[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:00.00,0:00:03.74,Default,,0000,0000,0000,,
Dialogue: 0,0:00:03.74,0:00:05.96,Default,,0000,0000,0000,,CHRIS: Hi, I'm\NChris, I'm an editor
Dialogue: 0,0:00:05.96,0:00:08.28,Default,,0000,0000,0000,,and a Blackmagic\Ncertified master trainer.
Dialogue: 0,0:00:08.28,0:00:10.88,Default,,0000,0000,0000,,And today, we're going to\Ncontinue our exploration
Dialogue: 0,0:00:10.88,0:00:13.23,Default,,0000,0000,0000,,of editing in DaVinci Resolve.
Dialogue: 0,0:00:13.23,0:00:16.61,Default,,0000,0000,0000,,Now, following on from the\Nprevious video, what we can do
Dialogue: 0,0:00:16.61,0:00:18.32,Default,,0000,0000,0000,,is just simply\Nopen up the project
Dialogue: 0,0:00:18.32,0:00:22.01,Default,,0000,0000,0000,,and carry on working from\Nwhere we last left off.
Dialogue: 0,0:00:22.01,0:00:23.73,Default,,0000,0000,0000,,In the project\Nmanager in Resolve,
Dialogue: 0,0:00:23.73,0:00:27.71,Default,,0000,0000,0000,,just simply double click the\NAge of Airplanes Trailer.
Dialogue: 0,0:00:27.71,0:00:29.69,Default,,0000,0000,0000,,This will open up the\Nproject at the last point
Dialogue: 0,0:00:29.69,0:00:31.19,Default,,0000,0000,0000,,that you last left it.
Dialogue: 0,0:00:31.19,0:00:32.60,Default,,0000,0000,0000,,Now, the first\Nthing that we want
Dialogue: 0,0:00:32.60,0:00:35.78,Default,,0000,0000,0000,,to do before we make any\Nmajor changes to this project
Dialogue: 0,0:00:35.78,0:00:38.37,Default,,0000,0000,0000,,is to duplicate the\Nexisting timeline.
Dialogue: 0,0:00:38.37,0:00:40.73,Default,,0000,0000,0000,,That way, we've always\Ngot a backup of the work
Dialogue: 0,0:00:40.73,0:00:42.12,Default,,0000,0000,0000,,that we've done previously.
Dialogue: 0,0:00:42.12,0:00:44.82,Default,,0000,0000,0000,,So if we go too far in\Nchanging this timeline,
Dialogue: 0,0:00:44.82,0:00:48.11,Default,,0000,0000,0000,,we can always go back\Nto a previous version.
Dialogue: 0,0:00:48.11,0:00:51.80,Default,,0000,0000,0000,,Go to the Timelines bin in\Norder to locate your timeline
Dialogue: 0,0:00:51.80,0:00:53.45,Default,,0000,0000,0000,,that you were just working on.
Dialogue: 0,0:00:53.45,0:00:59.91,Default,,0000,0000,0000,,Then right click the timeline\Nand choose Duplicate Timeline.
Dialogue: 0,0:00:59.91,0:01:02.94,Default,,0000,0000,0000,,Now rename this timeline\Nby clicking on the name
Dialogue: 0,0:01:02.94,0:01:05.85,Default,,0000,0000,0000,,and calling it Version 2.
Dialogue: 0,0:01:05.85,0:01:08.34,Default,,0000,0000,0000,,And double click the\Ntimeline to open it up
Dialogue: 0,0:01:08.34,0:01:10.29,Default,,0000,0000,0000,,into the timeline window.
Dialogue: 0,0:01:10.29,0:01:13.14,Default,,0000,0000,0000,,The first thing that we're going\Nto do to this duplicate timeline
Dialogue: 0,0:01:13.14,0:01:15.54,Default,,0000,0000,0000,,is to add some audio\Ntracks so that we
Dialogue: 0,0:01:15.54,0:01:18.89,Default,,0000,0000,0000,,can add some voiceover\Nand some sound effects.
Dialogue: 0,0:01:18.89,0:01:24.66,Default,,0000,0000,0000,,Right click in any of the track\Nheaders and choose Add Tracks.
Dialogue: 0,0:01:24.66,0:01:27.93,Default,,0000,0000,0000,,This allows you to add any\Nnumber of video and audio tracks
Dialogue: 0,0:01:27.93,0:01:29.74,Default,,0000,0000,0000,,that you need for your timeline.
Dialogue: 0,0:01:29.74,0:01:32.56,Default,,0000,0000,0000,,In this case, we don't need\Nto add any video tracks,
Dialogue: 0,0:01:32.56,0:01:34.95,Default,,0000,0000,0000,,so set the number of\Nvideo tracks to 0.
Dialogue: 0,0:01:34.95,0:01:39.24,Default,,0000,0000,0000,,And set the number\Nof audio tracks to 3.
Dialogue: 0,0:01:39.24,0:01:42.79,Default,,0000,0000,0000,,Insert position is\Nbelow audio one.
Dialogue: 0,0:01:42.79,0:01:44.52,Default,,0000,0000,0000,,This is the correct\Nlocation for where
Dialogue: 0,0:01:44.52,0:01:46.15,Default,,0000,0000,0000,,we want to add our new tracks.
Dialogue: 0,0:01:46.15,0:01:49.71,Default,,0000,0000,0000,,And the audio track type\Nis going to be stereo.
Dialogue: 0,0:01:49.71,0:01:52.75,Default,,0000,0000,0000,,You don't always want stereo\Nas your default track type.
Dialogue: 0,0:01:52.75,0:01:56.47,Default,,0000,0000,0000,,Instead, you might actually\Nbe working with Mono audio.
Dialogue: 0,0:01:56.47,0:01:58.26,Default,,0000,0000,0000,,In that case though,\Nyou can always
Dialogue: 0,0:01:58.26,0:02:00.01,Default,,0000,0000,0000,,change the track type later.
Dialogue: 0,0:02:00.01,0:02:03.03,Default,,0000,0000,0000,,So we'll just stick with\Nstereo for the moment.
Dialogue: 0,0:02:03.03,0:02:07.17,Default,,0000,0000,0000,,Choose Add Tracks to add\Nthe three extra audio tracks
Dialogue: 0,0:02:07.17,0:02:08.50,Default,,0000,0000,0000,,to your timeline.
Dialogue: 0,0:02:08.50,0:02:10.29,Default,,0000,0000,0000,,The other thing that\Nwould be helpful to do
Dialogue: 0,0:02:10.29,0:02:13.05,Default,,0000,0000,0000,,is actually rename these\Ntracks so that I know what
Dialogue: 0,0:02:13.05,0:02:15.55,Default,,0000,0000,0000,,type of audio is on each track.
Dialogue: 0,0:02:15.55,0:02:17.28,Default,,0000,0000,0000,,I'll just make\Nthe timeline track
Dialogue: 0,0:02:17.28,0:02:19.29,Default,,0000,0000,0000,,headers a little bit bigger.
Dialogue: 0,0:02:19.29,0:02:23.40,Default,,0000,0000,0000,,And I'm going to click on\Nthe name for audio track one.
Dialogue: 0,0:02:23.40,0:02:25.41,Default,,0000,0000,0000,,And I'm going to call this Sync.
Dialogue: 0,0:02:25.41,0:02:28.80,Default,,0000,0000,0000,,
Dialogue: 0,0:02:28.80,0:02:33.45,Default,,0000,0000,0000,,audio track two, we're\Ngoing to call this VO.
Dialogue: 0,0:02:33.45,0:02:36.93,Default,,0000,0000,0000,,audio track three,\Nwe'll call SFX,
Dialogue: 0,0:02:36.93,0:02:40.02,Default,,0000,0000,0000,,as we will in audio track four.
Dialogue: 0,0:02:40.02,0:02:44.55,Default,,0000,0000,0000,,And finally, audio track\Nfive is the music track.
Dialogue: 0,0:02:44.55,0:02:46.80,Default,,0000,0000,0000,,The other thing that\Nyou can do is actually
Dialogue: 0,0:02:46.80,0:02:48.67,Default,,0000,0000,0000,,color code the audio tracks.
Dialogue: 0,0:02:48.67,0:02:49.93,Default,,0000,0000,0000,,This makes it easy.
Dialogue: 0,0:02:49.93,0:02:52.14,Default,,0000,0000,0000,,It's a visual reference\Nso that it's easy
Dialogue: 0,0:02:52.14,0:02:54.27,Default,,0000,0000,0000,,in order to be able to\Nsee the type of audio
Dialogue: 0,0:02:54.27,0:02:55.67,Default,,0000,0000,0000,,that you're working with.
Dialogue: 0,0:02:55.67,0:02:58.13,Default,,0000,0000,0000,,There's no need to\Nset specific colors.
Dialogue: 0,0:02:58.13,0:03:01.66,Default,,0000,0000,0000,,Just go with the colors that you\Npersonally think work for you.
Dialogue: 0,0:03:01.66,0:03:05.24,Default,,0000,0000,0000,,So in this case, I'm going to\Nright click the Sync track.
Dialogue: 0,0:03:05.24,0:03:09.44,Default,,0000,0000,0000,,And I'm actually going to choose\Nchange track color to lime.
Dialogue: 0,0:03:09.44,0:03:13.30,Default,,0000,0000,0000,,
Dialogue: 0,0:03:13.30,0:03:16.33,Default,,0000,0000,0000,,All of the clips in\Nthat track turn to lime.
Dialogue: 0,0:03:16.33,0:03:20.55,Default,,0000,0000,0000,,For the VO, I'm going to\Nchoose track color teal.
Dialogue: 0,0:03:20.55,0:03:24.10,Default,,0000,0000,0000,,
Dialogue: 0,0:03:24.10,0:03:30.64,Default,,0000,0000,0000,,For the sound effects, I'm going\Nto choose track color brown,
Dialogue: 0,0:03:30.64,0:03:34.63,Default,,0000,0000,0000,,as I am for the\Nsecond soundtrack.
Dialogue: 0,0:03:34.63,0:03:38.39,Default,,0000,0000,0000,,And for the music, I'm\Ngoing to choose olive.
Dialogue: 0,0:03:38.39,0:03:41.29,Default,,0000,0000,0000,,
Dialogue: 0,0:03:41.29,0:03:45.28,Default,,0000,0000,0000,,Providing you haven't changed\Nthe clip color of the clip
Dialogue: 0,0:03:45.28,0:03:48.02,Default,,0000,0000,0000,,within its bin or\Nin the timeline,
Dialogue: 0,0:03:48.02,0:03:50.78,Default,,0000,0000,0000,,it'll inherit the color\Nof the timeline tracks.
Dialogue: 0,0:03:50.78,0:03:52.15,Default,,0000,0000,0000,,This means it's\Neasy to spot when
Dialogue: 0,0:03:52.15,0:03:53.92,Default,,0000,0000,0000,,you're looking at the timeline.
Dialogue: 0,0:03:53.92,0:03:56.81,Default,,0000,0000,0000,,So first thing we need to\Ndo is add some voiceover.
Dialogue: 0,0:03:56.81,0:03:58.69,Default,,0000,0000,0000,,And the first voiceover\Npiece is going
Dialogue: 0,0:03:58.69,0:04:01.76,Default,,0000,0000,0000,,to go between the first and\Nsecond piece of interview,
Dialogue: 0,0:04:01.76,0:04:04.19,Default,,0000,0000,0000,,but obviously on\Nthe voiceover track.
Dialogue: 0,0:04:04.19,0:04:07.06,Default,,0000,0000,0000,,So I'm just going to place\Nthe playhead just partway
Dialogue: 0,0:04:07.06,0:04:10.99,Default,,0000,0000,0000,,into the second video clip.
Dialogue: 0,0:04:10.99,0:04:12.43,Default,,0000,0000,0000,,I should just\Nresize the timeline
Dialogue: 0,0:04:12.43,0:04:15.08,Default,,0000,0000,0000,,slightly so that I can\Nsee my clips clearly.
Dialogue: 0,0:04:15.08,0:04:17.38,Default,,0000,0000,0000,,And then from the\NVO bin, I'm going
Dialogue: 0,0:04:17.38,0:04:22.63,Default,,0000,0000,0000,,to double click the first of\Nour voiceover tracks, HF VO 1.
Dialogue: 0,0:04:22.63,0:04:24.79,Default,,0000,0000,0000,,I'll go back to the\Nbeginning of this clip
Dialogue: 0,0:04:24.79,0:04:27.85,Default,,0000,0000,0000,,and have a listen to it.
Dialogue: 0,0:04:27.85,0:04:29.87,Default,,0000,0000,0000,,HARRISON FORD: In\Nthe age of airplanes,
Dialogue: 0,0:04:29.87,0:04:32.46,Default,,0000,0000,0000,,we've become\Nexplorers once again.
Dialogue: 0,0:04:32.46,0:04:35.29,Default,,0000,0000,0000,,
Dialogue: 0,0:04:35.29,0:04:37.22,Default,,0000,0000,0000,,CHRIS: I'm going to use\Nthe top waveform here,
Dialogue: 0,0:04:37.22,0:04:40.06,Default,,0000,0000,0000,,just to navigate back to the\Nbeginning of that piece of voice
Dialogue: 0,0:04:40.06,0:04:42.10,Default,,0000,0000,0000,,and set the endpoint\Nwhere I can clearly
Dialogue: 0,0:04:42.10,0:04:43.79,Default,,0000,0000,0000,,see the voiceover starts.
Dialogue: 0,0:04:43.79,0:04:46.18,Default,,0000,0000,0000,,And again, I'm going to\Ndo the same by adding
Dialogue: 0,0:04:46.18,0:04:49.36,Default,,0000,0000,0000,,an outpoint at the end of that.
Dialogue: 0,0:04:49.36,0:04:52.14,Default,,0000,0000,0000,,Now, because I want this\Nto go into audio track two,
Dialogue: 0,0:04:52.14,0:04:54.98,Default,,0000,0000,0000,,I need to change the\Ntargeting from the source
Dialogue: 0,0:04:54.98,0:04:56.99,Default,,0000,0000,0000,,to the track in the timeline.
Dialogue: 0,0:04:56.99,0:05:00.44,Default,,0000,0000,0000,,Here, I simply click\Non the audio two box
Dialogue: 0,0:05:00.44,0:05:06.11,Default,,0000,0000,0000,,in order to switch the targeting\Nfrom audio one to audio two.
Dialogue: 0,0:05:06.11,0:05:08.51,Default,,0000,0000,0000,,Any clips that I now\Nedit into this timeline
Dialogue: 0,0:05:08.51,0:05:12.17,Default,,0000,0000,0000,,will automatically appear\Non that audio track.
Dialogue: 0,0:05:12.17,0:05:15.83,Default,,0000,0000,0000,,For this, all I now need to do\Nis just do a simple overwrite
Dialogue: 0,0:05:15.83,0:05:16.73,Default,,0000,0000,0000,,edit.
Dialogue: 0,0:05:16.73,0:05:19.31,Default,,0000,0000,0000,,As before, you can just\Nsimply pick the clip up,
Dialogue: 0,0:05:19.31,0:05:21.48,Default,,0000,0000,0000,,drag it across to\Nthe timeline viewer.
Dialogue: 0,0:05:21.48,0:05:25.10,Default,,0000,0000,0000,,Or Alternatively, you can\Nuse the Overwrite button
Dialogue: 0,0:05:25.10,0:05:29.11,Default,,0000,0000,0000,,at the top of the timeline or\Nuse your keyboard shortcut F10.
Dialogue: 0,0:05:29.11,0:05:31.97,Default,,0000,0000,0000,,
Dialogue: 0,0:05:31.97,0:05:33.83,Default,,0000,0000,0000,,And as you can see,\Nit's already now
Dialogue: 0,0:05:33.83,0:05:36.44,Default,,0000,0000,0000,,color coded teal, because\Nthat was the color coding
Dialogue: 0,0:05:36.44,0:05:38.87,Default,,0000,0000,0000,,that we set for that track.
Dialogue: 0,0:05:38.87,0:05:40.61,Default,,0000,0000,0000,,The next piece of\Nvoiceover actually
Dialogue: 0,0:05:40.61,0:05:44.19,Default,,0000,0000,0000,,needs to come after the\Nlast bit of sync on A1.
Dialogue: 0,0:05:44.19,0:05:46.17,Default,,0000,0000,0000,,So I'm going to\Nposition my playhead.
Dialogue: 0,0:05:46.17,0:05:48.83,Default,,0000,0000,0000,,Just after that,\Nselect voiceover 2
Dialogue: 0,0:05:48.83,0:05:50.38,Default,,0000,0000,0000,,from the voiceover bin.
Dialogue: 0,0:05:50.38,0:05:53.55,Default,,0000,0000,0000,,And I'm just going to\Nhave a listen to this.
Dialogue: 0,0:05:53.55,0:05:56.55,Default,,0000,0000,0000,,HARRISON FORD: For the moment,\Nleave behind everything
Dialogue: 0,0:05:56.55,0:06:00.69,Default,,0000,0000,0000,,you know about\Nairplanes, anything
Dialogue: 0,0:06:00.69,0:06:05.64,Default,,0000,0000,0000,,you've heard about their\Nhistory, every conclusion
Dialogue: 0,0:06:05.64,0:06:08.70,Default,,0000,0000,0000,,you've drawn from\Nyour own experience,
Dialogue: 0,0:06:08.70,0:06:14.10,Default,,0000,0000,0000,,and prepare to see them\Nagain for the first time.
Dialogue: 0,0:06:14.10,0:06:16.60,Default,,0000,0000,0000,,CHRIS: Now, that clip\Nwas actually quite long.
Dialogue: 0,0:06:16.60,0:06:19.32,Default,,0000,0000,0000,,And because we're making\Na trailer rather than
Dialogue: 0,0:06:19.32,0:06:21.39,Default,,0000,0000,0000,,the whole film, we\Nobviously only need
Dialogue: 0,0:06:21.39,0:06:24.99,Default,,0000,0000,0000,,to use a small part\Nof that voiceover.
Dialogue: 0,0:06:24.99,0:06:28.03,Default,,0000,0000,0000,,So in this case, we go back to\Nthe first piece of waveform,
Dialogue: 0,0:06:28.03,0:06:30.03,Default,,0000,0000,0000,,and we don't need\Nthe first line.
Dialogue: 0,0:06:30.03,0:06:31.57,Default,,0000,0000,0000,,HARRISON FORD: For the moment.
Dialogue: 0,0:06:31.57,0:06:33.12,Default,,0000,0000,0000,,CHRIS: We need to\Nstart here, just
Dialogue: 0,0:06:33.12,0:06:34.69,Default,,0000,0000,0000,,after he says for the moment.
Dialogue: 0,0:06:34.69,0:06:36.34,Default,,0000,0000,0000,,So I'm going to add an endpoint.
Dialogue: 0,0:06:36.34,0:06:38.25,Default,,0000,0000,0000,,HARRISON FORD: Leave\Nbehind everything
Dialogue: 0,0:06:38.25,0:06:40.77,Default,,0000,0000,0000,,you know about airplanes.
Dialogue: 0,0:06:40.77,0:06:44.40,Default,,0000,0000,0000,,CHRIS: And an outpoint\Nafter that line of dialogue.
Dialogue: 0,0:06:44.40,0:06:46.23,Default,,0000,0000,0000,,And now I can make\Nan overwrite edit
Dialogue: 0,0:06:46.23,0:06:48.54,Default,,0000,0000,0000,,into that part of the timeline.
Dialogue: 0,0:06:48.54,0:06:51.33,Default,,0000,0000,0000,,Now we need to come to the\Nend of the piece of voiceover
Dialogue: 0,0:06:51.33,0:06:54.72,Default,,0000,0000,0000,,and select in and out points\Naround the last two pieces
Dialogue: 0,0:06:54.72,0:06:57.39,Default,,0000,0000,0000,,of waveform.
Dialogue: 0,0:06:57.39,0:07:00.36,Default,,0000,0000,0000,,HARRISON FORD: And\Nprepare to see them again
Dialogue: 0,0:07:00.36,0:07:02.49,Default,,0000,0000,0000,,for the first time.
Dialogue: 0,0:07:02.49,0:07:03.54,Default,,0000,0000,0000,,CHRIS: Out point there.
Dialogue: 0,0:07:03.54,0:07:06.06,Default,,0000,0000,0000,,And again, make\Nan overwrite edit.
Dialogue: 0,0:07:06.06,0:07:09.63,Default,,0000,0000,0000,,Now, as you can see, sitting\Nwith those clips in the timeline
Dialogue: 0,0:07:09.63,0:07:11.95,Default,,0000,0000,0000,,as they currently are,\Nthey're a little bit long,
Dialogue: 0,0:07:11.95,0:07:14.79,Default,,0000,0000,0000,,so we might just need to refine\Nwhere those clips are actually
Dialogue: 0,0:07:14.79,0:07:18.48,Default,,0000,0000,0000,,sitting in terms of the\Nposition on the timeline.
Dialogue: 0,0:07:18.48,0:07:20.40,Default,,0000,0000,0000,,So here, I'm just\Ngoing to navigate
Dialogue: 0,0:07:20.40,0:07:25.05,Default,,0000,0000,0000,,my playhead over those clips\Nand use the detail zoom.
Dialogue: 0,0:07:25.05,0:07:27.03,Default,,0000,0000,0000,,Now the detail zoom in\Nthis case has actually
Dialogue: 0,0:07:27.03,0:07:28.72,Default,,0000,0000,0000,,taken me way too close.
Dialogue: 0,0:07:28.72,0:07:31.38,Default,,0000,0000,0000,,I can't really see how\Nthese clips are actually
Dialogue: 0,0:07:31.38,0:07:33.76,Default,,0000,0000,0000,,sitting on the\Ntimeline with regards
Dialogue: 0,0:07:33.76,0:07:34.93,Default,,0000,0000,0000,,to the rest of the timeline.
Dialogue: 0,0:07:34.93,0:07:36.64,Default,,0000,0000,0000,,So I just need to\NZoom out a little.
Dialogue: 0,0:07:36.64,0:07:38.97,Default,,0000,0000,0000,,So I'm going to hold down\NCommand and use the minus
Dialogue: 0,0:07:38.97,0:07:40.89,Default,,0000,0000,0000,,button, just once\Nor twice just to be
Dialogue: 0,0:07:40.89,0:07:42.99,Default,,0000,0000,0000,,able to come out a little bit.
Dialogue: 0,0:07:42.99,0:07:45.82,Default,,0000,0000,0000,,Now the first thing I'm going to\Ndo is just move the clips back.
Dialogue: 0,0:07:45.82,0:07:48.49,Default,,0000,0000,0000,,And I'm actually going to move\Nthis interview clip back here
Dialogue: 0,0:07:48.49,0:07:49.93,Default,,0000,0000,0000,,just so it's a\Nlittle bit tighter
Dialogue: 0,0:07:49.93,0:07:51.94,Default,,0000,0000,0000,,with the first section of clips.
Dialogue: 0,0:07:51.94,0:07:54.23,Default,,0000,0000,0000,,That just gives me a little\Nbit more room to play with.
Dialogue: 0,0:07:54.23,0:07:56.27,Default,,0000,0000,0000,,Now I can just\Nselect those clips,
Dialogue: 0,0:07:56.27,0:07:58.10,Default,,0000,0000,0000,,just move them back\Na touch as well.
Dialogue: 0,0:07:58.10,0:08:00.95,Default,,0000,0000,0000,,Now you'll notice snapping\Nis happening there.
Dialogue: 0,0:08:00.95,0:08:04.09,Default,,0000,0000,0000,,You can see how it's snapping\Nto the end of the previous video
Dialogue: 0,0:08:04.09,0:08:04.67,Default,,0000,0000,0000,,clip.
Dialogue: 0,0:08:04.67,0:08:08.12,Default,,0000,0000,0000,,I'm just going to disable that\Nby pressing N on the keyboard.
Dialogue: 0,0:08:08.12,0:08:11.29,Default,,0000,0000,0000,,And you can see it's just\Ndisabled that briefly, just
Dialogue: 0,0:08:11.29,0:08:12.50,Default,,0000,0000,0000,,to bring that back.
Dialogue: 0,0:08:12.50,0:08:16.36,Default,,0000,0000,0000,,And again, I still want\Nto actually contract time
Dialogue: 0,0:08:16.36,0:08:17.48,Default,,0000,0000,0000,,a little bit more.
Dialogue: 0,0:08:17.48,0:08:21.13,Default,,0000,0000,0000,,So all I'm going to do here\Nis move the playhead just
Dialogue: 0,0:08:21.13,0:08:24.11,Default,,0000,0000,0000,,before Harrison's last\Npiece of voiceover there,
Dialogue: 0,0:08:24.11,0:08:28.13,Default,,0000,0000,0000,,and then use Command or\NControl B to split that clip.
Dialogue: 0,0:08:28.13,0:08:30.16,Default,,0000,0000,0000,,Now I can just simply\Npick that clip up.
Dialogue: 0,0:08:30.16,0:08:32.09,Default,,0000,0000,0000,,And again, with\Nthe snapping off,
Dialogue: 0,0:08:32.09,0:08:34.51,Default,,0000,0000,0000,,just tighten it up a\Nlittle bit, just so
Dialogue: 0,0:08:34.51,0:08:37.63,Default,,0000,0000,0000,,that I've lost a little bit\Nof the time between those two
Dialogue: 0,0:08:37.63,0:08:39.40,Default,,0000,0000,0000,,pieces of voiceover.
Dialogue: 0,0:08:39.40,0:08:42.34,Default,,0000,0000,0000,,So that's got the voiceover\Ninto the timeline at least.
Dialogue: 0,0:08:42.34,0:08:44.66,Default,,0000,0000,0000,,There's a few more things\Nthat we need to do to this.
Dialogue: 0,0:08:44.66,0:08:46.21,Default,,0000,0000,0000,,But for the moment,\Nwe're going to move on
Dialogue: 0,0:08:46.21,0:08:48.67,Default,,0000,0000,0000,,and we're going to put some\Nsound effects in and continue
Dialogue: 0,0:08:48.67,0:08:51.04,Default,,0000,0000,0000,,the editing portion.
Dialogue: 0,0:08:51.04,0:08:53.05,Default,,0000,0000,0000,,Let's go back to full\Nextent zoom and move
Dialogue: 0,0:08:53.05,0:08:56.53,Default,,0000,0000,0000,,the playhead over the\Nsecond clip in the timeline.
Dialogue: 0,0:08:56.53,0:08:58.98,Default,,0000,0000,0000,,So let's go to\Nthe sound effects.
Dialogue: 0,0:08:58.98,0:09:01.27,Default,,0000,0000,0000,,And you'll see that there is\Na sound effect here called
Dialogue: 0,0:09:01.27,0:09:04.00,Default,,0000,0000,0000,,jet taxi.
Dialogue: 0,0:09:04.00,0:09:06.61,Default,,0000,0000,0000,,Double click that to\Nopen into the source.
Dialogue: 0,0:09:06.61,0:09:08.56,Default,,0000,0000,0000,,Now, the idea here\Nis that we actually
Dialogue: 0,0:09:08.56,0:09:10.84,Default,,0000,0000,0000,,want to edit this\Nsound effect to just
Dialogue: 0,0:09:10.84,0:09:13.55,Default,,0000,0000,0000,,the portion of the timeline\Nthat we're working in.
Dialogue: 0,0:09:13.55,0:09:16.81,Default,,0000,0000,0000,,So for this, we're going to\Nadd in and out points directly
Dialogue: 0,0:09:16.81,0:09:18.20,Default,,0000,0000,0000,,to the timeline.
Dialogue: 0,0:09:18.20,0:09:19.90,Default,,0000,0000,0000,,A quick way of being\Nable to do this
Dialogue: 0,0:09:19.90,0:09:22.30,Default,,0000,0000,0000,,is make sure your timeline\Nis the active window,
Dialogue: 0,0:09:22.30,0:09:24.67,Default,,0000,0000,0000,,and press X on the keyboard.
Dialogue: 0,0:09:24.67,0:09:26.87,Default,,0000,0000,0000,,X will mark the clip.
Dialogue: 0,0:09:26.87,0:09:28.60,Default,,0000,0000,0000,,Marking a clip will\Nactually put an in
Dialogue: 0,0:09:28.60,0:09:31.99,Default,,0000,0000,0000,,and an outpoint around the clip\Nat the very start and very end
Dialogue: 0,0:09:31.99,0:09:33.01,Default,,0000,0000,0000,,frame of the clip.
Dialogue: 0,0:09:33.01,0:09:34.93,Default,,0000,0000,0000,,So it's a quick way of\Nbeing able to make sure
Dialogue: 0,0:09:34.93,0:09:38.47,Default,,0000,0000,0000,,that you're editing one clip\Nto the duration of an existing
Dialogue: 0,0:09:38.47,0:09:39.61,Default,,0000,0000,0000,,clip.
Dialogue: 0,0:09:39.61,0:09:42.50,Default,,0000,0000,0000,,We also need to make sure\Nthat this audio is ending up
Dialogue: 0,0:09:42.50,0:09:43.73,Default,,0000,0000,0000,,on the right track.
Dialogue: 0,0:09:43.73,0:09:45.44,Default,,0000,0000,0000,,So in this case, we're\Ngoing to make sure
Dialogue: 0,0:09:45.44,0:09:49.76,Default,,0000,0000,0000,,that the targeting changes from\Naudio two, the voiceover track,
Dialogue: 0,0:09:49.76,0:09:52.64,Default,,0000,0000,0000,,to audio three.
Dialogue: 0,0:09:52.64,0:09:55.71,Default,,0000,0000,0000,,And now we're going to\Nperform an overwrite edit.
Dialogue: 0,0:09:55.71,0:09:57.29,Default,,0000,0000,0000,,Now you may be\Nwondering why we didn't
Dialogue: 0,0:09:57.29,0:09:59.58,Default,,0000,0000,0000,,set an endpoint in\Nthe source viewer.
Dialogue: 0,0:09:59.58,0:10:01.91,Default,,0000,0000,0000,,The reason why we\Ndidn't is because if you
Dialogue: 0,0:10:01.91,0:10:03.95,Default,,0000,0000,0000,,don't set an in or\Nan out point, it
Dialogue: 0,0:10:03.95,0:10:06.18,Default,,0000,0000,0000,,will always take the full\Nduration of the clip.
Dialogue: 0,0:10:06.18,0:10:08.66,Default,,0000,0000,0000,,So in this case, the\Nendpoint is actually
Dialogue: 0,0:10:08.66,0:10:11.96,Default,,0000,0000,0000,,the implied endpoint at the\Nvery beginning of the clip.
Dialogue: 0,0:10:11.96,0:10:14.51,Default,,0000,0000,0000,,Moving forward, let's\Nmove the playhead
Dialogue: 0,0:10:14.51,0:10:17.81,Default,,0000,0000,0000,,over the shot of\Nthe South Pole clip.
Dialogue: 0,0:10:17.81,0:10:22.25,Default,,0000,0000,0000,,Again, let's press\NX to mark that clip.
Dialogue: 0,0:10:22.25,0:10:25.59,Default,,0000,0000,0000,,Choose the SFX prop audio.
Dialogue: 0,0:10:25.59,0:10:28.34,Default,,0000,0000,0000,,
Dialogue: 0,0:10:28.34,0:10:32.30,Default,,0000,0000,0000,,Double click that to open\Nit up into the source.
Dialogue: 0,0:10:32.30,0:10:35.16,Default,,0000,0000,0000,,And this time, we will\Nactually set an endpoint.
Dialogue: 0,0:10:35.16,0:10:37.13,Default,,0000,0000,0000,,We don't need an outpoint\Nbecause we've already
Dialogue: 0,0:10:37.13,0:10:39.57,Default,,0000,0000,0000,,got an outpoint directly\Non the timeline.
Dialogue: 0,0:10:39.57,0:10:41.03,Default,,0000,0000,0000,,However, by setting\Nan endpoint, it
Dialogue: 0,0:10:41.03,0:10:43.24,Default,,0000,0000,0000,,means that we're not going\Nto use the very first part
Dialogue: 0,0:10:43.24,0:10:44.01,Default,,0000,0000,0000,,of the clip.
Dialogue: 0,0:10:44.01,0:10:46.64,Default,,0000,0000,0000,,And you always want to leave\Na little bit of footage
Dialogue: 0,0:10:46.64,0:10:48.63,Default,,0000,0000,0000,,before and after\Nin and outpoints,
Dialogue: 0,0:10:48.63,0:10:51.68,Default,,0000,0000,0000,,just to give you a little bit\Nof wiggle room on the timeline.
Dialogue: 0,0:10:51.68,0:10:54.05,Default,,0000,0000,0000,,So I'm just going to mark\Na portion of the wave
Dialogue: 0,0:10:54.05,0:10:57.59,Default,,0000,0000,0000,,where it looks a reasonable\Namount, maybe here
Dialogue: 0,0:10:57.59,0:10:59.13,Default,,0000,0000,0000,,towards the middle of the wave.
Dialogue: 0,0:10:59.13,0:11:01.70,Default,,0000,0000,0000,,So I'm going to set an\Nendpoint there, and again,
Dialogue: 0,0:11:01.70,0:11:04.74,Default,,0000,0000,0000,,make an overwrite edit\Ndirectly onto the timeline.
Dialogue: 0,0:11:04.74,0:11:07.37,Default,,0000,0000,0000,,Because the playhead has moved\Nto the end of the clip I've just
Dialogue: 0,0:11:07.37,0:11:09.27,Default,,0000,0000,0000,,edited into the\Ntimeline, you'll see
Dialogue: 0,0:11:09.27,0:11:11.81,Default,,0000,0000,0000,,it's actually on the first frame\Nof the next shot, the Alaska
Dialogue: 0,0:11:11.81,0:11:12.42,Default,,0000,0000,0000,,shot.
Dialogue: 0,0:11:12.42,0:11:16.31,Default,,0000,0000,0000,,So all I now need to do is\Npress X to mark that clip.
Dialogue: 0,0:11:16.31,0:11:21.86,Default,,0000,0000,0000,,And now I can actually go to the\Nsound effects for distant prop.
Dialogue: 0,0:11:21.86,0:11:24.15,Default,,0000,0000,0000,,Double click that to open\Nit up into the source.
Dialogue: 0,0:11:24.15,0:11:26.66,Default,,0000,0000,0000,,And again, use the\Nwaveform so that you're not
Dialogue: 0,0:11:26.66,0:11:28.67,Default,,0000,0000,0000,,using the beginning\Npart of this waveform
Dialogue: 0,0:11:28.67,0:11:31.31,Default,,0000,0000,0000,,here, somewhere around\Nabout the middle.
Dialogue: 0,0:11:31.31,0:11:32.88,Default,,0000,0000,0000,,Mark an endpoint.
Dialogue: 0,0:11:32.88,0:11:35.48,Default,,0000,0000,0000,,And now we need to choose\Nthe track that we actually
Dialogue: 0,0:11:35.48,0:11:37.35,Default,,0000,0000,0000,,want this clip to appear on.
Dialogue: 0,0:11:37.35,0:11:41.30,Default,,0000,0000,0000,,And in this case, we actually\Nneed to have it edited onto A4.
Dialogue: 0,0:11:41.30,0:11:44.19,Default,,0000,0000,0000,,
Dialogue: 0,0:11:44.19,0:11:47.25,Default,,0000,0000,0000,,And again, overwrite edit.
Dialogue: 0,0:11:47.25,0:11:49.36,Default,,0000,0000,0000,,Mark the next clip.
Dialogue: 0,0:11:49.36,0:11:53.40,Default,,0000,0000,0000,,Switch the audio\Ntargeting back to A3.
Dialogue: 0,0:11:53.40,0:11:57.63,Default,,0000,0000,0000,,And in this case, we're going to\Nuse sound effect for light wind.
Dialogue: 0,0:11:57.63,0:11:58.96,Default,,0000,0000,0000,,Double click that.
Dialogue: 0,0:11:58.96,0:12:01.32,Default,,0000,0000,0000,,Choose a portion of whichever\Npart of the sound effect
Dialogue: 0,0:12:01.32,0:12:06.57,Default,,0000,0000,0000,,that you want and\Nedit that into A3.
Dialogue: 0,0:12:06.57,0:12:08.91,Default,,0000,0000,0000,,Understanding how you're\Nusing these editing functions
Dialogue: 0,0:12:08.91,0:12:10.47,Default,,0000,0000,0000,,is very useful to\Nensure that you
Dialogue: 0,0:12:10.47,0:12:14.89,Default,,0000,0000,0000,,get the audio to sit at the\Nright point on the timeline
Dialogue: 0,0:12:14.89,0:12:18.13,Default,,0000,0000,0000,,so that it's accompanying\Nthe right piece of video.
Dialogue: 0,0:12:18.13,0:12:20.56,Default,,0000,0000,0000,,Move your playhead\Nback to the third clip.
Dialogue: 0,0:12:20.56,0:12:22.75,Default,,0000,0000,0000,,This is the shot of\Nthe jet taking off.
Dialogue: 0,0:12:22.75,0:12:25.12,Default,,0000,0000,0000,,Press X to mark that clip.
Dialogue: 0,0:12:25.12,0:12:28.92,Default,,0000,0000,0000,,Change the track\Ntargeting to A4.
Dialogue: 0,0:12:28.92,0:12:34.86,Default,,0000,0000,0000,,And find the clip\Ncalled SFX Jet Takeoff.
Dialogue: 0,0:12:34.86,0:12:37.48,Default,,0000,0000,0000,,Double click that to\Nopen it into the source.
Dialogue: 0,0:12:37.48,0:12:39.01,Default,,0000,0000,0000,,Now, at the moment,\Nwhat we've been
Dialogue: 0,0:12:39.01,0:12:41.12,Default,,0000,0000,0000,,doing is in all of\Nthe source clips,
Dialogue: 0,0:12:41.12,0:12:44.68,Default,,0000,0000,0000,,we've been adding endpoints to\Nthe start of the clip where we
Dialogue: 0,0:12:44.68,0:12:46.79,Default,,0000,0000,0000,,want the sound effect to start.
Dialogue: 0,0:12:46.79,0:12:50.20,Default,,0000,0000,0000,,But what we can also do is what\Nwe call a back-timed edit, which
Dialogue: 0,0:12:50.20,0:12:54.67,Default,,0000,0000,0000,,is very useful when you know\Nwhere you want a clip to end.
Dialogue: 0,0:12:54.67,0:12:58.73,Default,,0000,0000,0000,,Set an outpoint towards\Nthe tail end of this,
Dialogue: 0,0:12:58.73,0:13:02.86,Default,,0000,0000,0000,,fade out of this jet sound.
Dialogue: 0,0:13:02.86,0:13:06.11,Default,,0000,0000,0000,,And now when I perform the\Nstandard overwrite edit,
Dialogue: 0,0:13:06.11,0:13:09.62,Default,,0000,0000,0000,,it will actually back time the\Nsound effect into the timeline.
Dialogue: 0,0:13:09.62,0:13:14.44,Default,,0000,0000,0000,,So now it'll sound as though the\Nplane is actually leaving shot.
Dialogue: 0,0:13:14.44,0:13:18.52,Default,,0000,0000,0000,,We can actually do something\Nsimilar with the final shot.
Dialogue: 0,0:13:18.52,0:13:21.59,Default,,0000,0000,0000,,Move the playhead to the\Nlast shot in this sequence.
Dialogue: 0,0:13:21.59,0:13:24.95,Default,,0000,0000,0000,,Press X in order to be\Nable to mark the clip.
Dialogue: 0,0:13:24.95,0:13:27.01,Default,,0000,0000,0000,,And because we pretty\Nmuch leave this shot
Dialogue: 0,0:13:27.01,0:13:29.24,Default,,0000,0000,0000,,as the plane is\Ndirectly overhead,
Dialogue: 0,0:13:29.24,0:13:32.11,Default,,0000,0000,0000,,it actually makes sense to\Ntake a slightly earlier part
Dialogue: 0,0:13:32.11,0:13:34.75,Default,,0000,0000,0000,,of the outpoint for the clip.
Dialogue: 0,0:13:34.75,0:13:38.98,Default,,0000,0000,0000,,So I'm going to set an outpoint\Njust as the audio starts
Dialogue: 0,0:13:38.98,0:13:40.90,Default,,0000,0000,0000,,to fade away.
Dialogue: 0,0:13:40.90,0:13:44.47,Default,,0000,0000,0000,,And again, making sure I'm\Nediting on to audio four,
Dialogue: 0,0:13:44.47,0:13:47.56,Default,,0000,0000,0000,,I make an overwrite edit.
Dialogue: 0,0:13:47.56,0:13:49.30,Default,,0000,0000,0000,,Now, from the\Nprevious video, you'll
Dialogue: 0,0:13:49.30,0:13:52.10,Default,,0000,0000,0000,,also remember that we not\Nonly had overwrite edits,
Dialogue: 0,0:13:52.10,0:13:54.35,Default,,0000,0000,0000,,but we had other sorts\Nof edits as well.
Dialogue: 0,0:13:54.35,0:13:57.38,Default,,0000,0000,0000,,One of those edits that we\Nexplored was the replace edit.
Dialogue: 0,0:13:57.38,0:14:00.01,Default,,0000,0000,0000,,And you can actually use the\Nreplace edit to good effect
Dialogue: 0,0:14:00.01,0:14:03.10,Default,,0000,0000,0000,,here in the timeline in order\Nto be able to synchronize
Dialogue: 0,0:14:03.10,0:14:05.43,Default,,0000,0000,0000,,sound and picture together.
Dialogue: 0,0:14:05.43,0:14:07.93,Default,,0000,0000,0000,,Move your playhead to the fourth\Nclip in the timeline, which
Dialogue: 0,0:14:07.93,0:14:11.56,Default,,0000,0000,0000,,is the shot of the water plane\Ncoming overhead in the Maldives.
Dialogue: 0,0:14:11.56,0:14:16.27,Default,,0000,0000,0000,,Find the point on your timeline\Nwhere the plane is just probably
Dialogue: 0,0:14:16.27,0:14:19.30,Default,,0000,0000,0000,,about halfway in shot.
Dialogue: 0,0:14:19.30,0:14:21.88,Default,,0000,0000,0000,,In the sound effects bin,\Nfind the sound effect
Dialogue: 0,0:14:21.88,0:14:24.22,Default,,0000,0000,0000,,called SFX Overhead.
Dialogue: 0,0:14:24.22,0:14:27.88,Default,,0000,0000,0000,,Double click to open that\Nin the source viewer.
Dialogue: 0,0:14:27.88,0:14:29.56,Default,,0000,0000,0000,,Now, you can see\Nfrom this waveform
Dialogue: 0,0:14:29.56,0:14:33.77,Default,,0000,0000,0000,,here, as we have this very high\Nspike in the waveform where
Dialogue: 0,0:14:33.77,0:14:35.80,Default,,0000,0000,0000,,the plane is at its closest.
Dialogue: 0,0:14:35.80,0:14:37.34,Default,,0000,0000,0000,,What we're going to\Ndo is we're going
Dialogue: 0,0:14:37.34,0:14:41.12,Default,,0000,0000,0000,,to use that as a reference point\Nfor this point in the timeline
Dialogue: 0,0:14:41.12,0:14:43.86,Default,,0000,0000,0000,,where the plane is\Ndirectly overhead.
Dialogue: 0,0:14:43.86,0:14:46.47,Default,,0000,0000,0000,,So make sure in\Nthe source viewer,
Dialogue: 0,0:14:46.47,0:14:50.15,Default,,0000,0000,0000,,you actually\Nposition the playhead
Dialogue: 0,0:14:50.15,0:14:53.54,Default,,0000,0000,0000,,as close to the center of\Nthat waveform as possible.
Dialogue: 0,0:14:53.54,0:14:56.33,Default,,0000,0000,0000,,Let's target audio\Nthree for this.
Dialogue: 0,0:14:56.33,0:14:59.67,Default,,0000,0000,0000,,Then simply make a replace\Nedit in whichever way you want.
Dialogue: 0,0:14:59.67,0:15:04.01,Default,,0000,0000,0000,,In this case, I'm going to\Nclick the replace button.
Dialogue: 0,0:15:04.01,0:15:05.84,Default,,0000,0000,0000,,And you can see that\Nthe clip is actually
Dialogue: 0,0:15:05.84,0:15:08.78,Default,,0000,0000,0000,,timed so that the\Nheight of the waveform
Dialogue: 0,0:15:08.78,0:15:12.08,Default,,0000,0000,0000,,actually is now synchronized\Nwith the actual plane passing
Dialogue: 0,0:15:12.08,0:15:13.46,Default,,0000,0000,0000,,overhead.
Dialogue: 0,0:15:13.46,0:15:15.44,Default,,0000,0000,0000,,In order to appreciate\Nthis, I'm just
Dialogue: 0,0:15:15.44,0:15:19.49,Default,,0000,0000,0000,,going to simply mute the music\Ntrack by pressing the M mute
Dialogue: 0,0:15:19.49,0:15:23.54,Default,,0000,0000,0000,,button, and then use\Nthe forward key in order
Dialogue: 0,0:15:23.54,0:15:26.81,Default,,0000,0000,0000,,to be able to preview\Nthat part of the timeline.
Dialogue: 0,0:15:26.81,0:15:28.76,Default,,0000,0000,0000,,[PLANE WHIRRING]
Dialogue: 0,0:15:28.76,0:15:31.61,Default,,0000,0000,0000,,
Dialogue: 0,0:15:31.61,0:15:34.83,Default,,0000,0000,0000,,So, now that we've got\Nthe audio in the timeline,
Dialogue: 0,0:15:34.83,0:15:37.40,Default,,0000,0000,0000,,it's time to start to\Nthink about the audio mix
Dialogue: 0,0:15:37.40,0:15:38.99,Default,,0000,0000,0000,,for this trailer.
Dialogue: 0,0:15:38.99,0:15:40.76,Default,,0000,0000,0000,,So the first thing\Nthat we want to do
Dialogue: 0,0:15:40.76,0:15:43.38,Default,,0000,0000,0000,,is actually to sort out\Nthe dialogue tracks.
Dialogue: 0,0:15:43.38,0:15:46.07,Default,,0000,0000,0000,,So in this case, I'm not\Ninterested in the sound effects
Dialogue: 0,0:15:46.07,0:15:48.60,Default,,0000,0000,0000,,or the music tracks\Njust for the moment.
Dialogue: 0,0:15:48.60,0:15:50.87,Default,,0000,0000,0000,,So I'm just going to\Nmute all of the tracks
Dialogue: 0,0:15:50.87,0:15:53.66,Default,,0000,0000,0000,,that I'm not interested in.
Dialogue: 0,0:15:53.66,0:15:57.72,Default,,0000,0000,0000,,And now I can turn my attention\Ndirectly to the dialogue.
Dialogue: 0,0:15:57.72,0:16:00.89,Default,,0000,0000,0000,,And arguably, the dialogue is\Nusually the most important piece
Dialogue: 0,0:16:00.89,0:16:02.84,Default,,0000,0000,0000,,of audio within your timeline.
Dialogue: 0,0:16:02.84,0:16:05.48,Default,,0000,0000,0000,,Because unless we can\Nactually hear and understand
Dialogue: 0,0:16:05.48,0:16:07.88,Default,,0000,0000,0000,,what's being said,\Nthere's really no point
Dialogue: 0,0:16:07.88,0:16:10.58,Default,,0000,0000,0000,,in us actually listening.
Dialogue: 0,0:16:10.58,0:16:13.29,Default,,0000,0000,0000,,In order to monitor the\Naudio in the timeline,
Dialogue: 0,0:16:13.29,0:16:16.13,Default,,0000,0000,0000,,the best thing to bring\Nup is the audio mixer.
Dialogue: 0,0:16:16.13,0:16:18.66,Default,,0000,0000,0000,,From the top right hand\Ncorner of the interface,
Dialogue: 0,0:16:18.66,0:16:20.75,Default,,0000,0000,0000,,just click the mixer\Nbutton to bring up
Dialogue: 0,0:16:20.75,0:16:22.58,Default,,0000,0000,0000,,the mixer in the timeline.
Dialogue: 0,0:16:22.58,0:16:25.67,Default,,0000,0000,0000,,You can then open the\Nmixer out in order
Dialogue: 0,0:16:25.67,0:16:29.55,Default,,0000,0000,0000,,to be able to reveal all of the\Ncontrols for each of the tracks.
Dialogue: 0,0:16:29.55,0:16:32.16,Default,,0000,0000,0000,,If you're working on a laptop\Nor a display that's actually
Dialogue: 0,0:16:32.16,0:16:35.67,Default,,0000,0000,0000,,quite small, you may want\Nto hide the media pool, just
Dialogue: 0,0:16:35.67,0:16:37.68,Default,,0000,0000,0000,,to give you a little\Nbit more room in order
Dialogue: 0,0:16:37.68,0:16:39.21,Default,,0000,0000,0000,,to be able to work.
Dialogue: 0,0:16:39.21,0:16:42.84,Default,,0000,0000,0000,,So in the top left hand corner,\Nclick the Media Pool button
Dialogue: 0,0:16:42.84,0:16:44.91,Default,,0000,0000,0000,,to hide the media pool.
Dialogue: 0,0:16:44.91,0:16:47.76,Default,,0000,0000,0000,,Now, to begin with, we just\Nneed to look at the levels
Dialogue: 0,0:16:47.76,0:16:52.02,Default,,0000,0000,0000,,and also the audio channels\Nbeing used in the timeline.
Dialogue: 0,0:16:52.02,0:16:53.59,Default,,0000,0000,0000,,From the beginning\Nof the timeline,
Dialogue: 0,0:16:53.59,0:16:56.04,Default,,0000,0000,0000,,I'm just going to play the\Nfirst part of this interview.
Dialogue: 0,0:16:56.04,0:16:57.66,Default,,0000,0000,0000,,BRIAN TERWILLIGER:\NIn this film, making
Dialogue: 0,0:16:57.66,0:17:00.19,Default,,0000,0000,0000,,a documentary about how the\Nairplanes changed the world--
Dialogue: 0,0:17:00.19,0:17:02.68,Default,,0000,0000,0000,,CHRIS: As a quick rule\Nof thumb, for dialogue,
Dialogue: 0,0:17:02.68,0:17:04.65,Default,,0000,0000,0000,,you generally want\Nyour audio levels
Dialogue: 0,0:17:04.65,0:17:07.75,Default,,0000,0000,0000,,to be around about that\Nyellow area on the meters.
Dialogue: 0,0:17:07.75,0:17:09.99,Default,,0000,0000,0000,,So that's something to aim for.
Dialogue: 0,0:17:09.99,0:17:13.17,Default,,0000,0000,0000,,Also, you noticed,\Nas I play this back,
Dialogue: 0,0:17:13.17,0:17:17.68,Default,,0000,0000,0000,,that there's actually two\Naudio channels in this clip.
Dialogue: 0,0:17:17.68,0:17:20.82,Default,,0000,0000,0000,,BRIAN TERWILLIGER: It was really\Nimportant to go out and shoot
Dialogue: 0,0:17:20.82,0:17:22.17,Default,,0000,0000,0000,,the real world.
Dialogue: 0,0:17:22.17,0:17:25.11,Default,,0000,0000,0000,,CHRIS: This indicates\Nthat this clip is stereo.
Dialogue: 0,0:17:25.11,0:17:28.25,Default,,0000,0000,0000,,And it's actually sitting\Nwithin a stereo track.
Dialogue: 0,0:17:28.25,0:17:31.48,Default,,0000,0000,0000,,For most dialogue clips, and\Nthat's pretty much anything
Dialogue: 0,0:17:31.48,0:17:33.73,Default,,0000,0000,0000,,that's shot on a camera,\Nyou will probably
Dialogue: 0,0:17:33.73,0:17:36.58,Default,,0000,0000,0000,,want to work with mono Audio.
Dialogue: 0,0:17:36.58,0:17:39.55,Default,,0000,0000,0000,,In actual fact, let's play\Nthe Harrison Ford clip
Dialogue: 0,0:17:39.55,0:17:41.83,Default,,0000,0000,0000,,and let's see the\Ndifference here.
Dialogue: 0,0:17:41.83,0:17:44.23,Default,,0000,0000,0000,,HARRISON FORD: In\Nthe age of airplanes,
Dialogue: 0,0:17:44.23,0:17:47.74,Default,,0000,0000,0000,,we've become\Nexplorers once again.
Dialogue: 0,0:17:47.74,0:17:49.27,Default,,0000,0000,0000,,CHRIS: Well, first\Nof all, you'll
Dialogue: 0,0:17:49.27,0:17:51.40,Default,,0000,0000,0000,,see that the Harrison\NFord clip is nicely
Dialogue: 0,0:17:51.40,0:17:53.84,Default,,0000,0000,0000,,sat within that yellow\Narea of the meters.
Dialogue: 0,0:17:53.84,0:17:56.51,Default,,0000,0000,0000,,However, it's what\Nwe call one-legged.
Dialogue: 0,0:17:56.51,0:17:59.92,Default,,0000,0000,0000,,It's coming out of only\None channel of our output.
Dialogue: 0,0:17:59.92,0:18:02.84,Default,,0000,0000,0000,,Well, we don't want\Nthat for Harrison Ford.
Dialogue: 0,0:18:02.84,0:18:04.69,Default,,0000,0000,0000,,And the reason for\Nthat is that we
Dialogue: 0,0:18:04.69,0:18:07.90,Default,,0000,0000,0000,,want to actually have\Nthis as mono audio, which
Dialogue: 0,0:18:07.90,0:18:10.63,Default,,0000,0000,0000,,is a single audio\Nchannel actually sitting
Dialogue: 0,0:18:10.63,0:18:13.31,Default,,0000,0000,0000,,within a mono track\Nin the timeline.
Dialogue: 0,0:18:13.31,0:18:15.56,Default,,0000,0000,0000,,So that's the\Nother general rule.
Dialogue: 0,0:18:15.56,0:18:17.93,Default,,0000,0000,0000,,If you've got dialogue\Nin the timeline,
Dialogue: 0,0:18:17.93,0:18:20.65,Default,,0000,0000,0000,,ideally, it should be\Nmono, and ideally, it
Dialogue: 0,0:18:20.65,0:18:22.58,Default,,0000,0000,0000,,should be sat on a mono track.
Dialogue: 0,0:18:22.58,0:18:24.88,Default,,0000,0000,0000,,And thankfully,\NResolve enables me
Dialogue: 0,0:18:24.88,0:18:27.49,Default,,0000,0000,0000,,to change the track\Ntype very easily
Dialogue: 0,0:18:27.49,0:18:29.09,Default,,0000,0000,0000,,and without too much fuss.
Dialogue: 0,0:18:29.09,0:18:31.18,Default,,0000,0000,0000,,So there's no problem if\Nyou get things slightly
Dialogue: 0,0:18:31.18,0:18:34.39,Default,,0000,0000,0000,,wrong or confused because you\Ncan always put it right a little
Dialogue: 0,0:18:34.39,0:18:36.91,Default,,0000,0000,0000,,bit later on in the process.
Dialogue: 0,0:18:36.91,0:18:41.02,Default,,0000,0000,0000,,Also, I'm going to do is right\Nclick on the VO audio track
Dialogue: 0,0:18:41.02,0:18:47.17,Default,,0000,0000,0000,,header and choose Change\NTrack Type to mono.
Dialogue: 0,0:18:47.17,0:18:50.77,Default,,0000,0000,0000,,And you'll see the little\N2.0 indicator has now
Dialogue: 0,0:18:50.77,0:18:54.25,Default,,0000,0000,0000,,changed to a 1.0 indicator,\Nwhich indicates now
Dialogue: 0,0:18:54.25,0:18:55.62,Default,,0000,0000,0000,,that this is a mono track.
Dialogue: 0,0:18:55.62,0:18:58.93,Default,,0000,0000,0000,,
Dialogue: 0,0:18:58.93,0:19:01.26,Default,,0000,0000,0000,,Playing Harrison Ford's\Nvoiceover back here--
Dialogue: 0,0:19:01.26,0:19:03.01,Default,,0000,0000,0000,,HARRISON FORD: In the\Nage of airplanes--
Dialogue: 0,0:19:03.01,0:19:05.65,Default,,0000,0000,0000,,CHRIS: --now shows\Nme I've got a mono
Dialogue: 0,0:19:05.65,0:19:07.88,Default,,0000,0000,0000,,track with mono audio in it.
Dialogue: 0,0:19:07.88,0:19:11.26,Default,,0000,0000,0000,,And it's now playing out\Nof both audio channels
Dialogue: 0,0:19:11.26,0:19:12.50,Default,,0000,0000,0000,,from this timeline.
Dialogue: 0,0:19:12.50,0:19:16.96,Default,,0000,0000,0000,,We can also do the same sort of\Nthing with the interview audio
Dialogue: 0,0:19:16.96,0:19:17.90,Default,,0000,0000,0000,,as well.
Dialogue: 0,0:19:17.90,0:19:21.86,Default,,0000,0000,0000,,So I can now right click\Nthe Sync audio track header,
Dialogue: 0,0:19:21.86,0:19:24.70,Default,,0000,0000,0000,,choose change\Ntrack type to mono.
Dialogue: 0,0:19:24.70,0:19:27.65,Default,,0000,0000,0000,,
Dialogue: 0,0:19:27.65,0:19:29.15,Default,,0000,0000,0000,,And now when I play that--
Dialogue: 0,0:19:29.15,0:19:31.04,Default,,0000,0000,0000,,BRIAN TERWILLIGER: In this film,\Nmaking a documentary about how
Dialogue: 0,0:19:31.04,0:19:32.75,Default,,0000,0000,0000,,the airplanes\Nchanged the world, it
Dialogue: 0,0:19:32.75,0:19:37.11,Default,,0000,0000,0000,,was really important to go\Nout and shoot the real world.
Dialogue: 0,0:19:37.11,0:19:39.21,Default,,0000,0000,0000,,CHRIS: I've now got mono audio.
Dialogue: 0,0:19:39.21,0:19:41.73,Default,,0000,0000,0000,,Now, Resolve hasn't done\Nanything too clever here.
Dialogue: 0,0:19:41.73,0:19:45.08,Default,,0000,0000,0000,,All it's just done is simply\Ntake the first audio channel
Dialogue: 0,0:19:45.08,0:19:46.62,Default,,0000,0000,0000,,from the clip in the timeline.
Dialogue: 0,0:19:46.62,0:19:48.84,Default,,0000,0000,0000,,So that clip is still stereo.
Dialogue: 0,0:19:48.84,0:19:51.09,Default,,0000,0000,0000,,If I was to move it\Ninto a stereo track,
Dialogue: 0,0:19:51.09,0:19:53.19,Default,,0000,0000,0000,,I would still get\Nthe stereo audio.
Dialogue: 0,0:19:53.19,0:19:55.50,Default,,0000,0000,0000,,But because it's\Nplaying in a mono track,
Dialogue: 0,0:19:55.50,0:19:57.93,Default,,0000,0000,0000,,only the first audio\Nchannel is being used.
Dialogue: 0,0:19:57.93,0:20:00.48,Default,,0000,0000,0000,,And in this case, that's\Nwhat I want to use.
Dialogue: 0,0:20:00.48,0:20:02.81,Default,,0000,0000,0000,,If you do need to\Nchange the audio channel
Dialogue: 0,0:20:02.81,0:20:04.76,Default,,0000,0000,0000,,configuration of a\Nclip, though, you
Dialogue: 0,0:20:04.76,0:20:07.13,Default,,0000,0000,0000,,can always right click\Nit in the timeline
Dialogue: 0,0:20:07.13,0:20:11.06,Default,,0000,0000,0000,,and choose Clip Attributes.
Dialogue: 0,0:20:11.06,0:20:15.12,Default,,0000,0000,0000,,And in the Audio tab, you can\Nactually change the format.
Dialogue: 0,0:20:15.12,0:20:19.25,Default,,0000,0000,0000,,So in this case, we can actually\Nswitch from stereo to mono,
Dialogue: 0,0:20:19.25,0:20:22.19,Default,,0000,0000,0000,,and then choose the embedded\Naudio channel that we
Dialogue: 0,0:20:22.19,0:20:25.16,Default,,0000,0000,0000,,want for that mono clip.
Dialogue: 0,0:20:25.16,0:20:27.75,Default,,0000,0000,0000,,Now that I've got my\Naudio channel sorted out,
Dialogue: 0,0:20:27.75,0:20:31.34,Default,,0000,0000,0000,,I can actually now start\Nthinking about the levels that
Dialogue: 0,0:20:31.34,0:20:32.66,Default,,0000,0000,0000,,need to be set.
Dialogue: 0,0:20:32.66,0:20:35.99,Default,,0000,0000,0000,,And it depends where you need\Nto deliver your audio too as
Dialogue: 0,0:20:35.99,0:20:38.40,Default,,0000,0000,0000,,to what levels that you\Nshould be aiming for.
Dialogue: 0,0:20:38.40,0:20:41.03,Default,,0000,0000,0000,,However, as a good\Nrule of thumb,
Dialogue: 0,0:20:41.03,0:20:45.65,Default,,0000,0000,0000,,around about the minus 12\NDBFS on the main output meter
Dialogue: 0,0:20:45.65,0:20:48.00,Default,,0000,0000,0000,,is probably something\Ngood to aim for.
Dialogue: 0,0:20:48.00,0:20:51.00,Default,,0000,0000,0000,,You can also listen\Nto the audio as well.
Dialogue: 0,0:20:51.00,0:20:53.01,Default,,0000,0000,0000,,Just make sure you're\Nhappy with the mix.
Dialogue: 0,0:20:53.01,0:20:56.93,Default,,0000,0000,0000,,The main thing is, can you\Nhear the different elements,
Dialogue: 0,0:20:56.93,0:20:59.76,Default,,0000,0000,0000,,making sure that one element\Ndoes not swamp another.
Dialogue: 0,0:20:59.76,0:21:02.01,Default,,0000,0000,0000,,I'm going to go back to the\Nbeginning of the timeline.
Dialogue: 0,0:21:02.01,0:21:04.56,Default,,0000,0000,0000,,And I'm just going to\Nplay Brian's interview.
Dialogue: 0,0:21:04.56,0:21:06.88,Default,,0000,0000,0000,,So I'm just going to play\Nthe audio on the sync track.
Dialogue: 0,0:21:06.88,0:21:09.50,Default,,0000,0000,0000,,BRIAN TERWILLIGER: In this film,\Nmaking a documentary about how
Dialogue: 0,0:21:09.50,0:21:11.07,Default,,0000,0000,0000,,the airplane's\Nchanged the world,
Dialogue: 0,0:21:11.07,0:21:15.57,Default,,0000,0000,0000,,it was really important to go\Nout and shoot the real world.
Dialogue: 0,0:21:15.57,0:21:17.06,Default,,0000,0000,0000,,CHRIS: Now, the\Nproblem with that
Dialogue: 0,0:21:17.06,0:21:19.83,Default,,0000,0000,0000,,is there are parts of that\Naudio clip that are actually
Dialogue: 0,0:21:19.83,0:21:20.83,Default,,0000,0000,0000,,quite loud.
Dialogue: 0,0:21:20.83,0:21:23.26,Default,,0000,0000,0000,,And there are parts that\Nare a little bit quiet.
Dialogue: 0,0:21:23.26,0:21:27.24,Default,,0000,0000,0000,,And really, what I want to do\Nis I want to balance the audio
Dialogue: 0,0:21:27.24,0:21:29.80,Default,,0000,0000,0000,,so that it's roughly the\Nsame level throughout.
Dialogue: 0,0:21:29.80,0:21:31.92,Default,,0000,0000,0000,,The one thing that\NI want to avoid
Dialogue: 0,0:21:31.92,0:21:35.85,Default,,0000,0000,0000,,is my audience having to\Nconstantly raise or lower
Dialogue: 0,0:21:35.85,0:21:38.65,Default,,0000,0000,0000,,their volume control for their\Nspeakers or their headphones
Dialogue: 0,0:21:38.65,0:21:40.27,Default,,0000,0000,0000,,as they're watching this video.
Dialogue: 0,0:21:40.27,0:21:43.98,Default,,0000,0000,0000,,I need to present everything\Nat a consistent level.
Dialogue: 0,0:21:43.98,0:21:47.34,Default,,0000,0000,0000,,Let's just zoom in on this\Nclip just to have a look.
Dialogue: 0,0:21:47.34,0:21:49.60,Default,,0000,0000,0000,,So I'm going to click\Nthe Detail Zoom button.
Dialogue: 0,0:21:49.60,0:21:51.45,Default,,0000,0000,0000,,And I'm also going to\Nmake the audio track
Dialogue: 0,0:21:51.45,0:21:53.46,Default,,0000,0000,0000,,height a little bit bigger.
Dialogue: 0,0:21:53.46,0:21:55.56,Default,,0000,0000,0000,,And now having\Nseen the waveform,
Dialogue: 0,0:21:55.56,0:21:58.95,Default,,0000,0000,0000,,you can actually see where\Nthere are certain loud spikes
Dialogue: 0,0:21:58.95,0:22:00.90,Default,,0000,0000,0000,,in the waveform and\Nwhere everything starts
Dialogue: 0,0:22:00.90,0:22:02.67,Default,,0000,0000,0000,,to get a little bit quiet.
Dialogue: 0,0:22:02.67,0:22:04.29,Default,,0000,0000,0000,,What we can do is\Nwe can actually
Dialogue: 0,0:22:04.29,0:22:07.53,Default,,0000,0000,0000,,start to balance out this so\Nthat he starts off at one level
Dialogue: 0,0:22:07.53,0:22:10.11,Default,,0000,0000,0000,,and continues at\Nroughly the same level.
Dialogue: 0,0:22:10.11,0:22:11.73,Default,,0000,0000,0000,,In order to be\Nable to do this, we
Dialogue: 0,0:22:11.73,0:22:14.71,Default,,0000,0000,0000,,need to add keyframes\Nto the volume curve.
Dialogue: 0,0:22:14.71,0:22:17.28,Default,,0000,0000,0000,,An easy and quick way to\Nbe able to add keyframes
Dialogue: 0,0:22:17.28,0:22:19.89,Default,,0000,0000,0000,,is actually to hold down\Nthe Option or Alt key
Dialogue: 0,0:22:19.89,0:22:22.86,Default,,0000,0000,0000,,when you click on the volume\Ncurve in the timeline.
Dialogue: 0,0:22:22.86,0:22:24.72,Default,,0000,0000,0000,,So here, I'm just\Ngoing to hold down
Dialogue: 0,0:22:24.72,0:22:28.00,Default,,0000,0000,0000,,the Option key when I click\Non this part of the timeline
Dialogue: 0,0:22:28.00,0:22:31.89,Default,,0000,0000,0000,,just after this first\Nspike in the waveform here.
Dialogue: 0,0:22:31.89,0:22:35.19,Default,,0000,0000,0000,,I'm going to add a second\Nkeyframe by holding down option
Dialogue: 0,0:22:35.19,0:22:39.54,Default,,0000,0000,0000,,again and clicking once\Nagain on the volume curve.
Dialogue: 0,0:22:39.54,0:22:43.24,Default,,0000,0000,0000,,This now means that I can\Nerase this part of the curve
Dialogue: 0,0:22:43.24,0:22:46.59,Default,,0000,0000,0000,,so that it's roughly in\Nline with this first peak
Dialogue: 0,0:22:46.59,0:22:48.45,Default,,0000,0000,0000,,of the audio here.
Dialogue: 0,0:22:48.45,0:22:50.50,Default,,0000,0000,0000,,If I go back to the\Nbeginning and preview this.
Dialogue: 0,0:22:50.50,0:22:52.92,Default,,0000,0000,0000,,BRIAN TERWILLIGER: In this,\Nmaking a documentary about how
Dialogue: 0,0:22:52.92,0:22:54.63,Default,,0000,0000,0000,,the airplanes\Nchanged the world, it
Dialogue: 0,0:22:54.63,0:22:59.43,Default,,0000,0000,0000,,was really important to go\Nout and shoot the real world.
Dialogue: 0,0:22:59.43,0:23:01.23,Default,,0000,0000,0000,,CHRIS: As you can\Nsee, the audio is now
Dialogue: 0,0:23:01.23,0:23:04.00,Default,,0000,0000,0000,,more consistent along\Nthe duration of the clip.
Dialogue: 0,0:23:04.00,0:23:06.48,Default,,0000,0000,0000,,However, it's probably\Na little bit too hot.
Dialogue: 0,0:23:06.48,0:23:08.88,Default,,0000,0000,0000,,Now, the main thing I'm\Ninterested in is making sure
Dialogue: 0,0:23:08.88,0:23:10.41,Default,,0000,0000,0000,,that all of the\Nclips at this point
Dialogue: 0,0:23:10.41,0:23:13.83,Default,,0000,0000,0000,,are on the same audio track\Nare balanced, to be roughly
Dialogue: 0,0:23:13.83,0:23:15.19,Default,,0000,0000,0000,,around the same level.
Dialogue: 0,0:23:15.19,0:23:17.39,Default,,0000,0000,0000,,They don't have to\Nbe the right level,
Dialogue: 0,0:23:17.39,0:23:19.10,Default,,0000,0000,0000,,they just have to be consistent.
Dialogue: 0,0:23:19.10,0:23:22.88,Default,,0000,0000,0000,,And one way we can do that is\Nwe can normalize the audio.
Dialogue: 0,0:23:22.88,0:23:25.06,Default,,0000,0000,0000,,What this will do\Nis it will actually
Dialogue: 0,0:23:25.06,0:23:28.48,Default,,0000,0000,0000,,calculate a change\Nin the audio curve
Dialogue: 0,0:23:28.48,0:23:31.75,Default,,0000,0000,0000,,based on the peak\Nlevel of the clips.
Dialogue: 0,0:23:31.75,0:23:34.36,Default,,0000,0000,0000,,See how we can do that.
Dialogue: 0,0:23:34.36,0:23:36.26,Default,,0000,0000,0000,,I'm just going to select\Nthese audio clips.
Dialogue: 0,0:23:36.26,0:23:40.54,Default,,0000,0000,0000,,Right click and choose\NNormalize Audio Levels.
Dialogue: 0,0:23:40.54,0:23:42.73,Default,,0000,0000,0000,,There are a number of\Ndifferent normalization modes
Dialogue: 0,0:23:42.73,0:23:43.49,Default,,0000,0000,0000,,to choose from.
Dialogue: 0,0:23:43.49,0:23:45.13,Default,,0000,0000,0000,,But Sample Peak\Nprogram is probably
Dialogue: 0,0:23:45.13,0:23:47.05,Default,,0000,0000,0000,,the simplest one to use.
Dialogue: 0,0:23:47.05,0:23:51.59,Default,,0000,0000,0000,,The minus 9 DBFS level is a\Ngood starting point for this.
Dialogue: 0,0:23:51.59,0:23:54.32,Default,,0000,0000,0000,,Again, this will actually\Nnormalize the peak levels.
Dialogue: 0,0:23:54.32,0:23:58.39,Default,,0000,0000,0000,,So, by having it set to\Nminus 9 is the upper part
Dialogue: 0,0:23:58.39,0:24:01.72,Default,,0000,0000,0000,,of that yellow\Narea on the meters.
Dialogue: 0,0:24:01.72,0:24:03.46,Default,,0000,0000,0000,,And we also want to\Nmake sure that we
Dialogue: 0,0:24:03.46,0:24:06.01,Default,,0000,0000,0000,,set this to be independent\Nso that it will
Dialogue: 0,0:24:06.01,0:24:08.62,Default,,0000,0000,0000,,treat each clip on its own.
Dialogue: 0,0:24:08.62,0:24:11.05,Default,,0000,0000,0000,,Now we can choose to\Nnormalize in order
Dialogue: 0,0:24:11.05,0:24:14.42,Default,,0000,0000,0000,,to be able to normalize the\Nclips to roughly the same level.
Dialogue: 0,0:24:14.42,0:24:17.27,Default,,0000,0000,0000,,
Dialogue: 0,0:24:17.27,0:24:18.52,Default,,0000,0000,0000,,If I just play this clip here.
Dialogue: 0,0:24:18.52,0:24:19.90,Default,,0000,0000,0000,,BRIAN TERWILLIGER:\NIf we couldn't
Dialogue: 0,0:24:19.90,0:24:21.87,Default,,0000,0000,0000,,get the shot or the\Nweather wasn't right,
Dialogue: 0,0:24:21.87,0:24:23.54,Default,,0000,0000,0000,,we would either go\Nback to that location
Dialogue: 0,0:24:23.54,0:24:25.19,Default,,0000,0000,0000,,or it didn't make the movie.
Dialogue: 0,0:24:25.19,0:24:27.62,Default,,0000,0000,0000,,It was really important\Nevery shot was original
Dialogue: 0,0:24:27.62,0:24:29.57,Default,,0000,0000,0000,,and that everything was real.
Dialogue: 0,0:24:29.57,0:24:33.17,Default,,0000,0000,0000,,CHRIS: So each of those clips\Nis now roughly the same level.
Dialogue: 0,0:24:33.17,0:24:35.69,Default,,0000,0000,0000,,In order to bring the\Nfirst clip into line
Dialogue: 0,0:24:35.69,0:24:38.43,Default,,0000,0000,0000,,as well, what we can do is\Nwe can just preview that.
Dialogue: 0,0:24:38.43,0:24:41.27,Default,,0000,0000,0000,,And if we need to, we can\Nactually just nudge the audio
Dialogue: 0,0:24:41.27,0:24:42.21,Default,,0000,0000,0000,,up or down.
Dialogue: 0,0:24:42.21,0:24:44.47,Default,,0000,0000,0000,,So selecting that clip\Nand playing through.
Dialogue: 0,0:24:44.47,0:24:47.18,Default,,0000,0000,0000,,BRIAN TERWILLIGER: In this film,\Nmaking a documentary about how--
Dialogue: 0,0:24:47.18,0:24:51.08,Default,,0000,0000,0000,,CHRIS: I can use Option\NCommand minus just
Dialogue: 0,0:24:51.08,0:24:55.86,Default,,0000,0000,0000,,to be able to nudge that\Ndown one DB at a time.
Dialogue: 0,0:24:55.86,0:24:58.49,Default,,0000,0000,0000,,BRIAN TERWILLIGER: In this film,\Nmaking a documentary about how
Dialogue: 0,0:24:58.49,0:25:00.20,Default,,0000,0000,0000,,the airplanes\Nchanged the world, it
Dialogue: 0,0:25:00.20,0:25:04.22,Default,,0000,0000,0000,,was really important to go\Nout and shoot the real world.
Dialogue: 0,0:25:04.22,0:25:05.60,Default,,0000,0000,0000,,CHRIS: And that's\Nbrought it more
Dialogue: 0,0:25:05.60,0:25:07.83,Default,,0000,0000,0000,,in line with the rest of\Nthe audio on that track.
Dialogue: 0,0:25:07.83,0:25:09.29,Default,,0000,0000,0000,,Now, the next thing\NI want to do is
Dialogue: 0,0:25:09.29,0:25:10.80,Default,,0000,0000,0000,,to do pretty much\Nthe same thing,
Dialogue: 0,0:25:10.80,0:25:13.35,Default,,0000,0000,0000,,but with the audio\Nfrom the voiceover.
Dialogue: 0,0:25:13.35,0:25:15.96,Default,,0000,0000,0000,,However, because this\Nwas recorded in a studio,
Dialogue: 0,0:25:15.96,0:25:17.63,Default,,0000,0000,0000,,it's much more\Nconsistent than something
Dialogue: 0,0:25:17.63,0:25:21.21,Default,,0000,0000,0000,,that was recorded on location\Nin an interview situation.
Dialogue: 0,0:25:21.21,0:25:23.15,Default,,0000,0000,0000,,So what I'm just\Ngoing to do here
Dialogue: 0,0:25:23.15,0:25:26.68,Default,,0000,0000,0000,,is actually just adjust\Nthe clips as appropriate.
Dialogue: 0,0:25:26.68,0:25:28.97,Default,,0000,0000,0000,,So I'm going to select the\Nfirst clip, play it through.
Dialogue: 0,0:25:28.97,0:25:31.58,Default,,0000,0000,0000,,HARRISON FORD: In\Nthe age of airplanes,
Dialogue: 0,0:25:31.58,0:25:34.11,Default,,0000,0000,0000,,we've become\Nexplorers once again.
Dialogue: 0,0:25:34.11,0:25:36.44,Default,,0000,0000,0000,,CHRIS: So what I've just done\Nis just adjusted that clip
Dialogue: 0,0:25:36.44,0:25:38.81,Default,,0000,0000,0000,,not by very much, just\Nby a couple of DB, just
Dialogue: 0,0:25:38.81,0:25:40.82,Default,,0000,0000,0000,,to increase the level\Nslightly, to keep
Dialogue: 0,0:25:40.82,0:25:43.07,Default,,0000,0000,0000,,it consistent with\Nthe rest of the audio
Dialogue: 0,0:25:43.07,0:25:45.38,Default,,0000,0000,0000,,in the speech for the dialogue.
Dialogue: 0,0:25:45.38,0:25:47.18,Default,,0000,0000,0000,,HARRISON FORD: Leave\Nbehind everything
Dialogue: 0,0:25:47.18,0:25:52.19,Default,,0000,0000,0000,,you know about airplanes and\Nprepare to see them again
Dialogue: 0,0:25:52.19,0:25:54.23,Default,,0000,0000,0000,,for the first time.
Dialogue: 0,0:25:54.23,0:25:58.58,Default,,0000,0000,0000,,CHRIS: And I'll probably just\Nlower that end clip there a DB
Dialogue: 0,0:25:58.58,0:26:03.11,Default,,0000,0000,0000,,and then maybe just bring\Nthis first clip up single DB.
Dialogue: 0,0:26:03.11,0:26:05.06,Default,,0000,0000,0000,,HARRISON FORD: Leave\Nbehind everything
Dialogue: 0,0:26:05.06,0:26:09.86,Default,,0000,0000,0000,,you know about airplanes and\Nprepare to see them again
Dialogue: 0,0:26:09.86,0:26:11.71,Default,,0000,0000,0000,,yen for the first time.
Dialogue: 0,0:26:11.71,0:26:15.01,Default,,0000,0000,0000,,CHRIS: So that now means that\Nthe dialogue has been balanced.
Dialogue: 0,0:26:15.01,0:26:18.04,Default,,0000,0000,0000,,I can now turn my attention to\Nsome of these sound effects,
Dialogue: 0,0:26:18.04,0:26:20.66,Default,,0000,0000,0000,,start to integrate\Nthem into the trailer.
Dialogue: 0,0:26:20.66,0:26:22.95,Default,,0000,0000,0000,,First of all, I'm just going\Nto make the timeline track
Dialogue: 0,0:26:22.95,0:26:25.68,Default,,0000,0000,0000,,heights a little bit shorter,\Njust so that I can concentrate
Dialogue: 0,0:26:25.68,0:26:27.96,Default,,0000,0000,0000,,on each of these clips.
Dialogue: 0,0:26:27.96,0:26:29.46,Default,,0000,0000,0000,,Now, the first thing\NI'm going to do
Dialogue: 0,0:26:29.46,0:26:33.46,Default,,0000,0000,0000,,is I'm going to unmute\Naudio tracks three and four.
Dialogue: 0,0:26:33.46,0:26:35.76,Default,,0000,0000,0000,,But I am going to mute\Nthe dialogue tracks,
Dialogue: 0,0:26:35.76,0:26:39.04,Default,,0000,0000,0000,,so that's audio track\None and audio track two.
Dialogue: 0,0:26:39.04,0:26:42.22,Default,,0000,0000,0000,,Again, the idea here\Nis to be consistent.
Dialogue: 0,0:26:42.22,0:26:45.00,Default,,0000,0000,0000,,Don't worry if the sounds\Nare too high or too low,
Dialogue: 0,0:26:45.00,0:26:48.00,Default,,0000,0000,0000,,just to make sure they're\Nroughly the same level.
Dialogue: 0,0:26:48.00,0:26:50.11,Default,,0000,0000,0000,,So I'm going to\Nplay these through.
Dialogue: 0,0:26:50.11,0:26:53.57,Default,,0000,0000,0000,,[PLANE WHIRRING]
Dialogue: 0,0:26:53.57,0:27:24.21,Default,,0000,0000,0000,,
Dialogue: 0,0:27:24.21,0:27:25.74,Default,,0000,0000,0000,,OK, so first thing\NI'm going to do
Dialogue: 0,0:27:25.74,0:27:29.11,Default,,0000,0000,0000,,is just make sure I've got\Nthe levels roughly the same.
Dialogue: 0,0:27:29.11,0:27:33.63,Default,,0000,0000,0000,,So I'm actually going to\Nincrease this one here
Dialogue: 0,0:27:33.63,0:27:37.09,Default,,0000,0000,0000,,and this one here,\Nthis one here.
Dialogue: 0,0:27:37.09,0:27:40.09,Default,,0000,0000,0000,,Now it might seem slightly\Ncounter-intuitive.
Dialogue: 0,0:27:40.09,0:27:42.55,Default,,0000,0000,0000,,Why would I be\Nincreasing audio levels?
Dialogue: 0,0:27:42.55,0:27:44.10,Default,,0000,0000,0000,,But again, this is\Njust to make sure
Dialogue: 0,0:27:44.10,0:27:46.57,Default,,0000,0000,0000,,that they're balanced\Nacross the different clips
Dialogue: 0,0:27:46.57,0:27:47.77,Default,,0000,0000,0000,,and they're consistent.
Dialogue: 0,0:27:47.77,0:27:51.15,Default,,0000,0000,0000,,Because once I've done that,\NI can now bring the levels
Dialogue: 0,0:27:51.15,0:27:53.55,Default,,0000,0000,0000,,down using the track faders.
Dialogue: 0,0:27:53.55,0:27:55.30,Default,,0000,0000,0000,,Let's just go back to\Nthe beginning here.
Dialogue: 0,0:27:55.30,0:27:56.62,Default,,0000,0000,0000,,Just play this through.
Dialogue: 0,0:27:56.62,0:28:00.09,Default,,0000,0000,0000,,[PLANE WHIRRING]
Dialogue: 0,0:28:00.09,0:28:29.41,Default,,0000,0000,0000,,
Dialogue: 0,0:28:29.41,0:28:32.65,Default,,0000,0000,0000,,So I'll just need to just\Npull this level down a little
Dialogue: 0,0:28:32.65,0:28:35.59,Default,,0000,0000,0000,,bit just to keep it in line.
Dialogue: 0,0:28:35.59,0:28:36.60,Default,,0000,0000,0000,,That's better.
Dialogue: 0,0:28:36.60,0:28:39.99,Default,,0000,0000,0000,,[PLANE WHIRRING]
Dialogue: 0,0:28:39.99,0:28:42.91,Default,,0000,0000,0000,,
Dialogue: 0,0:28:42.91,0:28:46.88,Default,,0000,0000,0000,,So that's how easy it is\Nto start mixing your audio.
Dialogue: 0,0:28:46.88,0:28:49.67,Default,,0000,0000,0000,,You could have individual\Nlevels for each of the clips.
Dialogue: 0,0:28:49.67,0:28:50.72,Default,,0000,0000,0000,,Nothing wrong with that.
Dialogue: 0,0:28:50.72,0:28:52.54,Default,,0000,0000,0000,,But it just means\Nthat using the mixer
Dialogue: 0,0:28:52.54,0:28:55.45,Default,,0000,0000,0000,,and using the track level\Nsliders just makes mixing
Dialogue: 0,0:28:55.45,0:28:57.11,Default,,0000,0000,0000,,just that awful lot easier.
Dialogue: 0,0:28:57.11,0:28:58.57,Default,,0000,0000,0000,,Now, the only other\Nthing I'm going
Dialogue: 0,0:28:58.57,0:29:00.03,Default,,0000,0000,0000,,to do with these\Nsound effect clips
Dialogue: 0,0:29:00.03,0:29:03.29,Default,,0000,0000,0000,,is just create little\Nfades between each clip.
Dialogue: 0,0:29:03.29,0:29:05.09,Default,,0000,0000,0000,,This will just\Nhelp the transition
Dialogue: 0,0:29:05.09,0:29:08.12,Default,,0000,0000,0000,,from one audio clip to another.
Dialogue: 0,0:29:08.12,0:29:11.24,Default,,0000,0000,0000,,Let's go to detail\Nzoom on the first clip.
Dialogue: 0,0:29:11.24,0:29:13.07,Default,,0000,0000,0000,,And what we can\Ndo, first of all,
Dialogue: 0,0:29:13.07,0:29:15.77,Default,,0000,0000,0000,,is we can actually just\Napply a little audio fade
Dialogue: 0,0:29:15.77,0:29:20.18,Default,,0000,0000,0000,,at the beginning and end\Nof each of these clips.
Dialogue: 0,0:29:20.18,0:29:21.75,Default,,0000,0000,0000,,Just a little fade like that.
Dialogue: 0,0:29:21.75,0:29:24.14,Default,,0000,0000,0000,,And then I can trim\Nthe end of the clip
Dialogue: 0,0:29:24.14,0:29:28.34,Default,,0000,0000,0000,,out so that it overlaps the\Nunderlying clip on the lower
Dialogue: 0,0:29:28.34,0:29:29.40,Default,,0000,0000,0000,,audio track.
Dialogue: 0,0:29:29.40,0:29:32.99,Default,,0000,0000,0000,,So this will now crossfade\Nthose two clips together.
Dialogue: 0,0:29:32.99,0:29:38.20,Default,,0000,0000,0000,,I can also slip this clip just\Nlike I can do with a video
Dialogue: 0,0:29:38.20,0:29:39.74,Default,,0000,0000,0000,,in order to give me\Na little bit more
Dialogue: 0,0:29:39.74,0:29:42.23,Default,,0000,0000,0000,,handle the beginning\Nhere, so that I can just
Dialogue: 0,0:29:42.23,0:29:45.83,Default,,0000,0000,0000,,lengthen that clip from\Nthe very beginning.
Dialogue: 0,0:29:45.83,0:29:49.32,Default,,0000,0000,0000,,Just a tiny little overlap of\Nthe audio is always useful.
Dialogue: 0,0:29:49.32,0:29:51.18,Default,,0000,0000,0000,,You want to be careful\Nit's not too long,
Dialogue: 0,0:29:51.18,0:29:52.67,Default,,0000,0000,0000,,but it will just\Nindicate there's
Dialogue: 0,0:29:52.67,0:29:54.03,Default,,0000,0000,0000,,a change of picture coming.
Dialogue: 0,0:29:54.03,0:29:59.03,Default,,0000,0000,0000,,Just anticipate that\Nin the audience's mind.
Dialogue: 0,0:29:59.03,0:30:01.23,Default,,0000,0000,0000,,I'm going to continue\Nscrolling through here.
Dialogue: 0,0:30:01.23,0:30:04.52,Default,,0000,0000,0000,,And I'm going to continue adding\Nlittle audio fades on each
Dialogue: 0,0:30:04.52,0:30:05.29,Default,,0000,0000,0000,,of these clips.
Dialogue: 0,0:30:05.29,0:30:15.56,Default,,0000,0000,0000,,
Dialogue: 0,0:30:15.56,0:30:16.92,Default,,0000,0000,0000,,An audio fade out there.
Dialogue: 0,0:30:16.92,0:30:19.76,Default,,0000,0000,0000,,
Dialogue: 0,0:30:19.76,0:30:22.49,Default,,0000,0000,0000,,Once again, I'm going to do\Nthe same technique as before
Dialogue: 0,0:30:22.49,0:30:24.14,Default,,0000,0000,0000,,with this South Pole audio.
Dialogue: 0,0:30:24.14,0:30:27.21,Default,,0000,0000,0000,,Tiny, little fade\Nin at the beginning.
Dialogue: 0,0:30:27.21,0:30:30.35,Default,,0000,0000,0000,,
Dialogue: 0,0:30:30.35,0:30:32.98,Default,,0000,0000,0000,,Just to anticipate the\Npicture change there.
Dialogue: 0,0:30:32.98,0:30:37.37,Default,,0000,0000,0000,,
Dialogue: 0,0:30:37.37,0:30:38.79,Default,,0000,0000,0000,,And fade out there.
Dialogue: 0,0:30:38.79,0:30:42.21,Default,,0000,0000,0000,,And I'll just bring the other\None, the subsequent shot,
Dialogue: 0,0:30:42.21,0:30:43.88,Default,,0000,0000,0000,,bring that in.
Dialogue: 0,0:30:43.88,0:30:46.32,Default,,0000,0000,0000,,Finally, just a couple\Nmore to do here.
Dialogue: 0,0:30:46.32,0:30:50.75,Default,,0000,0000,0000,,
Dialogue: 0,0:30:50.75,0:30:51.82,Default,,0000,0000,0000,,That audio fades.
Dialogue: 0,0:30:51.82,0:31:04.83,Default,,0000,0000,0000,,
Dialogue: 0,0:31:04.83,0:31:08.31,Default,,0000,0000,0000,,And finally, I'm just going\Nto lengthen that last clip
Dialogue: 0,0:31:08.31,0:31:12.11,Default,,0000,0000,0000,,just so that it tails out right\Nunderneath those titles there.
Dialogue: 0,0:31:12.11,0:31:15.84,Default,,0000,0000,0000,,
Dialogue: 0,0:31:15.84,0:31:18.67,Default,,0000,0000,0000,,So now, when I just\Nplay that last bit.
Dialogue: 0,0:31:18.67,0:31:22.05,Default,,0000,0000,0000,,[PLANE WHIRRING]
Dialogue: 0,0:31:22.05,0:31:28.83,Default,,0000,0000,0000,,
Dialogue: 0,0:31:28.83,0:31:31.83,Default,,0000,0000,0000,,And the sound of the\Nairplane dies away slightly.
Dialogue: 0,0:31:31.83,0:31:35.19,Default,,0000,0000,0000,,Now you may be wondering why I\Nhaven't added audio transitions
Dialogue: 0,0:31:35.19,0:31:36.25,Default,,0000,0000,0000,,between those clips.
Dialogue: 0,0:31:36.25,0:31:38.50,Default,,0000,0000,0000,,And that's another way\Nof being able to work.
Dialogue: 0,0:31:38.50,0:31:41.25,Default,,0000,0000,0000,,However, I often find\Nthat these audio fades
Dialogue: 0,0:31:41.25,0:31:44.49,Default,,0000,0000,0000,,are much more accurate\Nthan the audio transitions
Dialogue: 0,0:31:44.49,0:31:46.08,Default,,0000,0000,0000,,that you might be using.
Dialogue: 0,0:31:46.08,0:31:49.59,Default,,0000,0000,0000,,The last element of this audio\Nmix that I need to bring in
Dialogue: 0,0:31:49.59,0:31:51.34,Default,,0000,0000,0000,,is, of course, the music.
Dialogue: 0,0:31:51.34,0:31:53.92,Default,,0000,0000,0000,,And very similar to working\Nwith the sound effects,
Dialogue: 0,0:31:53.92,0:31:56.19,Default,,0000,0000,0000,,I can actually use\Nthe track slider
Dialogue: 0,0:31:56.19,0:31:58.84,Default,,0000,0000,0000,,in order to be able to\Nadjust the music level.
Dialogue: 0,0:31:58.84,0:32:00.87,Default,,0000,0000,0000,,So first of all,\NI'm going to unmute
Dialogue: 0,0:32:00.87,0:32:03.60,Default,,0000,0000,0000,,all the tracks in the timeline.
Dialogue: 0,0:32:03.60,0:32:07.03,Default,,0000,0000,0000,,Go back to the\Nbeginning of my edit.
Dialogue: 0,0:32:07.03,0:32:08.91,Default,,0000,0000,0000,,And I'm just going to\Nplay through and have
Dialogue: 0,0:32:08.91,0:32:10.90,Default,,0000,0000,0000,,a listen to where the\Nmusic level should be.
Dialogue: 0,0:32:10.90,0:32:13.53,Default,,0000,0000,0000,,BRIAN TERWILLIGER: In this film,\Nmaking a documentary about how
Dialogue: 0,0:32:13.53,0:32:15.27,Default,,0000,0000,0000,,the airplanes\Nchanged the world, it
Dialogue: 0,0:32:15.27,0:32:19.83,Default,,0000,0000,0000,,was really important to go\Nout and shoot the real world.
Dialogue: 0,0:32:19.83,0:32:22.06,Default,,0000,0000,0000,,HARRISON FORD: In\Nthe age of airplanes,
Dialogue: 0,0:32:22.06,0:32:25.31,Default,,0000,0000,0000,,we've become\Nexplorers once again.
Dialogue: 0,0:32:25.31,0:32:27.31,Default,,0000,0000,0000,,BRIAN TERWILLIGER: If\Nit's possible to shoot it,
Dialogue: 0,0:32:27.31,0:32:28.60,Default,,0000,0000,0000,,we wanted to go shoot it.
Dialogue: 0,0:32:28.60,0:32:31.32,Default,,0000,0000,0000,,
Dialogue: 0,0:32:31.32,0:32:33.91,Default,,0000,0000,0000,,If we couldn't get the shot\Nor the weather wasn't right,
Dialogue: 0,0:32:33.91,0:32:35.58,Default,,0000,0000,0000,,we would either go\Nback to that location
Dialogue: 0,0:32:35.58,0:32:37.26,Default,,0000,0000,0000,,or it didn't make the movie.
Dialogue: 0,0:32:37.26,0:32:39.63,Default,,0000,0000,0000,,It was really important\Nevery shot was original
Dialogue: 0,0:32:39.63,0:32:41.43,Default,,0000,0000,0000,,and that everything was real.
Dialogue: 0,0:32:41.43,0:32:43.35,Default,,0000,0000,0000,,HARRISON FORD: Leave\Nbehind everything
Dialogue: 0,0:32:43.35,0:32:48.18,Default,,0000,0000,0000,,you know about airplanes and\Nprepare to see them again
Dialogue: 0,0:32:48.18,0:32:49.93,Default,,0000,0000,0000,,for the first time.
Dialogue: 0,0:32:49.93,0:32:53.32,Default,,0000,0000,0000,,[MUSIC PLAYING]
Dialogue: 0,0:32:53.32,0:32:59.62,Default,,0000,0000,0000,,
Dialogue: 0,0:32:59.62,0:33:01.63,Default,,0000,0000,0000,,CHRIS: Now, throughout\Nthat, I was actually
Dialogue: 0,0:33:01.63,0:33:05.38,Default,,0000,0000,0000,,watching the audio meters, but\NI was also listening to the mix
Dialogue: 0,0:33:05.38,0:33:06.71,Default,,0000,0000,0000,,as it was coming through.
Dialogue: 0,0:33:06.71,0:33:08.53,Default,,0000,0000,0000,,And you can see that\Nwhat I can now do
Dialogue: 0,0:33:08.53,0:33:12.55,Default,,0000,0000,0000,,is I can easily write the levels\Nso that if the sound effects are
Dialogue: 0,0:33:12.55,0:33:14.74,Default,,0000,0000,0000,,too loud, I can actually\Nbring the sound effects
Dialogue: 0,0:33:14.74,0:33:17.45,Default,,0000,0000,0000,,on those tracks down\Nwith just one fader.
Dialogue: 0,0:33:17.45,0:33:21.76,Default,,0000,0000,0000,,So that's the advantage of using\Nthe audio mixer in this case.
Dialogue: 0,0:33:21.76,0:33:23.78,Default,,0000,0000,0000,,One thing I am\Ngoing to do, though,
Dialogue: 0,0:33:23.78,0:33:26.95,Default,,0000,0000,0000,,is I'm actually going to\Nincrease the level of the music
Dialogue: 0,0:33:26.95,0:33:29.48,Default,,0000,0000,0000,,after Harrison Ford has\Nfinished his final line.
Dialogue: 0,0:33:29.48,0:33:31.06,Default,,0000,0000,0000,,So in this case, I'm\Njust going to add
Dialogue: 0,0:33:31.06,0:33:36.02,Default,,0000,0000,0000,,a couple of audio keyframes\Non the volume curve,
Dialogue: 0,0:33:36.02,0:33:39.28,Default,,0000,0000,0000,,and just adjust that\Nup by a couple of DB
Dialogue: 0,0:33:39.28,0:33:40.88,Default,,0000,0000,0000,,from where it was before.
Dialogue: 0,0:33:40.88,0:33:43.42,Default,,0000,0000,0000,,So I can always go\Nback into the timeline
Dialogue: 0,0:33:43.42,0:33:45.73,Default,,0000,0000,0000,,and start making further\Nlevel adjustments
Dialogue: 0,0:33:45.73,0:33:50.59,Default,,0000,0000,0000,,if I need to at an\Nindividual clip level.
Dialogue: 0,0:33:50.59,0:33:52.22,Default,,0000,0000,0000,,HARRISON FORD: For\Nthe first time.
Dialogue: 0,0:33:52.22,0:33:55.54,Default,,0000,0000,0000,,[MUSIC PLAYING]
Dialogue: 0,0:33:55.54,0:33:59.81,Default,,0000,0000,0000,,
Dialogue: 0,0:33:59.81,0:34:02.52,Default,,0000,0000,0000,,CHRIS: So that's the audio\Nmix done for this timeline.
Dialogue: 0,0:34:02.52,0:34:04.59,Default,,0000,0000,0000,,However, we're not\Nquite there yet.
Dialogue: 0,0:34:04.59,0:34:06.86,Default,,0000,0000,0000,,We need a few little\Nvisual flourishes
Dialogue: 0,0:34:06.86,0:34:09.33,Default,,0000,0000,0000,,before we can say\Nthat this is a wrap.
Dialogue: 0,0:34:09.33,0:34:12.05,Default,,0000,0000,0000,,And in this case, we're going\Nto add a few transitions just
Dialogue: 0,0:34:12.05,0:34:14.13,Default,,0000,0000,0000,,to indicate a\Nchange of location.
Dialogue: 0,0:34:14.13,0:34:16.43,Default,,0000,0000,0000,,And we're also going\Nto add some fusion
Dialogue: 0,0:34:16.43,0:34:19.40,Default,,0000,0000,0000,,titles from the built-in\Ntemplates that resolve ships
Dialogue: 0,0:34:19.40,0:34:20.48,Default,,0000,0000,0000,,with.
Dialogue: 0,0:34:20.48,0:34:24.38,Default,,0000,0000,0000,,So to start with, let's\Njust simply adjust
Dialogue: 0,0:34:24.38,0:34:26.08,Default,,0000,0000,0000,,the height of each\Nof these tracks,
Dialogue: 0,0:34:26.08,0:34:27.71,Default,,0000,0000,0000,,just to give me a\Nlittle bit more space
Dialogue: 0,0:34:27.71,0:34:30.48,Default,,0000,0000,0000,,in terms of the visuals.
Dialogue: 0,0:34:30.48,0:34:31.85,Default,,0000,0000,0000,,And the first\Nthing we want to do
Dialogue: 0,0:34:31.85,0:34:34.26,Default,,0000,0000,0000,,is actually add some\Nvideo transitions.
Dialogue: 0,0:34:34.26,0:34:37.79,Default,,0000,0000,0000,,Now, I was always taught when\NI was learning video editing
Dialogue: 0,0:34:37.79,0:34:40.34,Default,,0000,0000,0000,,that you should use\Ntransitions sparingly
Dialogue: 0,0:34:40.34,0:34:45.17,Default,,0000,0000,0000,,and usually to indicate a\Nchange of time or location.
Dialogue: 0,0:34:45.17,0:34:47.86,Default,,0000,0000,0000,,So here, I've got an edit\Npoint between two shots.
Dialogue: 0,0:34:47.86,0:34:49.86,Default,,0000,0000,0000,,BRIAN TERWILLIGER: If\Nit's possible to shoot it,
Dialogue: 0,0:34:49.86,0:34:51.18,Default,,0000,0000,0000,,we wanted to go shoot it.
Dialogue: 0,0:34:51.18,0:34:53.90,Default,,0000,0000,0000,,
Dialogue: 0,0:34:53.90,0:34:57.14,Default,,0000,0000,0000,,CHRIS: I can select the\NEdit point here and then
Dialogue: 0,0:34:57.14,0:35:03.08,Default,,0000,0000,0000,,come to the menu and choose\NTimeline, Add Transition.
Dialogue: 0,0:35:03.08,0:35:06.56,Default,,0000,0000,0000,,And this will add a default\None second cross-dissolve
Dialogue: 0,0:35:06.56,0:35:07.68,Default,,0000,0000,0000,,transition.
Dialogue: 0,0:35:07.68,0:35:10.46,Default,,0000,0000,0000,,Let's just preview that\Nwith the forward key again.
Dialogue: 0,0:35:10.46,0:35:12.13,Default,,0000,0000,0000,,BRIAN TERWILLIGER:\NPossible to shoot it,
Dialogue: 0,0:35:12.13,0:35:14.93,Default,,0000,0000,0000,,we wanted to go shoot it.
Dialogue: 0,0:35:14.93,0:35:17.24,Default,,0000,0000,0000,,CHRIS: And that simple\Nfade usually indicates
Dialogue: 0,0:35:17.24,0:35:20.21,Default,,0000,0000,0000,,to the audience that some\Nchange is there, usually
Dialogue: 0,0:35:20.21,0:35:23.09,Default,,0000,0000,0000,,a change of time or\Na change of location.
Dialogue: 0,0:35:23.09,0:35:26.31,Default,,0000,0000,0000,,Let's just zoom in on that\Ntransition a little bit as well.
Dialogue: 0,0:35:26.31,0:35:29.57,Default,,0000,0000,0000,,Because you can also change\Nany of these transitions.
Dialogue: 0,0:35:29.57,0:35:32.12,Default,,0000,0000,0000,,Of course, you can change the\Nduration of the transition
Dialogue: 0,0:35:32.12,0:35:36.53,Default,,0000,0000,0000,,by clicking on it and\Ndragging it at the side there.
Dialogue: 0,0:35:36.53,0:35:41.15,Default,,0000,0000,0000,,But if you right click\Non the transition,
Dialogue: 0,0:35:41.15,0:35:44.18,Default,,0000,0000,0000,,you can also change\Nthe transition duration
Dialogue: 0,0:35:44.18,0:35:45.85,Default,,0000,0000,0000,,by typing in values.
Dialogue: 0,0:35:45.85,0:35:47.81,Default,,0000,0000,0000,,And you can see that\Nwe've got presets there as
Dialogue: 0,0:35:47.81,0:35:52.23,Default,,0000,0000,0000,,well, very similar to how we\Nchanged the duration of clips.
Dialogue: 0,0:35:52.23,0:35:53.91,Default,,0000,0000,0000,,Alternatively, you\Ncan also change
Dialogue: 0,0:35:53.91,0:35:57.48,Default,,0000,0000,0000,,the style of the transition\Nthrough the inspector.
Dialogue: 0,0:35:57.48,0:35:59.25,Default,,0000,0000,0000,,So let's come up to\Nthe top right hand
Dialogue: 0,0:35:59.25,0:36:02.04,Default,,0000,0000,0000,,corner of the interface,\Nclick on the inspector button.
Dialogue: 0,0:36:02.04,0:36:06.78,Default,,0000,0000,0000,,And we will also see that we're\Nin the transition inspector.
Dialogue: 0,0:36:06.78,0:36:10.03,Default,,0000,0000,0000,,Here, we've got the transition\Ntype, which is cross-dissolve.
Dialogue: 0,0:36:10.03,0:36:13.59,Default,,0000,0000,0000,,But we can also choose from\Nlots of different sorts of types
Dialogue: 0,0:36:13.59,0:36:14.65,Default,,0000,0000,0000,,of transition.
Dialogue: 0,0:36:14.65,0:36:16.78,Default,,0000,0000,0000,,Let's choose Edge Wipe.
Dialogue: 0,0:36:16.78,0:36:18.66,Default,,0000,0000,0000,,Because I've got the\Nplayhead over the center
Dialogue: 0,0:36:18.66,0:36:20.19,Default,,0000,0000,0000,,of the transition,\Nyou can now see
Dialogue: 0,0:36:20.19,0:36:22.75,Default,,0000,0000,0000,,that if I change the\Nangle of the wipe,
Dialogue: 0,0:36:22.75,0:36:24.93,Default,,0000,0000,0000,,you can see how it\Nactually changes
Dialogue: 0,0:36:24.93,0:36:27.06,Default,,0000,0000,0000,,the direction of the wipe.
Dialogue: 0,0:36:27.06,0:36:31.26,Default,,0000,0000,0000,,Let's set that to\Naround about minus 80.
Dialogue: 0,0:36:31.26,0:36:33.25,Default,,0000,0000,0000,,Let's increase the border.
Dialogue: 0,0:36:33.25,0:36:36.12,Default,,0000,0000,0000,,And you can change the border\Ncolor using the color swatch
Dialogue: 0,0:36:36.12,0:36:38.02,Default,,0000,0000,0000,,in the inspector.
Dialogue: 0,0:36:38.02,0:36:41.62,Default,,0000,0000,0000,,However, there is also the\Noption to feather the border.
Dialogue: 0,0:36:41.62,0:36:46.77,Default,,0000,0000,0000,,So if we click on that, we've\Nnow got a nice soft edge border.
Dialogue: 0,0:36:46.77,0:36:49.46,Default,,0000,0000,0000,,If I hit the forward slash\Nkey to preview the timeline--
Dialogue: 0,0:36:49.46,0:36:51.34,Default,,0000,0000,0000,,BRIAN TERWILLIGER: It's\Npossible to shoot it,
Dialogue: 0,0:36:51.34,0:36:54.87,Default,,0000,0000,0000,,we wanted to go shoot it.
Dialogue: 0,0:36:54.87,0:36:57.63,Default,,0000,0000,0000,,CHRIS: --I can now channel\Nmy inner George Lucas.
Dialogue: 0,0:36:57.63,0:37:01.59,Default,,0000,0000,0000,,Of course, Resolve comes with\Na whole bunch of transition
Dialogue: 0,0:37:01.59,0:37:03.31,Default,,0000,0000,0000,,presets for you to use.
Dialogue: 0,0:37:03.31,0:37:07.69,Default,,0000,0000,0000,,If you go to the effects library\Nand choose Video Transitions,
Dialogue: 0,0:37:07.69,0:37:10.38,Default,,0000,0000,0000,,you can see that you've got all\Nmanner of different transitions
Dialogue: 0,0:37:10.38,0:37:11.53,Default,,0000,0000,0000,,to choose from.
Dialogue: 0,0:37:11.53,0:37:13.35,Default,,0000,0000,0000,,And if you actually\Ntake your mouse
Dialogue: 0,0:37:13.35,0:37:16.36,Default,,0000,0000,0000,,and just run them\Nacross the transition,
Dialogue: 0,0:37:16.36,0:37:19.78,Default,,0000,0000,0000,,you can actually live preview\Neach of those transitions.
Dialogue: 0,0:37:19.78,0:37:24.63,Default,,0000,0000,0000,,So you get a sense as to how\Neach of those transitions works.
Dialogue: 0,0:37:24.63,0:37:27.21,Default,,0000,0000,0000,,The final element that we're\Ngoing to add to this edit
Dialogue: 0,0:37:27.21,0:37:28.80,Default,,0000,0000,0000,,is actually some titles.
Dialogue: 0,0:37:28.80,0:37:32.08,Default,,0000,0000,0000,,We need to know, for example,\Nwho the interviewee is,
Dialogue: 0,0:37:32.08,0:37:34.11,Default,,0000,0000,0000,,but we're also going to\Nadd some titles for each
Dialogue: 0,0:37:34.11,0:37:36.96,Default,,0000,0000,0000,,of the geographic locations\Nthat the film visits
Dialogue: 0,0:37:36.96,0:37:39.48,Default,,0000,0000,0000,,when it was filming.
Dialogue: 0,0:37:39.48,0:37:41.55,Default,,0000,0000,0000,,Just like with transitions,\Nyou can actually
Dialogue: 0,0:37:41.55,0:37:46.62,Default,,0000,0000,0000,,live preview each of these by\Nrunning your mouse across them.
Dialogue: 0,0:37:46.62,0:37:49.03,Default,,0000,0000,0000,,And with the fusion\Ntitles, you'll
Dialogue: 0,0:37:49.03,0:37:52.81,Default,,0000,0000,0000,,actually get to see the\Ndifferent animations
Dialogue: 0,0:37:52.81,0:37:53.90,Default,,0000,0000,0000,,that we have.
Dialogue: 0,0:37:53.90,0:37:56.11,Default,,0000,0000,0000,,So you can choose\Nwhether or not a title
Dialogue: 0,0:37:56.11,0:37:58.63,Default,,0000,0000,0000,,is appropriate for your edit\Neven before you apply it
Dialogue: 0,0:37:58.63,0:38:00.79,Default,,0000,0000,0000,,to your timeline.
Dialogue: 0,0:38:00.79,0:38:02.86,Default,,0000,0000,0000,,In this case, I want to\Nscroll through the list
Dialogue: 0,0:38:02.86,0:38:06.92,Default,,0000,0000,0000,,and I'm looking for a title\Ncalled Simple Underline Lower
Dialogue: 0,0:38:06.92,0:38:07.42,Default,,0000,0000,0000,,Third.
Dialogue: 0,0:38:07.42,0:38:13.18,Default,,0000,0000,0000,,
Dialogue: 0,0:38:13.18,0:38:15.34,Default,,0000,0000,0000,,I'm going to take\Nthat title and I'm
Dialogue: 0,0:38:15.34,0:38:20.21,Default,,0000,0000,0000,,going to move up to my\Ntimeline viewer overlays.
Dialogue: 0,0:38:20.21,0:38:24.28,Default,,0000,0000,0000,,And then I'm going to choose\Nthe place on top edit.
Dialogue: 0,0:38:24.28,0:38:27.38,Default,,0000,0000,0000,,Unsurprisingly this time,\Nbecause I'm dealing with video,
Dialogue: 0,0:38:27.38,0:38:31.12,Default,,0000,0000,0000,,Resolve actually places the\Ntitle on top of the video
Dialogue: 0,0:38:31.12,0:38:34.57,Default,,0000,0000,0000,,where my playhead is.
Dialogue: 0,0:38:34.57,0:38:36.04,Default,,0000,0000,0000,,I'll hide the\Neffects library just
Dialogue: 0,0:38:36.04,0:38:41.26,Default,,0000,0000,0000,,to give myself a little bit more\Nroom and go into my detail zoom.
Dialogue: 0,0:38:41.26,0:38:42.65,Default,,0000,0000,0000,,Zoom out a touch there.
Dialogue: 0,0:38:42.65,0:38:46.03,Default,,0000,0000,0000,,And I just want to trim the\Ntitle to the end of the clip.
Dialogue: 0,0:38:46.03,0:38:48.85,Default,,0000,0000,0000,,To adjust the title,\Nall you'll simply do
Dialogue: 0,0:38:48.85,0:38:51.70,Default,,0000,0000,0000,,is just go directly\Nto the inspector.
Dialogue: 0,0:38:51.70,0:38:53.56,Default,,0000,0000,0000,,So here in the\Ntext box, I'm going
Dialogue: 0,0:38:53.56,0:38:54.85,Default,,0000,0000,0000,,to highlight the sample text.
Dialogue: 0,0:38:54.85,0:38:56.35,Default,,0000,0000,0000,,And I'm going to\Ngive my interviewee
Dialogue: 0,0:38:56.35,0:39:00.64,Default,,0000,0000,0000,,his name, which in this case\Nis Brian J. Terwilliger.
Dialogue: 0,0:39:00.64,0:39:03.83,Default,,0000,0000,0000,,And you can also customize\Nthe font as well.
Dialogue: 0,0:39:03.83,0:39:06.14,Default,,0000,0000,0000,,If you click in\Nthe font menu here,
Dialogue: 0,0:39:06.14,0:39:09.37,Default,,0000,0000,0000,,you can actually scroll\Nthrough the list of fonts
Dialogue: 0,0:39:09.37,0:39:11.08,Default,,0000,0000,0000,,that you have installed\Non your system
Dialogue: 0,0:39:11.08,0:39:15.43,Default,,0000,0000,0000,,and get a live preview of\Nwhat each font may look like.
Dialogue: 0,0:39:15.43,0:39:16.99,Default,,0000,0000,0000,,In this case, I'm\Nactually just going
Dialogue: 0,0:39:16.99,0:39:19.45,Default,,0000,0000,0000,,to leave everything\Nset to Open Sans.
Dialogue: 0,0:39:19.45,0:39:23.62,Default,,0000,0000,0000,,However, I can customize\Nthe text further using
Dialogue: 0,0:39:23.62,0:39:28.93,Default,,0000,0000,0000,,the lower controls,\Nincluding the size,
Dialogue: 0,0:39:28.93,0:39:33.11,Default,,0000,0000,0000,,and also the tracking, which is\Nthe spacing between the letters.
Dialogue: 0,0:39:33.11,0:39:34.99,Default,,0000,0000,0000,,Just by bringing the\Nletters a little closer
Dialogue: 0,0:39:34.99,0:39:39.07,Default,,0000,0000,0000,,together makes them\Neasier to read, I feel.
Dialogue: 0,0:39:39.07,0:39:43.19,Default,,0000,0000,0000,,Below that, we've also got\Ncontrols for the line as well.
Dialogue: 0,0:39:43.19,0:39:45.44,Default,,0000,0000,0000,,That's that blue line\Nunderneath the text.
Dialogue: 0,0:39:45.44,0:39:48.98,Default,,0000,0000,0000,,Of course, I can increase or\Ndecrease the line thickness,
Dialogue: 0,0:39:48.98,0:39:51.69,Default,,0000,0000,0000,,depending on the style\Nthat I'm looking for.
Dialogue: 0,0:39:51.69,0:39:53.94,Default,,0000,0000,0000,,And I can also change\Nthe line color.
Dialogue: 0,0:39:53.94,0:39:57.65,Default,,0000,0000,0000,,In this case, I'm actually\Ngoing to increase the red color
Dialogue: 0,0:39:57.65,0:40:00.05,Default,,0000,0000,0000,,channel and the\Ngreen color channel,
Dialogue: 0,0:40:00.05,0:40:02.99,Default,,0000,0000,0000,,and actually just lower\Nthe blue color channel
Dialogue: 0,0:40:02.99,0:40:06.92,Default,,0000,0000,0000,,just to change the color\Nof the line to yellow.
Dialogue: 0,0:40:06.92,0:40:10.16,Default,,0000,0000,0000,,In actual fact, you can\Nalso customize the gradient
Dialogue: 0,0:40:10.16,0:40:12.08,Default,,0000,0000,0000,,across the line.
Dialogue: 0,0:40:12.08,0:40:16.55,Default,,0000,0000,0000,,Let's change the type from\Nsolid color to horizontal.
Dialogue: 0,0:40:16.55,0:40:19.20,Default,,0000,0000,0000,,And now I get a\Nsecond color box,
Dialogue: 0,0:40:19.20,0:40:21.08,Default,,0000,0000,0000,,which I'm actually\Ngoing to customize
Dialogue: 0,0:40:21.08,0:40:26.93,Default,,0000,0000,0000,,by just making it a little\Nbit more of an orange color.
Dialogue: 0,0:40:26.93,0:40:28.98,Default,,0000,0000,0000,,Now that I've got\Nmy first title in,
Dialogue: 0,0:40:28.98,0:40:32.30,Default,,0000,0000,0000,,I can actually use this as a\Nbasis for the rest of the titles
Dialogue: 0,0:40:32.30,0:40:33.75,Default,,0000,0000,0000,,throughout the trailer.
Dialogue: 0,0:40:33.75,0:40:36.02,Default,,0000,0000,0000,,And also, I'm just\Ngoing to do is just copy
Dialogue: 0,0:40:36.02,0:40:39.62,Default,,0000,0000,0000,,and paste the title into\Ndifferent locations.
Dialogue: 0,0:40:39.62,0:40:43.09,Default,,0000,0000,0000,,Let's go to full extent\Nzoom and select the title.
Dialogue: 0,0:40:43.09,0:40:46.95,Default,,0000,0000,0000,,And then I can actually\Nchoose to copy the title just
Dialogue: 0,0:40:46.95,0:40:48.61,Default,,0000,0000,0000,,as I would do anything else.
Dialogue: 0,0:40:48.61,0:40:52.05,Default,,0000,0000,0000,,So Command or Control C\Nis a keyboard shortcut
Dialogue: 0,0:40:52.05,0:40:54.51,Default,,0000,0000,0000,,that you'll probably\Nbe familiar with.
Dialogue: 0,0:40:54.51,0:41:00.12,Default,,0000,0000,0000,,Now I'm going to find\Nthe Maldives shot here.
Dialogue: 0,0:41:00.12,0:41:02.71,Default,,0000,0000,0000,,And I'm going to\Nchoose to paste.
Dialogue: 0,0:41:02.71,0:41:08.46,Default,,0000,0000,0000,,So Edit, Paste, Command\Nor Control V, and Resolve
Dialogue: 0,0:41:08.46,0:41:10.32,Default,,0000,0000,0000,,will actually paste\Ndirectly to the track
Dialogue: 0,0:41:10.32,0:41:12.51,Default,,0000,0000,0000,,from which I've copied from.
Dialogue: 0,0:41:12.51,0:41:16.86,Default,,0000,0000,0000,,Let me just trim that back\Nto the end of that shot
Dialogue: 0,0:41:16.86,0:41:23.33,Default,,0000,0000,0000,,and then change the\Ntitle here to Maldives.
Dialogue: 0,0:41:23.33,0:41:26.94,Default,,0000,0000,0000,,
Dialogue: 0,0:41:26.94,0:41:28.32,Default,,0000,0000,0000,,I'm going to copy that title.
Dialogue: 0,0:41:28.32,0:41:31.05,Default,,0000,0000,0000,,
Dialogue: 0,0:41:31.05,0:41:34.01,Default,,0000,0000,0000,,Paste over the next clip,\Nwhich is the South Pole shot.
Dialogue: 0,0:41:34.01,0:41:41.94,Default,,0000,0000,0000,,
Dialogue: 0,0:41:41.94,0:41:43.56,Default,,0000,0000,0000,,This clip is Alaska.
Dialogue: 0,0:41:43.56,0:41:51.69,Default,,0000,0000,0000,,
Dialogue: 0,0:41:51.69,0:41:54.13,Default,,0000,0000,0000,,And then, of course, Kenya.
Dialogue: 0,0:41:54.13,0:42:01.80,Default,,0000,0000,0000,,
Dialogue: 0,0:42:01.80,0:42:03.84,Default,,0000,0000,0000,,BRIAN TERWILLIGER: --or\Nit didn't make the movie.
Dialogue: 0,0:42:03.84,0:42:06.24,Default,,0000,0000,0000,,It's really important\Nevery shot was original
Dialogue: 0,0:42:06.24,0:42:08.01,Default,,0000,0000,0000,,and that everything was real.
Dialogue: 0,0:42:08.01,0:42:09.93,Default,,0000,0000,0000,,HARRISON FORD: Leave\Nbehind everything
Dialogue: 0,0:42:09.93,0:42:15.43,Default,,0000,0000,0000,,you know about airplanes and\Nprepare to see them again.
Dialogue: 0,0:42:15.43,0:42:16.89,Default,,0000,0000,0000,,CHRIS: Just going\Nto trim that back
Dialogue: 0,0:42:16.89,0:42:18.75,Default,,0000,0000,0000,,a little bit because\Nit was just overlapping
Dialogue: 0,0:42:18.75,0:42:19.98,Default,,0000,0000,0000,,the transition a little bit.
Dialogue: 0,0:42:19.98,0:42:22.68,Default,,0000,0000,0000,,HARRISON FORD: And\Nprepare to see them again.
Dialogue: 0,0:42:22.68,0:42:25.02,Default,,0000,0000,0000,,CHRIS: Don't worry if you\Ncan't play these titles back
Dialogue: 0,0:42:25.02,0:42:26.98,Default,,0000,0000,0000,,in real time immediately.
Dialogue: 0,0:42:26.98,0:42:29.35,Default,,0000,0000,0000,,Depending on the\Npower of your system,
Dialogue: 0,0:42:29.35,0:42:32.28,Default,,0000,0000,0000,,Resolve may need to\Ncache the files prior
Dialogue: 0,0:42:32.28,0:42:35.55,Default,,0000,0000,0000,,to being able to play them back\Nat full quality, in which case,
Dialogue: 0,0:42:35.55,0:42:38.41,Default,,0000,0000,0000,,just let Resolve\Nhave a few seconds
Dialogue: 0,0:42:38.41,0:42:41.48,Default,,0000,0000,0000,,and Resolve will automatically\Ncache the files for you.
Dialogue: 0,0:42:41.48,0:42:44.00,Default,,0000,0000,0000,,You'll notice when\Na file is cached,
Dialogue: 0,0:42:44.00,0:42:46.18,Default,,0000,0000,0000,,because the red\Nline above the title
Dialogue: 0,0:42:46.18,0:42:49.61,Default,,0000,0000,0000,,will turn blue to\Nindicate a cache file.
Dialogue: 0,0:42:49.61,0:42:53.44,Default,,0000,0000,0000,,You should now be able to play\Nyour title back in real time.
Dialogue: 0,0:42:53.44,0:42:56.32,Default,,0000,0000,0000,,Now that I've got this edit\Nready to go, what I want to do
Dialogue: 0,0:42:56.32,0:42:59.93,Default,,0000,0000,0000,,is to be able to play it back\Nfor the client at full screen.
Dialogue: 0,0:42:59.93,0:43:01.75,Default,,0000,0000,0000,,If I just return\Nthe playhead back
Dialogue: 0,0:43:01.75,0:43:03.40,Default,,0000,0000,0000,,to the beginning\Nof the timeline,
Dialogue: 0,0:43:03.40,0:43:07.84,Default,,0000,0000,0000,,from the workspace\Nmenu, we can choose
Dialogue: 0,0:43:07.84,0:43:11.11,Default,,0000,0000,0000,,Viewer Mode, Cinema Viewer.
Dialogue: 0,0:43:11.11,0:43:15.26,Default,,0000,0000,0000,,This will give me a full screen\Nplayback of my entire edit.
Dialogue: 0,0:43:15.26,0:43:17.89,Default,,0000,0000,0000,,BRIAN TERWILLIGER: In this film,\Nmaking a documentary about how
Dialogue: 0,0:43:17.89,0:43:19.60,Default,,0000,0000,0000,,the airplanes\Nchanged the world, it
Dialogue: 0,0:43:19.60,0:43:24.07,Default,,0000,0000,0000,,was really important to go\Nout and shoot the real world.
Dialogue: 0,0:43:24.07,0:43:26.03,Default,,0000,0000,0000,,HARRISON FORD: In\Nthe age of airplanes,
Dialogue: 0,0:43:26.03,0:43:29.13,Default,,0000,0000,0000,,we've become\Nexplorers once again.
Dialogue: 0,0:43:29.13,0:43:31.13,Default,,0000,0000,0000,,BRIAN TERWILLIGER: If\Nit's possible to shoot it,
Dialogue: 0,0:43:31.13,0:43:34.68,Default,,0000,0000,0000,,we wanted to go shoot it.
Dialogue: 0,0:43:34.68,0:43:37.40,Default,,0000,0000,0000,,If we couldn't get the shot\Nor the weather wasn't right,
Dialogue: 0,0:43:37.40,0:43:39.07,Default,,0000,0000,0000,,we would either go\Nback to that location
Dialogue: 0,0:43:39.07,0:43:40.69,Default,,0000,0000,0000,,or it didn't make the movie.
Dialogue: 0,0:43:40.69,0:43:42.97,Default,,0000,0000,0000,,It's really important\Nevery shot was original
Dialogue: 0,0:43:42.97,0:43:44.86,Default,,0000,0000,0000,,and that everything was real.
Dialogue: 0,0:43:44.86,0:43:46.54,Default,,0000,0000,0000,,HARRISON FORD: Leave\Nbehind everything
Dialogue: 0,0:43:46.54,0:43:51.16,Default,,0000,0000,0000,,you know about airplanes and\Nprepare to see them again
Dialogue: 0,0:43:51.16,0:43:52.88,Default,,0000,0000,0000,,for the first time.
Dialogue: 0,0:43:52.88,0:43:56.37,Default,,0000,0000,0000,,[MUSIC PLAYING]
Dialogue: 0,0:43:56.37,0:44:02.35,Default,,0000,0000,0000,,
Dialogue: 0,0:44:02.35,0:44:04.15,Default,,0000,0000,0000,,CHRIS: Just simply\Npress Escape in order
Dialogue: 0,0:44:04.15,0:44:07.57,Default,,0000,0000,0000,,to be able to return\Nback to the interface.
Dialogue: 0,0:44:07.57,0:44:09.89,Default,,0000,0000,0000,,I hope you found\Nthis tutorial useful.
Dialogue: 0,0:44:09.89,0:44:12.31,Default,,0000,0000,0000,,If you've got any further\Nquestions about editing
Dialogue: 0,0:44:12.31,0:44:15.46,Default,,0000,0000,0000,,in Resolve, please feel free to\Njoin us on the Blackmagic Design
Dialogue: 0,0:44:15.46,0:44:16.43,Default,,0000,0000,0000,,forums.
Dialogue: 0,0:44:16.43,0:44:19.12,Default,,0000,0000,0000,,And you can also familiarize\Nyourself with the training
Dialogue: 0,0:44:19.12,0:44:22.60,Default,,0000,0000,0000,,materials that we have available\Non the DaVinci Resolve product
Dialogue: 0,0:44:22.60,0:44:23.51,Default,,0000,0000,0000,,pages.
Dialogue: 0,0:44:23.51,0:44:26.68,Default,,0000,0000,0000,,And all of those materials\Nare available for free.
Dialogue: 0,0:44:26.68,0:44:30.27,Default,,0000,0000,0000,,Thank you very much,\Nand happy editing.
Dialogue: 0,0:44:30.27,0:44:35.00,Default,,0000,0000,0000,,