DaVinci Resolve 17 Edit Training - Multicam Editing

CHRIS ROBERTS: Hi, I'm Chris.

I'm an editor and a Blackmagic
certified master trainer.

And today, we're going
to look at multicamera

editing in DaVinci Resolve.

So first of all, I need to
restore a project archive which

has the project and all of
the media associated with it.

So I'm going to right click in
an empty area of the project

manager and choose the Restore
Project Archive option.

If you now navigate to
where you have downloaded

your multicamera.dra file
and then choose Open,

the project manager
will restore the project

and also link the
media in the archive.

Simply double click the
project to open it in Resolve.

So we're going to do two
multicamera editing exercises.

The first is going to be a
simple two camera interview.

The second will be a full-on
eight camera music video shoot.

The first thing we
need to do, though,

is to synchronize the footage
and make a special multicamera

clip.

So here in the
timeline, I've actually

got some footage already edited.

And at this point
here, I'm actually

going to insert a
multicamera interview.

But to begin with,
I actually need

to create the multicamera clip.

So first thing I'm going to
do is come to the Media Pool

and find the Citizen
Chain Interviews bin.

If I select that, I've
got two clips here,

both angles of a
multicamera interview.

So to begin with, what
I'm actually going to do

is just add these two clips to
a standard regular timeline.

Select both of the clips
in the Media Pool, then

right click any of them and
choose Create New Timeline

Using Selected Clips.

I'm just going to
rename the timeline.

We'll call this Sasha Sync.

And then I'm going
to choose Create.

Now at this point, the shots are
sequential in the timeline, one

after the other.

So what I now need to do is put
one on top of the other clip,

and then get Resolve
to synchronize the two

clips together.

I'm going to select the
second clip in this timeline

and move it up to the
second video track.

And you see that the audio also
moves to the second audio track.

I'm going to select both of
those clips in the timeline,

then right click either of them
and choose Auto Align Clips.

Now there are two ways
that you can auto align

clips in the timeline.

You could either
use the timecode

that's matching
across the two shots,

or you can use the waveform.

Because I don't have matching
timecode on these clips,

I'm actually just going
to use the waveform.

So I'm going to choose the
option based on waveform.

The two clips actually get
synchronized very well.

And you can see just by looking
at the waveform displays

how the waveforms are matching
up across the two clips.

Now that I've got the clips
synchronized in the timeline,

I now need to actually
create a multicamera clip

from the timeline.

And you can actually
create a multicamera clip

either from a regular timeline
or from a compound clip.

So I'm going to locate the
timeline in the Media Pool,

right click on it, and
then choose the option

Convert Timeline
To Multicam Clip.

This closes the timeline
down because now it's

no longer a timeline.

It's technically a
multicamera clip.

And if I use the
media preview here,

you can see that I can actually
preview the multicamera clip

directly in the source viewer.

The two clips are actually
labeled video one and video two,

because those are the
actual names of the tracks

that we actually place those
two clips on in the timeline

before we created
the multicamera clip.

Now that I've got the
clip synchronized.

I'm going to open it
in the source viewer

by double clicking it.

And then I just simply
mark the range of the clip

that I need, just like
any other regular clip.

[VIDEO PLAYBACK]

- And the name Citizen Chain is?

- That is the brainchild
of my partner.

He named the shop.

I was a big fan of Orson Welles.

I had done several projects
on him going through school

and stuff like that, so I
appreciated the pun and the play

on the word of Citizen
Kane, Citizen Chain.

And then only after
we named the shop,

by certain course of
events, we found out

that Rosebud was
really a bicycle.

The inspiration for
Rosebud as a sled

was a bicycle that the
screenwriter had as a child.

[END PLAYBACK]

CHRIS ROBERTS: So
that's actually

marked the story that Sasha
has about naming the shop.

Once I've got the
clip marked, I'm

just going to simply perform
a regular insert edit.

Now that I've got the
clip in the timeline,

I need to fine
tune the interview.

This is taking out
parts of the interview

that I don't really
need, and just

tightening the story up just
so it flows a little better.

Just so I can
streamline the interface

slightly so that it allows
me to focus on the interview,

I'm actually just going
to hide the media pool.

Then, in the timeline, I'm just
going to play the interview.

[VIDEO PLAYBACK]

- I was a big fan
of Orson Welles.

I had done several
projects on him

going through school and stuff
like that, so I appreciate--

[END PLAYBACK]

CHRIS ROBERTS:
Well, I don't think

we need to know exactly
why he's a big fan of Orson

Welles and the fact that he's
done some projects on him

in school.

Just the fact that he's a big
fan of Orson Welles, I think,

is more than enough.

So let's take some of
this interview out.

[VIDEO PLAYBACK]

- I was a big fan
of Orson Welles.

[END PLAYBACK]

CHRIS ROBERTS: That's the
beginning of his next line.

I'm going to go to
my Blade Edit mode

by pressing B on my keyboard,
come down to the timeline,

and click to make an edit point.

[VIDEO PLAYBACK]

- I had done several
projects on him

going through school and stuff
like that, so I appreciate the--

[END PLAYBACK]

CHRIS ROBERTS: So
now I'm finding

the beginning of the next
phrase where he says so.

And again, I'll use
the blade edit mode

to add the edit point going
into selection edit mode

to select that, pressing
Shift-Backspace in order

to perform a ripple delete.

If I now use the
forward slash key.

[VIDEO PLAYBACK]

- I was a big fan
of Orson Welles,

so I appreciated the pun.

[END PLAYBACK]

CHRIS ROBERTS: Now that probably
needs a little bit of trimming,

but I'm going to
come back to that.

I'm actually just going to
get the interview all trimmed

up so that we're focusing just
on the main parts of the story.

So I'm going to continue
playing the clip,

listening for the next piece of
interview that I want to remove.

[VIDEO PLAYBACK]

- So I appreciated
the pun and the play

on the word of Citizen
Kane, Citizen Chain.

And then--

[END PLAYBACK]

CHRIS ROBERTS: Now
there's a big ah there,

which is a little
bit off putting.

So I can tidy that up
by removing that ah.

And in this case, I'm just
going to set an endpoint just

before that piece of
waveform, jog forward

until after he finishes,
and then set an out point.

So using in and
the out points here

instead of the blade edit
mode just makes things

a little bit tidier and
a little bit easier.

I don't need to keep swapping
in and out of different timeline

modes.

Shift-Backspace will ripple
delete that clip out.

Hit the forward slash key.

[VIDEO PLAYBACK]

- And then only after
we named the shop--

[END PLAYBACK]

CHRIS ROBERTS: That's working.

One more trim, I think.

[VIDEO PLAYBACK]

- By certain course
of events, we

found out that Rosebud
was really a bicycle.

[END PLAYBACK]

CHRIS ROBERTS: Certain
course of events.

He doesn't really
elaborate on what

those certain course
of events were,

so we don't really
need to know about it.

So let's take that section out.

[VIDEO PLAYBACK]

- And then only after
we named the shop,

we found out that Rosebud
was really a bicycle.

[END PLAYBACK]

CHRIS ROBERTS: So
what we now have

is what we often refer
to as a radio edit.

We actually have the
interview working fairly well.

You may want to go back
through the interview

and actually listen to
the cuts that you've made,

just to make sure you're
happy with them all,

and that the audio flows nicely
from one clip to the next.

I'm happy with most of those,
apart from this first edit here.

So I'm going to go back to it
and use the detail zoom button

to zoom in there.

Let's just preview and
listen to that again.

[VIDEO PLAYBACK]

- I was a big fan
of Orson Welles,

so I appreciated the pun.

[END PLAYBACK]

CHRIS ROBERTS: So in
the incoming shot,

I'm actually catching the
end of the previous word.

I'm just going to remove that
by going into trim edit mode,

selecting the incoming
side of the edit,

and then using the
period key just

to trim off one frame
off that incoming shot.

Let's listen to it again.

[VIDEO PLAYBACK]

- I was a big fan
of Orson Welles,

so I appreciated the pun, and--

[END PLAYBACK]

CHRIS ROBERTS: Now I feel as
though I've taken too much

off, so let's just try and nudge
that back a couple of frames.

[VIDEO PLAYBACK]

- I was a big fan
of Orson Welles,

and so I appreciated the pun.

[END PLAYBACK]

CHRIS ROBERTS: I might have
to lose the so altogether,

to be honest.

But this is all part of editing.

I'm just going to trim it
forward just to lose the so.

[VIDEO PLAYBACK]

- I was a big fan
of Orson Welles.

I appreciated the
pun and the play--

[END PLAYBACK]

CHRIS ROBERTS: That's fine.

Let's just trim off a couple
more frames and have a listen.

[VIDEO PLAYBACK]

- --fan of Orson Welles.

I appreciated the pun and the--

[END PLAYBACK]

CHRIS ROBERTS:
That's not too bad.

So now I have my radio
edit working, it's time

to actually use the
different angles that we

have inside this multicam clip.

Let's go back into
full extent zoom

so that we can see the
multicam clip in its entirety

in the timeline.

At the moment, we're
actually starting

on this medium wide shot here.

[VIDEO PLAYBACK]

- Was a big fan of Orson Welles.

I appreciated the
pun and the play

on the word of Citizen
Kane, Citizen Chain.

[END PLAYBACK]

CHRIS ROBERTS: So at this
point, what I want on this clip

is I actually want to move
to the second camera angle.

If I right click
on that clip, you

can see I have an option to
switch the multicam clip angle.

And then I get to choose
which of those two angles

to choose from.

Let's just click video two.

[VIDEO PLAYBACK]

- A big fan of Orson Welles, I
appreciated the pun and the play

on the word of Citizen
Kane, Citizen Chain.

And then only after
we named the shop,

we found out that Rosebud
was really a bicycle.

[END PLAYBACK]

CHRIS ROBERTS: So I have the
same problem on this clip

now, so I can do the same again.

Right click, choose
switch multicam clip angle

to video two.

[VIDEO PLAYBACK]

- After we named the
shop, we found out

that Rosebud was
really a bicycle.

[END PLAYBACK]

CHRIS ROBERTS: And you can see
that the interview actually

cuts nicer visually
because I'm switching

between the different angles.

I could actually cut to
a new angle at any point.

For example, if I
move the playhead

to this part of the
interview and just play.

[VIDEO PLAYBACK]

- Play on the word of Citizen--

[END PLAYBACK]

CHRIS ROBERTS: At
this point, I want

to go to the wide
shot where he says,

Citizen Kane, Citizen Chain.

So at this point, I can
now add an edit point.

Previously we used the
blade edit mode for this,

but if I just press Command or
Control-B, that will add an edit

and allow me to switch this
clip to the first video angle.

[VIDEO PLAYBACK]

- Of Citizen Kane,
Citizen Chain.

[END PLAYBACK]

CHRIS ROBERTS: But
of course, now I've

got a jump cut to this because
it's using the same angle.

So I'm going to select that,
right click, switch multicam

angle, video two.

And then, of course, I've
got the same problem again

because now I've got a jump
cut between the two angles.

So I'm going to right click,
switch multicam angle, video

one.

[VIDEO PLAYBACK]

- I was a big fan
of Orson Welles.

I appreciated the
pun and the play

on the word of Citizen
Kane, Citizen Chain.

And then only after
we named the shop,

we found out that Rosebud
was really a bicycle.

[END PLAYBACK]

CHRIS ROBERTS:
You can also treat

all of these multicam clips
just like regular clips

in the timeline.

If I go into trim edit mode by
pressing T, hold down the Option

or Alt key to select the
linked video of the first clip,

I can now trim this in order
to create a slight split edit,

so that I'm creating a J cut so
that the audio comes in slightly

earlier than the video.

And again, I can do a
similar thing at the end here

in order to create a split
edit on the last clip.

[VIDEO PLAYBACK]

- I was a big fan
of Orson Welles.

I appreciated the
pun and the play

on the word of Citizen
Kane, Citizen Chain.

And then only after
we named the shop,

we found out that Rosebud
was really a bicycle.

[END PLAYBACK]

CHRIS ROBERTS: Now I've got the
multicam clip working quite well

in the edit.

The last thing I need
to do is to flatten it.

What this will do
is it will actually

give me back the original
source clips that

were used to create the multicam
clip in the first place.

To flatten the
multicam clip, just

simply select all
of the multicam

clips within your
timeline, right click,

and choose flatten
multicam clip.

What this does is it actually
removes the multicam clips

from your timeline and
actually leaves in place

the original source clips.

[VIDEO PLAYBACK]

- I was a big fan
of Orson Welles.

I appreciated the
pun and the play

on the word of Citizen
Kane, Citizen Chain.

And then only after
we named the shop,

we found out that Rosebud
was really a bicycle.

[END PLAYBACK]

CHRIS ROBERTS: And
that's an example

about how we can edit a
simple two camera interview.

However, not all
multicamera edits

are quite that straightforward.

Sometimes you're
actually dealing

with many, many
different camera angles.

So let's look at another
example about how

we can cut a music video.

Let's begin by
reopening the media pool

and selecting the
Miserable Girl bin.

In this bin, we've actually
got eight different video

clips of a band
performing on a stage.

We've also got an audio file,
which is the actual song

that they were performing to.

We're going to let Resolve
synchronize these clips

and create the multicamera
clip, but just before we do,

it's worth pointing
something out.

You'll notice that
all of these clips

have a name, JBR_01, JBR_02,
JBR_03, and so on and so forth.

If I select JBR_01
and then access

the File tab in the
inspector, you'll

see that this clip actually
has some metadata specifying

that this was camera one.

However, if I select JBR_02
and have a look in the file

inspector, you'll notice
that this has actually

been given camera number eight,
JBR_03 is camera number two,

and so on and so forth.

So just because the cameras are
named in a specific way in terms

of the file or the
clip within the project

doesn't necessarily mean I
can't apply additional metadata

information to each
of those clips.

This helps me specify the
different camera numbers.

I'm going to close
the inspector,

and this time I'm actually going
to right click on the Miserable

Girl bin and choose the option
Create New Multicam Clip using

selected bin.

In this case, it
just means that I

can select the bin
rather than having

to select all of the clips.

However, if there are
some clips in this bin,

you can just select them
independently and actually

choose to create the multicam
clip from the selected clips.

When I choose this
option, Resolve

asks me to create the
multicamera clip and what

settings it should use.

So here I'm actually
going to change

the name of this multicam clip.

We'll call it
Miserable Girl Sync.

I often use sync at the
end of multicam clips,

and it just helps to
differentiate them

in the list view
in the media pool

as to whether something is a
timeline or a multicamera clip.

We leave the frame rate
as it is because that's

the same frame rate of
the clips that I'm using.

But we're going to
change the angle sync.

You'll notice that we can use
in points, out points, timecode,

sound, or markers.

Well, we didn't add any
in, out points, markers

to any of these clips, so we
can't use any of those in order

to be able to create
an accurate sync.

Also, these clips
don't have time code.

Not all cameras will
record accurate time code

that can be synced
with other cameras.

So in this case, sound is
actually the most reliable way

that we've got of synchronizing
these clips together.

So let's choose sound from
the angle sync option.

From the angle
name, though, we're

actually going to change from
sequential to metadata camera.

This means we're actually using
that camera metadata that I've

pointed out in order
to be able to choose

the order of the
cameras, and also

very importantly, the
name as those cameras

appear in the
multicam clip viewer.

We can actually leave
all of the other options

alone, just for the moment.

However, it is
worth pointing out

that there is this
option to move source

clips to an original clips bin.

Sometimes you don't
want the source clips

to be moved to another
bin, so it's always worth

just thinking about whether
you need that option on or off.

Let's click Create.

And after a brief analysis,
Resolve will actually

create me a new multicam clip.

And also in the
media pool here, you

can see that we've also now
got a new original clips bin.

Double click the
multicam clip to open it

into the source viewer.

And now we can do a
quick sanity check

to see if all of these
angles are in sync.

[VIDEO PLAYBACK]

[MUSIC PLAYING]

[END PLAYBACK]

CHRIS ROBERTS: Well,
it's not very good audio

because I'm actually
listening to on-camera audio

from camera angle one.

However, just by
looking at the pictures,

I can see that all
of the performances

do seem to be in sync.

So the next thing I need
is I need a new timeline.

Let's select the Timelines
bin, and from the File menu,

choose New Timeline.

I'm going to rename this
timeline Miserable Girl Edit.

And then leave all
of the other options

the same, because the
defaults will work for this.

And choose Create.

Now I can edit the multicam
clip into this empty timeline,

just like any
other regular clip.

So I'm going to find the
start of the performance.

And set an endpoint.

Using audio scrubbing
is very useful

to be able to find the beginning
of that multicamera clip.

However, I can always trim
it in the timeline anyway,

so I'm not too worried about
finding the exact point.

I'm just going to make an
overwrite edit for this clip,

just as you would
normally do for any clip.

And now I'm just going to
hide the media pool again,

just to give me plenty
of room in the interface

to actually concentrate
on this clip

and move the playhead
back to the beginning.

So the first thing I
want to do is actually

to choose the starting angle
and also the audio angle

that I actually
want to work with.

And we can do that the
same way that we actually

chose the different video
angles in the interview

exercise previously.

In the timeline, I'm just going
to right click the picture

and choose Switch
Multicam Clip Angle,

and then I can choose
whichever angle that I want.

I'm going to choose
camera four here,

because I know that camera
four is actually the drummer,

and it's actually a good
angle from which to start.

Also, I'm going to right
click the audio clip

and choose Switch Multicamera
Angle to camera music.

The audio file also actually had
some camera information in it,

so that it's actually put
this in the correct place

and actually
labeled it correctly

so that I'm not guessing as to
which angle is the actual music

angle.

Looking at the
waveform, I can also

see it's a little
hot on the audio,

so I'm actually just going to
bring that down a little bit,

just so that I don't deafen
myself when I play this back.

Once I've got the two starting
angles set for both sound

and picture in the
timeline, I'm almost

ready to do my multicamera edit.

However, one other
thing that I want to do

is I now want to bring the
source viewer into play

so that I can easily switch
between the different camera

angles.

All I need to do is
come to this menu

option in the bottom left hand
corner of the source viewer

and change the menu
from source to multicam.

Down at the bottom of
the multicam viewer,

you can see that there
are three options.

This will indicate whether I'm
cutting sound and picture, just

sound, or just picture.

In this case, I just
want to choose picture.

So now I've chosen what
side of the multicam

I actually want to cut.

In this case, just picture.

I'm all ready to just hit Play
and then to click on the angles

as I want them.

[VIDEO PLAYBACK]

["MISERABLE GIRL" PLAYING]

(SINGING) You won't be happy
till I put you in your place

You can't smile with
that frown on your face

But you look so fine

I need to get you in line

You say you want love

But I think that you're confused

All you really need is
my neglecting, my abuse

But you look so fine

I need to make you mine

You're just another
pretty girl with something

to prove and nothing to lose

Yes, you're beautiful

But you're not happy
until you're miserable.

You say sweet things,
but I'm not gullible

You're crying, you're crying

You take up all my time

All of your fits are just
to show you want to try

But you look so fine

Girl, you're so divine

Controlling, controlling

Which one do you want?

I can do both, but
it's never enough

I'm lonely each day, but
you're stuck in your ways

It's too late

You're just another
pretty girl with something

to prove and nothing to lose

Yes, you're beautiful

But you're not happy
until you're miserable

You say sweet things,
but I'm not gullible

[END PLAYBACK]

CHRIS ROBERTS: So
there we have it.

I've gone from the
beginning of the music video

to the end, just simply
clicking on the different angles

that I want as I want them.

Now, at this point, you might
think, well, the job is done.

However, as I was
going through that

and cutting between
the different angles,

there were a few cuts that
I wasn't quite happy with.

So this is another important
part of multicamera editing.

Whilst you could possibly
go through that music video

and cut it in real time and
be happy with the results

when you've finished, simply
think of this as a rough cut.

This isn't live
television, after all.

It means that we
can always go back

and we can always make changes.

Now, this means that whoever's
watching this at the end

doesn't necessarily need to
see the creative decisions

that you've actually gone
through to achieve the end

result. Let's go back
through this multicam clip

and let's see if there's any
changes that we can make.

[VIDEO PLAYBACK]

["MISERABLE GIRL" PLAYING]

(SINGING) You won't be happy
till I put you in your place

You can't smile with
that frown on your face

But you look--

[END PLAYBACK]

CHRIS ROBERTS: Well,
at that point there

on that outgoing shot, we
lost the focus slightly

before we cut to the next shot.

So what I would want
to do here is actually

to probably roll the
edit back a little bit

in order to cover that
slight slip of the focus.

So let's go into
detail zoom view

in order to be able to see
that edit quite clearly.

I'm now going to click
and hold on the edit

and move it backwards
and forwards in order

to be able to roll the
edit into a new position

to cover that slight
slip of the focus.

I don't need to be
in trim edit mode

in order to make a change
like this to a multicam clip.

And actually, for
most multicam edits,

you probably want to stay
away from trim edit mode.

You certainly don't want to
ripple or slip the clips,

because that will
actually break the sync.

So I think I'm happy with the
new position for that edit.

I'm going to hit the forward
slash key to preview it.

[VIDEO PLAYBACK]

(SINGING) You can't smile
with that frown on your face,

but you look so--

[END PLAYBACK]

CHRIS ROBERTS: Now
that works, and I'm

happy that I've just covered up
that slight slip of the focus.

However, this wide
shot of the singer

actually now stays on for
a little bit too long,

so what I might want
to do is actually

cut to a different angle.

I'm just going to
play through the clip

until I find the point
where I want to cut.

Well, it would probably
be useful to actually cut

to the drummer at this
point here because there's

a cymbal smash.

So with the playhead
actually parked

on the frame where I
want to make the cut,

I'm now going to come up to
the multicam source viewer.

And you'll notice
when I bring my mouse

over the clip in
the source viewer

for the appropriate angle,
it actually gives me

a little razor blade icon to
indicate that I'm going to cut.

If I now click on
that clip, you'll

now notice that I've now got
a new cut within that existing

multicam clip.

[VIDEO PLAYBACK]

(SINGING) With that frown on
your face, but you look so fine

[END PLAYBACK]

CHRIS ROBERTS: So
you can see just

how easy it is now to actually
go through and actually add

additional edit points.

However, looking at
the timeline now,

I've noticed that the
following clip is actually

the same drummer shot.

Thankfully, because
this is a through edit,

as indicated by the dotted
lines, all I need to do

is select it and then hit
the Delete or Backspace key

in order to be able to
remove that through edit.

That actually has now
joined that clip together.

Let's go through and
choose a new angle.

I think it'd be useful to see
the guitarist at this point.

[VIDEO PLAYBACK]

(SINGING) But you look so fine

I need to get you--

[END PLAYBACK]

CHRIS ROBERTS: And I think we
should go back to the singer

as well.

For that second line Let's
choose camera angle two.

[VIDEO PLAYBACK]

(SINGING) I need
to get you in line

[END PLAYBACK]

CHRIS ROBERTS: Well, you'll
notice on that camera angle

that I've just chose,
it's quite nice.

However, you'll notice
that the framing has now

gone a little bit wrong.

So the talent is moving
in front of the camera,

and of course, the cameraman is
finding it difficult to keep up.

Of course, I could actually
cover that with another shot.

But the other thing that you
can do with multicamera clips

is you can actually switch
between the different angles,

and that's just as easy
to do as making a cut.

I'm just going to park the
playhead over the multicam angle

that I actually want to switch.

I'm going to go with a wide
shot of the whole band here,

so camera angle number eight.

Now if I just simply
click on this angle,

it will actually
add an edit point.

However, if I hold down the
Option or the Alt key when

I actually look at
the mouse, you'll

now see it's actually
switched into what appears

to be a replace edit symbol.

And what this will do is
it will just simply switch

the entire angle, very similar
to what we did on the interview

in the first exercise.

So just simply now holding
down the Option or Alt key

and clicking on the angle
will switch the entire angle

on the timeline.

let's go back to the drummer
for that little ripple.

[VIDEO PLAYBACK]

["MISERABLE GIRL" PLAYING]

(SINGING) You say you want love,
but I think that you're confused

All you really need is
my neglecting, my abuse

[END PLAYBACK]

CHRIS ROBERTS: So
now you can see.

All that we need to do is just
work back through the multicam

edit, add in edit points, and
actually roll in edit points,

switching angles, and
carrying on cutting.

[VIDEO PLAYBACK]

(SINGING) But you look so fine

I need to make--

I need to make you mine

I need to make you--

I need to make you mine

You're just another pretty girl
with something to prove and--

You're just another
pretty girl with something

to prove and nothing to lose

Yes, you're beautiful

[END PLAYBACK]

CHRIS ROBERTS: I hope
you found this video

to be useful in helping
you edit your multicamera

footage in DaVinci Resolve.

Don't forget, if you've
got any further questions,

you can always join
us on our forum pages

where questions are
answered on a daily basis.

And don't forget, if you look
at the DaVinci Resolve product

pages, there's a whole section
on training where there

are freely available
training videos

and training books
for you to use.

Thank you very much.