CHRIS: Hi, I'm Chris.
I'm an editor and a DaVinci Resolve master trainer.
Today I'm going to look at some of the editing functionality
that you can access in DaVinci Resolve.
We've been sent some footage to put together
a short trailer for a documentary film
by the filmmaker Brian Terwilliger,
and so to do that, we're going to start
by creating a new project.
So here I am in the project manager.
I'll just click on the New Project button
to create that and give this project a name.
Age of Airplanes Trailer.
Choose to create, and DaVinci Resolve
opens directly in the Cut page.
Now the best place for me to do importing and organization
is actually in the Media page, so down
at the bottom of the interface here,
just click on the Media page.
Now in the top left of the media page,
it gives me access to all of my system storage locations,
so I'm just going to right click here in the side
and choose Add New Location.
I'm going to navigate to the location where my footage is.
In this case, it's actually in my Documents folder.
Go to the editing folder and then choose
Open, and that creates a new storage location for me
to access here.
Now, the video and the audio clips that have been sent to me
are actually in separate folders,
and to a certain extent, I want to preserve that folder
structure, so when I import the footage into Resolve,
I actually want to import and also to create a series of bins.
Simply select these two folders in the media storage location,
right click, and then choose the third option, which in this case
is Add folder and Subfolders into Media Pool, creating bins.
Now, at this point, DaVinci Resolve
is asking me to change the project frame rate.
This is so that the project frame
rate will match the frame rate of the footage
that I'm bringing in.
So in this case, I need to accept the change.
So now the footage has been imported into the media pool.
It's ready for me to start working on and organizing.
The first thing I'm going to do is just
access the audio clips bin, and you
can see that although I've got a folder of sound effects
that actually contains a series of sound effects
that I'm going to use within the trailer,
the other clips aren't organized into bins.
So let's create a couple of other bins
so that we know where this footage is.
So first of all, with the Audio Clips bin selected,
I'm going to come to the File menu and choose the option here,
New Bin.
There are also a series of shortcuts
that you can employ here as well, such as Shift and Command
N because I'm on a Mac.
That then creates the new bin, and I'm just
going to call this Music.
And then take the clip Music for Trailer
and just drag and drop that into the Music folder.
So organizing clips into bins is very
similar to organizing files in folders on your operating
system.
I've also got two voiceover clips here.
I'm just going to select both of those,
and this time right click and choose
Create Bin with Selected Clips.
I'm going to call this VO.
So that's got all of my audio clips organized
into separate bins.
I now need to do the same with the video clips.
But in this case, rather than just using simple bins,
I'm going to use a series of smart bins.
So selecting the video clips folder,
you can see I've got a series of thumbnails
for each of the clips.
If I actually just take my mouse and run the mouse
across the clips, you can see that each of the video clips
is previewed for me.
If I get to a clip that actually has audio,
you can also hear that I've also got audio scrubbing as well.
I'm just going to turn that off for the moment
just by pressing Shift S on my computer.
Now, we're not hearing the audio scrub.
Obviously, these three clips that I have here
are interview clips.
So I'm actually going to tag them with a keyword called
Interview.
I'm going to shift click to select all of those three clips,
and then in the Metadata panel down in the bottom right hand
corner of the interface, I'm just
going to display the keyword metadata field that I need.
Clicking in the Sort menu for the Metadata panel,
I'm just going to choose the option shot and scene.
And this will actually show the metadata
for the shot and the scene information for these clips.
You can see, scrolling down through this view
here, that we actually have a field for keywords.
So I'm going to enter the keyword Interview.
Just typing Interview or beginning
to type Interview in the Metadata field
means that it'll actually bring up
a list of options for different keywords,
but you can always put in your own keywords in there.
Let's choose the option for Interview and choose Save.
So that's how easy it is in order
to be able to add keywords to any clip within your project.
Now that we've added the keywords to the clip,
it's actually really easy because DaVinci Resolve
will automatically display any keyword clips
in their own smart bin.
Down in the bottom left hand corner of your bin list,
simply select the Keywords option
and then toggle it open using the disclosure arrow,
and you'll see in there, there is a smart bin for Interview.
So my three interview clips are now
being displayed within that smart bin.
Just to show you how easy it is to keep adding keywords,
I'm just going to select the Video Clips bin
and select the clip called Credits.
In the keywords, I'm going to add the keyword Credits.
And now that is actually tagged that clip with that keyword,
you'll see that I have a credits smart bin available to me.
So now you can carry on adding whatever
keywords you want to any of the clips within your project
and organize them.
However, there's much more to the metadata than this.
If we select the Video Clips bin, for example,
and then select this first clip here
for the aerial shot for this Kenya clip, if I come up here
and select the inspector in the top right hand corner
and then choose the File tab in the inspector,
you can see that we've actually got a series of metadata fields
that we can easily access.
These are the same metadata fields
that you'll be able to see in the actual Metadata
panel itself.
It just means that they're easier to access here
inside the inspector.
Now, I can actually populate this with a series of metadata
just by simply clicking in these fields
and start to type in the information.
However, if you've got somebody on the production team that
might be logging these shots, it's
actually easier to import the metadata
rather than to add every single piece of metadata individually.
So let's go to the File menu and we'll choose
Import Metadata to Media Pool.
Navigate to where your editing footage is on your system
and choose to select the aoalogging.csv file.
A CSV file is a comma separated values file.
It's very simple to create in any spreadsheet application.
I'm going to choose to open that,
and you'll see that when I'm importing this login
information, you can see that it is also
asking me for a series of things that it's trying to match to.
Now in this information, we don't actually
have time code information for these clips, so in this case,
I'm just going to uncheck Match Using Clips Start and End Time
Code.
I'm going to uncheck that option.
And then choose OK.
And you'll see that the information has actually
been imported, and now 27 media pool clips have been updated.
If I select any of these clips again,
you'll now see, in the File tab in the inspector,
I've now got additional information
in terms of the scene number, also a shot number, and quite
often, sometimes whether this is a good shot or a good take
or not.
Just scrolling down to the bottom of the file inspector,
you can also see a comments field has also been added.
So having added all of that metadata to these clips,
how can I actually use it?
Well, I can actually use it in order
to be able to do very quick searches across the project.
If I select the master bin, for example,
and let's say I wanted to do a search across this information
for any shots that were shot at San Francisco airport,
for example.
I can actually click on the Search option here.
Under this little dropdown arrow at the side,
I can also choose whether or not I
want to search the selected bin or all bins.
So in this case, I actually want to search the whole project,
so I'm going to select all bins.
And now I need to choose which fields
I'm actually trying to match.
So you can see here, the Filter By
is actually based on the file name of the clip, which
is absolutely fine if you know the file
name that you're searching for.
In this case, though, I actually want
to match to the scene information.
So if I just tap S on my keyboard and keep tapping S,
it will cycle through all the metadata fields
until I get to the scene.
Selecting that I can now type in SFO,
and you can see that all of the clips in the project that
have actually got that scene information, SFO, will now
be revealed.
Let's say I want to find a clip that actually
has the comment for Kenya.
From the Filter By, I can choose the Comments field
just by tapping C many times until Comments appears.
And now highlight the text for the search.
And again, type in what I'm actually looking for.
That's the power of metadata in order
to be able to search right the way
across your project to find the clips that you're looking for,
but we can go one step further.
If you clear the Search field and close down the search field
by clicking the Search button, now
go to your DaVinci Resolve Preferences menu.
Choose User, Editing.
You can see that there's a category of preferences
for automatic smart bins.
By default, the automatic smart bins for keywords is already on.
However, you can also see that we
can create automatic smart bins for anything
with shot or scene metadata.
Click the automatic smart bins for the scene metadata
and click Save, and now, in your list of smart bins,
you've now got a new scene category.
Use the disclosure arrow to open that up,
and you can now see that the information for each scene
is displayed as its own smart bin.
Just simply select the smart bin in order
to be able to access the contents.
But you're not simply limited to the default automatic smart bins
that you can have within DaVinci Resolve.
You can actually create your own custom smart bin.
In this case, I'm going to go back to the File menu
and choose the option New Smart Bin.
This field then opens up, and it's
asking me for a variety of rules that I can actually
input in order to be able to narrow down the footage
that I actually want to locate.
Let's rename this smart bin B-Roll.
So now, I need to choose my first rule, so in this case,
I'm going to say Media Pool Properties.
But I don't want to match on the file name.
I actually want to match on the keyword information
to begin with.
So keywords do not contain interview.
So now my smart bin search is automatically
filtering out any clip that has the interview keyword.
I'm going to add another rule for this.
Media Pool Properties for keywords
does not contain credits.
This was the other keyword that I actually added to my title
that I actually don't want to see in the B-Roll bin.
You can also choose to add a subset of rules
to your smart bins as well.
Holding down the Option or the Alt key
on your system when I click on this plus button
actually turns it into an Options menu.
And now, I actually have a subset of rules
that I just want to match any two.
And in this case, I actually want to specify clip types,
so I'm going to choose Media Pool Properties.
Change the second drop down to Clip Type
just by tapping C on my keyboard.
Clip Type is video.
This means that only video clips, not audio clips or still
image files or timelines will find
their way into this smart bin.
But that's just video.
What if I have video with audio?
Well, in this case, I'm going to add another rule to this subrule
and set and specify the clip type is video and audio.
Now I can choose to create my smart bin.
And the results of that smart bin
will be automatically updated.
So if I add any additional clips to this project,
providing those clips meet the criteria,
I'll be able to find them in this smart bin.
If you want to edit a smart bin for any reason, just simply
double click on the smart bin and the rules of that smart bin
will open up, allowing you to change them.
There's one other thing that we can actually
use the metadata for in Resolve, and that's
to actually use the information in the metadata
in order to be able to rename the clip within the project.
This can be very useful if you actually
want to do a search across a clip name,
or you just want to simply have a sanity check
as to what that actual clip is.
By naming the clip in an appropriate way,
it's easy to check that.
So here in the B-Roll smart bin, I'm
just going to select all of those clips
just by dragging a Lasso across them.
Then I'm going to right click and choose clip attributes.
Choose the name panel from clip attributes
and highlight the default clip name.
So in this case, I actually want all of my B-Roll clips
to start with the initials AOA for Age of Airplanes,
so I'm just going to type in AOA underscore in order
to separate the next information.
Now, I want to take information from the metadata.
And in order to do this, I need to add what we call a variable.
To add the variable, all you need to do
is put in the percentage symbol.
And now, it'll give you an option
to choose whichever metadata field that you want to add.
In this case, we want to choose the Shot metadata field.
So I'm just going to type the word Shot after the percentage
value, and you can see here in the menu
I've got the Shot option.
So I'm going to select that, and that has now
added a tag to my clip name based on the shot information
for each of these clips.
Again, I'm going to use underscore percentage
and then use comments.
Now, when I click OK, the clips are now all
renamed in the media pool using AOA, underscore, the shot
number, underscore, the comments field.
This is going to make it easier for me
to be able to locate each of the clips
and actually use them in my edit.
I want to do the same with the interview clips,
so I'm going to select the Interview smart bin,
select the interview clips, right click clip attributes.
In the name, highlight the Name field, and this time,
I'm going to type in INT underscore
percentage shot underscore percentage comments
and then choose OK.
And now, you can see that the interview
clips have been named with the appropriate soundbite
information.
Now that I've got all of the clips organized for the project,
I'm now going to go to the Edit Page
that I can actually start editing.
Just simply click on the Edit Page button.
And all of the information that you've just
organized inside the media pool on the Media page
is now available to me.
And the great thing is that I can keep organizing this footage
as I'm working.
And the organization process when you're editing never really
stops, it just gets refined the more that you do.
I'm actually going to start by selecting the master
bin in the media pool and creating a new bin, just
a regular bin that I'm going to call Timelines.
In this case, it's often useful to keep your timelines organized
in separate bins so that you know where they all are.
Make sure you've got the Timeline bin selected,
and then go to the File menu and choose New Timeline.
Let's just change the name of this timeline to something
a little bit more appropriate for this project.
AOA Trailer, and we'll just call it version 1.
Quite often you'll go through a number of different versions
for all of your edits.
If you wish to you can actually override the default project
settings for any timeline.
Just simply uncheck the Use Project settings option,
and then you can go into the format
to change the timeline resolution
and the timeline frame rate.
However, in this case, because we already
changed the frame rate for the project,
we know that this is actually the correct setting,
so I'm just going to re-enable the project settings
and choose Create.
Now, I have a timeline, I can actually
start assembling the material directly in the timeline,
and start putting together this edit
and making some sort of sense of the material that I've got.
So let's go to the Interview smart bin,
so that we can actually see the interview clips.
From the Sort menu in the media pool,
just click and make sure that you're organizing
these clips by clip name.
This will put them in the order that we're roughly interested
in.
In this case, we actually have INT_01,
and it's called Shoot the Real World,
based on the naming convention that we're
using for this project.
You can see that, as I'm scrubbing backwards
and forwards, my live media preview
is on so that I can actually see the content of that clip.
If my audio scrubbing was also turned on,
I would also be able to hear the audio scrub as I
move my mouse back and forth.
To turn the audio scrubbing on and off.
You can use Shift S.
PRESENTER 1: [SPEAKING IN FAST FORWARD]
CHRIS: I'm going to double click this clip
and that will actually open it directly into the source viewer.
Now I can use the scrubber bar here
in order to be able to return to the beginning of that clip,
and I'm just going to play the clip through
just so that we can all listen to the interview.
You could use the spacebar or the L key.
PRESENTER 1: So in this film, I'm
making a documentary about how the airplane's changed
the world.
It was really important to go out and shoot the real world,
and how the airplane is connecting and making
all the things possible that I want to convey in the film.
CHRIS: Well, obviously, I don't want
to use all of that interview, but in this case,
as a good starting point, I'm actually
just going to bring the whole clip into the timeline.
Now, there are several ways in which we can do that.
For example, I can just pick the clip up from the source viewer
and drag it and drop it into the timeline.
This is often a manual way of being able to edit,
but it's very limiting on what I can actually
do when it comes to editing footage together.
So in this case, I'm just going to press Command or Control
Z just to be able to undo those changes,
and this time, instead of dragging and dropping the clip
into the timeline, I'm actually going
to pick the clip up and drag across to the timeline viewer.
And you'll notice, on the right hand
side of the timeline viewer, I've
actually got all of the editing functions
that I can perform inside the Edit page.
So this is a useful way of being able to remind yourself
of the different functions that we have.
The default is actually Overwrite Edit.
If I now let go of the mouse, the clip
is edited instantly to the beginning of the timeline.
The timeline viewer has automatically become active,
so if I use the up arrow on the keyboard,
I can return to the beginning of the timeline.
I'm just going to play forward, just
like I did in the source viewer, using the L key on my keyboard.
PRESENTER 1: So in this film, I'm
making a documentary about how the airplanes changed the world.
It was really important to go out and shoot the real world.
CHRIS: That's a good place for this soundbite to end.
Now, you can see, in the timeline,
I've got a good guide with the image of the waveform where
he starts and stops speaking, and you can actually
use this as a guide when you actually
want to position the playhead for the next edit.
And in this case, I'm actually going to click the Detail Zoom
button just to be able to step into the timeline a little bit
clearer, and then use the J and L keys in order to be able
to find the exact point within that interview where
he's finished that line, "real world."
And you can see from the waveform,
this is very clear where he stops speaking
and where he starts again.
Now, I'm going to return to my full extent Zoom function.
This allows me to see the whole timeline from beginning to end,
and the playhead is now the location
that I'm actually going to perform the next edit.
So let's find an interview clip.
Let's go to interview 02, double click from the media pool
to open it into the source viewer, and now,
I'm going to return the playhead to the very beginning,
and I'm going to play through the interview.
PRESENTER 1: With all seven continents, 18 countries.
It was very important that everything was real.
If it was possible to shoot it, we wanted to go shoot it.
If we couldn't get the shot or the weather wasn't right,
we would either go back to that location,
stay at that location longer, or it didn't make the movie.
It was really important every shot was original
and that everything was real, but there's a few things.
Only--
CHRIS: And again, I don't want to use all the interview.
I only want to use a portion of the relevant part
of the interview.
So in order to be able to see the parts of the soundbite
that I actually want to use, I'm actually
going to use a feature inside DaVinci Resolve, which
I find very useful on a day to day basis.
If you come up to the top of the source viewer
and click the Options menu, that's
the three dots that you see at the top of the viewer,
we can actually choose to show the zoomed audio waveform.
You can also choose to show a full clip audio waveform.
Let's try that first, and that actually
shows me a waveform very similar to the waveform
that I have for the clip in the timeline.
But because it's actually shown me the whole interview,
it's actually a little bit difficult
to actually focus on where I want to concentrate on.
So in this case, I'm going to click back in the Options menu
again and choose Show Zoomed Audio Waveform.
Now, as I scrub through the clip,
you can see that it will actually
show me a detailed waveform view depending
where I am within the clip.
I'm going to return the playhead to the beginning of that clip.
I'm just going to play it through,
and I'm listening for the first line for his soundbite.
PRESENTER 1: All seven continents, 18 countries.
It was very important that everything was real.
If it was possible to shoot it, we wanted to go shoot it.
CHRIS: So that's where I want him to start, where he says,
"if it was possible to shoot it, we wanted to go shoot it."
So I'm now just going to press the J key just
to be able to back that up to the beginning of that soundbite.
PRESENTER 1: If it was--
CHRIS: And listening to it closely, there's
an ah at the beginning that I actually
don't want to include within the soundbite.
PRESENTER 1: [SPEAKING IN REVERSE]
CHRIS: So now, I can actually jog through
if I turn on my audio scrubbing.
I can jog through one frame at a time.
You can use the left and right arrow keys for this,
but I actually find it's really useful holding down the K key
and tapping the J or the L keys.
So at this point, I want to add an endpoint
into my source viewer.
There's only one way you really need to know how to do this,
and that's by pressing I on your keyboard.
So I'm now going to play the interview through
to find the end of the soundbite that I'm interested in.
PRESENTER 1: If it was possible to shoot it,
we wanted to go shoot it.
If we couldn't get the shot, or the weather wasn't right,
we would either go back to that location,
stay at that location longer, or it didn't make the movie.
It was really important every shot was original,
and that everything was real.
But there's--
CHRIS: And that's the word, "real,"
where I actually want this soundbite to end.
So I'm just going to back the playhead up.
PRESENTER 1: And that everything was real.
CHRIS: And again, you heard a little bit
of the but at the beginning, so I'm just
going to come back just a few frames, find that gap that you
can see there in the waveform.
And that's where I want to add my outpoint.
And of course, magic shortcut is O for out.
Now, that I've got in and out points set,
I might want to just double check that they're
in the right position.
So I can actually press Shift I to jump directly
to an endpoint, Shift O to jump directly to an out point.
If I actually want to preview the soundbite
between in and the out point, I can hold down the Option key
and press the forward slash key on my keyboard.
PRESENTER 1: If it was possible to shoot it,
we wanted to go shoot it.
If we couldn't get the shot, or the weather wasn't right,
we would either go back to that location,
stay at that location longer, or it didn't make the movie.
It was really important.
Every shot was original and that everything was real.
CHRIS: And it's a little bit tight on the output there,
so I'm just going to jog forward just a frame
and reset the outpoint by pressing O. However,
sometimes, you don't want to listen to the whole soundbite
from beginning to end.
It could actually be quite long.
So if you actually just want to preview where the outpoint is,
just simply bring your playhead a few seconds
to before the outpoint, and then from the playback menu,
you can choose Play Around To, Play To Out,
and you can see here keyboard shortcut is
Option Command forward slash.
PRESENTER 1: And that everything was real.
CHRIS: So now that I've got in and the out point set
for this soundbite, I'm going to edit it into the timeline using
an overwrite edit.
Now, I can pick the clip up again and drag and drop
over the timeline viewer to access the overwrite.
I don't need to drag to the actual overlay.
However, if I just come down here to the top of the timeline,
you'll see that there are three editing function buttons.
These buttons are probably the most common used editing
features, which is why they've been included
at the top of the timeline.
You'll see that the middle one of those buttons
is actually overwrite clip, and my keyboard shortcut for this
is F10.
Now, if you're on a Mac, you may find
that the F10 key doesn't perform an overwrite edit by default,
in which case, you'll need to go into your System Preferences
and change the keyboard settings so
that it uses all the F1 and F2 keys as standard function keys.
If I just press F10, you'll see that the clip is
overwritten into the timeline.
It's actually overwritten the tail end of the first interview
clip.
If I use the up arrow key to navigate back
to the previous edit point, and then preview the Edit
using the forward slash key,
PRESENTER 1: Shoot the real world.
If it was possible to shoot it, we wanted to go--
CHRIS: The first interview clip now ends at the right point,
and the second interview clip starts at the right point,
but it's a little bit too tight.
We've also got a very nasty visual jump
cut between two interview clips, so we now
want to start to insert some of the b-roll
in, just to be able to pace out those interviews.
Let's go to the B-Roll smart bin.
Let's go for this second clip here of this A380 taking off.
Let's double click to open it up into the source viewer,
and then use J, K, and L keys in order
to be able to preview this clip.
That's fine, just as the wheels are about to leave the tarmac.
Let's set an endpoint a second or so before that.
And let's set an outpoint just after the plane has left frame
before we get a very horrible camera movement there.
So let's set an out point as the tail of the frame
has left the shot.
Because the playhead is in the right place in the timeline.
I don't need to worry about where
this shot is going to end up.
Make sure that the playhead is on the Edit
point in the timeline so that you're inserting it
in the right place, and in this case,
I'm just going to pick the clip up and drag across
to my overlays, and this time, to perform an Insert edit,
I just drag it to the Insert overlay.
And that inserts the clip in the timeline
and moves the second interview clip out of the way.
This is one of the advantages for using those overlays,
rather than the drag and drop approach to editing.
Using a drag and drop approach, you
wouldn't be able to insert the clip as efficiently.
So again, one reason for using these functions.
In the timeline.
Let's move the playhead back to the start of that clip.
So we're on the first frame of the Lufthansa plane.
And in this case, let's go to this clip here.
It's called AOA01 A380 Taxi.
Let's double click that to open it up.
Now you'll notice straight away that this clip has audio
PRESENTER 2: [INAUDIBLE]
CHRIS: It's not great audio, however.
So what we need to do here is we need to actually make sure
that when we insert this into the timeline,
that we're not actually going to use the audio.
Now, there are a couple of ways that we can do this.
A simple way would be if we were using drag and drop editing
over the timeline viewer.
We can actually come here to the source viewer
and actually specify, using one of these overlays,
whether we want to edit just picture or just sound.
So in this case, I can click on the overlay,
drag across to the timeline viewer
and choose Insert in order to be able to just insert
the picture and not the audio for this clip.
However, I'm just going to undo that with Command Z,
because if I want to use my keyboard shortcuts
or my editing buttons at the top of the timeline, unfortunately,
I can't specify using that overlay
whether I'm using just the picture or just the sound.
For example, if I come here and use the Insert editing function,
you'll see it will actually edit the audio in as well
as the picture.
Again, I'm just going to undo that.
So there's actually another control
that we can use in order to be able to specify whether we're
editing, just picture or just sound directly
into the timeline.
It's these two buttons that appear
with red borders along the left hand side of the timeline.
These are your source controls.
I'm actually going to come down to the audio source control
here, and I'm just going to simply click once
in order to disable that button in the timeline.
Now, when I perform an Insert edit using the Timeline button,
no audio is brought into the timeline,
and this also means I can use my keyboard shortcuts efficiently
as well.
Another insert edit that we're now going to want to do
is actually within this interview clip here.
So I'm going to move the playhead to the beginning
of that interview clip, and I'm just
going to play through the beginning of it
for the first soundbite.
PRESENTER 1: If it was possible to shoot it,
we wanted to go shoot it.
CHRIS: If it was possible to shoot it,
we wanted to go shoot it.
That's where I actually want to insert the next shot.
PRESENTER 1: [SPEAKING IN REVERSE]
we wanted to go shoot it.
If--
CHRIS: The shot that I'm actually
looking for is in my B-Roll smart bin,
and it's the clip of AOA_10_Maldives.
So double click that to open it into the source viewer.
I love this shot.
It's this wonderful in and out shot
where the camera is half submerged in the water,
and there is a plane that comes in over the top of the camera.
I'm actually just going to set an endpoint
just as the shadow of the plane appears over the coral.
And now, I actually want to specify around
about a three second clip.
So one way that we can do that is actually
to use timecode information to be able to move forwards
and backwards through the clip.
In this case, I'm just going to hit the Plus key on my keyboard
and type in 300, which you can actually see in the top timecode
field in the source viewer actually
translates to three seconds.
Hit the Return key.
Press O to set the outpoint in order
to set a three second clip.
Actually, technically, it's three seconds and one frame.
As you can see from the duration field,
however, the playhead is inclusive of the frame
that you're currently on, so the outpoint is always
set at the tail of that frame if you
need it to be three seconds exactly,
you just need to come back one frame
before you set the outpoint.
But now I can do an Insert edit by pressing F9.
Excellent, so now, we've got the edit really starting
to come together.
However, at this point, you're probably
wanting to get a little bit more control of the timeline,
particularly when it comes to zooming.
Also, you might want to start refining parts of the timeline
by removing sections.
Zooming in the timeline is actually
much simpler in DaVinci Resolve 17 than it's ever been.
We've already encountered two fixed zoom functions.
These are the Full Extent Zoom, which will always
show the full length of your timeline
irrespective of how much content is in the timeline.
And you've also got the Detail Zoom button,
which allows you to Zoom in to a fixed point on the timeline
wherever your playhead happens to be.
However, you've also got a custom zoom option as well,
so this button allows you to set your own zoom level, which you
can do by just simply dragging the slider
or using the Plus and Minus buttons to zoom in and out.
Or you could use keyboard shortcuts.
Command Equals allows you to Zoom in on your playhead.
Command Minus allows you to Zoom out.
If you're on a PC, instead of using command,
you'd just simply use Control, and you can also
use Shift Z in order to be able to fill the timeline window.
This isn't the same as actually using the Full Extent Zoom
button, however.
The Shift Z function allows you to see the full timeline zoom,
but it doesn't remain fixed at the full timeline Zoom,
so if you add any other clips to the timeline,
you'll have to manually change the zoom in order
to be able to focus on the parts of the timeline
that you actually want to work with.
However, Shift Z is very useful if you actually
want to return to a previous Zoom level in the timeline.
Just simply toggling Shift Z is a very useful way
of being able to step in and out of the timeline.
If you've got a three button mouse with a scroll wheel on it,
then what you can do is just hold down the Shift key
and use the scroll wheel in order
to be able to dynamically adjust the height of each
of the tracks.
And you can also change the bias between the video
and the audio part in order to be
able to get a larger audio track,
and you can actually see how easy it is now
to see the waveform for those clips.
If you don't have a wheeled three button mouse,
then you can always use the Timeline View Options menu here,
and then actually use the Track Height sliders
at the bottom of that menu in order
to be able to adjust the height of your video and audio tracks.
So now that we've looked at how to adjust
the timeline zoom level so that you can comfortably
view the timeline depending on what you need to do, let's
look at how we can remove some of these clips
and start to refine the Edit a little bit further.
To begin with, you might want to actually remove
just a simple portion of a clip.
For example, you might want to remove the video or audio
part of a clip.
If I actually concentrate on this middle interview here,
I'm just going to move the playhead over that
and hit my Detail Zoom button so that I can focus on this.
You should notice, on the left hand side of the clip,
in both the video and the audio, there are two little chain link
icons.
This indicates that this clip is linked in both
these video and audio portions.
Using linked clips is very, very useful
because it means that you can move them around very easily
when you select the video portion of a link clip,
the audio portion is also selected automatically,
so it means it's very hard to move these things out of sync.
However, in this case, I just want
to remove a video portion of this clip.
To override the link temporarily on the timeline, just simply
hold down the Option or Alt key on your keyboard,
and then click on the video clip in order
to be able to select it.
Alternatively, you can actually turn off
the linking for the whole timeline
by just coming up and choosing your link selection button here.
And with that turned off, if you hold down the Option key
and select a clip, it will actually
select any linked parts of the clip automatically.
So basically, the Option or Alt key
just simply reverses whatever your link selection
is set to for your timeline.
With the video clip selected, I'm just
going to go back to my full extent Zoom,
so you can see what happens to the timeline,
and I now want to ripple delete the clip.
So in this case, I'm going to hold down Shift and use
the Delete key in order to be able to remove that clip.
And you'll see it remove a video clip,
but it didn't remove the audio portion of the clip.
More importantly, it's also closed the gap
and rippled the timeline in order
to make the timeline slightly shorter.
And the full extent Zoom is actually still
showing me the full length of that timeline.
However, something else that you may need to do
is actually be able to remove a portion of a clip
from within the clip.
And a good example of this is if you're
working with interview clips.
Let's move the playhead to the start of the last interview
clip in the timeline, and then use the Detail Zoom button
in order to be able to zoom in.
There's a line in this clip that I actually want to remove,
so I'm just going to preview the clip just by playing it.
PRESENTER 1: If we couldn't get the shot,
or the weather wasn't right, we would either
go back to that location, stay at that location longer,
or it didn't make the movie.
It was--
CHRIS: So he says, we either go back to that location,
stay at that location longer, or it didn't make the movie.
It's a little bit repetitious.
It's not quite, but the director actually
wants to take the second line out there, stay
at that location longer.
So let's look at how we can do that.
First of all, we can actually see the waveform
where the portion of the dialogue
is that we actually want to take out.
Again, using the Shift key and the scroll mouse,
I can actually make that even bigger.
I'm going to move the playhead back,
and my audio scrubbing is going to come into handy here.
So I'm just going to play forward.
PRESENTER 1: Stay at that location--
[SPEAKING IN REVERSE] --that location, stay--
CHRIS: And I can hear the beginning of the word stay,
making sure that my playhead is on that point.
You can see from the waveform in the timeline
that I look as though I'm at the correct location.
And now what I want to do is I want to cut this section out.
So I'm actually going to use the blade edit mode
for the timeline, coming here to these first four buttons
at the top of the timeline.
These are my different timeline editing modes.
The first of these is the default selection mode.
This allows me to click on clips,
move them around, and delete clips.
I've also got my Blade edit mode,
featuring a very frightening looking razor blade icon,
I have to say.
If I select that or use the keyboard shortcut B,
I can then bring that blade down into the timeline here.
Making sure that my snapping is on,
you can see how easily that line will actually
snap to where my playhead is, and I'm just
going to click once in order to be able to add an edit.
That's the beginning part of the clip
that I actually want to lose from the timeline.
I now need to find the end.
PRESENTER 1: Stay at that location
longer, or it didn't make--
[SPEAKING IN REVERSE] longer, or--
CHRIS: And I'm looking for the word or.
PRESENTER 1: [WALKING THROUGH THE AUDIO FRAME BY FRAME]
CHRIS: About there.
It's taken a little bit of jogging back and forward
one frame at a time, just in order to be able to hear that.
But I was actually trying to find
the beginning of the word or.
Again, I just want to take my blade,
and just come near the playhead and click once more in order
to be able to add a second edit point.
This is now isolated the portion of the clip
that I actually want to remove from the timeline.
However, I don't want to use the blade mode again,
so I'm going to switch back to the selection mode
just by pressing a on the keyboard.
I can now select that clip and then press Shift Backspace
or Shift Delete in order to be able to remove
the clip from the timeline.
That's got rid of the portion of the clip that I isolated,
but I now need to hear how that edit is working.
So if I press the forward slash key--
PRESENTER 1: --right, we would either go back to that location,
or it didn't make the movie.
It was really important--
CHRIS: It's probably not the tidiest of edits,
but don't worry.
Only the very skilled and experienced editors
will be able to get that right first off.
More often than not, when you're editing something,
you just need to make your best guess and then refine it later.
So we'll leave this for the moment,
but we'll come back to it in a few minutes.
In the meantime, I'm actually just going
to go back into my Full Extent Zoom
so that I can see the whole timeline.
And now what I want to do is remove this portion
of the first interview clip.
You remember that we overwrote the tail end of that clip.
However, the beginning part of the clip
is still in the timeline, so I want to remove that.
Now, if I use my selection edit mode here,
I can select the beginning part of that interview.
And if I trim that, you can see that it will actually
trim and remove a portion of the clip,
but it will also leave a gap.
This is not a huge problem, but there's more efficient ways
that we've got been able to trim that and not leave a gap.
So I'm just going to undo that.
In order to put the clip back to how I originally had it.
And again, I'm going to change my timeline editing mode.
I'm going to change it from the Selection mode
to my Trim edit mode, and Trim edit mode
is a really powerful way of being
able to manipulate the clips in the timeline in DaVinci Resolve.
You don't need to keep going in and selecting specific tools.
This one mode will actually do all of the trimming functions
that I need on a day to day basis.
Using T allows me to select the Trim edit mode,
and now when I go back into the timeline,
I can click the same edit point and start
to trim just by dragging the mouse to the right.
As I do so, you can see that the rest of the timeline
is actually changing.
I'm actually rippling the rest of the timeline
back, thereby shortening it by the amount
that I'm actually trimming off the beginning of that clip.
You can also see I can go the other way as well.
I can actually add footage back to that clip if I need to.
If I keep going--
And you can hear from the audio scrubbing
where the actual interview starts,
so I can now let go of the mouse.
And you can actually see the tooltip there actually
says that I'm removing three seconds
and four frames from the beginning of this clip.
Now, if I return the playhead to the beginning of the timeline,
I can play from the beginning.
PRESENTER 1: In this film, making
a documentary about how the airplanes changed the world.
CHRIS: And I've actually got a much sharper start
to the interview.
And I can also use the Trim edit mode
in order to be able to fix the problem
with the edit in the interview that I was just doing earlier.
Move the playhead to the edit point
and then use the Detail Zoom button to zoom in.
Sometimes, I only want to be able to trim a frame or two
in either direction, so being able to Zoom in means
that I'm much closer to the footage
and therefore have a little bit more control over it.
In this case, I'm actually just going
to select the outgoing part of this clip
here where the waveform is.
That shows me that probably I'm just catching the outgoing word
there, and now I can actually click and drag
in order to be able to remove one or two frames at a time.
If you haven't actually got the level of control
that you're interested in, you may
want to turn off your snapping here at the top of the timeline.
Keyboard shortcut N is always worth
remembering because you can always do this at any time,
even if you're in the middle of an operation.
So in this case, I'm going to click,
and I'm going to tap N on my keyboard.
And now, I can actually remove a single frame from that clip.
But you can also do this using keyboard shortcuts as well.
For example, if I use the period key,
I can actually add a frame to that clip,
and if I use the comma key, I can remove a frame
from that clip.
So now, if I press the forward slash key,
PRESENTER 1: --right, we would either go back to that location
or it didn't make the movie.
It was really important.
CHRIS: And again, it feels a little tight still.
I think the outgoing portion of that is fine,
but let's now select the incoming portion,
and let's just trim it back one frame.
So I've now added a frame using the comma key in order
to make that timeline one frame longer, because I'm always
rippling the footage,
PRESENTER 1: --right, we would either go back to that location,
or it didn't make the movie.
It was really important.
CHRIS: And that sounded pretty good to me,
but you might just want to explore this a little bit more.
What would happen if we added another frame
to the incoming shot using the comma key?
PRESENTER 1: --right, we would either go back to that location,
or it didn't make the movie.
It was really important.
CHRIS: Again, it's probably about the same,
so I'm just going to take that frame off again and probably
leave it at that point.
So now, I'm happy with how that edit is working.
I'm actually just going to start adding a few more
clips to the timeline, just so we can pace out the Edit
and see where we're going with things.
So in the timeline, I'm going to deselect the edit point
and go back into my Full Extent Zoom,
and just use the Shift key and the scroll wheel
on my mouse just to adjust the track height.
So I've got a little bit more space for the audio,
and I'm going to return the playhead to the beginning.
You can either simply drag it or use the home key to go back
to the top of the timeline.
So at this point, I'm just going to add some music
to this timeline.
Well, we already created a Music bin earlier,
so we know exactly where to find that piece of music.
In the bin list.
Select the music bin, and then I'm
just going to turn off my audio scrubbing by pressing Shift S,
and then I'm going to double click
to open the music into the source viewer.
Now, when you open audio in the source viewer,
you actually get an upper waveform,
which actually represents the whole of the audio clip,
and a lower waveform, which actually represents a zoomed
in portion of the clip.
So it's like having the two waveform displays
side by side, which is very useful to work with.
In this case, we actually want to take the whole of the clip,
so we don't need to set any in or out points to this clip.
And in this case, I'm just going to pick the clip up, drag it
across to my timeline viewer, and choose
the Place on Top function.
This then simply creates a new audio track
at the bottom of the timeline, and places the clip in it.
It may seem counterintuitive that I've actually
used something called Place on Top to actually place
the audio at the lower part of the timeline,
but it just is the way that edit works
with audio, which typically lives
below the video in a timeline.
The audio is actually quite loud, this piece of music is.
So I'm actually going to move my mouse over the clip
and actually find the point where I can actually
locate the volume curve on the timeline.
If I now click at that point, I can
grab hold of the volume curve and lower it
to an appropriate audio level.
I'm actually just going to take it all the way down
to around about minus 12 DB in the timeline here.
Doesn't necessarily mean to say that that's the right level.
However, it's a useful starting point,
and I always need to refine the levels later anyways.
Now that I've got the audio at a reasonable level,
I should be able to hear the interview
over the top of the music.
PRESENTER 1: In this film, making a documentary about how
the airplanes changed the world, it
was really important to go out and shoot the real world.
CHRIS: That's fine at the moment.
It gives me something to work with.
It might be that the music gets changed
at some point in the future, or I might need
to refine it a little bit more.
So I don't want to spend too long adjusting the levels
and making them perfect.
Not at this stage.
Now that I've got the music into place, that actually gives me
a time for the Edit.
So I've now got something to aim for in terms
of an overall duration.
Let's move the playhead to the edit point between the two
interview clips, half way through this piece of music.
We're going to start by editing a new clip in here,
and it's actually just going to help us to fix
that very nasty jump cut.
Let's go to the B-Roll bin, and let's find
the clip called South Pole.
Double click that.
It's AOA_8, shot 8, and I'm going
to set an endpoint just as the tail of the plane
is coming out from behind that yellow sign.
So an endpoint there, and I'm wanting to take five seconds.
I don't know if five seconds is the right duration,
but it's just a good all round number
that we can tend to work with for putting shots in.
So I'm going to use plus 500 in order
to jump the playhead forward by five seconds,
hit Return, set an outpoint.
And now I can just make a simple overwrite edit with F10.
If I back the playhead up in the timeline
and then hit the forward slash key--
PRESENTER 1: --right, we would either go back to that location
or it didn't make the movie.
It's really important.
CHRIS: And I think that edit works nicely.
The audio of the interview is working very well,
and the new picture that's overwritten,
the end of that interview actually covers the jump cut.
So now, let's add a few extra clips
to the end of this timeline, and then we
can actually trim those clips to the correct duration.
From the B-Roll bin, select the Kenya clip, AOA07.
Hold down the Command or Control key and select AOA11.
That's the St. Martin landing.
And then again, hold down Command or Control
in order to select AOA14 Aerial Alaska.
With those three clips selected, I
can actually drag those clips directly to the timeline viewer
and choose the Append at End edit.
What the Append at End is really useful
for is throwing clips at the end of your edit,
so you can use them to quickly assemble footage
into the timeline, and it doesn't depend
on where your playhead is.
It just depends on where the last clip is in your timeline.
Obviously, those clips are way too long for this edit,
so I just need to reduce their duration.
To select the clips, i'm going to switch into my Selection edit
mode, select the clips, now go back to my Trim edit mode,
right click any of those clips, choose Change Clip Duration.
Command or Control D is the shortcut.
And from the Change Clip Duration box,
I'm going to choose the five second preset.
As I said, 5 seconds is not necessarily
the correct duration, it's just a duration
that's worth starting at.
Click Change, and now, my clips have
been trimmed on the timeline.
However, I've still got a little bit of work to do here.
Let's move back to the beginning of the South Pole clip,
and then let's use the detail Zoom button
just to zoom in a little bit here.
I want to make the South Pole clip
a little bit shorter because nothing really happens in it.
So a five second shot is a good starting point,
but let's just make it a little bit shorter from the beginning.
So if I select the incoming part of that clip
just to select that clip there, you'll
notice I haven't selected any audio.
And I'm using the Trim edit mode here in order
to be able to select the beginning part of that clip.
And I'm just going to remove a few frames just to bring it down
to about four seconds duration.
You can see that, as I'm trimming it,
the tooltip is telling me how much I'm actually trimming it
by, and the gray numbers underneath
represent an overall duration.
However, look at what's happening to the underlying
audio clip of the interview.
Remember I had the interview working in terms of the audio.
By changing it like this, I'm actually
losing parts of the outgoing audio clip.
I don't want to do that.
So in this case, I need to undo that change.
Now, the reason that this is happening
is because Resolve fights to keep everything in sync
after the point at which you are trimming.
So if a clip starts at the trim point or afterwards,
then it will move in an appropriate direction.
In this case, we actually need to break
that functionality that, up until now,
has actually served us quite well.
So in this case, I'm actually going
to come to the track header, and I'm
going to choose to lock the track.
That will prevent any additional changes
being made to any of the clips on this track.
I'll now trim that clip to the four second duration
that I was aiming for, and you can
see that the audio underneath is now no longer moving.
Let's go back to Full Extent Zoom
and then play to review the change.
PRESENTER 1: --go back to that location,
or it didn't make the movie.
It's really important every shot was original,
and that everything was real.
CHRIS: That's a nice shot of the Kenya plane.
However, you'll notice the beginning part of that clip
was just a little bit untidy.
So again, I'm just going to ripple a few frames out
of the beginning of that clip.
If we move the playhead to the beginning of the clip,
go into the detail Zoom.
Use the Trim edit mode in order to be
able to ripple a few frames out to get
rid of the yellow part of the plane at the top of the frame
there, again bringing the duration down to that
around about four seconds.
It's not important to get it accurate at this point.
It just means that just refining the beginning of the shot.
Let's continue playing.
PRESENTER 1: --original, and that everything was real.
[MUSIC PLAYING]
CHRIS: Hm.
Now, there's a few things that we need to do here.
First of all, we still need to be
able to bring the duration of those clips down,
but they're actually in the wrong order.
I want the Alaska shot to follow the South Pole
shot on the timeline.
Then I would actually to finish with the St. Martin shot.
Now, if I use my Selection edit mode
to be able to move a clip around the timeline, all I'll simply do
is overwrite what is currently there.
So I need to use a different function for this,
and this is what we would call a Shuffle Insert edit.
And it's a little bit of a secret function
that you now know about.
To perform a Shuffle edit, hold down the Shift and Command
or Control keys, and then use the comma and period key
in order to be able to move the clip backwards and forwards
through the timeline.
So I can now put the aerial Alaska shot
after the South Pole shot.
If I hold down the Command key and use the left and right arrow
keys, this will allow me to select another clip.
Hold down Shift and command and use the comma and period keys.
Allows me to reorder those clips as well.
And you can actually select multiple clips on the timeline
and use the same keyboard shortcuts in order
to be able to shuffle those groups of clips
around the timeline.
So this makes it really easy to move
one scene from one part of the timeline to another.
So now I've got the shots in the right order.
I'm just going to trim the aerial Alaska shot before adding
the credits to the end.
Let's go into Detail Zoom, make sure I'm in Trim edit mode
by pressing T, and I'm just going
to trim the end of that shot again to the magic four
second duration.
I'm going to go back into my Full Extent Zoom,
and I'm just going to play the timeline just so that I hear
the last beat of the music.
[MUSIC PLAYING]
I'll use my audio scrubbing.
[WALKING THROUGH THE AUDIO FRAME BY FRAME]
Just to be able to find the beat of that music.
So using the audio beats for the music
is a good way of being able to guide the edit.
Now, we need the credits.
So let's go to our credits smart bin.
Let's double click to select the credits in the source viewer.
And in this case, we actually want to take all of the credits.
So we're not going to set any in or out points.
Instead we're just going to perform
an overwrite edit with F10.
If I use the up arrow key in the timeline,
use the forward slash key.
[MUSIC PLAYING]
Now, that I've got those shots in at the end of the timeline,
I just need to go back through and refine which parts
of the shots that I'm using.
So I need to use the trim edit function for that as well.
Let's position the playhead over the St. Martin shot
at the end of this timeline, and use the Detail Zoom
button to zoom in.
If we preview the shot by selecting it and pressing
the forward slash key--
[MUSIC PLAYING]
You can see that we're actually using the beginning
part of the shot where actually the plane is quite far away.
So instead of that, if we use the Trim edit mode and actually
click on the upper part of the clip on the timeline,
this will enable us to slip the actual content of the shot.
You can see how the clip is slipping on the timeline
and how the thumbnails are being updated.
If I keep on dragging, if you look at the timeline viewer,
you can see in the upper right corner,
you can see the outgoing frame as the plane disappears
overhead and out of shot.
And that is where I want that shot to end.
This is called a Slip edit.
[MUSIC PLAYING]
The Slip edit is one of the most powerful trimming functions
that we have in the timeline.
I'm going to return to my Full Extent Zoom
and just position my playhead over this Alaska shot.
Again, I'll select that and just press the forward slash key just
to preview it.
PRESENTER 1: --every shot was original
and that everything was real.
CHRIS: It's a nice shot, but it's lacking
a certain amount of dynamism.
So another thing that we can often do with shots
is we can adjust the speed of them.
With that clip selected, I'll just
come up here to the top right hand corner
and open up the inspector.
Scrolling through the inspector, I actually
have a category called Speed Change.
If I just simply click on that to open it up,
I can now specify the speed of this clip.
Speeding the clip up should give us something more
to actually see, as it looks as though probably the plane is
actually going to be flying a little bit faster.
Selecting the speed percentage, type in 200
and hit the Return key.
That then adjusts the speed of the clip,
so it's now playing at 200% or twice as fast.
If I hit the forward slash key--
PRESENTER 1: --every shot was original,
and that everything was real.
CHRIS: There's now a little bit more movement in that shot.
So in this case, I can now slip the clip
in order to use a later part of the shot
as the camera pans around the plane,
so that we now get this shot in the top right
quadrant of that timeline view.
As you can see, the end frame is now
the plane with the mountains in the background.
PRESENTER 1: --every shot was original,
and that everything was real.
[MUSIC PLAYING]
CHRIS: Another way of using a different part of the same shot
is actually to use a Match Frame and Replace function.
In this case, if I move the playhead
to the first frame of the Kenya clip,
if I actually want to reveal the original source
clip for that clip, I can just press F on the keyboard
in order to be able to do a match frame.
This actually brings the original source clip up
into the source viewer.
This means I can now see all of the rest of the clip
without actually having to manipulate it directly
on the timeline.
If I now choose a new starting frame for this clip,
just as the plane is coming over this shot of the flamingos here,
I've now got the playhead in the correct position,
and now I can use the Replace edit function
in order to be able to match the two play heads together.
You can use the Replace edit by simply dragging
the clip over the timeline viewer
to the Replace edit overlay, or alternatively, you've
actually got a Replace Clip button
at the top of your timeline, or you can use
your keyboard shortcut of F11.
And in this case, the Replace edit
has actually replaced the clip by matching the two play
heads together.
So the playhead here in the source viewer
is actually placed at the location
of the playhead in the timeline, and then the clip
is actually replaced based on the source media clip
after the playhead.
It's a very, very powerful function
if you actually want to be able to synchronize clips together.
It's useful for being able to edit
sound effects into the timeline, or to be
able to match two images together with different actions,
for example, here, if we go to the last clip
here in the timeline where we actually have the St. Martin
landing plane flying overhead.
[MUSIC PLAYING]
Sometimes, instead of match framing to the same clip,
you actually maybe want to reveal the clip
in its original source bin.
This is because usually, additional
takes of the similar sorts of footage would be available,
usually in that bin.
So in this case, instead of match framing to the source
clip, right click the clip in the timeline,
and there, you can use the Find in Media Pool option.
That will then reveal the clip directly in the media pool,
in the bin, and usually, other clips
around that will be alternative takes.
For example, this clip AOA12 actually has the similar plane
landing, but also has lots of people in the foreground.
This is a much more dramatic shot than the original one
that we were using.
If I double click that clip to open it into the source viewer
and then actually use my J, K, and L keys in order
to be able to find a frame, which is visually matching
the frame that I'm viewing in the timeline viewer,
with the two play heads in the correct positions,
I can now simply do a Replace edit and match the action
across the two shots.
[MUSIC PLAYING]
So these are just some of the trimming
and some of the editing functions
that we have within Resolve in terms of being
able to put an edit together.
Just before we actually move to the next stage of the editing
process, I'm just going to make a slight change to some
of the audio for the interview, and in order
to do this, of course, I just need to unlock the entire track.
And in this case, I just want to find
a beginning of his interview here,
just at the very end of the interview,
PRESENTER 1: --or it didn't make the movie.
CHRIS: Didn't make the movie.
And I actually want to separate this part of the clip
here and just move it a little bit further up
and out of the way.
So I could use my blade edit mode here to cut that clip,
or I could use a short keyboard shortcut for this.
If I select a clip and press Command or Control B,
that will actually split the clip,
and now I can move that clip and position it
where I need it to be.
About there will do.
PRESENTER 1: It was really important every shot was
original and everything was real.
CHRIS: So hopefully, this video has
been useful in showing you some of the editing functionality
that we have within DaVinci Resolve.
Don't forget, if you've got any further questions,
then please feel free to join us on the forum
pages where questions are answered on a daily basis.
We've also got a full range of training materials
available for free as well, so check out the DaVinci Resolve
training pages, where you can download further videos
and books to help you get to grips with Resolve.
Thank you very much.