Add transcription for: Resolve_17_Update_MasterTraining.wav

transcriptions/Resolve_17_Update_MasterTraining_transcription.json

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+{
+  "text": " In this little bonus chapter, we're going to be looking at the differences between resolve 17 and resolve 16. The changes in between these two versions are pretty minor. So I wanted to just add this on so that nobody's lost because all of this training works pretty much exactly the same inside of 17. So I'll try and highlight any differences that might be noticeable. In the edit page, one of the major differences is the inspector. Over here, we have kind of some bigger icons and you can actually select the clip in the timeline and go up to the inspector and you can change properties about the actual file. So this is actually the source file that lives in the media pool. So you can fill in all your metadata information, that kind of thing. That's super helpful without having to go into clip attributes and everything like normal. Another thing is over here in the media pool, there is a new view. We still have our thumbnail and our list view, but this first icon is the metadata view, which just kind of gives you the best of both worlds with giving you a preview as well as a little bit of information about it. In the effects library, just behind the media pool, you'll notice things look pretty different. Everything pretty much has this little hover scrub thing, so you can pretty quickly preview the different effects and generators and everything before you open them up and create them. This is especially useful for titles, like if you're looking for a nice title, you can and just mouse over these to go through and figure out which one is gonna be perfect for your project before you even drag it in. Pretty nice. Another thing that's definitely worth noting is a little bit of changes in the Fusion page. The main one being you can actually preview the audio in the Fusion page now, which we don't really have anything in this project that's synced to audio, but you can do that. And what I think is even more useful is the ability to add markers to the sequence and have them actually show up inside a Fusion here in the keyframes panel. Pretty awesome. So that's super useful. Another thing that you might wanna open up and play around with is the color page. A lot of these lower panels have been kind of tweaked and redesigned a little bit since 16. Obviously the color wheels looks a little bit different. It still acts pretty much exactly the same way. One difference is instead of having two little pages of controls on this bar down here, the other page has just been moved up here. So now we have slightly smaller color wheels, but you can see everything all at once. Other than some of the general look here, these work exactly the same. Behind the color wheels, we have a new tool called the HDR controls. And these are kind of like the color wheels. And actually, if you remember us talking about the log wheels, it's very similar to the log wheels. This just splits up the image into six different tonal ranges, like six different brightnesses, and gives you really specific control over each one. In fact, if you hold down this little button right here, you can actually preview what it's going to be changing. So you can go through and kind of click on and off to see what the different ranges are. So you know exactly what you're going to be changing. So the one called light is going to be adjusting pretty much just the greenish grass and parts of the trees, whereas shadow would do more of the dark greens of the trees. So this is a way to get very, very detailed if you want a specific look. Let's say I want just these trees to be a little bit brighter. I can find the range that's mostly those trees, and then I can adjust just those tones. You can even adjust the different ranges these effect by clicking this little button here, and it gives you kind of a histogram with a bunch of lines. And these are what everything is going to change. So highlight is everything above right here, shadows everything below here. And so you can move this around to make a little bit more sense for what you're doing. If you're just doing a regular video that isn't HDR or anything, you can kind of spread these out a little more and have a lot of control over the different parts of the image that you want to change. Definitely worth playing around with. Another thing is the color warper, which is kind of like if you remember talking about the scopes, this is basically the vector scope. It's hue versus saturation. Saturation is how far away from the center things go and hue is in what direction. So you can kind of see the vector scope here and you can actually select different parts of the footage. Like let's say I want just these trees, I can click right on the screen and that will select the nearest little control point. And based on whatever control point I grab, I can move this around and it changes the hue and the saturation of whatever I have selected. So if I want to desaturate these trees, I can take all the greens down and now I have the desaturated trees. It's a really cool way to work on very specific parts of your image. In fact, you can even just grab colors on the image and click and drag them to change them, because anytime that you click and drag on the screen, it's actually moving the nearest point down here on the color warper. So if you're kind of paying attention, if you want to make these more yellow, you can kind of drag it up, add some more yellow to it. Pretty nice. Again, definitely worth playing around with. Here's something really cool. In the studio version, that's just the paid version of Resolve. Make a new node here. There's something called the Magic Mask. The Magic Mask, I believe, is actually magic because what it does is just select people. So with the Magic Mask selected down here, this is this icon in between the tracker and the blur, and this only exists in the paid version. They don't have this in the free version, but I want you to see it anyway. If I just draw a little line on this person, and I'll go down here, click this button, toggle mask overlay, it selects this person. And not only that, but you can track it and it will follow her movement. And it will select her whole body and basically rotoscoper. And so it's a really, really neat tool when you want to do a specific correction on a person versus the rest of the shot. In fact, this is in a mode called faster, which just basically does a decent job. But if you go down and click better, then it takes a little bit longer, but it really gets a much better edge on this person. So why would you wanna do that? Well, let's turn off our highlight here. We can use this little mask to do anything that we would normally do with a window or with a qualifier or something. So we can push up the mid-tone and brighten her up a lot if we wanted to. We could desaturate her just so she's a black and white person in a color world. Do all kinds of cool stuff like that. You can even combine this with something like a qualifier or even the color warper and grab this blue. And maybe we'll just change the color of her shirt real quick. So here's before and here's after. So you can do some really detailed color work here by combining these new tools. Other than a few little tweaks to the interface, maybe a menu moving here or there, everything else is pretty much exactly the same, the same workflow. If you know how to do it in 16, you'll definitely know how to do it in 17 with very, very little trouble. So I hope that clarifies anything. Again, if you have any questions, feel free to email me. Thanks again for getting the training guys.",
+  "segments": [
+    {
+      "text": " In this little bonus chapter, we're going to be looking at the differences between resolve 17 and resolve 16. The changes in between these two versions are pretty minor. So I wanted to just add this on so that nobody's lost because all of this training works pretty much exactly the same inside of 17. So I'll try and highlight any differences that might be noticeable. In the edit page, one of the major differences is the inspector. Over here, we have kind of some bigger icons and you can actually select the clip in the timeline and go up to the inspector and you can change properties about the actual file. So this is actually the source file that lives in the media pool. So you can fill in all your metadata information, that kind of thing. That's super helpful without having to go into clip attributes and everything like normal. Another thing is over here in the media pool, there is a new view. We still have our thumbnail and our list view, but this first icon is the metadata view, which just kind of gives you the best of both worlds with giving you a preview as well as a little bit of information about it. In the effects library, just behind the media pool, you'll notice things look pretty different. Everything pretty much has this little hover scrub thing, so you can pretty quickly preview the different effects and generators and everything before you open them up and create them. This is especially useful for titles, like if you're looking for a nice title, you can and just mouse over these to go through and figure out which one is gonna be perfect for your project before you even drag it in. Pretty nice. Another thing that's definitely worth noting is a little bit of changes in the Fusion page. The main one being you can actually preview the audio in the Fusion page now, which we don't really have anything in this project that's synced to audio, but you can do that. And what I think is even more useful is the ability to add markers to the sequence and have them actually show up inside a Fusion here in the keyframes panel. Pretty awesome. So that's super useful. Another thing that you might wanna open up and play around with is the color page. A lot of these lower panels have been kind of tweaked and redesigned a little bit since 16. Obviously the color wheels looks a little bit different. It still acts pretty much exactly the same way. One difference is instead of having two little pages of controls on this bar down here, the other page has just been moved up here. So now we have slightly smaller color wheels, but you can see everything all at once. Other than some of the general look here, these work exactly the same. Behind the color wheels, we have a new tool called the HDR controls. And these are kind of like the color wheels. And actually, if you remember us talking about the log wheels, it's very similar to the log wheels. This just splits up the image into six different tonal ranges, like six different brightnesses, and gives you really specific control over each one. In fact, if you hold down this little button right here, you can actually preview what it's going to be changing. So you can go through and kind of click on and off to see what the different ranges are. So you know exactly what you're going to be changing. So the one called light is going to be adjusting pretty much just the greenish grass and parts of the trees, whereas shadow would do more of the dark greens of the trees. So this is a way to get very, very detailed if you want a specific look. Let's say I want just these trees to be a little bit brighter. I can find the range that's mostly those trees, and then I can adjust just those tones. You can even adjust the different ranges these effect by clicking this little button here, and it gives you kind of a histogram with a bunch of lines. And these are what everything is going to change. So highlight is everything above right here, shadows everything below here. And so you can move this around to make a little bit more sense for what you're doing. If you're just doing a regular video that isn't HDR or anything, you can kind of spread these out a little more and have a lot of control over the different parts of the image that you want to change. Definitely worth playing around with. Another thing is the color warper, which is kind of like if you remember talking about the scopes, this is basically the vector scope. It's hue versus saturation. Saturation is how far away from the center things go and hue is in what direction. So you can kind of see the vector scope here and you can actually select different parts of the footage. Like let's say I want just these trees, I can click right on the screen and that will select the nearest little control point. And based on whatever control point I grab, I can move this around and it changes the hue and the saturation of whatever I have selected. So if I want to desaturate these trees, I can take all the greens down and now I have the desaturated trees. It's a really cool way to work on very specific parts of your image. In fact, you can even just grab colors on the image and click and drag them to change them, because anytime that you click and drag on the screen, it's actually moving the nearest point down here on the color warper. So if you're kind of paying attention, if you want to make these more yellow, you can kind of drag it up, add some more yellow to it. Pretty nice. Again, definitely worth playing around with. Here's something really cool. In the studio version, that's just the paid version of Resolve. Make a new node here. There's something called the Magic Mask. The Magic Mask, I believe, is actually magic because what it does is just select people. So with the Magic Mask selected down here, this is this icon in between the tracker and the blur, and this only exists in the paid version. They don't have this in the free version, but I want you to see it anyway. If I just draw a little line on this person, and I'll go down here, click this button, toggle mask overlay, it selects this person. And not only that, but you can track it and it will follow her movement. And it will select her whole body and basically rotoscoper. And so it's a really, really neat tool when you want to do a specific correction on a person versus the rest of the shot. In fact, this is in a mode called faster, which just basically does a decent job. But if you go down and click better, then it takes a little bit longer, but it really gets a much better edge on this person. So why would you wanna do that? Well, let's turn off our highlight here. We can use this little mask to do anything that we would normally do with a window or with a qualifier or something. So we can push up the mid-tone and brighten her up a lot if we wanted to. We could desaturate her just so she's a black and white person in a color world. Do all kinds of cool stuff like that. You can even combine this with something like a qualifier or even the color warper and grab this blue. And maybe we'll just change the color of her shirt real quick. So here's before and here's after. So you can do some really detailed color work here by combining these new tools. Other than a few little tweaks to the interface, maybe a menu moving here or there, everything else is pretty much exactly the same, the same workflow. If you know how to do it in 16, you'll definitely know how to do it in 17 with very, very little trouble. So I hope that clarifies anything. Again, if you have any questions, feel free to email me. Thanks again for getting the training guys."
+    }
+  ]
+}