DaVinci Resolve Complete Beginner Course: Edit, Color, FX & Audio

I designed this video from the ground up to be the greatest video ever created on Da Vinci Resolve. This is an entire

introduction course. This is a course that we used to charge hundreds of dollars for. We've helped millions of

people learn Resolve. And I'm excited for you to learn Resolve, too. By the end of this video, you're going to be

able to use Da Vinci Resolve to start creating the videos that you want to create. Everything from media management

to laying out your clips in the timeline to color grading to compositing to audio mixing all the way to final delivery so

that you can upload your footage to YouTube or output it for whatever purpose you need. We're going to go over

all the essential need to know stuff, everything about Resolve that you'll need to know to get started. You can

download footage and follow along. There's the top link in the description there. And yeah, this is just a

massively amazing course that we're giving out for free. Why are we doing that? Well, because at ground control,

we actually have quite a few courses on Da Vinci Resolve. A little bit more advanced stuff, pretty much all of the

next steps that you would want to take right after this course. And so, if you want to dive a little bit deeper, we're

hoping you might buy a course. That said, you can just watch this video and be off to the races. Man, you're about

to go from somebody who doesn't know anything about Resolve to being able to use Resolve to make videos that you want

to make and even make videos that you can charge for and get clients. I absolutely love being able to empower

people to be creative and Resolve is one of the coolest tools available to be able to be creative with uh digital

media. You ready to go? Let's do it. So, what do we need to get started here? The first thing that you'll need is a good

system. Now, you can use Resolve on a pretty basic computer, but once you start getting a little bit deeper,

especially into compositing and things that uh take a little bit more system resources, if you don't have a good

graphics card and kind of a good uh like a mid-range gaming PC or maybe like a Mac M2 or later, you're probably going

to have a hard time. Resolve is really resource hungry. So, I want to make sure that if you're following along, you're

doing that on a good system, or else uh it's not going to be very much fun. So, that's number one. You got to have a

good system. Okay. Two, you need a copy of Resolve. Resolve has a free version that's amazing. Pretty much everything I

show you in this video, you can do in the free version. Okay. I'll let you know if there's a paid version thing.

Something that would be helpful in this video is a little bit of knowledge on kind of how video editing works and

stuff. It's not totally essential. If you've taken videos with your phone camera and you've kind of scrubbed

through a video before, that's a really good start. But learning Resolve is going to be especially easy for you if

you've used something like iMovie or Cap Cut or Premiere or something like that. All of those editing skills transfer

nicely into Resolve. The other big thing I'd recommend is that you actually dedicate some time to this. Learning any

new skill takes time and Resolve is a great big deep program that can do all kinds of stuff and it's really easy to

feel lost and frustrated especially when you start looking at the interface like we're going to look at in a few minutes.

But I want you to take some time and have some patience. Be kind to yourself because learning this kind of thing,

especially if you're brand new to it, is not easy. That said, I'm going to do my very best to move slowly and to give you

just the need to know knowledge in little bite-sized chunks so it doesn't take quite as much time and you don't

need quite as much experience. You can use the free version. And a lot of this stuff you can do on a system that maybe

isn't the highest spec system ever, especially the media that we link down below, that should all run on just about

any system without lots of trouble. So, let's start with the very basics. What the heck is Resolve? Resolve is a piece

of video editing software and what makes it unique is that not only can you do video editing like in the traditional

sense of putting clips together in a story and kind of lining that out and cutting out the parts you don't want and

that kind of thing. But it can also do fancy things like adding explosions and lightsabers and duplicating people and

cloning things out. things that you would maybe think of using Photoshop for, but for video. Da Vinci Resolve is

also really, really great at color correction. And it can also mix audio really well. And so all of these things

kind of come together as sort of a one-stop shop for what we call post-prouction. That's everything that

happens after you shoot. So managing your media, putting it together in a timeline, graphics and effects, and all

kinds of stuff. That all can happen inside of Resolve. And Resolve is a very high quality program. It's a

professional program. This is the kind of app that Hollywood uses and they use on great big movies and TV shows and all

kinds of stuff. Like here on the Blackmagic website, you can see clips from movies that have used Resolve. I

mean, from Marvel and from Disney and things that you would see in the theaters. This is the kind of production

quality that we can do with Resolve. I mean, it's nuts. So the fact that we have such a high quality piece of

software available, you know, in the free version for free is just nuts. And the thing that's really cool about

Resolve is it's really like several programs all in one. And they split these different programs up into pages.

And so here we can see the kind of different pages in Resolve. And they each have a different job. So there's

the cut page and the edit page which is focused on putting your clips together in a story on a story line. We have the

color page which is all about color. We have the fusion page which does the effects and graphics and things like

that. We have the Fairlite page which is all about audiom mixing. And so this is the kind of thing that you would

traditionally need to use several different apps for but it's all built inside of Resolve. And so here we have

the pages of Resolve. They're actually represented by these buttons that are down below on the interface of Resolve.

So here, if I bring up Resolve, we see these buttons right here. And this is how you switch in between those

different apps to do the different parts of your video editing. And there is a lot to go over for every page here. I

mean, every page is its own huge monster. And we're going to go over the basics of each of them so that you

aren't lost. And you'll be able to use each page at least in its basic form by the end of this video. Resolve has a

bunch of different effects and I mean things that you would think about like Instagram filters. It has stuff like

that. It has blurs and film looks and different filters to stylize your video. It has a whole bunch of AI stuff built

in. A lot of that is only available in the paid version, but I'll show you a couple really uh interesting unique

things as we go along. It works with other plugins and all kinds of third party tools and stuff. There's even

specialized hardware that it works with. They have these unique editing keyboards as well as color grading panels which

are really fun. And I mean you can just go crazy. You can get this huge mixing board for Fairlite. Look at this. That's

nuts. Or you can just use the free version on your laptop. That's the amazing thing about Resolve is it scales

to your ability and your needs. You can use the free version on a laptop on a plane or you can use the paid version

with all kinds of hardware in a huge studio. and it's all using the same piece of software with just, you know,

little different features. So, let's talk about the free version versus the studio version. People always ask me

what's the difference. The long story short is if you are watching this video, you can probably use the free version. I

would recommend that you get the free version, you download it, you open it up, and you start making stuff with it.

If you get into some corner of Resolve where something is only available in the paid version, it will pop up and tell

you. And I always recommend that you only upgrade if you keep running into that. It can do nearly everything I show

you in this video. You can work with just about any kind of video. You can even collaborate with other editors

online with the free version. You can render up to UHD, so that's a little smaller than 4K. That's like the

consumer 4K. It has color grading. It has Fusion compositing. It has Fair Light. You can use it for commercial

work. There's no demo period. There's no watermark. It's just a ridiculously good deal. It's free. There's no catch. It's

just awesome. Now, for the studio version, you do get a bunch of really cool stuff. Most notably, Resolve

effects, which are just a lot more effects to stylize your video, as well as all the AI stuff. There are a lot of

new AI features that will do things like sweeten your audio or cut out a person walking across your video so you can put

graphics behind them. And there's a lot of really nice little features that just make Resolve even better. Resolve

Studio, you buy it once for $295. It's a smoking deal. There's no subscription. You just buy it for 295 and you get it

forever. And so far, they have not been charging for upgrades. It's very possible they'll charge something for

upgrades in the future, but even if they do, this is a smoking deal because there are a lot of really cool things in the

paid version of Resolve that I would highly recommend getting the paid version for. But again, if you're just

starting out, and even if you're not starting out, but you just don't need some of those features, use the free

version. It's amazing, and there's just no reason not to do that. So, my answer is get the free version and see how it

goes. Consider getting the paid version when you have some extra money or if you need some of the really specific things

that Resolve Studio will give you. But the free version is perfect for I mean, 90% of people can totally use the free

version. And this is really the reason why we teach Resolve at Ground Control is because our mission is to encourage

and empower creativity. We want people to be able to create the things that they want to make. And right now, Da

Vinci Resolve is like the greatest tool for that. So, I'm really excited that you're looking into it. Let's get into

the actual software, shall we? By the way, I'm using Da Vinci Resolve 20 for this video. In the future, whether

you're using Da Vinci Resolve 20 or 20.5 or 21 or whatever comes out next, 99% of what we're going over is going to apply

perfectly. But if you're on Resolve 21 or something, probably not a big deal. Another thing to mention is that I am

using the studio version of Resolve, but everything that I'm going to show you is in the free version. Okay? So, don't be

asking me in the comments, is this all in the free version? Do you even listen? So, when you open Resolve, this is the

first thing that comes up. Now, this panel right here, this is called your project manager. This is how you

navigate to your different project files. You can see I have some of these older projects here. Yours might look

more like this, and that's totally fine. But here is where we open past projects and make new projects. And all of the

projects here, these live in our project library. We can browse our project libraries over here. And by default,

you'll be working on your local libraries. Now, what the heck does that mean? So, a library is just a database

of your projects that lives on your system. It's basically just a folder that has your projects in it. Resolve is

kind of picky about where that folder goes. It always wants to have access to just that folder. You can't just put

projects willy-nilly all over the landscape. So, by default, it's probably on your system drive. You can hit this

little I and then click on open file location. And so, for me, it's under C users Casey documents resolve disc

library. And if you go through a whole bunch of subfolders, you'll find all of your projects. Now, I wouldn't worry

about this too much. Here's why. The only time you're going to need to open up a project is in Resolve. And Resolve

knows where that is. If you want to save a project that's not in that library, maybe you want to save it and give it to

somebody else or you want to save it as a backup or something like this, all you have to do is rightclick on your project

and go down to export project. that will let you save a copy of your project to your desktop or to an external drive or

to cloud storage or whatever you want to do. That's going to make a DRP file. That's short for Da Vinci Resolve

project. This is a great way to do things, but just know by default all of your projects live in your library,

which is a folder that Resolve knows about on your system. You can have multiple libraries and multiple folders.

We'll get into that some other time. Now, you also have network libraries and cloud libraries. A network library is

for a studio that has kind of a server and all that stuff. You probably don't need to worry about that. Cloud

libraries are shared projects. These are projects that you can actually share with other editors that have access to

your cloud account. And so just like we have this folder on our local library on our system, we can have a folder that

lives on the Blackmagic website basically that you can all kind of share and access and it's really slick. If you

want a video about that, let me know and we'll talk more about it. But for now, all we really have to do is go down here

to where it says new project. And let's make a new project. And we're going to call this intro to Resolve

to Resolve like this. And we'll just say 2025 cuz that's the year that I'm recording this. And it's going to ask

you for a media location. For now, let's just not worry about that. Let's just leave it at default and hit create. Once

you do that, it's going to open up the Resolve interface. This is where we actually have to start doing things.

But first, a little tour. Most of this interface, like everything within the red box, is actually going to switch out

depending on what page you're on in Resolve. Here we have the pages. And as I click on the different pages, that's

going to switch out my interface. And kind of like we were talking about earlier, it switches it to kind of like

a different app, but it's not a different app. This is all Resolve. And it all kind of shares the same project,

which is really slick. And we'll get into that here in a little bit. But that's the first thing I want you to do

is go down here and just switch these pages and get used to switching out that interface. But where we're going to

start is this far left page, the media page. All the way over here. Click on media for me. And now all of our panels

have switched out for the panels for the media page. Now, something to mention here is that this isn't just switching a

layout. This is actually switching into kind of a different mode. Even though there are common panels in between the

pages, it's not just a different workspace. It's actually like a different mode of creating. So, let's

start talking about what the heck the media page is. Well, each page has a really a specific job. The media pages

job is to manage media. And so, this is a perfect mode to put Resolve in when you don't have any media in your project

and you're looking to put some in there. So, a little tour of the interface. In the upper left, we have this panel,

which is our media storage panel. This is a way to navigate on your system to any media that you want to bring into

Resolve. So, I'll just navigate to some media here. And once you find the folder up here, then you can actually preview

the media just by mousing over any of these thumbnails. This is what we call hover scrub because you hover over this

thumbnail and it scrubs the video. That means it just moves that playhead back and forth so you can see what's going

on. This is a great way to be able to preview the footage that you have before you bring it into your project. Now,

what do I mean by that? Well, even though we're looking at this media here, the media isn't actually imported into

the project. We haven't told Resolve to use the media. We're really just kind of using Resolve to go and find it. But, we

haven't said anything about wanting to edit anything or combine clips together or change them. So, in order to change

anything or work with this media, we need to import it into Resolve. To do that, real simply, we can just grab a

piece of media here from our media storage and drag it down to this panel down here, which is called our media

pool. It's going to ask if we want to change the project frame rate. We'll explain this a little bit later. I'll

hit change right now. Okay. What that's going to do is put this piece of media down here in the media pool. Anything

that's down here in the media pool actually lives in our project. So, we've told Resolve that, hey, there is a piece

of media called A54191 blah blah blah. And it lives on our system. Here it is. I want to actually

work on this. And so, we've told Resolve that we're actually going to use this and play with it and work with it and

edit it with other videos and all the fun stuff that Resolve does. All the media up here in this panel is not in

our project yet. It's just on our system. So, as far as Resolve is concerned, it only really knows about

this one clip. In fact, I would consider using this panel a little bit optional. It is a nice way to be able to hover

scrub and kind of find the media that you want. But you could also just close this media storage and bring things

directly into the media pool. You could do that a couple ways. You could rightclick here and say import media.

You could go up to file and go down to import media. Or you can just drag media into the media pool from your system.

And so here I have a bunch of footage. I can grab any of these and just drag them into the media pool. And again, now it

knows about this footage because I put it in the media pool. It lives in the project. So now we have two clips that

we can work with. What if we had a bunch of clips? So I'll just grab a bunch of this and drag this in here. Now we have

a bunch of clips here in the media pool. We have all these clips that we can work with for our movie. But it would

actually help to start getting organized here. That's one thing that the media page is really good for. And especially

working here in the media pool. You can rightclick anywhere here in this empty space and you could go up and say new

bin. That makes a little folder inside of the Resolve project where you can put different pieces of media. So we can put

whatever piece of media we want here. Just anything with the girl. Let's say great. We just say girl. Sure. Can

double click and open this. And we have our media here. We also have a list of bins over here on the left which we can

kind of navigate to. And it's kind of a little folder structure here. And so if we have another bin here, we could say

wide shots. Sure. Let's pick all the wide shots here and put them in wide. Sure. And now we have these different

bins here. We can organize this. We could also right click here in the bin list and say new bin. That works too.

Bin three. Sure. And we can put those into bin three. We can also drag them like this. There are different views in

the media pool. You can zoom these thumbnails in and out with this slider. You can switch it to list view if you

want to see a little bit more information about your clips. You can switch this to metadata view,

which is kind of a mix of the thumbnail view and there's also a little bit more data on them. Most of the time I either

use the thumbnail view or the list view. And this is really how we get organized when it comes to our media here in

Resolve. All about the media pool. So, I'm actually going to get rid of all of these just so we have no clips here. And

I want you to do this with me. If you downloaded the media to follow along, you should have a folder called drag

these folders into media pool bin list. Now, this is going to be absolutely shocking, but here's what I want you to

do. I want you to select all of these folders and I want you to drag them into the media pool bin list right here. Just

like this, right under here where it says master and drop them. That's going to take Resolve a second.

And then it's going to make bins out of each of those folders. So, that's going to be organized just like it is in our

Finder or Explorer window in these different folders. If you drag these into the media pool itself and not the

bin list, it's just going to throw all of the media in there without the folders. So, make sure to drag them

here. All right. So, now we have all of the media that we're going to use for the rest of this video. and feel free to

open up the bins, go through it, and take a look at some of this footage. We have all kinds of fun stuff. We have a

production meeting here with multiple cameras. We have footage that we're going to color grade later. We have

footage that needs some compositing and some effects. And we have some clips that we're going to edit together into a

story in the edit page. Now, I don't want to spend tons and tons of time on this, but I do want to show you a couple

little extra things about the media pool. One thing that can be really helpful in the media page is the

metadata. Now over here we have a metadata panel which has nothing to inspect right now. But if I select the

clip that's going to show us metadata on this clip. Now what is that? It's just basically information that is recorded

with the clip. We can make this panel bigger by going up here and clicking where it says audio. That's going to

close our audio panel here. In fact, any panel in Resolve pretty much has some kind of header like this, usually at the

top. And when it's bright white, that panel is open. And when it's gray, it's closed. And so, this is how we can open

and close different panels in Resolve. And this is common to all of the pages. We're going to be doing a lot of that.

So, we have our metadata panel open here. And I can see all kinds of information about this, but there's

actually even more information. If I go up here to the upper right, this little button right here, I can click this and

say all groups. And that gives us just a ton of stuff. Most of this is stuff that we can fill in later. And so if you're

the kind of person that really likes to be organized and really, you know, you write notes about stuff and you tag

things and you have labels all over your house and you have spreadsheets, this is the best place for you. You can write

all kinds of notes about every single thing that you want for your piece of media here. You can write a description,

comments, the shot, scene, take, angle. All of this stuff you can do right here in the metadata panel of the media page.

It's probably way more detailed than you ever really need to be. But here's what's really cool about that. Let's

select this uh clip 24. I'm just going to double click on this clip 24 here. That'll load it up in this viewer. So,

if I double click on it, then I don't have to be hover scrubbing it. I can just scrub this up here in the viewer.

And what I can do is zoom in by just rolling with the scroll wheel here to this slate. This is the reason why we

shoot with slates is because then we can easily tell what scene and take a clip is. And we could if we wanted to go here

into the metadata and kind of record that. So scene 4.5 take five. So now we have that here in

the metadata because we kind of read it off of here and just typed it in. We can do the same thing for other clips here.

Let's find it. So this is 4.6. 4.6 take two. 4.7 take 3. And you could go through and

tag all of your clips with this. What's neat about this is I can switch this to list view and I can rightclick up here

in this header and I can pick any kind of metadata that I want to show. In fact, I'll uncheck a bunch of this stuff

cuz I don't care about most of it. Just uncheck all the stuff I don't care about and then just check the stuff I do care

about. So, for instance, scene, take, and then I can organize this by scene and take, and I can quickly see where my

scenes and takes are, match that up to my script if I want to, whatever I want to do here. And so, this is a really

nice way to get organized. I could also rightclick here and select keyword. And here I could do something like, all

right, this is an over- the-shoulder shot. So, we could go into keywords here in my metadata, and type OTS. That's

short for over the shoulder. Just like that. That's going to add that keyword here. And anything that I have that's an

over-the-shoulder shot, I can just kind of page through here and see if there's anything else that's an OTS. This is

sort of an over- the-shoulder shot. Sure, let's call it that. OTS like that. Boop. Now, we have these listed as OTS.

So, I could sort them by keyword, but I can also go to something called a smart bin. Smart bins are like a live filter.

It's sort of like a folder that it puts a copy of things into based on whatever you set the smart bin to. And by

default, if you click on keywords, it makes a smart bin for every keyword. So, I can click on OTS, and that's going to

show me just the OTS shots. And you can make keywords for absolutely anything you want. It can be completely custom,

which is really neat. There's also these collections here, which will give you some quick things to sort by. for

instance, video clips, audio only, and it even has a way with AI where it can kind of sort and categorize things. In

fact, let's do that. Let's grab our audio only stuff. Let's just grab all of this here. I'm going to just shiftclick

the end of that, right click, and go down to AI tools, audio classification, analyze. This is something that's only

available in the paid version. I promised I'd tell you when there's paid version stuff. Any kind of AI stuff is

pretty much in the paid version. All right. But what's neat about this is once it analyzes all of that, then I can

go and look for clips just with dialogue, clips with just music, clips that are more for effects, and there's

also subcategories, and it will try and figure out clips that have things like effects in them, things like a door,

things like a dog barking, things like laughter or liquid. Sometimes it does all kinds of weird things, like it

thinks they're sheep or pig. There's a toilet flushing sound. It nailed that one. And so that's kind of fun. If you

have lots and lots of clips that you want to organize a little bit better, you can use that AI to do that. But

again, that's in the paid version and you don't need to do that. You can always make your own keywords and kind

of organize this yourself. You can even rightclick here and say add smart bin and you can do kind of a live filter

based on all kinds of stuff. So media pool properties. You could even do like things from a certain scene. If the

scene contains, you know, scene four, then that's going to only show scene four. And if we hit create, then we have

the smart bin one, which we could rename scene 4. And you could have one for each scene. All kinds of stuff you can do

with this. This is especially helpful for documentaries and things where you have lots and lots and lots of footage

that you need to stay organized with. Things where you have, you know, 20 hours of B-roll. It's great to spend

some time before you edit to kind of get this all organized here. And there are a few more things that you could do in the

media page, but this is really what I use this for most of the time is going through and getting organized, logging

footage, putting putting metadata in, and just kind of getting our head around all of the media that's in our project.

And I'm going to show you one more cool thing before we get into the edit page. And this is something that you can

actually do in the other pages, but is a great thing to do in the media page as well. And that is syncing audio. If we

open up our clip and play this back, we have the audio from the camera. The kids are talking, but you can't

really hear them very well because the camera is really far away. Now, we had a boom mic here where we were recording

some audio so that we can actually hear them, but that recorded to a separate recorder. In fact, if we open up our

audio here, this clip 108, scene four, shot 18, take three. He said, "Scene four, shot 18, take

three." Scene four, shot 18, take three. Scene four, shot 18, take three.

So, how do we get this audio and this video to sync up? Well, you could actually put them together on a

timeline, which I'll show you a little bit on how to do something like that later. But one thing that Resolve can do

that's really great is we can take this audio. Let's actually just take grab all this audio and throw this into that

folder. So, we have all of the audio and video together. I can take this clip and this clip. I'm just holding control and

selecting both of these. And I can rightclick and go up to audio sync, autosync audio. This is something that

is still available in the free version. and we're going to select synchronize using waveform like this and hit sync.

What that's going to do it you just about miss it. What that's going to do is replace the audio in our video clip

with the audio from that mic. So here camera audio scene four shot 18 take three.

That still works but now go check it out. No, you go check it out. we can actually

hear them because we have that good audio switched out. What's cool about this is we can actually select all of

our clips. Just shift select all of this, right click, audio sync, autosync audio, and that's going to go through

all of our clips and sync them together. So, anything that matches with the other one, it's going to replace that audio.

Now, some of the clips it didn't really work for, and that's okay. We can worry about those later, but for most of them,

it worked. So, it says clip 20 and clip 19. Let's look at clip 20 and clip 19. And there's not really any audio that we

need to hear. There's not not any dialogue. So, it's really not that big of a deal. But from now on in our

project, we'll hear the good audio fine instead of the on camera audio. And that's going to make editing a lot

easier. In fact, if we want to double check and make sure that things are synced up, we can rightclick here in

this header and find synced audio. And that's going to list the audio right here that it synced up with that clip.

Isn't that nice? Such a great feature. Next, let's talk about editing. And for that, I'm going to go into the edit

page. I'm actually going to skip over the cut page for just a minute. But to switch to the edit page, all I have to

do is click on edit. And that'll switch to the edit page, and we're ready to start working on our story. Now, a lot

of what you do in Resolve is going to be in the edit page because you can kind of think of it as like the hub for all of

the things that happen in your video. The edit page is where we take all of these clips that we have in our project

and we actually put them together in a timeline. The timeline is where we figure out the order of the clips and

how long they take and which parts we use. And we're basically building our new edited video with the timeline.

It's really all about building a story. And so if we're shooting a scene in a movie about Bill getting into his car,

we can shoot all of the different pieces of this. Bill walking to his car, Bill getting in the car, Bill getting a phone

call, Bill opening the door, Bill waving to the neighbor. We can shoot all of these things happening in any order we

want and then choose to change the order in our edit. So, Bill opens the door. That's the fourth thing that we shoot,

but we're going to put it first in our edit. Bill waving to the neighbor comes next.

Bill getting a phone call, Bill walking to the car, and then Bill getting in the car. And so even though we shot this out

of order, the order that we're building in our edit is Bill opens the door, Bill waves to the neighbor, Bill gets a phone

call, Bill walks to his car, Bill gets in the car. This is the kind of thing that I'm so excited about when it comes

to editing is because what we're doing is we're building a story here. So everything in the edit page is about

building that story. And that timeline is going to be where everything in our video lives. And we're going to make

more tweaks to it later in these other pages. But for now, kind of keep that in mind that that's our goal with the edit

page. So, let's talk about the interface. We are going to have some familiar stuff here. Actually, we have

these little buttons up here. When we click these and they're white, they open up different panels. And the panel

that's open by default over here on the left is our media pool. Now, this is exactly like the media pool in the media

page. The only difference is instead of it being down here, it's over here to the left. But you can

still do all the same things. This is all the media that lives in your project. We still have our bins. We

still have our smart bins. We can still look at our media in various different ways. But you can sort of think of this

as like your cabinet of ingredients that we're going to use to make our video. Here we also have a couple of viewers.

This left viewer is called our source viewer. And this right viewer here is called the

timeline viewer. What the source viewer is for is if I open up one of these pieces of media,

double click on it, I can preview this piece of media. So I can scrub through this and preview this and look all

through any kind of media that I have. And you do that just by double clicking on any of these pieces of media. And you

can sort of think of this as like picking up something and looking at it. So if you have a snack in your cabinet,

you pick it up and you look at it like this, but you haven't actually added it to your plate yet. All you're doing is

just kind of previewing it, looking at it. So that's cool. You can double click on any piece of media to load it up here

in the viewer. You can also switch this to this second mode right here with this little button. And this is called source

tape mode. And what this is is it basically takes all of your footage and it loads it all into this source viewer

all at once and it just kind of puts them all together. And so if I scrub through this, I'm scrubbing through this

first clip. And if I go to this second part after this little tick mark, I'm scrubbing through the second clip and

the third clip and so on. And so I can scrub through all of my clips in my media pool, at least in the bin that I

have up here, all at once in one motion. This is great if you're looking for a specific shot visually that you want to

lay over something. Makes it really, really quick to be able to find what you need to find. But you might find it less

confusing, maybe a little bit easier just to use this first icon here, this first mode where you double click on a

piece of media and load it up here in the viewer. Now, once we have a piece of media selected that we like and we

actually want to add that to our video, we want to put that into our edit, what we have to do is add it to a timeline.

If the media pool is like our cabinet and our viewer is like picking up a ingredient from that cabinet, then the

timeline down here, this is kind of like our plate. So, if we want to actually eat

something, we're going to put it on our plate. So, if we want to add this to our video, I can grab this clip just in the

middle. I'm just grabbing it and dragging it down here to our timeline. And that's going to add this clip to our

timeline, which is like, you know, putting an apple on our plate. So now we have an active timeline. We have this

playhead that goes back and forth. And this is actually going to make the story of our video. Right now our story is

this. If we go all the way to the left and I hit spacebar to play, we have a bunch of black space here. We have an

empty space. And then eventually our clip starts. And this is our full clip, not edited. We haven't done anything

with this. It's just literally the clip thrown into the timeline. We still have people moving around. We still have the

slate, all of that kind of stuff. And so if we were going to export this movie right now and we were going to put this

on YouTube or something, this is exactly what people would see is 6 seconds of black followed by just this unedited

footage. That doesn't really make a whole lot of sense. But we've done something really exciting already. We've

put this clip down onto our timeline, which means that we actually have a video in progress. Now, we could render

this out and it will be a video that's different than this clip. So, we've done a little bit of magic already. We've

created something. Now, it's not very good. It's not very interesting. So, we can change that. But all of the magic of

building our story happens down here in the timeline. So, let's change our story to be a little bit better here. The

first thing I want to do is I don't want this black right here. I don't want to watch 6 seconds of black before anything

happens. So, we can take this and just drag it to the left. And we always want this kind of pushed all the way to the

left at the very start of our clip because then we start with an actual video, right? We can zoom into this

timeline by clicking this little plus right here. That's kind of our zoom bar. We can zoom in and out. And I can adjust

this middle bar here. And I can move this up and down. And by default, we have a video track and an audio track

added here. If I take the bottom edge of this audio track and I drag it down, that'll make these waveforms a little

bit bigger. And so we can see a visual representation of what's happening in the audio. So the bigger the spike, the

more the louder the audio. So we can see where the slate is right here. We zoom in here. We have these little spikes.

Teen take one. That's where that slate made that spike. And so we're going to start sometime

after this. What was that? So her saying, "What was that?" So

that's a good place to start this clip. That's where it actually gets interesting. That's the part that we're

supposed to show. And so what we can do is we can trim this and kind of cut out all of this part and just start the clip

there. The way that we do that is we just mouse over the edge of this. And you'll see how my mouse kind of turns

into this left bracket. I can grab this and then just slide this over like this. And I'll have that clip kind of start

right there. This is called trimming a clip. So just like you would trim a hedge or something like that or trim a

piece of paper, you kind of cut off all the excess. Right? So, we're cutting off this first part. Let's play this back.

I'll just hit spacebar. What was that? Great. I like that. Let's stop right

after that. And I'll take the edge of this and drag this over here. And we can see the outline of the full

clip. And we're just going to use that little part. There we go. So, now this is a lot shorter, but we have all this

black here. So, we can take this and slide it all the way to the left. Just like that. Okay. I'll zoom in here so we

can see what's going on. What was that? Great. This literally this literally

what I just showed you. Picking a clip here, dragging it down, and then deciding

where you want to start that clip. So maybe starting it right here. Go check it out.

And trimming it to just be that part that you like. Check it out.

Um, no. You go check it out. Trimming off all the excess. This is like the bread and butter of editing.

This is like 90% of it. You can make so many amazing videos literally with what I just showed you. That's all you need.

That's all you need for so much stuff. We're just bringing those clips in, trimming them, and then putting them

here in the timeline. And ideally, there wouldn't be any empty spaces in between them. So, we cut from one video.

Go check it out. Next video. All right. We're putting these clips

together. And that makes a new story. Just like in our example of Bill walking to his car, we're taking all these

separate clips and then putting them together here in an order that we like in the timeline. Okay. And what's cool

is that we have control over this. We can do something like completely cut out the phone call. Bill opens the door.

Bill waves to his neighbor. Bill walks to his car. Bill gets in the car. We can cut out this this whole first part and

just say Bill walks to his car and then Bill gets in the car. We are in complete control of this story and it's all about

where these clips go in the timeline and what order they go in. So this is so great. Let's let's get our hands dirty

here a little bit. Let's let's make a story. So if we were to go to this second icon here, this source tape, and

scrub through this, we can kind of get a good idea of the story here. These kids arrive and they see this crashed UFO.

They're a little bit scared about it, so they kind of argue who should go check it out. The girl finally convinces her

brother to go and check it out. So he walks towards the UFO. So he walks up to the UFO. They're both really nervous.

And then as he walks up there, something moves. So this is just a few clips from a scene from our movie called Tuesday on

Earth. And so what's great is we have all these clips and we can choose to tell this story however we want. So a

good way to start oftent times is with a wide shot. And we want the wide shot that shows the first thing that happens,

right? So, we have the kids kind of riding up on their bikes, putting their bikes down.

And so, let's use that for our first clip. So, that's clip 10. I'll just double click on that. That'll switch to

our source viewer. I'll grab this and drag this down into our timeline. For this first clip, let's scrub through

until we're ready, until something interesting starts happening. So, right as they kind of get off their bikes,

that's probably a good place to trim this beginning. Move this down. Let's play this back.

I can hit control F to play this full screen like this. Whoa.

Great. That's about all we need right there. And so we could use that and trim it this way. We also have other takes

here. And so let's scrub through this and see how this works. And you'll notice now when we scrub

through things, the video changes on the right viewer. That's because again, this is the timeline viewer. This is the

preview of what your actual movie is going to be. This is just picking up footage from over here and looking at

it. Nothing that happens over here is necessarily going to happen in your video. It's all about this viewer right

here, the timeline viewer. If you forget which one is which, just scrub your timeline and see which one moves. We can

scrub through this and figure out what we like for our different tanks. Great. I like that. Let's trim the end

and let's trim the beginning right after they start moving. Okay, something like that. And move this

all the way to the left. So, we have our first shot of our movie. Them getting off their bikes and

walking up. Let's maybe go back into our source tape here. Kind of scroll around and try and

figure out what what we should do next. Again, we're in control of this. That's what's so nice. So, they end this shot

by kind of standing there like this. So, let's cut to them standing together. I think probably this shot right here,

shot 31. But this time, instead of dragging this entire clip down here to the timeline and trimming it, we're

going to do a little bit of work before we add it to the timeline. We're going to do that by setting ins and outs. See,

in our source viewer, we're viewing the entire clip, right? The whole thing. And everything that might happen in that

clip is not necessarily stuff we want to keep. Saying action, the actor having to sneeze, Bill waving to the neighbor,

Bill waves to the neighbor again. awkward ending and cut. Most of that stuff we don't need. What we really want

is Bill waving to the neighbor, right? So, what we can do is kind of trim out the extra stuff in the source viewer

before we take this and we put it down into the timeline. And so, what we'll do is we'll set what's called an in and an

out. An in is like the start of the clip that you want and the out is the end of the clip you want. You can think of this

like swimming. When you get in the pool, you start swimming and when you end swimming, you get out of the pool. So an

in is the beginning of your clip and out is the end of your clip. So we're going to scrub through and try and find the

beginning of our clip, which is probably going to be right before he starts talking.

Kind of scrub through this. And then let's just play. Go check it out.

Great. So yeah, right about there. And we want that to start there. So we're going to set an in. There's a few ways

to do that. One of them is you can click this button right here, which is our set in button. Like that. No way. You

The other thing you could do would be to hit I on the keyboard. I for in go check it out.

Let's play this back and see what it looks like. No way. You go check it out.

Fine. Okay, I'll go check it out.

Good. Now, let's end the clip there. And we can either click this set out button or we can hit O for out. Just like that.

Now, we have these little gray indicators here. And what that means is that our clip is this long, but we're

only going to use this part of the clip. This is what we're actually going to use. And if I click and drag from the

middle of this clip down here, we'll see it's much shorter than it would have been, and it's already pre-trimmed. Now,

that doesn't mean that we can't change it. We can grab this, and we can take the edge of this and trim this. And you

can see how big the original clip is with this little gray outline that shows up. It's just like we were to put this

down and trim it. We just don't have to move things around in the timeline to do that. We could just kind of trim this

beforehand and bring this in. And so what some people will do is go through all their footage and pick the part that

they like. They'll kind of do some pre-edits. Like this I for in. And I can also use

the J, K, and L keys on the keyboard as these buttons right here. J plays backwards. K starts and stops. and L

plays forwards. So you can kind of move things back and forth with J and L. Go check it out.

Um, no, you go check it out. Fine. Okay,

I'll go check it out. Good. That looks good. I'll hit O for out. And I've just grabbed the part that

I want and I can drag it down into the timeline. Just like that. And so a great way to start getting things here on the

timeline is just to go through all of your clips and pick the parts you like. Go check it out.

Um, no. You go check it out. Fine. Reset. We don't want you to move.

Right. Okay. Needs to back up a little bit. So, we're going to use the second take. I

can scrub through this faster by hitting L twice. That's going to go through this at 2x speed. And then I can hit K to

stop and then L to play back normal speed. Go check it out. Right. I guess

J to kind of reverse. I for in. Go check it out. Um, no, you go check it out.

Fine. And again, I can just drag this down. So, you can do this for all of your

footage. And a good way to do this is just kind of throw all the footage into a timeline. And then remember, you can

always move things around, change the order, and play around with things, and you can always trim it more

or less. You really can't ruin it too badly. And so, this is the fun part about editing is creating this story.

So, let's just maybe cut to this second shot here. And I'll just trim this back a little bit to where they're kind of

just looking dumb at this thing. And we'll cut from this wide shot into this closeup like this

action. We got to cut out that action though. Go check it out.

No way. You go check it out. Fine. Okay,

I'll go check it out. Great. So, we have the basic actions happening where they come up, they see

something, they start arguing, and eventually the guy starts walking towards the craft.

But we want to show this in a more creative way. And so, we actually have these other shots that we can cut in

between them and make it look a little bit more interesting. So, for instance, when the girl's talking, we want to see

the girl's face a little bit closer. So, let's see if this take works. Go check it out.

Um, no, you go check it out. And I like that little Wait, what? Like this? This right here. So, let's trim

that. And let's see if we can put this in there somewhere right after he says go check it out.

Go check it out. Right there. That's probably a good place to cut. Now, we haven't done this

yet, but we have this clip, and this shouldn't go before or after. It should go right in the middle here. So, what we

can do is we can split this clip a couple of different ways. One way we could do it would be to go and click on

this little icon here, this little razor blade, and that's going to turn our mouse into a razor blade tool. And

whenever we click on this clip, that's going to split the clip right there wherever we click. So, we can just chop

this up if we want to. I'll hit control-z a few times to undo that. What I like to do is figure out where I want

to cut by moving this playhead back and forth and then use a keyboard shortcut to split it. The default keyboard

shortcut for Resolve is control backslash. That's the backslash that's right above enter, like the return key,

kind of in the middle of the keyboard. If you hit that, that will split this clip right where that playhead is. And

then you can move the clips around and put this clip here in between them like this. So now, let's see what this looks

like. Go check it out. Um, no, you go check it out.

See how that kind of works. Fine. Now we want to see him say fine. And so really this is kind of the same process.

So we split it right there. Controll backslash. And we might not use the rest of this.

But we'll just bring it down there kind of out of the way for now. Have him saying fine. Let's see. Where's another

one? There we go. Him saying fine. No, you go check it out. Right there. I like that. Let's trim

that here. Bring this in like this. Oh, check it out. Fine.

Great. So, he says fine here. Fine.

Let's trim this. Put this in order. So, now we're putting clips in the order for the story, but

we're also choosing clips that show the story the very best. This is where it starts to get really fun.

Go check it out. Um, no. You go check it out. Fine.

Okay, I'll go check it out. Great. So, we'll maybe cut right there.

And now we have a sequence of a few different shots that really start to tell our story. And then it's up to you

as the editor to go in and think about, okay, how fast should one clip cut to another clip?

Go check it out. So, he kind of pushes her. I feel like this should happen a little bit quicker.

go to that other shot. Anytime that you cut in between one shot and another, you can decide to show more or less time.

And so you can kind of control time a little bit. This is the one part of the world where you can control time. That's

what's really neat. Um, no, you go check it out. Good.

Let's cut that a little bit tighter, too. Move this down. Fine.

Okay. You notice how this cut works really well.

Fine. The reason for that is because he starts to turn his head back in this shot and he finishes turning his head on

this shot. This is called cutting on action. That means that there's one action that happens in one shot that's

continued in the other shot. And so our mind accepts the little differences in between the shots and it makes it feel

like they're continuous. Just like I start waving my hand in this shot and then we cut to this shot, it feels like

it's continuous, right? And that's because it is. I mean, this is kind of recorded live, but that's what really

helps is that little tiny movement. And so, looking for those opportunities to make

those cuts a little bit easier. For instance, when he pushes her, she kind of moves a little bit.

Maybe this happens in this shot, too. Does he push her? Yeah, she moves forward a

little bit. So, maybe as she moves forward just a touch, maybe that'll work a little better. I can select this empty

part and hit delete. And that's going to get rid of that gap. See how there's like that little

movement? She's moving forward. Kind of moving forward a little bit there, too. That might be a good cut. It might just

take too long, and we don't want to do that. We'll see. But that's all up to you. Now, a couple other things about

adding clips. Let's go through here and let's add this shot right here. Shot 24. This is what we would call their POV,

sort of. It's actually an overthe-shoulder shot, but it's what they see. And so, anytime that you're

editing, especially when somebody's looking off screen and they have some kind of reaction, just like what's

happening here where they're walking towards and they go, "Wo then that sparks a question in the

viewer's mind. What are they looking at?" And so, a lot of the time it's a good idea to show what they're looking

at in the next shot. Now, the next shot in the timeline right here is actually them standing. And it's sort of a

problem because they're actually standing farther apart here than they are in this shot. And that's something

you'll probably notice. Like it looks weird. So, we can kind of feed two birds with one scone here. We can answer the

question, what are they looking at off screen? And we can bridge this gap to not be distracting by adding this shot

in here. Couple ways that we could do this would be to zoom out, select all of our shots to the right, and move it down

so that we have some space to put this shot. And we can drag this shot in here. And we could set the in and the out on

this shot, and we can drag it in here like that. And then kind of delete the gaps, and that would work. What's a

little bit faster is to put our playhead right on that edge. You can tell it to snap to the edges by clicking this

button right here. If this magnet is white, it'll snap to the edges like this. If it's not, then it won't really

snap. It'll You can kind of put this wherever you want. But I like have snapping on for this kind of thing. Put

this right on that edit, that edge in between the two clips. And what we can do is click one of these buttons right

here. These are our edit buttons. This one is insert clip. And what we'll do is we can set an in and out like the

beginning and the end of this clip. Something like that. And we can hit this insert button. And look what happens

when I click this. It inserts this clip right where that playhead was and it moves all the other clips this way down

the timeline. So if I hit control +- Z, we can kind of see what happens. Control shift Z to redo it. It's just putting

that clip in there. So now we have in our story, they show up and say, whoa. And then we see what they see. Ooh yeah,

baby. That looks good. And now we've forgotten how far apart they were in that first shot. And so now we cut here

and nobody cares. Works great. Go check it out. That's how we build a story here in the

edit page. So cool. And this basic process works for any kind of video you're making. Whether you're making a

film like this, or whether you're just doing a YouTube video, documentary commercial, it's all about finding the

clips you want, setting the in and out, and putting it on the timeline in some way. Whether it's dragging it to the

timeline, or whether it's using an edit button like this insert. There's also a couple other edit modes. for instance,

overwrite, which just kind of pastes this over everything. There's replace, which will swap out the clip here for

the clip that we're over here in the timeline. And you can click and drag here and drag this viewer onto this

viewer. And you have a few more options, too. For instance, place on top puts that clip on top and on the next layer.

We're always going to be looking at the top layer in our viewer, but we can decide to turn this off and

move this around without overwriting this clip. One handy edit button here would be append.

If you drop it on this append, it's going to throw this clip, whatever we have selected here, at the end of our

timeline, which is great if you're just kind of gathering the clips that you want. You can just double click, set

your in and out. Okay, drag it over here. Append it end. You don't have to worry about where you are in your story.

You can just kind of go through here. Pick the parts you like. Append. You don't really have to worry

about it. Great. Append at end. And you can throw those all in the timeline. And then you

can move them around and adjust them and trim them and split them and all the stuff that you need to do. So, if you

want to get really used to how the edit page works, I would highly recommend grabbing this footage, dragging it down

into the timeline and just trying to make a story out of these clips. Now, a couple quick tips that I think are

pretty helpful for actually putting together a story here is I like to use what I call the anchor technique. This

is something that we go into a little bit more in our end toend editing course, which I'll tell you more about

in a little while. But the big idea here is that you start with one shot where multiple things are happening. So, we

have this wide shot of him walking towards the craft. We have her kind of looking around. And so, we can kind of

start with this as our anchor for this part of the edit. And then we can use these other shots to enhance it. So, we

have her kind of looking back and forth right here. We also have this shot of her kind of looking as he walks forward.

We have the shot of her looking back and forth right here. And so, we can take this shot and we'll just kind of trim

this And we can drag this up to a new track and kind of put this over our shot like

this. So we have our wide shot here and then we have the close-up here. And we can kind of move this back and forth

without overwriting this just because it's in that top layer. And we can kind of just play around with this

until we feel like it works. Maybe we want to cut to a closeup of him, which we have right here.

Yeah, maybe this one. Sure. And again, we'll just drag that up like this. Maybe we'll just cut to this first and

then cut to her. So, we have him walking forward. And we can kind of mix these in however

we want to make this scene not only have all of the actions that happen in the scene,

but also make it look exciting and have a bunch of dynamic shots, right? And we can choose whether to use shots or not.

I mean, we have this shot right here, which I really like of her kind of thinking things over a little bit.

Check it out. We could decide to put this right here if we want to, but we're using the shots

that are already here down in the timeline to figure out where to put our other shots. So, that's the anchor

technique. Now, for a couple of shortcuts, these are really, really important. Let's go ahead and put this

right here. And let's say I want to trim this about this much. I can do that with my normal selection mode, my normal tool

here, which is activated right here in the toolbar. Or I can use the trim mode. That's this one right here. And what

this does is it does similar things, but if I grab the edge like this and I bring it this way, it actually kind of sucks

the clips down. And so I can grab the edge here and I can trim this, but it doesn't leave a gap. And so it's just a

little bit quicker way to trim things. It's the exact same thing as trimming this with our normal selection mode,

selecting this emptiness, and moving it down like that. It just does this all in one little thing. The other thing this

tool will do, this this trim tool, is if you click and drag in the middle of a clip towards the top, what this will do

is slip this clip. And that means that it's going to keep the same in and out, but it's going to use a different part

of the clip. And so if I want to move it down like this and use this part just what happened

then that works. I can also slide the clip if I click and drag in the middle towards kind of the bottom of the clip

like this. And that moves this back and forth and it kind of trims the other clips around it. And this makes more

sense if we have these all on one line. I'll just drop these in real quick. If I'm in the trim mode here and I grab

this lower part, I can move this back and forth and it trims the other clips there with it. So, I can trim the other

clips or I can move this kind of clip back and forth. And so, this is a nice way if you don't quite have your clip

settled in just right. You can use the trim tools to really kind of move things back and forth. And so, it really,

really helps, especially if you're trying to make an edit just right. And when you grab this and you move it back

and forth, it shows this multiple view. And so we have the first frame and the last frame of this clip. Then we have

the last frame of this clip and the first frame of this clip. And so you can see all of the transition points all on

one view here. So trim tool is really useful, especially if you're trying to edit a little bit quicker. And speaking

of editing quicker, keyboard shortcuts are very, very important. You can hit T to select your trim tool and A for your

normal selection mode. Remember, A just kind of moves things around like this. Overwrites things, but T will do the

slip and slide and that kind of thing. You can hit B to go to your blade tool to chop this up however much you want.

But again, I would highly recommend learning the keyboard shortcut just to split this at the playhead. Controll

backslash like that because that's a nice way to do that. The other major keyboard shortcut I'd highly recommend

learning is the ripple trim shortcut. Let's say I want to chop this part of the clip off either by doing this and

then deleting it and moving it down or I could use the trim tool and move it down like this.

Well, I can do that with a keyboard shortcut by aiming my playhead right where I want the clip to start and

hitting control shift left bracket. That's going to do all of that all at once. is just going to trim this and

ripple everything down this way. Ripple is the fancy word for moving clips down so that there's no gaps. And so we can

ripple trim control shift left bracket for the beginning. And then if we want to trim the end, control shift right

bracket like that. Now you may notice that both control backslash and control shift left and right bracket take two

hands on the keyboard. And so if you have one hand on the mouse, it's kind of awkward to remove your hand from the

mouse and then hit a keyboard shortcut. It's slightly faster actually to probably just grab it with the mouse.

And so to actually save time, I'd highly recommend customizing your keyboard shortcuts. So how do you do that? Up

here in our Da Vinci Resolve menu, we can go down to keyboard customization. And this is a whole big panel

dedicated to keyboard shortcuts. And all you have to do is click on whatever modifiers you want and then whatever you

would press after that modifier. So control shift left bracket. And this will show you the command. So this is

start to playhead. If I click on this, that'll open up start to playhead right here. And if you want, you can change

the keyboard shortcut for this. So I have mine set to Q for start to playhead and W for end to playhead. Let me kind

of walk you through this because it's kind of annoying. So I'm going to switch back to my Da Vinci Resolve shortcuts

here. By the way, they have presets for shortcuts that are kind of like Adobe

Premiere Pro and Apple Final Cut, Avid Pro Tools. What I usually do is I set this to Da Vinci Resolve. And I'll do

this, this control shift left bracket, this is start to play head. If I click on this command right here, that'll

bring that up right here. If I click on this little plus, that will make a little box here, and I can type whatever

keyboard shortcut I want. So, start to playhead, I'm going to select as Q. Great. Now, it's going to come up and

say Q is already assigned to something, which is fine with me because I'm never going to use this view source timeline

viewer. You might use it, but I'm not going to. So, whatever you assign to it, it's going to tell you if that's already

a keyboard shortcut. So, I'm just going to say assign. Now, it gives you a little warning here. The reason there's

a warning is because neither of these keyboard shortcuts are going to work anymore because one keyboard shortcut is

assigned to two things, which you would think it would just do both things, but it actually does neither. So, I'm going

to go out of here, go back to my just vanilla keyboard here, and click on Q. Then, it's going to list all the

commands that are under Q. So, we have start to play head, which is what I want, and then source timeline view.

Let's click on source timeline view here, and let's just get rid of the Q shortcut right there. Great. We're going

to do the same thing with W. So, let's go ahead and open up W, dynamic trim mode. Let's take that off. Okay. And

then we're going to look up control shift right bracket, which is end of playhead. Let's make this W. Great. So,

now we have Q and W set to start and end of playhead. The other thing that I like to do is set this S key to split clip,

which is control backslashplit clips right here. So, I'm going to actually set this to S. It's going to say, "Hey,

S is already something." I'll say, "Okay, assign." Then let's go back to S and take away toggle slip slide. Boom.

Like that. Now I have Q and W and S. And those are really the only keyboard shortcuts that I change for Resolve.

Everything else seems to make pretty good sense to me. But those are the ones that are really nice because I can use

three fingers to do a lot of editing. And I'll show you the power of that here in just a second. But this looks good. I

want to make sure to save this. So, I'll go up to these three dots and say save as new preset. We'll call this intro

intro shortcuts. Hit okay. Great. So, now this is saved. I can close this. And now we should be able to hit Q and

that's going to trim the edge. And W. That should trim the edge. And S should split this. So, I have three fingers

that can do a lot of these editing tasks. So, check this out. Especially if you're editing something where you have

a lot of footage or whether you're just trying to cut down maybe a podcast or something like that.

You can go through here and just look at the waveforms like this and see when somebody's talking, right? And so you

can split it with S. And then you can get rid of this part with a ripple trim to start. So Q

like that. See how this works? S Q just like that. And I can do this by just aiming with my playhead

and then Q. Right. Just like that. And I can trim this

whole thing and cut out all of the silence really, really quickly

just by looking at the waveforms and trimming it to those waveforms. So, that's a great way

to cut down things that have a lot of talking and just keep the talking. In fact, that's how my editor Sam is

cutting this tutorial. Pretty much same thing. QWS. What I would recommend doing, especially if you haven't edited

before, is I would double click on each of these clips, set the in and out for whatever part looks interesting and drag

it down here into the timeline. Add these all to the timeline, and then kind of mix them together and put together a

story in the edit page. Now, I'm going to cheat a little bit and use a timeline that I've already worked on just so I

can show you some more cool stuff. And to show you this kind of stuff, I'm going to import a bin. So, just like you

can open a project or export a project, you can export just a bin or a timeline in Resolve. It's really helpful. I can

rightclick here in the empty space in my media pool and go down to import bin. And I'm going to select a bin that says

Casey only. You will not have this bin. Okay, say it with me. I will not have this bin. This is Casey only. All right.

It's not included in the files. This is just for my demo purposes. Okay. So, we're gonna hit open. And that's how you

import a bin. Inside of this bin, I'm going to have a couple of timelines that are going to help us learn some stuff.

Just double click on my edit demo thing here. And here we have an edit that I made using this footage here on the edit

page. Let's take a look. Whoa. Whoa.

Mhm. Go check it out. Um, no. You go check it out.

Fine. Okay. Check it out.

What was that? So, it's a cohesive story. It has a beginning, a middle, and an end. The

kids show up, drop their bikes. This is what they see. They argue. The guy starts to walk forward. He's nervous.

She's nervous. it moves. They kind of panic and they go in to investigate. Now, a couple of

things to point out here about this edit that I made. One clip here has a split,

but there's no cut. We're not really cutting to a different clip. It's just split here for essentially no reason.

What we can do is we can actually repair this by right-clicking here on this edit point and saying delete through edit.

And that's going to make this into one clip, which is going to be helpful later when we're doing color. There's no

reason to have a clip split if you're not going to cut to a different clip or severely change that clip. By the way, a

great way to move up and down the timeline when you're zoomed in is to click and hold the middle button on your

mouse and drag. And what that will do is let you kind of grab this timeline and move it back and forth. And that

actually works for just about everything in Resolve. I can move this preview around by clicking and dragging on my

middle button, on my scroll wheel button. That's kind of the click and drag and pan sort of shortcut for most

things here in Resolve. So, I can move this over here. And it doesn't look like we have any more through edits. Oh,

wait, there's one. Let's right click on this, delete throughit. There we go. Good.

But actually, I had this split over here for my audio. And the reason for that is because this audio is really loud. So,

if we play this back, those are just really loud bike sounds. And so, the cool thing about the edit

page is not only can you organize your video tracks and kind of change their order and everything, but you can also

mess with your audio. And so, what we really want to do is take the volume down on this clip. We actually have the

volume turned way up here in our edit, but normally there's a little line right here, and you can click and drag this up

and down to change the volume of your audio. And so I had this turned way up because I want to hear kind of the quiet

parts, but it's way too loud for when the bikes fall down. And so what we can do is just split this right here. And I

just want to split the audio. And when I select this, it's going to select both the video track and the audio track. And

I can just select the audio by going up here and unlinking this chain link here. And then I can just select the audio and

move that separately. I can also hold alt and click on this track just to select it by itself. But either way, I

want to select just the audio and then I can split it with control backslash or whatever you set your keyboard shortcut

to. I can just split that right there. And then I can have a separate volume line for this part and this part.

And that lets you change the volume of your audio. Now, we don't want there to be a really harsh difference in our

audio where the ambient noise is really loud and then it turns it down immediately. See, if I bring this back,

we'll have this kind of sound where it turns it down immediately. And so, what we might want to do is

crossfade this. I can rightclick on this edit and go down and I can pick one of these crossfade options. It doesn't

really matter. You can pick the 12 frame, let's say. And what that's going to do is crossfade these clips together,

which if you have two different clips, it's going to fade out the first clip and then fade in the second clip kind of

gradually so that you don't notice a cut there. But when you have the same clip at different volumes, what it

essentially does is it kind of just turns down the volume over this amount of time. So, it's a lot more gradual

and you don't notice that difference. We could do the same thing here. Yeah, that's nice. And I find this is a

really nice way to adjust your audio over time. The other way that you can do that, I'll just take this volume line

down a little bit. The other way you can do that is hold alt and click on this line and that will give you these little

control points and you can move one up and one down and you can kind of adjust the level of volume over time here. So

you can get really detailed with how you want to change your audio in your clip. And so if you have one really loud part,

you could just kind of squish that down. So we could do this. I'll just kind of get rid of this and bring that out like

this. We could hold alt and add a couple of control points here.

I can bring this control point down and just bring down that little part. And that's good, too.

It's really kind of dependent on what you want to do. The reason I tend not to do this so much is because it's kind of

a pain to grab these little points and move them around. And it's easy to kind of mess this up or get too many points

or, you know, if I have to move one, then I have to move the other one. It just kind of is annoying. And so what

I'll usually do is just select this audio, turn this clip down, and crossfade these

because then I can do stuff like roll these edits back and forth. And that's going to change where that

adjustment is really easily. It's really up to you. Here you'll notice this little triangle. This is from bringing

this little white handle over. And what this does is this makes a fade, like a fade out. And so anytime that you have a

clip where you want it to fade in or out, you can take these little white handles and bring them in, and that's

going to adjust a fade. That works for both audio as well as video. We have these little white handles in this

video, too. And so we have this fade up from black. Go figure it out.

And then fade down, right? So, if you're making a movie trailer where you have stuff fade in and out all the time,

that's a good way to do it. And oh my gosh, there's so much more to get into with adjusting stuff on the edit page.

But we're already going to have a long enough YouTube video here. So, I want to show you just a couple other things in

the edit page before we move on. Let's talk about the inspector. So, the inspector is a panel that you can open

up over here on the right. And what this is is a list of properties for whatever we have selected. Now, this is a

universal thing in Resolve. There is some version of an inspector on just about every page. And so, this is an

essential concept for you to understand. When you select something, this clip has certain properties. And when we have

this selected, what it does is it opens up those properties here in the inspector. So, we select something and

we adjust its details and its properties in the inspector. Now I can hit this little button to expand the inspector so

that it's the full height of the screen and we can see all these different properties. So every clip has a bunch of

properties. So I'll select this clip here and we'll just see what these all do. There are tabs up here and these are

different categories of properties. So a clip by default is going to have video and audio tab. And depending on what

other fancy things you do, these other tabs might be available. But the video, we start with the transform properties.

These are ways that you can move and scale and rotate your video. And these controls, some of them have sliders,

which makes sense. You slide this back and forth. And some of them just have numbers, which you can double click in

and replace with a number. Or you can click and drag left and right on any of these numbers to control it, sort of

like a slider. You can doubleclick on any of these properties to reset them. You can also hit this little reset

button. And so now if we want to zoom in on her face, we can zoom like this. And we can adjust the position to be right

there on her face. We can adjust the rotation if we want to. And that's how we would do that for this clip. Now,

it's only adjusting this clip because this is the clip that we have selected. If we go to this clip, it is unaffected.

In fact, if we're over this clip and we're looking at it, we're adjusting the zoom and nothing's happening. That's

because we have this clip selected. And so that's loaded into the inspector. So, we zoom this way far up.

We go back to this one and it's zoomed in really far, right? So, let's go ahead and reset everything in our transform.

We also have cropping where we can crop the image. We can adjust the softness of that crop.

This is great if you want to mix kind of one side of one shot and the other side of another shot, something like that. Or

if you want to do kind of a pictureand picture thing, you could do some cropping.

on your image and then position it down into the corner. Something like that. And at that point, if you wanted to put

this clip over something else, you could just put this over other clips here in the timeline, and those would be layered

like that. You can adjust the composite mode, which is kind of the transparency of things.

If I put this image over this image, we could take the opacity down and kind of fade this. So, it's kind of ghosted over

it. We could also change the composite mode to different things like add or multiply and all different kinds of

composite modes. This works a lot like an image editing program like Photoshop or something like that. Same kind of

idea. And there's just so much more to go over, but basically if you want to adjust how a clip is treated, its

position, its rotation, how it interacts with other clips, the volume of the audio, the pan of the audio, the pitch,

there's equalizer, there's all kinds of stuff that we'll get into a little bit more when we talk about Fairlite, but

this is where the properties for anything that you have selected lives. Okay, so again, if we want to make this

small, we can zoom it out like that just by selecting it and adjusting it in the inspector. One thing that's cool is

that we can stabilize clips here right in the edit page. I can just select the clip, go over to stabilization, and hit

stabilize. And what that's going to do is take out all of the little jitters and everything

for the clip. And it works pretty darn well. Works pretty darn well. The stabilization here is excellent. And

there are a bunch of different options here for the stabilization, which you can play around with. You'll get various

different results, but just know that that's kind of where that happens. We can correct a lens. So you can distort

or undistort your lens. Here where it says rettime and scaling, these are just kind of the processes for retiming. If

you actually want to do a time remap on something, you can right click on it and go up to rettime controls. And you can

grab the edges like this and make it play back faster or slower.

You can even kind of stop in the middle of this clip and click on this little arrow and that'll bring up a little menu

and you can add a speed point. And what this will do is let you change part of the clip's speed

to one value and the other part to another value. So, we can go from slow motion into fast motion. This is great

for drone shots and punchy edits and things like that. That's how that's done. And when you're done with your

speed changes, you can just hit this little X button right here, and it'll give you a little indicator that there's

a speed change on it. But the idea that you select something and adjust its properties in the inspector is really,

really, really important. Now, sort of related to that is there is a whole section of the edit page called effects.

So, if I switch to effects, that's going to bring up my effects panel. And this has I mean, just so much stuff in it.

This is where you get a little bit more fancy in the edit page. There are all kinds of tools here, including

transitions, which you just grab one of these transitions and put it in between two clips like this. Just drag it in

between on this edit. That will make a little transition like that. You can even select this transition and switch

to a different transition here in the inspector. Okay.

If you go down to open effects, there are all kinds of effects here that you can apply to your shots. So, if you want

your shot to be blurry, you can grab something like directional blur. Drag this on here and then you select this

clip. And because this clip has effects on it, it has a little indicator right here. And it also has the effects tab

enabled where you can find the effect that you applied to it and you can adjust the properties of the effect.

Right? See why this is so important is because anything that happens in this clip, you pretty much adjust here in the

inspector. And so we can adjust the blurriness and all of that. All of the controls for this effect right here in

the inspector. We can turn the effect on or off or we can delete it by hitting this garbage can like that. And that's

how we would apply any kind of effect you would want to apply to a clip. So sharpen stylized kind of stuff like a

mirror effect. do all kinds of cool stuff. That's cool.

And the free version of Resolve comes with a lot of effects and the paid version has a lot more. So, there's

still quite a bit of effects in the free version, but there are certain more intense effects that only come with the

paid version. We've been working with just clips here in the timeline, but in the effects panel, there are also things

like titles and generators. So, a generator just generates video. So, I can grab something like this fourcolor

gradient, and I can drag this down into the timeline just like I would drag a clip from the media pool into the

timeline. So, now we have this fourcolor gradient. Again, I select it and go up here to the inspector and I can adjust

the colors. So, I can make a nice background with that. And there's all kinds of different

generators. There's even some really fancy ones that use the power of the fusion page. So, I could do this hexagon

glow. That thing's pretty crazy. One of my favorites is this honeycomb. There's all kinds of controls here to

change how this looks. There's also transitions and all kinds of stuff here. So, we can drag this in. This will be

kind of some graphics. There we go. And you can select this and adjust your text, you know,

intro, right? That's cool. You can use a custom logo. You can do

all kinds of stuff with this. And each effect is slightly different because it's just kind of built for different

purposes, right? So, this one has different color controls and things to be able to customize this template. Now,

if you want to make your own text that's maybe just a little bit less specific that isn't this kind of specific looking

effect, you can go up to titles and there are kind of two sections of titles here. There are just the normal titles

and then there are fusion titles. Fusion titles are just fancier titles that use the power of the fusion page. We'll get

into that in a little bit, how Fusion works and all that, but we have some basic stuff here that's actually really

great. So, for instance, text. If I just grab normal text, I can put this over my fourcolor gradient. And I can select the

title controls here in the video in the inspector with the text title selected. You know, my title and I can change the

font and the size and the tracking and all of that kind of stuff to design this title to be exactly how I want. And

there are quite a bit of controls here to make this look how I want for my project. Let's go and kind of make a

title here. I could just take this text and drag this down. And we'll call this uh Tuesday on Earth. That's the name of