DaVinci Resolve 17 Edit Training - Introduction to Editing Part 2

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.