DAVINCI RESOLVE GUIDE
modes, key frame toggles and a completely unique button that flips the entire image. There’s also a Dynamic zoomoption for titles or video that very smoothly auto- zooms. To copy any adjustments fromone clip to another, right-click and Copy, select your other clip and Paste attribute. The Eects Library tab is top left and pops up conveniently to the left of your timeline. There’s a very impressive and more than substantial range of eects,
filmstrip and audio waveform icon. These allow you to drop either isolated video or sound clips into your timeline, or you can simply drag the image for both. This is the same as all other NLE softwares so no surprises there. There are a couple of ways you can cut and it all depends on personal preference. The easiest is to simply grab the end of the clip and roll in, physically shortening it. Another method is to grab the Blade tool, cut on the playhead (shortcut ctrl+/) and then delete the unwanted footage. The very handy shortcut to do all of that in one move is ctrl+shft+). You can also delete any unwanted gaps between timeline clips by selecting the Edit tab top left and choosing Delete gaps. Unlike Premiere where you have to click around to reach it, Resolve’s Inspector tab is on the top right of the interface. Here you can alter the properties for individual clips, such as opacity controls, composite
ABOVE You’ll soon crack the code to successful edits with DaVinci Resolve’s easy-to-follow interface. BELOW The timeline on the Edit tab has a standard look.
from transitions which are overlaid on clips (the same as Premiere or Final Cut), to generators and a whole load of others you’ll probably never use. It’s here you can add titles, including new Fusion titles. Drag the Text eect onto your timeline exactly where you want it and you can edit that as you would any other normal clip. To change the words, font or colour use the tab that comes up on the right. And to fade titles just hover themouse over a white handle in the top corners of the clip and drag across, adjusting the speed. The actual edit is where Premiere, Final Cut and Resolve users tend to fall out, arguing over which is best. Many stand by Premiere as the superior, but there’s not a huge amount of dierence, or at least nothing so drastic that would
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SUMMER 2018 PRO MOVIEMAKER
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