CHRIS: Hi, I'm Chris.
I'm an editor and a Blackmagic certified master trainer.
And in this video, we're going to look
at some of the effects that can easily
be achieved in the Edit Page.
I'm just going to start by restoring a Project Archive.
If you right click in an empty space in the project manager,
and choose the Restore Project Archive option--
If you then navigate to the Edit Page Effects.dra,
you'll have downloaded from the website to follow along.
Once the archive has been restored,
simply double click it to open it up.
Here, we've got a project that's got four simple examples
of a variety of different effects
that you may find useful in your day-to-day work.
I'm going to start by just simply resizing
the interface slightly.
I'm going to hold down the Shift key
and use the scroll wheel on my mouse
in order to be able to resize the timeline track height.
Also, it's useful to make sure that you're in full-extent zoom.
This way, you'll always be able to see the full duration
of your timeline.
As you can see, what we have here is,
we have a simple opening title for our Living in the Age
of Airplanes documentary film.
In this case, we've actually got a fusion title together
with three images, which have been composited
using a series of mattes.
The mattes can either be a simple black-and-white image,
or actually have an image that has a built-in alpha channel.
Either way, you can use it in order
to be able to put that texture into the image
that you're using.
So we're actually going to add a separate image
in the bottom right-hand quadrant of the timeline viewer.
So first of all, we need to edit that image into the timeline.
If you simply right click on any of the timeline track headers
and choose Add Tracks, this will enable
you to add multiple different tracks for either video
or audio, depending on your need.
We only want one video track.
So just change the number of audio tracks to zero.
We also want the track to be inserted at a specific position.
Change the insert position to above Archive 3.
And choose Add Tracks.
This creates a new track in exactly the right position
on the timeline.
And it just means that we don't have
to move clips up or down between tracks
in order to position them in the hierarchy of the timeline.
Select the V5 button in order to target our edit onto the V5
track, and just press X to mark the full duration
of the timeline clips.
In the compositing bin, select the media bin
and find the clip, Archival_Air_Races1.
Double click to load it into the source.
Now, we're actually going to do what we call
a fit-to-fill edit for this.
And what will happen is, Resolve will automatically
adjust the speed of the clip in order to fit in
and the out points on the timeline.
Because we're using the whole clip,
we don't actually need to set any in or out points
on the source viewer.
Simply take the clip from the Source Viewer
and drag it across to the Timeline Viewer,
and choose Fit to Fill.
And the clip is edited at the correct duration
and on the correct track in the timeline.
Instead of adding more tracks than we need to this timeline,
in order to keep it simple, what we're going to do is,
we're actually going to convert this clip into a compound clip.
This means that we can then step into the compound clip,
and add the elements we need without overly complicating
the timeline that we're working in.
In the Media Pool, select the Compound Clips Bin.
This means we're going to create the compound clip.
It's going to go into this bin, along with all
the other compound clips for this project.
In the timeline, right click the clip on the V5 track,
and choose New Compound Clip.
Name this Archive 4.
Click Create.
By placing this clip in a compound clip,
we can now open the compound clip in its own timeline.
From the Timeline View Options pop-up menu,
Enable Stacked Timelines.
Then right click Archive 4 in the timeline,
and choose Open In Timeline.
The compound clip is now opened in a separate tab
in its own timeline, next to the main timeline
that we're working in.
This means it's just an easy way that we
can switch back and forth between the different timelines.
We now need to add the matte to this compound clip.
To do that, we need to create a new video track below the one
that we've currently got.
So right click, Choose Add Tracks.
Change the number of audio tracks to zero,
and the insert position for the video track below first track.
Click Add Tracks.
From the mattes bin, select Matte 4A.
The other three mattes that are used in this project
are actually just simple black-and-white images.
And they're labeled Luma.
When we composite this image, we will actually
set the composite mode for this clip to be alpha.
If you're working with a simple black-and-white image,
you just set it to Luma.
Open that clip in the Source Viewer.
And then edit it into the Video track 1.
You might just need to trim the clip at the end,
just so that it lines up with the end of our archive shot.
Now select the alpha clip on track 1.
Open up the Inspector, and scroll down
to the composite area.
Change the composite mode from normal to alpha.
That's told Resolve that we now want to use
that matte as an alpha matte.
Select the clip on the video 2 track,
and in the Inspector Composite Controls,
change the composite mode to foreground.
As you can see, the video image is now
using the underlying matte in order
to be able to create a much more interesting frame.
If we now switch back to our Title Composite Timeline,
you can see just how that image is now being
composited onto the background.
At the moment, it's still looking a little big.
So we just need to use the transform controls in order
to be able to resize it and reposition it.
Make sure you select Archive 4 in the timeline.
Then, from on-screen controls, enable the Transform.
Using on-screen transform controls,
simply resize the image, and just move it into position.
Once you're happy with the position
of your composited image, turn off your on-screen controls,
allow the composite to cache, and then play back the opening.
This is just one example of some of the compositing features
that we have available to us in the Edit Page.
But we can do far more with some of the built-in resolve effects.
In this case, we're actually going
to configure the interface.
First of all, close down your Media Pool.
Open up your Effects Library.
And just make sure that your Effects Library is in
expand mode.
With the Inspector open, also, make
sure the Inspector is in expand mode.
This way, it's easy for us to locate the effects
that we need in the Effects Library List.
And also we've got a larger inspector.
So we don't have to keep scrolling
up and down the controls.
Select the timeline to make sure you're
looking at the Timeline Viewer.
And from the Options menu, choose Timeline Sort Order
Alphabetical.
Then, from the Timeline pop-up menu,
you can choose the appropriate timeline
from the alphabetical order.
The default for this timeline list
is actually to display the timelines at the top of the list
that you've used most recently.
However, in this case, it's actually more appropriate
that we actually find the timeline by the name, hence
the reason why we need to organize it alphabetically.
Choose the 3D Keyer Timeline.
This is an example of a task that many editors are required
to perform, a green-screen key.
Select the clip on the timeline, and from the list in the Effects
Library, select your filters.
Scroll through the list of effects
to find the Resolve Effects Key category.
The 3D Keyer is actually the same keyer that you may use
in the Color Page to do some keying previously.
Select the 3D Keyer.
And double click it in order to be
able to add the keyer to the clip in the timeline.
You can tell that the clip now has the effect on it
from the little FX badge in the bottom left-hand corner.
In the inspector, switch to the Effects tab.
The first thing that we need to do
is actually sample the green screen for removal.
First of all, we need to come to our Open Effects Overlay
on-screen controls.
Then click and hold the mouse, and draw a line
across the area of green that you want to sample.
Instant results-- well, not exactly.
In this case, there is actually a little bit of green fringing
that hasn't been picked up in that initial sample.
But not to worry.
If I just come back into this image
here, and click and drag on the edge, near that fringing,
you can see I can remove a little bit more of the green.
Also, on the edge of the image here,
there's a little bit of fringing that I can see.
So again, I'll just make another selection there.
And that certainly got rid of most of the green
within the image.
And I can now see the background plate underneath,
where I can see the planet.
We can still refine this even more.
In the Inspector, find the Output Controls
and change the Output pop-up menu from final composite
to Alpha Highlight Black-and-White.
This actually shows us which areas of the image are solid,
which are represented in white, and which areas are transparent,
represented in black.
You can see, I've still got a little bit of fringing around
the edge of the window.
In the Inspector, I can use the Matte Finesse Controls
in order to be able to first of all, clean
the black part of the matte, and then the white part,
just to help clean up that matte a little bit.
As you can see, there are many more controls
for finessing your matte, but in this case,
a simple tweak is all we need.
Change the Output pop-up menu back to final composite.
And then disable your Open Effects on-screen controls.
Scrub through the shot?
Yes, we've got something that's kind of working.
However, there's a lot of green spill in this shot.
The reflection of the green screen
is actually being reflected in the guy's uniform,
and also in his skin tones.
Thankfully, the 3D Keyer actually has a simple control
in order to be able to eliminate spill like this.
Simply come up to the Keyer Options,
and check the Despill box.
That's cleaned up that image nicely.
Simple compositing tasks like this
are often things that many editors need
to do on a day-to-day basis.
Another thing that we're often asked to do
is sometimes to be able to replace a screen that
might be at an angle.
From the Timeline Viewer pop-up menu,
choose the Transform Timeline.
This is a short scene of the owner of the Citizen Chain
Cyclery arriving for work.
And in this case, we've got the Citizen Chain logo composited
over the opening shot.
What we want to be able to do here, is to actually composite
the Citizen Chain logo into the window of the shop,
using the new Transform effect.
Simply select the Citizen Chain Logo Graphic on the timeline.
And then from your Effects library,
scroll down until you find the Resolve Effects Transform
category.
Double click the Transform Effect.
And then access the Effects tab in the Inspector.
At first glance, it might appear that this effect has simply
replicated some of the controls you
may be familiar with in the Video Inspector.
However, there are a number of different modes
in which you can actually use this effect.
Re-enable your Effect Overlays on-screen controls.
And change the control mode for the Transform Effect
from Sliders to Interactive Canvas.
You're now presented with a grid, which you can actually
use in order to be able to twist and distort this graphic.
Using the corner quadrants of the grid,
simply click and drag on-screen controls in order
to be able to position the corners of the graphic
into the corners of the window.
Try and get it as close as possible,
but don't worry too much if you can't.
Don't forget, though, you can always
zoom in, using the scroll wheel on your mouse.
And holding down the middle mouse button,
you can always change the pan of the image within the viewer.
When you're finished, simply press Z
in order to be able to fit the image back into the viewer.
Turn off on-screen controls in order
to be able to see the composited image.
We can actually use Composite Modes in order
to help this image blend a little bit more
naturally into the background.
In the Inspector, go to the Video tab.
And from the Composite section, change the Composite Mode.
You could also play with the opacity,
as well, to make it a little less obvious
that that graphic is there.
This is all very well.
We're helping to sell that image.
But this is always on the first frame of the shot.
If I actually play this timeline now,
you can see that the camera movement actually
shows up the fact that this image isn't actually
part of that window.
Now, the Edit page doesn't actually
have the advanced tracking functions
that you would find in the Fusion page,
but many editors are often happier
about putting in some keyframes in order
to be able to manually follow the movement of the camera,
particularly if that camera movement is smooth enough.
If I return the playhead back to the beginning
of this clip in the timeline and return
to the Effects tab of the Inspector,
under the Control Options, I've got the Control Canvas Keyframe.
And I'm just going to simply add a keyframe at the first frame
of this clip.
I'm going to use the down-arrow key
to jump to the next edit point.
But I actually need to see the last frame of this graphic.
So I'm going to come one frame back.
And now, if I re-enable on-screen controls,
I can now change the position of each of those corner points.
And what this will do is, it will actually
record the changes in a new keyframe automatically.
Disable your on-screen effects, return the playhead
to the beginning of the timeline, and play back.
It's simple compositing tasks like this
that as editors, we often need to accomplish
on a day-to-day basis.
Now, it doesn't necessarily mean that this
will be the finished effect.
Sometimes all we need to do is put together
a rough approximation of the effect,
just so that the director understands
how the shot will work when you hand it off to a visual effects
artist.
The next example we're going to look at
is the new Video Collage Effect.
From the Timeline Viewer pop-up menu,
choose the Video Collage Background.
We actually have a timeline that's
got four clips, all stacked on top of each other.
You'll notice that three of those tracks
are already disabled.
The image in the first track is of Chris Lang,
who's the owner of the Organ Mountain Outfitters
chain of stores.
If we enable the clips on video track 2,
you can see that we have an image of a girl walking
through a canyon.
On V3, we actually have a wide shot of a mountain.
And on V4, we actually have this rather wonderful image
of Organ Mountain from the distance.
Now, we actually want to use this topmost image
as the background.
And in traditional compositing, what we would normally do is,
have this as the background image
at the bottom of the Layers.
But that's not how the video collage works.
The video collage works in the background mode
by effectively creating holes in this image, from which we
can see the underlying shots.
So in this case, I'm going to select the clip on V4.
From my Resolve Effects Transform category,
I'm going to find the Video Collage effect,
and double click to apply it to that selected
clip in the timeline.
As you can now see, it's almost looking through a window
frame of the underlying shot.
But before I start to position the lower clips within each
of those little holes, what I want to do
is actually customize the layout of what we call the tiles.
In the Effects Inspector, you can
see that you've got the controls for the video collage.
And they're actually in two tabs, Globals and Tiles.
Click the Preview Layout in order
to be able to preview each of the tiles.
You can change the number of columns and rows
by using the sliders.
So for example, if I wanted many images here,
I could actually change the columns and rows
to the appropriate number.
I only need two columns and two rows.
However, I actually want to remove this tile number 4.
I don't need it.
And I actually want tile number 2
to actually be larger and take up
the position of tile number 4.
To do that, I'll need to go into the Tiles Control.
Click on the Tiles Control, and change the active tile
to the tile that we want to change first.
In this case, tile 4.
If you now click the Manual Tile Management checkbox,
you can then delete tile number 4.
Switch to tile number 2.
And in the Custom Size and Shape controls,
change the end row to row 2.
So using a coordinate system of columns and rows,
you can choose where a particular tile starts
and where it ends.
Opening up the Tile Styling, you can choose to add a border.
I'm going to add a slight border to those tiles.
I'm also going to change the tile color to a bright green.
Opening up the Drop Shadow controls,
I'm going to increase the strength of the drop shadow
and the distance of the drop shadow,
and also adjust the angle so that the drop shadow is
a little bit more vertically underneath the clip,
and adding a little bit of blur, just to help soften the shadows.
The Video Collage also has a series of automatic animations
that you can apply.
So you don't need to worry too much
about getting into complex keyframe animation,
although you have the ability to be able to do that, as well.
In the Tile Animation section, I'm
going to change the Animate pop-up menu to intro only.
We now have a set of predefined animation presets.
In this case, I don't want to use the Shrink preset.
But I do want to use the Fade.
I'm going to uncheck Shrink and check Fade.
And I can now specify a duration for that animation.
In this case, I'm going to set it to 24 frames.
Now, you can see I can scrub through the timeline
in order to be able to preview the animation.
Now that I've set up the tiles and adjusted the animation,
it's all ready for me to actually put the images
into each of those tiles.
I'm going to uncheck Preview Layout,
then select the clip on Track V3,
go into on-screen Transform controls,
and resize the image so that it sits
nice and neatly inside the tile in the top left-hand corner.
The great thing about this is, because I've
specified the size of the tiles, I
don't need to be too concerned as to how each of these clips
is lining up.
The math that the video collage is creating
means I just simply need to frame it appropriately.
Selecting the image on V2, I'm going to do the same again,
resizing and positioning the image of the girl in the canyon.
Now, as I set it here, you'll also
notice that the image is actually encroaching
into another part of the mask.
So in this case, I'm going to switch on-screen controls
to crop.
And this will then allow me to crop the image
so that it doesn't actually show in any of the other matte holes.
I'm now going to select the clip on V1, go back to my Transform,
and reposition my interviewee, with a little bit of resizing,
into the mask that I created for him.
Turning off all the on-screen controls,
I can now play back the effect to see the results--
SPEAKER (ON VIDEO): --aspects of our business.
CHRIS: So this is one use for our video collage effect.
But the other way that we can use the video collage
is to use it to create the individual tiles themselves.
From your Timeline Viewer pop-up menu,
choose Video Collage Tiles.
Now in this case, we have a timeline
that's already set up with the Organ Mountain background,
actually on the Video 1 track.
We've also got an animated logo that fades in.
On Video 3, we've got a compound clip
of a girl turning towards the camera and smiling.
Video 4, we've got a man, looking.
And Video 5, we've got the girl from the canyon,
walking across the mountain top.
Now in this case, I'm going to do the setup actually,
on the first shot of the girl turning towards the camera.
And then, once we've got the tile set and the animation
working, we can then simply copy and paste the effect
to the other clips.
So I'm just going to leave the clip on Video 5
and Video 4 disabled for the moment.
Select the compound clip of the smiling girl,
and double click the video collage to apply it.
As you can see, the background is now
viewable through the matte holes that are created in the image.
From the Effects Inspector, change the workflow from Create
Background to Create Tile.
Now, you can see that the girl is actually
composited as a picture-in-picture effect,
very similar to.
If we'd have scaled the clip down, using the Transform
controls, and moved it into position.
Click the Preview Layout tab in order
to get the familiar layout.
We want to have three columns for each of the three images,
but only one row.
Use the Rounding control to create circular tiles.
Then use the Vertical Offset control to position those tiles
above the mountains.
Now that we've got the tiles into position,
let's customize them in terms of the border and the drop shadow.
Let's go to the Tiles tab, and open up the Tile Styling,
and increase the tile border ever so slightly.
Change the tile color to about 90% brightness.
Open the Drop Shadow controls and increase the strength.
Change the drop angle so that the shadows are appearing
directly beneath the tiles.
Increase the drop distance and the blur
to your particular liking.
Now that we've got the tiles stylized,
we just need to work on the animation.
First of all, position the playhead
so that the logo is just about starting
to appear in the Viewer.
Then open the Tile Animation controls.
We're actually going to manually keyframe the fly animation.
But first of all, we need to choose the direction
of that animation.
Change the Fly Animation pop-up menu to fly up.
This means that the tiles will actually
come from the top of the screen, not that they will actually
go to the top of the screen.
At this point, the fly progress is in the correct position.
So simply add a keyframe by clicking the white diamond
to make it go red.
Now move the playhead back to the beginning of your timeline
and adjust the Fly Progress slider
so that the tiles disappear off the top of the screen.
You should now be able to preview the timeline
and preview the animation.
You can also adjust the acceleration of that animation
very easily, as well.
In the Easing and Blur of All Tiles control,
change the Animation Effect Ease to out.
And then adjust the ease amount to your liking,
so that when you play the animation back,
the tiles will come to a gentle rest rather than an abrupt stop.
Again, now that we've got the animation sorted,
we can now start to customize the actual tile image itself.
At the top of the Inspector, uncheck the Preview Layout
option.
Then open up the Resize controls,
and use the Pan and Tilt controls
in order to be able to reframe the girl within the circle.
That's great.
We've now got the animation working for this tile.
All we now need to do is to actually take that plugin
and copy it onto the other two clips in the timeline.
With the smiling girl clip still selected,
press Command or Control-C to copy the clip.
Now enable Track 4, and select the Looking Man clip.
Press Option or Alt-V for paste attributes.
And choose the Plugins option and apply in order
to paste the effect.
Now, all that has done is actually create a duplicate copy
of the effect with all of the same settings
onto this new clip.
We now need to adjust those settings to take into account
the differences in this clip.
With the Looking Man clip selected,
go to the Effects tab in the Inspector,
and change the active tile from Tile 1 to Tile 1.
Now, adjust the resize content controls in order
to fit the guy's face into the circle.
And now, I need to paste the attributes again
for the third tile.
Enable the track for the Walking Girl clip.
Select the Walking Girl clip, and press Option or Alt-V
for Paste Attributes.
Because we've already pasted the plug-in,
you can see it's already selected.
So all we need to do is click Apply
and again, in the Effects Inspector,
change the active tile to Tile 3.
And change the Resize Content controls so that the girl fits
into the new circle.
We turn the playhead to the start of the timeline
and preview your animation.
I hope you've enjoyed this demonstration of some
of the visual effects that we have on the Edit Page
in DaVinci Resolve 17.
Don't forget, you can always join us on the forum pages
if you've got any further questions.
And also, on the DaVinci Resolve product pages,
there's a whole section dedicated to training videos
and training guides that are all available for free.
Thank you very much.