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CHRIS: Hi, I'm Chris.

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I'm an editor and a DaVinci[br]Resolve master trainer.

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Today I'm going to look at some[br]of the editing functionality

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that you can access[br]in DaVinci Resolve.

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We've been sent some[br]footage to put together

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a short trailer for[br]a documentary film

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by the filmmaker[br]Brian Terwilliger,

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and so to do that,[br]we're going to start

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by creating a new project.

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So here I am in the[br]project manager.

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I'll just click on[br]the New Project button

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to create that and give[br]this project a name.

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Age of Airplanes Trailer.

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Choose to create,[br]and DaVinci Resolve

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opens directly in the Cut page.

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Now the best place for me to[br]do importing and organization

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is actually in the[br]Media page, so down

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at the bottom of[br]the interface here,

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just click on the Media page.

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Now in the top left[br]of the media page,

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it gives me access to all of[br]my system storage locations,

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so I'm just going to right[br]click here in the side

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and choose Add New Location.

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I'm going to navigate to the[br]location where my footage is.

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In this case, it's actually[br]in my Documents folder.

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Go to the editing[br]folder and then choose

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Open, and that creates a[br]new storage location for me

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to access here.

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Now, the video and the audio[br]clips that have been sent to me

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are actually in[br]separate folders,

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and to a certain extent, I[br]want to preserve that folder

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structure, so when I import[br]the footage into Resolve,

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I actually want to import and[br]also to create a series of bins.

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Simply select these two folders[br]in the media storage location,

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right click, and then choose the[br]third option, which in this case

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is Add folder and Subfolders[br]into Media Pool, creating bins.

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Now, at this point,[br]DaVinci Resolve

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is asking me to change[br]the project frame rate.

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This is so that[br]the project frame

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rate will match the[br]frame rate of the footage

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that I'm bringing in.

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So in this case, I need[br]to accept the change.

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So now the footage has been[br]imported into the media pool.

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It's ready for me to start[br]working on and organizing.

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The first thing I'm[br]going to do is just

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access the audio[br]clips bin, and you

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can see that although I've[br]got a folder of sound effects

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that actually contains a[br]series of sound effects

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that I'm going to use[br]within the trailer,

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the other clips aren't[br]organized into bins.

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So let's create a[br]couple of other bins

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so that we know where[br]this footage is.

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So first of all, with the[br]Audio Clips bin selected,

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I'm going to come to the File[br]menu and choose the option here,

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New Bin.

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There are also a[br]series of shortcuts

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that you can employ here as[br]well, such as Shift and Command

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N because I'm on a Mac.

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That then creates the[br]new bin, and I'm just

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going to call this Music.

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And then take the[br]clip Music for Trailer

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and just drag and drop[br]that into the Music folder.

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So organizing clips[br]into bins is very

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similar to organizing files[br]in folders on your operating

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system.

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I've also got two[br]voiceover clips here.

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I'm just going to[br]select both of those,

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and this time right[br]click and choose

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Create Bin with Selected Clips.

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I'm going to call this VO.

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So that's got all of my[br]audio clips organized

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into separate bins.

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I now need to do the same[br]with the video clips.

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But in this case, rather[br]than just using simple bins,

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I'm going to use a[br]series of smart bins.

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So selecting the[br]video clips folder,

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you can see I've got[br]a series of thumbnails

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for each of the clips.

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If I actually just take[br]my mouse and run the mouse

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across the clips, you can see[br]that each of the video clips

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is previewed for me.

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If I get to a clip that[br]actually has audio,

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you can also hear that I've also[br]got audio scrubbing as well.

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I'm just going to turn[br]that off for the moment

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just by pressing Shift[br]S on my computer.

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Now, we're not hearing[br]the audio scrub.

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Obviously, these three[br]clips that I have here

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are interview clips.

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So I'm actually going to tag[br]them with a keyword called

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Interview.

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I'm going to shift click to[br]select all of those three clips,

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and then in the Metadata panel[br]down in the bottom right hand

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corner of the[br]interface, I'm just

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going to display the keyword[br]metadata field that I need.

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Clicking in the Sort menu[br]for the Metadata panel,

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I'm just going to choose[br]the option shot and scene.

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And this will actually[br]show the metadata

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for the shot and the scene[br]information for these clips.

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You can see, scrolling[br]down through this view

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here, that we actually[br]have a field for keywords.

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So I'm going to enter[br]the keyword Interview.

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Just typing Interview[br]or beginning

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to type Interview in[br]the Metadata field

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means that it'll[br]actually bring up

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a list of options for[br]different keywords,

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but you can always put in[br]your own keywords in there.

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Let's choose the option for[br]Interview and choose Save.

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So that's how easy[br]it is in order

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to be able to add keywords to[br]any clip within your project.

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Now that we've added the[br]keywords to the clip,

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it's actually really easy[br]because DaVinci Resolve

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will automatically[br]display any keyword clips

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in their own smart bin.

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Down in the bottom left hand[br]corner of your bin list,

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simply select the[br]Keywords option

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and then toggle it open[br]using the disclosure arrow,

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and you'll see in there, there[br]is a smart bin for Interview.

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So my three interview[br]clips are now

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being displayed[br]within that smart bin.

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Just to show you how easy it[br]is to keep adding keywords,

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I'm just going to select[br]the Video Clips bin

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and select the clip[br]called Credits.

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In the keywords, I'm going[br]to add the keyword Credits.

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And now that is actually tagged[br]that clip with that keyword,

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you'll see that I have a credits[br]smart bin available to me.

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So now you can carry[br]on adding whatever

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keywords you want to any of[br]the clips within your project

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and organize them.

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However, there's much more[br]to the metadata than this.

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If we select the Video[br]Clips bin, for example,

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and then select[br]this first clip here

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for the aerial shot for this[br]Kenya clip, if I come up here

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and select the inspector in[br]the top right hand corner

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and then choose the File[br]tab in the inspector,

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you can see that we've actually[br]got a series of metadata fields

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that we can easily access.

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These are the same[br]metadata fields

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that you'll be able to[br]see in the actual Metadata

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panel itself.

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It just means that they're[br]easier to access here

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inside the inspector.

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Now, I can actually populate[br]this with a series of metadata

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just by simply clicking[br]in these fields

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and start to type[br]in the information.

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However, if you've got somebody[br]on the production team that

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might be logging[br]these shots, it's

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actually easier to[br]import the metadata

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rather than to add every single[br]piece of metadata individually.

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So let's go to the File[br]menu and we'll choose

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Import Metadata to Media Pool.

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Navigate to where your editing[br]footage is on your system

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and choose to select[br]the aoalogging.csv file.

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A CSV file is a comma[br]separated values file.

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It's very simple to create in[br]any spreadsheet application.

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I'm going to choose[br]to open that,

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and you'll see that when[br]I'm importing this login

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information, you can[br]see that it is also

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asking me for a series of things[br]that it's trying to match to.

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Now in this information,[br]we don't actually

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have time code information for[br]these clips, so in this case,

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I'm just going to uncheck Match[br]Using Clips Start and End Time

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Code.

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I'm going to[br]uncheck that option.

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And then choose OK.

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And you'll see that the[br]information has actually

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been imported, and now 27 media[br]pool clips have been updated.

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If I select any of[br]these clips again,

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you'll now see, in the[br]File tab in the inspector,

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I've now got[br]additional information

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in terms of the scene number,[br]also a shot number, and quite

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often, sometimes whether this[br]is a good shot or a good take

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or not.

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Just scrolling down to the[br]bottom of the file inspector,

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you can also see a comments[br]field has also been added.

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So having added all of that[br]metadata to these clips,

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how can I actually use it?

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Well, I can actually[br]use it in order

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to be able to do very quick[br]searches across the project.

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If I select the master[br]bin, for example,

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and let's say I wanted to do a[br]search across this information

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for any shots that were shot[br]at San Francisco airport,

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for example.

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I can actually click on[br]the Search option here.

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Under this little dropdown[br]arrow at the side,

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I can also choose[br]whether or not I

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want to search the[br]selected bin or all bins.

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So in this case, I actually want[br]to search the whole project,

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so I'm going to select all bins.

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And now I need to[br]choose which fields

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I'm actually trying to match.

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So you can see[br]here, the Filter By

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is actually based on the[br]file name of the clip, which

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is absolutely fine[br]if you know the file

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name that you're searching for.

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In this case, though,[br]I actually want

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to match to the[br]scene information.

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So if I just tap S on my[br]keyboard and keep tapping S,

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it will cycle through[br]all the metadata fields

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until I get to the scene.

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Selecting that I[br]can now type in SFO,

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and you can see that all of[br]the clips in the project that

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have actually got that scene[br]information, SFO, will now

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be revealed.

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Let's say I want to find[br]a clip that actually

0:10:15.850,0:10:18.220
has the comment for Kenya.

0:10:18.220,0:10:24.310
From the Filter By, I can[br]choose the Comments field

0:10:24.310,0:10:28.610
just by tapping C many times[br]until Comments appears.

0:10:28.610,0:10:31.490
And now highlight the[br]text for the search.

0:10:31.490,0:10:34.790
And again, type in what[br]I'm actually looking for.

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That's the power of[br]metadata in order

0:10:37.750,0:10:39.280
to be able to[br]search right the way

0:10:39.280,0:10:42.590
across your project to find the[br]clips that you're looking for,

0:10:42.590,0:10:44.930
but we can go one step further.

0:10:44.930,0:10:48.310
If you clear the Search field[br]and close down the search field

0:10:48.310,0:10:52.120
by clicking the[br]Search button, now

0:10:52.120,0:10:55.140
go to your DaVinci[br]Resolve Preferences menu.

0:10:55.140,0:10:58.030


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Choose User, Editing.

0:11:03.700,0:11:06.220
You can see that there's[br]a category of preferences

0:11:06.220,0:11:10.270
for automatic smart bins.

0:11:10.270,0:11:14.750
By default, the automatic smart[br]bins for keywords is already on.

0:11:14.750,0:11:16.330
However, you can[br]also see that we

0:11:16.330,0:11:19.120
can create automatic[br]smart bins for anything

0:11:19.120,0:11:22.810
with shot or scene metadata.

0:11:22.810,0:11:25.630
Click the automatic smart[br]bins for the scene metadata

0:11:25.630,0:11:29.450
and click Save, and now,[br]in your list of smart bins,

0:11:29.450,0:11:32.260
you've now got a[br]new scene category.

0:11:32.260,0:11:34.850
Use the disclosure[br]arrow to open that up,

0:11:34.850,0:11:38.320
and you can now see that the[br]information for each scene

0:11:38.320,0:11:42.010
is displayed as[br]its own smart bin.

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Just simply select[br]the smart bin in order

0:11:43.750,0:11:45.270
to be able to[br]access the contents.

0:11:45.270,0:11:47.820


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But you're not simply limited to[br]the default automatic smart bins

0:11:52.920,0:11:55.090
that you can have[br]within DaVinci Resolve.

0:11:55.090,0:11:58.740
You can actually create[br]your own custom smart bin.

0:11:58.740,0:12:01.860
In this case, I'm going to[br]go back to the File menu

0:12:01.860,0:12:06.750
and choose the[br]option New Smart Bin.

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This field then[br]opens up, and it's

0:12:08.790,0:12:12.450
asking me for a variety of[br]rules that I can actually

0:12:12.450,0:12:16.080
input in order to be able[br]to narrow down the footage

0:12:16.080,0:12:18.370
that I actually want to locate.

0:12:18.370,0:12:21.613
Let's rename this[br]smart bin B-Roll.

0:12:21.613,0:12:24.750


0:12:24.750,0:12:28.540
So now, I need to choose my[br]first rule, so in this case,

0:12:28.540,0:12:30.910
I'm going to say[br]Media Pool Properties.

0:12:30.910,0:12:33.070
But I don't want to[br]match on the file name.

0:12:33.070,0:12:35.610
I actually want to match[br]on the keyword information

0:12:35.610,0:12:36.820
to begin with.

0:12:36.820,0:12:45.870
So keywords do not[br]contain interview.

0:12:45.870,0:12:49.230
So now my smart bin[br]search is automatically

0:12:49.230,0:12:54.360
filtering out any clip that[br]has the interview keyword.

0:12:54.360,0:12:58.200
I'm going to add[br]another rule for this.

0:12:58.200,0:13:01.380
Media Pool Properties[br]for keywords

0:13:01.380,0:13:05.940
does not contain credits.

0:13:05.940,0:13:10.410
This was the other keyword that[br]I actually added to my title

0:13:10.410,0:13:13.650
that I actually don't want[br]to see in the B-Roll bin.

0:13:13.650,0:13:16.260
You can also choose to[br]add a subset of rules

0:13:16.260,0:13:18.240
to your smart bins as well.

0:13:18.240,0:13:20.730
Holding down the[br]Option or the Alt key

0:13:20.730,0:13:23.880
on your system when I[br]click on this plus button

0:13:23.880,0:13:26.760
actually turns it[br]into an Options menu.

0:13:26.760,0:13:29.430
And now, I actually[br]have a subset of rules

0:13:29.430,0:13:32.200
that I just want[br]to match any two.

0:13:32.200,0:13:36.280
And in this case, I actually[br]want to specify clip types,

0:13:36.280,0:13:39.070
so I'm going to choose[br]Media Pool Properties.

0:13:39.070,0:13:42.360
Change the second[br]drop down to Clip Type

0:13:42.360,0:13:45.660
just by tapping[br]C on my keyboard.

0:13:45.660,0:13:48.150
Clip Type is video.

0:13:48.150,0:13:53.250
This means that only video[br]clips, not audio clips or still

0:13:53.250,0:13:56.190
image files or[br]timelines will find

0:13:56.190,0:13:59.340
their way into this smart bin.

0:13:59.340,0:14:01.240
But that's just video.

0:14:01.240,0:14:04.000
What if I have video with audio?

0:14:04.000,0:14:08.730
Well, in this case, I'm going to[br]add another rule to this subrule

0:14:08.730,0:14:15.570
and set and specify the clip[br]type is video and audio.

0:14:15.570,0:14:19.420
Now I can choose to[br]create my smart bin.

0:14:19.420,0:14:21.270
And the results[br]of that smart bin

0:14:21.270,0:14:23.500
will be automatically updated.

0:14:23.500,0:14:27.040
So if I add any additional[br]clips to this project,

0:14:27.040,0:14:30.570
providing those clips[br]meet the criteria,

0:14:30.570,0:14:33.450
I'll be able to find[br]them in this smart bin.

0:14:33.450,0:14:37.170
If you want to edit a smart[br]bin for any reason, just simply

0:14:37.170,0:14:40.470
double click on the smart bin[br]and the rules of that smart bin

0:14:40.470,0:14:43.520
will open up, allowing[br]you to change them.

0:14:43.520,0:14:46.100
There's one other thing[br]that we can actually

0:14:46.100,0:14:49.250
use the metadata for[br]in Resolve, and that's

0:14:49.250,0:14:51.740
to actually use the[br]information in the metadata

0:14:51.740,0:14:55.650
in order to be able to rename[br]the clip within the project.

0:14:55.650,0:14:57.890
This can be very[br]useful if you actually

0:14:57.890,0:15:00.120
want to do a search[br]across a clip name,

0:15:00.120,0:15:02.570
or you just want to[br]simply have a sanity check

0:15:02.570,0:15:04.410
as to what that actual clip is.

0:15:04.410,0:15:06.900
By naming the clip in[br]an appropriate way,

0:15:06.900,0:15:09.680
it's easy to check that.

0:15:09.680,0:15:12.350
So here in the[br]B-Roll smart bin, I'm

0:15:12.350,0:15:14.090
just going to select[br]all of those clips

0:15:14.090,0:15:17.450
just by dragging a[br]Lasso across them.

0:15:17.450,0:15:24.140
Then I'm going to right click[br]and choose clip attributes.

0:15:24.140,0:15:26.930
Choose the name panel[br]from clip attributes

0:15:26.930,0:15:30.620
and highlight the[br]default clip name.

0:15:30.620,0:15:33.920
So in this case, I actually[br]want all of my B-Roll clips

0:15:33.920,0:15:37.980
to start with the initials[br]AOA for Age of Airplanes,

0:15:37.980,0:15:42.920
so I'm just going to type[br]in AOA underscore in order

0:15:42.920,0:15:45.410
to separate the[br]next information.

0:15:45.410,0:15:48.810
Now, I want to take[br]information from the metadata.

0:15:48.810,0:15:53.340
And in order to do this, I need[br]to add what we call a variable.

0:15:53.340,0:15:55.970
To add the variable,[br]all you need to do

0:15:55.970,0:15:58.380
is put in the percentage symbol.

0:15:58.380,0:16:00.530
And now, it'll[br]give you an option

0:16:00.530,0:16:03.630
to choose whichever metadata[br]field that you want to add.

0:16:03.630,0:16:08.010
In this case, we want to[br]choose the Shot metadata field.

0:16:08.010,0:16:11.180
So I'm just going to type the[br]word Shot after the percentage

0:16:11.180,0:16:13.340
value, and you can[br]see here in the menu

0:16:13.340,0:16:14.910
I've got the Shot option.

0:16:14.910,0:16:18.260
So I'm going to select[br]that, and that has now

0:16:18.260,0:16:22.220
added a tag to my clip name[br]based on the shot information

0:16:22.220,0:16:24.530
for each of these clips.

0:16:24.530,0:16:28.310
Again, I'm going to use[br]underscore percentage

0:16:28.310,0:16:29.955
and then use comments.

0:16:29.955,0:16:34.010


0:16:34.010,0:16:37.700
Now, when I click OK,[br]the clips are now all

0:16:37.700,0:16:42.470
renamed in the media pool[br]using AOA, underscore, the shot

0:16:42.470,0:16:45.600
number, underscore,[br]the comments field.

0:16:45.600,0:16:47.960
This is going to[br]make it easier for me

0:16:47.960,0:16:50.480
to be able to locate[br]each of the clips

0:16:50.480,0:16:52.530
and actually use[br]them in my edit.

0:16:52.530,0:16:54.840
I want to do the same[br]with the interview clips,

0:16:54.840,0:16:57.120
so I'm going to select[br]the Interview smart bin,

0:16:57.120,0:17:02.270
select the interview clips,[br]right click clip attributes.

0:17:02.270,0:17:05.960
In the name, highlight the[br]Name field, and this time,

0:17:05.960,0:17:09.079
I'm going to type[br]in INT underscore

0:17:09.079,0:17:18.440
percentage shot underscore[br]percentage comments

0:17:18.440,0:17:21.530
and then choose OK.

0:17:21.530,0:17:24.260
And now, you can see[br]that the interview

0:17:24.260,0:17:26.990
clips have been named with[br]the appropriate soundbite

0:17:26.990,0:17:29.030
information.

0:17:29.030,0:17:32.700
Now that I've got all of the[br]clips organized for the project,

0:17:32.700,0:17:34.340
I'm now going to[br]go to the Edit Page

0:17:34.340,0:17:36.620
that I can actually[br]start editing.

0:17:36.620,0:17:39.080
Just simply click on[br]the Edit Page button.

0:17:39.080,0:17:41.380
And all of the information[br]that you've just

0:17:41.380,0:17:44.440
organized inside the media[br]pool on the Media page

0:17:44.440,0:17:47.590
is now available to me.

0:17:47.590,0:17:51.850
And the great thing is that I[br]can keep organizing this footage

0:17:51.850,0:17:53.150
as I'm working.

0:17:53.150,0:17:56.290
And the organization process[br]when you're editing never really

0:17:56.290,0:18:00.135
stops, it just gets refined[br]the more that you do.

0:18:00.135,0:18:02.260
I'm actually going to start[br]by selecting the master

0:18:02.260,0:18:05.950
bin in the media pool and[br]creating a new bin, just

0:18:05.950,0:18:08.990
a regular bin that I'm[br]going to call Timelines.

0:18:08.990,0:18:12.460
In this case, it's often useful[br]to keep your timelines organized

0:18:12.460,0:18:16.090
in separate bins so that[br]you know where they all are.

0:18:16.090,0:18:19.100
Make sure you've got the[br]Timeline bin selected,

0:18:19.100,0:18:24.790
and then go to the File menu[br]and choose New Timeline.

0:18:24.790,0:18:27.490
Let's just change the name[br]of this timeline to something

0:18:27.490,0:18:30.790
a little bit more[br]appropriate for this project.

0:18:30.790,0:18:36.100
AOA Trailer, and we'll[br]just call it version 1.

0:18:36.100,0:18:38.740
Quite often you'll go through[br]a number of different versions

0:18:38.740,0:18:40.630
for all of your edits.

0:18:40.630,0:18:44.050
If you wish to you can actually[br]override the default project

0:18:44.050,0:18:46.130
settings for any timeline.

0:18:46.130,0:18:49.670
Just simply uncheck the Use[br]Project settings option,

0:18:49.670,0:18:51.400
and then you can[br]go into the format

0:18:51.400,0:18:53.320
to change the[br]timeline resolution

0:18:53.320,0:18:55.280
and the timeline frame rate.

0:18:55.280,0:18:57.220
However, in this case,[br]because we already

0:18:57.220,0:18:59.210
changed the frame[br]rate for the project,

0:18:59.210,0:19:01.610
we know that this is[br]actually the correct setting,

0:19:01.610,0:19:04.000
so I'm just going to[br]re-enable the project settings

0:19:04.000,0:19:06.280
and choose Create.

0:19:06.280,0:19:08.140
Now, I have a timeline,[br]I can actually

0:19:08.140,0:19:11.600
start assembling the material[br]directly in the timeline,

0:19:11.600,0:19:13.210
and start putting[br]together this edit

0:19:13.210,0:19:16.900
and making some sort of sense[br]of the material that I've got.

0:19:16.900,0:19:19.460
So let's go to the[br]Interview smart bin,

0:19:19.460,0:19:22.555
so that we can actually[br]see the interview clips.

0:19:22.555,0:19:25.220
From the Sort menu[br]in the media pool,

0:19:25.220,0:19:27.580
just click and make sure[br]that you're organizing

0:19:27.580,0:19:29.510
these clips by clip name.

0:19:29.510,0:19:32.320
This will put them in the order[br]that we're roughly interested

0:19:32.320,0:19:33.580
in.

0:19:33.580,0:19:36.430
In this case, we[br]actually have INT_01,

0:19:36.430,0:19:38.230
and it's called[br]Shoot the Real World,

0:19:38.230,0:19:40.260
based on the naming[br]convention that we're

0:19:40.260,0:19:41.940
using for this project.

0:19:41.940,0:19:44.040
You can see that, as[br]I'm scrubbing backwards

0:19:44.040,0:19:46.320
and forwards, my[br]live media preview

0:19:46.320,0:19:50.020
is on so that I can actually[br]see the content of that clip.

0:19:50.020,0:19:52.750
If my audio scrubbing[br]was also turned on,

0:19:52.750,0:19:55.620
I would also be able to[br]hear the audio scrub as I

0:19:55.620,0:19:57.990
move my mouse back and forth.

0:19:57.990,0:20:00.250
To turn the audio[br]scrubbing on and off.

0:20:00.250,0:20:02.020
You can use Shift S.

0:20:02.020,0:20:04.260
PRESENTER 1:[br][SPEAKING IN FAST FORWARD]

0:20:04.260,0:20:08.780


0:20:08.780,0:20:10.530
CHRIS: I'm going to[br]double click this clip

0:20:10.530,0:20:14.790
and that will actually open it[br]directly into the source viewer.

0:20:14.790,0:20:17.190
Now I can use the[br]scrubber bar here

0:20:17.190,0:20:20.520
in order to be able to return[br]to the beginning of that clip,

0:20:20.520,0:20:22.470
and I'm just going to[br]play the clip through

0:20:22.470,0:20:25.080
just so that we can all[br]listen to the interview.

0:20:25.080,0:20:29.580
You could use the[br]spacebar or the L key.

0:20:29.580,0:20:31.182
PRESENTER 1: So[br]in this film, I'm

0:20:31.182,0:20:33.390
making a documentary about[br]how the airplane's changed

0:20:33.390,0:20:34.150
the world.

0:20:34.150,0:20:38.420
It was really important to go[br]out and shoot the real world,

0:20:38.420,0:20:40.990
and how the airplane is[br]connecting and making

0:20:40.990,0:20:43.630
all the things possible that[br]I want to convey in the film.

0:20:43.630,0:20:45.190
CHRIS: Well,[br]obviously, I don't want

0:20:45.190,0:20:48.380
to use all of that[br]interview, but in this case,

0:20:48.380,0:20:50.530
as a good starting[br]point, I'm actually

0:20:50.530,0:20:53.300
just going to bring the[br]whole clip into the timeline.

0:20:53.300,0:20:55.910
Now, there are several ways[br]in which we can do that.

0:20:55.910,0:20:59.350
For example, I can just pick the[br]clip up from the source viewer

0:20:59.350,0:21:02.620
and drag it and drop[br]it into the timeline.

0:21:02.620,0:21:05.900
This is often a manual[br]way of being able to edit,

0:21:05.900,0:21:08.380
but it's very limiting[br]on what I can actually

0:21:08.380,0:21:11.320
do when it comes to[br]editing footage together.

0:21:11.320,0:21:14.410
So in this case, I'm just going[br]to press Command or Control

0:21:14.410,0:21:17.890
Z just to be able to[br]undo those changes,

0:21:17.890,0:21:20.860
and this time, instead of[br]dragging and dropping the clip

0:21:20.860,0:21:22.810
into the timeline,[br]I'm actually going

0:21:22.810,0:21:26.660
to pick the clip up and drag[br]across to the timeline viewer.

0:21:26.660,0:21:28.750
And you'll notice,[br]on the right hand

0:21:28.750,0:21:30.430
side of the timeline[br]viewer, I've

0:21:30.430,0:21:32.590
actually got all of[br]the editing functions

0:21:32.590,0:21:35.200
that I can perform[br]inside the Edit page.

0:21:35.200,0:21:37.920
So this is a useful way of[br]being able to remind yourself

0:21:37.920,0:21:40.050
of the different[br]functions that we have.

0:21:40.050,0:21:43.690
The default is actually[br]Overwrite Edit.

0:21:43.690,0:21:46.230
If I now let go of[br]the mouse, the clip

0:21:46.230,0:21:50.250
is edited instantly to the[br]beginning of the timeline.

0:21:50.250,0:21:53.410
The timeline viewer has[br]automatically become active,

0:21:53.410,0:21:56.260
so if I use the up[br]arrow on the keyboard,

0:21:56.260,0:21:59.400
I can return to the[br]beginning of the timeline.

0:21:59.400,0:22:01.140
I'm just going to[br]play forward, just

0:22:01.140,0:22:04.760
like I did in the source viewer,[br]using the L key on my keyboard.

0:22:04.760,0:22:07.830


0:22:07.830,0:22:09.245
PRESENTER 1: So[br]in this film, I'm

0:22:09.245,0:22:12.040
making a documentary about how[br]the airplanes changed the world.

0:22:12.040,0:22:16.740
It was really important to go[br]out and shoot the real world.

0:22:16.740,0:22:19.853
CHRIS: That's a good place[br]for this soundbite to end.

0:22:19.853,0:22:21.270
Now, you can see,[br]in the timeline,

0:22:21.270,0:22:23.910
I've got a good guide with the[br]image of the waveform where

0:22:23.910,0:22:26.760
he starts and stops speaking,[br]and you can actually

0:22:26.760,0:22:28.410
use this as a guide[br]when you actually

0:22:28.410,0:22:31.110
want to position the[br]playhead for the next edit.

0:22:31.110,0:22:35.430
And in this case, I'm actually[br]going to click the Detail Zoom

0:22:35.430,0:22:38.940
button just to be able to step[br]into the timeline a little bit

0:22:38.940,0:22:44.730
clearer, and then use the J[br]and L keys in order to be able

0:22:44.730,0:22:48.150
to find the exact point[br]within that interview where

0:22:48.150,0:22:50.920
he's finished that[br]line, "real world."

0:22:50.920,0:22:52.750
And you can see[br]from the waveform,

0:22:52.750,0:22:55.170
this is very clear[br]where he stops speaking

0:22:55.170,0:22:58.140
and where he starts again.

0:22:58.140,0:23:03.120
Now, I'm going to return to[br]my full extent Zoom function.

0:23:03.120,0:23:07.230
This allows me to see the whole[br]timeline from beginning to end,

0:23:07.230,0:23:09.330
and the playhead[br]is now the location

0:23:09.330,0:23:12.330
that I'm actually going[br]to perform the next edit.

0:23:12.330,0:23:14.620
So let's find an interview clip.

0:23:14.620,0:23:18.570
Let's go to interview 02,[br]double click from the media pool

0:23:18.570,0:23:21.210
to open it into the[br]source viewer, and now,

0:23:21.210,0:23:23.890
I'm going to return the[br]playhead to the very beginning,

0:23:23.890,0:23:26.092
and I'm going to play[br]through the interview.

0:23:26.092,0:23:28.300
PRESENTER 1: With all seven[br]continents, 18 countries.

0:23:28.300,0:23:31.240
It was very important[br]that everything was real.

0:23:31.240,0:23:33.810
If it was possible to shoot[br]it, we wanted to go shoot it.

0:23:33.810,0:23:36.392
If we couldn't get the shot[br]or the weather wasn't right,

0:23:36.392,0:23:38.100
we would either go[br]back to that location,

0:23:38.100,0:23:40.517
stay at that location longer,[br]or it didn't make the movie.

0:23:40.517,0:23:42.758
It was really important[br]every shot was original

0:23:42.758,0:23:45.050
and that everything was real,[br]but there's a few things.

0:23:45.050,0:23:46.340
Only--

0:23:46.340,0:23:49.140
CHRIS: And again, I don't[br]want to use all the interview.

0:23:49.140,0:23:51.320
I only want to use a[br]portion of the relevant part

0:23:51.320,0:23:52.440
of the interview.

0:23:52.440,0:23:55.970
So in order to be able to see[br]the parts of the soundbite

0:23:55.970,0:23:57.890
that I actually want[br]to use, I'm actually

0:23:57.890,0:24:00.650
going to use a feature[br]inside DaVinci Resolve, which

0:24:00.650,0:24:03.950
I find very useful on[br]a day to day basis.

0:24:03.950,0:24:07.010
If you come up to the[br]top of the source viewer

0:24:07.010,0:24:09.350
and click the[br]Options menu, that's

0:24:09.350,0:24:12.920
the three dots that you see[br]at the top of the viewer,

0:24:12.920,0:24:17.690
we can actually choose to show[br]the zoomed audio waveform.

0:24:17.690,0:24:21.840
You can also choose to show[br]a full clip audio waveform.

0:24:21.840,0:24:25.640
Let's try that first,[br]and that actually

0:24:25.640,0:24:28.610
shows me a waveform very[br]similar to the waveform

0:24:28.610,0:24:30.600
that I have for the[br]clip in the timeline.

0:24:30.600,0:24:33.690
But because it's actually[br]shown me the whole interview,

0:24:33.690,0:24:35.240
it's actually a[br]little bit difficult

0:24:35.240,0:24:39.210
to actually focus on where[br]I want to concentrate on.

0:24:39.210,0:24:42.440
So in this case, I'm going to[br]click back in the Options menu

0:24:42.440,0:24:47.420
again and choose Show[br]Zoomed Audio Waveform.

0:24:47.420,0:24:50.180
Now, as I scrub[br]through the clip,

0:24:50.180,0:24:52.040
you can see that[br]it will actually

0:24:52.040,0:24:55.250
show me a detailed[br]waveform view depending

0:24:55.250,0:24:57.290
where I am within the clip.

0:24:57.290,0:24:59.953
I'm going to return the playhead[br]to the beginning of that clip.

0:24:59.953,0:25:01.370
I'm just going to[br]play it through,

0:25:01.370,0:25:05.200
and I'm listening for the[br]first line for his soundbite.

0:25:05.200,0:25:07.200
PRESENTER 1: All seven[br]continents, 18 countries.

0:25:07.200,0:25:10.140
It was very important[br]that everything was real.

0:25:10.140,0:25:12.853
If it was possible to shoot[br]it, we wanted to go shoot it.

0:25:12.853,0:25:15.270
CHRIS: So that's where I want[br]him to start, where he says,

0:25:15.270,0:25:18.330
"if it was possible to shoot[br]it, we wanted to go shoot it."

0:25:18.330,0:25:20.360
So I'm now just going[br]to press the J key just

0:25:20.360,0:25:24.610
to be able to back that up to[br]the beginning of that soundbite.

0:25:24.610,0:25:25.610
PRESENTER 1: If it was--

0:25:25.610,0:25:27.470
CHRIS: And listening[br]to it closely, there's

0:25:27.470,0:25:30.020
an ah at the beginning[br]that I actually

0:25:30.020,0:25:32.370
don't want to include[br]within the soundbite.

0:25:32.370,0:25:35.180
PRESENTER 1:[br][SPEAKING IN REVERSE]

0:25:35.180,0:25:37.890
CHRIS: So now, I can[br]actually jog through

0:25:37.890,0:25:40.170
if I turn on my audio scrubbing.

0:25:40.170,0:25:44.990


0:25:44.990,0:25:47.550
I can jog through[br]one frame at a time.

0:25:47.550,0:25:50.100
You can use the left and[br]right arrow keys for this,

0:25:50.100,0:25:53.330
but I actually find it's really[br]useful holding down the K key

0:25:53.330,0:25:55.885
and tapping the J or the L keys.

0:25:55.885,0:26:02.450


0:26:02.450,0:26:05.330
So at this point, I[br]want to add an endpoint

0:26:05.330,0:26:06.990
into my source viewer.

0:26:06.990,0:26:09.990
There's only one way you really[br]need to know how to do this,

0:26:09.990,0:26:13.340
and that's by pressing[br]I on your keyboard.

0:26:13.340,0:26:15.650
So I'm now going to play[br]the interview through

0:26:15.650,0:26:18.597
to find the end of the soundbite[br]that I'm interested in.

0:26:18.597,0:26:20.430
PRESENTER 1: If it was[br]possible to shoot it,

0:26:20.430,0:26:21.480
we wanted to go shoot it.

0:26:21.480,0:26:24.062
If we couldn't get the shot,[br]or the weather wasn't right,

0:26:24.062,0:26:25.770
we would either go[br]back to that location,

0:26:25.770,0:26:28.187
stay at that location longer,[br]or it didn't make the movie.

0:26:28.187,0:26:30.430
It was really important[br]every shot was original,

0:26:30.430,0:26:31.730
and that everything was real.

0:26:31.730,0:26:32.470
But there's--

0:26:32.470,0:26:34.330
CHRIS: And that's[br]the word, "real,"

0:26:34.330,0:26:36.500
where I actually want[br]this soundbite to end.

0:26:36.500,0:26:39.250
So I'm just going to[br]back the playhead up.

0:26:39.250,0:26:41.000
PRESENTER 1: And that[br]everything was real.

0:26:41.000,0:26:43.330
CHRIS: And again, you[br]heard a little bit

0:26:43.330,0:26:45.160
of the but at the[br]beginning, so I'm just

0:26:45.160,0:26:51.340
going to come back just a few[br]frames, find that gap that you

0:26:51.340,0:26:53.120
can see there in the waveform.

0:26:53.120,0:26:55.430
And that's where I want[br]to add my outpoint.

0:26:55.430,0:27:00.790
And of course, magic[br]shortcut is O for out.

0:27:00.790,0:27:03.103
Now, that I've got in[br]and out points set,

0:27:03.103,0:27:05.020
I might want to just[br]double check that they're

0:27:05.020,0:27:06.380
in the right position.

0:27:06.380,0:27:09.550
So I can actually press[br]Shift I to jump directly

0:27:09.550,0:27:14.260
to an endpoint, Shift O to[br]jump directly to an out point.

0:27:14.260,0:27:16.780
If I actually want to[br]preview the soundbite

0:27:16.780,0:27:20.590
between in and the out point,[br]I can hold down the Option key

0:27:20.590,0:27:23.627
and press the forward[br]slash key on my keyboard.

0:27:23.627,0:27:25.460
PRESENTER 1: If it was[br]possible to shoot it,

0:27:25.460,0:27:26.502
we wanted to go shoot it.

0:27:26.502,0:27:29.112
If we couldn't get the shot,[br]or the weather wasn't right,

0:27:29.112,0:27:30.820
we would either go[br]back to that location,

0:27:30.820,0:27:33.237
stay at that location longer,[br]or it didn't make the movie.

0:27:33.237,0:27:34.240
It was really important.

0:27:34.240,0:27:37.800
Every shot was original and[br]that everything was real.

0:27:37.800,0:27:40.210
CHRIS: And it's a little bit[br]tight on the output there,

0:27:40.210,0:27:42.840
so I'm just going to[br]jog forward just a frame

0:27:42.840,0:27:46.300
and reset the outpoint[br]by pressing O. However,

0:27:46.300,0:27:48.960
sometimes, you don't want to[br]listen to the whole soundbite

0:27:48.960,0:27:50.320
from beginning to end.

0:27:50.320,0:27:52.240
It could actually be quite long.

0:27:52.240,0:27:55.450
So if you actually just want to[br]preview where the outpoint is,

0:27:55.450,0:27:57.840
just simply bring your[br]playhead a few seconds

0:27:57.840,0:28:01.780
to before the outpoint, and[br]then from the playback menu,

0:28:01.780,0:28:07.560
you can choose Play[br]Around To, Play To Out,

0:28:07.560,0:28:09.900
and you can see here[br]keyboard shortcut is

0:28:09.900,0:28:13.200
Option Command forward slash.

0:28:13.200,0:28:14.950
PRESENTER 1: And that[br]everything was real.

0:28:14.950,0:28:17.160
CHRIS: So now that I've got[br]in and the out point set

0:28:17.160,0:28:20.250
for this soundbite, I'm going to[br]edit it into the timeline using

0:28:20.250,0:28:21.610
an overwrite edit.

0:28:21.610,0:28:24.630
Now, I can pick the clip[br]up again and drag and drop

0:28:24.630,0:28:27.850
over the timeline viewer[br]to access the overwrite.

0:28:27.850,0:28:30.280
I don't need to drag[br]to the actual overlay.

0:28:30.280,0:28:34.240
However, if I just come down[br]here to the top of the timeline,

0:28:34.240,0:28:37.240
you'll see that there are[br]three editing function buttons.

0:28:37.240,0:28:40.047
These buttons are probably[br]the most common used editing

0:28:40.047,0:28:41.880
features, which is why[br]they've been included

0:28:41.880,0:28:43.462
at the top of the timeline.

0:28:43.462,0:28:45.420
You'll see that the middle[br]one of those buttons

0:28:45.420,0:28:48.750
is actually overwrite clip, and[br]my keyboard shortcut for this

0:28:48.750,0:28:49.930
is F10.

0:28:49.930,0:28:51.990
Now, if you're on[br]a Mac, you may find

0:28:51.990,0:28:56.050
that the F10 key doesn't perform[br]an overwrite edit by default,

0:28:56.050,0:28:59.010
in which case, you'll need to[br]go into your System Preferences

0:28:59.010,0:29:01.500
and change the[br]keyboard settings so

0:29:01.500,0:29:07.140
that it uses all the F1 and F2[br]keys as standard function keys.

0:29:07.140,0:29:10.410
If I just press F10,[br]you'll see that the clip is

0:29:10.410,0:29:12.430
overwritten into the timeline.

0:29:12.430,0:29:15.180
It's actually overwritten the[br]tail end of the first interview

0:29:15.180,0:29:16.020
clip.

0:29:16.020,0:29:19.080
If I use the up arrow[br]key to navigate back

0:29:19.080,0:29:21.930
to the previous edit point,[br]and then preview the Edit

0:29:21.930,0:29:24.240
using the forward slash key,

0:29:24.240,0:29:25.980
PRESENTER 1: Shoot[br]the real world.

0:29:25.980,0:29:29.145
If it was possible to[br]shoot it, we wanted to go--

0:29:29.145,0:29:31.990
CHRIS: The first interview clip[br]now ends at the right point,

0:29:31.990,0:29:35.290
and the second interview clip[br]starts at the right point,

0:29:35.290,0:29:37.180
but it's a little bit too tight.

0:29:37.180,0:29:39.990
We've also got a very[br]nasty visual jump

0:29:39.990,0:29:43.020
cut between two interview[br]clips, so we now

0:29:43.020,0:29:45.120
want to start to insert[br]some of the b-roll

0:29:45.120,0:29:48.180
in, just to be able to[br]pace out those interviews.

0:29:48.180,0:29:50.620
Let's go to the[br]B-Roll smart bin.

0:29:50.620,0:29:55.750
Let's go for this second clip[br]here of this A380 taking off.

0:29:55.750,0:29:59.080
Let's double click to open[br]it up into the source viewer,

0:29:59.080,0:30:01.320
and then use J, K,[br]and L keys in order

0:30:01.320,0:30:04.380
to be able to preview this clip.

0:30:04.380,0:30:09.750
That's fine, just as the wheels[br]are about to leave the tarmac.

0:30:09.750,0:30:13.100
Let's set an endpoint a[br]second or so before that.

0:30:13.100,0:30:16.170


0:30:16.170,0:30:22.050
And let's set an outpoint just[br]after the plane has left frame

0:30:22.050,0:30:26.260
before we get a very horrible[br]camera movement there.

0:30:26.260,0:30:29.460
So let's set an out point[br]as the tail of the frame

0:30:29.460,0:30:31.290
has left the shot.

0:30:31.290,0:30:34.355
Because the playhead is in the[br]right place in the timeline.

0:30:34.355,0:30:35.730
I don't need to[br]worry about where

0:30:35.730,0:30:37.310
this shot is going to end up.

0:30:37.310,0:30:39.060
Make sure that the[br]playhead is on the Edit

0:30:39.060,0:30:41.520
point in the timeline so[br]that you're inserting it

0:30:41.520,0:30:43.420
in the right place,[br]and in this case,

0:30:43.420,0:30:45.630
I'm just going to pick the[br]clip up and drag across

0:30:45.630,0:30:49.660
to my overlays, and this time,[br]to perform an Insert edit,

0:30:49.660,0:30:53.640
I just drag it to[br]the Insert overlay.

0:30:53.640,0:30:56.160
And that inserts the[br]clip in the timeline

0:30:56.160,0:30:59.100
and moves the second[br]interview clip out of the way.

0:30:59.100,0:31:02.170
This is one of the advantages[br]for using those overlays,

0:31:02.170,0:31:04.690
rather than the drag and[br]drop approach to editing.

0:31:04.690,0:31:06.560
Using a drag and[br]drop approach, you

0:31:06.560,0:31:09.010
wouldn't be able to insert[br]the clip as efficiently.

0:31:09.010,0:31:12.810
So again, one reason for[br]using these functions.

0:31:12.810,0:31:14.170
In the timeline.

0:31:14.170,0:31:16.960
Let's move the playhead back[br]to the start of that clip.

0:31:16.960,0:31:19.770
So we're on the first frame[br]of the Lufthansa plane.

0:31:19.770,0:31:23.520
And in this case, let's[br]go to this clip here.

0:31:23.520,0:31:27.350
It's called AOA01 A380 Taxi.

0:31:27.350,0:31:29.160
Let's double click[br]that to open it up.

0:31:29.160,0:31:32.750
Now you'll notice straight[br]away that this clip has audio

0:31:32.750,0:31:35.840
PRESENTER 2: [INAUDIBLE]

0:31:35.840,0:31:37.800
CHRIS: It's not[br]great audio, however.

0:31:37.800,0:31:40.730
So what we need to do here is[br]we need to actually make sure

0:31:40.730,0:31:42.990
that when we insert[br]this into the timeline,

0:31:42.990,0:31:45.390
that we're not actually[br]going to use the audio.

0:31:45.390,0:31:48.090
Now, there are a couple of[br]ways that we can do this.

0:31:48.090,0:31:52.130
A simple way would be if we[br]were using drag and drop editing

0:31:52.130,0:31:54.000
over the timeline viewer.

0:31:54.000,0:31:56.360
We can actually come[br]here to the source viewer

0:31:56.360,0:31:59.820
and actually specify, using[br]one of these overlays,

0:31:59.820,0:32:03.570
whether we want to edit[br]just picture or just sound.

0:32:03.570,0:32:06.000
So in this case, I can[br]click on the overlay,

0:32:06.000,0:32:07.730
drag across to the[br]timeline viewer

0:32:07.730,0:32:11.270
and choose Insert in order[br]to be able to just insert

0:32:11.270,0:32:14.360
the picture and not the[br]audio for this clip.

0:32:14.360,0:32:17.880
However, I'm just going to[br]undo that with Command Z,

0:32:17.880,0:32:20.690
because if I want to use[br]my keyboard shortcuts

0:32:20.690,0:32:25.020
or my editing buttons at the top[br]of the timeline, unfortunately,

0:32:25.020,0:32:27.170
I can't specify[br]using that overlay

0:32:27.170,0:32:30.480
whether I'm using just the[br]picture or just the sound.

0:32:30.480,0:32:35.550
For example, if I come here and[br]use the Insert editing function,

0:32:35.550,0:32:39.110
you'll see it will actually[br]edit the audio in as well

0:32:39.110,0:32:40.370
as the picture.

0:32:40.370,0:32:42.660
Again, I'm just[br]going to undo that.

0:32:42.660,0:32:44.330
So there's actually[br]another control

0:32:44.330,0:32:47.210
that we can use in order to be[br]able to specify whether we're

0:32:47.210,0:32:49.850
editing, just picture[br]or just sound directly

0:32:49.850,0:32:51.210
into the timeline.

0:32:51.210,0:32:53.390
It's these two[br]buttons that appear

0:32:53.390,0:32:57.740
with red borders along the[br]left hand side of the timeline.

0:32:57.740,0:33:00.240
These are your source controls.

0:33:00.240,0:33:03.230
I'm actually going to come down[br]to the audio source control

0:33:03.230,0:33:06.020
here, and I'm just going[br]to simply click once

0:33:06.020,0:33:09.396
in order to disable that[br]button in the timeline.

0:33:09.396,0:33:12.410


0:33:12.410,0:33:17.190
Now, when I perform an Insert[br]edit using the Timeline button,

0:33:17.190,0:33:20.270
no audio is brought[br]into the timeline,

0:33:20.270,0:33:23.260
and this also means I can use my[br]keyboard shortcuts efficiently

0:33:23.260,0:33:24.880
as well.

0:33:24.880,0:33:27.220
Another insert edit that[br]we're now going to want to do

0:33:27.220,0:33:30.460
is actually within this[br]interview clip here.

0:33:30.460,0:33:32.800
So I'm going to move the[br]playhead to the beginning

0:33:32.800,0:33:34.452
of that interview[br]clip, and I'm just

0:33:34.452,0:33:36.160
going to play through[br]the beginning of it

0:33:36.160,0:33:37.487
for the first soundbite.

0:33:37.487,0:33:39.320
PRESENTER 1: If it was[br]possible to shoot it,

0:33:39.320,0:33:40.370
we wanted to go shoot it.

0:33:40.370,0:33:42.590
CHRIS: If it was[br]possible to shoot it,

0:33:42.590,0:33:44.030
we wanted to go shoot it.

0:33:44.030,0:33:46.495
That's where I actually want[br]to insert the next shot.

0:33:46.495,0:33:48.010
PRESENTER 1:[br][SPEAKING IN REVERSE]

0:33:48.010,0:33:49.220
we wanted to go shoot it.

0:33:49.220,0:33:49.720
If--

0:33:49.720,0:33:51.095
CHRIS: The shot[br]that I'm actually

0:33:51.095,0:33:53.090
looking for is in[br]my B-Roll smart bin,

0:33:53.090,0:33:58.040
and it's the clip[br]of AOA_10_Maldives.

0:33:58.040,0:34:01.010
So double click that to open[br]it into the source viewer.

0:34:01.010,0:34:02.750
I love this shot.

0:34:02.750,0:34:05.350
It's this wonderful[br]in and out shot

0:34:05.350,0:34:07.910
where the camera is half[br]submerged in the water,

0:34:07.910,0:34:11.889
and there is a plane that comes[br]in over the top of the camera.

0:34:11.889,0:34:14.320
I'm actually just going[br]to set an endpoint

0:34:14.320,0:34:18.105
just as the shadow of the[br]plane appears over the coral.

0:34:18.105,0:34:21.190


0:34:21.190,0:34:23.260
And now, I actually[br]want to specify around

0:34:23.260,0:34:24.860
about a three second clip.

0:34:24.860,0:34:26.770
So one way that we can[br]do that is actually

0:34:26.770,0:34:30.070
to use timecode information[br]to be able to move forwards

0:34:30.070,0:34:31.870
and backwards through the clip.

0:34:31.870,0:34:35.560
In this case, I'm just going to[br]hit the Plus key on my keyboard

0:34:35.560,0:34:40.870
and type in 300, which you can[br]actually see in the top timecode

0:34:40.870,0:34:42.699
field in the source[br]viewer actually

0:34:42.699,0:34:46.030
translates to three seconds.

0:34:46.030,0:34:47.449
Hit the Return key.

0:34:47.449,0:34:50.020
Press O to set the[br]outpoint in order

0:34:50.020,0:34:52.449
to set a three second clip.

0:34:52.449,0:34:55.460
Actually, technically, it's[br]three seconds and one frame.

0:34:55.460,0:34:57.560
As you can see from[br]the duration field,

0:34:57.560,0:35:00.910
however, the playhead is[br]inclusive of the frame

0:35:00.910,0:35:03.400
that you're currently on,[br]so the outpoint is always

0:35:03.400,0:35:05.470
set at the tail of[br]that frame if you

0:35:05.470,0:35:07.480
need it to be three[br]seconds exactly,

0:35:07.480,0:35:08.980
you just need to[br]come back one frame

0:35:08.980,0:35:10.840
before you set the outpoint.

0:35:10.840,0:35:15.250
But now I can do an Insert[br]edit by pressing F9.

0:35:15.250,0:35:18.720
Excellent, so now, we've[br]got the edit really starting

0:35:18.720,0:35:19.900
to come together.

0:35:19.900,0:35:21.930
However, at this[br]point, you're probably

0:35:21.930,0:35:25.930
wanting to get a little bit[br]more control of the timeline,

0:35:25.930,0:35:28.710
particularly when[br]it comes to zooming.

0:35:28.710,0:35:32.190
Also, you might want to start[br]refining parts of the timeline

0:35:32.190,0:35:34.180
by removing sections.

0:35:34.180,0:35:36.000
Zooming in the[br]timeline is actually

0:35:36.000,0:35:39.550
much simpler in DaVinci[br]Resolve 17 than it's ever been.

0:35:39.550,0:35:44.530
We've already encountered[br]two fixed zoom functions.

0:35:44.530,0:35:47.280
These are the Full Extent[br]Zoom, which will always

0:35:47.280,0:35:49.680
show the full length[br]of your timeline

0:35:49.680,0:35:52.840
irrespective of how much[br]content is in the timeline.

0:35:52.840,0:35:55.750
And you've also got[br]the Detail Zoom button,

0:35:55.750,0:36:00.240
which allows you to Zoom in to[br]a fixed point on the timeline

0:36:00.240,0:36:02.910
wherever your playhead[br]happens to be.

0:36:02.910,0:36:07.510
However, you've also got a[br]custom zoom option as well,

0:36:07.510,0:36:11.910
so this button allows you to set[br]your own zoom level, which you

0:36:11.910,0:36:14.880
can do by just simply[br]dragging the slider

0:36:14.880,0:36:20.220
or using the Plus and Minus[br]buttons to zoom in and out.

0:36:20.220,0:36:22.980
Or you could use[br]keyboard shortcuts.

0:36:22.980,0:36:26.680
Command Equals allows you[br]to Zoom in on your playhead.

0:36:26.680,0:36:29.680
Command Minus allows[br]you to Zoom out.

0:36:29.680,0:36:32.230
If you're on a PC,[br]instead of using command,

0:36:32.230,0:36:34.920
you'd just simply use[br]Control, and you can also

0:36:34.920,0:36:39.790
use Shift Z in order to be able[br]to fill the timeline window.

0:36:39.790,0:36:43.680
This isn't the same as actually[br]using the Full Extent Zoom

0:36:43.680,0:36:44.770
button, however.

0:36:44.770,0:36:48.970
The Shift Z function allows you[br]to see the full timeline zoom,

0:36:48.970,0:36:52.180
but it doesn't remain fixed[br]at the full timeline Zoom,

0:36:52.180,0:36:54.610
so if you add any other[br]clips to the timeline,

0:36:54.610,0:36:56.820
you'll have to manually[br]change the zoom in order

0:36:56.820,0:36:59.190
to be able to focus on[br]the parts of the timeline

0:36:59.190,0:37:01.120
that you actually[br]want to work with.

0:37:01.120,0:37:04.380
However, Shift Z is very[br]useful if you actually

0:37:04.380,0:37:08.440
want to return to a previous[br]Zoom level in the timeline.

0:37:08.440,0:37:11.220
Just simply toggling Shift[br]Z is a very useful way

0:37:11.220,0:37:14.550
of being able to step in[br]and out of the timeline.

0:37:14.550,0:37:18.100
If you've got a three button[br]mouse with a scroll wheel on it,

0:37:18.100,0:37:20.700
then what you can do is[br]just hold down the Shift key

0:37:20.700,0:37:22.650
and use the scroll[br]wheel in order

0:37:22.650,0:37:25.830
to be able to dynamically[br]adjust the height of each

0:37:25.830,0:37:27.100
of the tracks.

0:37:27.100,0:37:31.020
And you can also change[br]the bias between the video

0:37:31.020,0:37:32.580
and the audio part[br]in order to be

0:37:32.580,0:37:35.198
able to get a[br]larger audio track,

0:37:35.198,0:37:36.990
and you can actually[br]see how easy it is now

0:37:36.990,0:37:40.620
to see the waveform[br]for those clips.

0:37:40.620,0:37:43.450
If you don't have a[br]wheeled three button mouse,

0:37:43.450,0:37:47.500
then you can always use the[br]Timeline View Options menu here,

0:37:47.500,0:37:49.980
and then actually use[br]the Track Height sliders

0:37:49.980,0:37:51.900
at the bottom of[br]that menu in order

0:37:51.900,0:37:55.770
to be able to adjust the height[br]of your video and audio tracks.

0:37:55.770,0:37:57.480
So now that we've[br]looked at how to adjust

0:37:57.480,0:38:00.570
the timeline zoom level so[br]that you can comfortably

0:38:00.570,0:38:03.810
view the timeline depending[br]on what you need to do, let's

0:38:03.810,0:38:06.120
look at how we can remove[br]some of these clips

0:38:06.120,0:38:09.000
and start to refine the[br]Edit a little bit further.

0:38:09.000,0:38:11.640
To begin with, you might[br]want to actually remove

0:38:11.640,0:38:14.220
just a simple portion of a clip.

0:38:14.220,0:38:17.360
For example, you might want[br]to remove the video or audio

0:38:17.360,0:38:19.010
part of a clip.

0:38:19.010,0:38:22.620
If I actually concentrate on[br]this middle interview here,

0:38:22.620,0:38:25.010
I'm just going to move[br]the playhead over that

0:38:25.010,0:38:28.940
and hit my Detail Zoom button[br]so that I can focus on this.

0:38:28.940,0:38:32.400
You should notice, on the[br]left hand side of the clip,

0:38:32.400,0:38:35.870
in both the video and the audio,[br]there are two little chain link

0:38:35.870,0:38:36.810
icons.

0:38:36.810,0:38:39.680
This indicates that this[br]clip is linked in both

0:38:39.680,0:38:41.820
these video and audio portions.

0:38:41.820,0:38:44.420
Using linked clips[br]is very, very useful

0:38:44.420,0:38:47.240
because it means that you can[br]move them around very easily

0:38:47.240,0:38:49.800
when you select the video[br]portion of a link clip,

0:38:49.800,0:38:52.770
the audio portion is also[br]selected automatically,

0:38:52.770,0:38:55.980
so it means it's very hard to[br]move these things out of sync.

0:38:55.980,0:38:57.620
However, in this[br]case, I just want

0:38:57.620,0:39:00.800
to remove a video[br]portion of this clip.

0:39:00.800,0:39:04.250
To override the link temporarily[br]on the timeline, just simply

0:39:04.250,0:39:07.530
hold down the Option or[br]Alt key on your keyboard,

0:39:07.530,0:39:10.100
and then click on the[br]video clip in order

0:39:10.100,0:39:11.670
to be able to select it.

0:39:11.670,0:39:13.910
Alternatively, you[br]can actually turn off

0:39:13.910,0:39:15.800
the linking for[br]the whole timeline

0:39:15.800,0:39:21.320
by just coming up and choosing[br]your link selection button here.

0:39:21.320,0:39:23.990
And with that turned off, if[br]you hold down the Option key

0:39:23.990,0:39:25.850
and select a clip,[br]it will actually

0:39:25.850,0:39:28.680
select any linked parts[br]of the clip automatically.

0:39:28.680,0:39:30.560
So basically, the[br]Option or Alt key

0:39:30.560,0:39:33.440
just simply reverses[br]whatever your link selection

0:39:33.440,0:39:35.270
is set to for your timeline.

0:39:35.270,0:39:37.490
With the video clip[br]selected, I'm just

0:39:37.490,0:39:39.560
going to go back to[br]my full extent Zoom,

0:39:39.560,0:39:41.940
so you can see what[br]happens to the timeline,

0:39:41.940,0:39:44.340
and I now want to[br]ripple delete the clip.

0:39:44.340,0:39:46.910
So in this case, I'm going[br]to hold down Shift and use

0:39:46.910,0:39:50.310
the Delete key in order to[br]be able to remove that clip.

0:39:50.310,0:39:52.560
And you'll see it[br]remove a video clip,

0:39:52.560,0:39:55.440
but it didn't remove the[br]audio portion of the clip.

0:39:55.440,0:39:57.680
More importantly, it's[br]also closed the gap

0:39:57.680,0:39:59.810
and rippled the[br]timeline in order

0:39:59.810,0:40:01.890
to make the timeline[br]slightly shorter.

0:40:01.890,0:40:04.070
And the full extent[br]Zoom is actually still

0:40:04.070,0:40:06.390
showing me the full[br]length of that timeline.

0:40:06.390,0:40:08.600
However, something else[br]that you may need to do

0:40:08.600,0:40:11.210
is actually be able to[br]remove a portion of a clip

0:40:11.210,0:40:12.920
from within the clip.

0:40:12.920,0:40:14.890
And a good example[br]of this is if you're

0:40:14.890,0:40:17.020
working with interview clips.

0:40:17.020,0:40:19.930
Let's move the playhead to the[br]start of the last interview

0:40:19.930,0:40:23.620
clip in the timeline, and then[br]use the Detail Zoom button

0:40:23.620,0:40:25.960
in order to be able to zoom in.

0:40:25.960,0:40:29.060
There's a line in this clip[br]that I actually want to remove,

0:40:29.060,0:40:31.700
so I'm just going to preview[br]the clip just by playing it.

0:40:31.700,0:40:32.740
PRESENTER 1: If we[br]couldn't get the shot,

0:40:32.740,0:40:34.780
or the weather wasn't[br]right, we would either

0:40:34.780,0:40:37.190
go back to that location,[br]stay at that location longer,

0:40:37.190,0:40:38.140
or it didn't make the movie.

0:40:38.140,0:40:38.650
It was--

0:40:38.650,0:40:41.780
CHRIS: So he says, we either[br]go back to that location,

0:40:41.780,0:40:45.530
stay at that location longer,[br]or it didn't make the movie.

0:40:45.530,0:40:47.540
It's a little bit repetitious.

0:40:47.540,0:40:49.690
It's not quite, but[br]the director actually

0:40:49.690,0:40:52.960
wants to take the second[br]line out there, stay

0:40:52.960,0:40:54.620
at that location longer.

0:40:54.620,0:40:57.040
So let's look at[br]how we can do that.

0:40:57.040,0:41:01.270
First of all, we can[br]actually see the waveform

0:41:01.270,0:41:03.550
where the portion[br]of the dialogue

0:41:03.550,0:41:05.420
is that we actually[br]want to take out.

0:41:05.420,0:41:08.180
Again, using the Shift[br]key and the scroll mouse,

0:41:08.180,0:41:10.850
I can actually make[br]that even bigger.

0:41:10.850,0:41:12.590
I'm going to move[br]the playhead back,

0:41:12.590,0:41:15.600
and my audio scrubbing is[br]going to come into handy here.

0:41:15.600,0:41:17.480
So I'm just going[br]to play forward.

0:41:17.480,0:41:18.980
PRESENTER 1: Stay[br]at that location--

0:41:18.980,0:41:23.480
[SPEAKING IN REVERSE][br]--that location, stay--

0:41:23.480,0:41:27.200
CHRIS: And I can hear the[br]beginning of the word stay,

0:41:27.200,0:41:29.580
making sure that my[br]playhead is on that point.

0:41:29.580,0:41:31.700
You can see from the[br]waveform in the timeline

0:41:31.700,0:41:34.740
that I look as though I'm[br]at the correct location.

0:41:34.740,0:41:37.920
And now what I want to do is I[br]want to cut this section out.

0:41:37.920,0:41:40.520
So I'm actually going to[br]use the blade edit mode

0:41:40.520,0:41:44.120
for the timeline, coming here[br]to these first four buttons

0:41:44.120,0:41:45.510
at the top of the timeline.

0:41:45.510,0:41:48.480
These are my different[br]timeline editing modes.

0:41:48.480,0:41:52.050
The first of these is the[br]default selection mode.

0:41:52.050,0:41:54.180
This allows me to[br]click on clips,

0:41:54.180,0:41:57.320
move them around,[br]and delete clips.

0:41:57.320,0:41:59.780
I've also got my[br]Blade edit mode,

0:41:59.780,0:42:02.790
featuring a very frightening[br]looking razor blade icon,

0:42:02.790,0:42:04.400
I have to say.

0:42:04.400,0:42:07.260
If I select that or use[br]the keyboard shortcut B,

0:42:07.260,0:42:11.640
I can then bring that blade[br]down into the timeline here.

0:42:11.640,0:42:14.430
Making sure that[br]my snapping is on,

0:42:14.430,0:42:17.180
you can see how easily[br]that line will actually

0:42:17.180,0:42:19.910
snap to where my[br]playhead is, and I'm just

0:42:19.910,0:42:23.850
going to click once in order[br]to be able to add an edit.

0:42:23.850,0:42:25.610
That's the beginning[br]part of the clip

0:42:25.610,0:42:27.870
that I actually want to[br]lose from the timeline.

0:42:27.870,0:42:29.803
I now need to find the end.

0:42:29.803,0:42:31.220
PRESENTER 1: Stay[br]at that location

0:42:31.220,0:42:32.510
longer, or it didn't make--

0:42:32.510,0:42:34.670
[SPEAKING IN REVERSE][br]longer, or--

0:42:34.670,0:42:36.900
CHRIS: And I'm looking[br]for the word or.

0:42:36.900,0:42:40.400
PRESENTER 1: [WALKING THROUGH[br]THE AUDIO FRAME BY FRAME]

0:42:40.400,0:42:45.170


0:42:45.170,0:42:46.200
CHRIS: About there.

0:42:46.200,0:42:49.430
It's taken a little bit of[br]jogging back and forward

0:42:49.430,0:42:52.495
one frame at a time, just in[br]order to be able to hear that.

0:42:52.495,0:42:53.870
But I was actually[br]trying to find

0:42:53.870,0:42:55.910
the beginning of the word or.

0:42:55.910,0:42:59.150
Again, I just want[br]to take my blade,

0:42:59.150,0:43:02.810
and just come near the playhead[br]and click once more in order

0:43:02.810,0:43:05.670
to be able to add a[br]second edit point.

0:43:05.670,0:43:08.130
This is now isolated[br]the portion of the clip

0:43:08.130,0:43:10.330
that I actually want to[br]remove from the timeline.

0:43:10.330,0:43:13.750
However, I don't want to[br]use the blade mode again,

0:43:13.750,0:43:15.960
so I'm going to switch[br]back to the selection mode

0:43:15.960,0:43:18.420
just by pressing[br]a on the keyboard.

0:43:18.420,0:43:22.950
I can now select that clip[br]and then press Shift Backspace

0:43:22.950,0:43:25.470
or Shift Delete in order[br]to be able to remove

0:43:25.470,0:43:27.640
the clip from the timeline.

0:43:27.640,0:43:30.550
That's got rid of the portion[br]of the clip that I isolated,

0:43:30.550,0:43:33.280
but I now need to hear[br]how that edit is working.

0:43:33.280,0:43:35.430
So if I press the[br]forward slash key--

0:43:35.430,0:43:37.380
PRESENTER 1: --right, we would[br]either go back to that location,

0:43:37.380,0:43:38.547
or it didn't make the movie.

0:43:38.547,0:43:40.500
It was really important--

0:43:40.500,0:43:42.970
CHRIS: It's probably not[br]the tidiest of edits,

0:43:42.970,0:43:44.350
but don't worry.

0:43:44.350,0:43:47.250
Only the very skilled[br]and experienced editors

0:43:47.250,0:43:49.570
will be able to get[br]that right first off.

0:43:49.570,0:43:52.180
More often than not, when[br]you're editing something,

0:43:52.180,0:43:56.350
you just need to make your best[br]guess and then refine it later.

0:43:56.350,0:43:58.570
So we'll leave this[br]for the moment,

0:43:58.570,0:44:01.050
but we'll come back to[br]it in a few minutes.

0:44:01.050,0:44:02.850
In the meantime, I'm[br]actually just going

0:44:02.850,0:44:05.550
to go back into my[br]Full Extent Zoom

0:44:05.550,0:44:07.690
so that I can see[br]the whole timeline.

0:44:07.690,0:44:11.760
And now what I want to[br]do is remove this portion

0:44:11.760,0:44:13.660
of the first interview clip.

0:44:13.660,0:44:16.540
You remember that we overwrote[br]the tail end of that clip.

0:44:16.540,0:44:18.180
However, the beginning[br]part of the clip

0:44:18.180,0:44:21.240
is still in the timeline,[br]so I want to remove that.

0:44:21.240,0:44:25.240
Now, if I use my[br]selection edit mode here,

0:44:25.240,0:44:28.680
I can select the beginning[br]part of that interview.

0:44:28.680,0:44:32.460
And if I trim that, you can[br]see that it will actually

0:44:32.460,0:44:34.600
trim and remove a[br]portion of the clip,

0:44:34.600,0:44:36.370
but it will also leave a gap.

0:44:36.370,0:44:39.300
This is not a huge problem,[br]but there's more efficient ways

0:44:39.300,0:44:42.670
that we've got been able to[br]trim that and not leave a gap.

0:44:42.670,0:44:44.260
So I'm just going to undo that.

0:44:44.260,0:44:47.800
In order to put the clip back[br]to how I originally had it.

0:44:47.800,0:44:51.990
And again, I'm going to change[br]my timeline editing mode.

0:44:51.990,0:44:55.500
I'm going to change it[br]from the Selection mode

0:44:55.500,0:44:59.400
to my Trim edit mode,[br]and Trim edit mode

0:44:59.400,0:45:01.560
is a really powerful[br]way of being

0:45:01.560,0:45:05.140
able to manipulate the clips in[br]the timeline in DaVinci Resolve.

0:45:05.140,0:45:09.040
You don't need to keep going in[br]and selecting specific tools.

0:45:09.040,0:45:12.660
This one mode will actually do[br]all of the trimming functions

0:45:12.660,0:45:15.060
that I need on a[br]day to day basis.

0:45:15.060,0:45:18.670
Using T allows me to[br]select the Trim edit mode,

0:45:18.670,0:45:21.100
and now when I go back[br]into the timeline,

0:45:21.100,0:45:23.820
I can click the same[br]edit point and start

0:45:23.820,0:45:27.120
to trim just by dragging[br]the mouse to the right.

0:45:27.120,0:45:30.930
As I do so, you can see that[br]the rest of the timeline

0:45:30.930,0:45:32.710
is actually changing.

0:45:32.710,0:45:35.580
I'm actually rippling[br]the rest of the timeline

0:45:35.580,0:45:37.980
back, thereby shortening[br]it by the amount

0:45:37.980,0:45:40.600
that I'm actually trimming off[br]the beginning of that clip.

0:45:40.600,0:45:42.910
You can also see I can[br]go the other way as well.

0:45:42.910,0:45:47.415
I can actually add footage[br]back to that clip if I need to.

0:45:47.415,0:45:48.665
If I keep going--

0:45:48.665,0:45:52.650


0:45:52.650,0:45:57.150
And you can hear from[br]the audio scrubbing

0:45:57.150,0:45:59.590
where the actual[br]interview starts,

0:45:59.590,0:46:01.600
so I can now let[br]go of the mouse.

0:46:01.600,0:46:03.900
And you can actually see[br]the tooltip there actually

0:46:03.900,0:46:06.320
says that I'm[br]removing three seconds

0:46:06.320,0:46:08.455
and four frames from the[br]beginning of this clip.

0:46:08.455,0:46:11.180


0:46:11.180,0:46:15.110
Now, if I return the playhead to[br]the beginning of the timeline,

0:46:15.110,0:46:16.765
I can play from the beginning.

0:46:16.765,0:46:18.140
PRESENTER 1: In[br]this film, making

0:46:18.140,0:46:20.750
a documentary about how the[br]airplanes changed the world.

0:46:20.750,0:46:23.450
CHRIS: And I've actually[br]got a much sharper start

0:46:23.450,0:46:24.540
to the interview.

0:46:24.540,0:46:26.210
And I can also use[br]the Trim edit mode

0:46:26.210,0:46:28.250
in order to be able[br]to fix the problem

0:46:28.250,0:46:32.270
with the edit in the interview[br]that I was just doing earlier.

0:46:32.270,0:46:34.760
Move the playhead[br]to the edit point

0:46:34.760,0:46:39.110
and then use the Detail[br]Zoom button to zoom in.

0:46:39.110,0:46:42.350
Sometimes, I only want to be[br]able to trim a frame or two

0:46:42.350,0:46:45.500
in either direction, so[br]being able to Zoom in means

0:46:45.500,0:46:47.240
that I'm much closer[br]to the footage

0:46:47.240,0:46:49.980
and therefore have a little[br]bit more control over it.

0:46:49.980,0:46:51.650
In this case, I'm[br]actually just going

0:46:51.650,0:46:54.950
to select the outgoing[br]part of this clip

0:46:54.950,0:46:56.520
here where the waveform is.

0:46:56.520,0:47:00.380
That shows me that probably I'm[br]just catching the outgoing word

0:47:00.380,0:47:03.860
there, and now I can[br]actually click and drag

0:47:03.860,0:47:08.450
in order to be able to remove[br]one or two frames at a time.

0:47:08.450,0:47:11.990
If you haven't actually[br]got the level of control

0:47:11.990,0:47:13.910
that you're[br]interested in, you may

0:47:13.910,0:47:17.700
want to turn off your snapping[br]here at the top of the timeline.

0:47:17.700,0:47:20.000
Keyboard shortcut[br]N is always worth

0:47:20.000,0:47:22.710
remembering because you can[br]always do this at any time,

0:47:22.710,0:47:25.050
even if you're in the[br]middle of an operation.

0:47:25.050,0:47:26.810
So in this case,[br]I'm going to click,

0:47:26.810,0:47:29.430
and I'm going to tap[br]N on my keyboard.

0:47:29.430,0:47:34.790
And now, I can actually remove[br]a single frame from that clip.

0:47:34.790,0:47:38.250
But you can also do this using[br]keyboard shortcuts as well.

0:47:38.250,0:47:41.000
For example, if I[br]use the period key,

0:47:41.000,0:47:43.860
I can actually add a[br]frame to that clip,

0:47:43.860,0:47:47.060
and if I use the comma[br]key, I can remove a frame

0:47:47.060,0:47:48.060
from that clip.

0:47:48.060,0:47:49.847
So now, if I press[br]the forward slash key,

0:47:49.847,0:47:52.430
PRESENTER 1: --right, we would[br]either go back to that location

0:47:52.430,0:47:53.597
or it didn't make the movie.

0:47:53.597,0:47:54.650
It was really important.

0:47:54.650,0:47:57.390
CHRIS: And again, it feels[br]a little tight still.

0:47:57.390,0:48:00.290
I think the outgoing[br]portion of that is fine,

0:48:00.290,0:48:02.860
but let's now select[br]the incoming portion,

0:48:02.860,0:48:05.920
and let's just trim[br]it back one frame.

0:48:05.920,0:48:09.700
So I've now added a frame[br]using the comma key in order

0:48:09.700,0:48:12.940
to make that timeline one frame[br]longer, because I'm always

0:48:12.940,0:48:14.155
rippling the footage,

0:48:14.155,0:48:16.780
PRESENTER 1: --right, we would[br]either go back to that location,

0:48:16.780,0:48:17.947
or it didn't make the movie.

0:48:17.947,0:48:19.100
It was really important.

0:48:19.100,0:48:22.330
CHRIS: And that sounded[br]pretty good to me,

0:48:22.330,0:48:26.270
but you might just want to[br]explore this a little bit more.

0:48:26.270,0:48:28.300
What would happen if[br]we added another frame

0:48:28.300,0:48:30.505
to the incoming shot[br]using the comma key?

0:48:30.505,0:48:33.130
PRESENTER 1: --right, we would[br]either go back to that location,

0:48:33.130,0:48:34.220
or it didn't make the movie.

0:48:34.220,0:48:34.910
It was really important.

0:48:34.910,0:48:36.860
CHRIS: Again, it's[br]probably about the same,

0:48:36.860,0:48:39.760
so I'm just going to take that[br]frame off again and probably

0:48:39.760,0:48:40.970
leave it at that point.

0:48:40.970,0:48:43.587
So now, I'm happy with[br]how that edit is working.

0:48:43.587,0:48:45.670
I'm actually just going[br]to start adding a few more

0:48:45.670,0:48:48.250
clips to the timeline, just[br]so we can pace out the Edit

0:48:48.250,0:48:50.210
and see where we're[br]going with things.

0:48:50.210,0:48:53.500
So in the timeline, I'm going[br]to deselect the edit point

0:48:53.500,0:48:56.690
and go back into my[br]Full Extent Zoom,

0:48:56.690,0:48:59.020
and just use the Shift[br]key and the scroll wheel

0:48:59.020,0:49:01.200
on my mouse just to[br]adjust the track height.

0:49:01.200,0:49:03.650
So I've got a little bit[br]more space for the audio,

0:49:03.650,0:49:05.940
and I'm going to return the[br]playhead to the beginning.

0:49:05.940,0:49:09.500
You can either simply drag it[br]or use the home key to go back

0:49:09.500,0:49:11.570
to the top of the timeline.

0:49:11.570,0:49:13.910
So at this point, I'm just[br]going to add some music

0:49:13.910,0:49:15.120
to this timeline.

0:49:15.120,0:49:17.670
Well, we already created[br]a Music bin earlier,

0:49:17.670,0:49:20.570
so we know exactly where to[br]find that piece of music.

0:49:20.570,0:49:21.780
In the bin list.

0:49:21.780,0:49:24.170
Select the music[br]bin, and then I'm

0:49:24.170,0:49:27.870
just going to turn off my audio[br]scrubbing by pressing Shift S,

0:49:27.870,0:49:29.390
and then I'm going[br]to double click

0:49:29.390,0:49:33.020
to open the music into[br]the source viewer.

0:49:33.020,0:49:35.580
Now, when you open audio[br]in the source viewer,

0:49:35.580,0:49:38.070
you actually get[br]an upper waveform,

0:49:38.070,0:49:41.160
which actually represents[br]the whole of the audio clip,

0:49:41.160,0:49:44.270
and a lower waveform, which[br]actually represents a zoomed

0:49:44.270,0:49:45.750
in portion of the clip.

0:49:45.750,0:49:48.110
So it's like having the[br]two waveform displays

0:49:48.110,0:49:51.180
side by side, which is[br]very useful to work with.

0:49:51.180,0:49:54.540
In this case, we actually want[br]to take the whole of the clip,

0:49:54.540,0:49:57.600
so we don't need to set any[br]in or out points to this clip.

0:49:57.600,0:50:01.000
And in this case, I'm just going[br]to pick the clip up, drag it

0:50:01.000,0:50:03.460
across to my timeline[br]viewer, and choose

0:50:03.460,0:50:06.700
the Place on Top function.

0:50:06.700,0:50:09.250
This then simply creates[br]a new audio track

0:50:09.250,0:50:12.440
at the bottom of the timeline,[br]and places the clip in it.

0:50:12.440,0:50:14.920
It may seem counterintuitive[br]that I've actually

0:50:14.920,0:50:17.680
used something called Place[br]on Top to actually place

0:50:17.680,0:50:20.630
the audio at the lower[br]part of the timeline,

0:50:20.630,0:50:23.170
but it just is the[br]way that edit works

0:50:23.170,0:50:25.540
with audio, which[br]typically lives

0:50:25.540,0:50:27.860
below the video in a timeline.

0:50:27.860,0:50:30.920
The audio is actually quite[br]loud, this piece of music is.

0:50:30.920,0:50:33.310
So I'm actually going to[br]move my mouse over the clip

0:50:33.310,0:50:36.880
and actually find the[br]point where I can actually

0:50:36.880,0:50:39.800
locate the volume[br]curve on the timeline.

0:50:39.800,0:50:42.070
If I now click at[br]that point, I can

0:50:42.070,0:50:44.620
grab hold of the volume[br]curve and lower it

0:50:44.620,0:50:47.265
to an appropriate audio level.

0:50:47.265,0:50:49.390
I'm actually just going to[br]take it all the way down

0:50:49.390,0:50:54.640
to around about minus 12[br]DB in the timeline here.

0:50:54.640,0:50:57.560
Doesn't necessarily mean to say[br]that that's the right level.

0:50:57.560,0:50:59.850
However, it's a[br]useful starting point,

0:50:59.850,0:51:02.950
and I always need to refine[br]the levels later anyways.

0:51:02.950,0:51:05.737
Now that I've got the audio[br]at a reasonable level,

0:51:05.737,0:51:07.320
I should be able to[br]hear the interview

0:51:07.320,0:51:09.535
over the top of the music.

0:51:09.535,0:51:11.910
PRESENTER 1: In this film,[br]making a documentary about how

0:51:11.910,0:51:13.620
the airplanes[br]changed the world, it

0:51:13.620,0:51:17.585
was really important to go[br]out and shoot the real world.

0:51:17.585,0:51:22.415


0:51:22.415,0:51:23.790
CHRIS: That's fine[br]at the moment.

0:51:23.790,0:51:25.300
It gives me something[br]to work with.

0:51:25.300,0:51:27.090
It might be that the[br]music gets changed

0:51:27.090,0:51:29.640
at some point in the[br]future, or I might need

0:51:29.640,0:51:31.210
to refine it a little bit more.

0:51:31.210,0:51:33.870
So I don't want to spend too[br]long adjusting the levels

0:51:33.870,0:51:35.080
and making them perfect.

0:51:35.080,0:51:36.237
Not at this stage.

0:51:36.237,0:51:38.820
Now that I've got the music into[br]place, that actually gives me

0:51:38.820,0:51:40.150
a time for the Edit.

0:51:40.150,0:51:42.390
So I've now got something[br]to aim for in terms

0:51:42.390,0:51:44.020
of an overall duration.

0:51:44.020,0:51:47.400
Let's move the playhead to[br]the edit point between the two

0:51:47.400,0:51:50.650
interview clips, half way[br]through this piece of music.

0:51:50.650,0:51:53.853
We're going to start by[br]editing a new clip in here,

0:51:53.853,0:51:55.770
and it's actually just[br]going to help us to fix

0:51:55.770,0:51:57.790
that very nasty jump cut.

0:51:57.790,0:52:01.410
Let's go to the B-Roll[br]bin, and let's find

0:52:01.410,0:52:04.290
the clip called South Pole.

0:52:04.290,0:52:05.410
Double click that.

0:52:05.410,0:52:08.730
It's AOA_8, shot[br]8, and I'm going

0:52:08.730,0:52:12.240
to set an endpoint just[br]as the tail of the plane

0:52:12.240,0:52:15.390
is coming out from[br]behind that yellow sign.

0:52:15.390,0:52:19.990
So an endpoint there, and I'm[br]wanting to take five seconds.

0:52:19.990,0:52:22.540
I don't know if five seconds[br]is the right duration,

0:52:22.540,0:52:24.540
but it's just a good[br]all round number

0:52:24.540,0:52:27.430
that we can tend to work[br]with for putting shots in.

0:52:27.430,0:52:31.920
So I'm going to use[br]plus 500 in order

0:52:31.920,0:52:34.870
to jump the playhead[br]forward by five seconds,

0:52:34.870,0:52:37.860
hit Return, set an outpoint.

0:52:37.860,0:52:42.180
And now I can just make a[br]simple overwrite edit with F10.

0:52:42.180,0:52:44.670
If I back the playhead[br]up in the timeline

0:52:44.670,0:52:46.710
and then hit the[br]forward slash key--

0:52:46.710,0:52:48.720
PRESENTER 1: --right, we would[br]either go back to that location

0:52:48.720,0:52:49.900
or it didn't make the movie.

0:52:49.900,0:52:51.510
It's really important.

0:52:51.510,0:52:53.800
CHRIS: And I think[br]that edit works nicely.

0:52:53.800,0:52:56.550
The audio of the interview[br]is working very well,

0:52:56.550,0:52:58.830
and the new picture[br]that's overwritten,

0:52:58.830,0:53:02.430
the end of that interview[br]actually covers the jump cut.

0:53:02.430,0:53:04.970
So now, let's add[br]a few extra clips

0:53:04.970,0:53:07.010
to the end of this[br]timeline, and then we

0:53:07.010,0:53:10.460
can actually trim those clips[br]to the correct duration.

0:53:10.460,0:53:16.070
From the B-Roll bin, select[br]the Kenya clip, AOA07.

0:53:16.070,0:53:19.595
Hold down the Command or[br]Control key and select AOA11.

0:53:19.595,0:53:22.130


0:53:22.130,0:53:24.540
That's the St. Martin landing.

0:53:24.540,0:53:27.020
And then again, hold[br]down Command or Control

0:53:27.020,0:53:32.510
in order to select[br]AOA14 Aerial Alaska.

0:53:32.510,0:53:34.430
With those three[br]clips selected, I

0:53:34.430,0:53:38.390
can actually drag those clips[br]directly to the timeline viewer

0:53:38.390,0:53:43.790
and choose the[br]Append at End edit.

0:53:43.790,0:53:46.340
What the Append at[br]End is really useful

0:53:46.340,0:53:49.050
for is throwing clips[br]at the end of your edit,

0:53:49.050,0:53:51.410
so you can use them to[br]quickly assemble footage

0:53:51.410,0:53:53.930
into the timeline,[br]and it doesn't depend

0:53:53.930,0:53:56.010
on where your playhead is.

0:53:56.010,0:53:59.870
It just depends on where the[br]last clip is in your timeline.

0:53:59.870,0:54:03.120
Obviously, those clips are[br]way too long for this edit,

0:54:03.120,0:54:05.975
so I just need to[br]reduce their duration.

0:54:05.975,0:54:09.230
To select the clips, i'm going[br]to switch into my Selection edit

0:54:09.230,0:54:15.920
mode, select the clips, now[br]go back to my Trim edit mode,

0:54:15.920,0:54:21.000
right click any of those clips,[br]choose Change Clip Duration.

0:54:21.000,0:54:24.260
Command or Control[br]D is the shortcut.

0:54:24.260,0:54:27.480
And from the Change[br]Clip Duration box,

0:54:27.480,0:54:31.160
I'm going to choose[br]the five second preset.

0:54:31.160,0:54:33.950
As I said, 5 seconds[br]is not necessarily

0:54:33.950,0:54:36.860
the correct duration,[br]it's just a duration

0:54:36.860,0:54:38.900
that's worth starting at.

0:54:38.900,0:54:41.720
Click Change, and[br]now, my clips have

0:54:41.720,0:54:43.710
been trimmed on the timeline.

0:54:43.710,0:54:47.210
However, I've still got a[br]little bit of work to do here.

0:54:47.210,0:54:50.160
Let's move back to the beginning[br]of the South Pole clip,

0:54:50.160,0:54:52.520
and then let's use[br]the detail Zoom button

0:54:52.520,0:54:55.400
just to zoom in a[br]little bit here.

0:54:55.400,0:54:57.050
I want to make the[br]South Pole clip

0:54:57.050,0:55:00.750
a little bit shorter because[br]nothing really happens in it.

0:55:00.750,0:55:04.020
So a five second shot is[br]a good starting point,

0:55:04.020,0:55:07.280
but let's just make it a little[br]bit shorter from the beginning.

0:55:07.280,0:55:10.670
So if I select the[br]incoming part of that clip

0:55:10.670,0:55:12.350
just to select that[br]clip there, you'll

0:55:12.350,0:55:15.210
notice I haven't[br]selected any audio.

0:55:15.210,0:55:18.320
And I'm using the Trim[br]edit mode here in order

0:55:18.320,0:55:21.090
to be able to select the[br]beginning part of that clip.

0:55:21.090,0:55:23.960
And I'm just going to remove a[br]few frames just to bring it down

0:55:23.960,0:55:26.270
to about four seconds duration.

0:55:26.270,0:55:28.050
You can see that,[br]as I'm trimming it,

0:55:28.050,0:55:31.250
the tooltip is telling me how[br]much I'm actually trimming it

0:55:31.250,0:55:33.470
by, and the gray[br]numbers underneath

0:55:33.470,0:55:35.580
represent an overall duration.

0:55:35.580,0:55:38.810
However, look at what's[br]happening to the underlying

0:55:38.810,0:55:40.920
audio clip of the interview.

0:55:40.920,0:55:44.990
Remember I had the interview[br]working in terms of the audio.

0:55:44.990,0:55:47.720
By changing it like[br]this, I'm actually

0:55:47.720,0:55:52.660
losing parts of the[br]outgoing audio clip.

0:55:52.660,0:55:54.500
I don't want to do that.

0:55:54.500,0:55:58.700
So in this case, I need[br]to undo that change.

0:55:58.700,0:56:01.150
Now, the reason that[br]this is happening

0:56:01.150,0:56:05.170
is because Resolve fights[br]to keep everything in sync

0:56:05.170,0:56:07.970
after the point at[br]which you are trimming.

0:56:07.970,0:56:12.710
So if a clip starts at the[br]trim point or afterwards,

0:56:12.710,0:56:15.770
then it will move in an[br]appropriate direction.

0:56:15.770,0:56:18.430
In this case, we[br]actually need to break

0:56:18.430,0:56:21.520
that functionality[br]that, up until now,

0:56:21.520,0:56:23.480
has actually served[br]us quite well.

0:56:23.480,0:56:25.540
So in this case,[br]I'm actually going

0:56:25.540,0:56:27.040
to come to the track[br]header, and I'm

0:56:27.040,0:56:29.380
going to choose[br]to lock the track.

0:56:29.380,0:56:32.080
That will prevent any[br]additional changes

0:56:32.080,0:56:36.310
being made to any of[br]the clips on this track.

0:56:36.310,0:56:41.590
I'll now trim that clip to[br]the four second duration

0:56:41.590,0:56:44.530
that I was aiming[br]for, and you can

0:56:44.530,0:56:49.300
see that the audio underneath[br]is now no longer moving.

0:56:49.300,0:56:52.960
Let's go back to[br]Full Extent Zoom

0:56:52.960,0:56:54.893
and then play to[br]review the change.

0:56:54.893,0:56:56.560
PRESENTER 1: --go[br]back to that location,

0:56:56.560,0:56:57.727
or it didn't make the movie.

0:56:57.727,0:57:00.010
It's really important[br]every shot was original,

0:57:00.010,0:57:01.290
and that everything was real.

0:57:01.290,0:57:05.410


0:57:05.410,0:57:08.390
CHRIS: That's a nice[br]shot of the Kenya plane.

0:57:08.390,0:57:11.560
However, you'll notice the[br]beginning part of that clip

0:57:11.560,0:57:13.640
was just a little bit untidy.

0:57:13.640,0:57:16.810
So again, I'm just going[br]to ripple a few frames out

0:57:16.810,0:57:18.380
of the beginning of that clip.

0:57:18.380,0:57:20.660
If we move the playhead to[br]the beginning of the clip,

0:57:20.660,0:57:22.520
go into the detail Zoom.

0:57:22.520,0:57:24.550
Use the Trim edit[br]mode in order to be

0:57:24.550,0:57:26.440
able to ripple a few[br]frames out to get

0:57:26.440,0:57:30.140
rid of the yellow part of the[br]plane at the top of the frame

0:57:30.140,0:57:33.340
there, again bringing[br]the duration down to that

0:57:33.340,0:57:37.000
around about four seconds.

0:57:37.000,0:57:40.490
It's not important to get[br]it accurate at this point.

0:57:40.490,0:57:43.990
It just means that just refining[br]the beginning of the shot.

0:57:43.990,0:57:45.015
Let's continue playing.

0:57:45.015,0:57:47.265
PRESENTER 1: --original, and[br]that everything was real.

0:57:47.265,0:57:50.060
[MUSIC PLAYING]

0:57:50.060,0:57:58.808


0:57:58.808,0:57:59.800
CHRIS: Hm.

0:57:59.800,0:58:02.770
Now, there's a few things[br]that we need to do here.

0:58:02.770,0:58:04.210
First of all, we[br]still need to be

0:58:04.210,0:58:07.400
able to bring the duration[br]of those clips down,

0:58:07.400,0:58:09.560
but they're actually[br]in the wrong order.

0:58:09.560,0:58:12.400
I want the Alaska shot[br]to follow the South Pole

0:58:12.400,0:58:13.970
shot on the timeline.

0:58:13.970,0:58:17.750
Then I would actually to finish[br]with the St. Martin shot.

0:58:17.750,0:58:21.010
Now, if I use my[br]Selection edit mode

0:58:21.010,0:58:24.700
to be able to move a clip around[br]the timeline, all I'll simply do

0:58:24.700,0:58:27.590
is overwrite what[br]is currently there.

0:58:27.590,0:58:31.190
So I need to use a[br]different function for this,

0:58:31.190,0:58:34.880
and this is what we would[br]call a Shuffle Insert edit.

0:58:34.880,0:58:37.600
And it's a little bit[br]of a secret function

0:58:37.600,0:58:39.910
that you now know about.

0:58:39.910,0:58:43.630
To perform a Shuffle edit,[br]hold down the Shift and Command

0:58:43.630,0:58:47.410
or Control keys, and then[br]use the comma and period key

0:58:47.410,0:58:50.850
in order to be able to move[br]the clip backwards and forwards

0:58:50.850,0:58:52.920
through the timeline.

0:58:52.920,0:58:55.770
So I can now put the[br]aerial Alaska shot

0:58:55.770,0:58:57.790
after the South Pole shot.

0:58:57.790,0:59:02.070
If I hold down the Command key[br]and use the left and right arrow

0:59:02.070,0:59:05.470
keys, this will allow me[br]to select another clip.

0:59:05.470,0:59:08.650
Hold down Shift and command and[br]use the comma and period keys.

0:59:08.650,0:59:11.910
Allows me to reorder[br]those clips as well.

0:59:11.910,0:59:15.480
And you can actually select[br]multiple clips on the timeline

0:59:15.480,0:59:17.700
and use the same keyboard[br]shortcuts in order

0:59:17.700,0:59:20.250
to be able to shuffle[br]those groups of clips

0:59:20.250,0:59:21.550
around the timeline.

0:59:21.550,0:59:23.460
So this makes it[br]really easy to move

0:59:23.460,0:59:26.730
one scene from one part of[br]the timeline to another.

0:59:26.730,0:59:29.140
So now I've got the[br]shots in the right order.

0:59:29.140,0:59:32.130
I'm just going to trim the[br]aerial Alaska shot before adding

0:59:32.130,0:59:33.930
the credits to the end.

0:59:33.930,0:59:37.710
Let's go into Detail Zoom,[br]make sure I'm in Trim edit mode

0:59:37.710,0:59:39.540
by pressing T,[br]and I'm just going

0:59:39.540,0:59:43.260
to trim the end of that[br]shot again to the magic four

0:59:43.260,0:59:44.045
second duration.

0:59:44.045,0:59:47.610


0:59:47.610,0:59:51.240
I'm going to go back[br]into my Full Extent Zoom,

0:59:51.240,0:59:55.080
and I'm just going to play the[br]timeline just so that I hear

0:59:55.080,0:59:57.190
the last beat of the music.

0:59:57.190,1:00:00.040
[MUSIC PLAYING]

1:00:00.040,1:00:08.370


1:00:08.370,1:00:10.835
I'll use my audio scrubbing.

1:00:10.835,1:00:13.760
[WALKING THROUGH THE AUDIO FRAME[br]BY FRAME]

1:00:13.760,1:00:16.230


1:00:16.230,1:00:19.210
Just to be able to find[br]the beat of that music.

1:00:19.210,1:00:21.600
So using the audio[br]beats for the music

1:00:21.600,1:00:24.840
is a good way of being[br]able to guide the edit.

1:00:24.840,1:00:26.440
Now, we need the credits.

1:00:26.440,1:00:29.280
So let's go to our[br]credits smart bin.

1:00:29.280,1:00:33.190
Let's double click to select the[br]credits in the source viewer.

1:00:33.190,1:00:36.760
And in this case, we actually[br]want to take all of the credits.

1:00:36.760,1:00:39.190
So we're not going to[br]set any in or out points.

1:00:39.190,1:00:40.710
Instead we're just[br]going to perform

1:00:40.710,1:00:43.920
an overwrite edit with F10.

1:00:43.920,1:00:46.390
If I use the up arrow[br]key in the timeline,

1:00:46.390,1:00:48.136
use the forward slash key.

1:00:48.136,1:00:50.985
[MUSIC PLAYING]

1:00:50.985,1:00:52.970


1:00:52.970,1:00:56.400
Now, that I've got those shots[br]in at the end of the timeline,

1:00:56.400,1:00:59.480
I just need to go back[br]through and refine which parts

1:00:59.480,1:01:01.050
of the shots that I'm using.

1:01:01.050,1:01:05.330
So I need to use the trim edit[br]function for that as well.

1:01:05.330,1:01:08.210
Let's position the playhead[br]over the St. Martin shot

1:01:08.210,1:01:11.030
at the end of this timeline,[br]and use the Detail Zoom

1:01:11.030,1:01:12.560
button to zoom in.

1:01:12.560,1:01:15.980
If we preview the shot by[br]selecting it and pressing

1:01:15.980,1:01:17.922
the forward slash key--

1:01:17.922,1:01:20.300
[MUSIC PLAYING]

1:01:20.300,1:01:25.375


1:01:25.375,1:01:27.500
You can see that we're[br]actually using the beginning

1:01:27.500,1:01:31.130
part of the shot where actually[br]the plane is quite far away.

1:01:31.130,1:01:35.150
So instead of that, if we use[br]the Trim edit mode and actually

1:01:35.150,1:01:38.250
click on the upper part of[br]the clip on the timeline,

1:01:38.250,1:01:42.450
this will enable us to slip[br]the actual content of the shot.

1:01:42.450,1:01:45.590
You can see how the clip[br]is slipping on the timeline

1:01:45.590,1:01:48.060
and how the thumbnails[br]are being updated.

1:01:48.060,1:01:52.140
If I keep on dragging, if you[br]look at the timeline viewer,

1:01:52.140,1:01:54.000
you can see in the[br]upper right corner,

1:01:54.000,1:01:57.980
you can see the outgoing[br]frame as the plane disappears

1:01:57.980,1:02:00.060
overhead and out of shot.

1:02:00.060,1:02:03.590
And that is where I[br]want that shot to end.

1:02:03.590,1:02:05.450
This is called a Slip edit.

1:02:05.450,1:02:08.026
[MUSIC PLAYING]

1:02:08.026,1:02:14.270


1:02:14.270,1:02:17.000
The Slip edit is one of the[br]most powerful trimming functions

1:02:17.000,1:02:18.740
that we have in the timeline.

1:02:18.740,1:02:22.040
I'm going to return[br]to my Full Extent Zoom

1:02:22.040,1:02:25.890
and just position my playhead[br]over this Alaska shot.

1:02:25.890,1:02:29.630
Again, I'll select that and just[br]press the forward slash key just

1:02:29.630,1:02:30.297
to preview it.

1:02:30.297,1:02:31.880
PRESENTER 1: --every[br]shot was original

1:02:31.880,1:02:33.130
and that everything was real.

1:02:33.130,1:02:38.840


1:02:38.840,1:02:41.210
CHRIS: It's a nice[br]shot, but it's lacking

1:02:41.210,1:02:43.500
a certain amount of dynamism.

1:02:43.500,1:02:45.980
So another thing that we[br]can often do with shots

1:02:45.980,1:02:48.350
is we can adjust[br]the speed of them.

1:02:48.350,1:02:50.540
With that clip[br]selected, I'll just

1:02:50.540,1:02:52.610
come up here to the[br]top right hand corner

1:02:52.610,1:02:54.740
and open up the inspector.

1:02:54.740,1:02:57.770
Scrolling through the[br]inspector, I actually

1:02:57.770,1:03:00.830
have a category[br]called Speed Change.

1:03:00.830,1:03:03.810
If I just simply click[br]on that to open it up,

1:03:03.810,1:03:06.680
I can now specify the[br]speed of this clip.

1:03:06.680,1:03:09.920
Speeding the clip up should[br]give us something more

1:03:09.920,1:03:12.920
to actually see, as it looks[br]as though probably the plane is

1:03:12.920,1:03:15.500
actually going to be[br]flying a little bit faster.

1:03:15.500,1:03:19.430
Selecting the speed[br]percentage, type in 200

1:03:19.430,1:03:21.240
and hit the Return key.

1:03:21.240,1:03:23.160
That then adjusts the[br]speed of the clip,

1:03:23.160,1:03:27.770
so it's now playing at[br]200% or twice as fast.

1:03:27.770,1:03:29.215
If I hit the forward slash key--

1:03:29.215,1:03:30.320
PRESENTER 1: --every[br]shot was original,

1:03:30.320,1:03:31.555
and that everything was real.

1:03:31.555,1:03:37.040


1:03:37.040,1:03:40.020
CHRIS: There's now a little[br]bit more movement in that shot.

1:03:40.020,1:03:43.390
So in this case, I[br]can now slip the clip

1:03:43.390,1:03:46.060
in order to use a[br]later part of the shot

1:03:46.060,1:03:49.310
as the camera pans[br]around the plane,

1:03:49.310,1:03:52.240
so that we now get this[br]shot in the top right

1:03:52.240,1:03:55.070
quadrant of that timeline view.

1:03:55.070,1:03:57.940
As you can see, the[br]end frame is now

1:03:57.940,1:04:02.225
the plane with the[br]mountains in the background.

1:04:02.225,1:04:03.850
PRESENTER 1: --every[br]shot was original,

1:04:03.850,1:04:05.100
and that everything was real.

1:04:05.100,1:04:07.780
[MUSIC PLAYING]

1:04:07.780,1:04:10.540


1:04:10.540,1:04:14.350
CHRIS: Another way of using a[br]different part of the same shot

1:04:14.350,1:04:19.360
is actually to use a Match[br]Frame and Replace function.

1:04:19.360,1:04:21.430
In this case, if I[br]move the playhead

1:04:21.430,1:04:24.230
to the first frame[br]of the Kenya clip,

1:04:24.230,1:04:27.400
if I actually want to[br]reveal the original source

1:04:27.400,1:04:31.900
clip for that clip, I can[br]just press F on the keyboard

1:04:31.900,1:04:34.160
in order to be able[br]to do a match frame.

1:04:34.160,1:04:37.180
This actually brings the[br]original source clip up

1:04:37.180,1:04:38.630
into the source viewer.

1:04:38.630,1:04:43.120
This means I can now see[br]all of the rest of the clip

1:04:43.120,1:04:45.790
without actually having[br]to manipulate it directly

1:04:45.790,1:04:47.560
on the timeline.

1:04:47.560,1:04:51.590
If I now choose a new[br]starting frame for this clip,

1:04:51.590,1:04:57.310
just as the plane is coming over[br]this shot of the flamingos here,

1:04:57.310,1:05:00.950
I've now got the playhead[br]in the correct position,

1:05:00.950,1:05:03.910
and now I can use the[br]Replace edit function

1:05:03.910,1:05:07.780
in order to be able to match[br]the two play heads together.

1:05:07.780,1:05:11.140
You can use the Replace[br]edit by simply dragging

1:05:11.140,1:05:13.150
the clip over the[br]timeline viewer

1:05:13.150,1:05:18.370
to the Replace edit overlay,[br]or alternatively, you've

1:05:18.370,1:05:21.280
actually got a[br]Replace Clip button

1:05:21.280,1:05:24.430
at the top of your[br]timeline, or you can use

1:05:24.430,1:05:26.550
your keyboard shortcut of F11.

1:05:26.550,1:05:29.230


1:05:29.230,1:05:31.270
And in this case,[br]the Replace edit

1:05:31.270,1:05:34.390
has actually replaced the[br]clip by matching the two play

1:05:34.390,1:05:35.450
heads together.

1:05:35.450,1:05:38.950
So the playhead here[br]in the source viewer

1:05:38.950,1:05:40.630
is actually placed[br]at the location

1:05:40.630,1:05:44.290
of the playhead in the[br]timeline, and then the clip

1:05:44.290,1:05:47.950
is actually replaced based[br]on the source media clip

1:05:47.950,1:05:49.250
after the playhead.

1:05:49.250,1:05:51.310
It's a very, very[br]powerful function

1:05:51.310,1:05:54.620
if you actually want to be able[br]to synchronize clips together.

1:05:54.620,1:05:56.800
It's useful for[br]being able to edit

1:05:56.800,1:05:59.110
sound effects into[br]the timeline, or to be

1:05:59.110,1:06:03.190
able to match two images[br]together with different actions,

1:06:03.190,1:06:07.900
for example, here, if[br]we go to the last clip

1:06:07.900,1:06:11.110
here in the timeline where we[br]actually have the St. Martin

1:06:11.110,1:06:13.460
landing plane flying overhead.

1:06:13.460,1:06:16.066
[MUSIC PLAYING]

1:06:16.066,1:06:19.660


1:06:19.660,1:06:23.000
Sometimes, instead of match[br]framing to the same clip,

1:06:23.000,1:06:25.180
you actually maybe[br]want to reveal the clip

1:06:25.180,1:06:27.380
in its original source bin.

1:06:27.380,1:06:30.190
This is because[br]usually, additional

1:06:30.190,1:06:34.190
takes of the similar sorts of[br]footage would be available,

1:06:34.190,1:06:35.690
usually in that bin.

1:06:35.690,1:06:38.260
So in this case, instead of[br]match framing to the source

1:06:38.260,1:06:41.020
clip, right click the[br]clip in the timeline,

1:06:41.020,1:06:44.825
and there, you can use the[br]Find in Media Pool option.

1:06:44.825,1:06:47.730


1:06:47.730,1:06:51.100
That will then reveal the clip[br]directly in the media pool,

1:06:51.100,1:06:53.730
in the bin, and[br]usually, other clips

1:06:53.730,1:06:56.110
around that will be[br]alternative takes.

1:06:56.110,1:07:01.440
For example, this clip AOA12[br]actually has the similar plane

1:07:01.440,1:07:04.840
landing, but also has lots[br]of people in the foreground.

1:07:04.840,1:07:08.580
This is a much more dramatic[br]shot than the original one

1:07:08.580,1:07:09.850
that we were using.

1:07:09.850,1:07:13.320
If I double click that clip to[br]open it into the source viewer

1:07:13.320,1:07:16.290
and then actually use my[br]J, K, and L keys in order

1:07:16.290,1:07:20.880
to be able to find a frame,[br]which is visually matching

1:07:20.880,1:07:24.420
the frame that I'm viewing[br]in the timeline viewer,

1:07:24.420,1:07:28.030
with the two play heads[br]in the correct positions,

1:07:28.030,1:07:32.340
I can now simply do a Replace[br]edit and match the action

1:07:32.340,1:07:34.253
across the two shots.

1:07:34.253,1:07:36.920
[MUSIC PLAYING]

1:07:36.920,1:07:39.157


1:07:39.157,1:07:40.740
So these are just[br]some of the trimming

1:07:40.740,1:07:42.240
and some of the[br]editing functions

1:07:42.240,1:07:44.610
that we have within[br]Resolve in terms of being

1:07:44.610,1:07:47.370
able to put an edit together.

1:07:47.370,1:07:50.940
Just before we actually move to[br]the next stage of the editing

1:07:50.940,1:07:54.420
process, I'm just going to[br]make a slight change to some

1:07:54.420,1:07:57.660
of the audio for the[br]interview, and in order

1:07:57.660,1:08:01.740
to do this, of course, I just[br]need to unlock the entire track.

1:08:01.740,1:08:04.440
And in this case,[br]I just want to find

1:08:04.440,1:08:07.180
a beginning of his[br]interview here,

1:08:07.180,1:08:08.978
just at the very end[br]of the interview,

1:08:08.978,1:08:10.770
PRESENTER 1: --or it[br]didn't make the movie.

1:08:10.770,1:08:12.630
CHRIS: Didn't make the movie.

1:08:12.630,1:08:16.560
And I actually want to[br]separate this part of the clip

1:08:16.560,1:08:19.319
here and just move it[br]a little bit further up

1:08:19.319,1:08:20.500
and out of the way.

1:08:20.500,1:08:25.330
So I could use my blade edit[br]mode here to cut that clip,

1:08:25.330,1:08:28.930
or I could use a short[br]keyboard shortcut for this.

1:08:28.930,1:08:32.529
If I select a clip and[br]press Command or Control B,

1:08:32.529,1:08:34.390
that will actually[br]split the clip,

1:08:34.390,1:08:36.859
and now I can move that[br]clip and position it

1:08:36.859,1:08:38.490
where I need it to be.

1:08:38.490,1:08:41.875
About there will do.

1:08:41.875,1:08:44.000
PRESENTER 1: It was really[br]important every shot was

1:08:44.000,1:08:45.804
original and[br]everything was real.

1:08:45.804,1:09:00.872


1:09:00.872,1:09:02.330
CHRIS: So hopefully,[br]this video has

1:09:02.330,1:09:04.939
been useful in showing you some[br]of the editing functionality

1:09:04.939,1:09:07.020
that we have within[br]DaVinci Resolve.

1:09:07.020,1:09:09.330
Don't forget, if you've[br]got any further questions,

1:09:09.330,1:09:11.270
then please feel free[br]to join us on the forum

1:09:11.270,1:09:15.120
pages where questions are[br]answered on a daily basis.

1:09:15.120,1:09:18.260
We've also got a full[br]range of training materials

1:09:18.260,1:09:21.649
available for free as well, so[br]check out the DaVinci Resolve

1:09:21.649,1:09:24.830
training pages, where you[br]can download further videos

1:09:24.830,1:09:28.160
and books to help you get[br]to grips with Resolve.

1:09:28.160,1:09:30.130
Thank you very much.

1:09:30.130,1:09:37.000