0:00:00.000,0:00:03.740


0:00:03.740,0:00:05.960
CHRIS: Hi, I'm[br]Chris, I'm an editor

0:00:05.960,0:00:08.280
and a Blackmagic[br]certified master trainer.

0:00:08.280,0:00:10.880
And today, we're going to[br]continue our exploration

0:00:10.880,0:00:13.230
of editing in DaVinci Resolve.

0:00:13.230,0:00:16.610
Now, following on from the[br]previous video, what we can do

0:00:16.610,0:00:18.320
is just simply[br]open up the project

0:00:18.320,0:00:22.010
and carry on working from[br]where we last left off.

0:00:22.010,0:00:23.730
In the project[br]manager in Resolve,

0:00:23.730,0:00:27.710
just simply double click the[br]Age of Airplanes Trailer.

0:00:27.710,0:00:29.690
This will open up the[br]project at the last point

0:00:29.690,0:00:31.190
that you last left it.

0:00:31.190,0:00:32.600
Now, the first[br]thing that we want

0:00:32.600,0:00:35.780
to do before we make any[br]major changes to this project

0:00:35.780,0:00:38.370
is to duplicate the[br]existing timeline.

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That way, we've always[br]got a backup of the work

0:00:40.730,0:00:42.120
that we've done previously.

0:00:42.120,0:00:44.820
So if we go too far in[br]changing this timeline,

0:00:44.820,0:00:48.110
we can always go back[br]to a previous version.

0:00:48.110,0:00:51.800
Go to the Timelines bin in[br]order to locate your timeline

0:00:51.800,0:00:53.450
that you were just working on.

0:00:53.450,0:00:59.910
Then right click the timeline[br]and choose Duplicate Timeline.

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Now rename this timeline[br]by clicking on the name

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and calling it Version 2.

0:01:05.850,0:01:08.340
And double click the[br]timeline to open it up

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into the timeline window.

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The first thing that we're going[br]to do to this duplicate timeline

0:01:13.140,0:01:15.540
is to add some audio[br]tracks so that we

0:01:15.540,0:01:18.892
can add some voiceover[br]and some sound effects.

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Right click in any of the track[br]headers and choose Add Tracks.

0:01:24.660,0:01:27.930
This allows you to add any[br]number of video and audio tracks

0:01:27.930,0:01:29.740
that you need for your timeline.

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In this case, we don't need[br]to add any video tracks,

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so set the number of[br]video tracks to 0.

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And set the number[br]of audio tracks to 3.

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Insert position is[br]below audio one.

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This is the correct[br]location for where

0:01:44.520,0:01:46.150
we want to add our new tracks.

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And the audio track type[br]is going to be stereo.

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You don't always want stereo[br]as your default track type.

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Instead, you might actually[br]be working with Mono audio.

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In that case though,[br]you can always

0:01:58.260,0:02:00.010
change the track type later.

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So we'll just stick with[br]stereo for the moment.

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Choose Add Tracks to add[br]the three extra audio tracks

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to your timeline.

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The other thing that[br]would be helpful to do

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is actually rename these[br]tracks so that I know what

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type of audio is on each track.

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I'll just make[br]the timeline track

0:02:17.280,0:02:19.290
headers a little bit bigger.

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And I'm going to click on[br]the name for audio track one.

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And I'm going to call this Sync.

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audio track two, we're[br]going to call this VO.

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audio track three,[br]we'll call SFX,

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as we will in audio track four.

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And finally, audio track[br]five is the music track.

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The other thing that[br]you can do is actually

0:02:46.800,0:02:48.670
color code the audio tracks.

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This makes it easy.

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It's a visual reference[br]so that it's easy

0:02:52.140,0:02:54.270
in order to be able to[br]see the type of audio

0:02:54.270,0:02:55.670
that you're working with.

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There's no need to[br]set specific colors.

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Just go with the colors that you[br]personally think work for you.

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So in this case, I'm going to[br]right click the Sync track.

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And I'm actually going to choose[br]change track color to lime.

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All of the clips in[br]that track turn to lime.

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For the VO, I'm going to[br]choose track color teal.

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For the sound effects, I'm going[br]to choose track color brown,

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as I am for the[br]second soundtrack.

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And for the music, I'm[br]going to choose olive.

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Providing you haven't changed[br]the clip color of the clip

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within its bin or[br]in the timeline,

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it'll inherit the color[br]of the timeline tracks.

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This means it's[br]easy to spot when

0:03:52.150,0:03:53.920
you're looking at the timeline.

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So first thing we need to[br]do is add some voiceover.

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And the first voiceover[br]piece is going

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to go between the first and[br]second piece of interview,

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but obviously on[br]the voiceover track.

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So I'm just going to place[br]the playhead just partway

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into the second video clip.

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I should just[br]resize the timeline

0:04:12.430,0:04:15.080
slightly so that I can[br]see my clips clearly.

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And then from the[br]VO bin, I'm going

0:04:17.380,0:04:22.630
to double click the first of[br]our voiceover tracks, HF VO 1.

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I'll go back to the[br]beginning of this clip

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and have a listen to it.

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HARRISON FORD: In[br]the age of airplanes,

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we've become[br]explorers once again.

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CHRIS: I'm going to use[br]the top waveform here,

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just to navigate back to the[br]beginning of that piece of voice

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and set the endpoint[br]where I can clearly

0:04:42.100,0:04:43.790
see the voiceover starts.

0:04:43.790,0:04:46.180
And again, I'm going to[br]do the same by adding

0:04:46.180,0:04:49.360
an outpoint at the end of that.

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Now, because I want this[br]to go into audio track two,

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I need to change the[br]targeting from the source

0:04:54.980,0:04:56.990
to the track in the timeline.

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Here, I simply click[br]on the audio two box

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in order to switch the targeting[br]from audio one to audio two.

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Any clips that I now[br]edit into this timeline

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will automatically appear[br]on that audio track.

0:05:12.170,0:05:15.830
For this, all I now need to do[br]is just do a simple overwrite

0:05:15.830,0:05:16.730
edit.

0:05:16.730,0:05:19.310
As before, you can just[br]simply pick the clip up,

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drag it across to[br]the timeline viewer.

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Or Alternatively, you can[br]use the Overwrite button

0:05:25.100,0:05:29.113
at the top of the timeline or[br]use your keyboard shortcut F10.

0:05:29.113,0:05:31.970


0:05:31.970,0:05:33.830
And as you can see,[br]it's already now

0:05:33.830,0:05:36.440
color coded teal, because[br]that was the color coding

0:05:36.440,0:05:38.870
that we set for that track.

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The next piece of[br]voiceover actually

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needs to come after the[br]last bit of sync on A1.

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So I'm going to[br]position my playhead.

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Just after that,[br]select voiceover 2

0:05:48.830,0:05:50.380
from the voiceover bin.

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And I'm just going to[br]have a listen to this.

0:05:53.550,0:05:56.550
HARRISON FORD: For the moment,[br]leave behind everything

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you know about[br]airplanes, anything

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you've heard about their[br]history, every conclusion

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you've drawn from[br]your own experience,

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and prepare to see them[br]again for the first time.

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CHRIS: Now, that clip[br]was actually quite long.

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And because we're making[br]a trailer rather than

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the whole film, we[br]obviously only need

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to use a small part[br]of that voiceover.

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So in this case, we go back to[br]the first piece of waveform,

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and we don't need[br]the first line.

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HARRISON FORD: For the moment.

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CHRIS: We need to[br]start here, just

0:06:33.120,0:06:34.690
after he says for the moment.

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So I'm going to add an endpoint.

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HARRISON FORD: Leave[br]behind everything

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you know about airplanes.

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CHRIS: And an outpoint[br]after that line of dialogue.

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And now I can make[br]an overwrite edit

0:06:46.230,0:06:48.540
into that part of the timeline.

0:06:48.540,0:06:51.330
Now we need to come to the[br]end of the piece of voiceover

0:06:51.330,0:06:54.720
and select in and out points[br]around the last two pieces

0:06:54.720,0:06:57.390
of waveform.

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HARRISON FORD: And[br]prepare to see them again

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for the first time.

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CHRIS: Out point there.

0:07:03.540,0:07:06.060
And again, make[br]an overwrite edit.

0:07:06.060,0:07:09.630
Now, as you can see, sitting[br]with those clips in the timeline

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as they currently are,[br]they're a little bit long,

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so we might just need to refine[br]where those clips are actually

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sitting in terms of the[br]position on the timeline.

0:07:18.480,0:07:20.400
So here, I'm just[br]going to navigate

0:07:20.400,0:07:25.050
my playhead over those clips[br]and use the detail zoom.

0:07:25.050,0:07:27.030
Now the detail zoom in[br]this case has actually

0:07:27.030,0:07:28.720
taken me way too close.

0:07:28.720,0:07:31.380
I can't really see how[br]these clips are actually

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sitting on the[br]timeline with regards

0:07:33.763,0:07:34.930
to the rest of the timeline.

0:07:34.930,0:07:36.640
So I just need to[br]Zoom out a little.

0:07:36.640,0:07:38.970
So I'm going to hold down[br]Command and use the minus

0:07:38.970,0:07:40.890
button, just once[br]or twice just to be

0:07:40.890,0:07:42.990
able to come out a little bit.

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Now the first thing I'm going to[br]do is just move the clips back.

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And I'm actually going to move[br]this interview clip back here

0:07:48.490,0:07:49.930
just so it's a[br]little bit tighter

0:07:49.930,0:07:51.938
with the first section of clips.

0:07:51.938,0:07:54.230
That just gives me a little[br]bit more room to play with.

0:07:54.230,0:07:56.270
Now I can just[br]select those clips,

0:07:56.270,0:07:58.100
just move them back[br]a touch as well.

0:07:58.100,0:08:00.950
Now you'll notice snapping[br]is happening there.

0:08:00.950,0:08:04.090
You can see how it's snapping[br]to the end of the previous video

0:08:04.090,0:08:04.670
clip.

0:08:04.670,0:08:08.120
I'm just going to disable that[br]by pressing N on the keyboard.

0:08:08.120,0:08:11.290
And you can see it's just[br]disabled that briefly, just

0:08:11.290,0:08:12.500
to bring that back.

0:08:12.500,0:08:16.360
And again, I still want[br]to actually contract time

0:08:16.360,0:08:17.480
a little bit more.

0:08:17.480,0:08:21.130
So all I'm going to do here[br]is move the playhead just

0:08:21.130,0:08:24.110
before Harrison's last[br]piece of voiceover there,

0:08:24.110,0:08:28.130
and then use Command or[br]Control B to split that clip.

0:08:28.130,0:08:30.160
Now I can just simply[br]pick that clip up.

0:08:30.160,0:08:32.090
And again, with[br]the snapping off,

0:08:32.090,0:08:34.510
just tighten it up a[br]little bit, just so

0:08:34.510,0:08:37.630
that I've lost a little bit[br]of the time between those two

0:08:37.630,0:08:39.400
pieces of voiceover.

0:08:39.400,0:08:42.340
So that's got the voiceover[br]into the timeline at least.

0:08:42.340,0:08:44.660
There's a few more things[br]that we need to do to this.

0:08:44.660,0:08:46.210
But for the moment,[br]we're going to move on

0:08:46.210,0:08:48.670
and we're going to put some[br]sound effects in and continue

0:08:48.670,0:08:51.040
the editing portion.

0:08:51.040,0:08:53.050
Let's go back to full[br]extent zoom and move

0:08:53.050,0:08:56.530
the playhead over the[br]second clip in the timeline.

0:08:56.530,0:08:58.978
So let's go to[br]the sound effects.

0:08:58.978,0:09:01.270
And you'll see that there is[br]a sound effect here called

0:09:01.270,0:09:04.000
jet taxi.

0:09:04.000,0:09:06.610
Double click that to[br]open into the source.

0:09:06.610,0:09:08.560
Now, the idea here[br]is that we actually

0:09:08.560,0:09:10.840
want to edit this[br]sound effect to just

0:09:10.840,0:09:13.550
the portion of the timeline[br]that we're working in.

0:09:13.550,0:09:16.810
So for this, we're going to[br]add in and out points directly

0:09:16.810,0:09:18.200
to the timeline.

0:09:18.200,0:09:19.900
A quick way of being[br]able to do this

0:09:19.900,0:09:22.300
is make sure your timeline[br]is the active window,

0:09:22.300,0:09:24.670
and press X on the keyboard.

0:09:24.670,0:09:26.870
X will mark the clip.

0:09:26.870,0:09:28.600
Marking a clip will[br]actually put an in

0:09:28.600,0:09:31.990
and an outpoint around the clip[br]at the very start and very end

0:09:31.990,0:09:33.013
frame of the clip.

0:09:33.013,0:09:34.930
So it's a quick way of[br]being able to make sure

0:09:34.930,0:09:38.470
that you're editing one clip[br]to the duration of an existing

0:09:38.470,0:09:39.610
clip.

0:09:39.610,0:09:42.500
We also need to make sure[br]that this audio is ending up

0:09:42.500,0:09:43.732
on the right track.

0:09:43.732,0:09:45.440
So in this case, we're[br]going to make sure

0:09:45.440,0:09:49.760
that the targeting changes from[br]audio two, the voiceover track,

0:09:49.760,0:09:52.640
to audio three.

0:09:52.640,0:09:55.707
And now we're going to[br]perform an overwrite edit.

0:09:55.707,0:09:57.290
Now you may be[br]wondering why we didn't

0:09:57.290,0:09:59.580
set an endpoint in[br]the source viewer.

0:09:59.580,0:10:01.910
The reason why we[br]didn't is because if you

0:10:01.910,0:10:03.950
don't set an in or[br]an out point, it

0:10:03.950,0:10:06.180
will always take the full[br]duration of the clip.

0:10:06.180,0:10:08.660
So in this case, the[br]endpoint is actually

0:10:08.660,0:10:11.960
the implied endpoint at the[br]very beginning of the clip.

0:10:11.960,0:10:14.510
Moving forward, let's[br]move the playhead

0:10:14.510,0:10:17.810
over the shot of[br]the South Pole clip.

0:10:17.810,0:10:22.250
Again, let's press[br]X to mark that clip.

0:10:22.250,0:10:25.593
Choose the SFX prop audio.

0:10:25.593,0:10:28.340


0:10:28.340,0:10:32.300
Double click that to open[br]it up into the source.

0:10:32.300,0:10:35.160
And this time, we will[br]actually set an endpoint.

0:10:35.160,0:10:37.130
We don't need an outpoint[br]because we've already

0:10:37.130,0:10:39.570
got an outpoint directly[br]on the timeline.

0:10:39.570,0:10:41.028
However, by setting[br]an endpoint, it

0:10:41.028,0:10:43.237
means that we're not going[br]to use the very first part

0:10:43.237,0:10:44.010
of the clip.

0:10:44.010,0:10:46.640
And you always want to leave[br]a little bit of footage

0:10:46.640,0:10:48.630
before and after[br]in and outpoints,

0:10:48.630,0:10:51.680
just to give you a little bit[br]of wiggle room on the timeline.

0:10:51.680,0:10:54.050
So I'm just going to mark[br]a portion of the wave

0:10:54.050,0:10:57.590
where it looks a reasonable[br]amount, maybe here

0:10:57.590,0:10:59.130
towards the middle of the wave.

0:10:59.130,0:11:01.700
So I'm going to set an[br]endpoint there, and again,

0:11:01.700,0:11:04.745
make an overwrite edit[br]directly onto the timeline.

0:11:04.745,0:11:07.370
Because the playhead has moved[br]to the end of the clip I've just

0:11:07.370,0:11:09.268
edited into the[br]timeline, you'll see

0:11:09.268,0:11:11.810
it's actually on the first frame[br]of the next shot, the Alaska

0:11:11.810,0:11:12.420
shot.

0:11:12.420,0:11:16.310
So all I now need to do is[br]press X to mark that clip.

0:11:16.310,0:11:21.860
And now I can actually go to the[br]sound effects for distant prop.

0:11:21.860,0:11:24.150
Double click that to open[br]it up into the source.

0:11:24.150,0:11:26.660
And again, use the[br]waveform so that you're not

0:11:26.660,0:11:28.670
using the beginning[br]part of this waveform

0:11:28.670,0:11:31.310
here, somewhere around[br]about the middle.

0:11:31.310,0:11:32.880
Mark an endpoint.

0:11:32.880,0:11:35.480
And now we need to choose[br]the track that we actually

0:11:35.480,0:11:37.350
want this clip to appear on.

0:11:37.350,0:11:41.303
And in this case, we actually[br]need to have it edited onto A4.

0:11:41.303,0:11:44.190


0:11:44.190,0:11:47.250
And again, overwrite edit.

0:11:47.250,0:11:49.360
Mark the next clip.

0:11:49.360,0:11:53.400
Switch the audio[br]targeting back to A3.

0:11:53.400,0:11:57.630
And in this case, we're going to[br]use sound effect for light wind.

0:11:57.630,0:11:58.960
Double click that.

0:11:58.960,0:12:01.320
Choose a portion of whichever[br]part of the sound effect

0:12:01.320,0:12:06.570
that you want and[br]edit that into A3.

0:12:06.570,0:12:08.910
Understanding how you're[br]using these editing functions

0:12:08.910,0:12:10.470
is very useful to[br]ensure that you

0:12:10.470,0:12:14.890
get the audio to sit at the[br]right point on the timeline

0:12:14.890,0:12:18.130
so that it's accompanying[br]the right piece of video.

0:12:18.130,0:12:20.560
Move your playhead[br]back to the third clip.

0:12:20.560,0:12:22.750
This is the shot of[br]the jet taking off.

0:12:22.750,0:12:25.120
Press X to mark that clip.

0:12:25.120,0:12:28.920
Change the track[br]targeting to A4.

0:12:28.920,0:12:34.860
And find the clip[br]called SFX Jet Takeoff.

0:12:34.860,0:12:37.480
Double click that to[br]open it into the source.

0:12:37.480,0:12:39.010
Now, at the moment,[br]what we've been

0:12:39.010,0:12:41.120
doing is in all of[br]the source clips,

0:12:41.120,0:12:44.680
we've been adding endpoints to[br]the start of the clip where we

0:12:44.680,0:12:46.790
want the sound effect to start.

0:12:46.790,0:12:50.200
But what we can also do is what[br]we call a back-timed edit, which

0:12:50.200,0:12:54.670
is very useful when you know[br]where you want a clip to end.

0:12:54.670,0:12:58.730
Set an outpoint towards[br]the tail end of this,

0:12:58.730,0:13:02.860
fade out of this jet sound.

0:13:02.860,0:13:06.110
And now when I perform the[br]standard overwrite edit,

0:13:06.110,0:13:09.620
it will actually back time the[br]sound effect into the timeline.

0:13:09.620,0:13:14.440
So now it'll sound as though the[br]plane is actually leaving shot.

0:13:14.440,0:13:18.520
We can actually do something[br]similar with the final shot.

0:13:18.520,0:13:21.590
Move the playhead to the[br]last shot in this sequence.

0:13:21.590,0:13:24.950
Press X in order to be[br]able to mark the clip.

0:13:24.950,0:13:27.010
And because we pretty[br]much leave this shot

0:13:27.010,0:13:29.240
as the plane is[br]directly overhead,

0:13:29.240,0:13:32.110
it actually makes sense to[br]take a slightly earlier part

0:13:32.110,0:13:34.750
of the outpoint for the clip.

0:13:34.750,0:13:38.980
So I'm going to set an outpoint[br]just as the audio starts

0:13:38.980,0:13:40.900
to fade away.

0:13:40.900,0:13:44.470
And again, making sure I'm[br]editing on to audio four,

0:13:44.470,0:13:47.560
I make an overwrite edit.

0:13:47.560,0:13:49.300
Now, from the[br]previous video, you'll

0:13:49.300,0:13:52.100
also remember that we not[br]only had overwrite edits,

0:13:52.100,0:13:54.350
but we had other sorts[br]of edits as well.

0:13:54.350,0:13:57.380
One of those edits that we[br]explored was the replace edit.

0:13:57.380,0:14:00.010
And you can actually use the[br]replace edit to good effect

0:14:00.010,0:14:03.100
here in the timeline in order[br]to be able to synchronize

0:14:03.100,0:14:05.430
sound and picture together.

0:14:05.430,0:14:07.930
Move your playhead to the fourth[br]clip in the timeline, which

0:14:07.930,0:14:11.560
is the shot of the water plane[br]coming overhead in the Maldives.

0:14:11.560,0:14:16.270
Find the point on your timeline[br]where the plane is just probably

0:14:16.270,0:14:19.300
about halfway in shot.

0:14:19.300,0:14:21.880
In the sound effects bin,[br]find the sound effect

0:14:21.880,0:14:24.220
called SFX Overhead.

0:14:24.220,0:14:27.880
Double click to open that[br]in the source viewer.

0:14:27.880,0:14:29.560
Now, you can see[br]from this waveform

0:14:29.560,0:14:33.770
here, as we have this very high[br]spike in the waveform where

0:14:33.770,0:14:35.798
the plane is at its closest.

0:14:35.798,0:14:37.340
What we're going to[br]do is we're going

0:14:37.340,0:14:41.120
to use that as a reference point[br]for this point in the timeline

0:14:41.120,0:14:43.860
where the plane is[br]directly overhead.

0:14:43.860,0:14:46.470
So make sure in[br]the source viewer,

0:14:46.470,0:14:50.150
you actually[br]position the playhead

0:14:50.150,0:14:53.540
as close to the center of[br]that waveform as possible.

0:14:53.540,0:14:56.330
Let's target audio[br]three for this.

0:14:56.330,0:14:59.670
Then simply make a replace[br]edit in whichever way you want.

0:14:59.670,0:15:04.010
In this case, I'm going to[br]click the replace button.

0:15:04.010,0:15:05.840
And you can see that[br]the clip is actually

0:15:05.840,0:15:08.780
timed so that the[br]height of the waveform

0:15:08.780,0:15:12.080
actually is now synchronized[br]with the actual plane passing

0:15:12.080,0:15:13.460
overhead.

0:15:13.460,0:15:15.440
In order to appreciate[br]this, I'm just

0:15:15.440,0:15:19.490
going to simply mute the music[br]track by pressing the M mute

0:15:19.490,0:15:23.540
button, and then use[br]the forward key in order

0:15:23.540,0:15:26.810
to be able to preview[br]that part of the timeline.

0:15:26.810,0:15:28.760
[PLANE WHIRRING]

0:15:28.760,0:15:31.610


0:15:31.610,0:15:34.830
So, now that we've got[br]the audio in the timeline,

0:15:34.830,0:15:37.400
it's time to start to[br]think about the audio mix

0:15:37.400,0:15:38.990
for this trailer.

0:15:38.990,0:15:40.760
So the first thing[br]that we want to do

0:15:40.760,0:15:43.380
is actually to sort out[br]the dialogue tracks.

0:15:43.380,0:15:46.070
So in this case, I'm not[br]interested in the sound effects

0:15:46.070,0:15:48.600
or the music tracks[br]just for the moment.

0:15:48.600,0:15:50.870
So I'm just going to[br]mute all of the tracks

0:15:50.870,0:15:53.660
that I'm not interested in.

0:15:53.660,0:15:57.720
And now I can turn my attention[br]directly to the dialogue.

0:15:57.720,0:16:00.890
And arguably, the dialogue is[br]usually the most important piece

0:16:00.890,0:16:02.840
of audio within your timeline.

0:16:02.840,0:16:05.480
Because unless we can[br]actually hear and understand

0:16:05.480,0:16:07.880
what's being said,[br]there's really no point

0:16:07.880,0:16:10.580
in us actually listening.

0:16:10.580,0:16:13.290
In order to monitor the[br]audio in the timeline,

0:16:13.290,0:16:16.130
the best thing to bring[br]up is the audio mixer.

0:16:16.130,0:16:18.660
From the top right hand[br]corner of the interface,

0:16:18.660,0:16:20.750
just click the mixer[br]button to bring up

0:16:20.750,0:16:22.580
the mixer in the timeline.

0:16:22.580,0:16:25.670
You can then open the[br]mixer out in order

0:16:25.670,0:16:29.550
to be able to reveal all of the[br]controls for each of the tracks.

0:16:29.550,0:16:32.160
If you're working on a laptop[br]or a display that's actually

0:16:32.160,0:16:35.670
quite small, you may want[br]to hide the media pool, just

0:16:35.670,0:16:37.680
to give you a little[br]bit more room in order

0:16:37.680,0:16:39.210
to be able to work.

0:16:39.210,0:16:42.840
So in the top left hand corner,[br]click the Media Pool button

0:16:42.840,0:16:44.910
to hide the media pool.

0:16:44.910,0:16:47.760
Now, to begin with, we just[br]need to look at the levels

0:16:47.760,0:16:52.020
and also the audio channels[br]being used in the timeline.

0:16:52.020,0:16:53.590
From the beginning[br]of the timeline,

0:16:53.590,0:16:56.035
I'm just going to play the[br]first part of this interview.

0:16:56.035,0:16:57.660
BRIAN TERWILLIGER:[br]In this film, making

0:16:57.660,0:17:00.190
a documentary about how the[br]airplanes changed the world--

0:17:00.190,0:17:02.680
CHRIS: As a quick rule[br]of thumb, for dialogue,

0:17:02.680,0:17:04.650
you generally want[br]your audio levels

0:17:04.650,0:17:07.750
to be around about that[br]yellow area on the meters.

0:17:07.750,0:17:09.990
So that's something to aim for.

0:17:09.990,0:17:13.170
Also, you noticed,[br]as I play this back,

0:17:13.170,0:17:17.680
that there's actually two[br]audio channels in this clip.

0:17:17.680,0:17:20.819
BRIAN TERWILLIGER: It was really[br]important to go out and shoot

0:17:20.819,0:17:22.170
the real world.

0:17:22.170,0:17:25.109
CHRIS: This indicates[br]that this clip is stereo.

0:17:25.109,0:17:28.250
And it's actually sitting[br]within a stereo track.

0:17:28.250,0:17:31.480
For most dialogue clips, and[br]that's pretty much anything

0:17:31.480,0:17:33.730
that's shot on a camera,[br]you will probably

0:17:33.730,0:17:36.580
want to work with mono Audio.

0:17:36.580,0:17:39.550
In actual fact, let's play[br]the Harrison Ford clip

0:17:39.550,0:17:41.830
and let's see the[br]difference here.

0:17:41.830,0:17:44.230
HARRISON FORD: In[br]the age of airplanes,

0:17:44.230,0:17:47.740
we've become[br]explorers once again.

0:17:47.740,0:17:49.270
CHRIS: Well, first[br]of all, you'll

0:17:49.270,0:17:51.400
see that the Harrison[br]Ford clip is nicely

0:17:51.400,0:17:53.840
sat within that yellow[br]area of the meters.

0:17:53.840,0:17:56.510
However, it's what[br]we call one-legged.

0:17:56.510,0:17:59.920
It's coming out of only[br]one channel of our output.

0:17:59.920,0:18:02.840
Well, we don't want[br]that for Harrison Ford.

0:18:02.840,0:18:04.690
And the reason for[br]that is that we

0:18:04.690,0:18:07.900
want to actually have[br]this as mono audio, which

0:18:07.900,0:18:10.630
is a single audio[br]channel actually sitting

0:18:10.630,0:18:13.310
within a mono track[br]in the timeline.

0:18:13.310,0:18:15.560
So that's the[br]other general rule.

0:18:15.560,0:18:17.930
If you've got dialogue[br]in the timeline,

0:18:17.930,0:18:20.650
ideally, it should be[br]mono, and ideally, it

0:18:20.650,0:18:22.580
should be sat on a mono track.

0:18:22.580,0:18:24.880
And thankfully,[br]Resolve enables me

0:18:24.880,0:18:27.490
to change the track[br]type very easily

0:18:27.490,0:18:29.090
and without too much fuss.

0:18:29.090,0:18:31.180
So there's no problem if[br]you get things slightly

0:18:31.180,0:18:34.390
wrong or confused because you[br]can always put it right a little

0:18:34.390,0:18:36.910
bit later on in the process.

0:18:36.910,0:18:41.020
Also, I'm going to do is right[br]click on the VO audio track

0:18:41.020,0:18:47.170
header and choose Change[br]Track Type to mono.

0:18:47.170,0:18:50.770
And you'll see the little[br]2.0 indicator has now

0:18:50.770,0:18:54.250
changed to a 1.0 indicator,[br]which indicates now

0:18:54.250,0:18:55.616
that this is a mono track.

0:18:55.616,0:18:58.930


0:18:58.930,0:19:01.260
Playing Harrison Ford's[br]voiceover back here--

0:19:01.260,0:19:03.010
HARRISON FORD: In the[br]age of airplanes--

0:19:03.010,0:19:05.650
CHRIS: --now shows[br]me I've got a mono

0:19:05.650,0:19:07.880
track with mono audio in it.

0:19:07.880,0:19:11.260
And it's now playing out[br]of both audio channels

0:19:11.260,0:19:12.500
from this timeline.

0:19:12.500,0:19:16.960
We can also do the same sort of[br]thing with the interview audio

0:19:16.960,0:19:17.900
as well.

0:19:17.900,0:19:21.860
So I can now right click[br]the Sync audio track header,

0:19:21.860,0:19:24.700
choose change[br]track type to mono.

0:19:24.700,0:19:27.650


0:19:27.650,0:19:29.150
And now when I play that--

0:19:29.150,0:19:31.040
BRIAN TERWILLIGER: In this film,[br]making a documentary about how

0:19:31.040,0:19:32.750
the airplanes[br]changed the world, it

0:19:32.750,0:19:37.110
was really important to go[br]out and shoot the real world.

0:19:37.110,0:19:39.210
CHRIS: I've now got mono audio.

0:19:39.210,0:19:41.730
Now, Resolve hasn't done[br]anything too clever here.

0:19:41.730,0:19:45.080
All it's just done is simply[br]take the first audio channel

0:19:45.080,0:19:46.620
from the clip in the timeline.

0:19:46.620,0:19:48.840
So that clip is still stereo.

0:19:48.840,0:19:51.090
If I was to move it[br]into a stereo track,

0:19:51.090,0:19:53.190
I would still get[br]the stereo audio.

0:19:53.190,0:19:55.500
But because it's[br]playing in a mono track,

0:19:55.500,0:19:57.930
only the first audio[br]channel is being used.

0:19:57.930,0:20:00.480
And in this case, that's[br]what I want to use.

0:20:00.480,0:20:02.810
If you do need to[br]change the audio channel

0:20:02.810,0:20:04.760
configuration of a[br]clip, though, you

0:20:04.760,0:20:07.130
can always right click[br]it in the timeline

0:20:07.130,0:20:11.060
and choose Clip Attributes.

0:20:11.060,0:20:15.120
And in the Audio tab, you can[br]actually change the format.

0:20:15.120,0:20:19.250
So in this case, we can actually[br]switch from stereo to mono,

0:20:19.250,0:20:22.190
and then choose the embedded[br]audio channel that we

0:20:22.190,0:20:25.160
want for that mono clip.

0:20:25.160,0:20:27.750
Now that I've got my[br]audio channel sorted out,

0:20:27.750,0:20:31.340
I can actually now start[br]thinking about the levels that

0:20:31.340,0:20:32.660
need to be set.

0:20:32.660,0:20:35.990
And it depends where you need[br]to deliver your audio too as

0:20:35.990,0:20:38.400
to what levels that you[br]should be aiming for.

0:20:38.400,0:20:41.030
However, as a good[br]rule of thumb,

0:20:41.030,0:20:45.650
around about the minus 12[br]DBFS on the main output meter

0:20:45.650,0:20:48.000
is probably something[br]good to aim for.

0:20:48.000,0:20:51.000
You can also listen[br]to the audio as well.

0:20:51.000,0:20:53.010
Just make sure you're[br]happy with the mix.

0:20:53.010,0:20:56.930
The main thing is, can you[br]hear the different elements,

0:20:56.930,0:20:59.760
making sure that one element[br]does not swamp another.

0:20:59.760,0:21:02.010
I'm going to go back to the[br]beginning of the timeline.

0:21:02.010,0:21:04.560
And I'm just going to[br]play Brian's interview.

0:21:04.560,0:21:06.875
So I'm just going to play[br]the audio on the sync track.

0:21:06.875,0:21:09.500
BRIAN TERWILLIGER: In this film,[br]making a documentary about how

0:21:09.500,0:21:11.070
the airplane's[br]changed the world,

0:21:11.070,0:21:15.570
it was really important to go[br]out and shoot the real world.

0:21:15.570,0:21:17.060
CHRIS: Now, the[br]problem with that

0:21:17.060,0:21:19.830
is there are parts of that[br]audio clip that are actually

0:21:19.830,0:21:20.830
quite loud.

0:21:20.830,0:21:23.260
And there are parts that[br]are a little bit quiet.

0:21:23.260,0:21:27.240
And really, what I want to do[br]is I want to balance the audio

0:21:27.240,0:21:29.800
so that it's roughly the[br]same level throughout.

0:21:29.800,0:21:31.920
The one thing that[br]I want to avoid

0:21:31.920,0:21:35.850
is my audience having to[br]constantly raise or lower

0:21:35.850,0:21:38.650
their volume control for their[br]speakers or their headphones

0:21:38.650,0:21:40.270
as they're watching this video.

0:21:40.270,0:21:43.980
I need to present everything[br]at a consistent level.

0:21:43.980,0:21:47.340
Let's just zoom in on this[br]clip just to have a look.

0:21:47.340,0:21:49.600
So I'm going to click[br]the Detail Zoom button.

0:21:49.600,0:21:51.450
And I'm also going to[br]make the audio track

0:21:51.450,0:21:53.460
height a little bit bigger.

0:21:53.460,0:21:55.560
And now having[br]seen the waveform,

0:21:55.560,0:21:58.950
you can actually see where[br]there are certain loud spikes

0:21:58.950,0:22:00.900
in the waveform and[br]where everything starts

0:22:00.900,0:22:02.670
to get a little bit quiet.

0:22:02.670,0:22:04.290
What we can do is[br]we can actually

0:22:04.290,0:22:07.530
start to balance out this so[br]that he starts off at one level

0:22:07.530,0:22:10.110
and continues at[br]roughly the same level.

0:22:10.110,0:22:11.730
In order to be[br]able to do this, we

0:22:11.730,0:22:14.710
need to add keyframes[br]to the volume curve.

0:22:14.710,0:22:17.280
An easy and quick way to[br]be able to add keyframes

0:22:17.280,0:22:19.890
is actually to hold down[br]the Option or Alt key

0:22:19.890,0:22:22.860
when you click on the volume[br]curve in the timeline.

0:22:22.860,0:22:24.720
So here, I'm just[br]going to hold down

0:22:24.720,0:22:28.000
the Option key when I click[br]on this part of the timeline

0:22:28.000,0:22:31.890
just after this first[br]spike in the waveform here.

0:22:31.890,0:22:35.190
I'm going to add a second[br]keyframe by holding down option

0:22:35.190,0:22:39.540
again and clicking once[br]again on the volume curve.

0:22:39.540,0:22:43.240
This now means that I can[br]erase this part of the curve

0:22:43.240,0:22:46.590
so that it's roughly in[br]line with this first peak

0:22:46.590,0:22:48.450
of the audio here.

0:22:48.450,0:22:50.503
If I go back to the[br]beginning and preview this.

0:22:50.503,0:22:52.920
BRIAN TERWILLIGER: In this,[br]making a documentary about how

0:22:52.920,0:22:54.630
the airplanes[br]changed the world, it

0:22:54.630,0:22:59.430
was really important to go[br]out and shoot the real world.

0:22:59.430,0:23:01.230
CHRIS: As you can[br]see, the audio is now

0:23:01.230,0:23:04.000
more consistent along[br]the duration of the clip.

0:23:04.000,0:23:06.480
However, it's probably[br]a little bit too hot.

0:23:06.480,0:23:08.880
Now, the main thing I'm[br]interested in is making sure

0:23:08.880,0:23:10.410
that all of the[br]clips at this point

0:23:10.410,0:23:13.830
are on the same audio track[br]are balanced, to be roughly

0:23:13.830,0:23:15.190
around the same level.

0:23:15.190,0:23:17.390
They don't have to[br]be the right level,

0:23:17.390,0:23:19.100
they just have to be consistent.

0:23:19.100,0:23:22.880
And one way we can do that is[br]we can normalize the audio.

0:23:22.880,0:23:25.060
What this will do[br]is it will actually

0:23:25.060,0:23:28.480
calculate a change[br]in the audio curve

0:23:28.480,0:23:31.750
based on the peak[br]level of the clips.

0:23:31.750,0:23:34.360
See how we can do that.

0:23:34.360,0:23:36.255
I'm just going to select[br]these audio clips.

0:23:36.255,0:23:40.540
Right click and choose[br]Normalize Audio Levels.

0:23:40.540,0:23:42.730
There are a number of[br]different normalization modes

0:23:42.730,0:23:43.490
to choose from.

0:23:43.490,0:23:45.130
But Sample Peak[br]program is probably

0:23:45.130,0:23:47.050
the simplest one to use.

0:23:47.050,0:23:51.590
The minus 9 DBFS level is a[br]good starting point for this.

0:23:51.590,0:23:54.320
Again, this will actually[br]normalize the peak levels.

0:23:54.320,0:23:58.390
So, by having it set to[br]minus 9 is the upper part

0:23:58.390,0:24:01.720
of that yellow[br]area on the meters.

0:24:01.720,0:24:03.460
And we also want to[br]make sure that we

0:24:03.460,0:24:06.010
set this to be independent[br]so that it will

0:24:06.010,0:24:08.620
treat each clip on its own.

0:24:08.620,0:24:11.050
Now we can choose to[br]normalize in order

0:24:11.050,0:24:14.425
to be able to normalize the[br]clips to roughly the same level.

0:24:14.425,0:24:17.270


0:24:17.270,0:24:18.520
If I just play this clip here.

0:24:18.520,0:24:19.895
BRIAN TERWILLIGER:[br]If we couldn't

0:24:19.895,0:24:21.873
get the shot or the[br]weather wasn't right,

0:24:21.873,0:24:23.540
we would either go[br]back to that location

0:24:23.540,0:24:25.190
or it didn't make the movie.

0:24:25.190,0:24:27.620
It was really important[br]every shot was original

0:24:27.620,0:24:29.570
and that everything was real.

0:24:29.570,0:24:33.170
CHRIS: So each of those clips[br]is now roughly the same level.

0:24:33.170,0:24:35.690
In order to bring the[br]first clip into line

0:24:35.690,0:24:38.430
as well, what we can do is[br]we can just preview that.

0:24:38.430,0:24:41.270
And if we need to, we can[br]actually just nudge the audio

0:24:41.270,0:24:42.210
up or down.

0:24:42.210,0:24:44.472
So selecting that clip[br]and playing through.

0:24:44.472,0:24:47.180
BRIAN TERWILLIGER: In this film,[br]making a documentary about how--

0:24:47.180,0:24:51.080
CHRIS: I can use Option[br]Command minus just

0:24:51.080,0:24:55.865
to be able to nudge that[br]down one DB at a time.

0:24:55.865,0:24:58.490
BRIAN TERWILLIGER: In this film,[br]making a documentary about how

0:24:58.490,0:25:00.200
the airplanes[br]changed the world, it

0:25:00.200,0:25:04.225
was really important to go[br]out and shoot the real world.

0:25:04.225,0:25:05.600
CHRIS: And that's[br]brought it more

0:25:05.600,0:25:07.832
in line with the rest of[br]the audio on that track.

0:25:07.832,0:25:09.290
Now, the next thing[br]I want to do is

0:25:09.290,0:25:10.800
to do pretty much[br]the same thing,

0:25:10.800,0:25:13.350
but with the audio[br]from the voiceover.

0:25:13.350,0:25:15.963
However, because this[br]was recorded in a studio,

0:25:15.963,0:25:17.630
it's much more[br]consistent than something

0:25:17.630,0:25:21.210
that was recorded on location[br]in an interview situation.

0:25:21.210,0:25:23.150
So what I'm just[br]going to do here

0:25:23.150,0:25:26.678
is actually just adjust[br]the clips as appropriate.

0:25:26.678,0:25:28.970
So I'm going to select the[br]first clip, play it through.

0:25:28.970,0:25:31.580
HARRISON FORD: In[br]the age of airplanes,

0:25:31.580,0:25:34.107
we've become[br]explorers once again.

0:25:34.107,0:25:36.440
CHRIS: So what I've just done[br]is just adjusted that clip

0:25:36.440,0:25:38.810
not by very much, just[br]by a couple of DB, just

0:25:38.810,0:25:40.820
to increase the level[br]slightly, to keep

0:25:40.820,0:25:43.070
it consistent with[br]the rest of the audio

0:25:43.070,0:25:45.380
in the speech for the dialogue.

0:25:45.380,0:25:47.180
HARRISON FORD: Leave[br]behind everything

0:25:47.180,0:25:52.190
you know about airplanes and[br]prepare to see them again

0:25:52.190,0:25:54.230
for the first time.

0:25:54.230,0:25:58.580
CHRIS: And I'll probably just[br]lower that end clip there a DB

0:25:58.580,0:26:03.110
and then maybe just bring[br]this first clip up single DB.

0:26:03.110,0:26:05.060
HARRISON FORD: Leave[br]behind everything

0:26:05.060,0:26:09.860
you know about airplanes and[br]prepare to see them again

0:26:09.860,0:26:11.710
yen for the first time.

0:26:11.710,0:26:15.010
CHRIS: So that now means that[br]the dialogue has been balanced.

0:26:15.010,0:26:18.040
I can now turn my attention to[br]some of these sound effects,

0:26:18.040,0:26:20.658
start to integrate[br]them into the trailer.

0:26:20.658,0:26:22.950
First of all, I'm just going[br]to make the timeline track

0:26:22.950,0:26:25.680
heights a little bit shorter,[br]just so that I can concentrate

0:26:25.680,0:26:27.960
on each of these clips.

0:26:27.960,0:26:29.460
Now, the first thing[br]I'm going to do

0:26:29.460,0:26:33.460
is I'm going to unmute[br]audio tracks three and four.

0:26:33.460,0:26:35.760
But I am going to mute[br]the dialogue tracks,

0:26:35.760,0:26:39.040
so that's audio track[br]one and audio track two.

0:26:39.040,0:26:42.220
Again, the idea here[br]is to be consistent.

0:26:42.220,0:26:45.000
Don't worry if the sounds[br]are too high or too low,

0:26:45.000,0:26:48.000
just to make sure they're[br]roughly the same level.

0:26:48.000,0:26:50.110
So I'm going to[br]play these through.

0:26:50.110,0:26:53.568
[PLANE WHIRRING]

0:26:53.568,0:27:24.210


0:27:24.210,0:27:25.740
OK, so first thing[br]I'm going to do

0:27:25.740,0:27:29.110
is just make sure I've got[br]the levels roughly the same.

0:27:29.110,0:27:33.630
So I'm actually going to[br]increase this one here

0:27:33.630,0:27:37.090
and this one here,[br]this one here.

0:27:37.090,0:27:40.090
Now it might seem slightly[br]counter-intuitive.

0:27:40.090,0:27:42.550
Why would I be[br]increasing audio levels?

0:27:42.550,0:27:44.100
But again, this is[br]just to make sure

0:27:44.100,0:27:46.570
that they're balanced[br]across the different clips

0:27:46.570,0:27:47.770
and they're consistent.

0:27:47.770,0:27:51.150
Because once I've done that,[br]I can now bring the levels

0:27:51.150,0:27:53.550
down using the track faders.

0:27:53.550,0:27:55.300
Let's just go back to[br]the beginning here.

0:27:55.300,0:27:56.620
Just play this through.

0:27:56.620,0:28:00.092
[PLANE WHIRRING]

0:28:00.092,0:28:29.410


0:28:29.410,0:28:32.650
So I'll just need to just[br]pull this level down a little

0:28:32.650,0:28:35.590
bit just to keep it in line.

0:28:35.590,0:28:36.595
That's better.

0:28:36.595,0:28:39.990
[PLANE WHIRRING]

0:28:39.990,0:28:42.910


0:28:42.910,0:28:46.880
So that's how easy it is[br]to start mixing your audio.

0:28:46.880,0:28:49.670
You could have individual[br]levels for each of the clips.

0:28:49.670,0:28:50.720
Nothing wrong with that.

0:28:50.720,0:28:52.540
But it just means[br]that using the mixer

0:28:52.540,0:28:55.450
and using the track level[br]sliders just makes mixing

0:28:55.450,0:28:57.112
just that awful lot easier.

0:28:57.112,0:28:58.570
Now, the only other[br]thing I'm going

0:28:58.570,0:29:00.028
to do with these[br]sound effect clips

0:29:00.028,0:29:03.290
is just create little[br]fades between each clip.

0:29:03.290,0:29:05.090
This will just[br]help the transition

0:29:05.090,0:29:08.120
from one audio clip to another.

0:29:08.120,0:29:11.240
Let's go to detail[br]zoom on the first clip.

0:29:11.240,0:29:13.070
And what we can[br]do, first of all,

0:29:13.070,0:29:15.770
is we can actually just[br]apply a little audio fade

0:29:15.770,0:29:20.180
at the beginning and end[br]of each of these clips.

0:29:20.180,0:29:21.750
Just a little fade like that.

0:29:21.750,0:29:24.140
And then I can trim[br]the end of the clip

0:29:24.140,0:29:28.340
out so that it overlaps the[br]underlying clip on the lower

0:29:28.340,0:29:29.400
audio track.

0:29:29.400,0:29:32.990
So this will now crossfade[br]those two clips together.

0:29:32.990,0:29:38.198
I can also slip this clip just[br]like I can do with a video

0:29:38.198,0:29:39.740
in order to give me[br]a little bit more

0:29:39.740,0:29:42.230
handle the beginning[br]here, so that I can just

0:29:42.230,0:29:45.830
lengthen that clip from[br]the very beginning.

0:29:45.830,0:29:49.320
Just a tiny little overlap of[br]the audio is always useful.

0:29:49.320,0:29:51.180
You want to be careful[br]it's not too long,

0:29:51.180,0:29:52.670
but it will just[br]indicate there's

0:29:52.670,0:29:54.030
a change of picture coming.

0:29:54.030,0:29:59.030
Just anticipate that[br]in the audience's mind.

0:29:59.030,0:30:01.230
I'm going to continue[br]scrolling through here.

0:30:01.230,0:30:04.520
And I'm going to continue adding[br]little audio fades on each

0:30:04.520,0:30:05.290
of these clips.

0:30:05.290,0:30:15.560


0:30:15.560,0:30:16.915
An audio fade out there.

0:30:16.915,0:30:19.760


0:30:19.760,0:30:22.490
Once again, I'm going to do[br]the same technique as before

0:30:22.490,0:30:24.140
with this South Pole audio.

0:30:24.140,0:30:27.210
Tiny, little fade[br]in at the beginning.

0:30:27.210,0:30:30.350


0:30:30.350,0:30:32.980
Just to anticipate the[br]picture change there.

0:30:32.980,0:30:37.370


0:30:37.370,0:30:38.790
And fade out there.

0:30:38.790,0:30:42.210
And I'll just bring the other[br]one, the subsequent shot,

0:30:42.210,0:30:43.880
bring that in.

0:30:43.880,0:30:46.315
Finally, just a couple[br]more to do here.

0:30:46.315,0:30:50.750


0:30:50.750,0:30:51.820
That audio fades.

0:30:51.820,0:31:04.830


0:31:04.830,0:31:08.310
And finally, I'm just going[br]to lengthen that last clip

0:31:08.310,0:31:12.110
just so that it tails out right[br]underneath those titles there.

0:31:12.110,0:31:15.840


0:31:15.840,0:31:18.670
So now, when I just[br]play that last bit.

0:31:18.670,0:31:22.051
[PLANE WHIRRING]

0:31:22.051,0:31:28.830


0:31:28.830,0:31:31.830
And the sound of the[br]airplane dies away slightly.

0:31:31.830,0:31:35.190
Now you may be wondering why I[br]haven't added audio transitions

0:31:35.190,0:31:36.250
between those clips.

0:31:36.250,0:31:38.500
And that's another way[br]of being able to work.

0:31:38.500,0:31:41.250
However, I often find[br]that these audio fades

0:31:41.250,0:31:44.490
are much more accurate[br]than the audio transitions

0:31:44.490,0:31:46.080
that you might be using.

0:31:46.080,0:31:49.590
The last element of this audio[br]mix that I need to bring in

0:31:49.590,0:31:51.340
is, of course, the music.

0:31:51.340,0:31:53.920
And very similar to working[br]with the sound effects,

0:31:53.920,0:31:56.190
I can actually use[br]the track slider

0:31:56.190,0:31:58.840
in order to be able to[br]adjust the music level.

0:31:58.840,0:32:00.870
So first of all,[br]I'm going to unmute

0:32:00.870,0:32:03.600
all the tracks in the timeline.

0:32:03.600,0:32:07.030
Go back to the[br]beginning of my edit.

0:32:07.030,0:32:08.910
And I'm just going to[br]play through and have

0:32:08.910,0:32:10.905
a listen to where the[br]music level should be.

0:32:10.905,0:32:13.530
BRIAN TERWILLIGER: In this film,[br]making a documentary about how

0:32:13.530,0:32:15.270
the airplanes[br]changed the world, it

0:32:15.270,0:32:19.830
was really important to go[br]out and shoot the real world.

0:32:19.830,0:32:22.060
HARRISON FORD: In[br]the age of airplanes,

0:32:22.060,0:32:25.310
we've become[br]explorers once again.

0:32:25.310,0:32:27.310
BRIAN TERWILLIGER: If[br]it's possible to shoot it,

0:32:27.310,0:32:28.600
we wanted to go shoot it.

0:32:28.600,0:32:31.320


0:32:31.320,0:32:33.913
If we couldn't get the shot[br]or the weather wasn't right,

0:32:33.913,0:32:35.580
we would either go[br]back to that location

0:32:35.580,0:32:37.260
or it didn't make the movie.

0:32:37.260,0:32:39.630
It was really important[br]every shot was original

0:32:39.630,0:32:41.430
and that everything was real.

0:32:41.430,0:32:43.350
HARRISON FORD: Leave[br]behind everything

0:32:43.350,0:32:48.180
you know about airplanes and[br]prepare to see them again

0:32:48.180,0:32:49.930
for the first time.

0:32:49.930,0:32:53.318
[MUSIC PLAYING]

0:32:53.318,0:32:59.620


0:32:59.620,0:33:01.630
CHRIS: Now, throughout[br]that, I was actually

0:33:01.630,0:33:05.380
watching the audio meters, but[br]I was also listening to the mix

0:33:05.380,0:33:06.710
as it was coming through.

0:33:06.710,0:33:08.530
And you can see that[br]what I can now do

0:33:08.530,0:33:12.550
is I can easily write the levels[br]so that if the sound effects are

0:33:12.550,0:33:14.740
too loud, I can actually[br]bring the sound effects

0:33:14.740,0:33:17.450
on those tracks down[br]with just one fader.

0:33:17.450,0:33:21.760
So that's the advantage of using[br]the audio mixer in this case.

0:33:21.760,0:33:23.780
One thing I am[br]going to do, though,

0:33:23.780,0:33:26.950
is I'm actually going to[br]increase the level of the music

0:33:26.950,0:33:29.477
after Harrison Ford has[br]finished his final line.

0:33:29.477,0:33:31.060
So in this case, I'm[br]just going to add

0:33:31.060,0:33:36.020
a couple of audio keyframes[br]on the volume curve,

0:33:36.020,0:33:39.280
and just adjust that[br]up by a couple of DB

0:33:39.280,0:33:40.880
from where it was before.

0:33:40.880,0:33:43.420
So I can always go[br]back into the timeline

0:33:43.420,0:33:45.730
and start making further[br]level adjustments

0:33:45.730,0:33:50.590
if I need to at an[br]individual clip level.

0:33:50.590,0:33:52.220
HARRISON FORD: For[br]the first time.

0:33:52.220,0:33:55.538
[MUSIC PLAYING]

0:33:55.538,0:33:59.810


0:33:59.810,0:34:02.520
CHRIS: So that's the audio[br]mix done for this timeline.

0:34:02.520,0:34:04.590
However, we're not[br]quite there yet.

0:34:04.590,0:34:06.860
We need a few little[br]visual flourishes

0:34:06.860,0:34:09.330
before we can say[br]that this is a wrap.

0:34:09.330,0:34:12.050
And in this case, we're going[br]to add a few transitions just

0:34:12.050,0:34:14.130
to indicate a[br]change of location.

0:34:14.130,0:34:16.429
And we're also going[br]to add some fusion

0:34:16.429,0:34:19.400
titles from the built-in[br]templates that resolve ships

0:34:19.400,0:34:20.480
with.

0:34:20.480,0:34:24.380
So to start with, let's[br]just simply adjust

0:34:24.380,0:34:26.085
the height of each[br]of these tracks,

0:34:26.085,0:34:27.710
just to give me a[br]little bit more space

0:34:27.710,0:34:30.475
in terms of the visuals.

0:34:30.475,0:34:31.850
And the first[br]thing we want to do

0:34:31.850,0:34:34.260
is actually add some[br]video transitions.

0:34:34.260,0:34:37.790
Now, I was always taught when[br]I was learning video editing

0:34:37.790,0:34:40.340
that you should use[br]transitions sparingly

0:34:40.340,0:34:45.170
and usually to indicate a[br]change of time or location.

0:34:45.170,0:34:47.860
So here, I've got an edit[br]point between two shots.

0:34:47.860,0:34:49.860
BRIAN TERWILLIGER: If[br]it's possible to shoot it,

0:34:49.860,0:34:51.179
we wanted to go shoot it.

0:34:51.179,0:34:53.900


0:34:53.900,0:34:57.139
CHRIS: I can select the[br]Edit point here and then

0:34:57.139,0:35:03.080
come to the menu and choose[br]Timeline, Add Transition.

0:35:03.080,0:35:06.560
And this will add a default[br]one second cross-dissolve

0:35:06.560,0:35:07.680
transition.

0:35:07.680,0:35:10.460
Let's just preview that[br]with the forward key again.

0:35:10.460,0:35:12.127
BRIAN TERWILLIGER:[br]Possible to shoot it,

0:35:12.127,0:35:14.930
we wanted to go shoot it.

0:35:14.930,0:35:17.240
CHRIS: And that simple[br]fade usually indicates

0:35:17.240,0:35:20.210
to the audience that some[br]change is there, usually

0:35:20.210,0:35:23.090
a change of time or[br]a change of location.

0:35:23.090,0:35:26.310
Let's just zoom in on that[br]transition a little bit as well.

0:35:26.310,0:35:29.570
Because you can also change[br]any of these transitions.

0:35:29.570,0:35:32.120
Of course, you can change the[br]duration of the transition

0:35:32.120,0:35:36.530
by clicking on it and[br]dragging it at the side there.

0:35:36.530,0:35:41.150
But if you right click[br]on the transition,

0:35:41.150,0:35:44.180
you can also change[br]the transition duration

0:35:44.180,0:35:45.852
by typing in values.

0:35:45.852,0:35:47.810
And you can see that[br]we've got presets there as

0:35:47.810,0:35:52.230
well, very similar to how we[br]changed the duration of clips.

0:35:52.230,0:35:53.910
Alternatively, you[br]can also change

0:35:53.910,0:35:57.480
the style of the transition[br]through the inspector.

0:35:57.480,0:35:59.250
So let's come up to[br]the top right hand

0:35:59.250,0:36:02.040
corner of the interface,[br]click on the inspector button.

0:36:02.040,0:36:06.780
And we will also see that we're[br]in the transition inspector.

0:36:06.780,0:36:10.030
Here, we've got the transition[br]type, which is cross-dissolve.

0:36:10.030,0:36:13.590
But we can also choose from[br]lots of different sorts of types

0:36:13.590,0:36:14.650
of transition.

0:36:14.650,0:36:16.785
Let's choose Edge Wipe.

0:36:16.785,0:36:18.660
Because I've got the[br]playhead over the center

0:36:18.660,0:36:20.190
of the transition,[br]you can now see

0:36:20.190,0:36:22.750
that if I change the[br]angle of the wipe,

0:36:22.750,0:36:24.930
you can see how it[br]actually changes

0:36:24.930,0:36:27.060
the direction of the wipe.

0:36:27.060,0:36:31.260
Let's set that to[br]around about minus 80.

0:36:31.260,0:36:33.250
Let's increase the border.

0:36:33.250,0:36:36.120
And you can change the border[br]color using the color swatch

0:36:36.120,0:36:38.020
in the inspector.

0:36:38.020,0:36:41.620
However, there is also the[br]option to feather the border.

0:36:41.620,0:36:46.770
So if we click on that, we've[br]now got a nice soft edge border.

0:36:46.770,0:36:49.465
If I hit the forward slash[br]key to preview the timeline--

0:36:49.465,0:36:51.340
BRIAN TERWILLIGER: It's[br]possible to shoot it,

0:36:51.340,0:36:54.870
we wanted to go shoot it.

0:36:54.870,0:36:57.630
CHRIS: --I can now channel[br]my inner George Lucas.

0:36:57.630,0:37:01.590
Of course, Resolve comes with[br]a whole bunch of transition

0:37:01.590,0:37:03.310
presets for you to use.

0:37:03.310,0:37:07.690
If you go to the effects library[br]and choose Video Transitions,

0:37:07.690,0:37:10.380
you can see that you've got all[br]manner of different transitions

0:37:10.380,0:37:11.530
to choose from.

0:37:11.530,0:37:13.350
And if you actually[br]take your mouse

0:37:13.350,0:37:16.360
and just run them[br]across the transition,

0:37:16.360,0:37:19.780
you can actually live preview[br]each of those transitions.

0:37:19.780,0:37:24.630
So you get a sense as to how[br]each of those transitions works.

0:37:24.630,0:37:27.210
The final element that we're[br]going to add to this edit

0:37:27.210,0:37:28.800
is actually some titles.

0:37:28.800,0:37:32.080
We need to know, for example,[br]who the interviewee is,

0:37:32.080,0:37:34.110
but we're also going to[br]add some titles for each

0:37:34.110,0:37:36.960
of the geographic locations[br]that the film visits

0:37:36.960,0:37:39.480
when it was filming.

0:37:39.480,0:37:41.550
Just like with transitions,[br]you can actually

0:37:41.550,0:37:46.620
live preview each of these by[br]running your mouse across them.

0:37:46.620,0:37:49.030
And with the fusion[br]titles, you'll

0:37:49.030,0:37:52.810
actually get to see the[br]different animations

0:37:52.810,0:37:53.900
that we have.

0:37:53.900,0:37:56.110
So you can choose[br]whether or not a title

0:37:56.110,0:37:58.630
is appropriate for your edit[br]even before you apply it

0:37:58.630,0:38:00.790
to your timeline.

0:38:00.790,0:38:02.860
In this case, I want to[br]scroll through the list

0:38:02.860,0:38:06.925
and I'm looking for a title[br]called Simple Underline Lower

0:38:06.925,0:38:07.425
Third.

0:38:07.425,0:38:13.180


0:38:13.180,0:38:15.340
I'm going to take[br]that title and I'm

0:38:15.340,0:38:20.210
going to move up to my[br]timeline viewer overlays.

0:38:20.210,0:38:24.280
And then I'm going to choose[br]the place on top edit.

0:38:24.280,0:38:27.380
Unsurprisingly this time,[br]because I'm dealing with video,

0:38:27.380,0:38:31.120
Resolve actually places the[br]title on top of the video

0:38:31.120,0:38:34.570
where my playhead is.

0:38:34.570,0:38:36.040
I'll hide the[br]effects library just

0:38:36.040,0:38:41.260
to give myself a little bit more[br]room and go into my detail zoom.

0:38:41.260,0:38:42.650
Zoom out a touch there.

0:38:42.650,0:38:46.030
And I just want to trim the[br]title to the end of the clip.

0:38:46.030,0:38:48.850
To adjust the title,[br]all you'll simply do

0:38:48.850,0:38:51.700
is just go directly[br]to the inspector.

0:38:51.700,0:38:53.560
So here in the[br]text box, I'm going

0:38:53.560,0:38:54.850
to highlight the sample text.

0:38:54.850,0:38:56.350
And I'm going to[br]give my interviewee

0:38:56.350,0:39:00.640
his name, which in this case[br]is Brian J. Terwilliger.

0:39:00.640,0:39:03.830
And you can also customize[br]the font as well.

0:39:03.830,0:39:06.140
If you click in[br]the font menu here,

0:39:06.140,0:39:09.370
you can actually scroll[br]through the list of fonts

0:39:09.370,0:39:11.080
that you have installed[br]on your system

0:39:11.080,0:39:15.430
and get a live preview of[br]what each font may look like.

0:39:15.430,0:39:16.990
In this case, I'm[br]actually just going

0:39:16.990,0:39:19.450
to leave everything[br]set to Open Sans.

0:39:19.450,0:39:23.620
However, I can customize[br]the text further using

0:39:23.620,0:39:28.930
the lower controls,[br]including the size,

0:39:28.930,0:39:33.110
and also the tracking, which is[br]the spacing between the letters.

0:39:33.110,0:39:34.990
Just by bringing the[br]letters a little closer

0:39:34.990,0:39:39.070
together makes them[br]easier to read, I feel.

0:39:39.070,0:39:43.190
Below that, we've also got[br]controls for the line as well.

0:39:43.190,0:39:45.440
That's that blue line[br]underneath the text.

0:39:45.440,0:39:48.980
Of course, I can increase or[br]decrease the line thickness,

0:39:48.980,0:39:51.690
depending on the style[br]that I'm looking for.

0:39:51.690,0:39:53.940
And I can also change[br]the line color.

0:39:53.940,0:39:57.650
In this case, I'm actually[br]going to increase the red color

0:39:57.650,0:40:00.050
channel and the[br]green color channel,

0:40:00.050,0:40:02.990
and actually just lower[br]the blue color channel

0:40:02.990,0:40:06.920
just to change the color[br]of the line to yellow.

0:40:06.920,0:40:10.160
In actual fact, you can[br]also customize the gradient

0:40:10.160,0:40:12.080
across the line.

0:40:12.080,0:40:16.550
Let's change the type from[br]solid color to horizontal.

0:40:16.550,0:40:19.200
And now I get a[br]second color box,

0:40:19.200,0:40:21.080
which I'm actually[br]going to customize

0:40:21.080,0:40:26.930
by just making it a little[br]bit more of an orange color.

0:40:26.930,0:40:28.980
Now that I've got[br]my first title in,

0:40:28.980,0:40:32.300
I can actually use this as a[br]basis for the rest of the titles

0:40:32.300,0:40:33.750
throughout the trailer.

0:40:33.750,0:40:36.020
And also, I'm just[br]going to do is just copy

0:40:36.020,0:40:39.620
and paste the title into[br]different locations.

0:40:39.620,0:40:43.090
Let's go to full extent[br]zoom and select the title.

0:40:43.090,0:40:46.950
And then I can actually[br]choose to copy the title just

0:40:46.950,0:40:48.610
as I would do anything else.

0:40:48.610,0:40:52.050
So Command or Control C[br]is a keyboard shortcut

0:40:52.050,0:40:54.510
that you'll probably[br]be familiar with.

0:40:54.510,0:41:00.120
Now I'm going to find[br]the Maldives shot here.

0:41:00.120,0:41:02.710
And I'm going to[br]choose to paste.

0:41:02.710,0:41:08.460
So Edit, Paste, Command[br]or Control V, and Resolve

0:41:08.460,0:41:10.320
will actually paste[br]directly to the track

0:41:10.320,0:41:12.510
from which I've copied from.

0:41:12.510,0:41:16.860
Let me just trim that back[br]to the end of that shot

0:41:16.860,0:41:23.333
and then change the[br]title here to Maldives.

0:41:23.333,0:41:26.940


0:41:26.940,0:41:28.325
I'm going to copy that title.

0:41:28.325,0:41:31.050


0:41:31.050,0:41:34.010
Paste over the next clip,[br]which is the South Pole shot.

0:41:34.010,0:41:41.940


0:41:41.940,0:41:43.565
This clip is Alaska.

0:41:43.565,0:41:51.690


0:41:51.690,0:41:54.130
And then, of course, Kenya.

0:41:54.130,0:42:01.798


0:42:01.798,0:42:03.840
BRIAN TERWILLIGER: --or[br]it didn't make the movie.

0:42:03.840,0:42:06.240
It's really important[br]every shot was original

0:42:06.240,0:42:08.010
and that everything was real.

0:42:08.010,0:42:09.930
HARRISON FORD: Leave[br]behind everything

0:42:09.930,0:42:15.432
you know about airplanes and[br]prepare to see them again.

0:42:15.432,0:42:16.890
CHRIS: Just going[br]to trim that back

0:42:16.890,0:42:18.750
a little bit because[br]it was just overlapping

0:42:18.750,0:42:19.980
the transition a little bit.

0:42:19.980,0:42:22.680
HARRISON FORD: And[br]prepare to see them again.

0:42:22.680,0:42:25.020
CHRIS: Don't worry if you[br]can't play these titles back

0:42:25.020,0:42:26.980
in real time immediately.

0:42:26.980,0:42:29.350
Depending on the[br]power of your system,

0:42:29.350,0:42:32.280
Resolve may need to[br]cache the files prior

0:42:32.280,0:42:35.550
to being able to play them back[br]at full quality, in which case,

0:42:35.550,0:42:38.410
just let Resolve[br]have a few seconds

0:42:38.410,0:42:41.480
and Resolve will automatically[br]cache the files for you.

0:42:41.480,0:42:44.000
You'll notice when[br]a file is cached,

0:42:44.000,0:42:46.180
because the red[br]line above the title

0:42:46.180,0:42:49.610
will turn blue to[br]indicate a cache file.

0:42:49.610,0:42:53.440
You should now be able to play[br]your title back in real time.

0:42:53.440,0:42:56.320
Now that I've got this edit[br]ready to go, what I want to do

0:42:56.320,0:42:59.930
is to be able to play it back[br]for the client at full screen.

0:42:59.930,0:43:01.750
If I just return[br]the playhead back

0:43:01.750,0:43:03.400
to the beginning[br]of the timeline,

0:43:03.400,0:43:07.840
from the workspace[br]menu, we can choose

0:43:07.840,0:43:11.110
Viewer Mode, Cinema Viewer.

0:43:11.110,0:43:15.265
This will give me a full screen[br]playback of my entire edit.

0:43:15.265,0:43:17.890
BRIAN TERWILLIGER: In this film,[br]making a documentary about how

0:43:17.890,0:43:19.600
the airplanes[br]changed the world, it

0:43:19.600,0:43:24.070
was really important to go[br]out and shoot the real world.

0:43:24.070,0:43:26.030
HARRISON FORD: In[br]the age of airplanes,

0:43:26.030,0:43:29.130
we've become[br]explorers once again.

0:43:29.130,0:43:31.130
BRIAN TERWILLIGER: If[br]it's possible to shoot it,

0:43:31.130,0:43:34.675
we wanted to go shoot it.

0:43:34.675,0:43:37.403
If we couldn't get the shot[br]or the weather wasn't right,

0:43:37.403,0:43:39.070
we would either go[br]back to that location

0:43:39.070,0:43:40.690
or it didn't make the movie.

0:43:40.690,0:43:42.970
It's really important[br]every shot was original

0:43:42.970,0:43:44.860
and that everything was real.

0:43:44.860,0:43:46.540
HARRISON FORD: Leave[br]behind everything

0:43:46.540,0:43:51.160
you know about airplanes and[br]prepare to see them again

0:43:51.160,0:43:52.880
for the first time.

0:43:52.880,0:43:56.366
[MUSIC PLAYING]

0:43:56.366,0:44:02.350


0:44:02.350,0:44:04.150
CHRIS: Just simply[br]press Escape in order

0:44:04.150,0:44:07.570
to be able to return[br]back to the interface.

0:44:07.570,0:44:09.890
I hope you found[br]this tutorial useful.

0:44:09.890,0:44:12.310
If you've got any further[br]questions about editing

0:44:12.310,0:44:15.460
in Resolve, please feel free to[br]join us on the Blackmagic Design

0:44:15.460,0:44:16.430
forums.

0:44:16.430,0:44:19.120
And you can also familiarize[br]yourself with the training

0:44:19.120,0:44:22.600
materials that we have available[br]on the DaVinci Resolve product

0:44:22.600,0:44:23.510
pages.

0:44:23.510,0:44:26.680
And all of those materials[br]are available for free.

0:44:26.680,0:44:30.270
Thank you very much,[br]and happy editing.

0:44:30.270,0:44:35.000