WEBVTT 00:00:00.000 --> 00:00:03.740 00:00:03.740 --> 00:00:05.960 CHRIS: Hi, I'm Chris, I'm an editor 00:00:05.960 --> 00:00:08.280 and a Blackmagic certified master trainer. 00:00:08.280 --> 00:00:10.880 And today, we're going to continue our exploration 00:00:10.880 --> 00:00:13.230 of editing in DaVinci Resolve. 00:00:13.230 --> 00:00:16.610 Now, following on from the previous video, what we can do 00:00:16.610 --> 00:00:18.320 is just simply open up the project 00:00:18.320 --> 00:00:22.010 and carry on working from where we last left off. 00:00:22.010 --> 00:00:23.730 In the project manager in Resolve, 00:00:23.730 --> 00:00:27.710 just simply double click the Age of Airplanes Trailer. 00:00:27.710 --> 00:00:29.690 This will open up the project at the last point 00:00:29.690 --> 00:00:31.190 that you last left it. 00:00:31.190 --> 00:00:32.600 Now, the first thing that we want 00:00:32.600 --> 00:00:35.780 to do before we make any major changes to this project 00:00:35.780 --> 00:00:38.370 is to duplicate the existing timeline. 00:00:38.370 --> 00:00:40.730 That way, we've always got a backup of the work 00:00:40.730 --> 00:00:42.120 that we've done previously. 00:00:42.120 --> 00:00:44.820 So if we go too far in changing this timeline, 00:00:44.820 --> 00:00:48.110 we can always go back to a previous version. 00:00:48.110 --> 00:00:51.800 Go to the Timelines bin in order to locate your timeline 00:00:51.800 --> 00:00:53.450 that you were just working on. 00:00:53.450 --> 00:00:59.910 Then right click the timeline and choose Duplicate Timeline. 00:00:59.910 --> 00:01:02.940 Now rename this timeline by clicking on the name 00:01:02.940 --> 00:01:05.850 and calling it Version 2. 00:01:05.850 --> 00:01:08.340 And double click the timeline to open it up 00:01:08.340 --> 00:01:10.290 into the timeline window. 00:01:10.290 --> 00:01:13.140 The first thing that we're going to do to this duplicate timeline 00:01:13.140 --> 00:01:15.540 is to add some audio tracks so that we 00:01:15.540 --> 00:01:18.892 can add some voiceover and some sound effects. 00:01:18.892 --> 00:01:24.660 Right click in any of the track headers and choose Add Tracks. 00:01:24.660 --> 00:01:27.930 This allows you to add any number of video and audio tracks 00:01:27.930 --> 00:01:29.740 that you need for your timeline. 00:01:29.740 --> 00:01:32.560 In this case, we don't need to add any video tracks, 00:01:32.560 --> 00:01:34.950 so set the number of video tracks to 0. 00:01:34.950 --> 00:01:39.240 And set the number of audio tracks to 3. 00:01:39.240 --> 00:01:42.790 Insert position is below audio one. 00:01:42.790 --> 00:01:44.520 This is the correct location for where 00:01:44.520 --> 00:01:46.150 we want to add our new tracks. 00:01:46.150 --> 00:01:49.710 And the audio track type is going to be stereo. 00:01:49.710 --> 00:01:52.750 You don't always want stereo as your default track type. 00:01:52.750 --> 00:01:56.470 Instead, you might actually be working with Mono audio. 00:01:56.470 --> 00:01:58.260 In that case though, you can always 00:01:58.260 --> 00:02:00.010 change the track type later. 00:02:00.010 --> 00:02:03.030 So we'll just stick with stereo for the moment. 00:02:03.030 --> 00:02:07.170 Choose Add Tracks to add the three extra audio tracks 00:02:07.170 --> 00:02:08.497 to your timeline. 00:02:08.497 --> 00:02:10.289 The other thing that would be helpful to do 00:02:10.289 --> 00:02:13.050 is actually rename these tracks so that I know what 00:02:13.050 --> 00:02:15.550 type of audio is on each track. 00:02:15.550 --> 00:02:17.280 I'll just make the timeline track 00:02:17.280 --> 00:02:19.290 headers a little bit bigger. 00:02:19.290 --> 00:02:23.400 And I'm going to click on the name for audio track one. 00:02:23.400 --> 00:02:25.413 And I'm going to call this Sync. 00:02:25.413 --> 00:02:28.800 00:02:28.800 --> 00:02:33.450 audio track two, we're going to call this VO. 00:02:33.450 --> 00:02:36.930 audio track three, we'll call SFX, 00:02:36.930 --> 00:02:40.020 as we will in audio track four. 00:02:40.020 --> 00:02:44.550 And finally, audio track five is the music track. 00:02:44.550 --> 00:02:46.800 The other thing that you can do is actually 00:02:46.800 --> 00:02:48.670 color code the audio tracks. 00:02:48.670 --> 00:02:49.930 This makes it easy. 00:02:49.930 --> 00:02:52.140 It's a visual reference so that it's easy 00:02:52.140 --> 00:02:54.270 in order to be able to see the type of audio 00:02:54.270 --> 00:02:55.670 that you're working with. 00:02:55.670 --> 00:02:58.130 There's no need to set specific colors. 00:02:58.130 --> 00:03:01.660 Just go with the colors that you personally think work for you. 00:03:01.660 --> 00:03:05.240 So in this case, I'm going to right click the Sync track. 00:03:05.240 --> 00:03:09.443 And I'm actually going to choose change track color to lime. 00:03:09.443 --> 00:03:13.300 00:03:13.300 --> 00:03:16.330 All of the clips in that track turn to lime. 00:03:16.330 --> 00:03:20.553 For the VO, I'm going to choose track color teal. 00:03:20.553 --> 00:03:24.100 00:03:24.100 --> 00:03:30.640 For the sound effects, I'm going to choose track color brown, 00:03:30.640 --> 00:03:34.630 as I am for the second soundtrack. 00:03:34.630 --> 00:03:38.393 And for the music, I'm going to choose olive. 00:03:38.393 --> 00:03:41.290 00:03:41.290 --> 00:03:45.280 Providing you haven't changed the clip color of the clip 00:03:45.280 --> 00:03:48.020 within its bin or in the timeline, 00:03:48.020 --> 00:03:50.775 it'll inherit the color of the timeline tracks. 00:03:50.775 --> 00:03:52.150 This means it's easy to spot when 00:03:52.150 --> 00:03:53.920 you're looking at the timeline. 00:03:53.920 --> 00:03:56.810 So first thing we need to do is add some voiceover. 00:03:56.810 --> 00:03:58.690 And the first voiceover piece is going 00:03:58.690 --> 00:04:01.760 to go between the first and second piece of interview, 00:04:01.760 --> 00:04:04.190 but obviously on the voiceover track. 00:04:04.190 --> 00:04:07.060 So I'm just going to place the playhead just partway 00:04:07.060 --> 00:04:10.990 into the second video clip. 00:04:10.990 --> 00:04:12.430 I should just resize the timeline 00:04:12.430 --> 00:04:15.080 slightly so that I can see my clips clearly. 00:04:15.080 --> 00:04:17.380 And then from the VO bin, I'm going 00:04:17.380 --> 00:04:22.630 to double click the first of our voiceover tracks, HF VO 1. 00:04:22.630 --> 00:04:24.790 I'll go back to the beginning of this clip 00:04:24.790 --> 00:04:27.850 and have a listen to it. 00:04:27.850 --> 00:04:29.870 HARRISON FORD: In the age of airplanes, 00:04:29.870 --> 00:04:32.460 we've become explorers once again. 00:04:32.460 --> 00:04:35.290 00:04:35.290 --> 00:04:37.220 CHRIS: I'm going to use the top waveform here, 00:04:37.220 --> 00:04:40.060 just to navigate back to the beginning of that piece of voice 00:04:40.060 --> 00:04:42.100 and set the endpoint where I can clearly 00:04:42.100 --> 00:04:43.790 see the voiceover starts. 00:04:43.790 --> 00:04:46.180 And again, I'm going to do the same by adding 00:04:46.180 --> 00:04:49.360 an outpoint at the end of that. 00:04:49.360 --> 00:04:52.140 Now, because I want this to go into audio track two, 00:04:52.140 --> 00:04:54.980 I need to change the targeting from the source 00:04:54.980 --> 00:04:56.990 to the track in the timeline. 00:04:56.990 --> 00:05:00.440 Here, I simply click on the audio two box 00:05:00.440 --> 00:05:06.110 in order to switch the targeting from audio one to audio two. 00:05:06.110 --> 00:05:08.510 Any clips that I now edit into this timeline 00:05:08.510 --> 00:05:12.170 will automatically appear on that audio track. 00:05:12.170 --> 00:05:15.830 For this, all I now need to do is just do a simple overwrite 00:05:15.830 --> 00:05:16.730 edit. 00:05:16.730 --> 00:05:19.310 As before, you can just simply pick the clip up, 00:05:19.310 --> 00:05:21.480 drag it across to the timeline viewer. 00:05:21.480 --> 00:05:25.100 Or Alternatively, you can use the Overwrite button 00:05:25.100 --> 00:05:29.113 at the top of the timeline or use your keyboard shortcut F10. 00:05:29.113 --> 00:05:31.970 00:05:31.970 --> 00:05:33.830 And as you can see, it's already now 00:05:33.830 --> 00:05:36.440 color coded teal, because that was the color coding 00:05:36.440 --> 00:05:38.870 that we set for that track. 00:05:38.870 --> 00:05:40.610 The next piece of voiceover actually 00:05:40.610 --> 00:05:44.190 needs to come after the last bit of sync on A1. 00:05:44.190 --> 00:05:46.170 So I'm going to position my playhead. 00:05:46.170 --> 00:05:48.830 Just after that, select voiceover 2 00:05:48.830 --> 00:05:50.380 from the voiceover bin. 00:05:50.380 --> 00:05:53.550 And I'm just going to have a listen to this. 00:05:53.550 --> 00:05:56.550 HARRISON FORD: For the moment, leave behind everything 00:05:56.550 --> 00:06:00.690 you know about airplanes, anything 00:06:00.690 --> 00:06:05.640 you've heard about their history, every conclusion 00:06:05.640 --> 00:06:08.700 you've drawn from your own experience, 00:06:08.700 --> 00:06:14.100 and prepare to see them again for the first time. 00:06:14.100 --> 00:06:16.600 CHRIS: Now, that clip was actually quite long. 00:06:16.600 --> 00:06:19.320 And because we're making a trailer rather than 00:06:19.320 --> 00:06:21.390 the whole film, we obviously only need 00:06:21.390 --> 00:06:24.990 to use a small part of that voiceover. 00:06:24.990 --> 00:06:28.030 So in this case, we go back to the first piece of waveform, 00:06:28.030 --> 00:06:30.030 and we don't need the first line. 00:06:30.030 --> 00:06:31.570 HARRISON FORD: For the moment. 00:06:31.570 --> 00:06:33.120 CHRIS: We need to start here, just 00:06:33.120 --> 00:06:34.690 after he says for the moment. 00:06:34.690 --> 00:06:36.340 So I'm going to add an endpoint. 00:06:36.340 --> 00:06:38.250 HARRISON FORD: Leave behind everything 00:06:38.250 --> 00:06:40.770 you know about airplanes. 00:06:40.770 --> 00:06:44.400 CHRIS: And an outpoint after that line of dialogue. 00:06:44.400 --> 00:06:46.230 And now I can make an overwrite edit 00:06:46.230 --> 00:06:48.540 into that part of the timeline. 00:06:48.540 --> 00:06:51.330 Now we need to come to the end of the piece of voiceover 00:06:51.330 --> 00:06:54.720 and select in and out points around the last two pieces 00:06:54.720 --> 00:06:57.390 of waveform. 00:06:57.390 --> 00:07:00.360 HARRISON FORD: And prepare to see them again 00:07:00.360 --> 00:07:02.490 for the first time. 00:07:02.490 --> 00:07:03.540 CHRIS: Out point there. 00:07:03.540 --> 00:07:06.060 And again, make an overwrite edit. 00:07:06.060 --> 00:07:09.630 Now, as you can see, sitting with those clips in the timeline 00:07:09.630 --> 00:07:11.950 as they currently are, they're a little bit long, 00:07:11.950 --> 00:07:14.790 so we might just need to refine where those clips are actually 00:07:14.790 --> 00:07:18.480 sitting in terms of the position on the timeline. 00:07:18.480 --> 00:07:20.400 So here, I'm just going to navigate 00:07:20.400 --> 00:07:25.050 my playhead over those clips and use the detail zoom. 00:07:25.050 --> 00:07:27.030 Now the detail zoom in this case has actually 00:07:27.030 --> 00:07:28.720 taken me way too close. 00:07:28.720 --> 00:07:31.380 I can't really see how these clips are actually 00:07:31.380 --> 00:07:33.763 sitting on the timeline with regards 00:07:33.763 --> 00:07:34.930 to the rest of the timeline. 00:07:34.930 --> 00:07:36.640 So I just need to Zoom out a little. 00:07:36.640 --> 00:07:38.970 So I'm going to hold down Command and use the minus 00:07:38.970 --> 00:07:40.890 button, just once or twice just to be 00:07:40.890 --> 00:07:42.990 able to come out a little bit. 00:07:42.990 --> 00:07:45.820 Now the first thing I'm going to do is just move the clips back. 00:07:45.820 --> 00:07:48.490 And I'm actually going to move this interview clip back here 00:07:48.490 --> 00:07:49.930 just so it's a little bit tighter 00:07:49.930 --> 00:07:51.938 with the first section of clips. 00:07:51.938 --> 00:07:54.230 That just gives me a little bit more room to play with. 00:07:54.230 --> 00:07:56.270 Now I can just select those clips, 00:07:56.270 --> 00:07:58.100 just move them back a touch as well. 00:07:58.100 --> 00:08:00.950 Now you'll notice snapping is happening there. 00:08:00.950 --> 00:08:04.090 You can see how it's snapping to the end of the previous video 00:08:04.090 --> 00:08:04.670 clip. 00:08:04.670 --> 00:08:08.120 I'm just going to disable that by pressing N on the keyboard. 00:08:08.120 --> 00:08:11.290 And you can see it's just disabled that briefly, just 00:08:11.290 --> 00:08:12.500 to bring that back. 00:08:12.500 --> 00:08:16.360 And again, I still want to actually contract time 00:08:16.360 --> 00:08:17.480 a little bit more. 00:08:17.480 --> 00:08:21.130 So all I'm going to do here is move the playhead just 00:08:21.130 --> 00:08:24.110 before Harrison's last piece of voiceover there, 00:08:24.110 --> 00:08:28.130 and then use Command or Control B to split that clip. 00:08:28.130 --> 00:08:30.160 Now I can just simply pick that clip up. 00:08:30.160 --> 00:08:32.090 And again, with the snapping off, 00:08:32.090 --> 00:08:34.510 just tighten it up a little bit, just so 00:08:34.510 --> 00:08:37.630 that I've lost a little bit of the time between those two 00:08:37.630 --> 00:08:39.400 pieces of voiceover. 00:08:39.400 --> 00:08:42.340 So that's got the voiceover into the timeline at least. 00:08:42.340 --> 00:08:44.660 There's a few more things that we need to do to this. 00:08:44.660 --> 00:08:46.210 But for the moment, we're going to move on 00:08:46.210 --> 00:08:48.670 and we're going to put some sound effects in and continue 00:08:48.670 --> 00:08:51.040 the editing portion. 00:08:51.040 --> 00:08:53.050 Let's go back to full extent zoom and move 00:08:53.050 --> 00:08:56.530 the playhead over the second clip in the timeline. 00:08:56.530 --> 00:08:58.978 So let's go to the sound effects. 00:08:58.978 --> 00:09:01.270 And you'll see that there is a sound effect here called 00:09:01.270 --> 00:09:04.000 jet taxi. 00:09:04.000 --> 00:09:06.610 Double click that to open into the source. 00:09:06.610 --> 00:09:08.560 Now, the idea here is that we actually 00:09:08.560 --> 00:09:10.840 want to edit this sound effect to just 00:09:10.840 --> 00:09:13.550 the portion of the timeline that we're working in. 00:09:13.550 --> 00:09:16.810 So for this, we're going to add in and out points directly 00:09:16.810 --> 00:09:18.200 to the timeline. 00:09:18.200 --> 00:09:19.900 A quick way of being able to do this 00:09:19.900 --> 00:09:22.300 is make sure your timeline is the active window, 00:09:22.300 --> 00:09:24.670 and press X on the keyboard. 00:09:24.670 --> 00:09:26.870 X will mark the clip. 00:09:26.870 --> 00:09:28.600 Marking a clip will actually put an in 00:09:28.600 --> 00:09:31.990 and an outpoint around the clip at the very start and very end 00:09:31.990 --> 00:09:33.013 frame of the clip. 00:09:33.013 --> 00:09:34.930 So it's a quick way of being able to make sure 00:09:34.930 --> 00:09:38.470 that you're editing one clip to the duration of an existing 00:09:38.470 --> 00:09:39.610 clip. 00:09:39.610 --> 00:09:42.500 We also need to make sure that this audio is ending up 00:09:42.500 --> 00:09:43.732 on the right track. 00:09:43.732 --> 00:09:45.440 So in this case, we're going to make sure 00:09:45.440 --> 00:09:49.760 that the targeting changes from audio two, the voiceover track, 00:09:49.760 --> 00:09:52.640 to audio three. 00:09:52.640 --> 00:09:55.707 And now we're going to perform an overwrite edit. 00:09:55.707 --> 00:09:57.290 Now you may be wondering why we didn't 00:09:57.290 --> 00:09:59.580 set an endpoint in the source viewer. 00:09:59.580 --> 00:10:01.910 The reason why we didn't is because if you 00:10:01.910 --> 00:10:03.950 don't set an in or an out point, it 00:10:03.950 --> 00:10:06.180 will always take the full duration of the clip. 00:10:06.180 --> 00:10:08.660 So in this case, the endpoint is actually 00:10:08.660 --> 00:10:11.960 the implied endpoint at the very beginning of the clip. 00:10:11.960 --> 00:10:14.510 Moving forward, let's move the playhead 00:10:14.510 --> 00:10:17.810 over the shot of the South Pole clip. 00:10:17.810 --> 00:10:22.250 Again, let's press X to mark that clip. 00:10:22.250 --> 00:10:25.593 Choose the SFX prop audio. 00:10:25.593 --> 00:10:28.340 00:10:28.340 --> 00:10:32.300 Double click that to open it up into the source. 00:10:32.300 --> 00:10:35.160 And this time, we will actually set an endpoint. 00:10:35.160 --> 00:10:37.130 We don't need an outpoint because we've already 00:10:37.130 --> 00:10:39.570 got an outpoint directly on the timeline. 00:10:39.570 --> 00:10:41.028 However, by setting an endpoint, it 00:10:41.028 --> 00:10:43.237 means that we're not going to use the very first part 00:10:43.237 --> 00:10:44.010 of the clip. 00:10:44.010 --> 00:10:46.640 And you always want to leave a little bit of footage 00:10:46.640 --> 00:10:48.630 before and after in and outpoints, 00:10:48.630 --> 00:10:51.680 just to give you a little bit of wiggle room on the timeline. 00:10:51.680 --> 00:10:54.050 So I'm just going to mark a portion of the wave 00:10:54.050 --> 00:10:57.590 where it looks a reasonable amount, maybe here 00:10:57.590 --> 00:10:59.130 towards the middle of the wave. 00:10:59.130 --> 00:11:01.700 So I'm going to set an endpoint there, and again, 00:11:01.700 --> 00:11:04.745 make an overwrite edit directly onto the timeline. 00:11:04.745 --> 00:11:07.370 Because the playhead has moved to the end of the clip I've just 00:11:07.370 --> 00:11:09.268 edited into the timeline, you'll see 00:11:09.268 --> 00:11:11.810 it's actually on the first frame of the next shot, the Alaska 00:11:11.810 --> 00:11:12.420 shot. 00:11:12.420 --> 00:11:16.310 So all I now need to do is press X to mark that clip. 00:11:16.310 --> 00:11:21.860 And now I can actually go to the sound effects for distant prop. 00:11:21.860 --> 00:11:24.150 Double click that to open it up into the source. 00:11:24.150 --> 00:11:26.660 And again, use the waveform so that you're not 00:11:26.660 --> 00:11:28.670 using the beginning part of this waveform 00:11:28.670 --> 00:11:31.310 here, somewhere around about the middle. 00:11:31.310 --> 00:11:32.880 Mark an endpoint. 00:11:32.880 --> 00:11:35.480 And now we need to choose the track that we actually 00:11:35.480 --> 00:11:37.350 want this clip to appear on. 00:11:37.350 --> 00:11:41.303 And in this case, we actually need to have it edited onto A4. 00:11:41.303 --> 00:11:44.190 00:11:44.190 --> 00:11:47.250 And again, overwrite edit. 00:11:47.250 --> 00:11:49.360 Mark the next clip. 00:11:49.360 --> 00:11:53.400 Switch the audio targeting back to A3. 00:11:53.400 --> 00:11:57.630 And in this case, we're going to use sound effect for light wind. 00:11:57.630 --> 00:11:58.960 Double click that. 00:11:58.960 --> 00:12:01.320 Choose a portion of whichever part of the sound effect 00:12:01.320 --> 00:12:06.570 that you want and edit that into A3. 00:12:06.570 --> 00:12:08.910 Understanding how you're using these editing functions 00:12:08.910 --> 00:12:10.470 is very useful to ensure that you 00:12:10.470 --> 00:12:14.890 get the audio to sit at the right point on the timeline 00:12:14.890 --> 00:12:18.130 so that it's accompanying the right piece of video. 00:12:18.130 --> 00:12:20.560 Move your playhead back to the third clip. 00:12:20.560 --> 00:12:22.750 This is the shot of the jet taking off. 00:12:22.750 --> 00:12:25.120 Press X to mark that clip. 00:12:25.120 --> 00:12:28.920 Change the track targeting to A4. 00:12:28.920 --> 00:12:34.860 And find the clip called SFX Jet Takeoff. 00:12:34.860 --> 00:12:37.480 Double click that to open it into the source. 00:12:37.480 --> 00:12:39.010 Now, at the moment, what we've been 00:12:39.010 --> 00:12:41.120 doing is in all of the source clips, 00:12:41.120 --> 00:12:44.680 we've been adding endpoints to the start of the clip where we 00:12:44.680 --> 00:12:46.790 want the sound effect to start. 00:12:46.790 --> 00:12:50.200 But what we can also do is what we call a back-timed edit, which 00:12:50.200 --> 00:12:54.670 is very useful when you know where you want a clip to end. 00:12:54.670 --> 00:12:58.730 Set an outpoint towards the tail end of this, 00:12:58.730 --> 00:13:02.860 fade out of this jet sound. 00:13:02.860 --> 00:13:06.110 And now when I perform the standard overwrite edit, 00:13:06.110 --> 00:13:09.620 it will actually back time the sound effect into the timeline. 00:13:09.620 --> 00:13:14.440 So now it'll sound as though the plane is actually leaving shot. 00:13:14.440 --> 00:13:18.520 We can actually do something similar with the final shot. 00:13:18.520 --> 00:13:21.590 Move the playhead to the last shot in this sequence. 00:13:21.590 --> 00:13:24.950 Press X in order to be able to mark the clip. 00:13:24.950 --> 00:13:27.010 And because we pretty much leave this shot 00:13:27.010 --> 00:13:29.240 as the plane is directly overhead, 00:13:29.240 --> 00:13:32.110 it actually makes sense to take a slightly earlier part 00:13:32.110 --> 00:13:34.750 of the outpoint for the clip. 00:13:34.750 --> 00:13:38.980 So I'm going to set an outpoint just as the audio starts 00:13:38.980 --> 00:13:40.900 to fade away. 00:13:40.900 --> 00:13:44.470 And again, making sure I'm editing on to audio four, 00:13:44.470 --> 00:13:47.560 I make an overwrite edit. 00:13:47.560 --> 00:13:49.300 Now, from the previous video, you'll 00:13:49.300 --> 00:13:52.100 also remember that we not only had overwrite edits, 00:13:52.100 --> 00:13:54.350 but we had other sorts of edits as well. 00:13:54.350 --> 00:13:57.380 One of those edits that we explored was the replace edit. 00:13:57.380 --> 00:14:00.010 And you can actually use the replace edit to good effect 00:14:00.010 --> 00:14:03.100 here in the timeline in order to be able to synchronize 00:14:03.100 --> 00:14:05.430 sound and picture together. 00:14:05.430 --> 00:14:07.930 Move your playhead to the fourth clip in the timeline, which 00:14:07.930 --> 00:14:11.560 is the shot of the water plane coming overhead in the Maldives. 00:14:11.560 --> 00:14:16.270 Find the point on your timeline where the plane is just probably 00:14:16.270 --> 00:14:19.300 about halfway in shot. 00:14:19.300 --> 00:14:21.880 In the sound effects bin, find the sound effect 00:14:21.880 --> 00:14:24.220 called SFX Overhead. 00:14:24.220 --> 00:14:27.880 Double click to open that in the source viewer. 00:14:27.880 --> 00:14:29.560 Now, you can see from this waveform 00:14:29.560 --> 00:14:33.770 here, as we have this very high spike in the waveform where 00:14:33.770 --> 00:14:35.798 the plane is at its closest. 00:14:35.798 --> 00:14:37.340 What we're going to do is we're going 00:14:37.340 --> 00:14:41.120 to use that as a reference point for this point in the timeline 00:14:41.120 --> 00:14:43.860 where the plane is directly overhead. 00:14:43.860 --> 00:14:46.470 So make sure in the source viewer, 00:14:46.470 --> 00:14:50.150 you actually position the playhead 00:14:50.150 --> 00:14:53.540 as close to the center of that waveform as possible. 00:14:53.540 --> 00:14:56.330 Let's target audio three for this. 00:14:56.330 --> 00:14:59.670 Then simply make a replace edit in whichever way you want. 00:14:59.670 --> 00:15:04.010 In this case, I'm going to click the replace button. 00:15:04.010 --> 00:15:05.840 And you can see that the clip is actually 00:15:05.840 --> 00:15:08.780 timed so that the height of the waveform 00:15:08.780 --> 00:15:12.080 actually is now synchronized with the actual plane passing 00:15:12.080 --> 00:15:13.460 overhead. 00:15:13.460 --> 00:15:15.440 In order to appreciate this, I'm just 00:15:15.440 --> 00:15:19.490 going to simply mute the music track by pressing the M mute 00:15:19.490 --> 00:15:23.540 button, and then use the forward key in order 00:15:23.540 --> 00:15:26.810 to be able to preview that part of the timeline. 00:15:26.810 --> 00:15:28.760 [PLANE WHIRRING] 00:15:28.760 --> 00:15:31.610 00:15:31.610 --> 00:15:34.830 So, now that we've got the audio in the timeline, 00:15:34.830 --> 00:15:37.400 it's time to start to think about the audio mix 00:15:37.400 --> 00:15:38.990 for this trailer. 00:15:38.990 --> 00:15:40.760 So the first thing that we want to do 00:15:40.760 --> 00:15:43.380 is actually to sort out the dialogue tracks. 00:15:43.380 --> 00:15:46.070 So in this case, I'm not interested in the sound effects 00:15:46.070 --> 00:15:48.600 or the music tracks just for the moment. 00:15:48.600 --> 00:15:50.870 So I'm just going to mute all of the tracks 00:15:50.870 --> 00:15:53.660 that I'm not interested in. 00:15:53.660 --> 00:15:57.720 And now I can turn my attention directly to the dialogue. 00:15:57.720 --> 00:16:00.890 And arguably, the dialogue is usually the most important piece 00:16:00.890 --> 00:16:02.840 of audio within your timeline. 00:16:02.840 --> 00:16:05.480 Because unless we can actually hear and understand 00:16:05.480 --> 00:16:07.880 what's being said, there's really no point 00:16:07.880 --> 00:16:10.580 in us actually listening. 00:16:10.580 --> 00:16:13.290 In order to monitor the audio in the timeline, 00:16:13.290 --> 00:16:16.130 the best thing to bring up is the audio mixer. 00:16:16.130 --> 00:16:18.660 From the top right hand corner of the interface, 00:16:18.660 --> 00:16:20.750 just click the mixer button to bring up 00:16:20.750 --> 00:16:22.580 the mixer in the timeline. 00:16:22.580 --> 00:16:25.670 You can then open the mixer out in order 00:16:25.670 --> 00:16:29.550 to be able to reveal all of the controls for each of the tracks. 00:16:29.550 --> 00:16:32.160 If you're working on a laptop or a display that's actually 00:16:32.160 --> 00:16:35.670 quite small, you may want to hide the media pool, just 00:16:35.670 --> 00:16:37.680 to give you a little bit more room in order 00:16:37.680 --> 00:16:39.210 to be able to work. 00:16:39.210 --> 00:16:42.840 So in the top left hand corner, click the Media Pool button 00:16:42.840 --> 00:16:44.910 to hide the media pool. 00:16:44.910 --> 00:16:47.760 Now, to begin with, we just need to look at the levels 00:16:47.760 --> 00:16:52.020 and also the audio channels being used in the timeline. 00:16:52.020 --> 00:16:53.590 From the beginning of the timeline, 00:16:53.590 --> 00:16:56.035 I'm just going to play the first part of this interview. 00:16:56.035 --> 00:16:57.660 BRIAN TERWILLIGER: In this film, making 00:16:57.660 --> 00:17:00.190 a documentary about how the airplanes changed the world-- 00:17:00.190 --> 00:17:02.680 CHRIS: As a quick rule of thumb, for dialogue, 00:17:02.680 --> 00:17:04.650 you generally want your audio levels 00:17:04.650 --> 00:17:07.750 to be around about that yellow area on the meters. 00:17:07.750 --> 00:17:09.990 So that's something to aim for. 00:17:09.990 --> 00:17:13.170 Also, you noticed, as I play this back, 00:17:13.170 --> 00:17:17.680 that there's actually two audio channels in this clip. 00:17:17.680 --> 00:17:20.819 BRIAN TERWILLIGER: It was really important to go out and shoot 00:17:20.819 --> 00:17:22.170 the real world. 00:17:22.170 --> 00:17:25.109 CHRIS: This indicates that this clip is stereo. 00:17:25.109 --> 00:17:28.250 And it's actually sitting within a stereo track. 00:17:28.250 --> 00:17:31.480 For most dialogue clips, and that's pretty much anything 00:17:31.480 --> 00:17:33.730 that's shot on a camera, you will probably 00:17:33.730 --> 00:17:36.580 want to work with mono Audio. 00:17:36.580 --> 00:17:39.550 In actual fact, let's play the Harrison Ford clip 00:17:39.550 --> 00:17:41.830 and let's see the difference here. 00:17:41.830 --> 00:17:44.230 HARRISON FORD: In the age of airplanes, 00:17:44.230 --> 00:17:47.740 we've become explorers once again. 00:17:47.740 --> 00:17:49.270 CHRIS: Well, first of all, you'll 00:17:49.270 --> 00:17:51.400 see that the Harrison Ford clip is nicely 00:17:51.400 --> 00:17:53.840 sat within that yellow area of the meters. 00:17:53.840 --> 00:17:56.510 However, it's what we call one-legged. 00:17:56.510 --> 00:17:59.920 It's coming out of only one channel of our output. 00:17:59.920 --> 00:18:02.840 Well, we don't want that for Harrison Ford. 00:18:02.840 --> 00:18:04.690 And the reason for that is that we 00:18:04.690 --> 00:18:07.900 want to actually have this as mono audio, which 00:18:07.900 --> 00:18:10.630 is a single audio channel actually sitting 00:18:10.630 --> 00:18:13.310 within a mono track in the timeline. 00:18:13.310 --> 00:18:15.560 So that's the other general rule. 00:18:15.560 --> 00:18:17.930 If you've got dialogue in the timeline, 00:18:17.930 --> 00:18:20.650 ideally, it should be mono, and ideally, it 00:18:20.650 --> 00:18:22.580 should be sat on a mono track. 00:18:22.580 --> 00:18:24.880 And thankfully, Resolve enables me 00:18:24.880 --> 00:18:27.490 to change the track type very easily 00:18:27.490 --> 00:18:29.090 and without too much fuss. 00:18:29.090 --> 00:18:31.180 So there's no problem if you get things slightly 00:18:31.180 --> 00:18:34.390 wrong or confused because you can always put it right a little 00:18:34.390 --> 00:18:36.910 bit later on in the process. 00:18:36.910 --> 00:18:41.020 Also, I'm going to do is right click on the VO audio track 00:18:41.020 --> 00:18:47.170 header and choose Change Track Type to mono. 00:18:47.170 --> 00:18:50.770 And you'll see the little 2.0 indicator has now 00:18:50.770 --> 00:18:54.250 changed to a 1.0 indicator, which indicates now 00:18:54.250 --> 00:18:55.616 that this is a mono track. 00:18:55.616 --> 00:18:58.930 00:18:58.930 --> 00:19:01.260 Playing Harrison Ford's voiceover back here-- 00:19:01.260 --> 00:19:03.010 HARRISON FORD: In the age of airplanes-- 00:19:03.010 --> 00:19:05.650 CHRIS: --now shows me I've got a mono 00:19:05.650 --> 00:19:07.880 track with mono audio in it. 00:19:07.880 --> 00:19:11.260 And it's now playing out of both audio channels 00:19:11.260 --> 00:19:12.500 from this timeline. 00:19:12.500 --> 00:19:16.960 We can also do the same sort of thing with the interview audio 00:19:16.960 --> 00:19:17.900 as well. 00:19:17.900 --> 00:19:21.860 So I can now right click the Sync audio track header, 00:19:21.860 --> 00:19:24.700 choose change track type to mono. 00:19:24.700 --> 00:19:27.650 00:19:27.650 --> 00:19:29.150 And now when I play that-- 00:19:29.150 --> 00:19:31.040 BRIAN TERWILLIGER: In this film, making a documentary about how 00:19:31.040 --> 00:19:32.750 the airplanes changed the world, it 00:19:32.750 --> 00:19:37.110 was really important to go out and shoot the real world. 00:19:37.110 --> 00:19:39.210 CHRIS: I've now got mono audio. 00:19:39.210 --> 00:19:41.730 Now, Resolve hasn't done anything too clever here. 00:19:41.730 --> 00:19:45.080 All it's just done is simply take the first audio channel 00:19:45.080 --> 00:19:46.620 from the clip in the timeline. 00:19:46.620 --> 00:19:48.840 So that clip is still stereo. 00:19:48.840 --> 00:19:51.090 If I was to move it into a stereo track, 00:19:51.090 --> 00:19:53.190 I would still get the stereo audio. 00:19:53.190 --> 00:19:55.500 But because it's playing in a mono track, 00:19:55.500 --> 00:19:57.930 only the first audio channel is being used. 00:19:57.930 --> 00:20:00.480 And in this case, that's what I want to use. 00:20:00.480 --> 00:20:02.810 If you do need to change the audio channel 00:20:02.810 --> 00:20:04.760 configuration of a clip, though, you 00:20:04.760 --> 00:20:07.130 can always right click it in the timeline 00:20:07.130 --> 00:20:11.060 and choose Clip Attributes. 00:20:11.060 --> 00:20:15.120 And in the Audio tab, you can actually change the format. 00:20:15.120 --> 00:20:19.250 So in this case, we can actually switch from stereo to mono, 00:20:19.250 --> 00:20:22.190 and then choose the embedded audio channel that we 00:20:22.190 --> 00:20:25.160 want for that mono clip. 00:20:25.160 --> 00:20:27.750 Now that I've got my audio channel sorted out, 00:20:27.750 --> 00:20:31.340 I can actually now start thinking about the levels that 00:20:31.340 --> 00:20:32.660 need to be set. 00:20:32.660 --> 00:20:35.990 And it depends where you need to deliver your audio too as 00:20:35.990 --> 00:20:38.400 to what levels that you should be aiming for. 00:20:38.400 --> 00:20:41.030 However, as a good rule of thumb, 00:20:41.030 --> 00:20:45.650 around about the minus 12 DBFS on the main output meter 00:20:45.650 --> 00:20:48.000 is probably something good to aim for. 00:20:48.000 --> 00:20:51.000 You can also listen to the audio as well. 00:20:51.000 --> 00:20:53.010 Just make sure you're happy with the mix. 00:20:53.010 --> 00:20:56.930 The main thing is, can you hear the different elements, 00:20:56.930 --> 00:20:59.760 making sure that one element does not swamp another. 00:20:59.760 --> 00:21:02.010 I'm going to go back to the beginning of the timeline. 00:21:02.010 --> 00:21:04.560 And I'm just going to play Brian's interview. 00:21:04.560 --> 00:21:06.875 So I'm just going to play the audio on the sync track. 00:21:06.875 --> 00:21:09.500 BRIAN TERWILLIGER: In this film, making a documentary about how 00:21:09.500 --> 00:21:11.070 the airplane's changed the world, 00:21:11.070 --> 00:21:15.570 it was really important to go out and shoot the real world. 00:21:15.570 --> 00:21:17.060 CHRIS: Now, the problem with that 00:21:17.060 --> 00:21:19.830 is there are parts of that audio clip that are actually 00:21:19.830 --> 00:21:20.830 quite loud. 00:21:20.830 --> 00:21:23.260 And there are parts that are a little bit quiet. 00:21:23.260 --> 00:21:27.240 And really, what I want to do is I want to balance the audio 00:21:27.240 --> 00:21:29.800 so that it's roughly the same level throughout. 00:21:29.800 --> 00:21:31.920 The one thing that I want to avoid 00:21:31.920 --> 00:21:35.850 is my audience having to constantly raise or lower 00:21:35.850 --> 00:21:38.650 their volume control for their speakers or their headphones 00:21:38.650 --> 00:21:40.270 as they're watching this video. 00:21:40.270 --> 00:21:43.980 I need to present everything at a consistent level. 00:21:43.980 --> 00:21:47.340 Let's just zoom in on this clip just to have a look. 00:21:47.340 --> 00:21:49.600 So I'm going to click the Detail Zoom button. 00:21:49.600 --> 00:21:51.450 And I'm also going to make the audio track 00:21:51.450 --> 00:21:53.460 height a little bit bigger. 00:21:53.460 --> 00:21:55.560 And now having seen the waveform, 00:21:55.560 --> 00:21:58.950 you can actually see where there are certain loud spikes 00:21:58.950 --> 00:22:00.900 in the waveform and where everything starts 00:22:00.900 --> 00:22:02.670 to get a little bit quiet. 00:22:02.670 --> 00:22:04.290 What we can do is we can actually 00:22:04.290 --> 00:22:07.530 start to balance out this so that he starts off at one level 00:22:07.530 --> 00:22:10.110 and continues at roughly the same level. 00:22:10.110 --> 00:22:11.730 In order to be able to do this, we 00:22:11.730 --> 00:22:14.710 need to add keyframes to the volume curve. 00:22:14.710 --> 00:22:17.280 An easy and quick way to be able to add keyframes 00:22:17.280 --> 00:22:19.890 is actually to hold down the Option or Alt key 00:22:19.890 --> 00:22:22.860 when you click on the volume curve in the timeline. 00:22:22.860 --> 00:22:24.720 So here, I'm just going to hold down 00:22:24.720 --> 00:22:28.000 the Option key when I click on this part of the timeline 00:22:28.000 --> 00:22:31.890 just after this first spike in the waveform here. 00:22:31.890 --> 00:22:35.190 I'm going to add a second keyframe by holding down option 00:22:35.190 --> 00:22:39.540 again and clicking once again on the volume curve. 00:22:39.540 --> 00:22:43.240 This now means that I can erase this part of the curve 00:22:43.240 --> 00:22:46.590 so that it's roughly in line with this first peak 00:22:46.590 --> 00:22:48.450 of the audio here. 00:22:48.450 --> 00:22:50.503 If I go back to the beginning and preview this. 00:22:50.503 --> 00:22:52.920 BRIAN TERWILLIGER: In this, making a documentary about how 00:22:52.920 --> 00:22:54.630 the airplanes changed the world, it 00:22:54.630 --> 00:22:59.430 was really important to go out and shoot the real world. 00:22:59.430 --> 00:23:01.230 CHRIS: As you can see, the audio is now 00:23:01.230 --> 00:23:04.000 more consistent along the duration of the clip. 00:23:04.000 --> 00:23:06.480 However, it's probably a little bit too hot. 00:23:06.480 --> 00:23:08.880 Now, the main thing I'm interested in is making sure 00:23:08.880 --> 00:23:10.410 that all of the clips at this point 00:23:10.410 --> 00:23:13.830 are on the same audio track are balanced, to be roughly 00:23:13.830 --> 00:23:15.190 around the same level. 00:23:15.190 --> 00:23:17.390 They don't have to be the right level, 00:23:17.390 --> 00:23:19.100 they just have to be consistent. 00:23:19.100 --> 00:23:22.880 And one way we can do that is we can normalize the audio. 00:23:22.880 --> 00:23:25.060 What this will do is it will actually 00:23:25.060 --> 00:23:28.480 calculate a change in the audio curve 00:23:28.480 --> 00:23:31.750 based on the peak level of the clips. 00:23:31.750 --> 00:23:34.360 See how we can do that. 00:23:34.360 --> 00:23:36.255 I'm just going to select these audio clips. 00:23:36.255 --> 00:23:40.540 Right click and choose Normalize Audio Levels. 00:23:40.540 --> 00:23:42.730 There are a number of different normalization modes 00:23:42.730 --> 00:23:43.490 to choose from. 00:23:43.490 --> 00:23:45.130 But Sample Peak program is probably 00:23:45.130 --> 00:23:47.050 the simplest one to use. 00:23:47.050 --> 00:23:51.590 The minus 9 DBFS level is a good starting point for this. 00:23:51.590 --> 00:23:54.320 Again, this will actually normalize the peak levels. 00:23:54.320 --> 00:23:58.390 So, by having it set to minus 9 is the upper part 00:23:58.390 --> 00:24:01.720 of that yellow area on the meters. 00:24:01.720 --> 00:24:03.460 And we also want to make sure that we 00:24:03.460 --> 00:24:06.010 set this to be independent so that it will 00:24:06.010 --> 00:24:08.620 treat each clip on its own. 00:24:08.620 --> 00:24:11.050 Now we can choose to normalize in order 00:24:11.050 --> 00:24:14.425 to be able to normalize the clips to roughly the same level. 00:24:14.425 --> 00:24:17.270 00:24:17.270 --> 00:24:18.520 If I just play this clip here. 00:24:18.520 --> 00:24:19.895 BRIAN TERWILLIGER: If we couldn't 00:24:19.895 --> 00:24:21.873 get the shot or the weather wasn't right, 00:24:21.873 --> 00:24:23.540 we would either go back to that location 00:24:23.540 --> 00:24:25.190 or it didn't make the movie. 00:24:25.190 --> 00:24:27.620 It was really important every shot was original 00:24:27.620 --> 00:24:29.570 and that everything was real. 00:24:29.570 --> 00:24:33.170 CHRIS: So each of those clips is now roughly the same level. 00:24:33.170 --> 00:24:35.690 In order to bring the first clip into line 00:24:35.690 --> 00:24:38.430 as well, what we can do is we can just preview that. 00:24:38.430 --> 00:24:41.270 And if we need to, we can actually just nudge the audio 00:24:41.270 --> 00:24:42.210 up or down. 00:24:42.210 --> 00:24:44.472 So selecting that clip and playing through. 00:24:44.472 --> 00:24:47.180 BRIAN TERWILLIGER: In this film, making a documentary about how-- 00:24:47.180 --> 00:24:51.080 CHRIS: I can use Option Command minus just 00:24:51.080 --> 00:24:55.865 to be able to nudge that down one DB at a time. 00:24:55.865 --> 00:24:58.490 BRIAN TERWILLIGER: In this film, making a documentary about how 00:24:58.490 --> 00:25:00.200 the airplanes changed the world, it 00:25:00.200 --> 00:25:04.225 was really important to go out and shoot the real world. 00:25:04.225 --> 00:25:05.600 CHRIS: And that's brought it more 00:25:05.600 --> 00:25:07.832 in line with the rest of the audio on that track. 00:25:07.832 --> 00:25:09.290 Now, the next thing I want to do is 00:25:09.290 --> 00:25:10.800 to do pretty much the same thing, 00:25:10.800 --> 00:25:13.350 but with the audio from the voiceover. 00:25:13.350 --> 00:25:15.963 However, because this was recorded in a studio, 00:25:15.963 --> 00:25:17.630 it's much more consistent than something 00:25:17.630 --> 00:25:21.210 that was recorded on location in an interview situation. 00:25:21.210 --> 00:25:23.150 So what I'm just going to do here 00:25:23.150 --> 00:25:26.678 is actually just adjust the clips as appropriate. 00:25:26.678 --> 00:25:28.970 So I'm going to select the first clip, play it through. 00:25:28.970 --> 00:25:31.580 HARRISON FORD: In the age of airplanes, 00:25:31.580 --> 00:25:34.107 we've become explorers once again. 00:25:34.107 --> 00:25:36.440 CHRIS: So what I've just done is just adjusted that clip 00:25:36.440 --> 00:25:38.810 not by very much, just by a couple of DB, just 00:25:38.810 --> 00:25:40.820 to increase the level slightly, to keep 00:25:40.820 --> 00:25:43.070 it consistent with the rest of the audio 00:25:43.070 --> 00:25:45.380 in the speech for the dialogue. 00:25:45.380 --> 00:25:47.180 HARRISON FORD: Leave behind everything 00:25:47.180 --> 00:25:52.190 you know about airplanes and prepare to see them again 00:25:52.190 --> 00:25:54.230 for the first time. 00:25:54.230 --> 00:25:58.580 CHRIS: And I'll probably just lower that end clip there a DB 00:25:58.580 --> 00:26:03.110 and then maybe just bring this first clip up single DB. 00:26:03.110 --> 00:26:05.060 HARRISON FORD: Leave behind everything 00:26:05.060 --> 00:26:09.860 you know about airplanes and prepare to see them again 00:26:09.860 --> 00:26:11.710 yen for the first time. 00:26:11.710 --> 00:26:15.010 CHRIS: So that now means that the dialogue has been balanced. 00:26:15.010 --> 00:26:18.040 I can now turn my attention to some of these sound effects, 00:26:18.040 --> 00:26:20.658 start to integrate them into the trailer. 00:26:20.658 --> 00:26:22.950 First of all, I'm just going to make the timeline track 00:26:22.950 --> 00:26:25.680 heights a little bit shorter, just so that I can concentrate 00:26:25.680 --> 00:26:27.960 on each of these clips. 00:26:27.960 --> 00:26:29.460 Now, the first thing I'm going to do 00:26:29.460 --> 00:26:33.460 is I'm going to unmute audio tracks three and four. 00:26:33.460 --> 00:26:35.760 But I am going to mute the dialogue tracks, 00:26:35.760 --> 00:26:39.040 so that's audio track one and audio track two. 00:26:39.040 --> 00:26:42.220 Again, the idea here is to be consistent. 00:26:42.220 --> 00:26:45.000 Don't worry if the sounds are too high or too low, 00:26:45.000 --> 00:26:48.000 just to make sure they're roughly the same level. 00:26:48.000 --> 00:26:50.110 So I'm going to play these through. 00:26:50.110 --> 00:26:53.568 [PLANE WHIRRING] 00:26:53.568 --> 00:27:24.210 00:27:24.210 --> 00:27:25.740 OK, so first thing I'm going to do 00:27:25.740 --> 00:27:29.110 is just make sure I've got the levels roughly the same. 00:27:29.110 --> 00:27:33.630 So I'm actually going to increase this one here 00:27:33.630 --> 00:27:37.090 and this one here, this one here. 00:27:37.090 --> 00:27:40.090 Now it might seem slightly counter-intuitive. 00:27:40.090 --> 00:27:42.550 Why would I be increasing audio levels? 00:27:42.550 --> 00:27:44.100 But again, this is just to make sure 00:27:44.100 --> 00:27:46.570 that they're balanced across the different clips 00:27:46.570 --> 00:27:47.770 and they're consistent. 00:27:47.770 --> 00:27:51.150 Because once I've done that, I can now bring the levels 00:27:51.150 --> 00:27:53.550 down using the track faders. 00:27:53.550 --> 00:27:55.300 Let's just go back to the beginning here. 00:27:55.300 --> 00:27:56.620 Just play this through. 00:27:56.620 --> 00:28:00.092 [PLANE WHIRRING] 00:28:00.092 --> 00:28:29.410 00:28:29.410 --> 00:28:32.650 So I'll just need to just pull this level down a little 00:28:32.650 --> 00:28:35.590 bit just to keep it in line. 00:28:35.590 --> 00:28:36.595 That's better. 00:28:36.595 --> 00:28:39.990 [PLANE WHIRRING] 00:28:39.990 --> 00:28:42.910 00:28:42.910 --> 00:28:46.880 So that's how easy it is to start mixing your audio. 00:28:46.880 --> 00:28:49.670 You could have individual levels for each of the clips. 00:28:49.670 --> 00:28:50.720 Nothing wrong with that. 00:28:50.720 --> 00:28:52.540 But it just means that using the mixer 00:28:52.540 --> 00:28:55.450 and using the track level sliders just makes mixing 00:28:55.450 --> 00:28:57.112 just that awful lot easier. 00:28:57.112 --> 00:28:58.570 Now, the only other thing I'm going 00:28:58.570 --> 00:29:00.028 to do with these sound effect clips 00:29:00.028 --> 00:29:03.290 is just create little fades between each clip. 00:29:03.290 --> 00:29:05.090 This will just help the transition 00:29:05.090 --> 00:29:08.120 from one audio clip to another. 00:29:08.120 --> 00:29:11.240 Let's go to detail zoom on the first clip. 00:29:11.240 --> 00:29:13.070 And what we can do, first of all, 00:29:13.070 --> 00:29:15.770 is we can actually just apply a little audio fade 00:29:15.770 --> 00:29:20.180 at the beginning and end of each of these clips. 00:29:20.180 --> 00:29:21.750 Just a little fade like that. 00:29:21.750 --> 00:29:24.140 And then I can trim the end of the clip 00:29:24.140 --> 00:29:28.340 out so that it overlaps the underlying clip on the lower 00:29:28.340 --> 00:29:29.400 audio track. 00:29:29.400 --> 00:29:32.990 So this will now crossfade those two clips together. 00:29:32.990 --> 00:29:38.198 I can also slip this clip just like I can do with a video 00:29:38.198 --> 00:29:39.740 in order to give me a little bit more 00:29:39.740 --> 00:29:42.230 handle the beginning here, so that I can just 00:29:42.230 --> 00:29:45.830 lengthen that clip from the very beginning. 00:29:45.830 --> 00:29:49.320 Just a tiny little overlap of the audio is always useful. 00:29:49.320 --> 00:29:51.180 You want to be careful it's not too long, 00:29:51.180 --> 00:29:52.670 but it will just indicate there's 00:29:52.670 --> 00:29:54.030 a change of picture coming. 00:29:54.030 --> 00:29:59.030 Just anticipate that in the audience's mind. 00:29:59.030 --> 00:30:01.230 I'm going to continue scrolling through here. 00:30:01.230 --> 00:30:04.520 And I'm going to continue adding little audio fades on each 00:30:04.520 --> 00:30:05.290 of these clips. 00:30:05.290 --> 00:30:15.560 00:30:15.560 --> 00:30:16.915 An audio fade out there. 00:30:16.915 --> 00:30:19.760 00:30:19.760 --> 00:30:22.490 Once again, I'm going to do the same technique as before 00:30:22.490 --> 00:30:24.140 with this South Pole audio. 00:30:24.140 --> 00:30:27.210 Tiny, little fade in at the beginning. 00:30:27.210 --> 00:30:30.350 00:30:30.350 --> 00:30:32.980 Just to anticipate the picture change there. 00:30:32.980 --> 00:30:37.370 00:30:37.370 --> 00:30:38.790 And fade out there. 00:30:38.790 --> 00:30:42.210 And I'll just bring the other one, the subsequent shot, 00:30:42.210 --> 00:30:43.880 bring that in. 00:30:43.880 --> 00:30:46.315 Finally, just a couple more to do here. 00:30:46.315 --> 00:30:50.750 00:30:50.750 --> 00:30:51.820 That audio fades. 00:30:51.820 --> 00:31:04.830 00:31:04.830 --> 00:31:08.310 And finally, I'm just going to lengthen that last clip 00:31:08.310 --> 00:31:12.110 just so that it tails out right underneath those titles there. 00:31:12.110 --> 00:31:15.840 00:31:15.840 --> 00:31:18.670 So now, when I just play that last bit. 00:31:18.670 --> 00:31:22.051 [PLANE WHIRRING] 00:31:22.051 --> 00:31:28.830 00:31:28.830 --> 00:31:31.830 And the sound of the airplane dies away slightly. 00:31:31.830 --> 00:31:35.190 Now you may be wondering why I haven't added audio transitions 00:31:35.190 --> 00:31:36.250 between those clips. 00:31:36.250 --> 00:31:38.500 And that's another way of being able to work. 00:31:38.500 --> 00:31:41.250 However, I often find that these audio fades 00:31:41.250 --> 00:31:44.490 are much more accurate than the audio transitions 00:31:44.490 --> 00:31:46.080 that you might be using. 00:31:46.080 --> 00:31:49.590 The last element of this audio mix that I need to bring in 00:31:49.590 --> 00:31:51.340 is, of course, the music. 00:31:51.340 --> 00:31:53.920 And very similar to working with the sound effects, 00:31:53.920 --> 00:31:56.190 I can actually use the track slider 00:31:56.190 --> 00:31:58.840 in order to be able to adjust the music level. 00:31:58.840 --> 00:32:00.870 So first of all, I'm going to unmute 00:32:00.870 --> 00:32:03.600 all the tracks in the timeline. 00:32:03.600 --> 00:32:07.030 Go back to the beginning of my edit. 00:32:07.030 --> 00:32:08.910 And I'm just going to play through and have 00:32:08.910 --> 00:32:10.905 a listen to where the music level should be. 00:32:10.905 --> 00:32:13.530 BRIAN TERWILLIGER: In this film, making a documentary about how 00:32:13.530 --> 00:32:15.270 the airplanes changed the world, it 00:32:15.270 --> 00:32:19.830 was really important to go out and shoot the real world. 00:32:19.830 --> 00:32:22.060 HARRISON FORD: In the age of airplanes, 00:32:22.060 --> 00:32:25.310 we've become explorers once again. 00:32:25.310 --> 00:32:27.310 BRIAN TERWILLIGER: If it's possible to shoot it, 00:32:27.310 --> 00:32:28.600 we wanted to go shoot it. 00:32:28.600 --> 00:32:31.320 00:32:31.320 --> 00:32:33.913 If we couldn't get the shot or the weather wasn't right, 00:32:33.913 --> 00:32:35.580 we would either go back to that location 00:32:35.580 --> 00:32:37.260 or it didn't make the movie. 00:32:37.260 --> 00:32:39.630 It was really important every shot was original 00:32:39.630 --> 00:32:41.430 and that everything was real. 00:32:41.430 --> 00:32:43.350 HARRISON FORD: Leave behind everything 00:32:43.350 --> 00:32:48.180 you know about airplanes and prepare to see them again 00:32:48.180 --> 00:32:49.930 for the first time. 00:32:49.930 --> 00:32:53.318 [MUSIC PLAYING] 00:32:53.318 --> 00:32:59.620 00:32:59.620 --> 00:33:01.630 CHRIS: Now, throughout that, I was actually 00:33:01.630 --> 00:33:05.380 watching the audio meters, but I was also listening to the mix 00:33:05.380 --> 00:33:06.710 as it was coming through. 00:33:06.710 --> 00:33:08.530 And you can see that what I can now do 00:33:08.530 --> 00:33:12.550 is I can easily write the levels so that if the sound effects are 00:33:12.550 --> 00:33:14.740 too loud, I can actually bring the sound effects 00:33:14.740 --> 00:33:17.450 on those tracks down with just one fader. 00:33:17.450 --> 00:33:21.760 So that's the advantage of using the audio mixer in this case. 00:33:21.760 --> 00:33:23.780 One thing I am going to do, though, 00:33:23.780 --> 00:33:26.950 is I'm actually going to increase the level of the music 00:33:26.950 --> 00:33:29.477 after Harrison Ford has finished his final line. 00:33:29.477 --> 00:33:31.060 So in this case, I'm just going to add 00:33:31.060 --> 00:33:36.020 a couple of audio keyframes on the volume curve, 00:33:36.020 --> 00:33:39.280 and just adjust that up by a couple of DB 00:33:39.280 --> 00:33:40.880 from where it was before. 00:33:40.880 --> 00:33:43.420 So I can always go back into the timeline 00:33:43.420 --> 00:33:45.730 and start making further level adjustments 00:33:45.730 --> 00:33:50.590 if I need to at an individual clip level. 00:33:50.590 --> 00:33:52.220 HARRISON FORD: For the first time. 00:33:52.220 --> 00:33:55.538 [MUSIC PLAYING] 00:33:55.538 --> 00:33:59.810 00:33:59.810 --> 00:34:02.520 CHRIS: So that's the audio mix done for this timeline. 00:34:02.520 --> 00:34:04.590 However, we're not quite there yet. 00:34:04.590 --> 00:34:06.860 We need a few little visual flourishes 00:34:06.860 --> 00:34:09.330 before we can say that this is a wrap. 00:34:09.330 --> 00:34:12.050 And in this case, we're going to add a few transitions just 00:34:12.050 --> 00:34:14.130 to indicate a change of location. 00:34:14.130 --> 00:34:16.429 And we're also going to add some fusion 00:34:16.429 --> 00:34:19.400 titles from the built-in templates that resolve ships 00:34:19.400 --> 00:34:20.480 with. 00:34:20.480 --> 00:34:24.380 So to start with, let's just simply adjust 00:34:24.380 --> 00:34:26.085 the height of each of these tracks, 00:34:26.085 --> 00:34:27.710 just to give me a little bit more space 00:34:27.710 --> 00:34:30.475 in terms of the visuals. 00:34:30.475 --> 00:34:31.850 And the first thing we want to do 00:34:31.850 --> 00:34:34.260 is actually add some video transitions. 00:34:34.260 --> 00:34:37.790 Now, I was always taught when I was learning video editing 00:34:37.790 --> 00:34:40.340 that you should use transitions sparingly 00:34:40.340 --> 00:34:45.170 and usually to indicate a change of time or location. 00:34:45.170 --> 00:34:47.860 So here, I've got an edit point between two shots. 00:34:47.860 --> 00:34:49.860 BRIAN TERWILLIGER: If it's possible to shoot it, 00:34:49.860 --> 00:34:51.179 we wanted to go shoot it. 00:34:51.179 --> 00:34:53.900 00:34:53.900 --> 00:34:57.139 CHRIS: I can select the Edit point here and then 00:34:57.139 --> 00:35:03.080 come to the menu and choose Timeline, Add Transition. 00:35:03.080 --> 00:35:06.560 And this will add a default one second cross-dissolve 00:35:06.560 --> 00:35:07.680 transition. 00:35:07.680 --> 00:35:10.460 Let's just preview that with the forward key again. 00:35:10.460 --> 00:35:12.127 BRIAN TERWILLIGER: Possible to shoot it, 00:35:12.127 --> 00:35:14.930 we wanted to go shoot it. 00:35:14.930 --> 00:35:17.240 CHRIS: And that simple fade usually indicates 00:35:17.240 --> 00:35:20.210 to the audience that some change is there, usually 00:35:20.210 --> 00:35:23.090 a change of time or a change of location. 00:35:23.090 --> 00:35:26.310 Let's just zoom in on that transition a little bit as well. 00:35:26.310 --> 00:35:29.570 Because you can also change any of these transitions. 00:35:29.570 --> 00:35:32.120 Of course, you can change the duration of the transition 00:35:32.120 --> 00:35:36.530 by clicking on it and dragging it at the side there. 00:35:36.530 --> 00:35:41.150 But if you right click on the transition, 00:35:41.150 --> 00:35:44.180 you can also change the transition duration 00:35:44.180 --> 00:35:45.852 by typing in values. 00:35:45.852 --> 00:35:47.810 And you can see that we've got presets there as 00:35:47.810 --> 00:35:52.230 well, very similar to how we changed the duration of clips. 00:35:52.230 --> 00:35:53.910 Alternatively, you can also change 00:35:53.910 --> 00:35:57.480 the style of the transition through the inspector. 00:35:57.480 --> 00:35:59.250 So let's come up to the top right hand 00:35:59.250 --> 00:36:02.040 corner of the interface, click on the inspector button. 00:36:02.040 --> 00:36:06.780 And we will also see that we're in the transition inspector. 00:36:06.780 --> 00:36:10.030 Here, we've got the transition type, which is cross-dissolve. 00:36:10.030 --> 00:36:13.590 But we can also choose from lots of different sorts of types 00:36:13.590 --> 00:36:14.650 of transition. 00:36:14.650 --> 00:36:16.785 Let's choose Edge Wipe. 00:36:16.785 --> 00:36:18.660 Because I've got the playhead over the center 00:36:18.660 --> 00:36:20.190 of the transition, you can now see 00:36:20.190 --> 00:36:22.750 that if I change the angle of the wipe, 00:36:22.750 --> 00:36:24.930 you can see how it actually changes 00:36:24.930 --> 00:36:27.060 the direction of the wipe. 00:36:27.060 --> 00:36:31.260 Let's set that to around about minus 80. 00:36:31.260 --> 00:36:33.250 Let's increase the border. 00:36:33.250 --> 00:36:36.120 And you can change the border color using the color swatch 00:36:36.120 --> 00:36:38.020 in the inspector. 00:36:38.020 --> 00:36:41.620 However, there is also the option to feather the border. 00:36:41.620 --> 00:36:46.770 So if we click on that, we've now got a nice soft edge border. 00:36:46.770 --> 00:36:49.465 If I hit the forward slash key to preview the timeline-- 00:36:49.465 --> 00:36:51.340 BRIAN TERWILLIGER: It's possible to shoot it, 00:36:51.340 --> 00:36:54.870 we wanted to go shoot it. 00:36:54.870 --> 00:36:57.630 CHRIS: --I can now channel my inner George Lucas. 00:36:57.630 --> 00:37:01.590 Of course, Resolve comes with a whole bunch of transition 00:37:01.590 --> 00:37:03.310 presets for you to use. 00:37:03.310 --> 00:37:07.690 If you go to the effects library and choose Video Transitions, 00:37:07.690 --> 00:37:10.380 you can see that you've got all manner of different transitions 00:37:10.380 --> 00:37:11.530 to choose from. 00:37:11.530 --> 00:37:13.350 And if you actually take your mouse 00:37:13.350 --> 00:37:16.360 and just run them across the transition, 00:37:16.360 --> 00:37:19.780 you can actually live preview each of those transitions. 00:37:19.780 --> 00:37:24.630 So you get a sense as to how each of those transitions works. 00:37:24.630 --> 00:37:27.210 The final element that we're going to add to this edit 00:37:27.210 --> 00:37:28.800 is actually some titles. 00:37:28.800 --> 00:37:32.080 We need to know, for example, who the interviewee is, 00:37:32.080 --> 00:37:34.110 but we're also going to add some titles for each 00:37:34.110 --> 00:37:36.960 of the geographic locations that the film visits 00:37:36.960 --> 00:37:39.480 when it was filming. 00:37:39.480 --> 00:37:41.550 Just like with transitions, you can actually 00:37:41.550 --> 00:37:46.620 live preview each of these by running your mouse across them. 00:37:46.620 --> 00:37:49.030 And with the fusion titles, you'll 00:37:49.030 --> 00:37:52.810 actually get to see the different animations 00:37:52.810 --> 00:37:53.900 that we have. 00:37:53.900 --> 00:37:56.110 So you can choose whether or not a title 00:37:56.110 --> 00:37:58.630 is appropriate for your edit even before you apply it 00:37:58.630 --> 00:38:00.790 to your timeline. 00:38:00.790 --> 00:38:02.860 In this case, I want to scroll through the list 00:38:02.860 --> 00:38:06.925 and I'm looking for a title called Simple Underline Lower 00:38:06.925 --> 00:38:07.425 Third. 00:38:07.425 --> 00:38:13.180 00:38:13.180 --> 00:38:15.340 I'm going to take that title and I'm 00:38:15.340 --> 00:38:20.210 going to move up to my timeline viewer overlays. 00:38:20.210 --> 00:38:24.280 And then I'm going to choose the place on top edit. 00:38:24.280 --> 00:38:27.380 Unsurprisingly this time, because I'm dealing with video, 00:38:27.380 --> 00:38:31.120 Resolve actually places the title on top of the video 00:38:31.120 --> 00:38:34.570 where my playhead is. 00:38:34.570 --> 00:38:36.040 I'll hide the effects library just 00:38:36.040 --> 00:38:41.260 to give myself a little bit more room and go into my detail zoom. 00:38:41.260 --> 00:38:42.650 Zoom out a touch there. 00:38:42.650 --> 00:38:46.030 And I just want to trim the title to the end of the clip. 00:38:46.030 --> 00:38:48.850 To adjust the title, all you'll simply do 00:38:48.850 --> 00:38:51.700 is just go directly to the inspector. 00:38:51.700 --> 00:38:53.560 So here in the text box, I'm going 00:38:53.560 --> 00:38:54.850 to highlight the sample text. 00:38:54.850 --> 00:38:56.350 And I'm going to give my interviewee 00:38:56.350 --> 00:39:00.640 his name, which in this case is Brian J. Terwilliger. 00:39:00.640 --> 00:39:03.830 And you can also customize the font as well. 00:39:03.830 --> 00:39:06.140 If you click in the font menu here, 00:39:06.140 --> 00:39:09.370 you can actually scroll through the list of fonts 00:39:09.370 --> 00:39:11.080 that you have installed on your system 00:39:11.080 --> 00:39:15.430 and get a live preview of what each font may look like. 00:39:15.430 --> 00:39:16.990 In this case, I'm actually just going 00:39:16.990 --> 00:39:19.450 to leave everything set to Open Sans. 00:39:19.450 --> 00:39:23.620 However, I can customize the text further using 00:39:23.620 --> 00:39:28.930 the lower controls, including the size, 00:39:28.930 --> 00:39:33.110 and also the tracking, which is the spacing between the letters. 00:39:33.110 --> 00:39:34.990 Just by bringing the letters a little closer 00:39:34.990 --> 00:39:39.070 together makes them easier to read, I feel. 00:39:39.070 --> 00:39:43.190 Below that, we've also got controls for the line as well. 00:39:43.190 --> 00:39:45.440 That's that blue line underneath the text. 00:39:45.440 --> 00:39:48.980 Of course, I can increase or decrease the line thickness, 00:39:48.980 --> 00:39:51.690 depending on the style that I'm looking for. 00:39:51.690 --> 00:39:53.940 And I can also change the line color. 00:39:53.940 --> 00:39:57.650 In this case, I'm actually going to increase the red color 00:39:57.650 --> 00:40:00.050 channel and the green color channel, 00:40:00.050 --> 00:40:02.990 and actually just lower the blue color channel 00:40:02.990 --> 00:40:06.920 just to change the color of the line to yellow. 00:40:06.920 --> 00:40:10.160 In actual fact, you can also customize the gradient 00:40:10.160 --> 00:40:12.080 across the line. 00:40:12.080 --> 00:40:16.550 Let's change the type from solid color to horizontal. 00:40:16.550 --> 00:40:19.200 And now I get a second color box, 00:40:19.200 --> 00:40:21.080 which I'm actually going to customize 00:40:21.080 --> 00:40:26.930 by just making it a little bit more of an orange color. 00:40:26.930 --> 00:40:28.980 Now that I've got my first title in, 00:40:28.980 --> 00:40:32.300 I can actually use this as a basis for the rest of the titles 00:40:32.300 --> 00:40:33.750 throughout the trailer. 00:40:33.750 --> 00:40:36.020 And also, I'm just going to do is just copy 00:40:36.020 --> 00:40:39.620 and paste the title into different locations. 00:40:39.620 --> 00:40:43.090 Let's go to full extent zoom and select the title. 00:40:43.090 --> 00:40:46.950 And then I can actually choose to copy the title just 00:40:46.950 --> 00:40:48.610 as I would do anything else. 00:40:48.610 --> 00:40:52.050 So Command or Control C is a keyboard shortcut 00:40:52.050 --> 00:40:54.510 that you'll probably be familiar with. 00:40:54.510 --> 00:41:00.120 Now I'm going to find the Maldives shot here. 00:41:00.120 --> 00:41:02.710 And I'm going to choose to paste. 00:41:02.710 --> 00:41:08.460 So Edit, Paste, Command or Control V, and Resolve 00:41:08.460 --> 00:41:10.320 will actually paste directly to the track 00:41:10.320 --> 00:41:12.510 from which I've copied from. 00:41:12.510 --> 00:41:16.860 Let me just trim that back to the end of that shot 00:41:16.860 --> 00:41:23.333 and then change the title here to Maldives. 00:41:23.333 --> 00:41:26.940 00:41:26.940 --> 00:41:28.325 I'm going to copy that title. 00:41:28.325 --> 00:41:31.050 00:41:31.050 --> 00:41:34.010 Paste over the next clip, which is the South Pole shot. 00:41:34.010 --> 00:41:41.940 00:41:41.940 --> 00:41:43.565 This clip is Alaska. 00:41:43.565 --> 00:41:51.690 00:41:51.690 --> 00:41:54.130 And then, of course, Kenya. 00:41:54.130 --> 00:42:01.798 00:42:01.798 --> 00:42:03.840 BRIAN TERWILLIGER: --or it didn't make the movie. 00:42:03.840 --> 00:42:06.240 It's really important every shot was original 00:42:06.240 --> 00:42:08.010 and that everything was real. 00:42:08.010 --> 00:42:09.930 HARRISON FORD: Leave behind everything 00:42:09.930 --> 00:42:15.432 you know about airplanes and prepare to see them again. 00:42:15.432 --> 00:42:16.890 CHRIS: Just going to trim that back 00:42:16.890 --> 00:42:18.750 a little bit because it was just overlapping 00:42:18.750 --> 00:42:19.980 the transition a little bit. 00:42:19.980 --> 00:42:22.680 HARRISON FORD: And prepare to see them again. 00:42:22.680 --> 00:42:25.020 CHRIS: Don't worry if you can't play these titles back 00:42:25.020 --> 00:42:26.980 in real time immediately. 00:42:26.980 --> 00:42:29.350 Depending on the power of your system, 00:42:29.350 --> 00:42:32.280 Resolve may need to cache the files prior 00:42:32.280 --> 00:42:35.550 to being able to play them back at full quality, in which case, 00:42:35.550 --> 00:42:38.410 just let Resolve have a few seconds 00:42:38.410 --> 00:42:41.480 and Resolve will automatically cache the files for you. 00:42:41.480 --> 00:42:44.000 You'll notice when a file is cached, 00:42:44.000 --> 00:42:46.180 because the red line above the title 00:42:46.180 --> 00:42:49.610 will turn blue to indicate a cache file. 00:42:49.610 --> 00:42:53.440 You should now be able to play your title back in real time. 00:42:53.440 --> 00:42:56.320 Now that I've got this edit ready to go, what I want to do 00:42:56.320 --> 00:42:59.930 is to be able to play it back for the client at full screen. 00:42:59.930 --> 00:43:01.750 If I just return the playhead back 00:43:01.750 --> 00:43:03.400 to the beginning of the timeline, 00:43:03.400 --> 00:43:07.840 from the workspace menu, we can choose 00:43:07.840 --> 00:43:11.110 Viewer Mode, Cinema Viewer. 00:43:11.110 --> 00:43:15.265 This will give me a full screen playback of my entire edit. 00:43:15.265 --> 00:43:17.890 BRIAN TERWILLIGER: In this film, making a documentary about how 00:43:17.890 --> 00:43:19.600 the airplanes changed the world, it 00:43:19.600 --> 00:43:24.070 was really important to go out and shoot the real world. 00:43:24.070 --> 00:43:26.030 HARRISON FORD: In the age of airplanes, 00:43:26.030 --> 00:43:29.130 we've become explorers once again. 00:43:29.130 --> 00:43:31.130 BRIAN TERWILLIGER: If it's possible to shoot it, 00:43:31.130 --> 00:43:34.675 we wanted to go shoot it. 00:43:34.675 --> 00:43:37.403 If we couldn't get the shot or the weather wasn't right, 00:43:37.403 --> 00:43:39.070 we would either go back to that location 00:43:39.070 --> 00:43:40.690 or it didn't make the movie. 00:43:40.690 --> 00:43:42.970 It's really important every shot was original 00:43:42.970 --> 00:43:44.860 and that everything was real. 00:43:44.860 --> 00:43:46.540 HARRISON FORD: Leave behind everything 00:43:46.540 --> 00:43:51.160 you know about airplanes and prepare to see them again 00:43:51.160 --> 00:43:52.880 for the first time. 00:43:52.880 --> 00:43:56.366 [MUSIC PLAYING] 00:43:56.366 --> 00:44:02.350 00:44:02.350 --> 00:44:04.150 CHRIS: Just simply press Escape in order 00:44:04.150 --> 00:44:07.570 to be able to return back to the interface. 00:44:07.570 --> 00:44:09.890 I hope you found this tutorial useful. 00:44:09.890 --> 00:44:12.310 If you've got any further questions about editing 00:44:12.310 --> 00:44:15.460 in Resolve, please feel free to join us on the Blackmagic Design 00:44:15.460 --> 00:44:16.430 forums. 00:44:16.430 --> 00:44:19.120 And you can also familiarize yourself with the training 00:44:19.120 --> 00:44:22.600 materials that we have available on the DaVinci Resolve product 00:44:22.600 --> 00:44:23.510 pages. 00:44:23.510 --> 00:44:26.680 And all of those materials are available for free. 00:44:26.680 --> 00:44:30.270 Thank you very much, and happy editing. 00:44:30.270 --> 00:44:35.000