CHRIS: Hi, I'm Chris, I'm an editor
and a Blackmagic certified master trainer.
And today, we're going to continue our exploration
of editing in DaVinci Resolve.
Now, following on from the previous video, what we can do
is just simply open up the project
and carry on working from where we last left off.
In the project manager in Resolve,
just simply double click the Age of Airplanes Trailer.
This will open up the project at the last point
that you last left it.
Now, the first thing that we want
to do before we make any major changes to this project
is to duplicate the existing timeline.
That way, we've always got a backup of the work
that we've done previously.
So if we go too far in changing this timeline,
we can always go back to a previous version.
Go to the Timelines bin in order to locate your timeline
that you were just working on.
Then right click the timeline and choose Duplicate Timeline.
Now rename this timeline by clicking on the name
and calling it Version 2.
And double click the timeline to open it up
into the timeline window.
The first thing that we're going to do to this duplicate timeline
is to add some audio tracks so that we
can add some voiceover and some sound effects.
Right click in any of the track headers and choose Add Tracks.
This allows you to add any number of video and audio tracks
that you need for your timeline.
In this case, we don't need to add any video tracks,
so set the number of video tracks to 0.
And set the number of audio tracks to 3.
Insert position is below audio one.
This is the correct location for where
we want to add our new tracks.
And the audio track type is going to be stereo.
You don't always want stereo as your default track type.
Instead, you might actually be working with Mono audio.
In that case though, you can always
change the track type later.
So we'll just stick with stereo for the moment.
Choose Add Tracks to add the three extra audio tracks
to your timeline.
The other thing that would be helpful to do
is actually rename these tracks so that I know what
type of audio is on each track.
I'll just make the timeline track
headers a little bit bigger.
And I'm going to click on the name for audio track one.
And I'm going to call this Sync.
audio track two, we're going to call this VO.
audio track three, we'll call SFX,
as we will in audio track four.
And finally, audio track five is the music track.
The other thing that you can do is actually
color code the audio tracks.
This makes it easy.
It's a visual reference so that it's easy
in order to be able to see the type of audio
that you're working with.
There's no need to set specific colors.
Just go with the colors that you personally think work for you.
So in this case, I'm going to right click the Sync track.
And I'm actually going to choose change track color to lime.
All of the clips in that track turn to lime.
For the VO, I'm going to choose track color teal.
For the sound effects, I'm going to choose track color brown,
as I am for the second soundtrack.
And for the music, I'm going to choose olive.
Providing you haven't changed the clip color of the clip
within its bin or in the timeline,
it'll inherit the color of the timeline tracks.
This means it's easy to spot when
you're looking at the timeline.
So first thing we need to do is add some voiceover.
And the first voiceover piece is going
to go between the first and second piece of interview,
but obviously on the voiceover track.
So I'm just going to place the playhead just partway
into the second video clip.
I should just resize the timeline
slightly so that I can see my clips clearly.
And then from the VO bin, I'm going
to double click the first of our voiceover tracks, HF VO 1.
I'll go back to the beginning of this clip
and have a listen to it.
HARRISON FORD: In the age of airplanes,
we've become explorers once again.
CHRIS: I'm going to use the top waveform here,
just to navigate back to the beginning of that piece of voice
and set the endpoint where I can clearly
see the voiceover starts.
And again, I'm going to do the same by adding
an outpoint at the end of that.
Now, because I want this to go into audio track two,
I need to change the targeting from the source
to the track in the timeline.
Here, I simply click on the audio two box
in order to switch the targeting from audio one to audio two.
Any clips that I now edit into this timeline
will automatically appear on that audio track.
For this, all I now need to do is just do a simple overwrite
edit.
As before, you can just simply pick the clip up,
drag it across to the timeline viewer.
Or Alternatively, you can use the Overwrite button
at the top of the timeline or use your keyboard shortcut F10.
And as you can see, it's already now
color coded teal, because that was the color coding
that we set for that track.
The next piece of voiceover actually
needs to come after the last bit of sync on A1.
So I'm going to position my playhead.
Just after that, select voiceover 2
from the voiceover bin.
And I'm just going to have a listen to this.
HARRISON FORD: For the moment, leave behind everything
you know about airplanes, anything
you've heard about their history, every conclusion
you've drawn from your own experience,
and prepare to see them again for the first time.
CHRIS: Now, that clip was actually quite long.
And because we're making a trailer rather than
the whole film, we obviously only need
to use a small part of that voiceover.
So in this case, we go back to the first piece of waveform,
and we don't need the first line.
HARRISON FORD: For the moment.
CHRIS: We need to start here, just
after he says for the moment.
So I'm going to add an endpoint.
HARRISON FORD: Leave behind everything
you know about airplanes.
CHRIS: And an outpoint after that line of dialogue.
And now I can make an overwrite edit
into that part of the timeline.
Now we need to come to the end of the piece of voiceover
and select in and out points around the last two pieces
of waveform.
HARRISON FORD: And prepare to see them again
for the first time.
CHRIS: Out point there.
And again, make an overwrite edit.
Now, as you can see, sitting with those clips in the timeline
as they currently are, they're a little bit long,
so we might just need to refine where those clips are actually
sitting in terms of the position on the timeline.
So here, I'm just going to navigate
my playhead over those clips and use the detail zoom.
Now the detail zoom in this case has actually
taken me way too close.
I can't really see how these clips are actually
sitting on the timeline with regards
to the rest of the timeline.
So I just need to Zoom out a little.
So I'm going to hold down Command and use the minus
button, just once or twice just to be
able to come out a little bit.
Now the first thing I'm going to do is just move the clips back.
And I'm actually going to move this interview clip back here
just so it's a little bit tighter
with the first section of clips.
That just gives me a little bit more room to play with.
Now I can just select those clips,
just move them back a touch as well.
Now you'll notice snapping is happening there.
You can see how it's snapping to the end of the previous video
clip.
I'm just going to disable that by pressing N on the keyboard.
And you can see it's just disabled that briefly, just
to bring that back.
And again, I still want to actually contract time
a little bit more.
So all I'm going to do here is move the playhead just
before Harrison's last piece of voiceover there,
and then use Command or Control B to split that clip.
Now I can just simply pick that clip up.
And again, with the snapping off,
just tighten it up a little bit, just so
that I've lost a little bit of the time between those two
pieces of voiceover.
So that's got the voiceover into the timeline at least.
There's a few more things that we need to do to this.
But for the moment, we're going to move on
and we're going to put some sound effects in and continue
the editing portion.
Let's go back to full extent zoom and move
the playhead over the second clip in the timeline.
So let's go to the sound effects.
And you'll see that there is a sound effect here called
jet taxi.
Double click that to open into the source.
Now, the idea here is that we actually
want to edit this sound effect to just
the portion of the timeline that we're working in.
So for this, we're going to add in and out points directly
to the timeline.
A quick way of being able to do this
is make sure your timeline is the active window,
and press X on the keyboard.
X will mark the clip.
Marking a clip will actually put an in
and an outpoint around the clip at the very start and very end
frame of the clip.
So it's a quick way of being able to make sure
that you're editing one clip to the duration of an existing
clip.
We also need to make sure that this audio is ending up
on the right track.
So in this case, we're going to make sure
that the targeting changes from audio two, the voiceover track,
to audio three.
And now we're going to perform an overwrite edit.
Now you may be wondering why we didn't
set an endpoint in the source viewer.
The reason why we didn't is because if you
don't set an in or an out point, it
will always take the full duration of the clip.
So in this case, the endpoint is actually
the implied endpoint at the very beginning of the clip.
Moving forward, let's move the playhead
over the shot of the South Pole clip.
Again, let's press X to mark that clip.
Choose the SFX prop audio.
Double click that to open it up into the source.
And this time, we will actually set an endpoint.
We don't need an outpoint because we've already
got an outpoint directly on the timeline.
However, by setting an endpoint, it
means that we're not going to use the very first part
of the clip.
And you always want to leave a little bit of footage
before and after in and outpoints,
just to give you a little bit of wiggle room on the timeline.
So I'm just going to mark a portion of the wave
where it looks a reasonable amount, maybe here
towards the middle of the wave.
So I'm going to set an endpoint there, and again,
make an overwrite edit directly onto the timeline.
Because the playhead has moved to the end of the clip I've just
edited into the timeline, you'll see
it's actually on the first frame of the next shot, the Alaska
shot.
So all I now need to do is press X to mark that clip.
And now I can actually go to the sound effects for distant prop.
Double click that to open it up into the source.
And again, use the waveform so that you're not
using the beginning part of this waveform
here, somewhere around about the middle.
Mark an endpoint.
And now we need to choose the track that we actually
want this clip to appear on.
And in this case, we actually need to have it edited onto A4.
And again, overwrite edit.
Mark the next clip.
Switch the audio targeting back to A3.
And in this case, we're going to use sound effect for light wind.
Double click that.
Choose a portion of whichever part of the sound effect
that you want and edit that into A3.
Understanding how you're using these editing functions
is very useful to ensure that you
get the audio to sit at the right point on the timeline
so that it's accompanying the right piece of video.
Move your playhead back to the third clip.
This is the shot of the jet taking off.
Press X to mark that clip.
Change the track targeting to A4.
And find the clip called SFX Jet Takeoff.
Double click that to open it into the source.
Now, at the moment, what we've been
doing is in all of the source clips,
we've been adding endpoints to the start of the clip where we
want the sound effect to start.
But what we can also do is what we call a back-timed edit, which
is very useful when you know where you want a clip to end.
Set an outpoint towards the tail end of this,
fade out of this jet sound.
And now when I perform the standard overwrite edit,
it will actually back time the sound effect into the timeline.
So now it'll sound as though the plane is actually leaving shot.
We can actually do something similar with the final shot.
Move the playhead to the last shot in this sequence.
Press X in order to be able to mark the clip.
And because we pretty much leave this shot
as the plane is directly overhead,
it actually makes sense to take a slightly earlier part
of the outpoint for the clip.
So I'm going to set an outpoint just as the audio starts
to fade away.
And again, making sure I'm editing on to audio four,
I make an overwrite edit.
Now, from the previous video, you'll
also remember that we not only had overwrite edits,
but we had other sorts of edits as well.
One of those edits that we explored was the replace edit.
And you can actually use the replace edit to good effect
here in the timeline in order to be able to synchronize
sound and picture together.
Move your playhead to the fourth clip in the timeline, which
is the shot of the water plane coming overhead in the Maldives.
Find the point on your timeline where the plane is just probably
about halfway in shot.
In the sound effects bin, find the sound effect
called SFX Overhead.
Double click to open that in the source viewer.
Now, you can see from this waveform
here, as we have this very high spike in the waveform where
the plane is at its closest.
What we're going to do is we're going
to use that as a reference point for this point in the timeline
where the plane is directly overhead.
So make sure in the source viewer,
you actually position the playhead
as close to the center of that waveform as possible.
Let's target audio three for this.
Then simply make a replace edit in whichever way you want.
In this case, I'm going to click the replace button.
And you can see that the clip is actually
timed so that the height of the waveform
actually is now synchronized with the actual plane passing
overhead.
In order to appreciate this, I'm just
going to simply mute the music track by pressing the M mute
button, and then use the forward key in order
to be able to preview that part of the timeline.
[PLANE WHIRRING]
So, now that we've got the audio in the timeline,
it's time to start to think about the audio mix
for this trailer.
So the first thing that we want to do
is actually to sort out the dialogue tracks.
So in this case, I'm not interested in the sound effects
or the music tracks just for the moment.
So I'm just going to mute all of the tracks
that I'm not interested in.
And now I can turn my attention directly to the dialogue.
And arguably, the dialogue is usually the most important piece
of audio within your timeline.
Because unless we can actually hear and understand
what's being said, there's really no point
in us actually listening.
In order to monitor the audio in the timeline,
the best thing to bring up is the audio mixer.
From the top right hand corner of the interface,
just click the mixer button to bring up
the mixer in the timeline.
You can then open the mixer out in order
to be able to reveal all of the controls for each of the tracks.
If you're working on a laptop or a display that's actually
quite small, you may want to hide the media pool, just
to give you a little bit more room in order
to be able to work.
So in the top left hand corner, click the Media Pool button
to hide the media pool.
Now, to begin with, we just need to look at the levels
and also the audio channels being used in the timeline.
From the beginning of the timeline,
I'm just going to play the first part of this interview.
BRIAN TERWILLIGER: In this film, making
a documentary about how the airplanes changed the world--
CHRIS: As a quick rule of thumb, for dialogue,
you generally want your audio levels
to be around about that yellow area on the meters.
So that's something to aim for.
Also, you noticed, as I play this back,
that there's actually two audio channels in this clip.
BRIAN TERWILLIGER: It was really important to go out and shoot
the real world.
CHRIS: This indicates that this clip is stereo.
And it's actually sitting within a stereo track.
For most dialogue clips, and that's pretty much anything
that's shot on a camera, you will probably
want to work with mono Audio.
In actual fact, let's play the Harrison Ford clip
and let's see the difference here.
HARRISON FORD: In the age of airplanes,
we've become explorers once again.
CHRIS: Well, first of all, you'll
see that the Harrison Ford clip is nicely
sat within that yellow area of the meters.
However, it's what we call one-legged.
It's coming out of only one channel of our output.
Well, we don't want that for Harrison Ford.
And the reason for that is that we
want to actually have this as mono audio, which
is a single audio channel actually sitting
within a mono track in the timeline.
So that's the other general rule.
If you've got dialogue in the timeline,
ideally, it should be mono, and ideally, it
should be sat on a mono track.
And thankfully, Resolve enables me
to change the track type very easily
and without too much fuss.
So there's no problem if you get things slightly
wrong or confused because you can always put it right a little
bit later on in the process.
Also, I'm going to do is right click on the VO audio track
header and choose Change Track Type to mono.
And you'll see the little 2.0 indicator has now
changed to a 1.0 indicator, which indicates now
that this is a mono track.
Playing Harrison Ford's voiceover back here--
HARRISON FORD: In the age of airplanes--
CHRIS: --now shows me I've got a mono
track with mono audio in it.
And it's now playing out of both audio channels
from this timeline.
We can also do the same sort of thing with the interview audio
as well.
So I can now right click the Sync audio track header,
choose change track type to mono.
And now when I play that--
BRIAN TERWILLIGER: In this film, making a documentary about how
the airplanes changed the world, it
was really important to go out and shoot the real world.
CHRIS: I've now got mono audio.
Now, Resolve hasn't done anything too clever here.
All it's just done is simply take the first audio channel
from the clip in the timeline.
So that clip is still stereo.
If I was to move it into a stereo track,
I would still get the stereo audio.
But because it's playing in a mono track,
only the first audio channel is being used.
And in this case, that's what I want to use.
If you do need to change the audio channel
configuration of a clip, though, you
can always right click it in the timeline
and choose Clip Attributes.
And in the Audio tab, you can actually change the format.
So in this case, we can actually switch from stereo to mono,
and then choose the embedded audio channel that we
want for that mono clip.
Now that I've got my audio channel sorted out,
I can actually now start thinking about the levels that
need to be set.
And it depends where you need to deliver your audio too as
to what levels that you should be aiming for.
However, as a good rule of thumb,
around about the minus 12 DBFS on the main output meter
is probably something good to aim for.
You can also listen to the audio as well.
Just make sure you're happy with the mix.
The main thing is, can you hear the different elements,
making sure that one element does not swamp another.
I'm going to go back to the beginning of the timeline.
And I'm just going to play Brian's interview.
So I'm just going to play the audio on the sync track.
BRIAN TERWILLIGER: In this film, making a documentary about how
the airplane's changed the world,
it was really important to go out and shoot the real world.
CHRIS: Now, the problem with that
is there are parts of that audio clip that are actually
quite loud.
And there are parts that are a little bit quiet.
And really, what I want to do is I want to balance the audio
so that it's roughly the same level throughout.
The one thing that I want to avoid
is my audience having to constantly raise or lower
their volume control for their speakers or their headphones
as they're watching this video.
I need to present everything at a consistent level.
Let's just zoom in on this clip just to have a look.
So I'm going to click the Detail Zoom button.
And I'm also going to make the audio track
height a little bit bigger.
And now having seen the waveform,
you can actually see where there are certain loud spikes
in the waveform and where everything starts
to get a little bit quiet.
What we can do is we can actually
start to balance out this so that he starts off at one level
and continues at roughly the same level.
In order to be able to do this, we
need to add keyframes to the volume curve.
An easy and quick way to be able to add keyframes
is actually to hold down the Option or Alt key
when you click on the volume curve in the timeline.
So here, I'm just going to hold down
the Option key when I click on this part of the timeline
just after this first spike in the waveform here.
I'm going to add a second keyframe by holding down option
again and clicking once again on the volume curve.
This now means that I can erase this part of the curve
so that it's roughly in line with this first peak
of the audio here.
If I go back to the beginning and preview this.
BRIAN TERWILLIGER: In this, making a documentary about how
the airplanes changed the world, it
was really important to go out and shoot the real world.
CHRIS: As you can see, the audio is now
more consistent along the duration of the clip.
However, it's probably a little bit too hot.
Now, the main thing I'm interested in is making sure
that all of the clips at this point
are on the same audio track are balanced, to be roughly
around the same level.
They don't have to be the right level,
they just have to be consistent.
And one way we can do that is we can normalize the audio.
What this will do is it will actually
calculate a change in the audio curve
based on the peak level of the clips.
See how we can do that.
I'm just going to select these audio clips.
Right click and choose Normalize Audio Levels.
There are a number of different normalization modes
to choose from.
But Sample Peak program is probably
the simplest one to use.
The minus 9 DBFS level is a good starting point for this.
Again, this will actually normalize the peak levels.
So, by having it set to minus 9 is the upper part
of that yellow area on the meters.
And we also want to make sure that we
set this to be independent so that it will
treat each clip on its own.
Now we can choose to normalize in order
to be able to normalize the clips to roughly the same level.
If I just play this clip here.
BRIAN TERWILLIGER: If we couldn't
get the shot or the weather wasn't right,
we would either go back to that location
or it didn't make the movie.
It was really important every shot was original
and that everything was real.
CHRIS: So each of those clips is now roughly the same level.
In order to bring the first clip into line
as well, what we can do is we can just preview that.
And if we need to, we can actually just nudge the audio
up or down.
So selecting that clip and playing through.
BRIAN TERWILLIGER: In this film, making a documentary about how--
CHRIS: I can use Option Command minus just
to be able to nudge that down one DB at a time.
BRIAN TERWILLIGER: In this film, making a documentary about how
the airplanes changed the world, it
was really important to go out and shoot the real world.
CHRIS: And that's brought it more
in line with the rest of the audio on that track.
Now, the next thing I want to do is
to do pretty much the same thing,
but with the audio from the voiceover.
However, because this was recorded in a studio,
it's much more consistent than something
that was recorded on location in an interview situation.
So what I'm just going to do here
is actually just adjust the clips as appropriate.
So I'm going to select the first clip, play it through.
HARRISON FORD: In the age of airplanes,
we've become explorers once again.
CHRIS: So what I've just done is just adjusted that clip
not by very much, just by a couple of DB, just
to increase the level slightly, to keep
it consistent with the rest of the audio
in the speech for the dialogue.
HARRISON FORD: Leave behind everything
you know about airplanes and prepare to see them again
for the first time.
CHRIS: And I'll probably just lower that end clip there a DB
and then maybe just bring this first clip up single DB.
HARRISON FORD: Leave behind everything
you know about airplanes and prepare to see them again
yen for the first time.
CHRIS: So that now means that the dialogue has been balanced.
I can now turn my attention to some of these sound effects,
start to integrate them into the trailer.
First of all, I'm just going to make the timeline track
heights a little bit shorter, just so that I can concentrate
on each of these clips.
Now, the first thing I'm going to do
is I'm going to unmute audio tracks three and four.
But I am going to mute the dialogue tracks,
so that's audio track one and audio track two.
Again, the idea here is to be consistent.
Don't worry if the sounds are too high or too low,
just to make sure they're roughly the same level.
So I'm going to play these through.
[PLANE WHIRRING]
OK, so first thing I'm going to do
is just make sure I've got the levels roughly the same.
So I'm actually going to increase this one here
and this one here, this one here.
Now it might seem slightly counter-intuitive.
Why would I be increasing audio levels?
But again, this is just to make sure
that they're balanced across the different clips
and they're consistent.
Because once I've done that, I can now bring the levels
down using the track faders.
Let's just go back to the beginning here.
Just play this through.
[PLANE WHIRRING]
So I'll just need to just pull this level down a little
bit just to keep it in line.
That's better.
[PLANE WHIRRING]
So that's how easy it is to start mixing your audio.
You could have individual levels for each of the clips.
Nothing wrong with that.
But it just means that using the mixer
and using the track level sliders just makes mixing
just that awful lot easier.
Now, the only other thing I'm going
to do with these sound effect clips
is just create little fades between each clip.
This will just help the transition
from one audio clip to another.
Let's go to detail zoom on the first clip.
And what we can do, first of all,
is we can actually just apply a little audio fade
at the beginning and end of each of these clips.
Just a little fade like that.
And then I can trim the end of the clip
out so that it overlaps the underlying clip on the lower
audio track.
So this will now crossfade those two clips together.
I can also slip this clip just like I can do with a video
in order to give me a little bit more
handle the beginning here, so that I can just
lengthen that clip from the very beginning.
Just a tiny little overlap of the audio is always useful.
You want to be careful it's not too long,
but it will just indicate there's
a change of picture coming.
Just anticipate that in the audience's mind.
I'm going to continue scrolling through here.
And I'm going to continue adding little audio fades on each
of these clips.
An audio fade out there.
Once again, I'm going to do the same technique as before
with this South Pole audio.
Tiny, little fade in at the beginning.
Just to anticipate the picture change there.
And fade out there.
And I'll just bring the other one, the subsequent shot,
bring that in.
Finally, just a couple more to do here.
That audio fades.
And finally, I'm just going to lengthen that last clip
just so that it tails out right underneath those titles there.
So now, when I just play that last bit.
[PLANE WHIRRING]
And the sound of the airplane dies away slightly.
Now you may be wondering why I haven't added audio transitions
between those clips.
And that's another way of being able to work.
However, I often find that these audio fades
are much more accurate than the audio transitions
that you might be using.
The last element of this audio mix that I need to bring in
is, of course, the music.
And very similar to working with the sound effects,
I can actually use the track slider
in order to be able to adjust the music level.
So first of all, I'm going to unmute
all the tracks in the timeline.
Go back to the beginning of my edit.
And I'm just going to play through and have
a listen to where the music level should be.
BRIAN TERWILLIGER: In this film, making a documentary about how
the airplanes changed the world, it
was really important to go out and shoot the real world.
HARRISON FORD: In the age of airplanes,
we've become explorers once again.
BRIAN TERWILLIGER: If it's possible to shoot it,
we wanted to go shoot it.
If we couldn't get the shot or the weather wasn't right,
we would either go back to that location
or it didn't make the movie.
It was really important every shot was original
and that everything was real.
HARRISON FORD: Leave behind everything
you know about airplanes and prepare to see them again
for the first time.
[MUSIC PLAYING]
CHRIS: Now, throughout that, I was actually
watching the audio meters, but I was also listening to the mix
as it was coming through.
And you can see that what I can now do
is I can easily write the levels so that if the sound effects are
too loud, I can actually bring the sound effects
on those tracks down with just one fader.
So that's the advantage of using the audio mixer in this case.
One thing I am going to do, though,
is I'm actually going to increase the level of the music
after Harrison Ford has finished his final line.
So in this case, I'm just going to add
a couple of audio keyframes on the volume curve,
and just adjust that up by a couple of DB
from where it was before.
So I can always go back into the timeline
and start making further level adjustments
if I need to at an individual clip level.
HARRISON FORD: For the first time.
[MUSIC PLAYING]
CHRIS: So that's the audio mix done for this timeline.
However, we're not quite there yet.
We need a few little visual flourishes
before we can say that this is a wrap.
And in this case, we're going to add a few transitions just
to indicate a change of location.
And we're also going to add some fusion
titles from the built-in templates that resolve ships
with.
So to start with, let's just simply adjust
the height of each of these tracks,
just to give me a little bit more space
in terms of the visuals.
And the first thing we want to do
is actually add some video transitions.
Now, I was always taught when I was learning video editing
that you should use transitions sparingly
and usually to indicate a change of time or location.
So here, I've got an edit point between two shots.
BRIAN TERWILLIGER: If it's possible to shoot it,
we wanted to go shoot it.
CHRIS: I can select the Edit point here and then
come to the menu and choose Timeline, Add Transition.
And this will add a default one second cross-dissolve
transition.
Let's just preview that with the forward key again.
BRIAN TERWILLIGER: Possible to shoot it,
we wanted to go shoot it.
CHRIS: And that simple fade usually indicates
to the audience that some change is there, usually
a change of time or a change of location.
Let's just zoom in on that transition a little bit as well.
Because you can also change any of these transitions.
Of course, you can change the duration of the transition
by clicking on it and dragging it at the side there.
But if you right click on the transition,
you can also change the transition duration
by typing in values.
And you can see that we've got presets there as
well, very similar to how we changed the duration of clips.
Alternatively, you can also change
the style of the transition through the inspector.
So let's come up to the top right hand
corner of the interface, click on the inspector button.
And we will also see that we're in the transition inspector.
Here, we've got the transition type, which is cross-dissolve.
But we can also choose from lots of different sorts of types
of transition.
Let's choose Edge Wipe.
Because I've got the playhead over the center
of the transition, you can now see
that if I change the angle of the wipe,
you can see how it actually changes
the direction of the wipe.
Let's set that to around about minus 80.
Let's increase the border.
And you can change the border color using the color swatch
in the inspector.
However, there is also the option to feather the border.
So if we click on that, we've now got a nice soft edge border.
If I hit the forward slash key to preview the timeline--
BRIAN TERWILLIGER: It's possible to shoot it,
we wanted to go shoot it.
CHRIS: --I can now channel my inner George Lucas.
Of course, Resolve comes with a whole bunch of transition
presets for you to use.
If you go to the effects library and choose Video Transitions,
you can see that you've got all manner of different transitions
to choose from.
And if you actually take your mouse
and just run them across the transition,
you can actually live preview each of those transitions.
So you get a sense as to how each of those transitions works.
The final element that we're going to add to this edit
is actually some titles.
We need to know, for example, who the interviewee is,
but we're also going to add some titles for each
of the geographic locations that the film visits
when it was filming.
Just like with transitions, you can actually
live preview each of these by running your mouse across them.
And with the fusion titles, you'll
actually get to see the different animations
that we have.
So you can choose whether or not a title
is appropriate for your edit even before you apply it
to your timeline.
In this case, I want to scroll through the list
and I'm looking for a title called Simple Underline Lower
Third.
I'm going to take that title and I'm
going to move up to my timeline viewer overlays.
And then I'm going to choose the place on top edit.
Unsurprisingly this time, because I'm dealing with video,
Resolve actually places the title on top of the video
where my playhead is.
I'll hide the effects library just
to give myself a little bit more room and go into my detail zoom.
Zoom out a touch there.
And I just want to trim the title to the end of the clip.
To adjust the title, all you'll simply do
is just go directly to the inspector.
So here in the text box, I'm going
to highlight the sample text.
And I'm going to give my interviewee
his name, which in this case is Brian J. Terwilliger.
And you can also customize the font as well.
If you click in the font menu here,
you can actually scroll through the list of fonts
that you have installed on your system
and get a live preview of what each font may look like.
In this case, I'm actually just going
to leave everything set to Open Sans.
However, I can customize the text further using
the lower controls, including the size,
and also the tracking, which is the spacing between the letters.
Just by bringing the letters a little closer
together makes them easier to read, I feel.
Below that, we've also got controls for the line as well.
That's that blue line underneath the text.
Of course, I can increase or decrease the line thickness,
depending on the style that I'm looking for.
And I can also change the line color.
In this case, I'm actually going to increase the red color
channel and the green color channel,
and actually just lower the blue color channel
just to change the color of the line to yellow.
In actual fact, you can also customize the gradient
across the line.
Let's change the type from solid color to horizontal.
And now I get a second color box,
which I'm actually going to customize
by just making it a little bit more of an orange color.
Now that I've got my first title in,
I can actually use this as a basis for the rest of the titles
throughout the trailer.
And also, I'm just going to do is just copy
and paste the title into different locations.
Let's go to full extent zoom and select the title.
And then I can actually choose to copy the title just
as I would do anything else.
So Command or Control C is a keyboard shortcut
that you'll probably be familiar with.
Now I'm going to find the Maldives shot here.
And I'm going to choose to paste.
So Edit, Paste, Command or Control V, and Resolve
will actually paste directly to the track
from which I've copied from.
Let me just trim that back to the end of that shot
and then change the title here to Maldives.
I'm going to copy that title.
Paste over the next clip, which is the South Pole shot.
This clip is Alaska.
And then, of course, Kenya.
BRIAN TERWILLIGER: --or it didn't make the movie.
It's really important every shot was original
and that everything was real.
HARRISON FORD: Leave behind everything
you know about airplanes and prepare to see them again.
CHRIS: Just going to trim that back
a little bit because it was just overlapping
the transition a little bit.
HARRISON FORD: And prepare to see them again.
CHRIS: Don't worry if you can't play these titles back
in real time immediately.
Depending on the power of your system,
Resolve may need to cache the files prior
to being able to play them back at full quality, in which case,
just let Resolve have a few seconds
and Resolve will automatically cache the files for you.
You'll notice when a file is cached,
because the red line above the title
will turn blue to indicate a cache file.
You should now be able to play your title back in real time.
Now that I've got this edit ready to go, what I want to do
is to be able to play it back for the client at full screen.
If I just return the playhead back
to the beginning of the timeline,
from the workspace menu, we can choose
Viewer Mode, Cinema Viewer.
This will give me a full screen playback of my entire edit.
BRIAN TERWILLIGER: In this film, making a documentary about how
the airplanes changed the world, it
was really important to go out and shoot the real world.
HARRISON FORD: In the age of airplanes,
we've become explorers once again.
BRIAN TERWILLIGER: If it's possible to shoot it,
we wanted to go shoot it.
If we couldn't get the shot or the weather wasn't right,
we would either go back to that location
or it didn't make the movie.
It's really important every shot was original
and that everything was real.
HARRISON FORD: Leave behind everything
you know about airplanes and prepare to see them again
for the first time.
[MUSIC PLAYING]
CHRIS: Just simply press Escape in order
to be able to return back to the interface.
I hope you found this tutorial useful.
If you've got any further questions about editing
in Resolve, please feel free to join us on the Blackmagic Design
forums.
And you can also familiarize yourself with the training
materials that we have available on the DaVinci Resolve product
pages.
And all of those materials are available for free.
Thank you very much, and happy editing.