WEBVTT

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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

00:11:14.560 --> 00:11:16.690
in order to be able
to first of all, clean

00:11:16.690 --> 00:11:20.770
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.

00:11:24.460 --> 00:11:26.710
As you can see, there
are many more controls

00:11:26.710 --> 00:11:29.120
for finessing your
matte, but in this case,

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a simple tweak is all we need.

00:11:31.540 --> 00:11:36.070
Change the Output pop-up
menu back to final composite.

00:11:36.070 --> 00:11:42.490
And then disable your Open
Effects on-screen controls.

00:11:42.490 --> 00:11:44.350
Scrub through the shot?

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

00:11:48.250 --> 00:11:52.580
However, there's a lot of
green spill in this shot.

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The reflection of
the green screen

00:11:54.640 --> 00:11:57.470
is actually being reflected
in the guy's uniform,

00:11:57.470 --> 00:11:59.620
and also in his skin tones.

00:11:59.620 --> 00:12:03.910
Thankfully, the 3D Keyer
actually has a simple control

00:12:03.910 --> 00:12:06.770
in order to be able to
eliminate spill like this.

00:12:06.770 --> 00:12:08.920
Simply come up to
the Keyer Options,

00:12:08.920 --> 00:12:12.040
and check the Despill box.

00:12:12.040 --> 00:12:13.650
That's cleaned up
that image nicely.

00:12:13.650 --> 00:12:16.300


00:12:16.300 --> 00:12:18.790
Simple compositing
tasks like this

00:12:18.790 --> 00:12:20.620
are often things that
many editors need

00:12:20.620 --> 00:12:22.430
to do on a day-to-day basis.

00:12:22.430 --> 00:12:24.580
Another thing that
we're often asked to do

00:12:24.580 --> 00:12:27.310
is sometimes to be able
to replace a screen that

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might be at an angle.

00:12:28.600 --> 00:12:31.010
From the Timeline
Viewer pop-up menu,

00:12:31.010 --> 00:12:33.820
choose the Transform Timeline.

00:12:33.820 --> 00:12:37.840
This is a short scene of the
owner of the Citizen Chain

00:12:37.840 --> 00:12:40.460
Cyclery arriving for work.

00:12:40.460 --> 00:12:44.020
And in this case, we've got the
Citizen Chain logo composited

00:12:44.020 --> 00:12:45.700
over the opening shot.

00:12:45.700 --> 00:12:48.670
What we want to be able to do
here, is to actually composite

00:12:48.670 --> 00:12:53.060
the Citizen Chain logo into
the window of the shop,

00:12:53.060 --> 00:12:55.690
using the new Transform effect.

00:12:55.690 --> 00:12:59.740
Simply select the Citizen Chain
Logo Graphic on the timeline.

00:12:59.740 --> 00:13:02.420
And then from your
Effects library,

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scroll down until you find
the Resolve Effects Transform

00:13:07.630 --> 00:13:10.330
category.

00:13:10.330 --> 00:13:12.460
Double click the
Transform Effect.

00:13:12.460 --> 00:13:17.260
And then access the Effects
tab in the Inspector.

00:13:17.260 --> 00:13:20.230
At first glance, it might appear
that this effect has simply

00:13:20.230 --> 00:13:21.970
replicated some of
the controls you

00:13:21.970 --> 00:13:24.860
may be familiar with
in the Video Inspector.

00:13:24.860 --> 00:13:27.280
However, there are a
number of different modes

00:13:27.280 --> 00:13:31.060
in which you can
actually use this effect.

00:13:31.060 --> 00:13:36.700
Re-enable your Effect
Overlays on-screen controls.

00:13:36.700 --> 00:13:39.610
And change the control mode
for the Transform Effect

00:13:39.610 --> 00:13:42.285
from Sliders to
Interactive Canvas.

00:13:42.285 --> 00:13:45.340


00:13:45.340 --> 00:13:47.890
You're now presented with a
grid, which you can actually

00:13:47.890 --> 00:13:52.450
use in order to be able to
twist and distort this graphic.

00:13:52.450 --> 00:13:55.370
Using the corner
quadrants of the grid,

00:13:55.370 --> 00:13:59.320
simply click and drag
on-screen controls in order

00:13:59.320 --> 00:14:02.470
to be able to position
the corners of the graphic

00:14:02.470 --> 00:14:04.140
into the corners of the window.

00:14:04.140 --> 00:14:08.860


00:14:08.860 --> 00:14:10.790
Try and get it as
close as possible,

00:14:10.790 --> 00:14:13.270
but don't worry too
much if you can't.

00:14:13.270 --> 00:14:15.130
Don't forget, though,
you can always

00:14:15.130 --> 00:14:17.680
zoom in, using the scroll
wheel on your mouse.

00:14:17.680 --> 00:14:19.850
And holding down the
middle mouse button,

00:14:19.850 --> 00:14:25.390
you can always change the pan
of the image within the viewer.

00:14:25.390 --> 00:14:27.640
When you're finished,
simply press Z

00:14:27.640 --> 00:14:31.580
in order to be able to fit the
image back into the viewer.

00:14:31.580 --> 00:14:34.460
Turn off on-screen
controls in order

00:14:34.460 --> 00:14:37.610
to be able to see
the composited image.

00:14:37.610 --> 00:14:40.100
We can actually use
Composite Modes in order

00:14:40.100 --> 00:14:42.020
to help this image
blend a little bit more

00:14:42.020 --> 00:14:44.450
naturally into the background.

00:14:44.450 --> 00:14:48.050
In the Inspector,
go to the Video tab.

00:14:48.050 --> 00:14:51.295
And from the Composite section,
change the Composite Mode.

00:14:51.295 --> 00:14:57.110


00:14:57.110 --> 00:14:59.450
You could also play
with the opacity,

00:14:59.450 --> 00:15:01.880
as well, to make it
a little less obvious

00:15:01.880 --> 00:15:04.220
that that graphic is there.

00:15:04.220 --> 00:15:05.640
This is all very well.

00:15:05.640 --> 00:15:07.500
We're helping to
sell that image.

00:15:07.500 --> 00:15:11.240
But this is always on the
first frame of the shot.

00:15:11.240 --> 00:15:14.010
If I actually play
this timeline now,

00:15:14.010 --> 00:15:16.520
you can see that the
camera movement actually

00:15:16.520 --> 00:15:19.280
shows up the fact that
this image isn't actually

00:15:19.280 --> 00:15:21.860
part of that window.

00:15:21.860 --> 00:15:23.420
Now, the Edit page
doesn't actually

00:15:23.420 --> 00:15:25.460
have the advanced
tracking functions

00:15:25.460 --> 00:15:27.450
that you would find
in the Fusion page,

00:15:27.450 --> 00:15:29.800
but many editors
are often happier

00:15:29.800 --> 00:15:32.140
about putting in some
keyframes in order

00:15:32.140 --> 00:15:34.940
to be able to manually follow
the movement of the camera,

00:15:34.940 --> 00:15:38.440
particularly if that camera
movement is smooth enough.

00:15:38.440 --> 00:15:40.930
If I return the playhead
back to the beginning

00:15:40.930 --> 00:15:43.510
of this clip in the
timeline and return

00:15:43.510 --> 00:15:46.390
to the Effects tab
of the Inspector,

00:15:46.390 --> 00:15:52.010
under the Control Options, I've
got the Control Canvas Keyframe.

00:15:52.010 --> 00:15:56.140
And I'm just going to simply add
a keyframe at the first frame

00:15:56.140 --> 00:15:57.670
of this clip.

00:15:57.670 --> 00:15:59.710
I'm going to use
the down-arrow key

00:15:59.710 --> 00:16:02.030
to jump to the next edit point.

00:16:02.030 --> 00:16:05.900
But I actually need to see the
last frame of this graphic.

00:16:05.900 --> 00:16:08.110
So I'm going to
come one frame back.

00:16:08.110 --> 00:16:11.900
And now, if I re-enable
on-screen controls,

00:16:11.900 --> 00:16:17.140
I can now change the position
of each of those corner points.

00:16:17.140 --> 00:16:19.810
And what this will do
is, it will actually

00:16:19.810 --> 00:16:24.490
record the changes in a
new keyframe automatically.

00:16:24.490 --> 00:16:27.340
Disable your on-screen
effects, return the playhead

00:16:27.340 --> 00:16:30.210
to the beginning of the
timeline, and play back.

00:16:30.210 --> 00:16:34.720


00:16:34.720 --> 00:16:37.270
It's simple compositing
tasks like this

00:16:37.270 --> 00:16:39.640
that as editors, we
often need to accomplish

00:16:39.640 --> 00:16:41.210
on a day-to-day basis.

00:16:41.210 --> 00:16:43.270
Now, it doesn't
necessarily mean that this

00:16:43.270 --> 00:16:44.750
will be the finished effect.

00:16:44.750 --> 00:16:47.470
Sometimes all we need
to do is put together

00:16:47.470 --> 00:16:49.670
a rough approximation
of the effect,

00:16:49.670 --> 00:16:51.460
just so that the
director understands

00:16:51.460 --> 00:16:54.460
how the shot will work when you
hand it off to a visual effects

00:16:54.460 --> 00:16:56.170
artist.

00:16:56.170 --> 00:16:58.060
The next example
we're going to look at

00:16:58.060 --> 00:17:01.780
is the new Video Collage Effect.

00:17:01.780 --> 00:17:03.890
From the Timeline
Viewer pop-up menu,

00:17:03.890 --> 00:17:08.530
choose the Video
Collage Background.

00:17:08.530 --> 00:17:10.390
We actually have
a timeline that's

00:17:10.390 --> 00:17:13.970
got four clips, all stacked
on top of each other.

00:17:13.970 --> 00:17:16.030
You'll notice that
three of those tracks

00:17:16.030 --> 00:17:17.680
are already disabled.

00:17:17.680 --> 00:17:20.270
The image in the first
track is of Chris Lang,

00:17:20.270 --> 00:17:22.720
who's the owner of the
Organ Mountain Outfitters

00:17:22.720 --> 00:17:24.069
chain of stores.

00:17:24.069 --> 00:17:27.079
If we enable the clips
on video track 2,

00:17:27.079 --> 00:17:29.770
you can see that we have
an image of a girl walking

00:17:29.770 --> 00:17:31.900
through a canyon.

00:17:31.900 --> 00:17:36.760
On V3, we actually have a
wide shot of a mountain.

00:17:36.760 --> 00:17:41.440
And on V4, we actually have
this rather wonderful image

00:17:41.440 --> 00:17:44.350
of Organ Mountain
from the distance.

00:17:44.350 --> 00:17:46.690
Now, we actually want to
use this topmost image

00:17:46.690 --> 00:17:47.870
as the background.

00:17:47.870 --> 00:17:51.220
And in traditional compositing,
what we would normally do is,

00:17:51.220 --> 00:17:53.410
have this as the
background image

00:17:53.410 --> 00:17:55.370
at the bottom of the Layers.

00:17:55.370 --> 00:17:58.130
But that's not how the
video collage works.

00:17:58.130 --> 00:18:00.670
The video collage works
in the background mode

00:18:00.670 --> 00:18:04.600
by effectively creating holes
in this image, from which we

00:18:04.600 --> 00:18:07.150
can see the underlying shots.

00:18:07.150 --> 00:18:10.720
So in this case, I'm going
to select the clip on V4.

00:18:10.720 --> 00:18:15.080
From my Resolve Effects
Transform category,

00:18:15.080 --> 00:18:18.310
I'm going to find the
Video Collage effect,

00:18:18.310 --> 00:18:21.190
and double click to
apply it to that selected

00:18:21.190 --> 00:18:22.750
clip in the timeline.

00:18:22.750 --> 00:18:25.990
As you can now see, it's
almost looking through a window

00:18:25.990 --> 00:18:28.600
frame of the underlying shot.

00:18:28.600 --> 00:18:32.290
But before I start to position
the lower clips within each

00:18:32.290 --> 00:18:34.510
of those little holes,
what I want to do

00:18:34.510 --> 00:18:38.950
is actually customize the layout
of what we call the tiles.

00:18:38.950 --> 00:18:40.990
In the Effects
Inspector, you can

00:18:40.990 --> 00:18:43.880
see that you've got the
controls for the video collage.

00:18:43.880 --> 00:18:49.450
And they're actually in two
tabs, Globals and Tiles.

00:18:49.450 --> 00:18:51.580
Click the Preview
Layout in order

00:18:51.580 --> 00:18:54.380
to be able to preview
each of the tiles.

00:18:54.380 --> 00:18:57.160
You can change the number
of columns and rows

00:18:57.160 --> 00:18:58.820
by using the sliders.

00:18:58.820 --> 00:19:02.390
So for example, if I
wanted many images here,

00:19:02.390 --> 00:19:04.450
I could actually change
the columns and rows

00:19:04.450 --> 00:19:06.850
to the appropriate number.

00:19:06.850 --> 00:19:10.400
I only need two
columns and two rows.

00:19:10.400 --> 00:19:15.220
However, I actually want to
remove this tile number 4.

00:19:15.220 --> 00:19:16.670
I don't need it.

00:19:16.670 --> 00:19:18.880
And I actually
want tile number 2

00:19:18.880 --> 00:19:21.310
to actually be
larger and take up

00:19:21.310 --> 00:19:23.860
the position of tile number 4.

00:19:23.860 --> 00:19:26.940
To do that, I'll need to
go into the Tiles Control.

00:19:26.940 --> 00:19:29.470


00:19:29.470 --> 00:19:33.160
Click on the Tiles Control,
and change the active tile

00:19:33.160 --> 00:19:35.690
to the tile that we
want to change first.

00:19:35.690 --> 00:19:37.580
In this case, tile 4.

00:19:37.580 --> 00:19:41.750
If you now click the Manual
Tile Management checkbox,

00:19:41.750 --> 00:19:46.120
you can then delete
tile number 4.

00:19:46.120 --> 00:19:49.510
Switch to tile number 2.

00:19:49.510 --> 00:19:53.330
And in the Custom Size
and Shape controls,

00:19:53.330 --> 00:19:58.510
change the end row to row 2.

00:19:58.510 --> 00:20:02.240
So using a coordinate
system of columns and rows,

00:20:02.240 --> 00:20:06.010
you can choose where a
particular tile starts

00:20:06.010 --> 00:20:09.190
and where it ends.

00:20:09.190 --> 00:20:13.270
Opening up the Tile Styling,
you can choose to add a border.

00:20:13.270 --> 00:20:16.760
I'm going to add a slight
border to those tiles.

00:20:16.760 --> 00:20:23.700
I'm also going to change the
tile color to a bright green.

00:20:23.700 --> 00:20:26.620


00:20:26.620 --> 00:20:29.860
Opening up the Drop
Shadow controls,

00:20:29.860 --> 00:20:33.250
I'm going to increase the
strength of the drop shadow

00:20:33.250 --> 00:20:36.670
and the distance
of the drop shadow,

00:20:36.670 --> 00:20:39.400
and also adjust the angle
so that the drop shadow is

00:20:39.400 --> 00:20:43.090
a little bit more vertically
underneath the clip,

00:20:43.090 --> 00:20:47.650
and adding a little bit of blur,
just to help soften the shadows.

00:20:47.650 --> 00:20:51.820
The Video Collage also has a
series of automatic animations

00:20:51.820 --> 00:20:53.000
that you can apply.

00:20:53.000 --> 00:20:54.700
So you don't need
to worry too much

00:20:54.700 --> 00:20:57.680
about getting into complex
keyframe animation,

00:20:57.680 --> 00:21:01.570
although you have the ability
to be able to do that, as well.

00:21:01.570 --> 00:21:03.940
In the Tile Animation
section, I'm

00:21:03.940 --> 00:21:10.480
going to change the Animate
pop-up menu to intro only.

00:21:10.480 --> 00:21:15.170
We now have a set of
predefined animation presets.

00:21:15.170 --> 00:21:18.290
In this case, I don't want
to use the Shrink preset.

00:21:18.290 --> 00:21:21.040
But I do want to use the Fade.

00:21:21.040 --> 00:21:24.350
I'm going to uncheck
Shrink and check Fade.

00:21:24.350 --> 00:21:28.100
And I can now specify a
duration for that animation.

00:21:28.100 --> 00:21:31.770
In this case, I'm going
to set it to 24 frames.

00:21:31.770 --> 00:21:34.420


00:21:34.420 --> 00:21:37.810
Now, you can see I can
scrub through the timeline

00:21:37.810 --> 00:21:41.320
in order to be able to
preview the animation.

00:21:41.320 --> 00:21:44.600
Now that I've set up the tiles
and adjusted the animation,

00:21:44.600 --> 00:21:48.190
it's all ready for me to
actually put the images

00:21:48.190 --> 00:21:50.950
into each of those tiles.

00:21:50.950 --> 00:21:53.480
I'm going to uncheck
Preview Layout,

00:21:53.480 --> 00:21:57.430
then select the
clip on Track V3,

00:21:57.430 --> 00:22:00.970
go into on-screen
Transform controls,

00:22:00.970 --> 00:22:04.090
and resize the image
so that it sits

00:22:04.090 --> 00:22:10.390
nice and neatly inside the tile
in the top left-hand corner.

00:22:10.390 --> 00:22:12.190
The great thing about
this is, because I've

00:22:12.190 --> 00:22:14.470
specified the size
of the tiles, I

00:22:14.470 --> 00:22:18.910
don't need to be too concerned
as to how each of these clips

00:22:18.910 --> 00:22:20.060
is lining up.

00:22:20.060 --> 00:22:22.690
The math that the video
collage is creating

00:22:22.690 --> 00:22:26.260
means I just simply need
to frame it appropriately.

00:22:26.260 --> 00:22:29.420
Selecting the image on V2, I'm
going to do the same again,

00:22:29.420 --> 00:22:35.140
resizing and positioning the
image of the girl in the canyon.

00:22:35.140 --> 00:22:37.000
Now, as I set it
here, you'll also

00:22:37.000 --> 00:22:39.880
notice that the image
is actually encroaching

00:22:39.880 --> 00:22:42.260
into another part of the mask.

00:22:42.260 --> 00:22:45.610
So in this case, I'm going
to switch on-screen controls

00:22:45.610 --> 00:22:47.650
to crop.

00:22:47.650 --> 00:22:50.540
And this will then allow
me to crop the image

00:22:50.540 --> 00:22:55.870
so that it doesn't actually show
in any of the other matte holes.

00:22:55.870 --> 00:23:01.120
I'm now going to select the clip
on V1, go back to my Transform,

00:23:01.120 --> 00:23:07.990
and reposition my interviewee,
with a little bit of resizing,

00:23:07.990 --> 00:23:11.530
into the mask that
I created for him.

00:23:11.530 --> 00:23:13.780
Turning off all the
on-screen controls,

00:23:13.780 --> 00:23:17.115
I can now play back the
effect to see the results--

00:23:17.115 --> 00:23:19.380
SPEAKER (ON VIDEO):
--aspects of our business.

00:23:19.380 --> 00:23:22.900
CHRIS: So this is one use
for our video collage effect.

00:23:22.900 --> 00:23:25.260
But the other way that we
can use the video collage

00:23:25.260 --> 00:23:28.830
is to use it to create the
individual tiles themselves.

00:23:28.830 --> 00:23:32.560
From your Timeline
Viewer pop-up menu,

00:23:32.560 --> 00:23:34.910
choose Video Collage Tiles.

00:23:34.910 --> 00:23:37.800


00:23:37.800 --> 00:23:39.780
Now in this case,
we have a timeline

00:23:39.780 --> 00:23:42.730
that's already set up with
the Organ Mountain background,

00:23:42.730 --> 00:23:45.420
actually on the Video 1 track.

00:23:45.420 --> 00:23:49.120
We've also got an animated
logo that fades in.

00:23:49.120 --> 00:23:52.440


00:23:52.440 --> 00:23:56.910
On Video 3, we've
got a compound clip

00:23:56.910 --> 00:24:01.200
of a girl turning towards
the camera and smiling.

00:24:01.200 --> 00:24:03.810
Video 4, we've got
a man, looking.

00:24:03.810 --> 00:24:06.990
And Video 5, we've got
the girl from the canyon,

00:24:06.990 --> 00:24:10.410
walking across the mountain top.

00:24:10.410 --> 00:24:13.890
Now in this case, I'm going
to do the setup actually,

00:24:13.890 --> 00:24:17.200
on the first shot of the girl
turning towards the camera.

00:24:17.200 --> 00:24:20.550
And then, once we've got the
tile set and the animation

00:24:20.550 --> 00:24:23.700
working, we can then simply
copy and paste the effect

00:24:23.700 --> 00:24:26.040
to the other clips.

00:24:26.040 --> 00:24:29.280
So I'm just going to
leave the clip on Video 5

00:24:29.280 --> 00:24:31.760
and Video 4 disabled
for the moment.

00:24:31.760 --> 00:24:35.550


00:24:35.550 --> 00:24:38.340
Select the compound clip
of the smiling girl,

00:24:38.340 --> 00:24:41.880
and double click the
video collage to apply it.

00:24:41.880 --> 00:24:44.430
As you can see, the
background is now

00:24:44.430 --> 00:24:48.360
viewable through the matte holes
that are created in the image.

00:24:48.360 --> 00:24:52.410
From the Effects Inspector,
change the workflow from Create

00:24:52.410 --> 00:24:54.470
Background to Create Tile.

00:24:54.470 --> 00:24:57.050


00:24:57.050 --> 00:24:58.800
Now, you can see that
the girl is actually

00:24:58.800 --> 00:25:01.690
composited as a
picture-in-picture effect,

00:25:01.690 --> 00:25:02.470
very similar to.

00:25:02.470 --> 00:25:05.160
If we'd have scaled the clip
down, using the Transform

00:25:05.160 --> 00:25:08.190
controls, and moved
it into position.

00:25:08.190 --> 00:25:10.860
Click the Preview
Layout tab in order

00:25:10.860 --> 00:25:12.550
to get the familiar layout.

00:25:12.550 --> 00:25:17.080
We want to have three columns
for each of the three images,

00:25:17.080 --> 00:25:19.200
but only one row.

00:25:19.200 --> 00:25:24.150
Use the Rounding control
to create circular tiles.

00:25:24.150 --> 00:25:27.420
Then use the Vertical Offset
control to position those tiles

00:25:27.420 --> 00:25:29.700
above the mountains.

00:25:29.700 --> 00:25:32.230
Now that we've got the
tiles into position,

00:25:32.230 --> 00:25:37.140
let's customize them in terms of
the border and the drop shadow.

00:25:37.140 --> 00:25:42.570
Let's go to the Tiles tab,
and open up the Tile Styling,

00:25:42.570 --> 00:25:47.790
and increase the tile
border ever so slightly.

00:25:47.790 --> 00:25:55.420
Change the tile color
to about 90% brightness.

00:25:55.420 --> 00:26:00.750


00:26:00.750 --> 00:26:06.420
Open the Drop Shadow controls
and increase the strength.

00:26:06.420 --> 00:26:11.430
Change the drop angle so that
the shadows are appearing

00:26:11.430 --> 00:26:13.860
directly beneath the tiles.

00:26:13.860 --> 00:26:16.830
Increase the drop
distance and the blur

00:26:16.830 --> 00:26:19.740
to your particular liking.

00:26:19.740 --> 00:26:22.360
Now that we've got
the tiles stylized,

00:26:22.360 --> 00:26:26.070
we just need to work
on the animation.

00:26:26.070 --> 00:26:28.450
First of all,
position the playhead

00:26:28.450 --> 00:26:31.500
so that the logo is
just about starting

00:26:31.500 --> 00:26:33.450
to appear in the Viewer.

00:26:33.450 --> 00:26:36.960
Then open the Tile
Animation controls.

00:26:36.960 --> 00:26:41.310
We're actually going to manually
keyframe the fly animation.

00:26:41.310 --> 00:26:43.920
But first of all, we need
to choose the direction

00:26:43.920 --> 00:26:45.430
of that animation.

00:26:45.430 --> 00:26:50.700
Change the Fly Animation
pop-up menu to fly up.

00:26:50.700 --> 00:26:52.560
This means that the
tiles will actually

00:26:52.560 --> 00:26:55.470
come from the top of the screen,
not that they will actually

00:26:55.470 --> 00:26:57.600
go to the top of the screen.

00:26:57.600 --> 00:27:01.690
At this point, the fly progress
is in the correct position.

00:27:01.690 --> 00:27:05.250
So simply add a keyframe by
clicking the white diamond

00:27:05.250 --> 00:27:06.790
to make it go red.

00:27:06.790 --> 00:27:10.380
Now move the playhead back to
the beginning of your timeline

00:27:10.380 --> 00:27:13.260
and adjust the Fly
Progress slider

00:27:13.260 --> 00:27:17.700
so that the tiles disappear
off the top of the screen.

00:27:17.700 --> 00:27:20.190
You should now be able
to preview the timeline

00:27:20.190 --> 00:27:21.970
and preview the animation.

00:27:21.970 --> 00:27:24.900


00:27:24.900 --> 00:27:27.720
You can also adjust the
acceleration of that animation

00:27:27.720 --> 00:27:29.790
very easily, as well.

00:27:29.790 --> 00:27:33.490
In the Easing and Blur
of All Tiles control,

00:27:33.490 --> 00:27:40.410
change the Animation
Effect Ease to out.

00:27:40.410 --> 00:27:44.710
And then adjust the ease
amount to your liking,

00:27:44.710 --> 00:27:47.020
so that when you play
the animation back,

00:27:47.020 --> 00:27:52.050
the tiles will come to a gentle
rest rather than an abrupt stop.

00:27:52.050 --> 00:27:54.910
Again, now that we've
got the animation sorted,

00:27:54.910 --> 00:27:59.880
we can now start to customize
the actual tile image itself.

00:27:59.880 --> 00:28:04.260
At the top of the Inspector,
uncheck the Preview Layout

00:28:04.260 --> 00:28:05.700
option.

00:28:05.700 --> 00:28:08.580
Then open up the
Resize controls,

00:28:08.580 --> 00:28:11.430
and use the Pan
and Tilt controls

00:28:11.430 --> 00:28:14.930
in order to be able to reframe
the girl within the circle.

00:28:14.930 --> 00:28:20.760


00:28:20.760 --> 00:28:21.760
That's great.

00:28:21.760 --> 00:28:24.880
We've now got the animation
working for this tile.

00:28:24.880 --> 00:28:28.200
All we now need to do is to
actually take that plugin

00:28:28.200 --> 00:28:31.920
and copy it onto the other
two clips in the timeline.

00:28:31.920 --> 00:28:34.930
With the smiling girl
clip still selected,

00:28:34.930 --> 00:28:39.210
press Command or Control-C
to copy the clip.

00:28:39.210 --> 00:28:43.800
Now enable Track 4, and
select the Looking Man clip.

00:28:43.800 --> 00:28:48.150
Press Option or Alt-V
for paste attributes.

00:28:48.150 --> 00:28:52.560
And choose the Plugins
option and apply in order

00:28:52.560 --> 00:28:54.690
to paste the effect.

00:28:54.690 --> 00:28:58.440
Now, all that has done is
actually create a duplicate copy

00:28:58.440 --> 00:29:01.020
of the effect with all
of the same settings

00:29:01.020 --> 00:29:02.530
onto this new clip.

00:29:02.530 --> 00:29:05.700
We now need to adjust those
settings to take into account

00:29:05.700 --> 00:29:07.590
the differences in this clip.

00:29:07.590 --> 00:29:10.270
With the Looking
Man clip selected,

00:29:10.270 --> 00:29:12.990
go to the Effects
tab in the Inspector,

00:29:12.990 --> 00:29:18.660
and change the active tile
from Tile 1 to Tile 1.

00:29:18.660 --> 00:29:22.830
Now, adjust the resize
content controls in order

00:29:22.830 --> 00:29:25.970
to fit the guy's
face into the circle.

00:29:25.970 --> 00:29:37.380


00:29:37.380 --> 00:29:40.590
And now, I need to paste
the attributes again

00:29:40.590 --> 00:29:41.870
for the third tile.

00:29:41.870 --> 00:29:44.550


00:29:44.550 --> 00:29:47.860
Enable the track for
the Walking Girl clip.

00:29:47.860 --> 00:29:52.080
Select the Walking Girl clip,
and press Option or Alt-V

00:29:52.080 --> 00:29:53.920
for Paste Attributes.

00:29:53.920 --> 00:29:56.170
Because we've already
pasted the plug-in,

00:29:56.170 --> 00:29:57.970
you can see it's
already selected.

00:29:57.970 --> 00:30:00.840
So all we need to
do is click Apply

00:30:00.840 --> 00:30:03.940
and again, in the
Effects Inspector,

00:30:03.940 --> 00:30:08.010
change the active
tile to Tile 3.

00:30:08.010 --> 00:30:14.220
And change the Resize Content
controls so that the girl fits

00:30:14.220 --> 00:30:15.350
into the new circle.

00:30:15.350 --> 00:30:19.500


00:30:19.500 --> 00:30:22.260
We turn the playhead to
the start of the timeline

00:30:22.260 --> 00:30:24.370
and preview your animation.

00:30:24.370 --> 00:30:27.750


00:30:27.750 --> 00:30:30.060
I hope you've enjoyed
this demonstration of some

00:30:30.060 --> 00:30:32.730
of the visual effects that
we have on the Edit Page

00:30:32.730 --> 00:30:34.630
in DaVinci Resolve 17.

00:30:34.630 --> 00:30:37.380
Don't forget, you can always
join us on the forum pages

00:30:37.380 --> 00:30:39.280
if you've got any
further questions.

00:30:39.280 --> 00:30:42.280
And also, on the DaVinci
Resolve product pages,

00:30:42.280 --> 00:30:45.810
there's a whole section
dedicated to training videos

00:30:45.810 --> 00:30:49.330
and training guides that
are all available for free.

00:30:49.330 --> 00:30:51.560
Thank you very much.

00:30:51.560 --> 00:30:59.000