Hi, it's Warren from the ICA.
I've just been testing out the new Resolve version 9.02,
and I thought I'd rather just muck around and make a little movie.
One of the questions that comes up a lot when I run in training classes is,
why do I need a reference movie, and then once we work out why we need it,
it's getting it in there. It proves to be quite difficult.
And there's a few reasons for that.
If you've conformed a sequence that maybe you've edited,
then you pretty much know that sequence very well.
You know where shots are and why shots might not be.
But if someone's handed you a sequence,
and you may know that why, you know,
the three layers might be correct or might not be correct,
have shots been zoomed or rotated,
it's very difficult to know that without actually having a reference movie
to put it up against.
Now, in Resolve, a reference movie,
which is the movie that has been exported by the editor,
which is a very low-res, just one single movie file of the whole timeline,
it is known as a reference movie,
or in some places in Resolve it's known as an off-line movie,
because that's what it used to be called.
When you used to do a rough off-line on something like an FCP or an Avid,
then you'd go to a smoke or a high-end box and do an online.
So that's where the off-line, online term came from.
So where we called here, it's mainly called off-line video.
What we need to do is to find that movie first.
Now, I always put it into a new bin.
So I come here and I just backspace that and call that Ref.
That's where we'll put our reference movie.
I've got all mine in here, and it is in XMLs, off-lines.
And it's this guy.
Click it once, just to make sure this is the right film we're looking at.
It has a burn-in.
You can easily see I've done some interesting color correction on this film.
That's something they probably want me to emulate in my final grade in Resolve.
Now, this is important here.
We do not want to add it, because we don't want to grade it, do we?
We don't want to reference it.
So right-click on the thumbnail, on the reference movie.
Add as offline clip.
It's very important that you see this chessboard here.
Top left, that tells you about it correctly.
If you do not see that, and it will not work,
it will not link with the rest of your material.
Come to here, and orange is highlighted, our conform 30-second commercial.
Right-click on that guy, and about halfway down, you have something called link offline video.
Go across, and there will be the movie that we just added in.
Click on that.
Make sure you've got offline video selected here in the drop-down.
Wiggle this sometimes.
Sometimes it needs an update.
We don't see it.
Go back to Source Fuehrer.
Source Fuehrer is any of these clips.
Some guys select that there, and know they can see the offline.
Know they can see the conform, and wonder why it does not link.
That is because they're only viewing it in the Source Fuehrer.
Not any offline viewers.
There's no way it will sync with that one.
Make sure you're in offline.
Now, there's a few reasons why this couldn't work.
We know the viewer works.
So it's more than likely the timecode is going to be different.
Look here, and we can see that my master timeline starts at 01.
I need to check this with my reference offline film.
Right-click.
Go up to clip attributes.
Left-click on that, and in the timecode box, we can see the current frame, the first frame, is 00.
Not one hour.
So turn it to one hour, then they both should be exactly the same.
There, we now have the offline, and we have the conform on the right.
So if I come across to here, we can see instantly that on the offline, the editor wants to zoom this shot.
I mean, my conform, it's not, so I can manually zoom that or use my XML to duplicate the zoom settings.
I can see the transitions here as well.
They will play side-by-side, a little bit slow in the real-time here, I'm only playing on my laptop.
But we can see there, I can keep a track on what my offline is doing, and what my conform is doing.
I can see these in different views.
As a wipe, as my wipe, there's not too much change there, but from there, I can see that is that flashback look they're going for.
If I do this again, I can go to the mix, and I can see a mix view of both of them, really good for doing re-sizes.
What about audio?
Another thing that people ask me for is get the audio in.
Now, to do that, I go to this reference of being created, and I'll find some audio to pop in there.
I haven't got audio for this commercial, so I'll just use anything.
Add into media pool, right-click, pops it into this bin, not my master there.
This bin just makes me easier for me to find things.
Remember, in this example, I've only got six or seven clips. In a 30-minute doco, you could have 300 clips populating this master bin.
This makes it a lot easier to navigate to it.
Select it, right-click, link as chase audio file.
Then, when I go up to our friend here again to conform, right-click, chase audio settings.
Enable the box, and it already knows what is the audio file, because you've selected it here.
Apply, come here.
I hope this is going to run slow. I'm just using this laptop to do this, but it is a big advantage using audio.
I always like to, just so when an orator says, oh, yeah, and we walk to a beautiful, magenta-looking sky, and also for your clients.
They just like to be able to reference what grade you've done with the audio, rough guide audio, especially when you're doing review sessions.
One other thing while I'm here, you're probably wondering, well, it's great to view a reference movie here.
But when we've got, you can slide on this one, when you've got big looks like this.
Now, this is okay for me to know, this is what they're going to try and get in the final grade.
But it'd be really nice if we could see this out here in the color page.
Well, you can, but I always want to a gallery still first.
So make sure your still is halfway across the screen by using this gallery.
Then go to your view dropdown, and there you can go reference white mode and select offline.
So there you can see the offline mode, and if you go to command F as well, you can see that in full frame,
which is mainly when you can see a full frame reference, which definitely aids your matching.
Just click on it like that to move it.
You want to lose the white completely, and you just go command W, white path, and the white as well.
So there's a few tips in using reference movies, very important.
Bring in the audio.
Don't use it there all the time, but definitely use it for reviewing.
When you first review the offline at the start of the session, and then at the end,
when you want to sync up sound to your grades, it would genuinely make people feel a bit better.
I think about the whole project.
If you want any more information about the ICA, and what we do, we run classes all around the world,
classroom classes, go to the iColorist website, or catch us on Twitter or Facebook.
Hope you enjoyed this movie.
I'll see you soon, bye-bye.
