All language subtitles for 1-DaVinci-Resolve-17-Edit-IntroductiontoEditingPart1

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 two Will.

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

to name Age of Airplanes, Trailer.

Choose to create

and DaVinci Resolve opens
directly in the page.

Now, the best place for me
to do importing in an

organization
is actually in the media page.

So down in the bottom of the interface
here, just click on the media page.

Now, on 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 inside 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 to 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 an 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
being 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.
And because I'm on a mac

that creates the new

bin, 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

and 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 video,

so that's got all my audio clips
organized in 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 key word

metadata field that I need clicking
in the source 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 in 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
into view, just typing into view

or beginning to type into view
in the metadata field

means that I actually bring up
a list of options for different keywords,

but you can always put in your own
keywords in the lets 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
that 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
three to add the keyword credits.

And now that is actually tagged that click
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, can you clip

if I come up here and select

the inspector in the top right hand corner

and then choose the file
type 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 that 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 match data

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 AOA

logging dot csv file a CSV file as 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 logging 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 timecode

information for these clips.

So in this case, I'm just going to uncheck
match

using clips start and end timecode.

I'm going to uncheck that option
and then choose.

Okay.

And you'll see that the information
has actually been imported

and that 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 that were shot
at San Francisco Airport, for example,

I can actually click
on the search option here

under this little dropdown arrow side.

I can also choose whether or not
I want to search the selected bin or 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 type s on my keyboard
and keep tapping this, 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 are 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 see 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 seeing 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
with intervention 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 and

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 dropdown to clip type

just by tapping see 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.

So brew and set and specify the clip

type is video and audio.

Now I can choose to create my small bin

and the results of that smart band
will be automatically updated.

So if I had 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 add it to small print
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 macro data

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 at 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 airway

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
which have a 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 okay,

The clips are now all renamed
in the media pool

using a 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,
then select the interview clips.

Right click clip attribute

in the name, highlight the name field.

And this time I'm going to type
in anti underscore percentage shot,

underscore percentage comments

and then choose.

Okay.

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

and I'm 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
and the media page

is now available to me.

And the great thing is, is

that I can keep organizing in 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

and make sure you've got the timeline
been selected

and then go to the file
menu and choose new timeline.

Let's
just change the name of this timeline

so something a little bit more appropriate
for this project,

a trailer.

And we'll just call it version one.

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 source 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 one,
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.

To be up.

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 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 owl key.

So 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

and how the airplane is connecting

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

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 could just pick the clip up
from the source viewer

and drag 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 view, 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

added If I now let go of the mouse,

the clip is edited instantly
to the beginning of the timeline.

The timeline view
as 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.

Thanks. Yeah.

So 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.

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 play head 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 general 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 play head

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 Oh, to double click

from the media pool
to open it into the source viewer.

And now I'm going to return the play head
to the very beginning,

and I'm going to play
through the interview.

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.

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 way form

very similar to the way form
that I have for the clip in the timeline.

But because is actually show 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 shows 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 play head
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.

Well, seven continents, 18 countries.

It was very important
that everything was real.

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

So that's why I want him to start where
he says if it was possible to shoot it,

we wanted to go shoot it.

So I'm not just going to press the key
just to be able to back that up.

To the. Beginning of that soundbite.

It was.

And listening to it closely,
there's an at the beginning

that I actually don't want to include
within the soundbite with.

So now I can actually jog through

if I turn on my audio scrubbing

up, I can jog through one frame at a time.

You can use the left and right arrow keys
for this, but I actually find this

really useful
Holding down the cake and tapping the J

or the arrow keys.

So at this point

I want to add an endpoint into my source
view.

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

and that's by pressing on your keyboard.

So I'm not going to play the interview
through

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

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 was really important.

Every shot was original
and that everything was real.

But there's and that's the word real where
I actually want the soundbite to end.

So I'm just going to play
head up and on. No.

And that everything was real.

But and again,
you heard a little bit of the but

at the beginning,
so I'm just going to come back. But

just a few

frames, find that gap
that you can see there in the waveform.

And that's why I want to add my point.

And of course,
Magic shortcut is so far out

now that I've got my in and out point set,

I'm I 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.

Oh, to jump directly to an out point.

If I actually want to preview
the soundbite between the end

and the other point,
I can hold down the option key

and press the forward slash key
on my keyboard.

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.

And it's
a little bit tight on the output there.

So I'm just going to jog forward

just to frame and reset the higher point
by pressing a.

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 want to preview where
the point is, just simply bring your play.

Had a few seconds
to before the arrow point

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.

On that everything was real.

So now that I've got the in and the arrow
points out for the soundbite,

I'm going to edit it into the timeline
using an overarching to edit.

Now I can paperclip 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 commonly 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

in overwrite edit by default,
in which case you'll need

to go into your system preferences
and change the keyboard settings.

So this uses all the f one
an f two keys as standard function keys.

If I just press f ten,

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.

Shoot the real world
if it was possible to shoot it.

We wanted to go to.

The first interview clip
now ends at the right point and the second

interview clips 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 and 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.

If this A-380 taking off

a double click
to open it up into the source viewer

and then use the Jay Canal Keys
in order to be able to preview this clip,

it's fine.

Just as the wheels are about to leave
the tarmac.

Let's set an end point.

A second or so before that.

And let's

set an out point
just after the plane has left frame

before we get a very horrible
sort of camera movement there.

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

because the play head
is in the right place in the timeline.

I don't need to worry about
where the shot is going to end up.

Make sure that the my head
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 addict.

I'll 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 play head
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 a one A380 taxi
as double click that to open it up.

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

No, 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 attitude 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 play head
to the beginning of that interview clip

and I'm just going to play through the
beginning of it for the first soundbite.

If it was possible to shoot it.
We wanted to go shoot it.

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

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

Now. We wanted to go shoot it in.

The shot that I'm actually looking for
is in my B-roll Smart bin

and it's the clip of

a tan Maldives.

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

I love this shot.

Is this wonderful sort of 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 3 seconds

hit the return key

press oh to set the point in order
to set a three second clip actually

technically it's 3 seconds in one frame
as you can see from the duration field.

However, the play head is inclusive
of the frame that you're currently on.

So the output is always set
at the tail of that frame

if you need it to be 3 seconds. Exactly.

You just need come back one frame
before you set the point.

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 and
Da Vinci results 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 head 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 play head

command minus allows you to zoom out.

If you're on a PC instead of using
command, you 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 to Z function
allows you to see the full timeline zoom,

but 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.

That 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 the waveform

for those clips.

If you
don't have a wheel 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 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 a clip.

If I actually concentrate on this middle
into view here, I'm just going to move

the play head 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 the video portion

of this clip to override the link
temporarily on the timeline.

Just simply hold down the option
or all 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 optional or 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 want to rip or 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 the video clip.

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

More importantly, it's also closed
the gap and reported 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 play.

Head 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.

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 out.

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

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 dialog is

that we actually want to take out.

Again, using the shift

key in the scroll mouse,
I can actually make that even bigger.

I'm going to move the play head back
and my audio scrubbing

is going to come into handy here.

So I'm just going to play forward.

And stay at that location as well.

And that's that location step the next.

And I can

hear the beginning of the word state,

making sure that my head is on that point.

You can see from the waveform

in the timeline
that I looking at the correct location

and then I what I want to do is
I want to cut this section.

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
a 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 easy that line
will actually snap to my play head is.

And I'm just going to click once
in order to be able to add an addict.

That's the beginning part of the clip
that I actually want to lose

from the timeline.

I now need to find the end.

Stay at that location longer or it didn't
know where acknowledged and longer or.

And I'm looking for the word or.

Or. Or or

or or or.

About the it's taken a little bit of sort
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 play head 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 right, we would either go back to that
location or it didn't make the movie.

It was really important for me.

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 over
wrote 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 traumatic 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 traumatic 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 match to the right.

Yeah, as I do so you can see the rest of
the timeline is actually changing.

I'm actually replacing the rest
of the timeline back there by shortening

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.

So it

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

that actually says
that I'm removing a 3 seconds

and four frames
from the beginning of this clip.

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

I can play from the beginning.

In this film, making a documentary about
how the airplane's changed the world.

And I've actually got a much sharper
start to the interview.

And I can also use a traumatic mode
in order to be able to fix the problem

with the edit.

In the interview that I was just doing
earlier, move the player, head

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 remain

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.

And it's 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 and 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 karma key,
I can remove a frame from that clip.

So now if I press the forward slash key.

Right, we would either go back to that
location where it didn't make the movie.

It was really important.

And again, it feels a little tight still.

I think the outgoing portion of
that is fine, but that's less nice

like the incoming portion,
and let's just try 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 replacing the footage.

Right.

We would need to go back to that location
or it didn't make the movie.

It was really important.

And that sounded pretty good to me.

But you might want to sort of explore
this a little bit more.

What would happen

if we added another frame to the incoming
shot using the common key?

Right.

We would either go back to that location
or it didn't make the movie was really.

Again, 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 the 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 d select the edit

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 play
head 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
display 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 view
and choose the place on top function

this and simply creates a new

audio track at the bottom of the timeline
and places the clip in.

It may seem counterintuitive that I'd
actually use something called place on top

to actually place the audio
at the lower part of the timeline.

But it just is the way the edit works
with audio, which typically lives

below the video in the timeline,
the audio is actually quite loud.

This piece of music.

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 -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.

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 and.

That's fine at the moment.

It gives me something to work with.

It might be that the music has changed
at some point in the future,

or I might need to refine this
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,
aren't you 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 play head to the edit point
between the two interview clips.

Halfway 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 to the B-roll bin

and let's find the clip called South Pole.

Double click that.

It's eight shot, eight.

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 end point there.

And I'm wanting to take 5 seconds.

I don't know

if 5 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 +500

in order to jump ahead forward
by 5 seconds.

Hit return, set an arrow point,

and now I can just make
a simple overwrite, add it with f ten

if I back the play,

head up in the timeline
and then hit the forward slash key.

Right.

You need to go back to that location
to the next movie.

It's really important

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 can you clip AOA oh seven,

hold down the command or control
key and select

AOA 11

That's the St Martin Landing.

And then again, hold down
command or control in order to select AOA

14 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

with the appended 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 play had 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 that 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 let's just make it
a little bit shorter from the beginning.

So if I select the incoming
part of that clip just select that clip.

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 4 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 grain 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 do not 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.

The up until now is actually served us
quite well.

So in this case, I'm
actually going to come to the track head

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.

Well, back to that location
where to make the music.

It's really important.
Every shot is original.

That was real.

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 to the beginning of that clip.

If we move the pie, head
to the beginning of the clip,

go into the detail,
zoom, use the traumatic mode

in order to be able to ripple
a few frames out to get rid of the

the yellow part of the plane
at the top of the frame there.

Again, bringing the duration down
to that around about 4 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 original real.

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 like to finish
with the St Martin shot.

Now if I use by selection
edit mode to be able to move a clip around

the timeline, all are 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 in 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 common 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 in my trim edit mode by pressing

t, I'm just going to trim
the end of that shot

again to the magic for a 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 bit of the music.

I'll use my audio scrubbing

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 F ten.

If I use the up arrow key in the timeline,
use the forward slash key.

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 dramatic function
for that as well.

Let's position
the play head over the Saint 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

or you can see that we're actually using
the beginning parts of the shot

where actually
the plane is quite far away.

So instead of that,
if we use the traumatic 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 click, keep on dragging.

If you look at the timeline view,
you can see in the upper right corner

you can see the outgoing frame
as the plane disappears

overhead, an out of shot
and that is where I want that shot to end.

This is called a slip. Edit

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 play
head over this Alaska shot again.

I'll select that and just press
the forward slash key just to preview it.

Every shot is original real.

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 I 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.

Original.

Real,

there's now
a little bit more movement in that shot.

So in this case, I can now slip the clip

in order to the later part of the shot

as the camera pans around the plane

so that we now get this shot in the top
right quadrant,

that timeline view, as you can see,
the end frame is now the plane

with the mountains in the background.

Every shot was original.

And that was real.

Another way

of using a different part of the same shot
is actually

to use a match and replace function.

In this case, if I move the play, head
to the first frame of the can you 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 play head
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 f 11

and in this case the replace output

is actually replace the clip
by matching the two play heads together.

So the play had here in the source
viewer is actually placed at the location

of the play head in the timeline
and then the clip is actually replaced

based on the source media clip after the
play had so 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 Martin Landing plane flying overhead,

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 then 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 would be alternative takes.

For example, this clip, 812 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.

Find double click that clip
to open it into the source viewer

and then actually use my JFK analogies
in order to be able to to find a frame

which is sort of visually matching
the frame

that I'm viewing in the timeline
viewer with the two play had to nice

in the correct positions,
I can now simply do a replace, edit

and match the action across the two shots.

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.

Just going to make a slight change to some
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
or into the next movie.

He didn't make the movie,
and I actually won't 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

the clip and press command or control
B, that will actually split clip.

And now I can move that clip and position
it where I need it to be about there.

I will do.

Is really important.

Every shot.

Is real.

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

and 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.

Well, so check out The Da Vinci Resolve
training pages where you can download

further videos and books to help
you get to grips with results.

Thank you very much.