All language subtitles for 17. Keyframing Color Tab Kolder Creative

All right.

So by

default, when you're entering
the color page,

the keyframes
window is going to be minimized like this.

So it's not going to be taking up
as much room.

Now, you can expand this by hitting this
button in the top right corner over here.

Now, it's taking up a lot more space.

And typically when I'm doing any kind of
keyframe work, I like to expand this

just so I have more space
to play around with.

Now we can see that our primaries are gone
and we just have our curves.

But if we want to go back
to our primaries,

we can just switch back and forth here.

So when we're expanding our keyframes
window over here to the right,

we are losing our ability to see
two different correctors at the same time,

but we can just easily switch
between them up here.

We just can't see two of them
at the same time, which is totally fine.

And that's never actually been
an issue for me.

Now, one really fun thing about the color
tab interface is you can go up here

to workspace and turn on dual screen,
and now one of my other monitors

is being used to show me the keyframes
window and a bunch of other things.

So let me show you
what's happening on that other monitor.

If I go to workspace, change my primary
display to color LCD as my main MacBook,

we can see this is what I was seeing
on my other monitor.

So in this case, we have the keyframes
window filling up the entire

frame from left to right.

So to me, this is a much more appealing
way to play with my keyframes.

It gives me a lot more space to work with.

So when I'm working at home
and I have my dual displays

on, I'm definitely going to turn this on

and do my key framing work
in my second monitor over here.

Now, for this lesson,
that's not going to work.

So we're going to go back up to Workspace
and I'm going to change my primary

display back to this one
and I'm going to turn dual display off.

So this keyframes
window down here in the bottom

right is where we're going to be doing
all of our key framing.

Now, the first thing
I want you to understand

is that each one of these tracks
is created for a new node.

So every time we create a new node,
a new track is going to be created.

So if we go up to our node graph area

over here and we hit option s, we can see
a new track has been created.

It's called Corrector two.

So if we create one more option,
as we can see,

a third one has been created over here.

And the reason these tracks are created

is so that we can make individual
keyframe adjustments to individual nodes.

So like I've said before,
when you're working with nodes,

you want to create one adjustment per node
most of the time.

So knowing that we want to have
the ability to keyframe

those individual adjustments
on those individual nodes.

So that's why

we have these individual tracks
over here to individually create keyframes

for each node.

Now, I want to bring your attention
to the very far left over here.

We can see we have these white dots
and these dots are basically

just a different way for us to enable
and disable our selected node.

So if I go to my first node over here,
we can see that we have a curve

applied to it.

So if I disable this
first corrector over here,

we can see that
we're basically disabling that node.

This is pretty much the same thing too.

Just going to the node here
and hitting command to disable it

and then we're pretty much bypassing
that node overall

within our node
graph command to enable it.

And I'm going to go into my curves
over here and just reset this curve.

Now, next to that white dot,
we have this lock button and when this is

enabled, it basically just locks that node
so you can't make any changes to it.

So if we wanted to make
some kind of changes to it

in the curves over here or anything else,
we can't because it's locked.

So this is the same as just going
to the node over here, right?

Clicking on it and selecting lock node

so we can lock and unlock
our individual nodes either

up here in the node graph or down here
in our keyframes window as well.

So this could be useful

in certain situations where your key
framing multiple different nodes

and maybe you're happy with the keyframes
that you've set on one of the nodes

and you don't want to accidentally
add more nodes or change them.

You can just lock that individual node
and then you'll know

that those keyframes are safe.
You don't have to worry about them.

Now, next

to the lock button,
we have the automatic keyframes button.

So when we select this,
we are basically telling the program

that we are ready to start recording
in keyframes to that individual node.

So when we enable this, it turns red.

So now we've basically said

we are ready to start

recording the changes that we're making
to our first node over here.

So why didn't it create a keyframe
when we first selected that?

Well, that's because we've just turned
on the ability to start recording changes.

So if I was to make a bit of a change
to this curve graph over here,

we could see right away
that a keyframe has been created.

I didn't even change anything.
I just clicked this dot up here.

So a keyframe has been created.

Now, this isn't the way that I would go
about creating a keyframe.

The way that I do
it is with the shortcut shift X.

So now that we've created a keyframe

at this point in our timeline,
why don't we move forwards in time

and make a change to our curves
graph over here?

So if we increase the brightness
like crazy

now we can see it's added another keyframe
and it's showing us these lines

between those keyframes to illustrate
that this is a dynamic change

between these two keyframes

we are animating between two different
values, between these two keyframes.

Now there's two different types
of keyframes.

There's dynamic keyframes,

which is what we're using now,
and there's static keyframes,

which is something
I'll be talking about later on.

Static keyframes, in my opinion,
are not that important.

I've never actually

had to use them before, but
I will be sharing what those are later on.

Now, if we go back to the start over here
and we press play, we can see

that exposure change animating slowly
between this point and this point.

Now, take note when I press play.

We're not getting a live update
on the tool that we've used.

Like this isn't animating along
with the play head over here.

If this was live,

then we'd be able to

see that curve
gradually moving over here to the left.

But it's not.

We can see it
kind of just snaps into place

as soon as it moves
past that last keyframe.

So that's just something to take note of.

Not necessarily that important,
but we can see that the correction tools

we're using over here do not update
based on that animation path here.

So if I'm at this point in my timeline,
we can see things are very bright,

but the curve is still flat.

So this doesn't really reflect what's
actually happening at this point in time.

Not until we actually go to that
last keyframe,

we can see the curve jump up into place.

So not too important,
but just something to keep in mind.

Now, next to our automatic key

framing button over here,
we have this expand button.

If we click on this,
we can see all the different parameters

we're able to keyframe
within our individual node over here.

So as we can see down here, we've created
a keyframe for the color corrector.

So this is the parameter that records
any kind of color correction changes

we are making to our node.

Now, what if we want to create keyframes

for a completely different
parameter of our node here?

So let's say
we wanted to create a window for this.

Let's create a circular window.

And right away, just by clicking

that circular window button,
we can see that we've added a keyframe

to the circular window
parameter here on our track.

Now, if we move forwards in time
and I move this window over to the left,

we can see it's automatically generated
another keyframe

to record where I move this window
at this point in time.

So if I go back here at the beginning,

we can now see this window
moving as well as that exposure change.

Now, this isn't a good example of where
I would actually use this.

This is just for demonstration purposes.

But we can see down here
in our keyframes window that we've created

multiple keyframes
for multiple parameters of our node.

And if we look at the master
track up here, it's showing us

all the keyframes
that are found down below.

So this is something to take
into consideration.

This master track is going to show us
all the keyframes,

not just for all the parameters,
for each individual node,

but for all the nodes themselves as well.

So if I collapse this
and I open up the second corrector

over here and I make some keyframe changes
over here,

So let's make sure that automatic key
framing is selected as well.

And we'll go up here
and select our second node.

Why don't we create a window over here
as well?

Actually, Command
Z, I'm going to move to a different point.

So let's create a window over here

and let's move it down over here.

Now, if we close this, we can see that
all of our keyframes in

both of these tracks are being reflected
in the master track up at the top.

So up here in the master track,
I can grab any of these keyframes

and move them around.

It doesn't matter if it's in
the first track or the second track,

I'm able

to move those individual keyframes
around up here as well.

So I'm just going to delete everything
that we've done here

by selecting all of these
and just hitting delete.

I'm also going to reset
each one of these nodes here

and I'm going to disable automatic key
framing over here.

So the shortcut to create a dynamic
keyframe on

your timeline is command left bracket.

So when I hit command left bracket,

we can see that we've added a keyframe
to every single one of our tracks.

So that means that
we've created a keyframe for every single

one of our nodes.

Now, most of the time you're
not going to want to work in this way

because you don't want

to create a keyframe for every single node
in a lot of situations.

Because if I open up one of these tracks
now, we can see that

we've created a keyframe for every single
parameter within every single track.

And a lot of the time
that can be overkill.

So that's why DaVinci gives us
a couple of different interfaces

that we can work with here
in the Keyframe panel.

So I'm just going to select this keyframe
up top here and delete it,

and that's going to delete everything
underneath as well.

Now over here we can see that
we have three different options.

We have all color and sizing.

So in my workflow, I've only ever really
worked with all in color,

but when we have all turned on,
then when we create dynamic keyframes,

they're going to act in that way.

So if I hit command left bracket,

we could see that
we're creating keyframes for everything.

Now, if we have color selected,

we can see that we are presented
with this green bar

and this just represents
what note is selected.

So if I select the first node,
we can see that

the first notice selected, third
one third track is selected.

So with the second node selected
and the green bar in the second track,

if I, if I use that same shortcut command
left bracket, we could see that

we've created a keyframe for only that
one node or only that one specific track.

We didn't make a keyframe
for every single track.

So actually, in most situations
I'll find myself working in the color

interface here

just because it's overkill
to create a keyframe

for every single parameter
of every single track.

Now, if we expand this track,
we can see that we've created a keyframe

for every single parameter
within this track.

Now I'm going to select
that keyframe up here at the top

and just delete it,
and it'll do everything underneath.

So if I wanted to create a keyframe
for only a specific parameter here,

what I can do is actually select
the individual parameters like this.

So now that we're working in the color
interface, I'm able to do this.

So let's say I wanted to create a keyframe
for color correction,

and I wanted to start things off
with no color corrections.

So what I can do is make sure that the
color correction parameter is selected.

The green line is right here,

and I can hit that same
shortcut command left bracket.

And we've added a keyframe
to only this one parameter.

So this is great.

This keyframe is now acting
as a placeholder

so we don't have to actually change
any of the parameters out of Keyframe.

We can just use that shortcut.

And by the way,

I actually have another shortcut
for creating a keyframe in the color tab,

and that is shift X,
And I purposely use that shortcut

because it doesn't require me
to use both hands on my keyboard.

So, I mean, hit command Z there.

So we've successfully added a keyframe
here.

Now, if we move forwards in time,
we can make changes to

our curves over here
and there's no new keyframe being added.

And that's because we don't have
automatic key framing turned on.

So there will be situations
where you won't want to work

with automatic key framing turned on.

You might want to just manually add
in your keyframes like this.

So what I can do now that I've made
a change to my curves graph over here

is to add another keyframe.

So same shortcut shift x
or a command left bracket.

And if you go back to the beginning

and press play,
we can see that animation happening

a regular value over here.

I'm actually going to brighten this up
so it's more extreme.

We're going to go from a very bright value
over here to a much darker

value over here.

So this was just another way
to add keyframes.

But instead of turning on automatic
keyframe, so it records it right away,

you can add them in manually
by using that add keyframe shortcut.

And of course, you can also right
click on the parameter itself

over here and choose
add dynamic keyframe over here.

So one really important thing to notice
is if you go up to our node

graph over here, we can see our second
node has this little keyframe badge on it.

And that just tells us

that there is some key
framing being done to this specific node.

So that's awesome
because then we can get an idea

of which nodes have key
framing done to them and which ones don't.

Just by looking at our node
graph over here.

Now, if you've worked with keyframes
before, then you know that typically

you want to make a smooth transition
between your keyframes.

You don't really want things to be linear
and by default within the color tab.

Here, when we create keyframes,

it's going to be a linear transition
from one value to another.

So if I'm going to delete this third keyframe here because it's kind of pointless.

So over here,

the transition from this value to this
value is very linear, It's very abrupt.

We're at this value this entire time,

and then we're going to automatically
start changing right there.

And then we're going to hit
that last value.

And the thing is, when you're doing color
animation like this, when you are key

framing color correction, it's
going to be harder to see.

Like it's
not as abrupt as making a position change

or like zooming or a key framing
like your scale with position in scale.

Key framing,
you'll see that abruptness a lot more.

So with this, it's
definitely not as abrupt,

but the color tab does give us the option
to change how we animate between

both of our values here.

So what we can do is click and drag over
top of both of our keyframes

here and right click and select change
dynamic attributes.

Now we can see that
this is a straight line representing

a very linear transition
from one value to another.

So what we can do is actually just bump
both of these values up to two

and we can see we've created a much more

gradual, flowy
transition from one value to another.

So this curve represents a much smoother
transition between the two values.

We can click okay

and we can see that

the image in our preview
changed a little bit because of the change

in the way that we're animating
between those two values now.

So we're still doing that same animation,

but things are just going
to be a lot smoother now.

Now, obviously, it

can be a pain to have to do this
every single time.

Right click,

go to change dynamic attributes
and change this setting every single time.

So what's really cool is
we can actually go down here

to our project settings in the bottom
right corner,

and if we select that
and we go to general options,

scroll down to Dynamics Profile,
we can change both of these values to two.

So these are the same numbers
that we just saw when we were changing

the way that we're animating between
the two values

back in our keyframes window,
except this is the defaults.

So remember,

the numbers that we chose were
two and two to get that smooth transition

so we can change these
to those same values too into Click Save.

And now if we make another change here,
if we add some new keyframes

to our color corrector, so why don't
we hit Shift X to add a new keyframe here?

And let's scroll over here

and we will brighten this up.

Hit shift X again.

Now, if we select both of those keyframes,
we right click

select Change dynamic attributes.

We can see that
it's already applied this curve to it

because we've changed the default settings
within our project settings.

So that's awesome.

I definitely recommend
you do this because 99% of the time

you're not going to want a linear change
between your values.

Most of the time, this kind of a smooth
transition looks the best.

So making this
your default is going to make things

look a lot better
and save you a lot of time.

So I'm seeing press.

Okay, now I'm
going to delete all of these keyframes

that I just made over here
and let's reset our nodes again.

Now, the last thing I want to show
you guys are static keyframes.

So up until now,
we've just been making dynamic keyframes.

There's also static keyframes, and the
shortcut for a static keyframe is command.

Right bracket.

So if I hit command right bracket,
we can see that we've created

a circle instead of a diamond
here in our keyframes window.

Now, basically a static keyframe
is basically just an abrupt change.

So I've created this static keyframe here.

If I go before that static keyframe
and I make a change to my curves over here

like that, let's see what happens
when I move to that static keyframe.

We can see that

we are jumping from this value
from what I've done here in the curves.

And as soon as we come into contact
with that static keyframe,

we are snapping back to that
original value that was over here.

So within the DaVinci Resolve manual,
it says that this can be good

for situations
where you have like a rendered clip

that has a bunch of different scenes
in it, but you haven't cut them up.

So you can use static keyframes
to make adjustments to individual clips.

But that sounds kind of unnecessary to me
and honestly would make things

a bit more complicated.

I'd rather just cut up my clips
in the edit tab by using the scene

cut detector and then just,
you know, individually making changes

to clips over here
instead of using static keyframes.

But either way,
I still wanted to share this with you guys

that, you know, that

static keyframes are an option if you ever
want to make abrupt changes like this.

And of course, you can create this
same kind of effect with two dynamic

keyframes, they would just have to be
very close together to have that abrupt

feeling.

So I'm going to select this over here.

I'm going to delete it.

And the last thing

I want to bring your attention to
is that this timeline down here reflects

what clip you have selected in the clips
area over here.

Right.

I'm just going to reset this curve here

so we could see that from left to right.

I'm spanning the duration of just this one
clip here.

Now, what's important to keep in mind
is that if I'm in my timeline node

graph over here, this timeline
down here in the keyframes window

no longer reflects just this one clip.

It's showing me
the entire timeline over here.

This is important to understand,

because if you forget
that you're working in the timeline node

graph up here, then you're going to be
making keyframe changes

to your overall timeline
and not to the individual clips.

So that's just something super important
to remember.

Awesome guys.

So I hope you enjoyed this lesson.

There's definitely a lot
of very valuable information in this one.

I definitely recommend

that you guys change that default
setting in your project settings

because that's going
to save you a lot of time.

But that's it for this lesson
I hope you guys enjoyed.

I hope you learned something
new and I will catch you in the next one.