1 00:00:00,000 --> 00:00:03,740 2 00:00:03,740 --> 00:00:05,960 CHRIS: Hi, I'm Chris, I'm an editor 3 00:00:05,960 --> 00:00:08,280 and a Blackmagic certified master trainer. 4 00:00:08,280 --> 00:00:10,880 And today, we're going to continue our exploration 5 00:00:10,880 --> 00:00:13,230 of editing in DaVinci Resolve. 6 00:00:13,230 --> 00:00:16,610 Now, following on from the previous video, what we can do 7 00:00:16,610 --> 00:00:18,320 is just simply open up the project 8 00:00:18,320 --> 00:00:22,010 and carry on working from where we last left off. 9 00:00:22,010 --> 00:00:23,730 In the project manager in Resolve, 10 00:00:23,730 --> 00:00:27,710 just simply double click the Age of Airplanes Trailer. 11 00:00:27,710 --> 00:00:29,690 This will open up the project at the last point 12 00:00:29,690 --> 00:00:31,190 that you last left it. 13 00:00:31,190 --> 00:00:32,600 Now, the first thing that we want 14 00:00:32,600 --> 00:00:35,780 to do before we make any major changes to this project 15 00:00:35,780 --> 00:00:38,370 is to duplicate the existing timeline. 16 00:00:38,370 --> 00:00:40,730 That way, we've always got a backup of the work 17 00:00:40,730 --> 00:00:42,120 that we've done previously. 18 00:00:42,120 --> 00:00:44,820 So if we go too far in changing this timeline, 19 00:00:44,820 --> 00:00:48,110 we can always go back to a previous version. 20 00:00:48,110 --> 00:00:51,800 Go to the Timelines bin in order to locate your timeline 21 00:00:51,800 --> 00:00:53,450 that you were just working on. 22 00:00:53,450 --> 00:00:59,910 Then right click the timeline and choose Duplicate Timeline. 23 00:00:59,910 --> 00:01:02,940 Now rename this timeline by clicking on the name 24 00:01:02,940 --> 00:01:05,850 and calling it Version 2. 25 00:01:05,850 --> 00:01:08,340 And double click the timeline to open it up 26 00:01:08,340 --> 00:01:10,290 into the timeline window. 27 00:01:10,290 --> 00:01:13,140 The first thing that we're going to do to this duplicate timeline 28 00:01:13,140 --> 00:01:15,540 is to add some audio tracks so that we 29 00:01:15,540 --> 00:01:18,892 can add some voiceover and some sound effects. 30 00:01:18,892 --> 00:01:24,660 Right click in any of the track headers and choose Add Tracks. 31 00:01:24,660 --> 00:01:27,930 This allows you to add any number of video and audio tracks 32 00:01:27,930 --> 00:01:29,740 that you need for your timeline. 33 00:01:29,740 --> 00:01:32,560 In this case, we don't need to add any video tracks, 34 00:01:32,560 --> 00:01:34,950 so set the number of video tracks to 0. 35 00:01:34,950 --> 00:01:39,240 And set the number of audio tracks to 3. 36 00:01:39,240 --> 00:01:42,790 Insert position is below audio one. 37 00:01:42,790 --> 00:01:44,520 This is the correct location for where 38 00:01:44,520 --> 00:01:46,150 we want to add our new tracks. 39 00:01:46,150 --> 00:01:49,710 And the audio track type is going to be stereo. 40 00:01:49,710 --> 00:01:52,750 You don't always want stereo as your default track type. 41 00:01:52,750 --> 00:01:56,470 Instead, you might actually be working with Mono audio. 42 00:01:56,470 --> 00:01:58,260 In that case though, you can always 43 00:01:58,260 --> 00:02:00,010 change the track type later. 44 00:02:00,010 --> 00:02:03,030 So we'll just stick with stereo for the moment. 45 00:02:03,030 --> 00:02:07,170 Choose Add Tracks to add the three extra audio tracks 46 00:02:07,170 --> 00:02:08,497 to your timeline. 47 00:02:08,497 --> 00:02:10,289 The other thing that would be helpful to do 48 00:02:10,289 --> 00:02:13,050 is actually rename these tracks so that I know what 49 00:02:13,050 --> 00:02:15,550 type of audio is on each track. 50 00:02:15,550 --> 00:02:17,280 I'll just make the timeline track 51 00:02:17,280 --> 00:02:19,290 headers a little bit bigger. 52 00:02:19,290 --> 00:02:23,400 And I'm going to click on the name for audio track one. 53 00:02:23,400 --> 00:02:25,413 And I'm going to call this Sync. 54 00:02:25,413 --> 00:02:28,800 55 00:02:28,800 --> 00:02:33,450 audio track two, we're going to call this VO. 56 00:02:33,450 --> 00:02:36,930 audio track three, we'll call SFX, 57 00:02:36,930 --> 00:02:40,020 as we will in audio track four. 58 00:02:40,020 --> 00:02:44,550 And finally, audio track five is the music track. 59 00:02:44,550 --> 00:02:46,800 The other thing that you can do is actually 60 00:02:46,800 --> 00:02:48,670 color code the audio tracks. 61 00:02:48,670 --> 00:02:49,930 This makes it easy. 62 00:02:49,930 --> 00:02:52,140 It's a visual reference so that it's easy 63 00:02:52,140 --> 00:02:54,270 in order to be able to see the type of audio 64 00:02:54,270 --> 00:02:55,670 that you're working with. 65 00:02:55,670 --> 00:02:58,130 There's no need to set specific colors. 66 00:02:58,130 --> 00:03:01,660 Just go with the colors that you personally think work for you. 67 00:03:01,660 --> 00:03:05,240 So in this case, I'm going to right click the Sync track. 68 00:03:05,240 --> 00:03:09,443 And I'm actually going to choose change track color to lime. 69 00:03:09,443 --> 00:03:13,300 70 00:03:13,300 --> 00:03:16,330 All of the clips in that track turn to lime. 71 00:03:16,330 --> 00:03:20,553 For the VO, I'm going to choose track color teal. 72 00:03:20,553 --> 00:03:24,100 73 00:03:24,100 --> 00:03:30,640 For the sound effects, I'm going to choose track color brown, 74 00:03:30,640 --> 00:03:34,630 as I am for the second soundtrack. 75 00:03:34,630 --> 00:03:38,393 And for the music, I'm going to choose olive. 76 00:03:38,393 --> 00:03:41,290 77 00:03:41,290 --> 00:03:45,280 Providing you haven't changed the clip color of the clip 78 00:03:45,280 --> 00:03:48,020 within its bin or in the timeline, 79 00:03:48,020 --> 00:03:50,775 it'll inherit the color of the timeline tracks. 80 00:03:50,775 --> 00:03:52,150 This means it's easy to spot when 81 00:03:52,150 --> 00:03:53,920 you're looking at the timeline. 82 00:03:53,920 --> 00:03:56,810 So first thing we need to do is add some voiceover. 83 00:03:56,810 --> 00:03:58,690 And the first voiceover piece is going 84 00:03:58,690 --> 00:04:01,760 to go between the first and second piece of interview, 85 00:04:01,760 --> 00:04:04,190 but obviously on the voiceover track. 86 00:04:04,190 --> 00:04:07,060 So I'm just going to place the playhead just partway 87 00:04:07,060 --> 00:04:10,990 into the second video clip. 88 00:04:10,990 --> 00:04:12,430 I should just resize the timeline 89 00:04:12,430 --> 00:04:15,080 slightly so that I can see my clips clearly. 90 00:04:15,080 --> 00:04:17,380 And then from the VO bin, I'm going 91 00:04:17,380 --> 00:04:22,630 to double click the first of our voiceover tracks, HF VO 1. 92 00:04:22,630 --> 00:04:24,790 I'll go back to the beginning of this clip 93 00:04:24,790 --> 00:04:27,850 and have a listen to it. 94 00:04:27,850 --> 00:04:29,870 HARRISON FORD: In the age of airplanes, 95 00:04:29,870 --> 00:04:32,460 we've become explorers once again. 96 00:04:32,460 --> 00:04:35,290 97 00:04:35,290 --> 00:04:37,220 CHRIS: I'm going to use the top waveform here, 98 00:04:37,220 --> 00:04:40,060 just to navigate back to the beginning of that piece of voice 99 00:04:40,060 --> 00:04:42,100 and set the endpoint where I can clearly 100 00:04:42,100 --> 00:04:43,790 see the voiceover starts. 101 00:04:43,790 --> 00:04:46,180 And again, I'm going to do the same by adding 102 00:04:46,180 --> 00:04:49,360 an outpoint at the end of that. 103 00:04:49,360 --> 00:04:52,140 Now, because I want this to go into audio track two, 104 00:04:52,140 --> 00:04:54,980 I need to change the targeting from the source 105 00:04:54,980 --> 00:04:56,990 to the track in the timeline. 106 00:04:56,990 --> 00:05:00,440 Here, I simply click on the audio two box 107 00:05:00,440 --> 00:05:06,110 in order to switch the targeting from audio one to audio two. 108 00:05:06,110 --> 00:05:08,510 Any clips that I now edit into this timeline 109 00:05:08,510 --> 00:05:12,170 will automatically appear on that audio track. 110 00:05:12,170 --> 00:05:15,830 For this, all I now need to do is just do a simple overwrite 111 00:05:15,830 --> 00:05:16,730 edit. 112 00:05:16,730 --> 00:05:19,310 As before, you can just simply pick the clip up, 113 00:05:19,310 --> 00:05:21,480 drag it across to the timeline viewer. 114 00:05:21,480 --> 00:05:25,100 Or Alternatively, you can use the Overwrite button 115 00:05:25,100 --> 00:05:29,113 at the top of the timeline or use your keyboard shortcut F10. 116 00:05:29,113 --> 00:05:31,970 117 00:05:31,970 --> 00:05:33,830 And as you can see, it's already now 118 00:05:33,830 --> 00:05:36,440 color coded teal, because that was the color coding 119 00:05:36,440 --> 00:05:38,870 that we set for that track. 120 00:05:38,870 --> 00:05:40,610 The next piece of voiceover actually 121 00:05:40,610 --> 00:05:44,190 needs to come after the last bit of sync on A1. 122 00:05:44,190 --> 00:05:46,170 So I'm going to position my playhead. 123 00:05:46,170 --> 00:05:48,830 Just after that, select voiceover 2 124 00:05:48,830 --> 00:05:50,380 from the voiceover bin. 125 00:05:50,380 --> 00:05:53,550 And I'm just going to have a listen to this. 126 00:05:53,550 --> 00:05:56,550 HARRISON FORD: For the moment, leave behind everything 127 00:05:56,550 --> 00:06:00,690 you know about airplanes, anything 128 00:06:00,690 --> 00:06:05,640 you've heard about their history, every conclusion 129 00:06:05,640 --> 00:06:08,700 you've drawn from your own experience, 130 00:06:08,700 --> 00:06:14,100 and prepare to see them again for the first time. 131 00:06:14,100 --> 00:06:16,600 CHRIS: Now, that clip was actually quite long. 132 00:06:16,600 --> 00:06:19,320 And because we're making a trailer rather than 133 00:06:19,320 --> 00:06:21,390 the whole film, we obviously only need 134 00:06:21,390 --> 00:06:24,990 to use a small part of that voiceover. 135 00:06:24,990 --> 00:06:28,030 So in this case, we go back to the first piece of waveform, 136 00:06:28,030 --> 00:06:30,030 and we don't need the first line. 137 00:06:30,030 --> 00:06:31,570 HARRISON FORD: For the moment. 138 00:06:31,570 --> 00:06:33,120 CHRIS: We need to start here, just 139 00:06:33,120 --> 00:06:34,690 after he says for the moment. 140 00:06:34,690 --> 00:06:36,340 So I'm going to add an endpoint. 141 00:06:36,340 --> 00:06:38,250 HARRISON FORD: Leave behind everything 142 00:06:38,250 --> 00:06:40,770 you know about airplanes. 143 00:06:40,770 --> 00:06:44,400 CHRIS: And an outpoint after that line of dialogue. 144 00:06:44,400 --> 00:06:46,230 And now I can make an overwrite edit 145 00:06:46,230 --> 00:06:48,540 into that part of the timeline. 146 00:06:48,540 --> 00:06:51,330 Now we need to come to the end of the piece of voiceover 147 00:06:51,330 --> 00:06:54,720 and select in and out points around the last two pieces 148 00:06:54,720 --> 00:06:57,390 of waveform. 149 00:06:57,390 --> 00:07:00,360 HARRISON FORD: And prepare to see them again 150 00:07:00,360 --> 00:07:02,490 for the first time. 151 00:07:02,490 --> 00:07:03,540 CHRIS: Out point there. 152 00:07:03,540 --> 00:07:06,060 And again, make an overwrite edit. 153 00:07:06,060 --> 00:07:09,630 Now, as you can see, sitting with those clips in the timeline 154 00:07:09,630 --> 00:07:11,950 as they currently are, they're a little bit long, 155 00:07:11,950 --> 00:07:14,790 so we might just need to refine where those clips are actually 156 00:07:14,790 --> 00:07:18,480 sitting in terms of the position on the timeline. 157 00:07:18,480 --> 00:07:20,400 So here, I'm just going to navigate 158 00:07:20,400 --> 00:07:25,050 my playhead over those clips and use the detail zoom. 159 00:07:25,050 --> 00:07:27,030 Now the detail zoom in this case has actually 160 00:07:27,030 --> 00:07:28,720 taken me way too close. 161 00:07:28,720 --> 00:07:31,380 I can't really see how these clips are actually 162 00:07:31,380 --> 00:07:33,763 sitting on the timeline with regards 163 00:07:33,763 --> 00:07:34,930 to the rest of the timeline. 164 00:07:34,930 --> 00:07:36,640 So I just need to Zoom out a little. 165 00:07:36,640 --> 00:07:38,970 So I'm going to hold down Command and use the minus 166 00:07:38,970 --> 00:07:40,890 button, just once or twice just to be 167 00:07:40,890 --> 00:07:42,990 able to come out a little bit. 168 00:07:42,990 --> 00:07:45,820 Now the first thing I'm going to do is just move the clips back. 169 00:07:45,820 --> 00:07:48,490 And I'm actually going to move this interview clip back here 170 00:07:48,490 --> 00:07:49,930 just so it's a little bit tighter 171 00:07:49,930 --> 00:07:51,938 with the first section of clips. 172 00:07:51,938 --> 00:07:54,230 That just gives me a little bit more room to play with. 173 00:07:54,230 --> 00:07:56,270 Now I can just select those clips, 174 00:07:56,270 --> 00:07:58,100 just move them back a touch as well. 175 00:07:58,100 --> 00:08:00,950 Now you'll notice snapping is happening there. 176 00:08:00,950 --> 00:08:04,090 You can see how it's snapping to the end of the previous video 177 00:08:04,090 --> 00:08:04,670 clip. 178 00:08:04,670 --> 00:08:08,120 I'm just going to disable that by pressing N on the keyboard. 179 00:08:08,120 --> 00:08:11,290 And you can see it's just disabled that briefly, just 180 00:08:11,290 --> 00:08:12,500 to bring that back. 181 00:08:12,500 --> 00:08:16,360 And again, I still want to actually contract time 182 00:08:16,360 --> 00:08:17,480 a little bit more. 183 00:08:17,480 --> 00:08:21,130 So all I'm going to do here is move the playhead just 184 00:08:21,130 --> 00:08:24,110 before Harrison's last piece of voiceover there, 185 00:08:24,110 --> 00:08:28,130 and then use Command or Control B to split that clip. 186 00:08:28,130 --> 00:08:30,160 Now I can just simply pick that clip up. 187 00:08:30,160 --> 00:08:32,090 And again, with the snapping off, 188 00:08:32,090 --> 00:08:34,510 just tighten it up a little bit, just so 189 00:08:34,510 --> 00:08:37,630 that I've lost a little bit of the time between those two 190 00:08:37,630 --> 00:08:39,400 pieces of voiceover. 191 00:08:39,400 --> 00:08:42,340 So that's got the voiceover into the timeline at least. 192 00:08:42,340 --> 00:08:44,660 There's a few more things that we need to do to this. 193 00:08:44,660 --> 00:08:46,210 But for the moment, we're going to move on 194 00:08:46,210 --> 00:08:48,670 and we're going to put some sound effects in and continue 195 00:08:48,670 --> 00:08:51,040 the editing portion. 196 00:08:51,040 --> 00:08:53,050 Let's go back to full extent zoom and move 197 00:08:53,050 --> 00:08:56,530 the playhead over the second clip in the timeline. 198 00:08:56,530 --> 00:08:58,978 So let's go to the sound effects. 199 00:08:58,978 --> 00:09:01,270 And you'll see that there is a sound effect here called 200 00:09:01,270 --> 00:09:04,000 jet taxi. 201 00:09:04,000 --> 00:09:06,610 Double click that to open into the source. 202 00:09:06,610 --> 00:09:08,560 Now, the idea here is that we actually 203 00:09:08,560 --> 00:09:10,840 want to edit this sound effect to just 204 00:09:10,840 --> 00:09:13,550 the portion of the timeline that we're working in. 205 00:09:13,550 --> 00:09:16,810 So for this, we're going to add in and out points directly 206 00:09:16,810 --> 00:09:18,200 to the timeline. 207 00:09:18,200 --> 00:09:19,900 A quick way of being able to do this 208 00:09:19,900 --> 00:09:22,300 is make sure your timeline is the active window, 209 00:09:22,300 --> 00:09:24,670 and press X on the keyboard. 210 00:09:24,670 --> 00:09:26,870 X will mark the clip. 211 00:09:26,870 --> 00:09:28,600 Marking a clip will actually put an in 212 00:09:28,600 --> 00:09:31,990 and an outpoint around the clip at the very start and very end 213 00:09:31,990 --> 00:09:33,013 frame of the clip. 214 00:09:33,013 --> 00:09:34,930 So it's a quick way of being able to make sure 215 00:09:34,930 --> 00:09:38,470 that you're editing one clip to the duration of an existing 216 00:09:38,470 --> 00:09:39,610 clip. 217 00:09:39,610 --> 00:09:42,500 We also need to make sure that this audio is ending up 218 00:09:42,500 --> 00:09:43,732 on the right track. 219 00:09:43,732 --> 00:09:45,440 So in this case, we're going to make sure 220 00:09:45,440 --> 00:09:49,760 that the targeting changes from audio two, the voiceover track, 221 00:09:49,760 --> 00:09:52,640 to audio three. 222 00:09:52,640 --> 00:09:55,707 And now we're going to perform an overwrite edit. 223 00:09:55,707 --> 00:09:57,290 Now you may be wondering why we didn't 224 00:09:57,290 --> 00:09:59,580 set an endpoint in the source viewer. 225 00:09:59,580 --> 00:10:01,910 The reason why we didn't is because if you 226 00:10:01,910 --> 00:10:03,950 don't set an in or an out point, it 227 00:10:03,950 --> 00:10:06,180 will always take the full duration of the clip. 228 00:10:06,180 --> 00:10:08,660 So in this case, the endpoint is actually 229 00:10:08,660 --> 00:10:11,960 the implied endpoint at the very beginning of the clip. 230 00:10:11,960 --> 00:10:14,510 Moving forward, let's move the playhead 231 00:10:14,510 --> 00:10:17,810 over the shot of the South Pole clip. 232 00:10:17,810 --> 00:10:22,250 Again, let's press X to mark that clip. 233 00:10:22,250 --> 00:10:25,593 Choose the SFX prop audio. 234 00:10:25,593 --> 00:10:28,340 235 00:10:28,340 --> 00:10:32,300 Double click that to open it up into the source. 236 00:10:32,300 --> 00:10:35,160 And this time, we will actually set an endpoint. 237 00:10:35,160 --> 00:10:37,130 We don't need an outpoint because we've already 238 00:10:37,130 --> 00:10:39,570 got an outpoint directly on the timeline. 239 00:10:39,570 --> 00:10:41,028 However, by setting an endpoint, it 240 00:10:41,028 --> 00:10:43,237 means that we're not going to use the very first part 241 00:10:43,237 --> 00:10:44,010 of the clip. 242 00:10:44,010 --> 00:10:46,640 And you always want to leave a little bit of footage 243 00:10:46,640 --> 00:10:48,630 before and after in and outpoints, 244 00:10:48,630 --> 00:10:51,680 just to give you a little bit of wiggle room on the timeline. 245 00:10:51,680 --> 00:10:54,050 So I'm just going to mark a portion of the wave 246 00:10:54,050 --> 00:10:57,590 where it looks a reasonable amount, maybe here 247 00:10:57,590 --> 00:10:59,130 towards the middle of the wave. 248 00:10:59,130 --> 00:11:01,700 So I'm going to set an endpoint there, and again, 249 00:11:01,700 --> 00:11:04,745 make an overwrite edit directly onto the timeline. 250 00:11:04,745 --> 00:11:07,370 Because the playhead has moved to the end of the clip I've just 251 00:11:07,370 --> 00:11:09,268 edited into the timeline, you'll see 252 00:11:09,268 --> 00:11:11,810 it's actually on the first frame of the next shot, the Alaska 253 00:11:11,810 --> 00:11:12,420 shot. 254 00:11:12,420 --> 00:11:16,310 So all I now need to do is press X to mark that clip. 255 00:11:16,310 --> 00:11:21,860 And now I can actually go to the sound effects for distant prop. 256 00:11:21,860 --> 00:11:24,150 Double click that to open it up into the source. 257 00:11:24,150 --> 00:11:26,660 And again, use the waveform so that you're not 258 00:11:26,660 --> 00:11:28,670 using the beginning part of this waveform 259 00:11:28,670 --> 00:11:31,310 here, somewhere around about the middle. 260 00:11:31,310 --> 00:11:32,880 Mark an endpoint. 261 00:11:32,880 --> 00:11:35,480 And now we need to choose the track that we actually 262 00:11:35,480 --> 00:11:37,350 want this clip to appear on. 263 00:11:37,350 --> 00:11:41,303 And in this case, we actually need to have it edited onto A4. 264 00:11:41,303 --> 00:11:44,190 265 00:11:44,190 --> 00:11:47,250 And again, overwrite edit. 266 00:11:47,250 --> 00:11:49,360 Mark the next clip. 267 00:11:49,360 --> 00:11:53,400 Switch the audio targeting back to A3. 268 00:11:53,400 --> 00:11:57,630 And in this case, we're going to use sound effect for light wind. 269 00:11:57,630 --> 00:11:58,960 Double click that. 270 00:11:58,960 --> 00:12:01,320 Choose a portion of whichever part of the sound effect 271 00:12:01,320 --> 00:12:06,570 that you want and edit that into A3. 272 00:12:06,570 --> 00:12:08,910 Understanding how you're using these editing functions 273 00:12:08,910 --> 00:12:10,470 is very useful to ensure that you 274 00:12:10,470 --> 00:12:14,890 get the audio to sit at the right point on the timeline 275 00:12:14,890 --> 00:12:18,130 so that it's accompanying the right piece of video. 276 00:12:18,130 --> 00:12:20,560 Move your playhead back to the third clip. 277 00:12:20,560 --> 00:12:22,750 This is the shot of the jet taking off. 278 00:12:22,750 --> 00:12:25,120 Press X to mark that clip. 279 00:12:25,120 --> 00:12:28,920 Change the track targeting to A4. 280 00:12:28,920 --> 00:12:34,860 And find the clip called SFX Jet Takeoff. 281 00:12:34,860 --> 00:12:37,480 Double click that to open it into the source. 282 00:12:37,480 --> 00:12:39,010 Now, at the moment, what we've been 283 00:12:39,010 --> 00:12:41,120 doing is in all of the source clips, 284 00:12:41,120 --> 00:12:44,680 we've been adding endpoints to the start of the clip where we 285 00:12:44,680 --> 00:12:46,790 want the sound effect to start. 286 00:12:46,790 --> 00:12:50,200 But what we can also do is what we call a back-timed edit, which 287 00:12:50,200 --> 00:12:54,670 is very useful when you know where you want a clip to end. 288 00:12:54,670 --> 00:12:58,730 Set an outpoint towards the tail end of this, 289 00:12:58,730 --> 00:13:02,860 fade out of this jet sound. 290 00:13:02,860 --> 00:13:06,110 And now when I perform the standard overwrite edit, 291 00:13:06,110 --> 00:13:09,620 it will actually back time the sound effect into the timeline. 292 00:13:09,620 --> 00:13:14,440 So now it'll sound as though the plane is actually leaving shot. 293 00:13:14,440 --> 00:13:18,520 We can actually do something similar with the final shot. 294 00:13:18,520 --> 00:13:21,590 Move the playhead to the last shot in this sequence. 295 00:13:21,590 --> 00:13:24,950 Press X in order to be able to mark the clip. 296 00:13:24,950 --> 00:13:27,010 And because we pretty much leave this shot 297 00:13:27,010 --> 00:13:29,240 as the plane is directly overhead, 298 00:13:29,240 --> 00:13:32,110 it actually makes sense to take a slightly earlier part 299 00:13:32,110 --> 00:13:34,750 of the outpoint for the clip. 300 00:13:34,750 --> 00:13:38,980 So I'm going to set an outpoint just as the audio starts 301 00:13:38,980 --> 00:13:40,900 to fade away. 302 00:13:40,900 --> 00:13:44,470 And again, making sure I'm editing on to audio four, 303 00:13:44,470 --> 00:13:47,560 I make an overwrite edit. 304 00:13:47,560 --> 00:13:49,300 Now, from the previous video, you'll 305 00:13:49,300 --> 00:13:52,100 also remember that we not only had overwrite edits, 306 00:13:52,100 --> 00:13:54,350 but we had other sorts of edits as well. 307 00:13:54,350 --> 00:13:57,380 One of those edits that we explored was the replace edit. 308 00:13:57,380 --> 00:14:00,010 And you can actually use the replace edit to good effect 309 00:14:00,010 --> 00:14:03,100 here in the timeline in order to be able to synchronize 310 00:14:03,100 --> 00:14:05,430 sound and picture together. 311 00:14:05,430 --> 00:14:07,930 Move your playhead to the fourth clip in the timeline, which 312 00:14:07,930 --> 00:14:11,560 is the shot of the water plane coming overhead in the Maldives. 313 00:14:11,560 --> 00:14:16,270 Find the point on your timeline where the plane is just probably 314 00:14:16,270 --> 00:14:19,300 about halfway in shot. 315 00:14:19,300 --> 00:14:21,880 In the sound effects bin, find the sound effect 316 00:14:21,880 --> 00:14:24,220 called SFX Overhead. 317 00:14:24,220 --> 00:14:27,880 Double click to open that in the source viewer. 318 00:14:27,880 --> 00:14:29,560 Now, you can see from this waveform 319 00:14:29,560 --> 00:14:33,770 here, as we have this very high spike in the waveform where 320 00:14:33,770 --> 00:14:35,798 the plane is at its closest. 321 00:14:35,798 --> 00:14:37,340 What we're going to do is we're going 322 00:14:37,340 --> 00:14:41,120 to use that as a reference point for this point in the timeline 323 00:14:41,120 --> 00:14:43,860 where the plane is directly overhead. 324 00:14:43,860 --> 00:14:46,470 So make sure in the source viewer, 325 00:14:46,470 --> 00:14:50,150 you actually position the playhead 326 00:14:50,150 --> 00:14:53,540 as close to the center of that waveform as possible. 327 00:14:53,540 --> 00:14:56,330 Let's target audio three for this. 328 00:14:56,330 --> 00:14:59,670 Then simply make a replace edit in whichever way you want. 329 00:14:59,670 --> 00:15:04,010 In this case, I'm going to click the replace button. 330 00:15:04,010 --> 00:15:05,840 And you can see that the clip is actually 331 00:15:05,840 --> 00:15:08,780 timed so that the height of the waveform 332 00:15:08,780 --> 00:15:12,080 actually is now synchronized with the actual plane passing 333 00:15:12,080 --> 00:15:13,460 overhead. 334 00:15:13,460 --> 00:15:15,440 In order to appreciate this, I'm just 335 00:15:15,440 --> 00:15:19,490 going to simply mute the music track by pressing the M mute 336 00:15:19,490 --> 00:15:23,540 button, and then use the forward key in order 337 00:15:23,540 --> 00:15:26,810 to be able to preview that part of the timeline. 338 00:15:26,810 --> 00:15:28,760 [PLANE WHIRRING] 339 00:15:28,760 --> 00:15:31,610 340 00:15:31,610 --> 00:15:34,830 So, now that we've got the audio in the timeline, 341 00:15:34,830 --> 00:15:37,400 it's time to start to think about the audio mix 342 00:15:37,400 --> 00:15:38,990 for this trailer. 343 00:15:38,990 --> 00:15:40,760 So the first thing that we want to do 344 00:15:40,760 --> 00:15:43,380 is actually to sort out the dialogue tracks. 345 00:15:43,380 --> 00:15:46,070 So in this case, I'm not interested in the sound effects 346 00:15:46,070 --> 00:15:48,600 or the music tracks just for the moment. 347 00:15:48,600 --> 00:15:50,870 So I'm just going to mute all of the tracks 348 00:15:50,870 --> 00:15:53,660 that I'm not interested in. 349 00:15:53,660 --> 00:15:57,720 And now I can turn my attention directly to the dialogue. 350 00:15:57,720 --> 00:16:00,890 And arguably, the dialogue is usually the most important piece 351 00:16:00,890 --> 00:16:02,840 of audio within your timeline. 352 00:16:02,840 --> 00:16:05,480 Because unless we can actually hear and understand 353 00:16:05,480 --> 00:16:07,880 what's being said, there's really no point 354 00:16:07,880 --> 00:16:10,580 in us actually listening. 355 00:16:10,580 --> 00:16:13,290 In order to monitor the audio in the timeline, 356 00:16:13,290 --> 00:16:16,130 the best thing to bring up is the audio mixer. 357 00:16:16,130 --> 00:16:18,660 From the top right hand corner of the interface, 358 00:16:18,660 --> 00:16:20,750 just click the mixer button to bring up 359 00:16:20,750 --> 00:16:22,580 the mixer in the timeline. 360 00:16:22,580 --> 00:16:25,670 You can then open the mixer out in order 361 00:16:25,670 --> 00:16:29,550 to be able to reveal all of the controls for each of the tracks. 362 00:16:29,550 --> 00:16:32,160 If you're working on a laptop or a display that's actually 363 00:16:32,160 --> 00:16:35,670 quite small, you may want to hide the media pool, just 364 00:16:35,670 --> 00:16:37,680 to give you a little bit more room in order 365 00:16:37,680 --> 00:16:39,210 to be able to work. 366 00:16:39,210 --> 00:16:42,840 So in the top left hand corner, click the Media Pool button 367 00:16:42,840 --> 00:16:44,910 to hide the media pool. 368 00:16:44,910 --> 00:16:47,760 Now, to begin with, we just need to look at the levels 369 00:16:47,760 --> 00:16:52,020 and also the audio channels being used in the timeline. 370 00:16:52,020 --> 00:16:53,590 From the beginning of the timeline, 371 00:16:53,590 --> 00:16:56,035 I'm just going to play the first part of this interview. 372 00:16:56,035 --> 00:16:57,660 BRIAN TERWILLIGER: In this film, making 373 00:16:57,660 --> 00:17:00,190 a documentary about how the airplanes changed the world-- 374 00:17:00,190 --> 00:17:02,680 CHRIS: As a quick rule of thumb, for dialogue, 375 00:17:02,680 --> 00:17:04,650 you generally want your audio levels 376 00:17:04,650 --> 00:17:07,750 to be around about that yellow area on the meters. 377 00:17:07,750 --> 00:17:09,990 So that's something to aim for. 378 00:17:09,990 --> 00:17:13,170 Also, you noticed, as I play this back, 379 00:17:13,170 --> 00:17:17,680 that there's actually two audio channels in this clip. 380 00:17:17,680 --> 00:17:20,819 BRIAN TERWILLIGER: It was really important to go out and shoot 381 00:17:20,819 --> 00:17:22,170 the real world. 382 00:17:22,170 --> 00:17:25,109 CHRIS: This indicates that this clip is stereo. 383 00:17:25,109 --> 00:17:28,250 And it's actually sitting within a stereo track. 384 00:17:28,250 --> 00:17:31,480 For most dialogue clips, and that's pretty much anything 385 00:17:31,480 --> 00:17:33,730 that's shot on a camera, you will probably 386 00:17:33,730 --> 00:17:36,580 want to work with mono Audio. 387 00:17:36,580 --> 00:17:39,550 In actual fact, let's play the Harrison Ford clip 388 00:17:39,550 --> 00:17:41,830 and let's see the difference here. 389 00:17:41,830 --> 00:17:44,230 HARRISON FORD: In the age of airplanes, 390 00:17:44,230 --> 00:17:47,740 we've become explorers once again. 391 00:17:47,740 --> 00:17:49,270 CHRIS: Well, first of all, you'll 392 00:17:49,270 --> 00:17:51,400 see that the Harrison Ford clip is nicely 393 00:17:51,400 --> 00:17:53,840 sat within that yellow area of the meters. 394 00:17:53,840 --> 00:17:56,510 However, it's what we call one-legged. 395 00:17:56,510 --> 00:17:59,920 It's coming out of only one channel of our output. 396 00:17:59,920 --> 00:18:02,840 Well, we don't want that for Harrison Ford. 397 00:18:02,840 --> 00:18:04,690 And the reason for that is that we 398 00:18:04,690 --> 00:18:07,900 want to actually have this as mono audio, which 399 00:18:07,900 --> 00:18:10,630 is a single audio channel actually sitting 400 00:18:10,630 --> 00:18:13,310 within a mono track in the timeline. 401 00:18:13,310 --> 00:18:15,560 So that's the other general rule. 402 00:18:15,560 --> 00:18:17,930 If you've got dialogue in the timeline, 403 00:18:17,930 --> 00:18:20,650 ideally, it should be mono, and ideally, it 404 00:18:20,650 --> 00:18:22,580 should be sat on a mono track. 405 00:18:22,580 --> 00:18:24,880 And thankfully, Resolve enables me 406 00:18:24,880 --> 00:18:27,490 to change the track type very easily 407 00:18:27,490 --> 00:18:29,090 and without too much fuss. 408 00:18:29,090 --> 00:18:31,180 So there's no problem if you get things slightly 409 00:18:31,180 --> 00:18:34,390 wrong or confused because you can always put it right a little 410 00:18:34,390 --> 00:18:36,910 bit later on in the process. 411 00:18:36,910 --> 00:18:41,020 Also, I'm going to do is right click on the VO audio track 412 00:18:41,020 --> 00:18:47,170 header and choose Change Track Type to mono. 413 00:18:47,170 --> 00:18:50,770 And you'll see the little 2.0 indicator has now 414 00:18:50,770 --> 00:18:54,250 changed to a 1.0 indicator, which indicates now 415 00:18:54,250 --> 00:18:55,616 that this is a mono track. 416 00:18:55,616 --> 00:18:58,930 417 00:18:58,930 --> 00:19:01,260 Playing Harrison Ford's voiceover back here-- 418 00:19:01,260 --> 00:19:03,010 HARRISON FORD: In the age of airplanes-- 419 00:19:03,010 --> 00:19:05,650 CHRIS: --now shows me I've got a mono 420 00:19:05,650 --> 00:19:07,880 track with mono audio in it. 421 00:19:07,880 --> 00:19:11,260 And it's now playing out of both audio channels 422 00:19:11,260 --> 00:19:12,500 from this timeline. 423 00:19:12,500 --> 00:19:16,960 We can also do the same sort of thing with the interview audio 424 00:19:16,960 --> 00:19:17,900 as well. 425 00:19:17,900 --> 00:19:21,860 So I can now right click the Sync audio track header, 426 00:19:21,860 --> 00:19:24,700 choose change track type to mono. 427 00:19:24,700 --> 00:19:27,650 428 00:19:27,650 --> 00:19:29,150 And now when I play that-- 429 00:19:29,150 --> 00:19:31,040 BRIAN TERWILLIGER: In this film, making a documentary about how 430 00:19:31,040 --> 00:19:32,750 the airplanes changed the world, it 431 00:19:32,750 --> 00:19:37,110 was really important to go out and shoot the real world. 432 00:19:37,110 --> 00:19:39,210 CHRIS: I've now got mono audio. 433 00:19:39,210 --> 00:19:41,730 Now, Resolve hasn't done anything too clever here. 434 00:19:41,730 --> 00:19:45,080 All it's just done is simply take the first audio channel 435 00:19:45,080 --> 00:19:46,620 from the clip in the timeline. 436 00:19:46,620 --> 00:19:48,840 So that clip is still stereo. 437 00:19:48,840 --> 00:19:51,090 If I was to move it into a stereo track, 438 00:19:51,090 --> 00:19:53,190 I would still get the stereo audio. 439 00:19:53,190 --> 00:19:55,500 But because it's playing in a mono track, 440 00:19:55,500 --> 00:19:57,930 only the first audio channel is being used. 441 00:19:57,930 --> 00:20:00,480 And in this case, that's what I want to use. 442 00:20:00,480 --> 00:20:02,810 If you do need to change the audio channel 443 00:20:02,810 --> 00:20:04,760 configuration of a clip, though, you 444 00:20:04,760 --> 00:20:07,130 can always right click it in the timeline 445 00:20:07,130 --> 00:20:11,060 and choose Clip Attributes. 446 00:20:11,060 --> 00:20:15,120 And in the Audio tab, you can actually change the format. 447 00:20:15,120 --> 00:20:19,250 So in this case, we can actually switch from stereo to mono, 448 00:20:19,250 --> 00:20:22,190 and then choose the embedded audio channel that we 449 00:20:22,190 --> 00:20:25,160 want for that mono clip. 450 00:20:25,160 --> 00:20:27,750 Now that I've got my audio channel sorted out, 451 00:20:27,750 --> 00:20:31,340 I can actually now start thinking about the levels that 452 00:20:31,340 --> 00:20:32,660 need to be set. 453 00:20:32,660 --> 00:20:35,990 And it depends where you need to deliver your audio too as 454 00:20:35,990 --> 00:20:38,400 to what levels that you should be aiming for. 455 00:20:38,400 --> 00:20:41,030 However, as a good rule of thumb, 456 00:20:41,030 --> 00:20:45,650 around about the minus 12 DBFS on the main output meter 457 00:20:45,650 --> 00:20:48,000 is probably something good to aim for. 458 00:20:48,000 --> 00:20:51,000 You can also listen to the audio as well. 459 00:20:51,000 --> 00:20:53,010 Just make sure you're happy with the mix. 460 00:20:53,010 --> 00:20:56,930 The main thing is, can you hear the different elements, 461 00:20:56,930 --> 00:20:59,760 making sure that one element does not swamp another. 462 00:20:59,760 --> 00:21:02,010 I'm going to go back to the beginning of the timeline. 463 00:21:02,010 --> 00:21:04,560 And I'm just going to play Brian's interview. 464 00:21:04,560 --> 00:21:06,875 So I'm just going to play the audio on the sync track. 465 00:21:06,875 --> 00:21:09,500 BRIAN TERWILLIGER: In this film, making a documentary about how 466 00:21:09,500 --> 00:21:11,070 the airplane's changed the world, 467 00:21:11,070 --> 00:21:15,570 it was really important to go out and shoot the real world. 468 00:21:15,570 --> 00:21:17,060 CHRIS: Now, the problem with that 469 00:21:17,060 --> 00:21:19,830 is there are parts of that audio clip that are actually 470 00:21:19,830 --> 00:21:20,830 quite loud. 471 00:21:20,830 --> 00:21:23,260 And there are parts that are a little bit quiet. 472 00:21:23,260 --> 00:21:27,240 And really, what I want to do is I want to balance the audio 473 00:21:27,240 --> 00:21:29,800 so that it's roughly the same level throughout. 474 00:21:29,800 --> 00:21:31,920 The one thing that I want to avoid 475 00:21:31,920 --> 00:21:35,850 is my audience having to constantly raise or lower 476 00:21:35,850 --> 00:21:38,650 their volume control for their speakers or their headphones 477 00:21:38,650 --> 00:21:40,270 as they're watching this video. 478 00:21:40,270 --> 00:21:43,980 I need to present everything at a consistent level. 479 00:21:43,980 --> 00:21:47,340 Let's just zoom in on this clip just to have a look. 480 00:21:47,340 --> 00:21:49,600 So I'm going to click the Detail Zoom button. 481 00:21:49,600 --> 00:21:51,450 And I'm also going to make the audio track 482 00:21:51,450 --> 00:21:53,460 height a little bit bigger. 483 00:21:53,460 --> 00:21:55,560 And now having seen the waveform, 484 00:21:55,560 --> 00:21:58,950 you can actually see where there are certain loud spikes 485 00:21:58,950 --> 00:22:00,900 in the waveform and where everything starts 486 00:22:00,900 --> 00:22:02,670 to get a little bit quiet. 487 00:22:02,670 --> 00:22:04,290 What we can do is we can actually 488 00:22:04,290 --> 00:22:07,530 start to balance out this so that he starts off at one level 489 00:22:07,530 --> 00:22:10,110 and continues at roughly the same level. 490 00:22:10,110 --> 00:22:11,730 In order to be able to do this, we 491 00:22:11,730 --> 00:22:14,710 need to add keyframes to the volume curve. 492 00:22:14,710 --> 00:22:17,280 An easy and quick way to be able to add keyframes 493 00:22:17,280 --> 00:22:19,890 is actually to hold down the Option or Alt key 494 00:22:19,890 --> 00:22:22,860 when you click on the volume curve in the timeline. 495 00:22:22,860 --> 00:22:24,720 So here, I'm just going to hold down 496 00:22:24,720 --> 00:22:28,000 the Option key when I click on this part of the timeline 497 00:22:28,000 --> 00:22:31,890 just after this first spike in the waveform here. 498 00:22:31,890 --> 00:22:35,190 I'm going to add a second keyframe by holding down option 499 00:22:35,190 --> 00:22:39,540 again and clicking once again on the volume curve. 500 00:22:39,540 --> 00:22:43,240 This now means that I can erase this part of the curve 501 00:22:43,240 --> 00:22:46,590 so that it's roughly in line with this first peak 502 00:22:46,590 --> 00:22:48,450 of the audio here. 503 00:22:48,450 --> 00:22:50,503 If I go back to the beginning and preview this. 504 00:22:50,503 --> 00:22:52,920 BRIAN TERWILLIGER: In this, making a documentary about how 505 00:22:52,920 --> 00:22:54,630 the airplanes changed the world, it 506 00:22:54,630 --> 00:22:59,430 was really important to go out and shoot the real world. 507 00:22:59,430 --> 00:23:01,230 CHRIS: As you can see, the audio is now 508 00:23:01,230 --> 00:23:04,000 more consistent along the duration of the clip. 509 00:23:04,000 --> 00:23:06,480 However, it's probably a little bit too hot. 510 00:23:06,480 --> 00:23:08,880 Now, the main thing I'm interested in is making sure 511 00:23:08,880 --> 00:23:10,410 that all of the clips at this point 512 00:23:10,410 --> 00:23:13,830 are on the same audio track are balanced, to be roughly 513 00:23:13,830 --> 00:23:15,190 around the same level. 514 00:23:15,190 --> 00:23:17,390 They don't have to be the right level, 515 00:23:17,390 --> 00:23:19,100 they just have to be consistent. 516 00:23:19,100 --> 00:23:22,880 And one way we can do that is we can normalize the audio. 517 00:23:22,880 --> 00:23:25,060 What this will do is it will actually 518 00:23:25,060 --> 00:23:28,480 calculate a change in the audio curve 519 00:23:28,480 --> 00:23:31,750 based on the peak level of the clips. 520 00:23:31,750 --> 00:23:34,360 See how we can do that. 521 00:23:34,360 --> 00:23:36,255 I'm just going to select these audio clips. 522 00:23:36,255 --> 00:23:40,540 Right click and choose Normalize Audio Levels. 523 00:23:40,540 --> 00:23:42,730 There are a number of different normalization modes 524 00:23:42,730 --> 00:23:43,490 to choose from. 525 00:23:43,490 --> 00:23:45,130 But Sample Peak program is probably 526 00:23:45,130 --> 00:23:47,050 the simplest one to use. 527 00:23:47,050 --> 00:23:51,590 The minus 9 DBFS level is a good starting point for this. 528 00:23:51,590 --> 00:23:54,320 Again, this will actually normalize the peak levels. 529 00:23:54,320 --> 00:23:58,390 So, by having it set to minus 9 is the upper part 530 00:23:58,390 --> 00:24:01,720 of that yellow area on the meters. 531 00:24:01,720 --> 00:24:03,460 And we also want to make sure that we 532 00:24:03,460 --> 00:24:06,010 set this to be independent so that it will 533 00:24:06,010 --> 00:24:08,620 treat each clip on its own. 534 00:24:08,620 --> 00:24:11,050 Now we can choose to normalize in order 535 00:24:11,050 --> 00:24:14,425 to be able to normalize the clips to roughly the same level. 536 00:24:14,425 --> 00:24:17,270 537 00:24:17,270 --> 00:24:18,520 If I just play this clip here. 538 00:24:18,520 --> 00:24:19,895 BRIAN TERWILLIGER: If we couldn't 539 00:24:19,895 --> 00:24:21,873 get the shot or the weather wasn't right, 540 00:24:21,873 --> 00:24:23,540 we would either go back to that location 541 00:24:23,540 --> 00:24:25,190 or it didn't make the movie. 542 00:24:25,190 --> 00:24:27,620 It was really important every shot was original 543 00:24:27,620 --> 00:24:29,570 and that everything was real. 544 00:24:29,570 --> 00:24:33,170 CHRIS: So each of those clips is now roughly the same level. 545 00:24:33,170 --> 00:24:35,690 In order to bring the first clip into line 546 00:24:35,690 --> 00:24:38,430 as well, what we can do is we can just preview that. 547 00:24:38,430 --> 00:24:41,270 And if we need to, we can actually just nudge the audio 548 00:24:41,270 --> 00:24:42,210 up or down. 549 00:24:42,210 --> 00:24:44,472 So selecting that clip and playing through. 550 00:24:44,472 --> 00:24:47,180 BRIAN TERWILLIGER: In this film, making a documentary about how-- 551 00:24:47,180 --> 00:24:51,080 CHRIS: I can use Option Command minus just 552 00:24:51,080 --> 00:24:55,865 to be able to nudge that down one DB at a time. 553 00:24:55,865 --> 00:24:58,490 BRIAN TERWILLIGER: In this film, making a documentary about how 554 00:24:58,490 --> 00:25:00,200 the airplanes changed the world, it 555 00:25:00,200 --> 00:25:04,225 was really important to go out and shoot the real world. 556 00:25:04,225 --> 00:25:05,600 CHRIS: And that's brought it more 557 00:25:05,600 --> 00:25:07,832 in line with the rest of the audio on that track. 558 00:25:07,832 --> 00:25:09,290 Now, the next thing I want to do is 559 00:25:09,290 --> 00:25:10,800 to do pretty much the same thing, 560 00:25:10,800 --> 00:25:13,350 but with the audio from the voiceover. 561 00:25:13,350 --> 00:25:15,963 However, because this was recorded in a studio, 562 00:25:15,963 --> 00:25:17,630 it's much more consistent than something 563 00:25:17,630 --> 00:25:21,210 that was recorded on location in an interview situation. 564 00:25:21,210 --> 00:25:23,150 So what I'm just going to do here 565 00:25:23,150 --> 00:25:26,678 is actually just adjust the clips as appropriate. 566 00:25:26,678 --> 00:25:28,970 So I'm going to select the first clip, play it through. 567 00:25:28,970 --> 00:25:31,580 HARRISON FORD: In the age of airplanes, 568 00:25:31,580 --> 00:25:34,107 we've become explorers once again. 569 00:25:34,107 --> 00:25:36,440 CHRIS: So what I've just done is just adjusted that clip 570 00:25:36,440 --> 00:25:38,810 not by very much, just by a couple of DB, just 571 00:25:38,810 --> 00:25:40,820 to increase the level slightly, to keep 572 00:25:40,820 --> 00:25:43,070 it consistent with the rest of the audio 573 00:25:43,070 --> 00:25:45,380 in the speech for the dialogue. 574 00:25:45,380 --> 00:25:47,180 HARRISON FORD: Leave behind everything 575 00:25:47,180 --> 00:25:52,190 you know about airplanes and prepare to see them again 576 00:25:52,190 --> 00:25:54,230 for the first time. 577 00:25:54,230 --> 00:25:58,580 CHRIS: And I'll probably just lower that end clip there a DB 578 00:25:58,580 --> 00:26:03,110 and then maybe just bring this first clip up single DB. 579 00:26:03,110 --> 00:26:05,060 HARRISON FORD: Leave behind everything 580 00:26:05,060 --> 00:26:09,860 you know about airplanes and prepare to see them again 581 00:26:09,860 --> 00:26:11,710 yen for the first time. 582 00:26:11,710 --> 00:26:15,010 CHRIS: So that now means that the dialogue has been balanced. 583 00:26:15,010 --> 00:26:18,040 I can now turn my attention to some of these sound effects, 584 00:26:18,040 --> 00:26:20,658 start to integrate them into the trailer. 585 00:26:20,658 --> 00:26:22,950 First of all, I'm just going to make the timeline track 586 00:26:22,950 --> 00:26:25,680 heights a little bit shorter, just so that I can concentrate 587 00:26:25,680 --> 00:26:27,960 on each of these clips. 588 00:26:27,960 --> 00:26:29,460 Now, the first thing I'm going to do 589 00:26:29,460 --> 00:26:33,460 is I'm going to unmute audio tracks three and four. 590 00:26:33,460 --> 00:26:35,760 But I am going to mute the dialogue tracks, 591 00:26:35,760 --> 00:26:39,040 so that's audio track one and audio track two. 592 00:26:39,040 --> 00:26:42,220 Again, the idea here is to be consistent. 593 00:26:42,220 --> 00:26:45,000 Don't worry if the sounds are too high or too low, 594 00:26:45,000 --> 00:26:48,000 just to make sure they're roughly the same level. 595 00:26:48,000 --> 00:26:50,110 So I'm going to play these through. 596 00:26:50,110 --> 00:26:53,568 [PLANE WHIRRING] 597 00:26:53,568 --> 00:27:24,210 598 00:27:24,210 --> 00:27:25,740 OK, so first thing I'm going to do 599 00:27:25,740 --> 00:27:29,110 is just make sure I've got the levels roughly the same. 600 00:27:29,110 --> 00:27:33,630 So I'm actually going to increase this one here 601 00:27:33,630 --> 00:27:37,090 and this one here, this one here. 602 00:27:37,090 --> 00:27:40,090 Now it might seem slightly counter-intuitive. 603 00:27:40,090 --> 00:27:42,550 Why would I be increasing audio levels? 604 00:27:42,550 --> 00:27:44,100 But again, this is just to make sure 605 00:27:44,100 --> 00:27:46,570 that they're balanced across the different clips 606 00:27:46,570 --> 00:27:47,770 and they're consistent. 607 00:27:47,770 --> 00:27:51,150 Because once I've done that, I can now bring the levels 608 00:27:51,150 --> 00:27:53,550 down using the track faders. 609 00:27:53,550 --> 00:27:55,300 Let's just go back to the beginning here. 610 00:27:55,300 --> 00:27:56,620 Just play this through. 611 00:27:56,620 --> 00:28:00,092 [PLANE WHIRRING] 612 00:28:00,092 --> 00:28:29,410 613 00:28:29,410 --> 00:28:32,650 So I'll just need to just pull this level down a little 614 00:28:32,650 --> 00:28:35,590 bit just to keep it in line. 615 00:28:35,590 --> 00:28:36,595 That's better. 616 00:28:36,595 --> 00:28:39,990 [PLANE WHIRRING] 617 00:28:39,990 --> 00:28:42,910 618 00:28:42,910 --> 00:28:46,880 So that's how easy it is to start mixing your audio. 619 00:28:46,880 --> 00:28:49,670 You could have individual levels for each of the clips. 620 00:28:49,670 --> 00:28:50,720 Nothing wrong with that. 621 00:28:50,720 --> 00:28:52,540 But it just means that using the mixer 622 00:28:52,540 --> 00:28:55,450 and using the track level sliders just makes mixing 623 00:28:55,450 --> 00:28:57,112 just that awful lot easier. 624 00:28:57,112 --> 00:28:58,570 Now, the only other thing I'm going 625 00:28:58,570 --> 00:29:00,028 to do with these sound effect clips 626 00:29:00,028 --> 00:29:03,290 is just create little fades between each clip. 627 00:29:03,290 --> 00:29:05,090 This will just help the transition 628 00:29:05,090 --> 00:29:08,120 from one audio clip to another. 629 00:29:08,120 --> 00:29:11,240 Let's go to detail zoom on the first clip. 630 00:29:11,240 --> 00:29:13,070 And what we can do, first of all, 631 00:29:13,070 --> 00:29:15,770 is we can actually just apply a little audio fade 632 00:29:15,770 --> 00:29:20,180 at the beginning and end of each of these clips. 633 00:29:20,180 --> 00:29:21,750 Just a little fade like that. 634 00:29:21,750 --> 00:29:24,140 And then I can trim the end of the clip 635 00:29:24,140 --> 00:29:28,340 out so that it overlaps the underlying clip on the lower 636 00:29:28,340 --> 00:29:29,400 audio track. 637 00:29:29,400 --> 00:29:32,990 So this will now crossfade those two clips together. 638 00:29:32,990 --> 00:29:38,198 I can also slip this clip just like I can do with a video 639 00:29:38,198 --> 00:29:39,740 in order to give me a little bit more 640 00:29:39,740 --> 00:29:42,230 handle the beginning here, so that I can just 641 00:29:42,230 --> 00:29:45,830 lengthen that clip from the very beginning. 642 00:29:45,830 --> 00:29:49,320 Just a tiny little overlap of the audio is always useful. 643 00:29:49,320 --> 00:29:51,180 You want to be careful it's not too long, 644 00:29:51,180 --> 00:29:52,670 but it will just indicate there's 645 00:29:52,670 --> 00:29:54,030 a change of picture coming. 646 00:29:54,030 --> 00:29:59,030 Just anticipate that in the audience's mind. 647 00:29:59,030 --> 00:30:01,230 I'm going to continue scrolling through here. 648 00:30:01,230 --> 00:30:04,520 And I'm going to continue adding little audio fades on each 649 00:30:04,520 --> 00:30:05,290 of these clips. 650 00:30:05,290 --> 00:30:15,560 651 00:30:15,560 --> 00:30:16,915 An audio fade out there. 652 00:30:16,915 --> 00:30:19,760 653 00:30:19,760 --> 00:30:22,490 Once again, I'm going to do the same technique as before 654 00:30:22,490 --> 00:30:24,140 with this South Pole audio. 655 00:30:24,140 --> 00:30:27,210 Tiny, little fade in at the beginning. 656 00:30:27,210 --> 00:30:30,350 657 00:30:30,350 --> 00:30:32,980 Just to anticipate the picture change there. 658 00:30:32,980 --> 00:30:37,370 659 00:30:37,370 --> 00:30:38,790 And fade out there. 660 00:30:38,790 --> 00:30:42,210 And I'll just bring the other one, the subsequent shot, 661 00:30:42,210 --> 00:30:43,880 bring that in. 662 00:30:43,880 --> 00:30:46,315 Finally, just a couple more to do here. 663 00:30:46,315 --> 00:30:50,750 664 00:30:50,750 --> 00:30:51,820 That audio fades. 665 00:30:51,820 --> 00:31:04,830 666 00:31:04,830 --> 00:31:08,310 And finally, I'm just going to lengthen that last clip 667 00:31:08,310 --> 00:31:12,110 just so that it tails out right underneath those titles there. 668 00:31:12,110 --> 00:31:15,840 669 00:31:15,840 --> 00:31:18,670 So now, when I just play that last bit. 670 00:31:18,670 --> 00:31:22,051 [PLANE WHIRRING] 671 00:31:22,051 --> 00:31:28,830 672 00:31:28,830 --> 00:31:31,830 And the sound of the airplane dies away slightly. 673 00:31:31,830 --> 00:31:35,190 Now you may be wondering why I haven't added audio transitions 674 00:31:35,190 --> 00:31:36,250 between those clips. 675 00:31:36,250 --> 00:31:38,500 And that's another way of being able to work. 676 00:31:38,500 --> 00:31:41,250 However, I often find that these audio fades 677 00:31:41,250 --> 00:31:44,490 are much more accurate than the audio transitions 678 00:31:44,490 --> 00:31:46,080 that you might be using. 679 00:31:46,080 --> 00:31:49,590 The last element of this audio mix that I need to bring in 680 00:31:49,590 --> 00:31:51,340 is, of course, the music. 681 00:31:51,340 --> 00:31:53,920 And very similar to working with the sound effects, 682 00:31:53,920 --> 00:31:56,190 I can actually use the track slider 683 00:31:56,190 --> 00:31:58,840 in order to be able to adjust the music level. 684 00:31:58,840 --> 00:32:00,870 So first of all, I'm going to unmute 685 00:32:00,870 --> 00:32:03,600 all the tracks in the timeline. 686 00:32:03,600 --> 00:32:07,030 Go back to the beginning of my edit. 687 00:32:07,030 --> 00:32:08,910 And I'm just going to play through and have 688 00:32:08,910 --> 00:32:10,905 a listen to where the music level should be. 689 00:32:10,905 --> 00:32:13,530 BRIAN TERWILLIGER: In this film, making a documentary about how 690 00:32:13,530 --> 00:32:15,270 the airplanes changed the world, it 691 00:32:15,270 --> 00:32:19,830 was really important to go out and shoot the real world. 692 00:32:19,830 --> 00:32:22,060 HARRISON FORD: In the age of airplanes, 693 00:32:22,060 --> 00:32:25,310 we've become explorers once again. 694 00:32:25,310 --> 00:32:27,310 BRIAN TERWILLIGER: If it's possible to shoot it, 695 00:32:27,310 --> 00:32:28,600 we wanted to go shoot it. 696 00:32:28,600 --> 00:32:31,320 697 00:32:31,320 --> 00:32:33,913 If we couldn't get the shot or the weather wasn't right, 698 00:32:33,913 --> 00:32:35,580 we would either go back to that location 699 00:32:35,580 --> 00:32:37,260 or it didn't make the movie. 700 00:32:37,260 --> 00:32:39,630 It was really important every shot was original 701 00:32:39,630 --> 00:32:41,430 and that everything was real. 702 00:32:41,430 --> 00:32:43,350 HARRISON FORD: Leave behind everything 703 00:32:43,350 --> 00:32:48,180 you know about airplanes and prepare to see them again 704 00:32:48,180 --> 00:32:49,930 for the first time. 705 00:32:49,930 --> 00:32:53,318 [MUSIC PLAYING] 706 00:32:53,318 --> 00:32:59,620 707 00:32:59,620 --> 00:33:01,630 CHRIS: Now, throughout that, I was actually 708 00:33:01,630 --> 00:33:05,380 watching the audio meters, but I was also listening to the mix 709 00:33:05,380 --> 00:33:06,710 as it was coming through. 710 00:33:06,710 --> 00:33:08,530 And you can see that what I can now do 711 00:33:08,530 --> 00:33:12,550 is I can easily write the levels so that if the sound effects are 712 00:33:12,550 --> 00:33:14,740 too loud, I can actually bring the sound effects 713 00:33:14,740 --> 00:33:17,450 on those tracks down with just one fader. 714 00:33:17,450 --> 00:33:21,760 So that's the advantage of using the audio mixer in this case. 715 00:33:21,760 --> 00:33:23,780 One thing I am going to do, though, 716 00:33:23,780 --> 00:33:26,950 is I'm actually going to increase the level of the music 717 00:33:26,950 --> 00:33:29,477 after Harrison Ford has finished his final line. 718 00:33:29,477 --> 00:33:31,060 So in this case, I'm just going to add 719 00:33:31,060 --> 00:33:36,020 a couple of audio keyframes on the volume curve, 720 00:33:36,020 --> 00:33:39,280 and just adjust that up by a couple of DB 721 00:33:39,280 --> 00:33:40,880 from where it was before. 722 00:33:40,880 --> 00:33:43,420 So I can always go back into the timeline 723 00:33:43,420 --> 00:33:45,730 and start making further level adjustments 724 00:33:45,730 --> 00:33:50,590 if I need to at an individual clip level. 725 00:33:50,590 --> 00:33:52,220 HARRISON FORD: For the first time. 726 00:33:52,220 --> 00:33:55,538 [MUSIC PLAYING] 727 00:33:55,538 --> 00:33:59,810 728 00:33:59,810 --> 00:34:02,520 CHRIS: So that's the audio mix done for this timeline. 729 00:34:02,520 --> 00:34:04,590 However, we're not quite there yet. 730 00:34:04,590 --> 00:34:06,860 We need a few little visual flourishes 731 00:34:06,860 --> 00:34:09,330 before we can say that this is a wrap. 732 00:34:09,330 --> 00:34:12,050 And in this case, we're going to add a few transitions just 733 00:34:12,050 --> 00:34:14,130 to indicate a change of location. 734 00:34:14,130 --> 00:34:16,429 And we're also going to add some fusion 735 00:34:16,429 --> 00:34:19,400 titles from the built-in templates that resolve ships 736 00:34:19,400 --> 00:34:20,480 with. 737 00:34:20,480 --> 00:34:24,380 So to start with, let's just simply adjust 738 00:34:24,380 --> 00:34:26,085 the height of each of these tracks, 739 00:34:26,085 --> 00:34:27,710 just to give me a little bit more space 740 00:34:27,710 --> 00:34:30,475 in terms of the visuals. 741 00:34:30,475 --> 00:34:31,850 And the first thing we want to do 742 00:34:31,850 --> 00:34:34,260 is actually add some video transitions. 743 00:34:34,260 --> 00:34:37,790 Now, I was always taught when I was learning video editing 744 00:34:37,790 --> 00:34:40,340 that you should use transitions sparingly 745 00:34:40,340 --> 00:34:45,170 and usually to indicate a change of time or location. 746 00:34:45,170 --> 00:34:47,860 So here, I've got an edit point between two shots. 747 00:34:47,860 --> 00:34:49,860 BRIAN TERWILLIGER: If it's possible to shoot it, 748 00:34:49,860 --> 00:34:51,179 we wanted to go shoot it. 749 00:34:51,179 --> 00:34:53,900 750 00:34:53,900 --> 00:34:57,139 CHRIS: I can select the Edit point here and then 751 00:34:57,139 --> 00:35:03,080 come to the menu and choose Timeline, Add Transition. 752 00:35:03,080 --> 00:35:06,560 And this will add a default one second cross-dissolve 753 00:35:06,560 --> 00:35:07,680 transition. 754 00:35:07,680 --> 00:35:10,460 Let's just preview that with the forward key again. 755 00:35:10,460 --> 00:35:12,127 BRIAN TERWILLIGER: Possible to shoot it, 756 00:35:12,127 --> 00:35:14,930 we wanted to go shoot it. 757 00:35:14,930 --> 00:35:17,240 CHRIS: And that simple fade usually indicates 758 00:35:17,240 --> 00:35:20,210 to the audience that some change is there, usually 759 00:35:20,210 --> 00:35:23,090 a change of time or a change of location. 760 00:35:23,090 --> 00:35:26,310 Let's just zoom in on that transition a little bit as well. 761 00:35:26,310 --> 00:35:29,570 Because you can also change any of these transitions. 762 00:35:29,570 --> 00:35:32,120 Of course, you can change the duration of the transition 763 00:35:32,120 --> 00:35:36,530 by clicking on it and dragging it at the side there. 764 00:35:36,530 --> 00:35:41,150 But if you right click on the transition, 765 00:35:41,150 --> 00:35:44,180 you can also change the transition duration 766 00:35:44,180 --> 00:35:45,852 by typing in values. 767 00:35:45,852 --> 00:35:47,810 And you can see that we've got presets there as 768 00:35:47,810 --> 00:35:52,230 well, very similar to how we changed the duration of clips. 769 00:35:52,230 --> 00:35:53,910 Alternatively, you can also change 770 00:35:53,910 --> 00:35:57,480 the style of the transition through the inspector. 771 00:35:57,480 --> 00:35:59,250 So let's come up to the top right hand 772 00:35:59,250 --> 00:36:02,040 corner of the interface, click on the inspector button. 773 00:36:02,040 --> 00:36:06,780 And we will also see that we're in the transition inspector. 774 00:36:06,780 --> 00:36:10,030 Here, we've got the transition type, which is cross-dissolve. 775 00:36:10,030 --> 00:36:13,590 But we can also choose from lots of different sorts of types 776 00:36:13,590 --> 00:36:14,650 of transition. 777 00:36:14,650 --> 00:36:16,785 Let's choose Edge Wipe. 778 00:36:16,785 --> 00:36:18,660 Because I've got the playhead over the center 779 00:36:18,660 --> 00:36:20,190 of the transition, you can now see 780 00:36:20,190 --> 00:36:22,750 that if I change the angle of the wipe, 781 00:36:22,750 --> 00:36:24,930 you can see how it actually changes 782 00:36:24,930 --> 00:36:27,060 the direction of the wipe. 783 00:36:27,060 --> 00:36:31,260 Let's set that to around about minus 80. 784 00:36:31,260 --> 00:36:33,250 Let's increase the border. 785 00:36:33,250 --> 00:36:36,120 And you can change the border color using the color swatch 786 00:36:36,120 --> 00:36:38,020 in the inspector. 787 00:36:38,020 --> 00:36:41,620 However, there is also the option to feather the border. 788 00:36:41,620 --> 00:36:46,770 So if we click on that, we've now got a nice soft edge border. 789 00:36:46,770 --> 00:36:49,465 If I hit the forward slash key to preview the timeline-- 790 00:36:49,465 --> 00:36:51,340 BRIAN TERWILLIGER: It's possible to shoot it, 791 00:36:51,340 --> 00:36:54,870 we wanted to go shoot it. 792 00:36:54,870 --> 00:36:57,630 CHRIS: --I can now channel my inner George Lucas. 793 00:36:57,630 --> 00:37:01,590 Of course, Resolve comes with a whole bunch of transition 794 00:37:01,590 --> 00:37:03,310 presets for you to use. 795 00:37:03,310 --> 00:37:07,690 If you go to the effects library and choose Video Transitions, 796 00:37:07,690 --> 00:37:10,380 you can see that you've got all manner of different transitions 797 00:37:10,380 --> 00:37:11,530 to choose from. 798 00:37:11,530 --> 00:37:13,350 And if you actually take your mouse 799 00:37:13,350 --> 00:37:16,360 and just run them across the transition, 800 00:37:16,360 --> 00:37:19,780 you can actually live preview each of those transitions. 801 00:37:19,780 --> 00:37:24,630 So you get a sense as to how each of those transitions works. 802 00:37:24,630 --> 00:37:27,210 The final element that we're going to add to this edit 803 00:37:27,210 --> 00:37:28,800 is actually some titles. 804 00:37:28,800 --> 00:37:32,080 We need to know, for example, who the interviewee is, 805 00:37:32,080 --> 00:37:34,110 but we're also going to add some titles for each 806 00:37:34,110 --> 00:37:36,960 of the geographic locations that the film visits 807 00:37:36,960 --> 00:37:39,480 when it was filming. 808 00:37:39,480 --> 00:37:41,550 Just like with transitions, you can actually 809 00:37:41,550 --> 00:37:46,620 live preview each of these by running your mouse across them. 810 00:37:46,620 --> 00:37:49,030 And with the fusion titles, you'll 811 00:37:49,030 --> 00:37:52,810 actually get to see the different animations 812 00:37:52,810 --> 00:37:53,900 that we have. 813 00:37:53,900 --> 00:37:56,110 So you can choose whether or not a title 814 00:37:56,110 --> 00:37:58,630 is appropriate for your edit even before you apply it 815 00:37:58,630 --> 00:38:00,790 to your timeline. 816 00:38:00,790 --> 00:38:02,860 In this case, I want to scroll through the list 817 00:38:02,860 --> 00:38:06,925 and I'm looking for a title called Simple Underline Lower 818 00:38:06,925 --> 00:38:07,425 Third. 819 00:38:07,425 --> 00:38:13,180 820 00:38:13,180 --> 00:38:15,340 I'm going to take that title and I'm 821 00:38:15,340 --> 00:38:20,210 going to move up to my timeline viewer overlays. 822 00:38:20,210 --> 00:38:24,280 And then I'm going to choose the place on top edit. 823 00:38:24,280 --> 00:38:27,380 Unsurprisingly this time, because I'm dealing with video, 824 00:38:27,380 --> 00:38:31,120 Resolve actually places the title on top of the video 825 00:38:31,120 --> 00:38:34,570 where my playhead is. 826 00:38:34,570 --> 00:38:36,040 I'll hide the effects library just 827 00:38:36,040 --> 00:38:41,260 to give myself a little bit more room and go into my detail zoom. 828 00:38:41,260 --> 00:38:42,650 Zoom out a touch there. 829 00:38:42,650 --> 00:38:46,030 And I just want to trim the title to the end of the clip. 830 00:38:46,030 --> 00:38:48,850 To adjust the title, all you'll simply do 831 00:38:48,850 --> 00:38:51,700 is just go directly to the inspector. 832 00:38:51,700 --> 00:38:53,560 So here in the text box, I'm going 833 00:38:53,560 --> 00:38:54,850 to highlight the sample text. 834 00:38:54,850 --> 00:38:56,350 And I'm going to give my interviewee 835 00:38:56,350 --> 00:39:00,640 his name, which in this case is Brian J. Terwilliger. 836 00:39:00,640 --> 00:39:03,830 And you can also customize the font as well. 837 00:39:03,830 --> 00:39:06,140 If you click in the font menu here, 838 00:39:06,140 --> 00:39:09,370 you can actually scroll through the list of fonts 839 00:39:09,370 --> 00:39:11,080 that you have installed on your system 840 00:39:11,080 --> 00:39:15,430 and get a live preview of what each font may look like. 841 00:39:15,430 --> 00:39:16,990 In this case, I'm actually just going 842 00:39:16,990 --> 00:39:19,450 to leave everything set to Open Sans. 843 00:39:19,450 --> 00:39:23,620 However, I can customize the text further using 844 00:39:23,620 --> 00:39:28,930 the lower controls, including the size, 845 00:39:28,930 --> 00:39:33,110 and also the tracking, which is the spacing between the letters. 846 00:39:33,110 --> 00:39:34,990 Just by bringing the letters a little closer 847 00:39:34,990 --> 00:39:39,070 together makes them easier to read, I feel. 848 00:39:39,070 --> 00:39:43,190 Below that, we've also got controls for the line as well. 849 00:39:43,190 --> 00:39:45,440 That's that blue line underneath the text. 850 00:39:45,440 --> 00:39:48,980 Of course, I can increase or decrease the line thickness, 851 00:39:48,980 --> 00:39:51,690 depending on the style that I'm looking for. 852 00:39:51,690 --> 00:39:53,940 And I can also change the line color. 853 00:39:53,940 --> 00:39:57,650 In this case, I'm actually going to increase the red color 854 00:39:57,650 --> 00:40:00,050 channel and the green color channel, 855 00:40:00,050 --> 00:40:02,990 and actually just lower the blue color channel 856 00:40:02,990 --> 00:40:06,920 just to change the color of the line to yellow. 857 00:40:06,920 --> 00:40:10,160 In actual fact, you can also customize the gradient 858 00:40:10,160 --> 00:40:12,080 across the line. 859 00:40:12,080 --> 00:40:16,550 Let's change the type from solid color to horizontal. 860 00:40:16,550 --> 00:40:19,200 And now I get a second color box, 861 00:40:19,200 --> 00:40:21,080 which I'm actually going to customize 862 00:40:21,080 --> 00:40:26,930 by just making it a little bit more of an orange color. 863 00:40:26,930 --> 00:40:28,980 Now that I've got my first title in, 864 00:40:28,980 --> 00:40:32,300 I can actually use this as a basis for the rest of the titles 865 00:40:32,300 --> 00:40:33,750 throughout the trailer. 866 00:40:33,750 --> 00:40:36,020 And also, I'm just going to do is just copy 867 00:40:36,020 --> 00:40:39,620 and paste the title into different locations. 868 00:40:39,620 --> 00:40:43,090 Let's go to full extent zoom and select the title. 869 00:40:43,090 --> 00:40:46,950 And then I can actually choose to copy the title just 870 00:40:46,950 --> 00:40:48,610 as I would do anything else. 871 00:40:48,610 --> 00:40:52,050 So Command or Control C is a keyboard shortcut 872 00:40:52,050 --> 00:40:54,510 that you'll probably be familiar with. 873 00:40:54,510 --> 00:41:00,120 Now I'm going to find the Maldives shot here. 874 00:41:00,120 --> 00:41:02,710 And I'm going to choose to paste. 875 00:41:02,710 --> 00:41:08,460 So Edit, Paste, Command or Control V, and Resolve 876 00:41:08,460 --> 00:41:10,320 will actually paste directly to the track 877 00:41:10,320 --> 00:41:12,510 from which I've copied from. 878 00:41:12,510 --> 00:41:16,860 Let me just trim that back to the end of that shot 879 00:41:16,860 --> 00:41:23,333 and then change the title here to Maldives. 880 00:41:23,333 --> 00:41:26,940 881 00:41:26,940 --> 00:41:28,325 I'm going to copy that title. 882 00:41:28,325 --> 00:41:31,050 883 00:41:31,050 --> 00:41:34,010 Paste over the next clip, which is the South Pole shot. 884 00:41:34,010 --> 00:41:41,940 885 00:41:41,940 --> 00:41:43,565 This clip is Alaska. 886 00:41:43,565 --> 00:41:51,690 887 00:41:51,690 --> 00:41:54,130 And then, of course, Kenya. 888 00:41:54,130 --> 00:42:01,798 889 00:42:01,798 --> 00:42:03,840 BRIAN TERWILLIGER: --or it didn't make the movie. 890 00:42:03,840 --> 00:42:06,240 It's really important every shot was original 891 00:42:06,240 --> 00:42:08,010 and that everything was real. 892 00:42:08,010 --> 00:42:09,930 HARRISON FORD: Leave behind everything 893 00:42:09,930 --> 00:42:15,432 you know about airplanes and prepare to see them again. 894 00:42:15,432 --> 00:42:16,890 CHRIS: Just going to trim that back 895 00:42:16,890 --> 00:42:18,750 a little bit because it was just overlapping 896 00:42:18,750 --> 00:42:19,980 the transition a little bit. 897 00:42:19,980 --> 00:42:22,680 HARRISON FORD: And prepare to see them again. 898 00:42:22,680 --> 00:42:25,020 CHRIS: Don't worry if you can't play these titles back 899 00:42:25,020 --> 00:42:26,980 in real time immediately. 900 00:42:26,980 --> 00:42:29,350 Depending on the power of your system, 901 00:42:29,350 --> 00:42:32,280 Resolve may need to cache the files prior 902 00:42:32,280 --> 00:42:35,550 to being able to play them back at full quality, in which case, 903 00:42:35,550 --> 00:42:38,410 just let Resolve have a few seconds 904 00:42:38,410 --> 00:42:41,480 and Resolve will automatically cache the files for you. 905 00:42:41,480 --> 00:42:44,000 You'll notice when a file is cached, 906 00:42:44,000 --> 00:42:46,180 because the red line above the title 907 00:42:46,180 --> 00:42:49,610 will turn blue to indicate a cache file. 908 00:42:49,610 --> 00:42:53,440 You should now be able to play your title back in real time. 909 00:42:53,440 --> 00:42:56,320 Now that I've got this edit ready to go, what I want to do 910 00:42:56,320 --> 00:42:59,930 is to be able to play it back for the client at full screen. 911 00:42:59,930 --> 00:43:01,750 If I just return the playhead back 912 00:43:01,750 --> 00:43:03,400 to the beginning of the timeline, 913 00:43:03,400 --> 00:43:07,840 from the workspace menu, we can choose 914 00:43:07,840 --> 00:43:11,110 Viewer Mode, Cinema Viewer. 915 00:43:11,110 --> 00:43:15,265 This will give me a full screen playback of my entire edit. 916 00:43:15,265 --> 00:43:17,890 BRIAN TERWILLIGER: In this film, making a documentary about how 917 00:43:17,890 --> 00:43:19,600 the airplanes changed the world, it 918 00:43:19,600 --> 00:43:24,070 was really important to go out and shoot the real world. 919 00:43:24,070 --> 00:43:26,030 HARRISON FORD: In the age of airplanes, 920 00:43:26,030 --> 00:43:29,130 we've become explorers once again. 921 00:43:29,130 --> 00:43:31,130 BRIAN TERWILLIGER: If it's possible to shoot it, 922 00:43:31,130 --> 00:43:34,675 we wanted to go shoot it. 923 00:43:34,675 --> 00:43:37,403 If we couldn't get the shot or the weather wasn't right, 924 00:43:37,403 --> 00:43:39,070 we would either go back to that location 925 00:43:39,070 --> 00:43:40,690 or it didn't make the movie. 926 00:43:40,690 --> 00:43:42,970 It's really important every shot was original 927 00:43:42,970 --> 00:43:44,860 and that everything was real. 928 00:43:44,860 --> 00:43:46,540 HARRISON FORD: Leave behind everything 929 00:43:46,540 --> 00:43:51,160 you know about airplanes and prepare to see them again 930 00:43:51,160 --> 00:43:52,880 for the first time. 931 00:43:52,880 --> 00:43:56,366 [MUSIC PLAYING] 932 00:43:56,366 --> 00:44:02,350 933 00:44:02,350 --> 00:44:04,150 CHRIS: Just simply press Escape in order 934 00:44:04,150 --> 00:44:07,570 to be able to return back to the interface. 935 00:44:07,570 --> 00:44:09,890 I hope you found this tutorial useful. 936 00:44:09,890 --> 00:44:12,310 If you've got any further questions about editing 937 00:44:12,310 --> 00:44:15,460 in Resolve, please feel free to join us on the Blackmagic Design 938 00:44:15,460 --> 00:44:16,430 forums. 939 00:44:16,430 --> 00:44:19,120 And you can also familiarize yourself with the training 940 00:44:19,120 --> 00:44:22,600 materials that we have available on the DaVinci Resolve product 941 00:44:22,600 --> 00:44:23,510 pages. 942 00:44:23,510 --> 00:44:26,680 And all of those materials are available for free. 943 00:44:26,680 --> 00:44:30,270 Thank you very much, and happy editing. 944 00:44:30,270 --> 00:44:35,000