All language subtitles for 2-DaVinci-Resolve-17-Edit-IntroductiontoEditingPart2

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 intervention

results.

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 left off

in the project manager in Resolve,

just simply double click
the age of Airplane 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 two

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 and any of the track headers

and choose art 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 zero
and set the number of audio tracks

to three.

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 our 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 I know what type of audio is on each
track.

I'll just make the timeline tracker
just 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 video

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 you can do is actually
color code, the audio tracks.

This makes it easy.

It's a visual reference, so that is 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 line

all of the clips in that track.

Turn to line

for the video.

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 it's
been 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 play head
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.

Hey Chef.

VO one I'll go back to the beginning
of this clip and have a listen to it.

In the age of airplanes.

We've become explorers once again.

I'm going to use the top wave form 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 output point 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 to box

in order
to switch the targeting from audio

one to audio to any clips
that I now edit into.

This timeline will automatically appear
on that audio track

for this. Also.

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 view

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 play head
just after that.

Select VOICEOVER
two from the voiceover bin

and I'm just going to have a listen
to this.

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.

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 do not need the first line.

For the moment.

We need to start here
just after he says for the moment.

So I'm going to add an endpoint.

Leave behind everything you know
about airplanes.

And then our point
after that line of dialog

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.

And prepare to see them again

for the first time.

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 play
head over those clips

and use the detail. Zoom

now the detail zoom in this case
is actually taking 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
into view 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 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
and 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 play had 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.

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 play
head 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.

So make sure your timeline is the
active window and press X on the keyboard.

X will mark the clip.

Mark in a clip will actually put it in
and then out, point 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 to the voiceover
track to audio three.

And now we're going to perform
an overnight edit.

And 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 play head 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 end point.

We don't need an out point

because we've already got an out point
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 being in the out points,

just to give you a little bit
of wiggle room on the timeline.

So just going to mark a portion of the way
where it looks,

you know, a reasonable amount
maybe here towards the middle of the way.

So I'm going to set an endpoint there

and again, make an overwrite
add it directly onto the timeline

because the plan does

move 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 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,
open to 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 a full

and again, overwrite edit

Mark the next clip,

switch
the audio targeting back to a three.

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 a three.

Understanding how you're using
these editing functions is very useful

to ensure that you get the audio
to set at the right point

on the timeline so that it's accompanying
the right piece of video move.

You play it back to the third clip.

This is the shot of the jet taking off.

Press X to mark that clip, change

the track target into a full

and find the clip called SFX Jet Take off

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 the clip to end.

Set an output point

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 player
to the last shot in the sequence.

Press X in order to show 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 output point

just as the audio starts to fade away.

And again, making sure I'm editing onto
audio for making 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 player 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 and 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
we have this very sort of 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 play head

as close to the center of that waveform
as possible.

Let's target audio three for this

then simply make 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 mute button

and then use the forward slash key

in order to be able to preview
that part of the timeline.

Everyone has.

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 dialog 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 dialog.

And arguably

the dialog 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 it
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 pull button to hide the media pool.

Not 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.

In this film, making a documentary about
how the airplane's changed the world as.

A quick rule of thumb.

To go. For dialog.

You generally want your audio levels to be
around 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. Of airplanes in.

This clip.

It was really important
to go out and shoot the real world.

This indicates that this clip is stereo

and it's actually sitting
within a stereo track

for most dialog clips, and that's pretty
much anything that 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.

In the age of airplanes,

we've become explorers once again.

Well, first of all,
you'll see that the Harrison Ford

clip is nicely set
within that yellow area of 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 dialog in the timeline,
ideally it should be mono

and ideally
it should be set 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 could always put it right
a little bit later in the process.

Also,

I'm going to do is right
click on the video audio track header

and choose Change track type two 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 VOICEOVER Back here.

In the Age of.
Airplane now shows me I've got.

Some Explorer. In mono one.

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.

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.

I've now got mono audio.

Now we've all 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

to as to what levels
that you should be aiming for.

However, as a good rule of thumb

around about the sort of the -12 debuffs

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

and just one element 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 sink track.

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.

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 kind of want to balance the audio.

So that is 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 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
right 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
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 all 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
I can raise this part of the curve.

So this is roughly in line
with this first peak of the audio here.

If I go back to the beginning
and preview this.

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.

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 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 nine DB first level.

It's a good starting point for this.

Again, this will actually normalize
the peak levels.

So by having it set to minus nine

as 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 that clips

to roughly the same level.

If I just play this clip here.

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.

But it's really important.

Every shot was original
and that everything was real.

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.

In this film, making a documentary about.

I can. Use the world.

Option command minus just to be able
to notch that down real world one DB at a.

Time. In the age of.

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.

And that 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
right through.

In the age of airplanes,
we've become explorers once again.

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 dialog.

Leave behind everything you know
about airplanes

and prepare to see them again
for the first time.

And I'll probably just lower that
that end clip that deep

and then maybe just bring
this first little single DB.

Leave behind

everything you know about airplanes

and prepare to see them again
for the first time.

So that now
means that the dialog has been balanced.

I can now to my attention
to some of these sound effects,

start to integrate them into the trailer.

First of all, 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 dialog tracks so that audio track one,
an 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.

Okay, 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 that 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.

So I'll just need to just pull

this level down a little bit
just to keep it in line.

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 an 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,

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 at the beginning here.

So as 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 would 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 fights on each of these clips

and 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 that

and fade out there

and I'll just bring the other one
pre the subsequent shot.

Bring that in.

Finally, just a couple more to do here.

The audio fades

and finally, I'm just going to lengthen
that last clip.

Just set it, It tails out right
underneath those titles that.

So now when I just play that last bit

and the sound of the airplane dies away
slightly, now

you may be wondering why I haven't added
audio transitions between those clips.

That's another way of being able to work.

However, I often find that
these audio files are much more accurate

than the audio transitions
that you might be using.

The last element of this audio mix
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 how the music level should be.

In this film.

Making a documentary
about how the airplanes change the world.

It was really important to go out
and shoot the real world.

In the age of airplanes,

we've become explorers once again.

It's possible to shoot it.

We wanted to go shoot

so we couldn't get the shot
or the weather wasn't right.

We need to go back to that location
or to make the movie a really important.

Every shot was original and then.

Everything was real leaves
behind everything you know about airplanes

and prepare to see them again

for the first time.

Now, throughout that,
I was actually watching the audio meters,

but I was also listening to the mics
as it was coming through.

And you can see the 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.

For the first time.

So that's the audio mix
doing 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 result ships with.

So to start with, let's just simply

adjust the height of each of these tracks.

Just 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.

It's possible to shoot it.

We wanted to go shoot and.

I can select the edit point here

and then come to the menu and choose
timeline

and transition

and this will add a default
one second across Dissolve transition.

Let's just preview that with the forward
slash key again.

It's possible to shoot it.

We wanted grocery.

And that simple fade usually indicates
to the audience that some change.

Is there usually a change of
time or 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 transition through the inspector.

So let's go up to the top right
hand corner of the interface.

Click the inspector button and we also see

that we're in the transition
inspector here.

We've got the transition type
which is crossed is old,

but we can also choose from lots
of different sorts of types of transition.

Let's choose Edge Wipe

because I've got the play head
over the center of the transition.

You can now see that
if I change the angle of the WIP,

you can see how it actually changes
the direction of the white.

I set that to around about -80.

Let's increase the border

and you can change the border color
using the color swatch in the inspector.

However, there was 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.

It's possible to shoot it.

We wanted to go shoot.

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 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

And surprisingly, this time,
because I'm dealing with video resolve,

actually places title on top of the video

where my play had this,

I had the effects library
just to give myself a little bit more room

and go into my detail, zoom,

zoom out touch there

and I just want to trim the title
to the end of the clip.

To adjust the title, as 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
George 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 as a 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 result 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

and to copy that title

Paste over the next clip,

which is the South Pole shot.

This clip is Alaska.

And then, of course,

can you.

Show more into the movie?

That's really important.

Every shot was original and then.

Everything is real leaves
behind everything you know about airplanes

and prepare to see them again.

Just kind of trim that back a little bit
because it was just overlapping

the transition a little bit and.

Prepare to see them again.

Don't worry, if you can't play these
titles back in real time immediately,

depending on the power of your system,
result 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 results 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,
had it ready to go.

What I want to do is to be able to play it
back for the client full screen.

If I just return the play head
back to the beginning of the timeline

from the Workspace menu,

we can choose a view, a mode cinema view.

This will give me a full screen
playback of my edit.

In this film, making a documentary
about how the airplanes changed the world.

And it's really important to go out

in the world.

In the age of airplanes, we've

become explorers once again.

It's possible
to shoot any one excursion in,

couldn't get the shot or the weather
wasn't right.

You need to go back to that location or it
didn't make the movie really important.

Every shot was original.
And then I really.

Believe behind everything you know
about airplanes

and preparing to see them again

for the first time.

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 attitude and 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 Da Vinci Resolve product pages

and all of those materials
are available for free.

Thank you very much and happy editing.