All language subtitles for 10. Edit Tab - Assembling your Main Edit part 2 Edit Tab Kolder

All right, so we've cut up our song

to our desired length, and now it's time
to throw in some visuals.

Let's get right into it.

All right, So before I even start
listening to the track again,

I'm just going to hover over these markers
and start throwing in some footage here

that I think will work well.

So the best select track is up here.

I'm going to go to the end part over here.

The most refined selects, and I'm just
going to scrub through and start looking.

For some. Of these clips.

So underwater shot,

I know that this shot has a segment
where I look up at the end here.

I'll just click into this and off with a
shot of salmon kelp forests looking up.

So that's the shot.

Let's take that, throw it in here

and let's actually slip it
so that I actually look up at the end.

So we can see.

The start in the end. Frame. So.

Yeah, that should work well
and I'll probably expand it a little bit.

Let's zoom out and I know that

this section here, I want to do that
across dirt bike transition.

So let's look for both of those shots.

I'm taking turns snapping off.

So. The play head doesn't keep jumping.

From shot to. Shot.

So this is the clip
I'm thinking the transition can flow into.

So let's take.

That, drag it over here and let's
look for that acro shot where she.

Kicks.

The camera.

And I don't think it's in this refined.

Select group right here.

So let me just check, go skim
through the rest of this.

And you guys are going to see this process
is relatively fast now because we've

we've basically like made the edit already
by creating these selects.

You know, we've got the absolute
best parts

of every single day of the project,
put them into one place and like

if we threw a song over top of this,

obviously the cuts wouldn't
go with the B of the track, but

it could almost look
like a completed edit.

So I think when she kicks the camera,
it's like later on in this clip.

So I'll just drag this
down here. I'll extend it.

I'll just zoom in on this clip.

Here and let's look for the part
where she kicks it.

There it is right there. Perfect.

So we'll start it. Like about here.

I'll hit on the keyboard, delete that.

And we can see that the colors
on this timeline that we're working on

and the timeline, the all that select
timeline are a bit different.

And that's because, remember, we applied
a lot to the entire timeline up here.

So why don't we just apply that same light
to this timeline here?

We can quickly
just go over to the color tab

and let's go into so we're in our all
best selects timeline here.

We can go into the timeline
No tree, and we'll just select that here.

Command C to copy this node here.

And let's go back over to the main edit
and we can go into timeline here,

create a new node by hitting option S
and then command V pasting

that lot onto there.

And it's got the same opacity that we were
working with on the other one.

So that's the exact same LAT.

So now we have that same color
on this timeline as well.

So I'm going to drag this clip over here

to try to line that up and I'm
actually going to mute the audio for now

just because we don't need to hear
that while I'm scrubbing through.

I'm going to cut.

This about. Here a lot.

Looks pretty intense.

But, you know, it's
just to make this process a bit more fun.

So we're not just looking at flat footage

and of course, the direction
of both of these does not line up.

So I'm just going to swap this
around here.

I'm going to flip it on its axis.

Cool.

So now we're working

with two clips,
moving in the same direction.

I know that this is going to work a lot
better now.

It's actually stitched these two clips
together and make this look seamless.

I'm going to be doing that in Fusion

just because Fusion
has a lot more functionality

when it comes to more advanced
compositing like this.

And you might not think that this would be
too advanced, but I already know that

I'm going to want to do some loop making
and some position and scale

key framing,
and we don't want to mess around

with the spline graph and fusion
just to make things look perfect.

So I'm going to leave this alone for now.

But maybe I'll add a marker over
top of here.

So that.

I can remember that
this is something I want to do in fusion.

So why don't we make all of the fusion
markers this color here?

Call it fusion.

Transition, actually.

Good. Done.

And let's take a look at more of our clips
here.

So this marker,
we added the acro and dirt bike clips.

So I'm going to delete it and let's
go to the other parts of the timeline.

So we got this one here.

What is this from say, match sequence?

Potentially we got shot of OnePlus phone
and that's the end.

So you just delete that and marker
because we know that wherever

the music stops,
that's the end of the actual video

shots of OnePlus phones.

So let's see if we have any OnePlus phone
shots in this group.

Of select right here.
So we got this one here.

That could be a potential shot
for the vendor.

I feel like we have a better one
to actually really like this one here to.

Uh, and if we zoom in on that,

make sure it's selected in timeline,
we're already zoomed in a bit.

So while I was making Select, I
already had zoomed in a little bit on it.

That looks. Pretty.

Cool.

Now, I think that
that might be a little bit too pixelated.

We're pretty zoomed in there.

I'd want it to still stay crispy.

So I'm going to make it a bit smaller.

But that could be a potential ender.

Let's just see what that looks like
with the music.

That's actually pretty cool.

I like that a lot.

Yeah.

If it comes in.

Right on the beat.

Yeah, I like that a lot, actually.

It's simple, clean,

but this clip over here
is an alternative option,

so I'm going to leave it there
in case I do want to change it up.

All right, cool.

So now's the time to just get creative
and start

throwing in clips wherever
I feel like they work with the music.

So like I said before,
I want the start to feel like

we're preparing for the action
and then the action comes in over here.

So let's try to find some clips
that feel like we're kind of like just

starting off,

getting ready

to do the activities and whatnot.

So maybe something like this.

This is a cool shot of me

with my notebook and then maybe we can go

right into the shot of me looking out

and then we can go
to a different environment.

So maybe something like

this.

Yeah, like just a dirt bike or like,
not doing anything too crazy, but.

Just like. Rolling in.

We got this shot of my buddy Craig.

That could be cool to throw in there
as well.

Kind of more mellow.

Everyone's getting ready.

This is a cool shot here.

I'd like to see more of the macro shots.

I'm going to zoom out and go back
to the beginning of the selects timeline

is going to look for the.

Macro section. Here.

We can see we got some stuff here.

So I'm thinking.

Maybe something where we're walking

towards the macro.

Spot.

Or maybe like laying down the blanket
or something like that,

a little bit more like an introductory.

Vibe.

Okay,

this shot could potentially work.

I think there's a shot
where I put my hands on her waist.

So yeah, something like this.

So thinking
maybe these two shots here could work.

Well, it's just a shot of me laying down,
and then it goes right into the shot

of Chelsea going up into Bird.

So I'll bring both of those down here.

And those two shots could actually work
well right before

this shot plays out where she kicks
the camera.

Maybe we can even, like build a bit
more of a sequence there.

So there's like a little bit more action.

But I'm gonna turn the audio on now

and just start moving things
to the beat of this song. So

what?

Cool.

I like that.

Maybe this shot of Craig

actually hear and see how that looks.

But how.

Cool.

Now keep in mind there's no sound.

Effects or anything on this right now, but

once we sound design, it's
going to give it a lot more life.

So let's actually expand
the preview window here

so you guys can see a bit
more of what's going on here.

Shrink these tracks, shifts and scroll how
to fit this to the size of the preview.

Window.

How well.

And this is where we could fit the Acro.

Stuff right after that.

MM Well, I'm.

Not in love with that first clip.

My change it up.

Also, the speed of this is a bit slow. Ah,

right now we are at 100.

Let's do like. 140.

And start a bit later.

So I mean slip it.

Over,

I can grab the top half of the clip there
because the.

Tracks are too small

so just going to scale them
up, zoom in there, let's flip it over.

So it starts a bit later

and let's change up the speed even more.

So let's do like 160

and let's see what that feels like.

Okay, so.

Transition happens too early.

We want that to take place
on the actual job.

So we're going to move everything
over there. How

I feel like maybe even later.

So like the drop happens as she.

Kicks the. Camera

that works well.

So there's like two main hits there.

The first hit is when she hits the camera.

The second hits going to be
when the biker comes into frame.

Nice.

That's dope. I really like that.

I feel like we can elaborate
on this across section before

the actual drop here.

Okay, cool.

That's good.
We can add one more clip here.

How dope.

I like that.

Let's find another aggro clip that could.

Work for this segment.

So maybe something.

Something interesting actually,
like this clip here and now.

During the process of making select,
we can see that

the grass here is a lot different
than the grass and all the other clips.

And that's because I actually applied

a mask over here
and colored the grass separately

just because I wanted to get an idea
of what this shot would look like.

And I'll be showing you guys
the process of that later on.

But if we do peep over to the color tab,
we can see

how I've isolated the grass here.

If I had commanded to disable that note,
we can see how big of a difference

it makes. It looks a lot better.

So I kind of just did that to verify
that I can make the grass

in the colors of this scene

look the way that I want them to, because
I'm not absolutely not a fan of this.

Like the way the grass looks here.

It doesn't look natural
and it looks like there's a filter.

But when we bring back those greens,
it looks a lot nicer in my opinion.

But I actually really like this clip
and I think it could work

better for this scene than this one here.

So let's just.

Delete
this one and let's replace it with this.

Let's find the best part to use.

So we just the beginning here.

Something simple.

We'll see if that actually works.

Cool.

That works.

Now we just got to find something else. So

I'm thinking something
that has a bit more action.

So maybe something like this.

And right now it's slowed down.

Everything's slow down to.

40%, so I'm going to probably.

Speed it up.

I w on there, cut.

This, use this second. Part.

I mean a turn snapping on
so it jumps to where the play

head is.

I'm okay.

So we only have. That one of those segment
there.

I'm going to hit command R.

And just speed it up a little bit but

okay, cool.

I can even speed it up
a bit more probably.

But how?

Yeah. Okay, cool.

So this sequence,

I'm not 100% on it, but these are kind of
like placeholders for now.

If I come across clips
that I feel would work

better for some of these individual clips,
then I might change them up.

But let's watch it from the beginning.

This is what I would do
just to get the general flow.

If I'm happy with it, then
I'm ready to move on to the next part.

Well, how

well, how, how.

Cool.

That looks dope.

And I think we're ready
to go into some dirt bike action.

So this acro transition is great
because it allows us to very seamlessly

go from one environment to another,
and now we can start.

Introducing some. More intense action.

So what I'm thinking is let's
go to our selects at the end over here.

Let's just focus on those.

Let's go through
and look for some dope dirt biking shots

and then maybe we'll go from dirt
biking to.

Some. Longboarding.

So more dirt bike stuff.

Yeah, maybe this clip here,

uh, this clip is dope.

That's a good one.

I think this is the one that we just use
those for the transition.

Oh, let's get this slow motion
clip in here to.

Why not?

And I think those are all,
like the best of the past here.

So we'll play around with those for now.

Do we have this one?

Yeah.

Okay.

So when I cut this a little bit sooner.

What could be nice
actually is like this shot.

You don't actually see his wheel
hit the ground,

so it would be cool to continue it
with maybe a shot

of like a close up of his back
wheel hitting the ground.

But I don't really want to
look for that. Now.

Let's just see what we can work with
that we have already here.

So maybe something like this could work.

Well,

let's move this over.

Let's expand it to that length.

So right now,
this doesn't feel too great to me

because it's going from full 24 amps,

like real time motion to slow motion.

So I think what would make

this second shot flow a lot
nicer is if we speed ramp it.

So if we start off going fast
and then we go into that extreme

slow motion, so extend it
a little bit further back here.

I think like it'd be cool if we go, yeah,

we let him like ride in a bit quicker
and then we go into that slow motion.

So let's hit command R command, shift.

R and let's open this up
so we have a bit more room to play here.

I'm actually going to scale down
this clip.

Cool. So

let's add a speed point.

I would say
I probably want it to slow down like here.

So I'm.

Going to add a keyframe right there
and let's make this.

First segment go to like 300%. This is.

Preview it.

That works maybe even faster.

Actually close that

command R command.

Shift R And with the keyframe
selected down here, let's smooth it out

by pressing that button over there
and we can play with the handles here.

We could see that
we don't really see them.

So if we expand the track, click on here.

We could see the handle here.

So we have a very long transition
from fast to slow.

Just bring this a little bit closer
and make the transition from fast to slow

a little bit faster.

Cool.

That works

right,

Dough.

And let's cut it off right there.

It's close off.

The curve editor here.

And let's add some more clips.

So actually, I feel like this
clip could work better over here.

So let's move those.

Hmm. I'm having second thoughts now.

Maybe this one. One.

Okay,

this shot works, but I feel like
I want it to start a little bit later.

So I'm going to slip it

right

side.

Yeah.

Okay.

This shot, I feel like it lasts too long.

I want it to be, like, quicker.

So I'm going to cut it in half. Probably

right there.

Yeah.

Okay.

And this is the real process
of putting together an edit.

Requires a lot of watching the same thing
over and over and over again.

And that's how you reach
a level of perfection that you're happy

with, you know, constantly
watching it, analyzing the sequence,

trying to figure out what can make it
better, trying to understand

why it flows or why it doesn't flow
and what you can do about that.

So in this case, it's
starting to come together.

I'm going to actually go into my selects

and I'm going to focus on
the the dirt bike section. So

one thing that would

benefit me in
this situation is to probably

just add a marker over
top of each group of clips here

so I can find out or easily
tell which group is what.

So here I can add a marker.

Let's make it read.

So. We know and we could do dirt bike.

And as we go back to these groups,
we can just add a marker over top of them.

Let's grab. This option.

Expand it so it.

Covers the entire length of all the dirt
bike clips.

And now whenever we're we're not using
the select over here, we can quickly

just zoom out of our timeline
and reveal the clips over here forever.

Really close.

We can also hit Shift Z and it's going
to show us everything in our timeline.

It's a good way to very quickly zoom out.

So let's go in here.

Let's start looking for some more clips.

Now, I know we have tons
and tons of clips, so I'm not worried.

I know that I can find exactly what it is
that I would want

for something like this.

So remember how I was talking about
like having a shot

of the guy
hitting the ground, a closeup of that.

I think that
this sort of a perfectly actually.

So let's drag that in there

and let's throw it in after this clip.

Right.

And it starts a bit late,

so I'm going to slip it.

Right.

Cool.

Extend it a little bit,
make sure I'm not the trim.

Edit mode,

but works really well.

I like that.

Cool.

We can go right into
maybe this shot again.

Let's see what this looks like

and you know, flip this on its axis
because it doesn't feel right to me.

Everything's moving from left to right.

Right,

right.

I think this clip should move over so.

That's cool.

We can extend this clip out even more

and maybe you know how
we have the speed ramp into it.

Maybe we can speed ramp out of it.

And I like how there's, like dirt
and stuff flying into the scene as well.

So there could be potential to use
that as a transition as well.

Let's zoom out of our timeline here
and just get a better understanding of

how much room we have left to play here
so we could see that

we are, you know, a quarter
into our first action sequence here.

So we have quite a bit of room
to play here still.

So we're going into dirt biking
and maybe from this dirt biking section

we can go into the surfing section.
We could prolong that.

We could probably add some acro stuff too.

And then of course,
we want to do the underwater section here

because that's
where things start to chill out.

And then again,
we want to do the action over there. So

I feel good about this so far.

Let's play with the speed ramp,
see if we can make this clip

look, even doper shot

and probably on a speed ramp

it out, there probably be a quicker one.

We can extend that.

And of course, we want to make

that a smooth transition.

Okay.

Let's cut it there.

So dope.

I really like the way that this dirt flies

because it almost feels like
it could be like water, you know? So

I want to go through
some of the surfing clips now

and see if there's something
that we can kind of seamlessly match.

Cut this with.

It's not going be perfect.

Obviously, but maybe we can get the motion
of like water droplets or something

moving from right to left, like this
dirt is here.

And because we've speed ramped it, it can
make it feel a little bit more seamless.

I think what I'm going to do,

though, is actually move
this speed point over

with the bottom handle.

And let's move this one over as well.

Actually,

I kind of want to have the dirt
fly in at the end.

So push this back.

Cool.

And we can move this

speed point over this way.

So let's look at the handles
on the speed point.

Yeah, they're pretty extended.

Let's make that transition
a little bit faster from slow to fast.

That's too fast.

So nice.

Okay, that feels good to me.

And I think that we have
a good opportunity to try to match.

Cut it with something else.
Just watch it one more time.

So cool.

We got a bit of dirt flying
and hopefully we can find a clip

that will work with that.
If we don't, it's not a problem.

We could
probably, you know, still make it work.

Even if we don't find a shot,
that match cuts perfectly

to that.

Okay, cool.

So this shot of Dan and running,
this is cool.

We got some elements
flying in front of the camera.

Let's just throw it in here
and see what it looks like.

So everything's moving from.

Right to left. Right. We can see that.

Why don't we grab annotations?

We can see the dirt starts here
and. It moves.

From down there and so up here.

That line is very thin.

We can see it moves in this direction
right?

And this

water.

Which direction is it moving?

And it's moving from.

The left to right of it.

So what if we flip this.

And we'll.

Probably want to zoom in on it as well.

Okay.

So we're going to want to start.

A little bit probably like that.

And let's transform

scale in there.

Okay?

This is where we cross our fingers.

Yeah.

Okay.

So kind of

it works. It works.

Well.

It's an amazing

thing.

Maybe with some sound design, it can help.

Okay, let's slip this clip over.

Maybe it'll work better if. We.

Start it a bit earlier.

So that works.

Yeah.

And I'm going to drag this out
so that it's the length of.

Or so that it cuts on that one sound.

I don't know how to

describe that sound, but I'm trying to,

you know,
keep the cuts to the beat of the song,

though.

I like that.

I like that a lot
because we're kind of changing things up.

We're going into a bit of a

a more medium
close up shot of some action,

and then let's go into a wide
of something happening.

So I really like this shot of Dan
jumping in the water here,

but I almost feel like
maybe we could even do a wide shot

now. But

this wide shot wouldn't work
because it's before the water.

So. So yeah,
why don't we go right into this shot?

This shot?

Super powerful. I love it.

Such a cool shot.

I remember the day
after shooting these clips.

I was like,

just mind blown because I couldn't believe
that they were shot on a phone this day,

specifically because of the lighting,
everything.

The footage just looked so good. Okay, so.

We still have this dirt bike
clip over here.

It's kind of
just left over from before, so.

I think I will actually just delete it.

Don't need it in the timeline right now.

Yeah.

Cool.

That works.

Well, I like that. Flow flows nicely.

And this shot,
this next shot could be cool

to kind of transition
from over water to under.

I like that. And maybe we could
drag it out a little bit.

And now we're

at the halfway point of the action
sequence here.

I like how this shot goes from above water
to underwater.

Let's do some kelp forest stuff now.

Maybe just a couple clips.

From the kelp forest.

So actually,
I think this shot I really like this shot.

I think this should be the introducing
shot for the slower underwater section.

So I'll just leave out there.

Cool.

And we'll find some other underwater clips
to fill that area over there.

But for now, let's look for something else
that could work, like underwater

related over here.

Maybe even another surf shot.

Yeah.

Why don't we throw this clip in here,
see how it flows

right now?

This is like this will work
well in, like, a slower section,

maybe somewhere over here. For now.

I want things to keep it.

I want to keep the clips like shorter
and more action packed.

That one's a longer one,
and I feel like I would definitely

want to use the full thing.

So let's let's.

Get both of these clips here.

I know that these already work really well

back to back.

I'm having second thoughts about.

This clip over.

Here as well.

So there's like this

element in the song.

It almost sounds like a vocal
that's been like very altered.

So yeah, so
I'm trying to line things up with that.

I think that that could be cool
for this section.

Yeah.

Okay.

The time.

Yeah. That

those parts, you can even add.

Markers.

That cool.

So now we have a visual
of where that happens.

So maybe I'll try to align
these clips up with those.

Yeah.

Cool.

Yeah, this could be cool for like,
just like, some quicker cuts.

So let's put this clip here.

Line it up with the marker.

F so that we have some snapping.

To the underwater part. To.

Dope.

I like that.

I think that that happens a late

now that works for

and what else can you put here.

I feel like we could probably

speed this up as well command.

Our command, shift our

we can see that it's at.

40% speed.

Let's add speed point over here, option
click and let's speed up this second part.

Let's also smooth this out.

But we can't. See. The, uh.

The handles here,
so I'm going to have to extend that.

Let's bring that handle in.

Let's close this clip off.

Now. You play with the handle.

Okay, cool.

We can let that drag out a bit.

And now the song is adding
another element.

So things are picking up even more.

Command
our command. Shift. Try to close that off.

Yeah.

So now
I feel like I want to change things up.

It's the beginning.
There's a lot going on.

I want to cram as much into it as possible
just to keep things high energy.

So let's go to a different activity.

Let's go to Acro now.

So let's go to the Acro clips in here.

Or you know what actually let's.

Let's do.

Some longboarding so.

At the beginning
we didn't introduce long boarders at all.

So I think maybe actually throwing

in one of these clips over there
it could be good.

Something.

Yeah, maybe something

like this, like these two clips.

And then in this section
we can throw in something like that.

I like this shot sick.

And like it's going to be cool
once we sound design it to

work and we, like, drag it out too.

It is a bit slow.

So yeah,
we could see that it was conformed to 20.

Four frames per second,
so we could just speed. It up here.

Let's bring it to like 200%.

See how that feels.

Yeah. Like I'm faster speed.

That's sick.

So now obviously

this entire video is going to be
so much better when you sound design it.

I just find myself reminding myself that,
you know, it's going to a lot more full.

It's going to feel a lot more impactful
once we sound design it.

So I'm happy about that now.

Like I said,
we didn't have any longboard shots

at the beginning,
so let's go look at both.

Of those
that we. Were looking at over here.

Maybe throw in a couple of these.

These two shots work.

Well over here.

Let's bring them in.

We could just drag them over
top of everything and we can actually.

Just slide both of those option.

Out, bring them up a track
and we can disable this track here.

And let's just see
if there's a place that we can add those.

And I feel like the shots of me
don't really make sense here.

Let's bail on those.

I want this to be more focused
on like the action sports.

Although, you know, that whole house shoot

was a big part of the main video
for this one minute cut.

I don't think we really need to implement
it unless we find a space

that works well.

But how well,

how well.

So I'm loving the flow of this.

I think it's working really well.

So we've introduced
long boarders at the beginning.

I almost
feel like these might be a bit too action.

So let's start off
with like a more mellow one.

So like one of these could be cool.

Maybe this one or the one after it.

So why don't we just like.

Both of them, bring.

Them back down here.

Option up, bring it to the layer up above.

So these are, these are options basically.

Let's see.

I like this. I like this long.

Good one here.

I'm going to disable that one.

And I'm shooting extend this over to the.

Length of that.

Potentially there's potential

not 100% on it

because the original clip actually works
pretty well.

If I just disable that.

So we.

Got options.

Mm. Let's go back to where we left off.

Now we're going to add some
more longboarding clips here.

That looks like

that's everything that we have
in our final, final select.

So let's go.

Back in our timeline over here, just hit.

Shift, see, so we can see everything

and let's look for it's
going to turn transform off over.

Here.

Let's look for that longboard stuff.

Yeah, we got some cool stuff here.

Cool.

I like this group of guys

that's dope.

And then we got this.

Close up.

Shot over here.

Maybe we could play that back of like.

24 frames per second.

That's slowed down.

Let's bump this up to like 220

dope sick.

I love it like that.

With the pacing of the song.

Slow motion for this like not
I don't think it's the vibe.

I like that real time things
feeling fast 24 I guess. Vibe

Cool.

Actually.

Let's see what else is here.

Yeah, Yeah.

Okay.

We got, we got some clips here to use
and we also have not that on this one.

So we got the group, we have the squad

and let's bump this up to 20 as well.

Yeah.

So yeah.

So I'm trying to go with that,
that vocal in the track.

I think it's a vocal, Yeah.

So it's kind of on it.

That's a little bit late.

Yeah.

It's about.

There.

Yeah.

Cool.

And then maybe we could speed ramp
out of this

next clip over here.

So maybe we could speed around this one.

Commander, our command shift are.

Just like, give it a bit of a like a.

A boost at the end.

So let's select that transition.

That speed point.

And let's speed up this last.

Part.

Obviously, we can't see the handles.

Things are to squish.

So if we click on here, let's.

Grab that handle, bring it in.

See what works.

Well,

yeah, just want it for like a second.

Yeah, just like

right there.

Just that one little moment,
and I'm going.

To cut that. There.

Commander Command should try.

To close it.

Let's zoom out,

dope.

I like.

And now we can do some macro.

So this is this is coming together nicely.

We've like grouped each activity
into one section.

So we're starting off with their biking,
surfing and longboarding

and now it's going into Acro here

and we're going to go into that clip.

This surf clip is cool.

We didn't use it for the first one,

so let's bring it over to the second
action sequence over here

and let's start looking

for some acro clips so we know that
this is the longboard stuff.

So I'm going to make. A marker over here.

Longboard Make it.

Whatever color you want.

Option drag.

Now we know it's longboard stuff.

We also got like some.

Car driving stuff I could throw in.

I wouldn't say
it's like the craziest activity.

We also got some helicopter stuff
over here. I'm going to mute the.

Audio in this track here so we're
not hearing you and we scrub through.

And some like stuff.

So acro.

I just saw.

A cool clip.

Yeah, there's tons of crazy surf stuff.

Actually.

I'm so blown away by some of the footage
that we got with this phone.

On the Surf Day.

Cool.

That's a cool moment.
Let's bring that in for

maybe the

underwater section here
or for the second action sequence.

I think it could be cool
to have like a quick cut sequence of,

like, water just acting crazy.

Y. Can we hear that.

Track is muted?

Yeah, maybe something like that too.

That's dope as well.

And actually,
a shot that comes to mind from one of our.

Test shoots was this one clip of.

Bryn jumping into the water.

Oh, look at that slick clip.

And we actually don't
even use this in the main video.

This is a really cool clip looking up.

I know I definitely would be down
to use that for the underwater section.

Okay.

That could be an even better shot
to start it with.

And then it. Shows me pulling down.

Okay, I'm cool.

We're just we're finding stuff.
We're finding stuff.

We're getting creative.

So we you got here

the water coming in.

And I was looking for this
one shot of Bryn diving.

Into the. Water. This is it right here.

I think that this could work
well before the underwater

sequence.

Yeah.

And that's actually like a similar kind
of transition

to what I did in the actual video.

It went from

this shot,
which I thought was really cool.

I don't like the beginning of it.

We were shooting in like this dome.

So you can see the reflection of the phone
here, which kind of sucks, but

the shot still looks cool.

So I'm thinking maybe a speed ramp that

why don't we push
these clips over actually, and

if we go into a shot of like,

water, like
foaming, you know, like the white foam

or like seaweed moving around

and you guys can see my mind's
kind of going all over the place.

This is like my real

process of putting together an edit.

You know, it's not

I already
I already created the one plus video,

but right now I'm kind of just freestyling
and you guys are able to see exactly how

I maneuver around the timelines
and actually put something together.

So let's go to underwater.

Yeah, let's go to the dive day.

So dive day. Cool.

Dive days over. Here.

So I got these clips of seaweed
and this this shot here.

This shot works pretty well.

Let's bring this over here.

And I already know that
when we play with the speed

ramping of these two clips,
I feel like it's gonna work well,

sic I'm loving that flow.

I feel like that's.

A bit late for the drop.

Okay.

Yeah.

I'm going to stop right there.

And let's go into another shot.

Definitely want to use this fish shot.

This one's super clean.

Can you believe that?
We shot that on this song.

It's crazy.

I also like this one too.

I did use these two shots
back to back in the actual edit.

Which I thought worked really well.

So I'm going to.

Delete that and.

Not really vibing with it.

Let's throw this clip over here.

Yeah, that works.

Well.

I like the.

Fish after the. Seaweed

before I mess around with all of these.

Why don't I just actually speed ramp these
two clips to make sure that they flow

So starts off slow.

I want the end to speed up.

So, Commander. Our command shift.

Ah, let's option create
that speed point and.

Speed up this last segment. Here.

Let's grab the handle here.

Bring it in a bit.

Cool.

Let's push the whole thing over.

Okay.

So let's move this clip back.

And now what I could do is.

Just slip this second.

Clip over, try to find a bigger part,

maybe even earlier.

That works.

Let's go even earlier.

Mm, That works.

That was.

Cool.

Okay.

Okay, cool.

And let's bring those other clips over.

So I'm going to

take away the speed.

Timing option here.

Commander Command shift. Ah.

So that.

It doesn't take up. As much Space

command are.

Okay, just bring this over.

How cool.

How deep.

So we can add a couple more clips here.

Probably one, maybe two.

I'm not too sure how I feel
this wave clip.

But works.

For now.

Let's go back to over here.

I forgot to fill in.

This acro section here, so.

Let's go back to the selects up here.

Let's go to the acro de.

And look for some macro stuff.

So I already know that I have.

Some sick acro stuff.

I really, really
like the shots of the feet

just flying up in the sky over here.

Pretty sure these made it to my.

Final selects as well.

The refine select.
At the end of the timeline.

So I like this shot.

That's a cool like introductory shot.

Like bringing it back into acro.

Yeah, that would.

Work. Sick actually.

Let's see,
I'm going to make sure snapping is on.

Line that up

and that's way too. Slow.

I don't like that.

Let's bring it to 220.

Cool.

Just a quick one.

I like that as fast. Cuts
for this section.

I like it a lot.

And let's go to one of these.

I think this is cool.

Something like full speed. See?

So when snapping on up here, it's
like kind of annoying because the clips.

Are so.

The cuts
between the clips are so close together.

So when snapping on, it's
like I can't get to like specific moments.

So definitely important
to know that shortcut.

Pretty sure we use this clip before,

but I think it might
actually work better here.

And of course that's too slow.

No. Kind of too similar of an angle.

Let's go to a different angle.

Yeah, let's do that.

The shot. Here.

Should work nicely

to slow.

Cool.

That works.

So and

I think this shot you know,

it kind of works with the macro sequence
because it's like showing a leg.

It doesn't obviously make too much sense
because it's

a completely different environment,

like where does the water
coming from and stuff.

But in this sequence, I think it works
pretty well and I'm happy to keep it

there.

Let's look for one more interesting
macro shot.

So this is a great one.

We can see that,

you know, we're kind of.

More zoomed. In.

That's a cool motion of the arm
moving through the scene.

I like that a lot.

Dope.

And it works really well with this shot
before we see it.

The motion, the action.

Is very similar.

So dope.

I like that and I'm going to try to do
that same kind of cut matching

with that vocal that I was talking about
before here as well.

So, okay, let's

add one more thing.

So maybe like.

A little segment of like me,
completely different angle.

Four second.

Slide.

Cool.

Let's go back
and just watch a bit of this.

I'm going to push these down here.

No need for them to be sitting up so high.

Yeah.

All right.

I'm watching it again.

I'm not really, like, loving the flow.

I don't know if I made a mistake
by having those.

Clips.

Cut on that one vocal.

Now it's starting to look a bit off to me.

Yeah, but.

Cam, push these over a bit.

Cool.

That works pretty well.

I think this clip needs to be trimmed. No,

no, I'm not.

Oh. Okay, cool.

How? It's.

Find another water clip for.

This segment. Over here.

Something to do with underwater?

Probably no.

Surfing. Yeah,

but maybe something like this. No.

Let's go into the actual kelp
forest stuff.

I was kind of kind of a cool shot.

Mm hmm.

No, no,

I feel like we got better.

I wanted to be deep.

Like, I don't want.

Something that's, like, at the surface
because we're.

Already down low.

So maybe I could use this shot here.

Let's try it out.

It could work.

Yeah,

it actually looks good.

Yeah, that's dope.

I like him.

And then from there,
we're going to flow back

into a more upbeat section, similar
to what we did at the beginning.

And it's the same kind of process
I'm going to be going

through all of my selects

looking for what stuff is different,
What stuff have I not used?

Yeah.
And what could add to the story here?

So right now
I'm about halfway into the edit.

What I'm going to do is take a break,
get away from my computer, go do something

else, come back to it with fresh eyes,
and then continue from there.