WEBVTT 00:00:00.000 --> 00:00:05.390 00:00:05.390 --> 00:00:06.750 CHRIS: Hi, I'm Chris. 00:00:06.750 --> 00:00:09.840 I'm an editor and a DaVinci Resolve master trainer. 00:00:09.840 --> 00:00:12.800 Today I'm going to look at some of the editing functionality 00:00:12.800 --> 00:00:15.240 that you can access in DaVinci Resolve. 00:00:15.240 --> 00:00:17.240 We've been sent some footage to put together 00:00:17.240 --> 00:00:19.310 a short trailer for a documentary film 00:00:19.310 --> 00:00:21.300 by the filmmaker Brian Terwilliger, 00:00:21.300 --> 00:00:23.420 and so to do that, we're going to start 00:00:23.420 --> 00:00:25.340 by creating a new project. 00:00:25.340 --> 00:00:27.322 So here I am in the project manager. 00:00:27.322 --> 00:00:29.030 I'll just click on the New Project button 00:00:29.030 --> 00:00:32.000 to create that and give this project a name. 00:00:32.000 --> 00:00:34.333 Age of Airplanes Trailer. 00:00:34.333 --> 00:00:36.890 00:00:36.890 --> 00:00:40.880 Choose to create, and DaVinci Resolve 00:00:40.880 --> 00:00:42.810 opens directly in the Cut page. 00:00:42.810 --> 00:00:46.460 Now the best place for me to do importing and organization 00:00:46.460 --> 00:00:49.350 is actually in the Media page, so down 00:00:49.350 --> 00:00:50.850 at the bottom of the interface here, 00:00:50.850 --> 00:00:52.790 just click on the Media page. 00:00:52.790 --> 00:00:55.050 Now in the top left of the media page, 00:00:55.050 --> 00:00:58.380 it gives me access to all of my system storage locations, 00:00:58.380 --> 00:01:01.800 so I'm just going to right click here in the side 00:01:01.800 --> 00:01:03.920 and choose Add New Location. 00:01:03.920 --> 00:01:07.020 00:01:07.020 --> 00:01:10.030 I'm going to navigate to the location where my footage is. 00:01:10.030 --> 00:01:13.200 In this case, it's actually in my Documents folder. 00:01:13.200 --> 00:01:15.840 Go to the editing folder and then choose 00:01:15.840 --> 00:01:19.680 Open, and that creates a new storage location for me 00:01:19.680 --> 00:01:22.470 to access here. 00:01:22.470 --> 00:01:25.050 Now, the video and the audio clips that have been sent to me 00:01:25.050 --> 00:01:26.980 are actually in separate folders, 00:01:26.980 --> 00:01:29.700 and to a certain extent, I want to preserve that folder 00:01:29.700 --> 00:01:32.980 structure, so when I import the footage into Resolve, 00:01:32.980 --> 00:01:37.320 I actually want to import and also to create a series of bins. 00:01:37.320 --> 00:01:42.160 Simply select these two folders in the media storage location, 00:01:42.160 --> 00:01:46.500 right click, and then choose the third option, which in this case 00:01:46.500 --> 00:01:51.275 is Add folder and Subfolders into Media Pool, creating bins. 00:01:51.275 --> 00:01:54.150 00:01:54.150 --> 00:01:56.190 Now, at this point, DaVinci Resolve 00:01:56.190 --> 00:01:58.690 is asking me to change the project frame rate. 00:01:58.690 --> 00:02:00.370 This is so that the project frame 00:02:00.370 --> 00:02:02.770 rate will match the frame rate of the footage 00:02:02.770 --> 00:02:03.830 that I'm bringing in. 00:02:03.830 --> 00:02:06.420 So in this case, I need to accept the change. 00:02:06.420 --> 00:02:10.840 00:02:10.840 --> 00:02:14.030 So now the footage has been imported into the media pool. 00:02:14.030 --> 00:02:17.560 It's ready for me to start working on and organizing. 00:02:17.560 --> 00:02:19.510 The first thing I'm going to do is just 00:02:19.510 --> 00:02:21.880 access the audio clips bin, and you 00:02:21.880 --> 00:02:24.370 can see that although I've got a folder of sound effects 00:02:24.370 --> 00:02:26.950 that actually contains a series of sound effects 00:02:26.950 --> 00:02:29.080 that I'm going to use within the trailer, 00:02:29.080 --> 00:02:32.360 the other clips aren't organized into bins. 00:02:32.360 --> 00:02:34.300 So let's create a couple of other bins 00:02:34.300 --> 00:02:36.410 so that we know where this footage is. 00:02:36.410 --> 00:02:39.140 So first of all, with the Audio Clips bin selected, 00:02:39.140 --> 00:02:42.250 I'm going to come to the File menu and choose the option here, 00:02:42.250 --> 00:02:43.580 New Bin. 00:02:43.580 --> 00:02:45.310 There are also a series of shortcuts 00:02:45.310 --> 00:02:48.190 that you can employ here as well, such as Shift and Command 00:02:48.190 --> 00:02:50.620 N because I'm on a Mac. 00:02:50.620 --> 00:02:52.570 That then creates the new bin, and I'm just 00:02:52.570 --> 00:02:55.030 going to call this Music. 00:02:55.030 --> 00:02:58.180 And then take the clip Music for Trailer 00:02:58.180 --> 00:03:02.110 and just drag and drop that into the Music folder. 00:03:02.110 --> 00:03:04.420 So organizing clips into bins is very 00:03:04.420 --> 00:03:08.620 similar to organizing files in folders on your operating 00:03:08.620 --> 00:03:09.880 system. 00:03:09.880 --> 00:03:12.560 I've also got two voiceover clips here. 00:03:12.560 --> 00:03:14.420 I'm just going to select both of those, 00:03:14.420 --> 00:03:16.720 and this time right click and choose 00:03:16.720 --> 00:03:21.040 Create Bin with Selected Clips. 00:03:21.040 --> 00:03:22.843 I'm going to call this VO. 00:03:22.843 --> 00:03:26.410 00:03:26.410 --> 00:03:28.570 So that's got all of my audio clips organized 00:03:28.570 --> 00:03:29.810 into separate bins. 00:03:29.810 --> 00:03:32.420 I now need to do the same with the video clips. 00:03:32.420 --> 00:03:35.270 But in this case, rather than just using simple bins, 00:03:35.270 --> 00:03:39.940 I'm going to use a series of smart bins. 00:03:39.940 --> 00:03:41.778 So selecting the video clips folder, 00:03:41.778 --> 00:03:43.570 you can see I've got a series of thumbnails 00:03:43.570 --> 00:03:44.780 for each of the clips. 00:03:44.780 --> 00:03:47.440 If I actually just take my mouse and run the mouse 00:03:47.440 --> 00:03:51.550 across the clips, you can see that each of the video clips 00:03:51.550 --> 00:03:53.410 is previewed for me. 00:03:53.410 --> 00:03:56.800 If I get to a clip that actually has audio, 00:03:56.800 --> 00:04:01.720 you can also hear that I've also got audio scrubbing as well. 00:04:01.720 --> 00:04:04.350 I'm just going to turn that off for the moment 00:04:04.350 --> 00:04:07.385 just by pressing Shift S on my computer. 00:04:07.385 --> 00:04:11.070 00:04:11.070 --> 00:04:13.370 Now, we're not hearing the audio scrub. 00:04:13.370 --> 00:04:16.470 00:04:16.470 --> 00:04:19.050 Obviously, these three clips that I have here 00:04:19.050 --> 00:04:20.470 are interview clips. 00:04:20.470 --> 00:04:23.700 So I'm actually going to tag them with a keyword called 00:04:23.700 --> 00:04:24.990 Interview. 00:04:24.990 --> 00:04:28.800 I'm going to shift click to select all of those three clips, 00:04:28.800 --> 00:04:32.190 and then in the Metadata panel down in the bottom right hand 00:04:32.190 --> 00:04:34.080 corner of the interface, I'm just 00:04:34.080 --> 00:04:37.740 going to display the keyword metadata field that I need. 00:04:37.740 --> 00:04:40.840 Clicking in the Sort menu for the Metadata panel, 00:04:40.840 --> 00:04:44.260 I'm just going to choose the option shot and scene. 00:04:44.260 --> 00:04:46.230 And this will actually show the metadata 00:04:46.230 --> 00:04:49.515 for the shot and the scene information for these clips. 00:04:49.515 --> 00:04:51.390 You can see, scrolling down through this view 00:04:51.390 --> 00:04:54.820 here, that we actually have a field for keywords. 00:04:54.820 --> 00:04:57.580 So I'm going to enter the keyword Interview. 00:04:57.580 --> 00:05:00.120 Just typing Interview or beginning 00:05:00.120 --> 00:05:02.783 to type Interview in the Metadata field 00:05:02.783 --> 00:05:04.200 means that it'll actually bring up 00:05:04.200 --> 00:05:07.330 a list of options for different keywords, 00:05:07.330 --> 00:05:09.910 but you can always put in your own keywords in there. 00:05:09.910 --> 00:05:15.480 Let's choose the option for Interview and choose Save. 00:05:15.480 --> 00:05:17.370 So that's how easy it is in order 00:05:17.370 --> 00:05:20.980 to be able to add keywords to any clip within your project. 00:05:20.980 --> 00:05:23.620 Now that we've added the keywords to the clip, 00:05:23.620 --> 00:05:25.950 it's actually really easy because DaVinci Resolve 00:05:25.950 --> 00:05:29.610 will automatically display any keyword clips 00:05:29.610 --> 00:05:32.010 in their own smart bin. 00:05:32.010 --> 00:05:35.080 Down in the bottom left hand corner of your bin list, 00:05:35.080 --> 00:05:37.200 simply select the Keywords option 00:05:37.200 --> 00:05:41.260 and then toggle it open using the disclosure arrow, 00:05:41.260 --> 00:05:44.520 and you'll see in there, there is a smart bin for Interview. 00:05:44.520 --> 00:05:46.650 So my three interview clips are now 00:05:46.650 --> 00:05:48.960 being displayed within that smart bin. 00:05:48.960 --> 00:05:52.510 Just to show you how easy it is to keep adding keywords, 00:05:52.510 --> 00:05:54.820 I'm just going to select the Video Clips bin 00:05:54.820 --> 00:05:58.990 and select the clip called Credits. 00:05:58.990 --> 00:06:03.553 In the keywords, I'm going to add the keyword Credits. 00:06:03.553 --> 00:06:07.630 00:06:07.630 --> 00:06:11.240 And now that is actually tagged that clip with that keyword, 00:06:11.240 --> 00:06:15.250 you'll see that I have a credits smart bin available to me. 00:06:15.250 --> 00:06:18.070 So now you can carry on adding whatever 00:06:18.070 --> 00:06:21.820 keywords you want to any of the clips within your project 00:06:21.820 --> 00:06:23.420 and organize them. 00:06:23.420 --> 00:06:27.100 However, there's much more to the metadata than this. 00:06:27.100 --> 00:06:29.960 If we select the Video Clips bin, for example, 00:06:29.960 --> 00:06:31.720 and then select this first clip here 00:06:31.720 --> 00:06:37.960 for the aerial shot for this Kenya clip, if I come up here 00:06:37.960 --> 00:06:41.590 and select the inspector in the top right hand corner 00:06:41.590 --> 00:06:45.230 and then choose the File tab in the inspector, 00:06:45.230 --> 00:06:48.760 you can see that we've actually got a series of metadata fields 00:06:48.760 --> 00:06:51.190 that we can easily access. 00:06:51.190 --> 00:06:53.210 These are the same metadata fields 00:06:53.210 --> 00:06:55.430 that you'll be able to see in the actual Metadata 00:06:55.430 --> 00:06:56.550 panel itself. 00:06:56.550 --> 00:06:59.150 It just means that they're easier to access here 00:06:59.150 --> 00:07:01.070 inside the inspector. 00:07:01.070 --> 00:07:04.850 Now, I can actually populate this with a series of metadata 00:07:04.850 --> 00:07:06.800 just by simply clicking in these fields 00:07:06.800 --> 00:07:09.240 and start to type in the information. 00:07:09.240 --> 00:07:13.040 However, if you've got somebody on the production team that 00:07:13.040 --> 00:07:14.960 might be logging these shots, it's 00:07:14.960 --> 00:07:17.210 actually easier to import the metadata 00:07:17.210 --> 00:07:21.290 rather than to add every single piece of metadata individually. 00:07:21.290 --> 00:07:24.500 So let's go to the File menu and we'll choose 00:07:24.500 --> 00:07:27.460 Import Metadata to Media Pool. 00:07:27.460 --> 00:07:31.100 00:07:31.100 --> 00:07:35.240 Navigate to where your editing footage is on your system 00:07:35.240 --> 00:07:40.290 and choose to select the aoalogging.csv file. 00:07:40.290 --> 00:07:44.010 A CSV file is a comma separated values file. 00:07:44.010 --> 00:07:49.370 It's very simple to create in any spreadsheet application. 00:07:49.370 --> 00:07:51.350 I'm going to choose to open that, 00:07:51.350 --> 00:07:54.230 and you'll see that when I'm importing this login 00:07:54.230 --> 00:07:56.360 information, you can see that it is also 00:07:56.360 --> 00:07:59.640 asking me for a series of things that it's trying to match to. 00:07:59.640 --> 00:08:01.970 Now in this information, we don't actually 00:08:01.970 --> 00:08:05.880 have time code information for these clips, so in this case, 00:08:05.880 --> 00:08:10.580 I'm just going to uncheck Match Using Clips Start and End Time 00:08:10.580 --> 00:08:12.590 Code. 00:08:12.590 --> 00:08:14.370 I'm going to uncheck that option. 00:08:14.370 --> 00:08:16.850 And then choose OK. 00:08:16.850 --> 00:08:19.280 And you'll see that the information has actually 00:08:19.280 --> 00:08:23.230 been imported, and now 27 media pool clips have been updated. 00:08:23.230 --> 00:08:25.790 00:08:25.790 --> 00:08:28.410 If I select any of these clips again, 00:08:28.410 --> 00:08:31.110 you'll now see, in the File tab in the inspector, 00:08:31.110 --> 00:08:33.620 I've now got additional information 00:08:33.620 --> 00:08:38.390 in terms of the scene number, also a shot number, and quite 00:08:38.390 --> 00:08:41.900 often, sometimes whether this is a good shot or a good take 00:08:41.900 --> 00:08:43.010 or not. 00:08:43.010 --> 00:08:46.350 Just scrolling down to the bottom of the file inspector, 00:08:46.350 --> 00:08:49.710 you can also see a comments field has also been added. 00:08:49.710 --> 00:08:53.010 So having added all of that metadata to these clips, 00:08:53.010 --> 00:08:54.930 how can I actually use it? 00:08:54.930 --> 00:08:57.350 Well, I can actually use it in order 00:08:57.350 --> 00:09:01.430 to be able to do very quick searches across the project. 00:09:01.430 --> 00:09:04.560 If I select the master bin, for example, 00:09:04.560 --> 00:09:08.390 and let's say I wanted to do a search across this information 00:09:08.390 --> 00:09:12.030 for any shots that were shot at San Francisco airport, 00:09:12.030 --> 00:09:13.050 for example. 00:09:13.050 --> 00:09:18.350 I can actually click on the Search option here. 00:09:18.350 --> 00:09:21.450 Under this little dropdown arrow at the side, 00:09:21.450 --> 00:09:23.570 I can also choose whether or not I 00:09:23.570 --> 00:09:27.000 want to search the selected bin or all bins. 00:09:27.000 --> 00:09:30.440 So in this case, I actually want to search the whole project, 00:09:30.440 --> 00:09:33.530 so I'm going to select all bins. 00:09:33.530 --> 00:09:36.590 And now I need to choose which fields 00:09:36.590 --> 00:09:39.060 I'm actually trying to match. 00:09:39.060 --> 00:09:41.510 So you can see here, the Filter By 00:09:41.510 --> 00:09:44.510 is actually based on the file name of the clip, which 00:09:44.510 --> 00:09:46.400 is absolutely fine if you know the file 00:09:46.400 --> 00:09:48.060 name that you're searching for. 00:09:48.060 --> 00:09:49.990 In this case, though, I actually want 00:09:49.990 --> 00:09:52.600 to match to the scene information. 00:09:52.600 --> 00:09:57.380 So if I just tap S on my keyboard and keep tapping S, 00:09:57.380 --> 00:09:59.920 it will cycle through all the metadata fields 00:09:59.920 --> 00:10:01.990 until I get to the scene. 00:10:01.990 --> 00:10:05.920 Selecting that I can now type in SFO, 00:10:05.920 --> 00:10:08.740 and you can see that all of the clips in the project that 00:10:08.740 --> 00:10:12.490 have actually got that scene information, SFO, will now 00:10:12.490 --> 00:10:13.630 be revealed. 00:10:13.630 --> 00:10:15.850 Let's say I want to find a clip that actually 00:10:15.850 --> 00:10:18.220 has the comment for Kenya. 00:10:18.220 --> 00:10:24.310 From the Filter By, I can choose the Comments field 00:10:24.310 --> 00:10:28.610 just by tapping C many times until Comments appears. 00:10:28.610 --> 00:10:31.490 And now highlight the text for the search. 00:10:31.490 --> 00:10:34.790 And again, type in what I'm actually looking for. 00:10:34.790 --> 00:10:37.750 That's the power of metadata in order 00:10:37.750 --> 00:10:39.280 to be able to search right the way 00:10:39.280 --> 00:10:42.590 across your project to find the clips that you're looking for, 00:10:42.590 --> 00:10:44.930 but we can go one step further. 00:10:44.930 --> 00:10:48.310 If you clear the Search field and close down the search field 00:10:48.310 --> 00:10:52.120 by clicking the Search button, now 00:10:52.120 --> 00:10:55.140 go to your DaVinci Resolve Preferences menu. 00:10:55.140 --> 00:10:58.030 00:10:58.030 --> 00:11:03.700 Choose User, Editing. 00:11:03.700 --> 00:11:06.220 You can see that there's a category of preferences 00:11:06.220 --> 00:11:10.270 for automatic smart bins. 00:11:10.270 --> 00:11:14.750 By default, the automatic smart bins for keywords is already on. 00:11:14.750 --> 00:11:16.330 However, you can also see that we 00:11:16.330 --> 00:11:19.120 can create automatic smart bins for anything 00:11:19.120 --> 00:11:22.810 with shot or scene metadata. 00:11:22.810 --> 00:11:25.630 Click the automatic smart bins for the scene metadata 00:11:25.630 --> 00:11:29.450 and click Save, and now, in your list of smart bins, 00:11:29.450 --> 00:11:32.260 you've now got a new scene category. 00:11:32.260 --> 00:11:34.850 Use the disclosure arrow to open that up, 00:11:34.850 --> 00:11:38.320 and you can now see that the information for each scene 00:11:38.320 --> 00:11:42.010 is displayed as its own smart bin. 00:11:42.010 --> 00:11:43.750 Just simply select the smart bin in order 00:11:43.750 --> 00:11:45.270 to be able to access the contents. 00:11:45.270 --> 00:11:47.820 00:11:47.820 --> 00:11:52.920 But you're not simply limited to the default automatic smart bins 00:11:52.920 --> 00:11:55.090 that you can have within DaVinci Resolve. 00:11:55.090 --> 00:11:58.740 You can actually create your own custom smart bin. 00:11:58.740 --> 00:12:01.860 In this case, I'm going to go back to the File menu 00:12:01.860 --> 00:12:06.750 and choose the option New Smart Bin. 00:12:06.750 --> 00:12:08.790 This field then opens up, and it's 00:12:08.790 --> 00:12:12.450 asking me for a variety of rules that I can actually 00:12:12.450 --> 00:12:16.080 input in order to be able to narrow down the footage 00:12:16.080 --> 00:12:18.370 that I actually want to locate. 00:12:18.370 --> 00:12:21.613 Let's rename this smart bin B-Roll. 00:12:21.613 --> 00:12:24.750 00:12:24.750 --> 00:12:28.540 So now, I need to choose my first rule, so in this case, 00:12:28.540 --> 00:12:30.910 I'm going to say Media Pool Properties. 00:12:30.910 --> 00:12:33.070 But I don't want to match on the file name. 00:12:33.070 --> 00:12:35.610 I actually want to match on the keyword information 00:12:35.610 --> 00:12:36.820 to begin with. 00:12:36.820 --> 00:12:45.870 So keywords do not contain interview. 00:12:45.870 --> 00:12:49.230 So now my smart bin search is automatically 00:12:49.230 --> 00:12:54.360 filtering out any clip that has the interview keyword. 00:12:54.360 --> 00:12:58.200 I'm going to add another rule for this. 00:12:58.200 --> 00:13:01.380 Media Pool Properties for keywords 00:13:01.380 --> 00:13:05.940 does not contain credits. 00:13:05.940 --> 00:13:10.410 This was the other keyword that I actually added to my title 00:13:10.410 --> 00:13:13.650 that I actually don't want to see in the B-Roll bin. 00:13:13.650 --> 00:13:16.260 You can also choose to add a subset of rules 00:13:16.260 --> 00:13:18.240 to your smart bins as well. 00:13:18.240 --> 00:13:20.730 Holding down the Option or the Alt key 00:13:20.730 --> 00:13:23.880 on your system when I click on this plus button 00:13:23.880 --> 00:13:26.760 actually turns it into an Options menu. 00:13:26.760 --> 00:13:29.430 And now, I actually have a subset of rules 00:13:29.430 --> 00:13:32.200 that I just want to match any two. 00:13:32.200 --> 00:13:36.280 And in this case, I actually want to specify clip types, 00:13:36.280 --> 00:13:39.070 so I'm going to choose Media Pool Properties. 00:13:39.070 --> 00:13:42.360 Change the second drop down to Clip Type 00:13:42.360 --> 00:13:45.660 just by tapping C on my keyboard. 00:13:45.660 --> 00:13:48.150 Clip Type is video. 00:13:48.150 --> 00:13:53.250 This means that only video clips, not audio clips or still 00:13:53.250 --> 00:13:56.190 image files or timelines will find 00:13:56.190 --> 00:13:59.340 their way into this smart bin. 00:13:59.340 --> 00:14:01.240 But that's just video. 00:14:01.240 --> 00:14:04.000 What if I have video with audio? 00:14:04.000 --> 00:14:08.730 Well, in this case, I'm going to add another rule to this subrule 00:14:08.730 --> 00:14:15.570 and set and specify the clip type is video and audio. 00:14:15.570 --> 00:14:19.420 Now I can choose to create my smart bin. 00:14:19.420 --> 00:14:21.270 And the results of that smart bin 00:14:21.270 --> 00:14:23.500 will be automatically updated. 00:14:23.500 --> 00:14:27.040 So if I add any additional clips to this project, 00:14:27.040 --> 00:14:30.570 providing those clips meet the criteria, 00:14:30.570 --> 00:14:33.450 I'll be able to find them in this smart bin. 00:14:33.450 --> 00:14:37.170 If you want to edit a smart bin for any reason, just simply 00:14:37.170 --> 00:14:40.470 double click on the smart bin and the rules of that smart bin 00:14:40.470 --> 00:14:43.520 will open up, allowing you to change them. 00:14:43.520 --> 00:14:46.100 There's one other thing that we can actually 00:14:46.100 --> 00:14:49.250 use the metadata for in Resolve, and that's 00:14:49.250 --> 00:14:51.740 to actually use the information in the metadata 00:14:51.740 --> 00:14:55.650 in order to be able to rename the clip within the project. 00:14:55.650 --> 00:14:57.890 This can be very useful if you actually 00:14:57.890 --> 00:15:00.120 want to do a search across a clip name, 00:15:00.120 --> 00:15:02.570 or you just want to simply have a sanity check 00:15:02.570 --> 00:15:04.410 as to what that actual clip is. 00:15:04.410 --> 00:15:06.900 By naming the clip in an appropriate way, 00:15:06.900 --> 00:15:09.680 it's easy to check that. 00:15:09.680 --> 00:15:12.350 So here in the B-Roll smart bin, I'm 00:15:12.350 --> 00:15:14.090 just going to select all of those clips 00:15:14.090 --> 00:15:17.450 just by dragging a Lasso across them. 00:15:17.450 --> 00:15:24.140 Then I'm going to right click and choose clip attributes. 00:15:24.140 --> 00:15:26.930 Choose the name panel from clip attributes 00:15:26.930 --> 00:15:30.620 and highlight the default clip name. 00:15:30.620 --> 00:15:33.920 So in this case, I actually want all of my B-Roll clips 00:15:33.920 --> 00:15:37.980 to start with the initials AOA for Age of Airplanes, 00:15:37.980 --> 00:15:42.920 so I'm just going to type in AOA underscore in order 00:15:42.920 --> 00:15:45.410 to separate the next information. 00:15:45.410 --> 00:15:48.810 Now, I want to take information from the metadata. 00:15:48.810 --> 00:15:53.340 And in order to do this, I need to add what we call a variable. 00:15:53.340 --> 00:15:55.970 To add the variable, all you need to do 00:15:55.970 --> 00:15:58.380 is put in the percentage symbol. 00:15:58.380 --> 00:16:00.530 And now, it'll give you an option 00:16:00.530 --> 00:16:03.630 to choose whichever metadata field that you want to add. 00:16:03.630 --> 00:16:08.010 In this case, we want to choose the Shot metadata field. 00:16:08.010 --> 00:16:11.180 So I'm just going to type the word Shot after the percentage 00:16:11.180 --> 00:16:13.340 value, and you can see here in the menu 00:16:13.340 --> 00:16:14.910 I've got the Shot option. 00:16:14.910 --> 00:16:18.260 So I'm going to select that, and that has now 00:16:18.260 --> 00:16:22.220 added a tag to my clip name based on the shot information 00:16:22.220 --> 00:16:24.530 for each of these clips. 00:16:24.530 --> 00:16:28.310 Again, I'm going to use underscore percentage 00:16:28.310 --> 00:16:29.955 and then use comments. 00:16:29.955 --> 00:16:34.010 00:16:34.010 --> 00:16:37.700 Now, when I click OK, the clips are now all 00:16:37.700 --> 00:16:42.470 renamed in the media pool using AOA, underscore, the shot 00:16:42.470 --> 00:16:45.600 number, underscore, the comments field. 00:16:45.600 --> 00:16:47.960 This is going to make it easier for me 00:16:47.960 --> 00:16:50.480 to be able to locate each of the clips 00:16:50.480 --> 00:16:52.530 and actually use them in my edit. 00:16:52.530 --> 00:16:54.840 I want to do the same with the interview clips, 00:16:54.840 --> 00:16:57.120 so I'm going to select the Interview smart bin, 00:16:57.120 --> 00:17:02.270 select the interview clips, right click clip attributes. 00:17:02.270 --> 00:17:05.960 In the name, highlight the Name field, and this time, 00:17:05.960 --> 00:17:09.079 I'm going to type in INT underscore 00:17:09.079 --> 00:17:18.440 percentage shot underscore percentage comments 00:17:18.440 --> 00:17:21.530 and then choose OK. 00:17:21.530 --> 00:17:24.260 And now, you can see that the interview 00:17:24.260 --> 00:17:26.990 clips have been named with the appropriate soundbite 00:17:26.990 --> 00:17:29.030 information. 00:17:29.030 --> 00:17:32.700 Now that I've got all of the clips organized for the project, 00:17:32.700 --> 00:17:34.340 I'm now going to go to the Edit Page 00:17:34.340 --> 00:17:36.620 that I can actually start editing. 00:17:36.620 --> 00:17:39.080 Just simply click on the Edit Page button. 00:17:39.080 --> 00:17:41.380 And all of the information that you've just 00:17:41.380 --> 00:17:44.440 organized inside the media pool on the Media page 00:17:44.440 --> 00:17:47.590 is now available to me. 00:17:47.590 --> 00:17:51.850 And the great thing is that I can keep organizing this footage 00:17:51.850 --> 00:17:53.150 as I'm working. 00:17:53.150 --> 00:17:56.290 And the organization process when you're editing never really 00:17:56.290 --> 00:18:00.135 stops, it just gets refined the more that you do. 00:18:00.135 --> 00:18:02.260 I'm actually going to start by selecting the master 00:18:02.260 --> 00:18:05.950 bin in the media pool and creating a new bin, just 00:18:05.950 --> 00:18:08.990 a regular bin that I'm going to call Timelines. 00:18:08.990 --> 00:18:12.460 In this case, it's often useful to keep your timelines organized 00:18:12.460 --> 00:18:16.090 in separate bins so that you know where they all are. 00:18:16.090 --> 00:18:19.100 Make sure you've got the Timeline bin selected, 00:18:19.100 --> 00:18:24.790 and then go to the File menu and choose New Timeline. 00:18:24.790 --> 00:18:27.490 Let's just change the name of this timeline to something 00:18:27.490 --> 00:18:30.790 a little bit more appropriate for this project. 00:18:30.790 --> 00:18:36.100 AOA Trailer, and we'll just call it version 1. 00:18:36.100 --> 00:18:38.740 Quite often you'll go through a number of different versions 00:18:38.740 --> 00:18:40.630 for all of your edits. 00:18:40.630 --> 00:18:44.050 If you wish to you can actually override the default project 00:18:44.050 --> 00:18:46.130 settings for any timeline. 00:18:46.130 --> 00:18:49.670 Just simply uncheck the Use Project settings option, 00:18:49.670 --> 00:18:51.400 and then you can go into the format 00:18:51.400 --> 00:18:53.320 to change the timeline resolution 00:18:53.320 --> 00:18:55.280 and the timeline frame rate. 00:18:55.280 --> 00:18:57.220 However, in this case, because we already 00:18:57.220 --> 00:18:59.210 changed the frame rate for the project, 00:18:59.210 --> 00:19:01.610 we know that this is actually the correct setting, 00:19:01.610 --> 00:19:04.000 so I'm just going to re-enable the project settings 00:19:04.000 --> 00:19:06.280 and choose Create. 00:19:06.280 --> 00:19:08.140 Now, I have a timeline, I can actually 00:19:08.140 --> 00:19:11.600 start assembling the material directly in the timeline, 00:19:11.600 --> 00:19:13.210 and start putting together this edit 00:19:13.210 --> 00:19:16.900 and making some sort of sense of the material that I've got. 00:19:16.900 --> 00:19:19.460 So let's go to the Interview smart bin, 00:19:19.460 --> 00:19:22.555 so that we can actually see the interview clips. 00:19:22.555 --> 00:19:25.220 From the Sort menu in the media pool, 00:19:25.220 --> 00:19:27.580 just click and make sure that you're organizing 00:19:27.580 --> 00:19:29.510 these clips by clip name. 00:19:29.510 --> 00:19:32.320 This will put them in the order that we're roughly interested 00:19:32.320 --> 00:19:33.580 in. 00:19:33.580 --> 00:19:36.430 In this case, we actually have INT_01, 00:19:36.430 --> 00:19:38.230 and it's called Shoot the Real World, 00:19:38.230 --> 00:19:40.260 based on the naming convention that we're 00:19:40.260 --> 00:19:41.940 using for this project. 00:19:41.940 --> 00:19:44.040 You can see that, as I'm scrubbing backwards 00:19:44.040 --> 00:19:46.320 and forwards, my live media preview 00:19:46.320 --> 00:19:50.020 is on so that I can actually see the content of that clip. 00:19:50.020 --> 00:19:52.750 If my audio scrubbing was also turned on, 00:19:52.750 --> 00:19:55.620 I would also be able to hear the audio scrub as I 00:19:55.620 --> 00:19:57.990 move my mouse back and forth. 00:19:57.990 --> 00:20:00.250 To turn the audio scrubbing on and off. 00:20:00.250 --> 00:20:02.020 You can use Shift S. 00:20:02.020 --> 00:20:04.260 PRESENTER 1: [SPEAKING IN FAST FORWARD] 00:20:04.260 --> 00:20:08.780 00:20:08.780 --> 00:20:10.530 CHRIS: I'm going to double click this clip 00:20:10.530 --> 00:20:14.790 and that will actually open it directly into the source viewer. 00:20:14.790 --> 00:20:17.190 Now I can use the scrubber bar here 00:20:17.190 --> 00:20:20.520 in order to be able to return to the beginning of that clip, 00:20:20.520 --> 00:20:22.470 and I'm just going to play the clip through 00:20:22.470 --> 00:20:25.080 just so that we can all listen to the interview. 00:20:25.080 --> 00:20:29.580 You could use the spacebar or the L key. 00:20:29.580 --> 00:20:31.182 PRESENTER 1: So in this film, I'm 00:20:31.182 --> 00:20:33.390 making a documentary about how the airplane's changed 00:20:33.390 --> 00:20:34.150 the world. 00:20:34.150 --> 00:20:38.420 It was really important to go out and shoot the real world, 00:20:38.420 --> 00:20:40.990 and how the airplane is connecting and making 00:20:40.990 --> 00:20:43.630 all the things possible that I want to convey in the film. 00:20:43.630 --> 00:20:45.190 CHRIS: Well, obviously, I don't want 00:20:45.190 --> 00:20:48.380 to use all of that interview, but in this case, 00:20:48.380 --> 00:20:50.530 as a good starting point, I'm actually 00:20:50.530 --> 00:20:53.300 just going to bring the whole clip into the timeline. 00:20:53.300 --> 00:20:55.910 Now, there are several ways in which we can do that. 00:20:55.910 --> 00:20:59.350 For example, I can just pick the clip up from the source viewer 00:20:59.350 --> 00:21:02.620 and drag it and drop it into the timeline. 00:21:02.620 --> 00:21:05.900 This is often a manual way of being able to edit, 00:21:05.900 --> 00:21:08.380 but it's very limiting on what I can actually 00:21:08.380 --> 00:21:11.320 do when it comes to editing footage together. 00:21:11.320 --> 00:21:14.410 So in this case, I'm just going to press Command or Control 00:21:14.410 --> 00:21:17.890 Z just to be able to undo those changes, 00:21:17.890 --> 00:21:20.860 and this time, instead of dragging and dropping the clip 00:21:20.860 --> 00:21:22.810 into the timeline, I'm actually going 00:21:22.810 --> 00:21:26.660 to pick the clip up and drag across to the timeline viewer. 00:21:26.660 --> 00:21:28.750 And you'll notice, on the right hand 00:21:28.750 --> 00:21:30.430 side of the timeline viewer, I've 00:21:30.430 --> 00:21:32.590 actually got all of the editing functions 00:21:32.590 --> 00:21:35.200 that I can perform inside the Edit page. 00:21:35.200 --> 00:21:37.920 So this is a useful way of being able to remind yourself 00:21:37.920 --> 00:21:40.050 of the different functions that we have. 00:21:40.050 --> 00:21:43.690 The default is actually Overwrite Edit. 00:21:43.690 --> 00:21:46.230 If I now let go of the mouse, the clip 00:21:46.230 --> 00:21:50.250 is edited instantly to the beginning of the timeline. 00:21:50.250 --> 00:21:53.410 The timeline viewer has automatically become active, 00:21:53.410 --> 00:21:56.260 so if I use the up arrow on the keyboard, 00:21:56.260 --> 00:21:59.400 I can return to the beginning of the timeline. 00:21:59.400 --> 00:22:01.140 I'm just going to play forward, just 00:22:01.140 --> 00:22:04.760 like I did in the source viewer, using the L key on my keyboard. 00:22:04.760 --> 00:22:07.830 00:22:07.830 --> 00:22:09.245 PRESENTER 1: So in this film, I'm 00:22:09.245 --> 00:22:12.040 making a documentary about how the airplanes changed the world. 00:22:12.040 --> 00:22:16.740 It was really important to go out and shoot the real world. 00:22:16.740 --> 00:22:19.853 CHRIS: That's a good place for this soundbite to end. 00:22:19.853 --> 00:22:21.270 Now, you can see, in the timeline, 00:22:21.270 --> 00:22:23.910 I've got a good guide with the image of the waveform where 00:22:23.910 --> 00:22:26.760 he starts and stops speaking, and you can actually 00:22:26.760 --> 00:22:28.410 use this as a guide when you actually 00:22:28.410 --> 00:22:31.110 want to position the playhead for the next edit. 00:22:31.110 --> 00:22:35.430 And in this case, I'm actually going to click the Detail Zoom 00:22:35.430 --> 00:22:38.940 button just to be able to step into the timeline a little bit 00:22:38.940 --> 00:22:44.730 clearer, and then use the J and L keys in order to be able 00:22:44.730 --> 00:22:48.150 to find the exact point within that interview where 00:22:48.150 --> 00:22:50.920 he's finished that line, "real world." 00:22:50.920 --> 00:22:52.750 And you can see from the waveform, 00:22:52.750 --> 00:22:55.170 this is very clear where he stops speaking 00:22:55.170 --> 00:22:58.140 and where he starts again. 00:22:58.140 --> 00:23:03.120 Now, I'm going to return to my full extent Zoom function. 00:23:03.120 --> 00:23:07.230 This allows me to see the whole timeline from beginning to end, 00:23:07.230 --> 00:23:09.330 and the playhead is now the location 00:23:09.330 --> 00:23:12.330 that I'm actually going to perform the next edit. 00:23:12.330 --> 00:23:14.620 So let's find an interview clip. 00:23:14.620 --> 00:23:18.570 Let's go to interview 02, double click from the media pool 00:23:18.570 --> 00:23:21.210 to open it into the source viewer, and now, 00:23:21.210 --> 00:23:23.890 I'm going to return the playhead to the very beginning, 00:23:23.890 --> 00:23:26.092 and I'm going to play through the interview. 00:23:26.092 --> 00:23:28.300 PRESENTER 1: With all seven continents, 18 countries. 00:23:28.300 --> 00:23:31.240 It was very important that everything was real. 00:23:31.240 --> 00:23:33.810 If it was possible to shoot it, we wanted to go shoot it. 00:23:33.810 --> 00:23:36.392 If we couldn't get the shot or the weather wasn't right, 00:23:36.392 --> 00:23:38.100 we would either go back to that location, 00:23:38.100 --> 00:23:40.517 stay at that location longer, or it didn't make the movie. 00:23:40.517 --> 00:23:42.758 It was really important every shot was original 00:23:42.758 --> 00:23:45.050 and that everything was real, but there's a few things. 00:23:45.050 --> 00:23:46.340 Only-- 00:23:46.340 --> 00:23:49.140 CHRIS: And again, I don't want to use all the interview. 00:23:49.140 --> 00:23:51.320 I only want to use a portion of the relevant part 00:23:51.320 --> 00:23:52.440 of the interview. 00:23:52.440 --> 00:23:55.970 So in order to be able to see the parts of the soundbite 00:23:55.970 --> 00:23:57.890 that I actually want to use, I'm actually 00:23:57.890 --> 00:24:00.650 going to use a feature inside DaVinci Resolve, which 00:24:00.650 --> 00:24:03.950 I find very useful on a day to day basis. 00:24:03.950 --> 00:24:07.010 If you come up to the top of the source viewer 00:24:07.010 --> 00:24:09.350 and click the Options menu, that's 00:24:09.350 --> 00:24:12.920 the three dots that you see at the top of the viewer, 00:24:12.920 --> 00:24:17.690 we can actually choose to show the zoomed audio waveform. 00:24:17.690 --> 00:24:21.840 You can also choose to show a full clip audio waveform. 00:24:21.840 --> 00:24:25.640 Let's try that first, and that actually 00:24:25.640 --> 00:24:28.610 shows me a waveform very similar to the waveform 00:24:28.610 --> 00:24:30.600 that I have for the clip in the timeline. 00:24:30.600 --> 00:24:33.690 But because it's actually shown me the whole interview, 00:24:33.690 --> 00:24:35.240 it's actually a little bit difficult 00:24:35.240 --> 00:24:39.210 to actually focus on where I want to concentrate on. 00:24:39.210 --> 00:24:42.440 So in this case, I'm going to click back in the Options menu 00:24:42.440 --> 00:24:47.420 again and choose Show Zoomed Audio Waveform. 00:24:47.420 --> 00:24:50.180 Now, as I scrub through the clip, 00:24:50.180 --> 00:24:52.040 you can see that it will actually 00:24:52.040 --> 00:24:55.250 show me a detailed waveform view depending 00:24:55.250 --> 00:24:57.290 where I am within the clip. 00:24:57.290 --> 00:24:59.953 I'm going to return the playhead to the beginning of that clip. 00:24:59.953 --> 00:25:01.370 I'm just going to play it through, 00:25:01.370 --> 00:25:05.200 and I'm listening for the first line for his soundbite. 00:25:05.200 --> 00:25:07.200 PRESENTER 1: All seven continents, 18 countries. 00:25:07.200 --> 00:25:10.140 It was very important that everything was real. 00:25:10.140 --> 00:25:12.853 If it was possible to shoot it, we wanted to go shoot it. 00:25:12.853 --> 00:25:15.270 CHRIS: So that's where I want him to start, where he says, 00:25:15.270 --> 00:25:18.330 "if it was possible to shoot it, we wanted to go shoot it." 00:25:18.330 --> 00:25:20.360 So I'm now just going to press the J key just 00:25:20.360 --> 00:25:24.610 to be able to back that up to the beginning of that soundbite. 00:25:24.610 --> 00:25:25.610 PRESENTER 1: If it was-- 00:25:25.610 --> 00:25:27.470 CHRIS: And listening to it closely, there's 00:25:27.470 --> 00:25:30.020 an ah at the beginning that I actually 00:25:30.020 --> 00:25:32.370 don't want to include within the soundbite. 00:25:32.370 --> 00:25:35.180 PRESENTER 1: [SPEAKING IN REVERSE] 00:25:35.180 --> 00:25:37.890 CHRIS: So now, I can actually jog through 00:25:37.890 --> 00:25:40.170 if I turn on my audio scrubbing. 00:25:40.170 --> 00:25:44.990 00:25:44.990 --> 00:25:47.550 I can jog through one frame at a time. 00:25:47.550 --> 00:25:50.100 You can use the left and right arrow keys for this, 00:25:50.100 --> 00:25:53.330 but I actually find it's really useful holding down the K key 00:25:53.330 --> 00:25:55.885 and tapping the J or the L keys. 00:25:55.885 --> 00:26:02.450 00:26:02.450 --> 00:26:05.330 So at this point, I want to add an endpoint 00:26:05.330 --> 00:26:06.990 into my source viewer. 00:26:06.990 --> 00:26:09.990 There's only one way you really need to know how to do this, 00:26:09.990 --> 00:26:13.340 and that's by pressing I on your keyboard. 00:26:13.340 --> 00:26:15.650 So I'm now going to play the interview through 00:26:15.650 --> 00:26:18.597 to find the end of the soundbite that I'm interested in. 00:26:18.597 --> 00:26:20.430 PRESENTER 1: If it was possible to shoot it, 00:26:20.430 --> 00:26:21.480 we wanted to go shoot it. 00:26:21.480 --> 00:26:24.062 If we couldn't get the shot, or the weather wasn't right, 00:26:24.062 --> 00:26:25.770 we would either go back to that location, 00:26:25.770 --> 00:26:28.187 stay at that location longer, or it didn't make the movie. 00:26:28.187 --> 00:26:30.430 It was really important every shot was original, 00:26:30.430 --> 00:26:31.730 and that everything was real. 00:26:31.730 --> 00:26:32.470 But there's-- 00:26:32.470 --> 00:26:34.330 CHRIS: And that's the word, "real," 00:26:34.330 --> 00:26:36.500 where I actually want this soundbite to end. 00:26:36.500 --> 00:26:39.250 So I'm just going to back the playhead up. 00:26:39.250 --> 00:26:41.000 PRESENTER 1: And that everything was real. 00:26:41.000 --> 00:26:43.330 CHRIS: And again, you heard a little bit 00:26:43.330 --> 00:26:45.160 of the but at the beginning, so I'm just 00:26:45.160 --> 00:26:51.340 going to come back just a few frames, find that gap that you 00:26:51.340 --> 00:26:53.120 can see there in the waveform. 00:26:53.120 --> 00:26:55.430 And that's where I want to add my outpoint. 00:26:55.430 --> 00:27:00.790 And of course, magic shortcut is O for out. 00:27:00.790 --> 00:27:03.103 Now, that I've got in and out points set, 00:27:03.103 --> 00:27:05.020 I might want to just double check that they're 00:27:05.020 --> 00:27:06.380 in the right position. 00:27:06.380 --> 00:27:09.550 So I can actually press Shift I to jump directly 00:27:09.550 --> 00:27:14.260 to an endpoint, Shift O to jump directly to an out point. 00:27:14.260 --> 00:27:16.780 If I actually want to preview the soundbite 00:27:16.780 --> 00:27:20.590 between in and the out point, I can hold down the Option key 00:27:20.590 --> 00:27:23.627 and press the forward slash key on my keyboard. 00:27:23.627 --> 00:27:25.460 PRESENTER 1: If it was possible to shoot it, 00:27:25.460 --> 00:27:26.502 we wanted to go shoot it. 00:27:26.502 --> 00:27:29.112 If we couldn't get the shot, or the weather wasn't right, 00:27:29.112 --> 00:27:30.820 we would either go back to that location, 00:27:30.820 --> 00:27:33.237 stay at that location longer, or it didn't make the movie. 00:27:33.237 --> 00:27:34.240 It was really important. 00:27:34.240 --> 00:27:37.800 Every shot was original and that everything was real. 00:27:37.800 --> 00:27:40.210 CHRIS: And it's a little bit tight on the output there, 00:27:40.210 --> 00:27:42.840 so I'm just going to jog forward just a frame 00:27:42.840 --> 00:27:46.300 and reset the outpoint by pressing O. However, 00:27:46.300 --> 00:27:48.960 sometimes, you don't want to listen to the whole soundbite 00:27:48.960 --> 00:27:50.320 from beginning to end. 00:27:50.320 --> 00:27:52.240 It could actually be quite long. 00:27:52.240 --> 00:27:55.450 So if you actually just want to preview where the outpoint is, 00:27:55.450 --> 00:27:57.840 just simply bring your playhead a few seconds 00:27:57.840 --> 00:28:01.780 to before the outpoint, and then from the playback menu, 00:28:01.780 --> 00:28:07.560 you can choose Play Around To, Play To Out, 00:28:07.560 --> 00:28:09.900 and you can see here keyboard shortcut is 00:28:09.900 --> 00:28:13.200 Option Command forward slash. 00:28:13.200 --> 00:28:14.950 PRESENTER 1: And that everything was real. 00:28:14.950 --> 00:28:17.160 CHRIS: So now that I've got in and the out point set 00:28:17.160 --> 00:28:20.250 for this soundbite, I'm going to edit it into the timeline using 00:28:20.250 --> 00:28:21.610 an overwrite edit. 00:28:21.610 --> 00:28:24.630 Now, I can pick the clip up again and drag and drop 00:28:24.630 --> 00:28:27.850 over the timeline viewer to access the overwrite. 00:28:27.850 --> 00:28:30.280 I don't need to drag to the actual overlay. 00:28:30.280 --> 00:28:34.240 However, if I just come down here to the top of the timeline, 00:28:34.240 --> 00:28:37.240 you'll see that there are three editing function buttons. 00:28:37.240 --> 00:28:40.047 These buttons are probably the most common used editing 00:28:40.047 --> 00:28:41.880 features, which is why they've been included 00:28:41.880 --> 00:28:43.462 at the top of the timeline. 00:28:43.462 --> 00:28:45.420 You'll see that the middle one of those buttons 00:28:45.420 --> 00:28:48.750 is actually overwrite clip, and my keyboard shortcut for this 00:28:48.750 --> 00:28:49.930 is F10. 00:28:49.930 --> 00:28:51.990 Now, if you're on a Mac, you may find 00:28:51.990 --> 00:28:56.050 that the F10 key doesn't perform an overwrite edit by default, 00:28:56.050 --> 00:28:59.010 in which case, you'll need to go into your System Preferences 00:28:59.010 --> 00:29:01.500 and change the keyboard settings so 00:29:01.500 --> 00:29:07.140 that it uses all the F1 and F2 keys as standard function keys. 00:29:07.140 --> 00:29:10.410 If I just press F10, you'll see that the clip is 00:29:10.410 --> 00:29:12.430 overwritten into the timeline. 00:29:12.430 --> 00:29:15.180 It's actually overwritten the tail end of the first interview 00:29:15.180 --> 00:29:16.020 clip. 00:29:16.020 --> 00:29:19.080 If I use the up arrow key to navigate back 00:29:19.080 --> 00:29:21.930 to the previous edit point, and then preview the Edit 00:29:21.930 --> 00:29:24.240 using the forward slash key, 00:29:24.240 --> 00:29:25.980 PRESENTER 1: Shoot the real world. 00:29:25.980 --> 00:29:29.145 If it was possible to shoot it, we wanted to go-- 00:29:29.145 --> 00:29:31.990 CHRIS: The first interview clip now ends at the right point, 00:29:31.990 --> 00:29:35.290 and the second interview clip starts at the right point, 00:29:35.290 --> 00:29:37.180 but it's a little bit too tight. 00:29:37.180 --> 00:29:39.990 We've also got a very nasty visual jump 00:29:39.990 --> 00:29:43.020 cut between two interview clips, so we now 00:29:43.020 --> 00:29:45.120 want to start to insert some of the b-roll 00:29:45.120 --> 00:29:48.180 in, just to be able to pace out those interviews. 00:29:48.180 --> 00:29:50.620 Let's go to the B-Roll smart bin. 00:29:50.620 --> 00:29:55.750 Let's go for this second clip here of this A380 taking off. 00:29:55.750 --> 00:29:59.080 Let's double click to open it up into the source viewer, 00:29:59.080 --> 00:30:01.320 and then use J, K, and L keys in order 00:30:01.320 --> 00:30:04.380 to be able to preview this clip. 00:30:04.380 --> 00:30:09.750 That's fine, just as the wheels are about to leave the tarmac. 00:30:09.750 --> 00:30:13.100 Let's set an endpoint a second or so before that. 00:30:13.100 --> 00:30:16.170 00:30:16.170 --> 00:30:22.050 And let's set an outpoint just after the plane has left frame 00:30:22.050 --> 00:30:26.260 before we get a very horrible camera movement there. 00:30:26.260 --> 00:30:29.460 So let's set an out point as the tail of the frame 00:30:29.460 --> 00:30:31.290 has left the shot. 00:30:31.290 --> 00:30:34.355 Because the playhead is in the right place in the timeline. 00:30:34.355 --> 00:30:35.730 I don't need to worry about where 00:30:35.730 --> 00:30:37.310 this shot is going to end up. 00:30:37.310 --> 00:30:39.060 Make sure that the playhead is on the Edit 00:30:39.060 --> 00:30:41.520 point in the timeline so that you're inserting it 00:30:41.520 --> 00:30:43.420 in the right place, and in this case, 00:30:43.420 --> 00:30:45.630 I'm just going to pick the clip up and drag across 00:30:45.630 --> 00:30:49.660 to my overlays, and this time, to perform an Insert edit, 00:30:49.660 --> 00:30:53.640 I just drag it to the Insert overlay. 00:30:53.640 --> 00:30:56.160 And that inserts the clip in the timeline 00:30:56.160 --> 00:30:59.100 and moves the second interview clip out of the way. 00:30:59.100 --> 00:31:02.170 This is one of the advantages for using those overlays, 00:31:02.170 --> 00:31:04.690 rather than the drag and drop approach to editing. 00:31:04.690 --> 00:31:06.560 Using a drag and drop approach, you 00:31:06.560 --> 00:31:09.010 wouldn't be able to insert the clip as efficiently. 00:31:09.010 --> 00:31:12.810 So again, one reason for using these functions. 00:31:12.810 --> 00:31:14.170 In the timeline. 00:31:14.170 --> 00:31:16.960 Let's move the playhead back to the start of that clip. 00:31:16.960 --> 00:31:19.770 So we're on the first frame of the Lufthansa plane. 00:31:19.770 --> 00:31:23.520 And in this case, let's go to this clip here. 00:31:23.520 --> 00:31:27.350 It's called AOA01 A380 Taxi. 00:31:27.350 --> 00:31:29.160 Let's double click that to open it up. 00:31:29.160 --> 00:31:32.750 Now you'll notice straight away that this clip has audio 00:31:32.750 --> 00:31:35.840 PRESENTER 2: [INAUDIBLE] 00:31:35.840 --> 00:31:37.800 CHRIS: It's not great audio, however. 00:31:37.800 --> 00:31:40.730 So what we need to do here is we need to actually make sure 00:31:40.730 --> 00:31:42.990 that when we insert this into the timeline, 00:31:42.990 --> 00:31:45.390 that we're not actually going to use the audio. 00:31:45.390 --> 00:31:48.090 Now, there are a couple of ways that we can do this. 00:31:48.090 --> 00:31:52.130 A simple way would be if we were using drag and drop editing 00:31:52.130 --> 00:31:54.000 over the timeline viewer. 00:31:54.000 --> 00:31:56.360 We can actually come here to the source viewer 00:31:56.360 --> 00:31:59.820 and actually specify, using one of these overlays, 00:31:59.820 --> 00:32:03.570 whether we want to edit just picture or just sound. 00:32:03.570 --> 00:32:06.000 So in this case, I can click on the overlay, 00:32:06.000 --> 00:32:07.730 drag across to the timeline viewer 00:32:07.730 --> 00:32:11.270 and choose Insert in order to be able to just insert 00:32:11.270 --> 00:32:14.360 the picture and not the audio for this clip. 00:32:14.360 --> 00:32:17.880 However, I'm just going to undo that with Command Z, 00:32:17.880 --> 00:32:20.690 because if I want to use my keyboard shortcuts 00:32:20.690 --> 00:32:25.020 or my editing buttons at the top of the timeline, unfortunately, 00:32:25.020 --> 00:32:27.170 I can't specify using that overlay 00:32:27.170 --> 00:32:30.480 whether I'm using just the picture or just the sound. 00:32:30.480 --> 00:32:35.550 For example, if I come here and use the Insert editing function, 00:32:35.550 --> 00:32:39.110 you'll see it will actually edit the audio in as well 00:32:39.110 --> 00:32:40.370 as the picture. 00:32:40.370 --> 00:32:42.660 Again, I'm just going to undo that. 00:32:42.660 --> 00:32:44.330 So there's actually another control 00:32:44.330 --> 00:32:47.210 that we can use in order to be able to specify whether we're 00:32:47.210 --> 00:32:49.850 editing, just picture or just sound directly 00:32:49.850 --> 00:32:51.210 into the timeline. 00:32:51.210 --> 00:32:53.390 It's these two buttons that appear 00:32:53.390 --> 00:32:57.740 with red borders along the left hand side of the timeline. 00:32:57.740 --> 00:33:00.240 These are your source controls. 00:33:00.240 --> 00:33:03.230 I'm actually going to come down to the audio source control 00:33:03.230 --> 00:33:06.020 here, and I'm just going to simply click once 00:33:06.020 --> 00:33:09.396 in order to disable that button in the timeline. 00:33:09.396 --> 00:33:12.410 00:33:12.410 --> 00:33:17.190 Now, when I perform an Insert edit using the Timeline button, 00:33:17.190 --> 00:33:20.270 no audio is brought into the timeline, 00:33:20.270 --> 00:33:23.260 and this also means I can use my keyboard shortcuts efficiently 00:33:23.260 --> 00:33:24.880 as well. 00:33:24.880 --> 00:33:27.220 Another insert edit that we're now going to want to do 00:33:27.220 --> 00:33:30.460 is actually within this interview clip here. 00:33:30.460 --> 00:33:32.800 So I'm going to move the playhead to the beginning 00:33:32.800 --> 00:33:34.452 of that interview clip, and I'm just 00:33:34.452 --> 00:33:36.160 going to play through the beginning of it 00:33:36.160 --> 00:33:37.487 for the first soundbite. 00:33:37.487 --> 00:33:39.320 PRESENTER 1: If it was possible to shoot it, 00:33:39.320 --> 00:33:40.370 we wanted to go shoot it. 00:33:40.370 --> 00:33:42.590 CHRIS: If it was possible to shoot it, 00:33:42.590 --> 00:33:44.030 we wanted to go shoot it. 00:33:44.030 --> 00:33:46.495 That's where I actually want to insert the next shot. 00:33:46.495 --> 00:33:48.010 PRESENTER 1: [SPEAKING IN REVERSE] 00:33:48.010 --> 00:33:49.220 we wanted to go shoot it. 00:33:49.220 --> 00:33:49.720 If-- 00:33:49.720 --> 00:33:51.095 CHRIS: The shot that I'm actually 00:33:51.095 --> 00:33:53.090 looking for is in my B-Roll smart bin, 00:33:53.090 --> 00:33:58.040 and it's the clip of AOA_10_Maldives. 00:33:58.040 --> 00:34:01.010 So double click that to open it into the source viewer. 00:34:01.010 --> 00:34:02.750 I love this shot. 00:34:02.750 --> 00:34:05.350 It's this wonderful in and out shot 00:34:05.350 --> 00:34:07.910 where the camera is half submerged in the water, 00:34:07.910 --> 00:34:11.889 and there is a plane that comes in over the top of the camera. 00:34:11.889 --> 00:34:14.320 I'm actually just going to set an endpoint 00:34:14.320 --> 00:34:18.105 just as the shadow of the plane appears over the coral. 00:34:18.105 --> 00:34:21.190 00:34:21.190 --> 00:34:23.260 And now, I actually want to specify around 00:34:23.260 --> 00:34:24.860 about a three second clip. 00:34:24.860 --> 00:34:26.770 So one way that we can do that is actually 00:34:26.770 --> 00:34:30.070 to use timecode information to be able to move forwards 00:34:30.070 --> 00:34:31.870 and backwards through the clip. 00:34:31.870 --> 00:34:35.560 In this case, I'm just going to hit the Plus key on my keyboard 00:34:35.560 --> 00:34:40.870 and type in 300, which you can actually see in the top timecode 00:34:40.870 --> 00:34:42.699 field in the source viewer actually 00:34:42.699 --> 00:34:46.030 translates to three seconds. 00:34:46.030 --> 00:34:47.449 Hit the Return key. 00:34:47.449 --> 00:34:50.020 Press O to set the outpoint in order 00:34:50.020 --> 00:34:52.449 to set a three second clip. 00:34:52.449 --> 00:34:55.460 Actually, technically, it's three seconds and one frame. 00:34:55.460 --> 00:34:57.560 As you can see from the duration field, 00:34:57.560 --> 00:35:00.910 however, the playhead is inclusive of the frame 00:35:00.910 --> 00:35:03.400 that you're currently on, so the outpoint is always 00:35:03.400 --> 00:35:05.470 set at the tail of that frame if you 00:35:05.470 --> 00:35:07.480 need it to be three seconds exactly, 00:35:07.480 --> 00:35:08.980 you just need to come back one frame 00:35:08.980 --> 00:35:10.840 before you set the outpoint. 00:35:10.840 --> 00:35:15.250 But now I can do an Insert edit by pressing F9. 00:35:15.250 --> 00:35:18.720 Excellent, so now, we've got the edit really starting 00:35:18.720 --> 00:35:19.900 to come together. 00:35:19.900 --> 00:35:21.930 However, at this point, you're probably 00:35:21.930 --> 00:35:25.930 wanting to get a little bit more control of the timeline, 00:35:25.930 --> 00:35:28.710 particularly when it comes to zooming. 00:35:28.710 --> 00:35:32.190 Also, you might want to start refining parts of the timeline 00:35:32.190 --> 00:35:34.180 by removing sections. 00:35:34.180 --> 00:35:36.000 Zooming in the timeline is actually 00:35:36.000 --> 00:35:39.550 much simpler in DaVinci Resolve 17 than it's ever been. 00:35:39.550 --> 00:35:44.530 We've already encountered two fixed zoom functions. 00:35:44.530 --> 00:35:47.280 These are the Full Extent Zoom, which will always 00:35:47.280 --> 00:35:49.680 show the full length of your timeline 00:35:49.680 --> 00:35:52.840 irrespective of how much content is in the timeline. 00:35:52.840 --> 00:35:55.750 And you've also got the Detail Zoom button, 00:35:55.750 --> 00:36:00.240 which allows you to Zoom in to a fixed point on the timeline 00:36:00.240 --> 00:36:02.910 wherever your playhead happens to be. 00:36:02.910 --> 00:36:07.510 However, you've also got a custom zoom option as well, 00:36:07.510 --> 00:36:11.910 so this button allows you to set your own zoom level, which you 00:36:11.910 --> 00:36:14.880 can do by just simply dragging the slider 00:36:14.880 --> 00:36:20.220 or using the Plus and Minus buttons to zoom in and out. 00:36:20.220 --> 00:36:22.980 Or you could use keyboard shortcuts. 00:36:22.980 --> 00:36:26.680 Command Equals allows you to Zoom in on your playhead. 00:36:26.680 --> 00:36:29.680 Command Minus allows you to Zoom out. 00:36:29.680 --> 00:36:32.230 If you're on a PC, instead of using command, 00:36:32.230 --> 00:36:34.920 you'd just simply use Control, and you can also 00:36:34.920 --> 00:36:39.790 use Shift Z in order to be able to fill the timeline window. 00:36:39.790 --> 00:36:43.680 This isn't the same as actually using the Full Extent Zoom 00:36:43.680 --> 00:36:44.770 button, however. 00:36:44.770 --> 00:36:48.970 The Shift Z function allows you to see the full timeline zoom, 00:36:48.970 --> 00:36:52.180 but it doesn't remain fixed at the full timeline Zoom, 00:36:52.180 --> 00:36:54.610 so if you add any other clips to the timeline, 00:36:54.610 --> 00:36:56.820 you'll have to manually change the zoom in order 00:36:56.820 --> 00:36:59.190 to be able to focus on the parts of the timeline 00:36:59.190 --> 00:37:01.120 that you actually want to work with. 00:37:01.120 --> 00:37:04.380 However, Shift Z is very useful if you actually 00:37:04.380 --> 00:37:08.440 want to return to a previous Zoom level in the timeline. 00:37:08.440 --> 00:37:11.220 Just simply toggling Shift Z is a very useful way 00:37:11.220 --> 00:37:14.550 of being able to step in and out of the timeline. 00:37:14.550 --> 00:37:18.100 If you've got a three button mouse with a scroll wheel on it, 00:37:18.100 --> 00:37:20.700 then what you can do is just hold down the Shift key 00:37:20.700 --> 00:37:22.650 and use the scroll wheel in order 00:37:22.650 --> 00:37:25.830 to be able to dynamically adjust the height of each 00:37:25.830 --> 00:37:27.100 of the tracks. 00:37:27.100 --> 00:37:31.020 And you can also change the bias between the video 00:37:31.020 --> 00:37:32.580 and the audio part in order to be 00:37:32.580 --> 00:37:35.198 able to get a larger audio track, 00:37:35.198 --> 00:37:36.990 and you can actually see how easy it is now 00:37:36.990 --> 00:37:40.620 to see the waveform for those clips. 00:37:40.620 --> 00:37:43.450 If you don't have a wheeled three button mouse, 00:37:43.450 --> 00:37:47.500 then you can always use the Timeline View Options menu here, 00:37:47.500 --> 00:37:49.980 and then actually use the Track Height sliders 00:37:49.980 --> 00:37:51.900 at the bottom of that menu in order 00:37:51.900 --> 00:37:55.770 to be able to adjust the height of your video and audio tracks. 00:37:55.770 --> 00:37:57.480 So now that we've looked at how to adjust 00:37:57.480 --> 00:38:00.570 the timeline zoom level so that you can comfortably 00:38:00.570 --> 00:38:03.810 view the timeline depending on what you need to do, let's 00:38:03.810 --> 00:38:06.120 look at how we can remove some of these clips 00:38:06.120 --> 00:38:09.000 and start to refine the Edit a little bit further. 00:38:09.000 --> 00:38:11.640 To begin with, you might want to actually remove 00:38:11.640 --> 00:38:14.220 just a simple portion of a clip. 00:38:14.220 --> 00:38:17.360 For example, you might want to remove the video or audio 00:38:17.360 --> 00:38:19.010 part of a clip. 00:38:19.010 --> 00:38:22.620 If I actually concentrate on this middle interview here, 00:38:22.620 --> 00:38:25.010 I'm just going to move the playhead over that 00:38:25.010 --> 00:38:28.940 and hit my Detail Zoom button so that I can focus on this. 00:38:28.940 --> 00:38:32.400 You should notice, on the left hand side of the clip, 00:38:32.400 --> 00:38:35.870 in both the video and the audio, there are two little chain link 00:38:35.870 --> 00:38:36.810 icons. 00:38:36.810 --> 00:38:39.680 This indicates that this clip is linked in both 00:38:39.680 --> 00:38:41.820 these video and audio portions. 00:38:41.820 --> 00:38:44.420 Using linked clips is very, very useful 00:38:44.420 --> 00:38:47.240 because it means that you can move them around very easily 00:38:47.240 --> 00:38:49.800 when you select the video portion of a link clip, 00:38:49.800 --> 00:38:52.770 the audio portion is also selected automatically, 00:38:52.770 --> 00:38:55.980 so it means it's very hard to move these things out of sync. 00:38:55.980 --> 00:38:57.620 However, in this case, I just want 00:38:57.620 --> 00:39:00.800 to remove a video portion of this clip. 00:39:00.800 --> 00:39:04.250 To override the link temporarily on the timeline, just simply 00:39:04.250 --> 00:39:07.530 hold down the Option or Alt key on your keyboard, 00:39:07.530 --> 00:39:10.100 and then click on the video clip in order 00:39:10.100 --> 00:39:11.670 to be able to select it. 00:39:11.670 --> 00:39:13.910 Alternatively, you can actually turn off 00:39:13.910 --> 00:39:15.800 the linking for the whole timeline 00:39:15.800 --> 00:39:21.320 by just coming up and choosing your link selection button here. 00:39:21.320 --> 00:39:23.990 And with that turned off, if you hold down the Option key 00:39:23.990 --> 00:39:25.850 and select a clip, it will actually 00:39:25.850 --> 00:39:28.680 select any linked parts of the clip automatically. 00:39:28.680 --> 00:39:30.560 So basically, the Option or Alt key 00:39:30.560 --> 00:39:33.440 just simply reverses whatever your link selection 00:39:33.440 --> 00:39:35.270 is set to for your timeline. 00:39:35.270 --> 00:39:37.490 With the video clip selected, I'm just 00:39:37.490 --> 00:39:39.560 going to go back to my full extent Zoom, 00:39:39.560 --> 00:39:41.940 so you can see what happens to the timeline, 00:39:41.940 --> 00:39:44.340 and I now want to ripple delete the clip. 00:39:44.340 --> 00:39:46.910 So in this case, I'm going to hold down Shift and use 00:39:46.910 --> 00:39:50.310 the Delete key in order to be able to remove that clip. 00:39:50.310 --> 00:39:52.560 And you'll see it remove a video clip, 00:39:52.560 --> 00:39:55.440 but it didn't remove the audio portion of the clip. 00:39:55.440 --> 00:39:57.680 More importantly, it's also closed the gap 00:39:57.680 --> 00:39:59.810 and rippled the timeline in order 00:39:59.810 --> 00:40:01.890 to make the timeline slightly shorter. 00:40:01.890 --> 00:40:04.070 And the full extent Zoom is actually still 00:40:04.070 --> 00:40:06.390 showing me the full length of that timeline. 00:40:06.390 --> 00:40:08.600 However, something else that you may need to do 00:40:08.600 --> 00:40:11.210 is actually be able to remove a portion of a clip 00:40:11.210 --> 00:40:12.920 from within the clip. 00:40:12.920 --> 00:40:14.890 And a good example of this is if you're 00:40:14.890 --> 00:40:17.020 working with interview clips. 00:40:17.020 --> 00:40:19.930 Let's move the playhead to the start of the last interview 00:40:19.930 --> 00:40:23.620 clip in the timeline, and then use the Detail Zoom button 00:40:23.620 --> 00:40:25.960 in order to be able to zoom in. 00:40:25.960 --> 00:40:29.060 There's a line in this clip that I actually want to remove, 00:40:29.060 --> 00:40:31.700 so I'm just going to preview the clip just by playing it. 00:40:31.700 --> 00:40:32.740 PRESENTER 1: If we couldn't get the shot, 00:40:32.740 --> 00:40:34.780 or the weather wasn't right, we would either 00:40:34.780 --> 00:40:37.190 go back to that location, stay at that location longer, 00:40:37.190 --> 00:40:38.140 or it didn't make the movie. 00:40:38.140 --> 00:40:38.650 It was-- 00:40:38.650 --> 00:40:41.780 CHRIS: So he says, we either go back to that location, 00:40:41.780 --> 00:40:45.530 stay at that location longer, or it didn't make the movie. 00:40:45.530 --> 00:40:47.540 It's a little bit repetitious. 00:40:47.540 --> 00:40:49.690 It's not quite, but the director actually 00:40:49.690 --> 00:40:52.960 wants to take the second line out there, stay 00:40:52.960 --> 00:40:54.620 at that location longer. 00:40:54.620 --> 00:40:57.040 So let's look at how we can do that. 00:40:57.040 --> 00:41:01.270 First of all, we can actually see the waveform 00:41:01.270 --> 00:41:03.550 where the portion of the dialogue 00:41:03.550 --> 00:41:05.420 is that we actually want to take out. 00:41:05.420 --> 00:41:08.180 Again, using the Shift key and the scroll mouse, 00:41:08.180 --> 00:41:10.850 I can actually make that even bigger. 00:41:10.850 --> 00:41:12.590 I'm going to move the playhead back, 00:41:12.590 --> 00:41:15.600 and my audio scrubbing is going to come into handy here. 00:41:15.600 --> 00:41:17.480 So I'm just going to play forward. 00:41:17.480 --> 00:41:18.980 PRESENTER 1: Stay at that location-- 00:41:18.980 --> 00:41:23.480 [SPEAKING IN REVERSE] --that location, stay-- 00:41:23.480 --> 00:41:27.200 CHRIS: And I can hear the beginning of the word stay, 00:41:27.200 --> 00:41:29.580 making sure that my playhead is on that point. 00:41:29.580 --> 00:41:31.700 You can see from the waveform in the timeline 00:41:31.700 --> 00:41:34.740 that I look as though I'm at the correct location. 00:41:34.740 --> 00:41:37.920 And now what I want to do is I want to cut this section out. 00:41:37.920 --> 00:41:40.520 So I'm actually going to use the blade edit mode 00:41:40.520 --> 00:41:44.120 for the timeline, coming here to these first four buttons 00:41:44.120 --> 00:41:45.510 at the top of the timeline. 00:41:45.510 --> 00:41:48.480 These are my different timeline editing modes. 00:41:48.480 --> 00:41:52.050 The first of these is the default selection mode. 00:41:52.050 --> 00:41:54.180 This allows me to click on clips, 00:41:54.180 --> 00:41:57.320 move them around, and delete clips. 00:41:57.320 --> 00:41:59.780 I've also got my Blade edit mode, 00:41:59.780 --> 00:42:02.790 featuring a very frightening looking razor blade icon, 00:42:02.790 --> 00:42:04.400 I have to say. 00:42:04.400 --> 00:42:07.260 If I select that or use the keyboard shortcut B, 00:42:07.260 --> 00:42:11.640 I can then bring that blade down into the timeline here. 00:42:11.640 --> 00:42:14.430 Making sure that my snapping is on, 00:42:14.430 --> 00:42:17.180 you can see how easily that line will actually 00:42:17.180 --> 00:42:19.910 snap to where my playhead is, and I'm just 00:42:19.910 --> 00:42:23.850 going to click once in order to be able to add an edit. 00:42:23.850 --> 00:42:25.610 That's the beginning part of the clip 00:42:25.610 --> 00:42:27.870 that I actually want to lose from the timeline. 00:42:27.870 --> 00:42:29.803 I now need to find the end. 00:42:29.803 --> 00:42:31.220 PRESENTER 1: Stay at that location 00:42:31.220 --> 00:42:32.510 longer, or it didn't make-- 00:42:32.510 --> 00:42:34.670 [SPEAKING IN REVERSE] longer, or-- 00:42:34.670 --> 00:42:36.900 CHRIS: And I'm looking for the word or. 00:42:36.900 --> 00:42:40.400 PRESENTER 1: [WALKING THROUGH THE AUDIO FRAME BY FRAME] 00:42:40.400 --> 00:42:45.170 00:42:45.170 --> 00:42:46.200 CHRIS: About there. 00:42:46.200 --> 00:42:49.430 It's taken a little bit of jogging back and forward 00:42:49.430 --> 00:42:52.495 one frame at a time, just in order to be able to hear that. 00:42:52.495 --> 00:42:53.870 But I was actually trying to find 00:42:53.870 --> 00:42:55.910 the beginning of the word or. 00:42:55.910 --> 00:42:59.150 Again, I just want to take my blade, 00:42:59.150 --> 00:43:02.810 and just come near the playhead and click once more in order 00:43:02.810 --> 00:43:05.670 to be able to add a second edit point. 00:43:05.670 --> 00:43:08.130 This is now isolated the portion of the clip 00:43:08.130 --> 00:43:10.330 that I actually want to remove from the timeline. 00:43:10.330 --> 00:43:13.750 However, I don't want to use the blade mode again, 00:43:13.750 --> 00:43:15.960 so I'm going to switch back to the selection mode 00:43:15.960 --> 00:43:18.420 just by pressing a on the keyboard. 00:43:18.420 --> 00:43:22.950 I can now select that clip and then press Shift Backspace 00:43:22.950 --> 00:43:25.470 or Shift Delete in order to be able to remove 00:43:25.470 --> 00:43:27.640 the clip from the timeline. 00:43:27.640 --> 00:43:30.550 That's got rid of the portion of the clip that I isolated, 00:43:30.550 --> 00:43:33.280 but I now need to hear how that edit is working. 00:43:33.280 --> 00:43:35.430 So if I press the forward slash key-- 00:43:35.430 --> 00:43:37.380 PRESENTER 1: --right, we would either go back to that location, 00:43:37.380 --> 00:43:38.547 or it didn't make the movie. 00:43:38.547 --> 00:43:40.500 It was really important-- 00:43:40.500 --> 00:43:42.970 CHRIS: It's probably not the tidiest of edits, 00:43:42.970 --> 00:43:44.350 but don't worry. 00:43:44.350 --> 00:43:47.250 Only the very skilled and experienced editors 00:43:47.250 --> 00:43:49.570 will be able to get that right first off. 00:43:49.570 --> 00:43:52.180 More often than not, when you're editing something, 00:43:52.180 --> 00:43:56.350 you just need to make your best guess and then refine it later. 00:43:56.350 --> 00:43:58.570 So we'll leave this for the moment, 00:43:58.570 --> 00:44:01.050 but we'll come back to it in a few minutes. 00:44:01.050 --> 00:44:02.850 In the meantime, I'm actually just going 00:44:02.850 --> 00:44:05.550 to go back into my Full Extent Zoom 00:44:05.550 --> 00:44:07.690 so that I can see the whole timeline. 00:44:07.690 --> 00:44:11.760 And now what I want to do is remove this portion 00:44:11.760 --> 00:44:13.660 of the first interview clip. 00:44:13.660 --> 00:44:16.540 You remember that we overwrote the tail end of that clip. 00:44:16.540 --> 00:44:18.180 However, the beginning part of the clip 00:44:18.180 --> 00:44:21.240 is still in the timeline, so I want to remove that. 00:44:21.240 --> 00:44:25.240 Now, if I use my selection edit mode here, 00:44:25.240 --> 00:44:28.680 I can select the beginning part of that interview. 00:44:28.680 --> 00:44:32.460 And if I trim that, you can see that it will actually 00:44:32.460 --> 00:44:34.600 trim and remove a portion of the clip, 00:44:34.600 --> 00:44:36.370 but it will also leave a gap. 00:44:36.370 --> 00:44:39.300 This is not a huge problem, but there's more efficient ways 00:44:39.300 --> 00:44:42.670 that we've got been able to trim that and not leave a gap. 00:44:42.670 --> 00:44:44.260 So I'm just going to undo that. 00:44:44.260 --> 00:44:47.800 In order to put the clip back to how I originally had it. 00:44:47.800 --> 00:44:51.990 And again, I'm going to change my timeline editing mode. 00:44:51.990 --> 00:44:55.500 I'm going to change it from the Selection mode 00:44:55.500 --> 00:44:59.400 to my Trim edit mode, and Trim edit mode 00:44:59.400 --> 00:45:01.560 is a really powerful way of being 00:45:01.560 --> 00:45:05.140 able to manipulate the clips in the timeline in DaVinci Resolve. 00:45:05.140 --> 00:45:09.040 You don't need to keep going in and selecting specific tools. 00:45:09.040 --> 00:45:12.660 This one mode will actually do all of the trimming functions 00:45:12.660 --> 00:45:15.060 that I need on a day to day basis. 00:45:15.060 --> 00:45:18.670 Using T allows me to select the Trim edit mode, 00:45:18.670 --> 00:45:21.100 and now when I go back into the timeline, 00:45:21.100 --> 00:45:23.820 I can click the same edit point and start 00:45:23.820 --> 00:45:27.120 to trim just by dragging the mouse to the right. 00:45:27.120 --> 00:45:30.930 As I do so, you can see that the rest of the timeline 00:45:30.930 --> 00:45:32.710 is actually changing. 00:45:32.710 --> 00:45:35.580 I'm actually rippling the rest of the timeline 00:45:35.580 --> 00:45:37.980 back, thereby shortening it by the amount 00:45:37.980 --> 00:45:40.600 that I'm actually trimming off the beginning of that clip. 00:45:40.600 --> 00:45:42.910 You can also see I can go the other way as well. 00:45:42.910 --> 00:45:47.415 I can actually add footage back to that clip if I need to. 00:45:47.415 --> 00:45:48.665 If I keep going-- 00:45:48.665 --> 00:45:52.650 00:45:52.650 --> 00:45:57.150 And you can hear from the audio scrubbing 00:45:57.150 --> 00:45:59.590 where the actual interview starts, 00:45:59.590 --> 00:46:01.600 so I can now let go of the mouse. 00:46:01.600 --> 00:46:03.900 And you can actually see the tooltip there actually 00:46:03.900 --> 00:46:06.320 says that I'm removing three seconds 00:46:06.320 --> 00:46:08.455 and four frames from the beginning of this clip. 00:46:08.455 --> 00:46:11.180 00:46:11.180 --> 00:46:15.110 Now, if I return the playhead to the beginning of the timeline, 00:46:15.110 --> 00:46:16.765 I can play from the beginning. 00:46:16.765 --> 00:46:18.140 PRESENTER 1: In this film, making 00:46:18.140 --> 00:46:20.750 a documentary about how the airplanes changed the world. 00:46:20.750 --> 00:46:23.450 CHRIS: And I've actually got a much sharper start 00:46:23.450 --> 00:46:24.540 to the interview. 00:46:24.540 --> 00:46:26.210 And I can also use the Trim edit mode 00:46:26.210 --> 00:46:28.250 in order to be able to fix the problem 00:46:28.250 --> 00:46:32.270 with the edit in the interview that I was just doing earlier. 00:46:32.270 --> 00:46:34.760 Move the playhead to the edit point 00:46:34.760 --> 00:46:39.110 and then use the Detail Zoom button to zoom in. 00:46:39.110 --> 00:46:42.350 Sometimes, I only want to be able to trim a frame or two 00:46:42.350 --> 00:46:45.500 in either direction, so being able to Zoom in means 00:46:45.500 --> 00:46:47.240 that I'm much closer to the footage 00:46:47.240 --> 00:46:49.980 and therefore have a little bit more control over it. 00:46:49.980 --> 00:46:51.650 In this case, I'm actually just going 00:46:51.650 --> 00:46:54.950 to select the outgoing part of this clip 00:46:54.950 --> 00:46:56.520 here where the waveform is. 00:46:56.520 --> 00:47:00.380 That shows me that probably I'm just catching the outgoing word 00:47:00.380 --> 00:47:03.860 there, and now I can actually click and drag 00:47:03.860 --> 00:47:08.450 in order to be able to remove one or two frames at a time. 00:47:08.450 --> 00:47:11.990 If you haven't actually got the level of control 00:47:11.990 --> 00:47:13.910 that you're interested in, you may 00:47:13.910 --> 00:47:17.700 want to turn off your snapping here at the top of the timeline. 00:47:17.700 --> 00:47:20.000 Keyboard shortcut N is always worth 00:47:20.000 --> 00:47:22.710 remembering because you can always do this at any time, 00:47:22.710 --> 00:47:25.050 even if you're in the middle of an operation. 00:47:25.050 --> 00:47:26.810 So in this case, I'm going to click, 00:47:26.810 --> 00:47:29.430 and I'm going to tap N on my keyboard. 00:47:29.430 --> 00:47:34.790 And now, I can actually remove a single frame from that clip. 00:47:34.790 --> 00:47:38.250 But you can also do this using keyboard shortcuts as well. 00:47:38.250 --> 00:47:41.000 For example, if I use the period key, 00:47:41.000 --> 00:47:43.860 I can actually add a frame to that clip, 00:47:43.860 --> 00:47:47.060 and if I use the comma key, I can remove a frame 00:47:47.060 --> 00:47:48.060 from that clip. 00:47:48.060 --> 00:47:49.847 So now, if I press the forward slash key, 00:47:49.847 --> 00:47:52.430 PRESENTER 1: --right, we would either go back to that location 00:47:52.430 --> 00:47:53.597 or it didn't make the movie. 00:47:53.597 --> 00:47:54.650 It was really important. 00:47:54.650 --> 00:47:57.390 CHRIS: And again, it feels a little tight still. 00:47:57.390 --> 00:48:00.290 I think the outgoing portion of that is fine, 00:48:00.290 --> 00:48:02.860 but let's now select the incoming portion, 00:48:02.860 --> 00:48:05.920 and let's just trim it back one frame. 00:48:05.920 --> 00:48:09.700 So I've now added a frame using the comma key in order 00:48:09.700 --> 00:48:12.940 to make that timeline one frame longer, because I'm always 00:48:12.940 --> 00:48:14.155 rippling the footage, 00:48:14.155 --> 00:48:16.780 PRESENTER 1: --right, we would either go back to that location, 00:48:16.780 --> 00:48:17.947 or it didn't make the movie. 00:48:17.947 --> 00:48:19.100 It was really important. 00:48:19.100 --> 00:48:22.330 CHRIS: And that sounded pretty good to me, 00:48:22.330 --> 00:48:26.270 but you might just want to explore this a little bit more. 00:48:26.270 --> 00:48:28.300 What would happen if we added another frame 00:48:28.300 --> 00:48:30.505 to the incoming shot using the comma key? 00:48:30.505 --> 00:48:33.130 PRESENTER 1: --right, we would either go back to that location, 00:48:33.130 --> 00:48:34.220 or it didn't make the movie. 00:48:34.220 --> 00:48:34.910 It was really important. 00:48:34.910 --> 00:48:36.860 CHRIS: Again, it's probably about the same, 00:48:36.860 --> 00:48:39.760 so I'm just going to take that frame off again and probably 00:48:39.760 --> 00:48:40.970 leave it at that point. 00:48:40.970 --> 00:48:43.587 So now, I'm happy with how that edit is working. 00:48:43.587 --> 00:48:45.670 I'm actually just going to start adding a few more 00:48:45.670 --> 00:48:48.250 clips to the timeline, just so we can pace out the Edit 00:48:48.250 --> 00:48:50.210 and see where we're going with things. 00:48:50.210 --> 00:48:53.500 So in the timeline, I'm going to deselect the edit point 00:48:53.500 --> 00:48:56.690 and go back into my Full Extent Zoom, 00:48:56.690 --> 00:48:59.020 and just use the Shift key and the scroll wheel 00:48:59.020 --> 00:49:01.200 on my mouse just to adjust the track height. 00:49:01.200 --> 00:49:03.650 So I've got a little bit more space for the audio, 00:49:03.650 --> 00:49:05.940 and I'm going to return the playhead to the beginning. 00:49:05.940 --> 00:49:09.500 You can either simply drag it or use the home key to go back 00:49:09.500 --> 00:49:11.570 to the top of the timeline. 00:49:11.570 --> 00:49:13.910 So at this point, I'm just going to add some music 00:49:13.910 --> 00:49:15.120 to this timeline. 00:49:15.120 --> 00:49:17.670 Well, we already created a Music bin earlier, 00:49:17.670 --> 00:49:20.570 so we know exactly where to find that piece of music. 00:49:20.570 --> 00:49:21.780 In the bin list. 00:49:21.780 --> 00:49:24.170 Select the music bin, and then I'm 00:49:24.170 --> 00:49:27.870 just going to turn off my audio scrubbing by pressing Shift S, 00:49:27.870 --> 00:49:29.390 and then I'm going to double click 00:49:29.390 --> 00:49:33.020 to open the music into the source viewer. 00:49:33.020 --> 00:49:35.580 Now, when you open audio in the source viewer, 00:49:35.580 --> 00:49:38.070 you actually get an upper waveform, 00:49:38.070 --> 00:49:41.160 which actually represents the whole of the audio clip, 00:49:41.160 --> 00:49:44.270 and a lower waveform, which actually represents a zoomed 00:49:44.270 --> 00:49:45.750 in portion of the clip. 00:49:45.750 --> 00:49:48.110 So it's like having the two waveform displays 00:49:48.110 --> 00:49:51.180 side by side, which is very useful to work with. 00:49:51.180 --> 00:49:54.540 In this case, we actually want to take the whole of the clip, 00:49:54.540 --> 00:49:57.600 so we don't need to set any in or out points to this clip. 00:49:57.600 --> 00:50:01.000 And in this case, I'm just going to pick the clip up, drag it 00:50:01.000 --> 00:50:03.460 across to my timeline viewer, and choose 00:50:03.460 --> 00:50:06.700 the Place on Top function. 00:50:06.700 --> 00:50:09.250 This then simply creates a new audio track 00:50:09.250 --> 00:50:12.440 at the bottom of the timeline, and places the clip in it. 00:50:12.440 --> 00:50:14.920 It may seem counterintuitive that I've actually 00:50:14.920 --> 00:50:17.680 used something called Place on Top to actually place 00:50:17.680 --> 00:50:20.630 the audio at the lower part of the timeline, 00:50:20.630 --> 00:50:23.170 but it just is the way that edit works 00:50:23.170 --> 00:50:25.540 with audio, which typically lives 00:50:25.540 --> 00:50:27.860 below the video in a timeline. 00:50:27.860 --> 00:50:30.920 The audio is actually quite loud, this piece of music is. 00:50:30.920 --> 00:50:33.310 So I'm actually going to move my mouse over the clip 00:50:33.310 --> 00:50:36.880 and actually find the point where I can actually 00:50:36.880 --> 00:50:39.800 locate the volume curve on the timeline. 00:50:39.800 --> 00:50:42.070 If I now click at that point, I can 00:50:42.070 --> 00:50:44.620 grab hold of the volume curve and lower it 00:50:44.620 --> 00:50:47.265 to an appropriate audio level. 00:50:47.265 --> 00:50:49.390 I'm actually just going to take it all the way down 00:50:49.390 --> 00:50:54.640 to around about minus 12 DB in the timeline here. 00:50:54.640 --> 00:50:57.560 Doesn't necessarily mean to say that that's the right level. 00:50:57.560 --> 00:50:59.850 However, it's a useful starting point, 00:50:59.850 --> 00:51:02.950 and I always need to refine the levels later anyways. 00:51:02.950 --> 00:51:05.737 Now that I've got the audio at a reasonable level, 00:51:05.737 --> 00:51:07.320 I should be able to hear the interview 00:51:07.320 --> 00:51:09.535 over the top of the music. 00:51:09.535 --> 00:51:11.910 PRESENTER 1: In this film, making a documentary about how 00:51:11.910 --> 00:51:13.620 the airplanes changed the world, it 00:51:13.620 --> 00:51:17.585 was really important to go out and shoot the real world. 00:51:17.585 --> 00:51:22.415 00:51:22.415 --> 00:51:23.790 CHRIS: That's fine at the moment. 00:51:23.790 --> 00:51:25.300 It gives me something to work with. 00:51:25.300 --> 00:51:27.090 It might be that the music gets changed 00:51:27.090 --> 00:51:29.640 at some point in the future, or I might need 00:51:29.640 --> 00:51:31.210 to refine it a little bit more. 00:51:31.210 --> 00:51:33.870 So I don't want to spend too long adjusting the levels 00:51:33.870 --> 00:51:35.080 and making them perfect. 00:51:35.080 --> 00:51:36.237 Not at this stage. 00:51:36.237 --> 00:51:38.820 Now that I've got the music into place, that actually gives me 00:51:38.820 --> 00:51:40.150 a time for the Edit. 00:51:40.150 --> 00:51:42.390 So I've now got something to aim for in terms 00:51:42.390 --> 00:51:44.020 of an overall duration. 00:51:44.020 --> 00:51:47.400 Let's move the playhead to the edit point between the two 00:51:47.400 --> 00:51:50.650 interview clips, half way through this piece of music. 00:51:50.650 --> 00:51:53.853 We're going to start by editing a new clip in here, 00:51:53.853 --> 00:51:55.770 and it's actually just going to help us to fix 00:51:55.770 --> 00:51:57.790 that very nasty jump cut. 00:51:57.790 --> 00:52:01.410 Let's go to the B-Roll bin, and let's find 00:52:01.410 --> 00:52:04.290 the clip called South Pole. 00:52:04.290 --> 00:52:05.410 Double click that. 00:52:05.410 --> 00:52:08.730 It's AOA_8, shot 8, and I'm going 00:52:08.730 --> 00:52:12.240 to set an endpoint just as the tail of the plane 00:52:12.240 --> 00:52:15.390 is coming out from behind that yellow sign. 00:52:15.390 --> 00:52:19.990 So an endpoint there, and I'm wanting to take five seconds. 00:52:19.990 --> 00:52:22.540 I don't know if five seconds is the right duration, 00:52:22.540 --> 00:52:24.540 but it's just a good all round number 00:52:24.540 --> 00:52:27.430 that we can tend to work with for putting shots in. 00:52:27.430 --> 00:52:31.920 So I'm going to use plus 500 in order 00:52:31.920 --> 00:52:34.870 to jump the playhead forward by five seconds, 00:52:34.870 --> 00:52:37.860 hit Return, set an outpoint. 00:52:37.860 --> 00:52:42.180 And now I can just make a simple overwrite edit with F10. 00:52:42.180 --> 00:52:44.670 If I back the playhead up in the timeline 00:52:44.670 --> 00:52:46.710 and then hit the forward slash key-- 00:52:46.710 --> 00:52:48.720 PRESENTER 1: --right, we would either go back to that location 00:52:48.720 --> 00:52:49.900 or it didn't make the movie. 00:52:49.900 --> 00:52:51.510 It's really important. 00:52:51.510 --> 00:52:53.800 CHRIS: And I think that edit works nicely. 00:52:53.800 --> 00:52:56.550 The audio of the interview is working very well, 00:52:56.550 --> 00:52:58.830 and the new picture that's overwritten, 00:52:58.830 --> 00:53:02.430 the end of that interview actually covers the jump cut. 00:53:02.430 --> 00:53:04.970 So now, let's add a few extra clips 00:53:04.970 --> 00:53:07.010 to the end of this timeline, and then we 00:53:07.010 --> 00:53:10.460 can actually trim those clips to the correct duration. 00:53:10.460 --> 00:53:16.070 From the B-Roll bin, select the Kenya clip, AOA07. 00:53:16.070 --> 00:53:19.595 Hold down the Command or Control key and select AOA11. 00:53:19.595 --> 00:53:22.130 00:53:22.130 --> 00:53:24.540 That's the St. Martin landing. 00:53:24.540 --> 00:53:27.020 And then again, hold down Command or Control 00:53:27.020 --> 00:53:32.510 in order to select AOA14 Aerial Alaska. 00:53:32.510 --> 00:53:34.430 With those three clips selected, I 00:53:34.430 --> 00:53:38.390 can actually drag those clips directly to the timeline viewer 00:53:38.390 --> 00:53:43.790 and choose the Append at End edit. 00:53:43.790 --> 00:53:46.340 What the Append at End is really useful 00:53:46.340 --> 00:53:49.050 for is throwing clips at the end of your edit, 00:53:49.050 --> 00:53:51.410 so you can use them to quickly assemble footage 00:53:51.410 --> 00:53:53.930 into the timeline, and it doesn't depend 00:53:53.930 --> 00:53:56.010 on where your playhead is. 00:53:56.010 --> 00:53:59.870 It just depends on where the last clip is in your timeline. 00:53:59.870 --> 00:54:03.120 Obviously, those clips are way too long for this edit, 00:54:03.120 --> 00:54:05.975 so I just need to reduce their duration. 00:54:05.975 --> 00:54:09.230 To select the clips, i'm going to switch into my Selection edit 00:54:09.230 --> 00:54:15.920 mode, select the clips, now go back to my Trim edit mode, 00:54:15.920 --> 00:54:21.000 right click any of those clips, choose Change Clip Duration. 00:54:21.000 --> 00:54:24.260 Command or Control D is the shortcut. 00:54:24.260 --> 00:54:27.480 And from the Change Clip Duration box, 00:54:27.480 --> 00:54:31.160 I'm going to choose the five second preset. 00:54:31.160 --> 00:54:33.950 As I said, 5 seconds is not necessarily 00:54:33.950 --> 00:54:36.860 the correct duration, it's just a duration 00:54:36.860 --> 00:54:38.900 that's worth starting at. 00:54:38.900 --> 00:54:41.720 Click Change, and now, my clips have 00:54:41.720 --> 00:54:43.710 been trimmed on the timeline. 00:54:43.710 --> 00:54:47.210 However, I've still got a little bit of work to do here. 00:54:47.210 --> 00:54:50.160 Let's move back to the beginning of the South Pole clip, 00:54:50.160 --> 00:54:52.520 and then let's use the detail Zoom button 00:54:52.520 --> 00:54:55.400 just to zoom in a little bit here. 00:54:55.400 --> 00:54:57.050 I want to make the South Pole clip 00:54:57.050 --> 00:55:00.750 a little bit shorter because nothing really happens in it. 00:55:00.750 --> 00:55:04.020 So a five second shot is a good starting point, 00:55:04.020 --> 00:55:07.280 but let's just make it a little bit shorter from the beginning. 00:55:07.280 --> 00:55:10.670 So if I select the incoming part of that clip 00:55:10.670 --> 00:55:12.350 just to select that clip there, you'll 00:55:12.350 --> 00:55:15.210 notice I haven't selected any audio. 00:55:15.210 --> 00:55:18.320 And I'm using the Trim edit mode here in order 00:55:18.320 --> 00:55:21.090 to be able to select the beginning part of that clip. 00:55:21.090 --> 00:55:23.960 And I'm just going to remove a few frames just to bring it down 00:55:23.960 --> 00:55:26.270 to about four seconds duration. 00:55:26.270 --> 00:55:28.050 You can see that, as I'm trimming it, 00:55:28.050 --> 00:55:31.250 the tooltip is telling me how much I'm actually trimming it 00:55:31.250 --> 00:55:33.470 by, and the gray numbers underneath 00:55:33.470 --> 00:55:35.580 represent an overall duration. 00:55:35.580 --> 00:55:38.810 However, look at what's happening to the underlying 00:55:38.810 --> 00:55:40.920 audio clip of the interview. 00:55:40.920 --> 00:55:44.990 Remember I had the interview working in terms of the audio. 00:55:44.990 --> 00:55:47.720 By changing it like this, I'm actually 00:55:47.720 --> 00:55:52.660 losing parts of the outgoing audio clip. 00:55:52.660 --> 00:55:54.500 I don't want to do that. 00:55:54.500 --> 00:55:58.700 So in this case, I need to undo that change. 00:55:58.700 --> 00:56:01.150 Now, the reason that this is happening 00:56:01.150 --> 00:56:05.170 is because Resolve fights to keep everything in sync 00:56:05.170 --> 00:56:07.970 after the point at which you are trimming. 00:56:07.970 --> 00:56:12.710 So if a clip starts at the trim point or afterwards, 00:56:12.710 --> 00:56:15.770 then it will move in an appropriate direction. 00:56:15.770 --> 00:56:18.430 In this case, we actually need to break 00:56:18.430 --> 00:56:21.520 that functionality that, up until now, 00:56:21.520 --> 00:56:23.480 has actually served us quite well. 00:56:23.480 --> 00:56:25.540 So in this case, I'm actually going 00:56:25.540 --> 00:56:27.040 to come to the track header, and I'm 00:56:27.040 --> 00:56:29.380 going to choose to lock the track. 00:56:29.380 --> 00:56:32.080 That will prevent any additional changes 00:56:32.080 --> 00:56:36.310 being made to any of the clips on this track. 00:56:36.310 --> 00:56:41.590 I'll now trim that clip to the four second duration 00:56:41.590 --> 00:56:44.530 that I was aiming for, and you can 00:56:44.530 --> 00:56:49.300 see that the audio underneath is now no longer moving. 00:56:49.300 --> 00:56:52.960 Let's go back to Full Extent Zoom 00:56:52.960 --> 00:56:54.893 and then play to review the change. 00:56:54.893 --> 00:56:56.560 PRESENTER 1: --go back to that location, 00:56:56.560 --> 00:56:57.727 or it didn't make the movie. 00:56:57.727 --> 00:57:00.010 It's really important every shot was original, 00:57:00.010 --> 00:57:01.290 and that everything was real. 00:57:01.290 --> 00:57:05.410 00:57:05.410 --> 00:57:08.390 CHRIS: That's a nice shot of the Kenya plane. 00:57:08.390 --> 00:57:11.560 However, you'll notice the beginning part of that clip 00:57:11.560 --> 00:57:13.640 was just a little bit untidy. 00:57:13.640 --> 00:57:16.810 So again, I'm just going to ripple a few frames out 00:57:16.810 --> 00:57:18.380 of the beginning of that clip. 00:57:18.380 --> 00:57:20.660 If we move the playhead to the beginning of the clip, 00:57:20.660 --> 00:57:22.520 go into the detail Zoom. 00:57:22.520 --> 00:57:24.550 Use the Trim edit mode in order to be 00:57:24.550 --> 00:57:26.440 able to ripple a few frames out to get 00:57:26.440 --> 00:57:30.140 rid of the yellow part of the plane at the top of the frame 00:57:30.140 --> 00:57:33.340 there, again bringing the duration down to that 00:57:33.340 --> 00:57:37.000 around about four seconds. 00:57:37.000 --> 00:57:40.490 It's not important to get it accurate at this point. 00:57:40.490 --> 00:57:43.990 It just means that just refining the beginning of the shot. 00:57:43.990 --> 00:57:45.015 Let's continue playing. 00:57:45.015 --> 00:57:47.265 PRESENTER 1: --original, and that everything was real. 00:57:47.265 --> 00:57:50.060 [MUSIC PLAYING] 00:57:50.060 --> 00:57:58.808 00:57:58.808 --> 00:57:59.800 CHRIS: Hm. 00:57:59.800 --> 00:58:02.770 Now, there's a few things that we need to do here. 00:58:02.770 --> 00:58:04.210 First of all, we still need to be 00:58:04.210 --> 00:58:07.400 able to bring the duration of those clips down, 00:58:07.400 --> 00:58:09.560 but they're actually in the wrong order. 00:58:09.560 --> 00:58:12.400 I want the Alaska shot to follow the South Pole 00:58:12.400 --> 00:58:13.970 shot on the timeline. 00:58:13.970 --> 00:58:17.750 Then I would actually to finish with the St. Martin shot. 00:58:17.750 --> 00:58:21.010 Now, if I use my Selection edit mode 00:58:21.010 --> 00:58:24.700 to be able to move a clip around the timeline, all I'll simply do 00:58:24.700 --> 00:58:27.590 is overwrite what is currently there. 00:58:27.590 --> 00:58:31.190 So I need to use a different function for this, 00:58:31.190 --> 00:58:34.880 and this is what we would call a Shuffle Insert edit. 00:58:34.880 --> 00:58:37.600 And it's a little bit of a secret function 00:58:37.600 --> 00:58:39.910 that you now know about. 00:58:39.910 --> 00:58:43.630 To perform a Shuffle edit, hold down the Shift and Command 00:58:43.630 --> 00:58:47.410 or Control keys, and then use the comma and period key 00:58:47.410 --> 00:58:50.850 in order to be able to move the clip backwards and forwards 00:58:50.850 --> 00:58:52.920 through the timeline. 00:58:52.920 --> 00:58:55.770 So I can now put the aerial Alaska shot 00:58:55.770 --> 00:58:57.790 after the South Pole shot. 00:58:57.790 --> 00:59:02.070 If I hold down the Command key and use the left and right arrow 00:59:02.070 --> 00:59:05.470 keys, this will allow me to select another clip. 00:59:05.470 --> 00:59:08.650 Hold down Shift and command and use the comma and period keys. 00:59:08.650 --> 00:59:11.910 Allows me to reorder those clips as well. 00:59:11.910 --> 00:59:15.480 And you can actually select multiple clips on the timeline 00:59:15.480 --> 00:59:17.700 and use the same keyboard shortcuts in order 00:59:17.700 --> 00:59:20.250 to be able to shuffle those groups of clips 00:59:20.250 --> 00:59:21.550 around the timeline. 00:59:21.550 --> 00:59:23.460 So this makes it really easy to move 00:59:23.460 --> 00:59:26.730 one scene from one part of the timeline to another. 00:59:26.730 --> 00:59:29.140 So now I've got the shots in the right order. 00:59:29.140 --> 00:59:32.130 I'm just going to trim the aerial Alaska shot before adding 00:59:32.130 --> 00:59:33.930 the credits to the end. 00:59:33.930 --> 00:59:37.710 Let's go into Detail Zoom, make sure I'm in Trim edit mode 00:59:37.710 --> 00:59:39.540 by pressing T, and I'm just going 00:59:39.540 --> 00:59:43.260 to trim the end of that shot again to the magic four 00:59:43.260 --> 00:59:44.045 second duration. 00:59:44.045 --> 00:59:47.610 00:59:47.610 --> 00:59:51.240 I'm going to go back into my Full Extent Zoom, 00:59:51.240 --> 00:59:55.080 and I'm just going to play the timeline just so that I hear 00:59:55.080 --> 00:59:57.190 the last beat of the music. 00:59:57.190 --> 01:00:00.040 [MUSIC PLAYING] 01:00:00.040 --> 01:00:08.370 01:00:08.370 --> 01:00:10.835 I'll use my audio scrubbing. 01:00:10.835 --> 01:00:13.760 [WALKING THROUGH THE AUDIO FRAME BY FRAME] 01:00:13.760 --> 01:00:16.230 01:00:16.230 --> 01:00:19.210 Just to be able to find the beat of that music. 01:00:19.210 --> 01:00:21.600 So using the audio beats for the music 01:00:21.600 --> 01:00:24.840 is a good way of being able to guide the edit. 01:00:24.840 --> 01:00:26.440 Now, we need the credits. 01:00:26.440 --> 01:00:29.280 So let's go to our credits smart bin. 01:00:29.280 --> 01:00:33.190 Let's double click to select the credits in the source viewer. 01:00:33.190 --> 01:00:36.760 And in this case, we actually want to take all of the credits. 01:00:36.760 --> 01:00:39.190 So we're not going to set any in or out points. 01:00:39.190 --> 01:00:40.710 Instead we're just going to perform 01:00:40.710 --> 01:00:43.920 an overwrite edit with F10. 01:00:43.920 --> 01:00:46.390 If I use the up arrow key in the timeline, 01:00:46.390 --> 01:00:48.136 use the forward slash key. 01:00:48.136 --> 01:00:50.985 [MUSIC PLAYING] 01:00:50.985 --> 01:00:52.970 01:00:52.970 --> 01:00:56.400 Now, that I've got those shots in at the end of the timeline, 01:00:56.400 --> 01:00:59.480 I just need to go back through and refine which parts 01:00:59.480 --> 01:01:01.050 of the shots that I'm using. 01:01:01.050 --> 01:01:05.330 So I need to use the trim edit function for that as well. 01:01:05.330 --> 01:01:08.210 Let's position the playhead over the St. Martin shot 01:01:08.210 --> 01:01:11.030 at the end of this timeline, and use the Detail Zoom 01:01:11.030 --> 01:01:12.560 button to zoom in. 01:01:12.560 --> 01:01:15.980 If we preview the shot by selecting it and pressing 01:01:15.980 --> 01:01:17.922 the forward slash key-- 01:01:17.922 --> 01:01:20.300 [MUSIC PLAYING] 01:01:20.300 --> 01:01:25.375 01:01:25.375 --> 01:01:27.500 You can see that we're actually using the beginning 01:01:27.500 --> 01:01:31.130 part of the shot where actually the plane is quite far away. 01:01:31.130 --> 01:01:35.150 So instead of that, if we use the Trim edit mode and actually 01:01:35.150 --> 01:01:38.250 click on the upper part of the clip on the timeline, 01:01:38.250 --> 01:01:42.450 this will enable us to slip the actual content of the shot. 01:01:42.450 --> 01:01:45.590 You can see how the clip is slipping on the timeline 01:01:45.590 --> 01:01:48.060 and how the thumbnails are being updated. 01:01:48.060 --> 01:01:52.140 If I keep on dragging, if you look at the timeline viewer, 01:01:52.140 --> 01:01:54.000 you can see in the upper right corner, 01:01:54.000 --> 01:01:57.980 you can see the outgoing frame as the plane disappears 01:01:57.980 --> 01:02:00.060 overhead and out of shot. 01:02:00.060 --> 01:02:03.590 And that is where I want that shot to end. 01:02:03.590 --> 01:02:05.450 This is called a Slip edit. 01:02:05.450 --> 01:02:08.026 [MUSIC PLAYING] 01:02:08.026 --> 01:02:14.270 01:02:14.270 --> 01:02:17.000 The Slip edit is one of the most powerful trimming functions 01:02:17.000 --> 01:02:18.740 that we have in the timeline. 01:02:18.740 --> 01:02:22.040 I'm going to return to my Full Extent Zoom 01:02:22.040 --> 01:02:25.890 and just position my playhead over this Alaska shot. 01:02:25.890 --> 01:02:29.630 Again, I'll select that and just press the forward slash key just 01:02:29.630 --> 01:02:30.297 to preview it. 01:02:30.297 --> 01:02:31.880 PRESENTER 1: --every shot was original 01:02:31.880 --> 01:02:33.130 and that everything was real. 01:02:33.130 --> 01:02:38.840 01:02:38.840 --> 01:02:41.210 CHRIS: It's a nice shot, but it's lacking 01:02:41.210 --> 01:02:43.500 a certain amount of dynamism. 01:02:43.500 --> 01:02:45.980 So another thing that we can often do with shots 01:02:45.980 --> 01:02:48.350 is we can adjust the speed of them. 01:02:48.350 --> 01:02:50.540 With that clip selected, I'll just 01:02:50.540 --> 01:02:52.610 come up here to the top right hand corner 01:02:52.610 --> 01:02:54.740 and open up the inspector. 01:02:54.740 --> 01:02:57.770 Scrolling through the inspector, I actually 01:02:57.770 --> 01:03:00.830 have a category called Speed Change. 01:03:00.830 --> 01:03:03.810 If I just simply click on that to open it up, 01:03:03.810 --> 01:03:06.680 I can now specify the speed of this clip. 01:03:06.680 --> 01:03:09.920 Speeding the clip up should give us something more 01:03:09.920 --> 01:03:12.920 to actually see, as it looks as though probably the plane is 01:03:12.920 --> 01:03:15.500 actually going to be flying a little bit faster. 01:03:15.500 --> 01:03:19.430 Selecting the speed percentage, type in 200 01:03:19.430 --> 01:03:21.240 and hit the Return key. 01:03:21.240 --> 01:03:23.160 That then adjusts the speed of the clip, 01:03:23.160 --> 01:03:27.770 so it's now playing at 200% or twice as fast. 01:03:27.770 --> 01:03:29.215 If I hit the forward slash key-- 01:03:29.215 --> 01:03:30.320 PRESENTER 1: --every shot was original, 01:03:30.320 --> 01:03:31.555 and that everything was real. 01:03:31.555 --> 01:03:37.040 01:03:37.040 --> 01:03:40.020 CHRIS: There's now a little bit more movement in that shot. 01:03:40.020 --> 01:03:43.390 So in this case, I can now slip the clip 01:03:43.390 --> 01:03:46.060 in order to use a later part of the shot 01:03:46.060 --> 01:03:49.310 as the camera pans around the plane, 01:03:49.310 --> 01:03:52.240 so that we now get this shot in the top right 01:03:52.240 --> 01:03:55.070 quadrant of that timeline view. 01:03:55.070 --> 01:03:57.940 As you can see, the end frame is now 01:03:57.940 --> 01:04:02.225 the plane with the mountains in the background. 01:04:02.225 --> 01:04:03.850 PRESENTER 1: --every shot was original, 01:04:03.850 --> 01:04:05.100 and that everything was real. 01:04:05.100 --> 01:04:07.780 [MUSIC PLAYING] 01:04:07.780 --> 01:04:10.540 01:04:10.540 --> 01:04:14.350 CHRIS: Another way of using a different part of the same shot 01:04:14.350 --> 01:04:19.360 is actually to use a Match Frame and Replace function. 01:04:19.360 --> 01:04:21.430 In this case, if I move the playhead 01:04:21.430 --> 01:04:24.230 to the first frame of the Kenya clip, 01:04:24.230 --> 01:04:27.400 if I actually want to reveal the original source 01:04:27.400 --> 01:04:31.900 clip for that clip, I can just press F on the keyboard 01:04:31.900 --> 01:04:34.160 in order to be able to do a match frame. 01:04:34.160 --> 01:04:37.180 This actually brings the original source clip up 01:04:37.180 --> 01:04:38.630 into the source viewer. 01:04:38.630 --> 01:04:43.120 This means I can now see all of the rest of the clip 01:04:43.120 --> 01:04:45.790 without actually having to manipulate it directly 01:04:45.790 --> 01:04:47.560 on the timeline. 01:04:47.560 --> 01:04:51.590 If I now choose a new starting frame for this clip, 01:04:51.590 --> 01:04:57.310 just as the plane is coming over this shot of the flamingos here, 01:04:57.310 --> 01:05:00.950 I've now got the playhead in the correct position, 01:05:00.950 --> 01:05:03.910 and now I can use the Replace edit function 01:05:03.910 --> 01:05:07.780 in order to be able to match the two play heads together. 01:05:07.780 --> 01:05:11.140 You can use the Replace edit by simply dragging 01:05:11.140 --> 01:05:13.150 the clip over the timeline viewer 01:05:13.150 --> 01:05:18.370 to the Replace edit overlay, or alternatively, you've 01:05:18.370 --> 01:05:21.280 actually got a Replace Clip button 01:05:21.280 --> 01:05:24.430 at the top of your timeline, or you can use 01:05:24.430 --> 01:05:26.550 your keyboard shortcut of F11. 01:05:26.550 --> 01:05:29.230 01:05:29.230 --> 01:05:31.270 And in this case, the Replace edit 01:05:31.270 --> 01:05:34.390 has actually replaced the clip by matching the two play 01:05:34.390 --> 01:05:35.450 heads together. 01:05:35.450 --> 01:05:38.950 So the playhead here in the source viewer 01:05:38.950 --> 01:05:40.630 is actually placed at the location 01:05:40.630 --> 01:05:44.290 of the playhead in the timeline, and then the clip 01:05:44.290 --> 01:05:47.950 is actually replaced based on the source media clip 01:05:47.950 --> 01:05:49.250 after the playhead. 01:05:49.250 --> 01:05:51.310 It's a very, very powerful function 01:05:51.310 --> 01:05:54.620 if you actually want to be able to synchronize clips together. 01:05:54.620 --> 01:05:56.800 It's useful for being able to edit 01:05:56.800 --> 01:05:59.110 sound effects into the timeline, or to be 01:05:59.110 --> 01:06:03.190 able to match two images together with different actions, 01:06:03.190 --> 01:06:07.900 for example, here, if we go to the last clip 01:06:07.900 --> 01:06:11.110 here in the timeline where we actually have the St. Martin 01:06:11.110 --> 01:06:13.460 landing plane flying overhead. 01:06:13.460 --> 01:06:16.066 [MUSIC PLAYING] 01:06:16.066 --> 01:06:19.660 01:06:19.660 --> 01:06:23.000 Sometimes, instead of match framing to the same clip, 01:06:23.000 --> 01:06:25.180 you actually maybe want to reveal the clip 01:06:25.180 --> 01:06:27.380 in its original source bin. 01:06:27.380 --> 01:06:30.190 This is because usually, additional 01:06:30.190 --> 01:06:34.190 takes of the similar sorts of footage would be available, 01:06:34.190 --> 01:06:35.690 usually in that bin. 01:06:35.690 --> 01:06:38.260 So in this case, instead of match framing to the source 01:06:38.260 --> 01:06:41.020 clip, right click the clip in the timeline, 01:06:41.020 --> 01:06:44.825 and there, you can use the Find in Media Pool option. 01:06:44.825 --> 01:06:47.730 01:06:47.730 --> 01:06:51.100 That will then reveal the clip directly in the media pool, 01:06:51.100 --> 01:06:53.730 in the bin, and usually, other clips 01:06:53.730 --> 01:06:56.110 around that will be alternative takes. 01:06:56.110 --> 01:07:01.440 For example, this clip AOA12 actually has the similar plane 01:07:01.440 --> 01:07:04.840 landing, but also has lots of people in the foreground. 01:07:04.840 --> 01:07:08.580 This is a much more dramatic shot than the original one 01:07:08.580 --> 01:07:09.850 that we were using. 01:07:09.850 --> 01:07:13.320 If I double click that clip to open it into the source viewer 01:07:13.320 --> 01:07:16.290 and then actually use my J, K, and L keys in order 01:07:16.290 --> 01:07:20.880 to be able to find a frame, which is visually matching 01:07:20.880 --> 01:07:24.420 the frame that I'm viewing in the timeline viewer, 01:07:24.420 --> 01:07:28.030 with the two play heads in the correct positions, 01:07:28.030 --> 01:07:32.340 I can now simply do a Replace edit and match the action 01:07:32.340 --> 01:07:34.253 across the two shots. 01:07:34.253 --> 01:07:36.920 [MUSIC PLAYING] 01:07:36.920 --> 01:07:39.157 01:07:39.157 --> 01:07:40.740 So these are just some of the trimming 01:07:40.740 --> 01:07:42.240 and some of the editing functions 01:07:42.240 --> 01:07:44.610 that we have within Resolve in terms of being 01:07:44.610 --> 01:07:47.370 able to put an edit together. 01:07:47.370 --> 01:07:50.940 Just before we actually move to the next stage of the editing 01:07:50.940 --> 01:07:54.420 process, I'm just going to make a slight change to some 01:07:54.420 --> 01:07:57.660 of the audio for the interview, and in order 01:07:57.660 --> 01:08:01.740 to do this, of course, I just need to unlock the entire track. 01:08:01.740 --> 01:08:04.440 And in this case, I just want to find 01:08:04.440 --> 01:08:07.180 a beginning of his interview here, 01:08:07.180 --> 01:08:08.978 just at the very end of the interview, 01:08:08.978 --> 01:08:10.770 PRESENTER 1: --or it didn't make the movie. 01:08:10.770 --> 01:08:12.630 CHRIS: Didn't make the movie. 01:08:12.630 --> 01:08:16.560 And I actually want to separate this part of the clip 01:08:16.560 --> 01:08:19.319 here and just move it a little bit further up 01:08:19.319 --> 01:08:20.500 and out of the way. 01:08:20.500 --> 01:08:25.330 So I could use my blade edit mode here to cut that clip, 01:08:25.330 --> 01:08:28.930 or I could use a short keyboard shortcut for this. 01:08:28.930 --> 01:08:32.529 If I select a clip and press Command or Control B, 01:08:32.529 --> 01:08:34.390 that will actually split the clip, 01:08:34.390 --> 01:08:36.859 and now I can move that clip and position it 01:08:36.859 --> 01:08:38.490 where I need it to be. 01:08:38.490 --> 01:08:41.875 About there will do. 01:08:41.875 --> 01:08:44.000 PRESENTER 1: It was really important every shot was 01:08:44.000 --> 01:08:45.804 original and everything was real. 01:08:45.804 --> 01:09:00.872 01:09:00.872 --> 01:09:02.330 CHRIS: So hopefully, this video has 01:09:02.330 --> 01:09:04.939 been useful in showing you some of the editing functionality 01:09:04.939 --> 01:09:07.020 that we have within DaVinci Resolve. 01:09:07.020 --> 01:09:09.330 Don't forget, if you've got any further questions, 01:09:09.330 --> 01:09:11.270 then please feel free to join us on the forum 01:09:11.270 --> 01:09:15.120 pages where questions are answered on a daily basis. 01:09:15.120 --> 01:09:18.260 We've also got a full range of training materials 01:09:18.260 --> 01:09:21.649 available for free as well, so check out the DaVinci Resolve 01:09:21.649 --> 01:09:24.830 training pages, where you can download further videos 01:09:24.830 --> 01:09:28.160 and books to help you get to grips with Resolve. 01:09:28.160 --> 01:09:30.130 Thank you very much. 01:09:30.130 --> 01:09:37.000