Resolve Effects Transform

261
00:13:07,630 --> 00:13:10,330
category.

262
00:13:10,330 --> 00:13:12,460
Double click the
Transform Effect.

263
00:13:12,460 --> 00:13:17,260
And then access the Effects
tab in the Inspector.

264
00:13:17,260 --> 00:13:20,230
At first glance, it might appear
that this effect has simply

265
00:13:20,230 --> 00:13:21,970
replicated some of
the controls you

266
00:13:21,970 --> 00:13:24,860
may be familiar with
in the Video Inspector.

267
00:13:24,860 --> 00:13:27,280
However, there are a
number of different modes

268
00:13:27,280 --> 00:13:31,060
in which you can
actually use this effect.

269
00:13:31,060 --> 00:13:36,700
Re-enable your Effect
Overlays on-screen controls.

270
00:13:36,700 --> 00:13:39,610
And change the control mode
for the Transform Effect

271
00:13:39,610 --> 00:13:42,285
from Sliders to
Interactive Canvas.

272
00:13:42,285 --> 00:13:45,340


273
00:13:45,340 --> 00:13:47,890
You're now presented with a
grid, which you can actually

274
00:13:47,890 --> 00:13:52,450
use in order to be able to
twist and distort this graphic.

275
00:13:52,450 --> 00:13:55,370
Using the corner
quadrants of the grid,

276
00:13:55,370 --> 00:13:59,320
simply click and drag
on-screen controls in order

277
00:13:59,320 --> 00:14:02,470
to be able to position
the corners of the graphic

278
00:14:02,470 --> 00:14:04,140
into the corners of the window.

279
00:14:04,140 --> 00:14:08,860


280
00:14:08,860 --> 00:14:10,790
Try and get it as
close as possible,

281
00:14:10,790 --> 00:14:13,270
but don't worry too
much if you can't.

282
00:14:13,270 --> 00:14:15,130
Don't forget, though,
you can always

283
00:14:15,130 --> 00:14:17,680
zoom in, using the scroll
wheel on your mouse.

284
00:14:17,680 --> 00:14:19,850
And holding down the
middle mouse button,

285
00:14:19,850 --> 00:14:25,390
you can always change the pan
of the image within the viewer.

286
00:14:25,390 --> 00:14:27,640
When you're finished,
simply press Z

287
00:14:27,640 --> 00:14:31,580
in order to be able to fit the
image back into the viewer.

288
00:14:31,580 --> 00:14:34,460
Turn off on-screen
controls in order

289
00:14:34,460 --> 00:14:37,610
to be able to see
the composited image.

290
00:14:37,610 --> 00:14:40,100
We can actually use
Composite Modes in order

291
00:14:40,100 --> 00:14:42,020
to help this image
blend a little bit more

292
00:14:42,020 --> 00:14:44,450
naturally into the background.

293
00:14:44,450 --> 00:14:48,050
In the Inspector,
go to the Video tab.

294
00:14:48,050 --> 00:14:51,295
And from the Composite section,
change the Composite Mode.

295
00:14:51,295 --> 00:14:57,110


296
00:14:57,110 --> 00:14:59,450
You could also play
with the opacity,

297
00:14:59,450 --> 00:15:01,880
as well, to make it
a little less obvious

298
00:15:01,880 --> 00:15:04,220
that that graphic is there.

299
00:15:04,220 --> 00:15:05,640
This is all very well.

300
00:15:05,640 --> 00:15:07,500
We're helping to
sell that image.

301
00:15:07,500 --> 00:15:11,240
But this is always on the
first frame of the shot.

302
00:15:11,240 --> 00:15:14,010
If I actually play
this timeline now,

303
00:15:14,010 --> 00:15:16,520
you can see that the
camera movement actually

304
00:15:16,520 --> 00:15:19,280
shows up the fact that
this image isn't actually

305
00:15:19,280 --> 00:15:21,860
part of that window.

306
00:15:21,860 --> 00:15:23,420
Now, the Edit page
doesn't actually

307
00:15:23,420 --> 00:15:25,460
have the advanced
tracking functions

308
00:15:25,460 --> 00:15:27,450
that you would find
in the Fusion page,

309
00:15:27,450 --> 00:15:29,800
but many editors
are often happier

310
00:15:29,800 --> 00:15:32,140
about putting in some
keyframes in order

311
00:15:32,140 --> 00:15:34,940
to be able to manually follow
the movement of the camera,

312
00:15:34,940 --> 00:15:38,440
particularly if that camera
movement is smooth enough.

313
00:15:38,440 --> 00:15:40,930
If I return the playhead
back to the beginning

314
00:15:40,930 --> 00:15:43,510
of this clip in the
timeline and return

315
00:15:43,510 --> 00:15:46,390
to the Effects tab
of the Inspector,

316
00:15:46,390 --> 00:15:52,010
under the Control Options, I've
got the Control Canvas Keyframe.

317
00:15:52,010 --> 00:15:56,140
And I'm just going to simply add
a keyframe at the first frame

318
00:15:56,140 --> 00:15:57,670
of this clip.

319
00:15:57,670 --> 00:15:59,710
I'm going to use
the down-arrow key

320
00:15:59,710 --> 00:16:02,030
to jump to the next edit point.

321
00:16:02,030 --> 00:16:05,900
But I actually need to see the
last frame of this graphic.

322
00:16:05,900 --> 00:16:08,110
So I'm going to
come one frame back.

323
00:16:08,110 --> 00:16:11,900
And now, if I re-enable
on-screen controls,

324
00:16:11,900 --> 00:16:17,140
I can now change the position
of each of those corner points.

325
00:16:17,140 --> 00:16:19,810
And what this will do
is, it will actually

326
00:16:19,810 --> 00:16:24,490
record the changes in a
new keyframe automatically.

327
00:16:24,490 --> 00:16:27,340
Disable your on-screen
effects, return the playhead

328
00:16:27,340 --> 00:16:30,210
to the beginning of the
timeline, and play back.

329
00:16:30,210 --> 00:16:34,720


330
00:16:34,720 --> 00:16:37,270
It's simple compositing
tasks like this

331
00:16:37,270 --> 00:16:39,640
that as editors, we
often need to accomplish

332
00:16:39,640 --> 00:16:41,210
on a day-to-day basis.

333
00:16:41,210 --> 00:16:43,270
Now, it doesn't
necessarily mean that this

334
00:16:43,270 --> 00:16:44,750
will be the finished effect.

335
00:16:44,750 --> 00:16:47,470
Sometimes all we need
to do is put together

336
00:16:47,470 --> 00:16:49,670
a rough approximation
of the effect,

337
00:16:49,670 --> 00:16:51,460
just so that the
director understands

338
00:16:51,460 --> 00:16:54,460
how the shot will work when you
hand it off to a visual effects

339
00:16:54,460 --> 00:16:56,170
artist.

340
00:16:56,170 --> 00:16:58,060
The next example
we're going to look at

341
00:16:58,060 --> 00:17:01,780
is the new Video Collage Effect.

342
00:17:01,780 --> 00:17:03,890
From the Timeline
Viewer pop-up menu,

343
00:17:03,890 --> 00:17:08,530
choose the Video
Collage Background.

344
00:17:08,530 --> 00:17:10,390
We actually have
a timeline that's

345
00:17:10,390 --> 00:17:13,970
got four clips, all stacked
on top of each other.

346
00:17:13,970 --> 00:17:16,030
You'll notice that
three of those tracks

347
00:17:16,030 --> 00:17:17,680
are already disabled.

348
00:17:17,680 --> 00:17:20,270
The image in the first
track is of Chris Lang,

349
00:17:20,270 --> 00:17:22,720
who's the owner of the
Organ Mountain Outfitters

350
00:17:22,720 --> 00:17:24,069
chain of stores.

351
00:17:24,069 --> 00:17:27,079
If we enable the clips
on video track 2,

352
00:17:27,079 --> 00:17:29,770
you can see that we have
an image of a girl walking

353
00:17:29,770 --> 00:17:31,900
through a canyon.

354
00:17:31,900 --> 00:17:36,760
On V3, we actually have a
wide shot of a mountain.

355
00:17:36,760 --> 00:17:41,440
And on V4, we actually have
this rather wonderful image

356
00:17:41,440 --> 00:17:44,350
of Organ Mountain
from the distance.

357
00:17:44,350 --> 00:17:46,690
Now, we actually want to
use this topmost image

358
00:17:46,690 --> 00:17:47,870
as the background.

359
00:17:47,870 --> 00:17:51,220
And in traditional compositing,
what we would normally do is,

360
00:17:51,220 --> 00:17:53,410
have this as the
background image

361
00:17:53,410 --> 00:17:55,370
at the bottom of the Layers.

362
00:17:55,370 --> 00:17:58,130
But that's not how the
video collage works.

363
00:17:58,130 --> 00:18:00,670
The video collage works
in the background mode

364
00:18:00,670 --> 00:18:04,600
by effectively creating holes
in this image, from which we

365
00:18:04,600 --> 00:18:07,150
can see the underlying shots.

366
00:18:07,150 --> 00:18:10,720
So in this case, I'm going
to select the clip on V4.

367
00:18:10,720 --> 00:18:15,080
From my Resolve Effects
Transform category,

368
00:18:15,080 --> 00:18:18,310
I'm going to find the
Video Collage effect,

369
00:18:18,310 --> 00:18:21,190
and double click to
apply it to that selected

370
00:18:21,190 --> 00:18:22,750
clip in the timeline.

371
00:18:22,750 --> 00:18:25,990
As you can now see, it's
almost looking through a window

372
00:18:25,990 --> 00:18:28,600
frame of the underlying shot.

373
00:18:28,600 --> 00:18:32,290
But before I start to position
the lower clips within each

374
00:18:32,290 --> 00:18:34,510
of those little holes,
what I want to do

375
00:18:34,510 --> 00:18:38,950
is actually customize the layout
of what we call the tiles.

376
00:18:38,950 --> 00:18:40,990
In the Effects
Inspector, you can

377
00:18:40,990 --> 00:18:43,880
see that you've got the
controls for the video collage.

378
00:18:43,880 --> 00:18:49,450
And they're actually in two
tabs, Globals and Tiles.

379
00:18:49,450 --> 00:18:51,580
Click the Preview
Layout in order

380
00:18:51,580 --> 00:18:54,380
to be able to preview
each of the tiles.

381
00:18:54,380 --> 00:18:57,160
You can change the number
of columns and rows

382
00:18:57,160 --> 00:18:58,820
by using the sliders.

383
00:18:58,820 --> 00:19:02,390
So for example, if I
wanted many images here,

384
00:19:02,390 --> 00:19:04,450
I could actually change
the columns and rows

385
00:19:04,450 --> 00:19:06,850
to the appropriate number.

386
00:19:06,850 --> 00:19:10,400
I only need two
columns and two rows.

387
00:19:10,400 --> 00:19:15,220
However, I actually want to
remove this tile number 4.

388
00:19:15,220 --> 00:19:16,670
I don't need it.

389
00:19:16,670 --> 00:19:18,880
And I actually
want tile number 2

390
00:19:18,880 --> 00:19:21,310
to actually be
larger and take up

391
00:19:21,310 --> 00:19:23,860
the position of tile number 4.

392
00:19:23,860 --> 00:19:26,940
To do that, I'll need to
go into the Tiles Control.

393
00:19:26,940 --> 00:19:29,470


394
00:19:29,470 --> 00:19:33,160
Click on the Tiles Control,
and change the active tile

395
00:19:33,160 --> 00:19:35,690
to the tile that we
want to change first.

396
00:19:35,690 --> 00:19:37,580
In this case, tile 4.

397
00:19:37,580 --> 00:19:41,750
If you now click the Manual
Tile Management checkbox,

398
00:19:41,750 --> 00:19:46,120
you can then delete
tile number 4.

399
00:19:46,120 --> 00:19:49,510
Switch to tile number 2.

400
00:19:49,510 --> 00:19:53,330
And in the Custom Size
and Shape controls,

401
00:19:53,330 --> 00:19:58,510
change the end row to row 2.

402
00:19:58,510 --> 00:20:02,240
So using a coordinate
system of columns and rows,

403
00:20:02,240 --> 00:20:06,010
you can choose where a
particular tile starts

404
00:20:06,010 --> 00:20:09,190
and where it ends.

405
00:20:09,190 --> 00:20:13,270
Opening up the Tile Styling,
you can choose to add a border.

406
00:20:13,270 --> 00:20:16,760
I'm going to add a slight
border to those tiles.

407
00:20:16,760 --> 00:20:23,700
I'm also going to change the
tile color to a bright green.

408
00:20:23,700 --> 00:20:26,620


409
00:20:26,620 --> 00:20:29,860
Opening up the Drop
Shadow controls,

410
00:20:29,860 --> 00:20:33,250
I'm going to increase the
strength of the drop shadow

411
00:20:33,250 --> 00:20:36,670
and the distance
of the drop shadow,

412
00:20:36,670 --> 00:20:39,400
and also adjust the angle
so that the drop shadow is

413
00:20:39,400 --> 00:20:43,090
a little bit more vertically
underneath the clip,

414
00:20:43,090 --> 00:20:47,650
and adding a little bit of blur,
just to help soften the shadows.

415
00:20:47,650 --> 00:20:51,820
The Video Collage also has a
series of automatic animations

416
00:20:51,820 --> 00:20:53,000
that you can apply.

417
00:20:53,000 --> 00:20:54,700
So you don't need
to worry too much

418
00:20:54,700 --> 00:20:57,680
about getting into complex
keyframe animation,

419
00:20:57,680 --> 00:21:01,570
although you have the ability
to be able to do that, as well.

420
00:21:01,570 --> 00:21:03,940
In the Tile Animation
section, I'm

421
00:21:03,940 --> 00:21:10,480
going to change the Animate
pop-up menu to intro only.

422
00:21:10,480 --> 00:21:15,170
We now have a set of
predefined animation presets.

423
00:21:15,170 --> 00:21:18,290
In this case, I don't want
to use the Shrink preset.

424
00:21:18,290 --> 00:21:21,040
But I do want to use the Fade.

425
00:21:21,040 --> 00:21:24,350
I'm going to uncheck
Shrink and check Fade.

426
00:21:24,350 --> 00:21:28,100
And I can now specify a
duration for that animation.

427
00:21:28,100 --> 00:21:31,770
In this case, I'm going
to set it to 24 frames.

428
00:21:31,770 --> 00:21:34,420


429
00:21:34,420 --> 00:21:37,810
Now, you can see I can
scrub through the timeline

430
00:21:37,810 --> 00:21:41,320
in order to be able to
preview the animation.

431
00:21:41,320 --> 00:21:44,600
Now that I've set up the tiles
and adjusted the animation,

432
00:21:44,600 --> 00:21:48,190
it's all ready for me to
actually put the images

433
00:21:48,190 --> 00:21:50,950
into each of those tiles.

434
00:21:50,950 --> 00:21:53,480
I'm going to uncheck
Preview Layout,

435
00:21:53,480 --> 00:21:57,430
then select the
clip on Track V3,

436
00:21:57,430 --> 00:22:00,970
go into on-screen
Transform controls,

437
00:22:00,970 --> 00:22:04,090
and resize the image
so that it sits

438
00:22:04,090 --> 00:22:10,390
nice and neatly inside the tile
in the top left-hand corner.

439
00:22:10,390 --> 00:22:12,190
The great thing about
this is, because I've

440
00:22:12,190 --> 00:22:14,470
specified the size
of the tiles, I

441
00:22:14,470 --> 00:22:18,910
don't need to be too concerned
as to how each of these clips

442
00:22:18,910 --> 00:22:20,060
is lining up.

443
00:22:20,060 --> 00:22:22,690
The math that the video
collage is creating

444
00:22:22,690 --> 00:22:26,260
means I just simply need
to frame it appropriately.

445
00:22:26,260 --> 00:22:29,420
Selecting the image on V2, I'm
going to do the same again,

446
00:22:29,420 --> 00:22:35,140
resizing and positioning the
image of the girl in the canyon.

447
00:22:35,140 --> 00:22:37,000
Now, as I set it
here, you'll also

448
00:22:37,000 --> 00:22:39,880
notice that the image
is actually encroaching

449
00:22:39,880 --> 00:22:42,260
into another part of the mask.

450
00:22:42,260 --> 00:22:45,610
So in this case, I'm going
to switch on-screen controls

451
00:22:45,610 --> 00:22:47,650
to crop.

452
00:22:47,650 --> 00:22:50,540
And this will then allow
me to crop the image

453
00:22:50,540 --> 00:22:55,870
so that it doesn't actually show
in any of the other matte holes.

454
00:22:55,870 --> 00:23:01,120
I'm now going to select the clip
on V1, go back to my Transform,

455
00:23:01,120 --> 00:23:07,990
and reposition my interviewee,
with a little bit of resizing,

456
00:23:07,990 --> 00:23:11,530
into the mask that
I created for him.

457
00:23:11,530 --> 00:23:13,780
Turning off all the
on-screen controls,

458
00:23:13,780 --> 00:23:17,115
I can now play back the
effect to see the results--

459
00:23:17,115 --> 00:23:19,380
SPEAKER (ON VIDEO):
--aspects of our business.

460
00:23:19,380 --> 00:23:22,900
CHRIS: So this is one use
for our video collage effect.

461
00:23:22,900 --> 00:23:25,260
But the other way that we
can use the video collage

462
00:23:25,260 --> 00:23:28,830
is to use it to create the
individual tiles themselves.

463
00:23:28,830 --> 00:23:32,560
From your Timeline
Viewer pop-up menu,

464
00:23:32,560 --> 00:23:34,910
choose Video Collage Tiles.

465
00:23:34,910 --> 00:23:37,800


466
00:23:37,800 --> 00:23:39,780
Now in this case,
we have a timeline

467
00:23:39,780 --> 00:23:42,730
that's already set up with
the Organ Mountain background,

468
00:23:42,730 --> 00:23:45,420
actually on the Video 1 track.

469
00:23:45,420 --> 00:23:49,120
We've also got an animated
logo that fades in.

470
00:23:49,120 --> 00:23:52,440


471
00:23:52,440 --> 00:23:56,910
On Video 3, we've
got a compound clip

472
00:23:56,910 --> 00:24:01,200
of a girl turning towards
the camera and smiling.

473
00:24:01,200 --> 00:24:03,810
Video 4, we've got
a man, looking.

474
00:24:03,810 --> 00:24:06,990
And Video 5, we've got
the girl from the canyon,

475
00:24:06,990 --> 00:24:10,410
walking across the mountain top.

476
00:24:10,410 --> 00:24:13,890
Now in this case, I'm going
to do the setup actually,

477
00:24:13,890 --> 00:24:17,200
on the first shot of the girl
turning towards the camera.

478
00:24:17,200 --> 00:24:20,550
And then, once we've got the
tile set and the animation

479
00:24:20,550 --> 00:24:23,700
working, we can then simply
copy and paste the effect

480
00:24:23,700 --> 00:24:26,040
to the other clips.

481
00:24:26,040 --> 00:24:29,280
So I'm just going to
leave the clip on Video 5

482
00:24:29,280 --> 00:24:31,760
and Video 4 disabled
for the moment.

483
00:24:31,760 --> 00:24:35,550


484
00:24:35,550 --> 00:24:38,340
Select the compound clip
of the smiling girl,

485
00:24:38,340 --> 00:24:41,880
and double click the
video collage to apply it.

486
00:24:41,880 --> 00:24:44,430
As you can see, the
background is now

487
00:24:44,430 --> 00:24:48,360
viewable through the matte holes
that are created in the image.

488
00:24:48,360 --> 00:24:52,410
From the Effects Inspector,
change the workflow from Create

489
00:24:52,410 --> 00:24:54,470
Background to Create Tile.

490
00:24:54,470 --> 00:24:57,050


491
00:24:57,050 --> 00:24:58,800
Now, you can see that
the girl is actually

492
00:24:58,800 --> 00:25:01,690
composited as a
picture-in-picture effect,

493
00:25:01,690 --> 00:25:02,470
very similar to.

494
00:25:02,470 --> 00:25:05,160
If we'd have scaled the clip
down, using the Transform

495
00:25:05,160 --> 00:25:08,190
controls, and moved
it into position.

496
00:25:08,190 --> 00:25:10,860
Click the Preview
Layout tab in order

497
00:25:10,860 --> 00:25:12,550
to get the familiar layout.

498
00:25:12,550 --> 00:25:17,080
We want to have three columns
for each of the three images,

499
00:25:17,080 --> 00:25:19,200
but only one row.

500
00:25:19,200 --> 00:25:24,150
Use the Rounding control
to create circular tiles.

501
00:25:24,150 --> 00:25:27,420
Then use the Vertical Offset
control to position those tiles

502
00:25:27,420 --> 00:25:29,700
above the mountains.

503
00:25:29,700 --> 00:25:32,230
Now that we've got the
tiles into position,

504
00:25:32,230 --> 00:25:37,140
let's customize them in terms of
the border and the drop shadow.

505
00:25:37,140 --> 00:25:42,570
Let's go to the Tiles tab,
and open up the Tile Styling,

506
00:25:42,570 --> 00:25:47,790
and increase the tile
border ever so slightly.

507
00:25:47,790 --> 00:25:55,420
Change the tile color
to about 90% brightness.

508
00:25:55,420 --> 00:26:00,750


509
00:26:00,750 --> 00:26:06,420
Open the Drop Shadow controls
and increase the strength.

510
00:26:06,420 --> 00:26:11,430
Change the drop angle so that
the shadows are appearing

511
00:26:11,430 --> 00:26:13,860
directly beneath the tiles.

512
00:26:13,860 --> 00:26:16,830
Increase the drop
distance and the blur

513
00:26:16,830 --> 00:26:19,740
to your particular liking.

514
00:26:19,740 --> 00:26:22,360
Now that we've got
the tiles stylized,

515
00:26:22,360 --> 00:26:26,070
we just need to work
on the animation.

516
00:26:26,070 --> 00:26:28,450
First of all,
position the playhead

517
00:26:28,450 --> 00:26:31,500
so that the logo is
just about starting

518
00:26:31,500 --> 00:26:33,450
to appear in the Viewer.

519
00:26:33,450 --> 00:26:36,960
Then open the Tile
Animation controls.

520
00:26:36,960 --> 00:26:41,310
We're actually going to manually
keyframe the fly animation.

521
00:26:41,310 --> 00:26:43,920
But first of all, we need
to choose the direction

522
00:26:43,920 --> 00:26:45,430
of that animation.

523
00:26:45,430 --> 00:26:50,700
Change the Fly Animation
pop-up menu to fly up.

524
00:26:50,700 --> 00:26:52,560
This means that the
tiles will actually

525
00:26:52,560 --> 00:26:55,470
come from the top of the screen,
not that they will actually

526
00:26:55,470 --> 00:26:57,600
go to the top of the screen.

527
00:26:57,600 --> 00:27:01,690
At this point, the fly progress
is in the correct position.

528
00:27:01,690 --> 00:27:05,250
So simply add a keyframe by
clicking the white diamond

529
00:27:05,250 --> 00:27:06,790
to make it go red.

530
00:27:06,790 --> 00:27:10,380
Now move the playhead back to
the beginning of your timeline

531
00:27:10,380 --> 00:27:13,260
and adjust the Fly
Progress slider

532
00:27:13,260 --> 00:27:17,700
so that the tiles disappear
off the top of the screen.

533
00:27:17,700 --> 00:27:20,190
You should now be able
to preview the timeline

534
00:27:20,190 --> 00:27:21,970
and preview the animation.

535
00:27:21,970 --> 00:27:24,900


536
00:27:24,900 --> 00:27:27,720
You can also adjust the
acceleration of that animation

537
00:27:27,720 --> 00:27:29,790
very easily, as well.

538
00:27:29,790 --> 00:27:33,490
In the Easing and Blur
of All Tiles control,

539
00:27:33,490 --> 00:27:40,410
change the Animation
Effect Ease to out.

540
00:27:40,410 --> 00:27:44,710
And then adjust the ease
amount to your liking,

541
00:27:44,710 --> 00:27:47,020
so that when you play
the animation back,

542
00:27:47,020 --> 00:27:52,050
the tiles will come to a gentle
rest rather than an abrupt stop.

543
00:27:52,050 --> 00:27:54,910
Again, now that we've
got the animation sorted,

544
00:27:54,910 --> 00:27:59,880
we can now start to customize
the actual tile image itself.

545
00:27:59,880 --> 00:28:04,260
At the top of the Inspector,
uncheck the Preview Layout

546
00:28:04,260 --> 00:28:05,700
option.

547
00:28:05,700 --> 00:28:08,580
Then open up the
Resize controls,

548
00:28:08,580 --> 00:28:11,430
and use the Pan
and Tilt controls

549
00:28:11,430 --> 00:28:14,930
in order to be able to reframe
the girl within the circle.

550
00:28:14,930 --> 00:28:20,760


551
00:28:20,760 --> 00:28:21,760
That's great.

552
00:28:21,760 --> 00:28:24,880
We've now got the animation
working for this tile.

553
00:28:24,880 --> 00:28:28,200
All we now need to do is to
actually take that plugin

554
00:28:28,200 --> 00:28:31,920
and copy it onto the other
two clips in the timeline.

555
00:28:31,920 --> 00:28:34,930
With the smiling girl
clip still selected,

556
00:28:34,930 --> 00:28:39,210
press Command or Control-C
to copy the clip.

557
00:28:39,210 --> 00:28:43,800
Now enable Track 4, and
select the Looking Man clip.

558
00:28:43,800 --> 00:28:48,150
Press Option or Alt-V
for paste attributes.

559
00:28:48,150 --> 00:28:52,560
And choose the Plugins
option and apply in order

560
00:28:52,560 --> 00:28:54,690
to paste the effect.

561
00:28:54,690 --> 00:28:58,440
Now, all that has done is
actually create a duplicate copy

562
00:28:58,440 --> 00:29:01,020
of the effect with all
of the same settings

563
00:29:01,020 --> 00:29:02,530
onto this new clip.

564
00:29:02,530 --> 00:29:05,700
We now need to adjust those
settings to take into account

565
00:29:05,700 --> 00:29:07,590
the differences in this clip.

566
00:29:07,590 --> 00:29:10,270
With the Looking
Man clip selected,

567
00:29:10,270 --> 00:29:12,990
go to the Effects
tab in the Inspector,

568
00:29:12,990 --> 00:29:18,660
and change the active tile
from Tile 1 to Tile 1.

569
00:29:18,660 --> 00:29:22,830
Now, adjust the resize
content controls in order

570
00:29:22,830 --> 00:29:25,970
to fit the guy's
face into the circle.

571
00:29:25,970 --> 00:29:37,380


572
00:29:37,380 --> 00:29:40,590
And now, I need to paste
the attributes again

573
00:29:40,590 --> 00:29:41,870
for the third tile.

574
00:29:41,870 --> 00:29:44,550


575
00:29:44,550 --> 00:29:47,860
Enable the track for
the Walking Girl clip.

576
00:29:47,860 --> 00:29:52,080
Select the Walking Girl clip,
and press Option or Alt-V

577
00:29:52,080 --> 00:29:53,920
for Paste Attributes.

578
00:29:53,920 --> 00:29:56,170
Because we've already
pasted the plug-in,

579
00:29:56,170 --> 00:29:57,970
you can see it's
already selected.

580
00:29:57,970 --> 00:30:00,840
So all we need to
do is click Apply

581
00:30:00,840 --> 00:30:03,940
and again, in the
Effects Inspector,

582
00:30:03,940 --> 00:30:08,010
change the active
tile to Tile 3.

583
00:30:08,010 --> 00:30:14,220
And change the Resize Content
controls so that the girl fits

584
00:30:14,220 --> 00:30:15,350
into the new circle.

585
00:30:15,350 --> 00:30:19,500


586
00:30:19,500 --> 00:30:22,260
We turn the playhead to
the start of the timeline

587
00:30:22,260 --> 00:30:24,370
and preview your animation.

588
00:30:24,370 --> 00:30:27,750


589
00:30:27,750 --> 00:30:30,060
I hope you've enjoyed
this demonstration of some

590
00:30:30,060 --> 00:30:32,730
of the visual effects that
we have on the Edit Page

591
00:30:32,730 --> 00:30:34,630
in DaVinci Resolve 17.

592
00:30:34,630 --> 00:30:37,380
Don't forget, you can always
join us on the forum pages

593
00:30:37,380 --> 00:30:39,280
if you've got any
further questions.

594
00:30:39,280 --> 00:30:42,280
And also, on the DaVinci
Resolve product pages,

595
00:30:42,280 --> 00:30:45,810
there's a whole section
dedicated to training videos

596
00:30:45,810 --> 00:30:49,330
and training guides that
are all available for free.

597
00:30:49,330 --> 00:30:51,560
Thank you very much.

598
00:30:51,560 --> 00:30:59,000