Speaker 1: Compound clips are a great way to apply a single effect and simplify a sequence of clips, but they're also a pain in the butt because you gotta click to step into them when you need to make a quick trim, rearrange them with my favorite swap clips shortcut, and adjust the scale. You just can't quickly see from a broad bird's eye view what clips have effects applied to them. So today, I have 5 killer creative ways that I use adjustment clips instead of nested compound clips, and if you stick around until the end, I'm gonna show you how to save the adjustment layers to reuse them in any future project. What's an adjustment clip? Well, I'm so glad you asked. Adjustment clips are an empty shell of a clip that's useful for applying effects, changing inspector parameters like transforms, and applying color grades. Think of them as a clear clip that's super useful because they affect every clip that's underneath it on the timeline, including animations across a whole range of clips. You can rename them, color them, and store them in your Media Pool project bins, and they're available in the effects library on the edit page inside the toolbox and under effects. Punch In Have you ever shot a talking head interview looking directly into the camera in 4K? You can use an adjustment clip to quickly punch in and give the appearance that you've changed to a tighter lens. Often, this is better than using a second camera angle because your eyes can stay locked into the lens to connect to your audience. Just grab a fresh adjustment clip from the effects library, toolbox, effects, and drag it to a layer above your talking head. Now select it, and open the inspector in the upper right so you can drag to increase the zoom value higher than 1. Play before the adjustment clip, and you'll see the punch in effect just like you've cut to a tighter lens. This is perfect for grabbing someone's attention really quickly. Now let's take this tip to the next level by adding the grid effect to another adjustment clip to keep our eye line at the same vertical position. Click on your open effects and search the word grid. The grid effect is a resolve effect that will help us keep those eyes in the same position after punching into the shot. It's DaVinci Resolve's version of having alignment guides, and it's also an excellent tool that you can use to rotate and level out your horizon line of your shots. Drag your row cells count down to 2, and column cells down to 1. And finally, move the tilt parameter to the location where I want the eyes to be positioned, and set my guide across both clips to match them up. Tweak the shots until they're perfect, and of course, turn this switch off once you're all done so the guide won't render in your final export. Continuous Push I do a lot of interview style videos that get visual support with photos as b-roll, and a cool way to build some energy or suspense is to push in slowly across multiple photographs in a sequence. Think of this as a Ken Burns push, but moving continuously across your cuts. It's like Ken Burns 2.0. Step one is to mat the photos to the same size, and I use the transform effect for that. Then drag a new adjustment clip on a track above to cover the length of the whole segment of photos, and use the inspectors video transform to set a start keyframe at the first frame. Then move the playhead to the end of the adjustment layer, and set a new keyframe just by increasing the zoom parameter. Since you already placed an initial keyframe, DaVinci Resolve is smart enough to create a second keyframe automatically. It's doing the math for us to get from keyframe A to B. Play the timeline down, and you'll have a nice subtle push that continues to carry the position and size from the clip across cuts, which is my favorite type of transition. But I know everyone loves a good whip pan transition, so that's what's up next. Whip pans. To do a whip pan that looks realistic, we're going to use the Fusion page. Start by dropping your adjustment clip above and across a cut of two clips on the edit page. Select the adjustment clip, and right click to open in Fusion page. To create the whip pan transition on the adjustment clip, tap shift with spacebar to pull up the tools list. Type in transform, and we want the newer plain Jane transform, not the XF transform because the motion blur behaves how we'd like for this specific transition. Under the advanced options, choose the edge behavior to wrap around. This is like the offset effect if you're coming from Adobe, and it kind of loops around like a skipping frame in an old projector. Set three keyframes. I'll set one 4 frames before the cut, and change the position to negative 1. Then move to the cut point, and set the keyframe here to negative 0.5. This is our midway point. Then set the last keyframe 4 frames later, and set that value to 0. So we went negative 1 to negative 0.5 on the cut, and landing on 0. Now open the spline editor. Select the position checkbox, and click the zoom to fit button so you can see every keyframe easily. And smooth the keyframes by dragging the mouse to select them, and tapping S to smooth them out. If you want to finesse it, select the keyframe and tap T for transition, and adjust the curve with ease in and out numbers right here. And of course, you can click and drag the handles on the middle keyframe to taste. If you haven't used the spline editor in Fusion, this is one of my favorite reasons for learning the Fusion page. It's just much more controllable than the edit page splines for smoother animations. It lets the animation start slow, get fast, and then slow down. Which is how physics move in real life. And then we're going to turn on motion blur with the slider all the way up to 1. Now check that transition out. Pretty sweet. It's still not as magical to me as a hard cut, but I can get on board with that. And if possible, try to match the camera direction on the move to help sell the effect a little bit better. Hey, I'm calling a real quick timeout to welcome you if you're new here. I'm Chadwick. This is Creative Video Tips, which is here to help you create videos that make a difference and stand out. I love teaching pro editing tricks that you're not going to find in the manual for DaVinci Resolve. So if you're into that, subscribe right now. Like right now. I'll wait. So you don't miss out on next week's tip. The cut down trick. This tip is so simple, but so powerful. You're going to wonder why you've never used it before. Now I have a background in assisting in cutting 15 and 30 second commercial TV spots and a critical aspect of cutting what's called a lift for making a 15 is actually cutting it down to exactly 15 seconds. Also a great way to audition out a few different version of 15 second spots is to have each of them on the same timeline at once. But to see a bird's eye view of the timeline constraint, I'll use an adjustment clip that's exactly 15 seconds long on a track above and I'll disable auto select control. You could also lock the video track. Now you can visualize how much time you've got left to work with on your timeline without marking an in and out. Every time you make a quick trim color grade, perhaps an obvious creative use for an adjustment layer or clip is to color grade tech. I've been doing that for years in Photoshop. So let's say you have a series of log encoded clips that require the same base color correction to make them look, you know, a little bit more normal. Just drop your adjustment clip above, go to the color page and start doing your tweaks on the adjustment clip all at a color space transform because it's fast and accurate. And there you go. A quick side note here is that I actually rarely use adjustment clips in DaVinci Resolve for color grades because I prefer a cleaner timeline. There's remote grades and group functionality that's so powerful. So that's just how I like to work, but that's a tutorial for another day. And I know if you're used to this workflow from Premiere or Final Cut Pro, just know it's possible here in Resolve too. Oh, and a double side note. Another great way to convert log encoded footage to Rec.709 and start a color grade is using Resolve Color Management, which is an incredible and unique superpower of Resolve. I'm going to link that tutorial in the description. Power Bin Adjustment Clips. So now that you've learned five unique ways to use adjustment clips, I bet you'd love to save them, right? Maybe use them in your next project. I do that by simply dragging the adjustment clip from the timeline up to a power bin. If your power bins aren't visible in your media pool, then go up under the view menu and check the box for show power bins. Now anytime you create a new project in the same project library, or even open an older project in that same database, you're going to have access to that saved adjustment clip for your next masterpiece. You can also click on the name to give it something with a little more specific meaning so you'll understand what it does later on. Thank you so much for hanging out today. I'm working on outlining tons of DaVinci Resolve 18 tutorials for this year, so do me a favor and let me know in the comments right now what area of Resolve that you need help with, and it might make it into a future tutorial. I appreciate you more than you know, and there should be something on screen right now that YouTube thinks you're going to like, so check that out, and because there is so much more to learn, I'll see you in that next video.