DaVinci Resolve 17 Edit Training - Introduction to Editing Part 1

CHRIS: Hi, I'm Chris.

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

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

that you can access
in DaVinci Resolve.

We've been sent some
footage to put together

a short trailer for
a documentary film

by the filmmaker
Brian Terwilliger,

and so to do that,
we're going to start

by creating a new project.

So here I am in the
project manager.

I'll just click on
the New Project button

to create that and give
this project a name.

Age of Airplanes Trailer.

Choose to create,
and DaVinci Resolve

opens directly in the Cut page.

Now the best place for me to
do importing and organization

is actually in the
Media page, so down

at the bottom of
the interface here,

just click on the Media page.

Now in the top left
of the media page,

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

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

and choose Add New Location.

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

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

Go to the editing
folder and then choose

Open, and that creates a
new storage location for me

to access here.

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

are actually in
separate folders,

and to a certain extent, I
want to preserve that folder

structure, so when I import
the footage into Resolve,

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

Simply select these two folders
in the media storage location,

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

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

Now, at this point,
DaVinci Resolve

is asking me to change
the project frame rate.

This is so that
the project frame

rate will match the
frame rate of the footage

that I'm bringing in.

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

So now the footage has been
imported into the media pool.

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

The first thing I'm
going to do is just

access the audio
clips bin, and you

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

that actually contains a
series of sound effects

that I'm going to use
within the trailer,

the other clips aren't
organized into bins.

So let's create a
couple of other bins

so that we know where
this footage is.

So first of all, with the
Audio Clips bin selected,

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

New Bin.

There are also a
series of shortcuts

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

N because I'm on a Mac.

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

going to call this Music.

And then take the
clip Music for Trailer

and just drag and drop
that into the Music folder.

So organizing clips
into bins is very

similar to organizing files
in folders on your operating

system.

I've also got two
voiceover clips here.

I'm just going to
select both of those,

and this time right
click and choose

Create Bin with Selected Clips.

I'm going to call this VO.

So that's got all of my
audio clips organized

into separate bins.

I now need to do the same
with the video clips.

But in this case, rather
than just using simple bins,

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

So selecting the
video clips folder,

you can see I've got
a series of thumbnails

for each of the clips.

If I actually just take
my mouse and run the mouse

across the clips, you can see
that each of the video clips

is previewed for me.

If I get to a clip that
actually has audio,

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

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

just by pressing Shift
S on my computer.

Now, we're not hearing
the audio scrub.

Obviously, these three
clips that I have here

are interview clips.

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

Interview.

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

and then in the Metadata panel
down in the bottom right hand

corner of the
interface, I'm just

going to display the keyword
metadata field that I need.

Clicking in the Sort menu
for the Metadata panel,

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

And this will actually
show the metadata

for the shot and the scene
information for these clips.

You can see, scrolling
down through this view

here, that we actually
have a field for keywords.

So I'm going to enter
the keyword Interview.

Just typing Interview
or beginning

to type Interview in
the Metadata field

means that it'll
actually bring up

a list of options for
different keywords,

but you can always put in
your own keywords in there.

Let's choose the option for
Interview and choose Save.

So that's how easy
it is in order

to be able to add keywords to
any clip within your project.

Now that we've added the
keywords to the clip,

it's actually really easy
because DaVinci Resolve

will automatically
display any keyword clips

in their own smart bin.

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

simply select the
Keywords option

and then toggle it open
using the disclosure arrow,

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

So my three interview
clips are now

being displayed
within that smart bin.

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

I'm just going to select
the Video Clips bin

and select the clip
called Credits.

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

And now that is actually tagged
that clip with that keyword,

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

So now you can carry
on adding whatever

keywords you want to any of
the clips within your project

and organize them.

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

If we select the Video
Clips bin, for example,

and then select
this first clip here

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

and select the inspector in
the top right hand corner

and then choose the File
tab in the inspector,

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

that we can easily access.

These are the same
metadata fields

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

panel itself.

It just means that they're
easier to access here

inside the inspector.

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

just by simply clicking
in these fields

and start to type
in the information.

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

might be logging
these shots, it's

actually easier to
import the metadata

rather than to add every single
piece of metadata individually.

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

Import Metadata to Media Pool.

Navigate to where your editing
footage is on your system

and choose to select
the aoalogging.csv file.

A CSV file is a comma
separated values file.

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

I'm going to choose
to open that,

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

information, you can
see that it is also

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

Now in this information,
we don't actually

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

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

Code.

I'm going to
uncheck that option.

And then choose OK.

And you'll see that the
information has actually

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

If I select any of
these clips again,

you'll now see, in the
File tab in the inspector,

I've now got
additional information

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

often, sometimes whether this
is a good shot or a good take

or not.

Just scrolling down to the
bottom of the file inspector,

you can also see a comments
field has also been added.

So having added all of that
metadata to these clips,

how can I actually use it?

Well, I can actually
use it in order

to be able to do very quick
searches across the project.

If I select the master
bin, for example,

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

for any shots that were shot
at San Francisco airport,

for example.

I can actually click on
the Search option here.

Under this little dropdown
arrow at the side,

I can also choose
whether or not I

want to search the
selected bin or all bins.

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

so I'm going to select all bins.

And now I need to
choose which fields

I'm actually trying to match.

So you can see
here, the Filter By

is actually based on the
file name of the clip, which

is absolutely fine
if you know the file

name that you're searching for.

In this case, though,
I actually want

to match to the
scene information.

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

it will cycle through
all the metadata fields

until I get to the scene.

Selecting that I
can now type in SFO,

and you can see that all of
the clips in the project that

have actually got that scene
information, SFO, will now

be revealed.

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

has the comment for Kenya.

From the Filter By, I can
choose the Comments field

just by tapping C many times
until Comments appears.

And now highlight the
text for the search.

And again, type in what
I'm actually looking for.

That's the power of
metadata in order

to be able to
search right the way

across your project to find the
clips that you're looking for,

but we can go one step further.

If you clear the Search field
and close down the search field

by clicking the
Search button, now

go to your DaVinci
Resolve Preferences menu.

Choose User, Editing.

You can see that there's
a category of preferences

for automatic smart bins.

By default, the automatic smart
bins for keywords is already on.

However, you can
also see that we

can create automatic
smart bins for anything

with shot or scene metadata.

Click the automatic smart
bins for the scene metadata

and click Save, and now,
in your list of smart bins,

you've now got a
new scene category.

Use the disclosure
arrow to open that up,

and you can now see that the
information for each scene

is displayed as
its own smart bin.

Just simply select
the smart bin in order

to be able to
access the contents.

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

that you can have
within DaVinci Resolve.

You can actually create
your own custom smart bin.

In this case, I'm going to
go back to the File menu

and choose the
option New Smart Bin.

This field then
opens up, and it's

asking me for a variety of
rules that I can actually

input in order to be able
to narrow down the footage

that I actually want to locate.

Let's rename this
smart bin B-Roll.

So now, I need to choose my
first rule, so in this case,

I'm going to say
Media Pool Properties.

But I don't want to
match on the file name.

I actually want to match
on the keyword information

to begin with.

So keywords do not
contain interview.

So now my smart bin
search is automatically

filtering out any clip that
has the interview keyword.

I'm going to add
another rule for this.

Media Pool Properties
for keywords

does not contain credits.

This was the other keyword that
I actually added to my title

that I actually don't want
to see in the B-Roll bin.

You can also choose to
add a subset of rules

to your smart bins as well.

Holding down the
Option or the Alt key

on your system when I
click on this plus button

actually turns it
into an Options menu.

And now, I actually
have a subset of rules

that I just want
to match any two.

And in this case, I actually
want to specify clip types,

so I'm going to choose
Media Pool Properties.

Change the second
drop down to Clip Type

just by tapping
C on my keyboard.

Clip Type is video.

This means that only video
clips, not audio clips or still

image files or
timelines will find

their way into this smart bin.

But that's just video.

What if I have video with audio?

Well, in this case, I'm going to
add another rule to this subrule

and set and specify the clip
type is video and audio.

Now I can choose to
create my smart bin.

And the results
of that smart bin

will be automatically updated.

So if I add any additional
clips to this project,

providing those clips
meet the criteria,

I'll be able to find
them in this smart bin.

If you want to edit a smart
bin for any reason, just simply

double click on the smart bin
and the rules of that smart bin

will open up, allowing
you to change them.

There's one other thing
that we can actually

use the metadata for
in Resolve, and that's

to actually use the
information in the metadata

in order to be able to rename
the clip within the project.

This can be very
useful if you actually

want to do a search
across a clip name,

or you just want to
simply have a sanity check

as to what that actual clip is.

By naming the clip in
an appropriate way,

it's easy to check that.

So here in the
B-Roll smart bin, I'm

just going to select
all of those clips

just by dragging a
Lasso across them.

Then I'm going to right click
and choose clip attributes.

Choose the name panel
from clip attributes

and highlight the
default clip name.

So in this case, I actually
want all of my B-Roll clips

to start with the initials
AOA for Age of Airplanes,

so I'm just going to type
in AOA underscore in order

to separate the
next information.

Now, I want to take
information from the metadata.

And in order to do this, I need
to add what we call a variable.

To add the variable,
all you need to do

is put in the percentage symbol.

And now, it'll
give you an option

to choose whichever metadata
field that you want to add.

In this case, we want to
choose the Shot metadata field.

So I'm just going to type the
word Shot after the percentage

value, and you can
see here in the menu

I've got the Shot option.

So I'm going to select
that, and that has now

added a tag to my clip name
based on the shot information

for each of these clips.

Again, I'm going to use
underscore percentage

and then use comments.

Now, when I click OK,
the clips are now all

renamed in the media pool
using AOA, underscore, the shot

number, underscore,
the comments field.

This is going to
make it easier for me

to be able to locate
each of the clips

and actually use
them in my edit.

I want to do the same
with the interview clips,

so I'm going to select
the Interview smart bin,

select the interview clips,
right click clip attributes.

In the name, highlight the
Name field, and this time,

I'm going to type
in INT underscore

percentage shot underscore
percentage comments

and then choose OK.

And now, you can see
that the interview

clips have been named with
the appropriate soundbite

information.

Now that I've got all of the
clips organized for the project,

I'm now going to
go to the Edit Page

that I can actually
start editing.

Just simply click on
the Edit Page button.

And all of the information
that you've just

organized inside the media
pool on the Media page

is now available to me.

And the great thing is that I
can keep organizing this footage

as I'm working.

And the organization process
when you're editing never really

stops, it just gets refined
the more that you do.

I'm actually going to start
by selecting the master

bin in the media pool and
creating a new bin, just

a regular bin that I'm
going to call Timelines.

In this case, it's often useful
to keep your timelines organized

in separate bins so that
you know where they all are.

Make sure you've got the
Timeline bin selected,

and then go to the File menu
and choose New Timeline.

Let's just change the name
of this timeline to something

a little bit more
appropriate for this project.

AOA Trailer, and we'll
just call it version 1.

Quite often you'll go through
a number of different versions

for all of your edits.

If you wish to you can actually
override the default project

settings for any timeline.

Just simply uncheck the Use
Project settings option,

and then you can
go into the format

to change the
timeline resolution

and the timeline frame rate.

However, in this case,
because we already

changed the frame
rate for the project,

we know that this is
actually the correct setting,

so I'm just going to
re-enable the project settings

and choose Create.

Now, I have a timeline,
I can actually

start assembling the material
directly in the timeline,

and start putting
together this edit

and making some sort of sense
of the material that I've got.

So let's go to the
Interview smart bin,

so that we can actually
see the interview clips.

From the Sort menu
in the media pool,

just click and make sure
that you're organizing

these clips by clip name.

This will put them in the order
that we're roughly interested

in.

In this case, we
actually have INT_01,

and it's called
Shoot the Real World,

based on the naming
convention that we're

using for this project.

You can see that, as
I'm scrubbing backwards

and forwards, my
live media preview

is on so that I can actually
see the content of that clip.

If my audio scrubbing
was also turned on,

I would also be able to
hear the audio scrub as I

move my mouse back and forth.

To turn the audio
scrubbing on and off.

You can use Shift S.

PRESENTER 1:
[SPEAKING IN FAST FORWARD]

CHRIS: I'm going to
double click this clip

and that will actually open it
directly into the source viewer.

Now I can use the
scrubber bar here

in order to be able to return
to the beginning of that clip,

and I'm just going to
play the clip through

just so that we can all
listen to the interview.

You could use the
spacebar or the L key.

PRESENTER 1: So
in this film, I'm

making a documentary about
how the airplane's changed

the world.

It was really important to go
out and shoot the real world,

and how the airplane is
connecting and making

all the things possible that
I want to convey in the film.

CHRIS: Well,
obviously, I don't want

to use all of that
interview, but in this case,

as a good starting
point, I'm actually

just going to bring the
whole clip into the timeline.

Now, there are several ways
in which we can do that.

For example, I can just pick the
clip up from the source viewer

and drag it and drop
it into the timeline.

This is often a manual
way of being able to edit,

but it's very limiting
on what I can actually

do when it comes to
editing footage together.

So in this case, I'm just going
to press Command or Control

Z just to be able to
undo those changes,

and this time, instead of
dragging and dropping the clip

into the timeline,
I'm actually going

to pick the clip up and drag
across to the timeline viewer.

And you'll notice,
on the right hand

side of the timeline
viewer, I've

actually got all of
the editing functions

that I can perform
inside the Edit page.

So this is a useful way of
being able to remind yourself

of the different
functions that we have.

The default is actually
Overwrite Edit.

If I now let go of
the mouse, the clip

is edited instantly to the
beginning of the timeline.

The timeline viewer has
automatically become active,

so if I use the up
arrow on the keyboard,

I can return to the
beginning of the timeline.

I'm just going to
play forward, just

like I did in the source viewer,
using the L key on my keyboard.

PRESENTER 1: So
in this film, I'm

making a documentary about how
the airplanes changed the world.

It was really important to go
out and shoot the real world.

CHRIS: That's a good place
for this soundbite to end.

Now, you can see,
in the timeline,

I've got a good guide with the
image of the waveform where

he starts and stops speaking,
and you can actually

use this as a guide
when you actually

want to position the
playhead for the next edit.

And in this case, I'm actually
going to click the Detail Zoom

button just to be able to step
into the timeline a little bit

clearer, and then use the J
and L keys in order to be able

to find the exact point
within that interview where

he's finished that
line, "real world."

And you can see
from the waveform,

this is very clear
where he stops speaking

and where he starts again.

Now, I'm going to return to
my full extent Zoom function.

This allows me to see the whole
timeline from beginning to end,

and the playhead
is now the location

that I'm actually going
to perform the next edit.

So let's find an interview clip.

Let's go to interview 02,
double click from the media pool

to open it into the
source viewer, and now,

I'm going to return the
playhead to the very beginning,

and I'm going to play
through the interview.

PRESENTER 1: With all seven
continents, 18 countries.

It was very important
that everything was real.

If it was possible to shoot
it, we wanted to go shoot it.

If we couldn't get the shot
or the weather wasn't right,

we would either go
back to that location,

stay at that location longer,
or it didn't make the movie.

It was really important
every shot was original

and that everything was real,
but there's a few things.

Only--

CHRIS: And again, I don't
want to use all the interview.

I only want to use a
portion of the relevant part

of the interview.

So in order to be able to see
the parts of the soundbite

that I actually want
to use, I'm actually

going to use a feature
inside DaVinci Resolve, which

I find very useful on
a day to day basis.

If you come up to the
top of the source viewer

and click the
Options menu, that's

the three dots that you see
at the top of the viewer,

we can actually choose to show
the zoomed audio waveform.

You can also choose to show
a full clip audio waveform.

Let's try that first,
and that actually

shows me a waveform very
similar to the waveform

that I have for the
clip in the timeline.

But because it's actually
shown me the whole interview,

it's actually a
little bit difficult

to actually focus on where
I want to concentrate on.

So in this case, I'm going to
click back in the Options menu

again and choose Show
Zoomed Audio Waveform.

Now, as I scrub
through the clip,

you can see that
it will actually

show me a detailed
waveform view depending

where I am within the clip.

I'm going to return the playhead
to the beginning of that clip.

I'm just going to
play it through,

and I'm listening for the
first line for his soundbite.

PRESENTER 1: All seven
continents, 18 countries.

It was very important
that everything was real.

If it was possible to shoot
it, we wanted to go shoot it.

CHRIS: So that's where I want
him to start, where he says,

"if it was possible to shoot
it, we wanted to go shoot it."

So I'm now just going
to press the J key just

to be able to back that up to
the beginning of that soundbite.

PRESENTER 1: If it was--

CHRIS: And listening
to it closely, there's

an ah at the beginning
that I actually

don't want to include
within the soundbite.

PRESENTER 1:
[SPEAKING IN REVERSE]

CHRIS: So now, I can
actually jog through

if I turn on my audio scrubbing.

I can jog through
one frame at a time.

You can use the left and
right arrow keys for this,

but I actually find it's really
useful holding down the K key

and tapping the J or the L keys.

So at this point, I
want to add an endpoint

into my source viewer.

There's only one way you really
need to know how to do this,

and that's by pressing
I on your keyboard.

So I'm now going to play
the interview through

to find the end of the soundbite
that I'm interested in.

PRESENTER 1: If it was
possible to shoot it,

we wanted to go shoot it.

If we couldn't get the shot,
or the weather wasn't right,

we would either go
back to that location,

stay at that location longer,
or it didn't make the movie.

It was really important
every shot was original,

and that everything was real.

But there's--

CHRIS: And that's
the word, "real,"

where I actually want
this soundbite to end.

So I'm just going to
back the playhead up.

PRESENTER 1: And that
everything was real.

CHRIS: And again, you
heard a little bit

of the but at the
beginning, so I'm just

going to come back just a few
frames, find that gap that you

can see there in the waveform.

And that's where I want
to add my outpoint.

And of course, magic
shortcut is O for out.

Now, that I've got in
and out points set,

I might want to just
double check that they're

in the right position.

So I can actually press
Shift I to jump directly

to an endpoint, Shift O to
jump directly to an out point.

If I actually want to
preview the soundbite

between in and the out point,
I can hold down the Option key

and press the forward
slash key on my keyboard.

PRESENTER 1: If it was
possible to shoot it,

we wanted to go shoot it.

If we couldn't get the shot,
or the weather wasn't right,

we would either go
back to that location,

stay at that location longer,
or it didn't make the movie.

It was really important.

Every shot was original and
that everything was real.

CHRIS: And it's a little bit
tight on the output there,

so I'm just going to
jog forward just a frame

and reset the outpoint
by pressing O. However,

sometimes, you don't want to
listen to the whole soundbite

from beginning to end.

It could actually be quite long.

So if you actually just want to
preview where the outpoint is,

just simply bring your
playhead a few seconds

to before the outpoint, and
then from the playback menu,

you can choose Play
Around To, Play To Out,

and you can see here
keyboard shortcut is

Option Command forward slash.

PRESENTER 1: And that
everything was real.

CHRIS: So now that I've got
in and the out point set

for this soundbite, I'm going to
edit it into the timeline using

an overwrite edit.

Now, I can pick the clip
up again and drag and drop

over the timeline viewer
to access the overwrite.

I don't need to drag
to the actual overlay.

However, if I just come down
here to the top of the timeline,

you'll see that there are
three editing function buttons.

These buttons are probably
the most common used editing

features, which is why
they've been included

at the top of the timeline.

You'll see that the middle
one of those buttons

is actually overwrite clip, and
my keyboard shortcut for this

is F10.

Now, if you're on
a Mac, you may find

that the F10 key doesn't perform
an overwrite edit by default,

in which case, you'll need to
go into your System Preferences

and change the
keyboard settings so

that it uses all the F1 and F2
keys as standard function keys.

If I just press F10,
you'll see that the clip is

overwritten into the timeline.

It's actually overwritten the
tail end of the first interview

clip.

If I use the up arrow
key to navigate back

to the previous edit point,
and then preview the Edit

using the forward slash key,

PRESENTER 1: Shoot
the real world.

If it was possible to
shoot it, we wanted to go--

CHRIS: The first interview clip
now ends at the right point,

and the second interview clip
starts at the right point,

but it's a little bit too tight.

We've also got a very
nasty visual jump

cut between two interview
clips, so we now

want to start to insert
some of the b-roll

in, just to be able to
pace out those interviews.

Let's go to the
B-Roll smart bin.

Let's go for this second clip
here of this A380 taking off.

Let's double click to open
it up into the source viewer,

and then use J, K,
and L keys in order

to be able to preview this clip.

That's fine, just as the wheels
are about to leave the tarmac.

Let's set an endpoint a
second or so before that.

And let's set an outpoint just
after the plane has left frame

before we get a very horrible
camera movement there.

So let's set an out point
as the tail of the frame

has left the shot.

Because the playhead is in the
right place in the timeline.

I don't need to
worry about where

this shot is going to end up.

Make sure that the
playhead is on the Edit

point in the timeline so
that you're inserting it

in the right place,
and in this case,

I'm just going to pick the
clip up and drag across

to my overlays, and this time,
to perform an Insert edit,

I just drag it to
the Insert overlay.

And that inserts the
clip in the timeline

and moves the second
interview clip out of the way.

This is one of the advantages
for using those overlays,

rather than the drag and
drop approach to editing.

Using a drag and
drop approach, you

wouldn't be able to insert
the clip as efficiently.

So again, one reason for
using these functions.

In the timeline.

Let's move the playhead back
to the start of that clip.

So we're on the first frame
of the Lufthansa plane.

And in this case, let's
go to this clip here.

It's called AOA01 A380 Taxi.

Let's double click
that to open it up.

Now you'll notice straight
away that this clip has audio

PRESENTER 2: [INAUDIBLE]

CHRIS: It's not
great audio, however.

So what we need to do here is
we need to actually make sure

that when we insert
this into the timeline,

that we're not actually
going to use the audio.

Now, there are a couple of
ways that we can do this.

A simple way would be if we
were using drag and drop editing

over the timeline viewer.

We can actually come
here to the source viewer

and actually specify, using
one of these overlays,

whether we want to edit
just picture or just sound.

So in this case, I can
click on the overlay,

drag across to the
timeline viewer

and choose Insert in order
to be able to just insert

the picture and not the
audio for this clip.

However, I'm just going to
undo that with Command Z,

because if I want to use
my keyboard shortcuts

or my editing buttons at the top
of the timeline, unfortunately,

I can't specify
using that overlay

whether I'm using just the
picture or just the sound.

For example, if I come here and
use the Insert editing function,

you'll see it will actually
edit the audio in as well

as the picture.

Again, I'm just
going to undo that.

So there's actually
another control

that we can use in order to be
able to specify whether we're

editing, just picture
or just sound directly

into the timeline.

It's these two
buttons that appear

with red borders along the
left hand side of the timeline.

These are your source controls.

I'm actually going to come down
to the audio source control

here, and I'm just going
to simply click once

in order to disable that
button in the timeline.

Now, when I perform an Insert
edit using the Timeline button,

no audio is brought
into the timeline,

and this also means I can use my
keyboard shortcuts efficiently

as well.

Another insert edit that
we're now going to want to do

is actually within this
interview clip here.

So I'm going to move the
playhead to the beginning

of that interview
clip, and I'm just

going to play through
the beginning of it

for the first soundbite.

PRESENTER 1: If it was
possible to shoot it,

we wanted to go shoot it.

CHRIS: If it was
possible to shoot it,

we wanted to go shoot it.

That's where I actually want
to insert the next shot.

PRESENTER 1:
[SPEAKING IN REVERSE]

we wanted to go shoot it.

If--

CHRIS: The shot
that I'm actually

looking for is in
my B-Roll smart bin,

and it's the clip
of AOA_10_Maldives.

So double click that to open
it into the source viewer.

I love this shot.

It's this wonderful
in and out shot

where the camera is half
submerged in the water,

and there is a plane that comes
in over the top of the camera.

I'm actually just going
to set an endpoint

just as the shadow of the
plane appears over the coral.

And now, I actually
want to specify around

about a three second clip.

So one way that we can
do that is actually

to use timecode information
to be able to move forwards

and backwards through the clip.

In this case, I'm just going to
hit the Plus key on my keyboard

and type in 300, which you can
actually see in the top timecode

field in the source
viewer actually

translates to three seconds.

Hit the Return key.

Press O to set the
outpoint in order

to set a three second clip.

Actually, technically, it's
three seconds and one frame.

As you can see from
the duration field,

however, the playhead is
inclusive of the frame

that you're currently on,
so the outpoint is always

set at the tail of
that frame if you

need it to be three
seconds exactly,

you just need to
come back one frame

before you set the outpoint.

But now I can do an Insert
edit by pressing F9.

Excellent, so now, we've
got the edit really starting

to come together.

However, at this
point, you're probably

wanting to get a little bit
more control of the timeline,

particularly when
it comes to zooming.

Also, you might want to start
refining parts of the timeline

by removing sections.

Zooming in the
timeline is actually

much simpler in DaVinci
Resolve 17 than it's ever been.

We've already encountered
two fixed zoom functions.

These are the Full Extent
Zoom, which will always

show the full length
of your timeline

irrespective of how much
content is in the timeline.

And you've also got
the Detail Zoom button,

which allows you to Zoom in to
a fixed point on the timeline

wherever your playhead
happens to be.

However, you've also got a
custom zoom option as well,

so this button allows you to set
your own zoom level, which you

can do by just simply
dragging the slider

or using the Plus and Minus
buttons to zoom in and out.

Or you could use
keyboard shortcuts.

Command Equals allows you
to Zoom in on your playhead.

Command Minus allows
you to Zoom out.

If you're on a PC,
instead of using command,

you'd just simply use
Control, and you can also

use Shift Z in order to be able
to fill the timeline window.

This isn't the same as actually
using the Full Extent Zoom

button, however.

The Shift Z function allows you
to see the full timeline zoom,

but it doesn't remain fixed
at the full timeline Zoom,

so if you add any other
clips to the timeline,

you'll have to manually
change the zoom in order

to be able to focus on
the parts of the timeline

that you actually
want to work with.

However, Shift Z is very
useful if you actually

want to return to a previous
Zoom level in the timeline.

Just simply toggling Shift
Z is a very useful way

of being able to step in
and out of the timeline.

If you've got a three button
mouse with a scroll wheel on it,

then what you can do is
just hold down the Shift key

and use the scroll
wheel in order

to be able to dynamically
adjust the height of each

of the tracks.

And you can also change
the bias between the video

and the audio part
in order to be

able to get a
larger audio track,

and you can actually
see how easy it is now

to see the waveform
for those clips.

If you don't have a
wheeled three button mouse,

then you can always use the
Timeline View Options menu here,

and then actually use
the Track Height sliders

at the bottom of
that menu in order

to be able to adjust the height
of your video and audio tracks.

So now that we've
looked at how to adjust

the timeline zoom level so
that you can comfortably

view the timeline depending
on what you need to do, let's

look at how we can remove
some of these clips

and start to refine the
Edit a little bit further.

To begin with, you might
want to actually remove

just a simple portion of a clip.

For example, you might want
to remove the video or audio

part of a clip.

If I actually concentrate on
this middle interview here,

I'm just going to move
the playhead over that

and hit my Detail Zoom button
so that I can focus on this.

You should notice, on the
left hand side of the clip,

in both the video and the audio,
there are two little chain link

icons.

This indicates that this
clip is linked in both

these video and audio portions.

Using linked clips
is very, very useful

because it means that you can
move them around very easily

when you select the video
portion of a link clip,

the audio portion is also
selected automatically,

so it means it's very hard to
move these things out of sync.

However, in this
case, I just want

to remove a video
portion of this clip.

To override the link temporarily
on the timeline, just simply

hold down the Option or
Alt key on your keyboard,

and then click on the
video clip in order

to be able to select it.

Alternatively, you
can actually turn off

the linking for
the whole timeline

by just coming up and choosing
your link selection button here.

And with that turned off, if
you hold down the Option key

and select a clip,
it will actually

select any linked parts
of the clip automatically.

So basically, the
Option or Alt key

just simply reverses
whatever your link selection

is set to for your timeline.

With the video clip
selected, I'm just

going to go back to
my full extent Zoom,

so you can see what
happens to the timeline,

and I now want to
ripple delete the clip.

So in this case, I'm going
to hold down Shift and use

the Delete key in order to
be able to remove that clip.

And you'll see it
remove a video clip,

but it didn't remove the
audio portion of the clip.

More importantly, it's
also closed the gap

and rippled the
timeline in order

to make the timeline
slightly shorter.

And the full extent
Zoom is actually still

showing me the full
length of that timeline.

However, something else
that you may need to do

is actually be able to
remove a portion of a clip

from within the clip.

And a good example
of this is if you're

working with interview clips.

Let's move the playhead to the
start of the last interview

clip in the timeline, and then
use the Detail Zoom button

in order to be able to zoom in.

There's a line in this clip
that I actually want to remove,

so I'm just going to preview
the clip just by playing it.

PRESENTER 1: If we
couldn't get the shot,

or the weather wasn't
right, we would either

go back to that location,
stay at that location longer,

or it didn't make the movie.

It was--

CHRIS: So he says, we either
go back to that location,

stay at that location longer,
or it didn't make the movie.

It's a little bit repetitious.

It's not quite, but
the director actually

wants to take the second
line out there, stay

at that location longer.

So let's look at
how we can do that.

First of all, we can
actually see the waveform

where the portion
of the dialogue

is that we actually
want to take out.

Again, using the Shift
key and the scroll mouse,

I can actually make
that even bigger.

I'm going to move
the playhead back,

and my audio scrubbing is
going to come into handy here.

So I'm just going
to play forward.

PRESENTER 1: Stay
at that location--

[SPEAKING IN REVERSE]
--that location, stay--

CHRIS: And I can hear the
beginning of the word stay,

making sure that my
playhead is on that point.

You can see from the
waveform in the timeline

that I look as though I'm
at the correct location.

And now what I want to do is I
want to cut this section out.

So I'm actually going to
use the blade edit mode

for the timeline, coming here
to these first four buttons

at the top of the timeline.

These are my different
timeline editing modes.

The first of these is the
default selection mode.

This allows me to
click on clips,

move them around,
and delete clips.

I've also got my
Blade edit mode,

featuring a very frightening
looking razor blade icon,

I have to say.

If I select that or use
the keyboard shortcut B,

I can then bring that blade
down into the timeline here.

Making sure that
my snapping is on,

you can see how easily
that line will actually

snap to where my
playhead is, and I'm just

going to click once in order
to be able to add an edit.

That's the beginning
part of the clip

that I actually want to
lose from the timeline.

I now need to find the end.

PRESENTER 1: Stay
at that location

longer, or it didn't make--

[SPEAKING IN REVERSE]
longer, or--

CHRIS: And I'm looking
for the word or.

PRESENTER 1: [WALKING THROUGH
THE AUDIO FRAME BY FRAME]

CHRIS: About there.

It's taken a little bit of
jogging back and forward

one frame at a time, just in
order to be able to hear that.

But I was actually
trying to find

the beginning of the word or.

Again, I just want
to take my blade,

and just come near the playhead
and click once more in order

to be able to add a
second edit point.

This is now isolated
the portion of the clip

that I actually want to
remove from the timeline.

However, I don't want to
use the blade mode again,

so I'm going to switch
back to the selection mode

just by pressing
a on the keyboard.

I can now select that clip
and then press Shift Backspace

or Shift Delete in order
to be able to remove

the clip from the timeline.

That's got rid of the portion
of the clip that I isolated,

but I now need to hear
how that edit is working.

So if I press the
forward slash key--

PRESENTER 1: --right, we would
either go back to that location,

or it didn't make the movie.

It was really important--

CHRIS: It's probably not
the tidiest of edits,

but don't worry.

Only the very skilled
and experienced editors

will be able to get
that right first off.

More often than not, when
you're editing something,

you just need to make your best
guess and then refine it later.

So we'll leave this
for the moment,

but we'll come back to
it in a few minutes.

In the meantime, I'm
actually just going

to go back into my
Full Extent Zoom

so that I can see
the whole timeline.

And now what I want to
do is remove this portion

of the first interview clip.

You remember that we overwrote
the tail end of that clip.

However, the beginning
part of the clip

is still in the timeline,
so I want to remove that.

Now, if I use my
selection edit mode here,

I can select the beginning
part of that interview.

And if I trim that, you can
see that it will actually

trim and remove a
portion of the clip,

but it will also leave a gap.

This is not a huge problem,
but there's more efficient ways

that we've got been able to
trim that and not leave a gap.

So I'm just going to undo that.

In order to put the clip back
to how I originally had it.

And again, I'm going to change
my timeline editing mode.

I'm going to change it
from the Selection mode

to my Trim edit mode,
and Trim edit mode

is a really powerful
way of being

able to manipulate the clips in
the timeline in DaVinci Resolve.

You don't need to keep going in
and selecting specific tools.

This one mode will actually do
all of the trimming functions

that I need on a
day to day basis.

Using T allows me to
select the Trim edit mode,

and now when I go back
into the timeline,

I can click the same
edit point and start

to trim just by dragging
the mouse to the right.

As I do so, you can see that
the rest of the timeline

is actually changing.

I'm actually rippling
the rest of the timeline

back, thereby shortening
it by the amount

that I'm actually trimming off
the beginning of that clip.

You can also see I can
go the other way as well.

I can actually add footage
back to that clip if I need to.

If I keep going--

And you can hear from
the audio scrubbing

where the actual
interview starts,

so I can now let
go of the mouse.

And you can actually see
the tooltip there actually

says that I'm
removing three seconds

and four frames from the
beginning of this clip.

Now, if I return the playhead to
the beginning of the timeline,

I can play from the beginning.

PRESENTER 1: In
this film, making

a documentary about how the
airplanes changed the world.

CHRIS: And I've actually
got a much sharper start

to the interview.

And I can also use
the Trim edit mode

in order to be able
to fix the problem

with the edit in the interview
that I was just doing earlier.

Move the playhead
to the edit point

and then use the Detail
Zoom button to zoom in.

Sometimes, I only want to be
able to trim a frame or two

in either direction, so
being able to Zoom in means

that I'm much closer
to the footage

and therefore have a little
bit more control over it.

In this case, I'm
actually just going

to select the outgoing
part of this clip

here where the waveform is.

That shows me that probably I'm
just catching the outgoing word

there, and now I can
actually click and drag

in order to be able to remove
one or two frames at a time.

If you haven't actually
got the level of control

that you're
interested in, you may

want to turn off your snapping
here at the top of the timeline.

Keyboard shortcut
N is always worth

remembering because you can
always do this at any time,

even if you're in the
middle of an operation.

So in this case,
I'm going to click,

and I'm going to tap
N on my keyboard.

And now, I can actually remove
a single frame from that clip.

But you can also do this using
keyboard shortcuts as well.

For example, if I
use the period key,

I can actually add a
frame to that clip,

and if I use the comma
key, I can remove a frame

from that clip.

So now, if I press
the forward slash key,

PRESENTER 1: --right, we would
either go back to that location

or it didn't make the movie.

It was really important.

CHRIS: And again, it feels
a little tight still.

I think the outgoing
portion of that is fine,

but let's now select
the incoming portion,

and let's just trim
it back one frame.

So I've now added a frame
using the comma key in order

to make that timeline one frame
longer, because I'm always

rippling the footage,

PRESENTER 1: --right, we would
either go back to that location,

or it didn't make the movie.

It was really important.

CHRIS: And that sounded
pretty good to me,

but you might just want to
explore this a little bit more.

What would happen if
we added another frame

to the incoming shot
using the comma key?

PRESENTER 1: --right, we would
either go back to that location,

or it didn't make the movie.

It was really important.

CHRIS: Again, it's
probably about the same,

so I'm just going to take that
frame off again and probably

leave it at that point.

So now, I'm happy with
how that edit is working.

I'm actually just going
to start adding a few more

clips to the timeline, just
so we can pace out the Edit

and see where we're
going with things.

So in the timeline, I'm going
to deselect the edit point

and go back into my
Full Extent Zoom,

and just use the Shift
key and the scroll wheel

on my mouse just to
adjust the track height.

So I've got a little bit
more space for the audio,

and I'm going to return the
playhead to the beginning.

You can either simply drag it
or use the home key to go back

to the top of the timeline.

So at this point, I'm just
going to add some music

to this timeline.

Well, we already created
a Music bin earlier,

so we know exactly where to
find that piece of music.

In the bin list.

Select the music
bin, and then I'm

just going to turn off my audio
scrubbing by pressing Shift S,

and then I'm going
to double click

to open the music into
the source viewer.

Now, when you open audio
in the source viewer,

you actually get
an upper waveform,

which actually represents
the whole of the audio clip,

and a lower waveform, which
actually represents a zoomed

in portion of the clip.

So it's like having the
two waveform displays

side by side, which is
very useful to work with.

In this case, we actually want
to take the whole of the clip,

so we don't need to set any
in or out points to this clip.

And in this case, I'm just going
to pick the clip up, drag it

across to my timeline
viewer, and choose

the Place on Top function.

This then simply creates
a new audio track

at the bottom of the timeline,
and places the clip in it.

It may seem counterintuitive
that I've actually

used something called Place
on Top to actually place

the audio at the lower
part of the timeline,

but it just is the
way that edit works

with audio, which
typically lives

below the video in a timeline.

The audio is actually quite
loud, this piece of music is.

So I'm actually going to
move my mouse over the clip

and actually find the
point where I can actually

locate the volume
curve on the timeline.

If I now click at
that point, I can

grab hold of the volume
curve and lower it

to an appropriate audio level.

I'm actually just going to
take it all the way down

to around about minus 12
DB in the timeline here.

Doesn't necessarily mean to say
that that's the right level.

However, it's a
useful starting point,

and I always need to refine
the levels later anyways.

Now that I've got the audio
at a reasonable level,

I should be able to
hear the interview

over the top of the music.

PRESENTER 1: In this film,
making a documentary about how

the airplanes
changed the world, it

was really important to go
out and shoot the real world.

CHRIS: That's fine
at the moment.

It gives me something
to work with.

It might be that the
music gets changed

at some point in the
future, or I might need

to refine it a little bit more.

So I don't want to spend too
long adjusting the levels

and making them perfect.

Not at this stage.

Now that I've got the music into
place, that actually gives me

a time for the Edit.

So I've now got something
to aim for in terms

of an overall duration.

Let's move the playhead to
the edit point between the two

interview clips, half way
through this piece of music.

We're going to start by
editing a new clip in here,

and it's actually just
going to help us to fix

that very nasty jump cut.

Let's go to the B-Roll
bin, and let's find

the clip called South Pole.

Double click that.

It's AOA_8, shot
8, and I'm going

to set an endpoint just
as the tail of the plane

is coming out from
behind that yellow sign.

So an endpoint there, and I'm
wanting to take five seconds.

I don't know if five seconds
is the right duration,

but it's just a good
all round number

that we can tend to work
with for putting shots in.

So I'm going to use
plus 500 in order

to jump the playhead
forward by five seconds,

hit Return, set an outpoint.

And now I can just make a
simple overwrite edit with F10.

If I back the playhead
up in the timeline

and then hit the
forward slash key--

PRESENTER 1: --right, we would
either go back to that location

or it didn't make the movie.

It's really important.

CHRIS: And I think
that edit works nicely.

The audio of the interview
is working very well,

and the new picture
that's overwritten,

the end of that interview
actually covers the jump cut.

So now, let's add
a few extra clips

to the end of this
timeline, and then we

can actually trim those clips
to the correct duration.

From the B-Roll bin, select
the Kenya clip, AOA07.

Hold down the Command or
Control key and select AOA11.

That's the St. Martin landing.

And then again, hold
down Command or Control

in order to select
AOA14 Aerial Alaska.

With those three
clips selected, I

can actually drag those clips
directly to the timeline viewer

and choose the
Append at End edit.

What the Append at
End is really useful

for is throwing clips
at the end of your edit,

so you can use them to
quickly assemble footage

into the timeline,
and it doesn't depend

on where your playhead is.

It just depends on where the
last clip is in your timeline.

Obviously, those clips are
way too long for this edit,

so I just need to
reduce their duration.

To select the clips, i'm going
to switch into my Selection edit

mode, select the clips, now
go back to my Trim edit mode,

right click any of those clips,
choose Change Clip Duration.

Command or Control
D is the shortcut.

And from the Change
Clip Duration box,

I'm going to choose
the five second preset.

As I said, 5 seconds
is not necessarily

the correct duration,
it's just a duration

that's worth starting at.

Click Change, and
now, my clips have

been trimmed on the timeline.

However, I've still got a
little bit of work to do here.

Let's move back to the beginning
of the South Pole clip,

and then let's use
the detail Zoom button

just to zoom in a
little bit here.

I want to make the
South Pole clip

a little bit shorter because
nothing really happens in it.

So a five second shot is
a good starting point,

but let's just make it a little
bit shorter from the beginning.

So if I select the
incoming part of that clip

just to select that
clip there, you'll

notice I haven't
selected any audio.

And I'm using the Trim
edit mode here in order

to be able to select the
beginning part of that clip.

And I'm just going to remove a
few frames just to bring it down

to about four seconds duration.

You can see that,
as I'm trimming it,

the tooltip is telling me how
much I'm actually trimming it

by, and the gray
numbers underneath

represent an overall duration.

However, look at what's
happening to the underlying

audio clip of the interview.

Remember I had the interview
working in terms of the audio.

By changing it like
this, I'm actually

losing parts of the
outgoing audio clip.

I don't want to do that.

So in this case, I need
to undo that change.

Now, the reason that
this is happening

is because Resolve fights
to keep everything in sync

after the point at
which you are trimming.

So if a clip starts at the
trim point or afterwards,

then it will move in an
appropriate direction.

In this case, we
actually need to break

that functionality
that, up until now,

has actually served
us quite well.

So in this case,
I'm actually going

to come to the track
header, and I'm

going to choose
to lock the track.

That will prevent any
additional changes

being made to any of
the clips on this track.

I'll now trim that clip to
the four second duration

that I was aiming
for, and you can

see that the audio underneath
is now no longer moving.

Let's go back to
Full Extent Zoom

and then play to
review the change.

PRESENTER 1: --go
back to that location,

or it didn't make the movie.

It's really important
every shot was original,

and that everything was real.

CHRIS: That's a nice
shot of the Kenya plane.

However, you'll notice the
beginning part of that clip

was just a little bit untidy.

So again, I'm just going
to ripple a few frames out

of the beginning of that clip.

If we move the playhead to
the beginning of the clip,

go into the detail Zoom.

Use the Trim edit
mode in order to be

able to ripple a few
frames out to get

rid of the yellow part of the
plane at the top of the frame

there, again bringing
the duration down to that

around about four seconds.

It's not important to get
it accurate at this point.

It just means that just refining
the beginning of the shot.

Let's continue playing.

PRESENTER 1: --original, and
that everything was real.

[MUSIC PLAYING]

CHRIS: Hm.

Now, there's a few things
that we need to do here.

First of all, we
still need to be

able to bring the duration
of those clips down,

but they're actually
in the wrong order.

I want the Alaska shot
to follow the South Pole

shot on the timeline.

Then I would actually to finish
with the St. Martin shot.

Now, if I use my
Selection edit mode

to be able to move a clip around
the timeline, all I'll simply do

is overwrite what
is currently there.

So I need to use a
different function for this,

and this is what we would
call a Shuffle Insert edit.

And it's a little bit
of a secret function

that you now know about.

To perform a Shuffle edit,
hold down the Shift and Command

or Control keys, and then
use the comma and period key

in order to be able to move
the clip backwards and forwards

through the timeline.

So I can now put the
aerial Alaska shot

after the South Pole shot.

If I hold down the Command key
and use the left and right arrow

keys, this will allow me
to select another clip.

Hold down Shift and command and
use the comma and period keys.

Allows me to reorder
those clips as well.

And you can actually select
multiple clips on the timeline

and use the same keyboard
shortcuts in order

to be able to shuffle
those groups of clips

around the timeline.

So this makes it
really easy to move

one scene from one part of
the timeline to another.

So now I've got the
shots in the right order.

I'm just going to trim the
aerial Alaska shot before adding

the credits to the end.

Let's go into Detail Zoom,
make sure I'm in Trim edit mode

by pressing T,
and I'm just going

to trim the end of that
shot again to the magic four

second duration.

I'm going to go back
into my Full Extent Zoom,

and I'm just going to play the
timeline just so that I hear

the last beat of the music.

[MUSIC PLAYING]

I'll use my audio scrubbing.

[WALKING THROUGH THE AUDIO FRAME
BY FRAME]

Just to be able to find
the beat of that music.

So using the audio
beats for the music

is a good way of being
able to guide the edit.

Now, we need the credits.

So let's go to our
credits smart bin.

Let's double click to select the
credits in the source viewer.

And in this case, we actually
want to take all of the credits.

So we're not going to
set any in or out points.

Instead we're just
going to perform

an overwrite edit with F10.

If I use the up arrow
key in the timeline,

use the forward slash key.

[MUSIC PLAYING]

Now, that I've got those shots
in at the end of the timeline,

I just need to go back
through and refine which parts

of the shots that I'm using.

So I need to use the trim edit
function for that as well.

Let's position the playhead
over the St. Martin shot

at the end of this timeline,
and use the Detail Zoom

button to zoom in.

If we preview the shot by
selecting it and pressing

the forward slash key--

[MUSIC PLAYING]

You can see that we're
actually using the beginning

part of the shot where actually
the plane is quite far away.

So instead of that, if we use
the Trim edit mode and actually

click on the upper part of
the clip on the timeline,

this will enable us to slip
the actual content of the shot.

You can see how the clip
is slipping on the timeline

and how the thumbnails
are being updated.

If I keep on dragging, if you
look at the timeline viewer,

you can see in the
upper right corner,

you can see the outgoing
frame as the plane disappears

overhead and out of shot.

And that is where I
want that shot to end.

This is called a Slip edit.

[MUSIC PLAYING]

The Slip edit is one of the
most powerful trimming functions

that we have in the timeline.

I'm going to return
to my Full Extent Zoom

and just position my playhead
over this Alaska shot.

Again, I'll select that and just
press the forward slash key just

to preview it.

PRESENTER 1: --every
shot was original

and that everything was real.

CHRIS: It's a nice
shot, but it's lacking

a certain amount of dynamism.

So another thing that we
can often do with shots

is we can adjust
the speed of them.

With that clip
selected, I'll just

come up here to the
top right hand corner

and open up the inspector.

Scrolling through the
inspector, I actually

have a category
called Speed Change.

If I just simply click
on that to open it up,

I can now specify the
speed of this clip.

Speeding the clip up should
give us something more

to actually see, as it looks
as though probably the plane is

actually going to be
flying a little bit faster.

Selecting the speed
percentage, type in 200

and hit the Return key.

That then adjusts the
speed of the clip,

so it's now playing at
200% or twice as fast.

If I hit the forward slash key--

PRESENTER 1: --every
shot was original,

and that everything was real.

CHRIS: There's now a little
bit more movement in that shot.

So in this case, I
can now slip the clip

in order to use a
later part of the shot

as the camera pans
around the plane,

so that we now get this
shot in the top right

quadrant of that timeline view.

As you can see, the
end frame is now

the plane with the
mountains in the background.

PRESENTER 1: --every
shot was original,

and that everything was real.

[MUSIC PLAYING]

CHRIS: Another way of using a
different part of the same shot

is actually to use a Match
Frame and Replace function.

In this case, if I
move the playhead

to the first frame
of the Kenya clip,

if I actually want to
reveal the original source

clip for that clip, I can
just press F on the keyboard

in order to be able
to do a match frame.

This actually brings the
original source clip up

into the source viewer.

This means I can now see
all of the rest of the clip

without actually having
to manipulate it directly

on the timeline.

If I now choose a new
starting frame for this clip,

just as the plane is coming over
this shot of the flamingos here,

I've now got the playhead
in the correct position,

and now I can use the
Replace edit function

in order to be able to match
the two play heads together.

You can use the Replace
edit by simply dragging

the clip over the
timeline viewer

to the Replace edit overlay,
or alternatively, you've

actually got a
Replace Clip button

at the top of your
timeline, or you can use

your keyboard shortcut of F11.

And in this case,
the Replace edit

has actually replaced the
clip by matching the two play

heads together.

So the playhead here
in the source viewer

is actually placed
at the location

of the playhead in the
timeline, and then the clip

is actually replaced based
on the source media clip

after the playhead.

It's a very, very
powerful function

if you actually want to be able
to synchronize clips together.

It's useful for
being able to edit

sound effects into
the timeline, or to be

able to match two images
together with different actions,

for example, here, if
we go to the last clip

here in the timeline where we
actually have the St. Martin

landing plane flying overhead.

[MUSIC PLAYING]

Sometimes, instead of match
framing to the same clip,

you actually maybe
want to reveal the clip

in its original source bin.

This is because
usually, additional

takes of the similar sorts of
footage would be available,

usually in that bin.

So in this case, instead of
match framing to the source

clip, right click the
clip in the timeline,

and there, you can use the
Find in Media Pool option.

That will then reveal the clip
directly in the media pool,

in the bin, and
usually, other clips

around that will be
alternative takes.

For example, this clip AOA12
actually has the similar plane

landing, but also has lots
of people in the foreground.

This is a much more dramatic
shot than the original one

that we were using.

If I double click that clip to
open it into the source viewer

and then actually use my
J, K, and L keys in order

to be able to find a frame,
which is visually matching

the frame that I'm viewing
in the timeline viewer,

with the two play heads
in the correct positions,

I can now simply do a Replace
edit and match the action

across the two shots.

[MUSIC PLAYING]

So these are just
some of the trimming

and some of the
editing functions

that we have within
Resolve in terms of being

able to put an edit together.

Just before we actually move to
the next stage of the editing

process, I'm just going to
make a slight change to some

of the audio for the
interview, and in order

to do this, of course, I just
need to unlock the entire track.

And in this case,
I just want to find

a beginning of his
interview here,

just at the very end
of the interview,

PRESENTER 1: --or it
didn't make the movie.

CHRIS: Didn't make the movie.

And I actually want to
separate this part of the clip

here and just move it
a little bit further up

and out of the way.

So I could use my blade edit
mode here to cut that clip,

or I could use a short
keyboard shortcut for this.

If I select a clip and
press Command or Control B,

that will actually
split the clip,

and now I can move that
clip and position it

where I need it to be.

About there will do.

PRESENTER 1: It was really
important every shot was

original and
everything was real.

CHRIS: So hopefully,
this video has

been useful in showing you some
of the editing functionality

that we have within
DaVinci Resolve.

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

then please feel free
to join us on the forum

pages where questions are
answered on a daily basis.

We've also got a full
range of training materials

available for free as well, so
check out the DaVinci Resolve

training pages, where you
can download further videos

and books to help you get
to grips with Resolve.

Thank you very much.