All language subtitles for 7. Cut Tab - Making selects (live) Cut Tab Kolder Creative

So currently my friend Brant

and I are working on this project
for a phone company called OnePlus.

And yesterday we went out on a shoot
to the desert with some dirt bikers

and some Land Rovers,
and we got a bunch of really cool footage.

So I thought that this would be
a perfect time to show you guys my exact

workflow from importing the new clips
into my project

and cutting them down in the cut tab,

as well as making
any kind of little modifications

or adjustments to individual clips
that I might do at this stage.

I thought that this would be a good lesson
because you guys can see the raw,

unedited process of me importing footage
and what goes through my mind

when I'm making my selects

and, you know, these adjustments
to the individual clips.

So with that being said,
let's jump right into it.

So in this project, we are using two
phones and I already dumped them.

I made a new folder
which was yesterday and dirt biking.

And you can see in here
that we have two folders.

One folder is for the footage
that was shot natively

on the actual phone, like with the native
app that comes with the phone.

And then there's another folder for

a third party app
that we're using called Filmic Pro

that lets you shoot in a flatter picture
profile and just like make different

adjustments to your bitrate
and things like that.

So I'm going to go into my Da
Vinci project file here and first thing

I'm going to do is I'm going to close
these open folders here.

I'm going to close the master folder.

So I'm just going to go back to that

folder here
and I'm going to take the root folder.

2108 15 Dirt biking Atlantis, and
I'm going to drag it into this area here.

That way it's going to be made
into a new folder in the master folder.

So we can see that that folder is here now
double click it.

We have both the folders in there as well.

Now that all of my footage is in my media
pool here.

The first thing I'm going to do
is create proxies for all of this.

I'm going to select it.

All right, Click Generate Proxy Media.

Now that proxies are done,
we can go into the cut tab.

Now I'm going to go to the cut tab
and I'm just going to hit command.

And now it doesn't matter where you are
in the media pool

when you're making a new timeline
because the new timelines

always default, go into the main root
folder in the media pool.

So it doesn't matter what folder you're in
when you're making a new one.

So we're going to call this
the same thing. So.

2108 15.

So what I'm doing is just

copying the name of the folder,
and because we have our project settings

set already, we can just click create
and now we have our timeline.

I'm going to drag that into timelines and
we have that timeline open here as well.

You can know that
by seeing the name of the timeline right

up here and we're able to switch through
the different timelines whenever we want.

So I'm going to go into dirt
biking Atlantis.

I'm going to first grab the first folder.

Let's drag all of that in there
and then I'm going to go back,

drag the other one, command.

A We could hit six to throw it all
in where the timeline sits

and now is the time to start actually
sorting through the footage.

So I'm actually turning on key casters
so you guys can see what shortcuts

I'm using while I'm doing this.

So I'm at the start of the timeline.
I'm just going to press play

three to move forwards.

And this is just stuff that we got
at the beginning of the shoot.

I guess this is like test stuff.
Don't need that first clip.

There's nothing there as to ripple
delete it

as strip or delete that too.

I guess these are just like
little moments for

bts's stuff, so
I'm going to keep little bits of it, but

don't really need too much of it.

So like I said, cue is to cut left of play
head.

E is to cut to the right of the play head.

I got two similar clips here.

I can delete the first one.

I don't really need more than that.

So I'm using one, two

and three to move forwards
and backwards in the timeline.

Now these
clips at the start, they might look okay.

I was on the actual shoot
and I know how many bangers

we got out there, so I don't really need

a lot of this stuff.

And I'm also trying to trim it down
because I know that

this project is only going to be
about 2 minutes in length.

So there's really no need for me
to save a lot of this footage.

I only want like the best stuff and also
just like good stuff that I would use

for the Beats
section of this video as well.

So just like little moments here

that I might want to use for beats.

Camera pans from me to my friend Craig.

Cool little moment there.

You can see me on the phone.

Cue at the beginning of that.

There's
nothing in there that I want and he

now, sorry
if there's a bit of lag on this, guys.

I am recording on my computer

using OBS, so that does suck
a bit of the power out of it.

Cool little moment there.

I'm going to isolate that
and it's going to be moving forward.

So that was kind of cool when this guy
comes in the other dirt biker

for a moment there, that looks good.

Let's isolate that moment to

that was not that interesting.

Don't need that.

Okay, cool.

Little fly by here.

It's chill, I think too crazy.

But see, I'm just isolating all the best
moments of the footage that we got.

So that way I don't have to constantly
be filtering, watching

all of this boring stuff
that, you know, happens between clips.

And I know on this shoot

there's a good amount of moments
where I actually recorded

accidentally and

just because like,
I'm not used to shooting on a phone.

So like sometimes I
somehow would miss the record button

and then think I'm recording.

I don't know.

It's when there's a lot of action
happening, I guess that that happens

a lot easier, lots of distractions.

So you see there's lots of like
little clips that like were shot

accidentally at times as well.

So I'm just sorting through all of that,
deleting it.

And now one thing I want to mention
really quick is

you can actually go back into the media
tab here at the first area

and then you can right
click up here in this row

and you can choose the different column
layout options here.

If you make sure that use

usage is checked, then

you can filter or sort
all of your clips here

based on how many times
they've been used in the actual footage.

So right now we could see that,
you know, pretty much all of this

stuff is used because we have everything
in the timeline.

But once we start filtering the timeline,

putting out all the garbage,
deleting all the clips that we don't want,

we can see what clips
we're not using in our timeline.

And that way
we can go back into our finder

if we want and delete
those specific clips.

So I'm going to go back into the cut
tab here.

It's going to press play.

So I think that this was

a longer accidental clip here.

Yeah, nothing much there.

You know, as triple delete.

So I'm always pressing two to play.

Um, not that big of a fan of this clip.

I wanted to capture his eyes
in the mirror, and it's too shaky.

I don't want to.

That's a cool little moment.

We got a friend smiling.

It's like a little genuine reaction.

Let's keep that and

I don't know, maybe.

Let's go in here.

Let's actually just scale this up a bit

just because I want to, like,

get closer to the emotion

vibes.

Cool, cool.

Little happy moment there.

Here we got Brynn
talking to the dirt bikers.

I like that first part

cool little moment right there.

And keep in mind,
my computer is running kind of slow.

I think that there's a moment there. Yeah.

Where Brynn smiles.
Nice. He gives a little laugh.

That's dope.

I really like that.

And, like, that's the thing.

When I was out there, I was trying to
capture, like, genuine reactions.

That's what I find a lot of filmmakers
that I work with.

It's hard for people to get into
the mindset of filming genuine moments.

A lot of the time

everyone wants like people

to act in front of camera,
but acting is never going

to be as good as like the real thing
because it's acting.

So I always try to just,
you know, watch what's going on

with the interactions in the group
and just try to capture the real authentic

moments, especially because we're shooting
a little beats segment for this as well.

So I want to just capture the real moments
that are happening during the shoot.

Um, just because I think it makes
it so much more special.

So I'm just cutting the

little segments
that are the most interesting here.

We can see the bikers
like doing something with his hand.

He's communicating with the other dude.

So little moment there.

I mean, isolate that moment.

Ooh, that looks cool.

The one of them putting their
their goggles on.

And why don't we try to just give this
some dynamic

scale, then dynamic zooming?

I'll just flip that so it starts wide.

And then we got another moment here.

So one thing I do catch myself doing
even now,

every once in a while, is pressing
plus and minus on the keyboard.

Just because my natural instinct
after like a decade

of editing
is to zoom in and out of my timeline.

But then I catch myself doing that
and I remember, Oh, wait,

the cut tab, You don't have to do that

is a cool moment right here.

That's dope.

I'm excited to sound design this video.

I think it's going to be dope and

because the clips are all syncs
to the actual time,

when we drag all the clips from the media
pool into our timeline here, they're

organized in chronological order.

So you can see that
this is the shot that I got.

And then we can see Brynn,

the shot that he got of me
getting that shot comes right afterwards,

which is nice, because then we can build
sequences and stuff really easy

when you know the clips that were shot
at the same time

are next to each other in the timeline.

You don't have to reorganize things

Now, to be honest, in my normal workflow,

when I'm not screen recording,
I'm doing this much faster.

I'm seeing like some significant lag

due to the screen recording,
but it's all good.

So what I like to do at this stage is play
some really good music, some

I like to play progressive stuff,
some stuff that like takes five,

six, 7 minutes to build up
and I just get in the zone.

I'll,

you know, just get familiar
with the footage throughout this process

and also
just try to think of like creative ideas

I could potentially do at this stage.

You know,
if there's like any transition ideas

that come to mind, I might write them down
or make markers in my timeline.

Remember, we hit. Mhm.

We can make a marker
anywhere in the timeline.

So there's lots of cool
little moments here.

We filmed them jump like many, many times,

so you could probably see Kick-Ass

through that sometimes and pressing two
sometimes and pressing the spacebar.

It just depends on the situation,

doesn't really matter
what you use to start and stop

it, just whatever's
most comfortable for you.

This is a beautiful shot.

You could see him coming low to the ground
there.

That looks really dope.

And you could
see we're getting some nice motion blur,

and that's because we remembered
to throw ends on the phones.

We actually are using little GoPro.

No, not GoPro magic. And these.

I'm just putting it
like sticking it right on the case.

It actually fits in the case
like perfectly.

So we're using those and we also ordered
some ends from moment as well.

And and these just make

the biggest difference like honestly
does it matter what camera you're using?

If you are remembering
to use the double shutter rule,

then your footage is going to look a lot
better than if you're not doing that.

High shutter speed
footage does not look good,

especially on phones.

So yeah,
if I'm ever doing any kind of serious

project these days, I'm always going to be
recording double shutter.

So the shutter speed is always going to be
double what the frame rate is.

And this is a beautiful shot.

Nice.

We were like legit underneath these guys.

It was pretty crazy.

So rest of that clip, I'm
just going to isolate

that one moment of the biker in the frame

and then there's a cool little genuine
moment of me right there.

So let's try to isolate that out.

It's a little bit harder right now
because the computer's lagging

cool little moment of me just laughing

because the biker came
like a meter away from Brynn.

Don't try this at home.

Duffy.

Do not recommend.

And we notice that

this kind of environment
was just really good for the phone

because there's not as much information
that the phone has to work with.

Like you're not shooting in a jungle or
something that's just blue sky, white sand

and one simple subject.

So we found that in this environment
the phone was actually working very well.

So this is pretty much the process.

I'm using the shortcuts
one, two and three to scrub through

the timeline, three to go forwards.

I press three a bunch.

I can change the speed
at which I move forwards.

Q Cut left of play
had e cut the rate of play ahead.

W Add a cut to the selected clip
where the play head is.

So those shortcuts are really
my go to at this stage there Allow me

to sift through all of my footage so fast

and make my selects.

Now a lot of the time what I would do
is actually change my frame rate

for all of my clips to 23.976
before I throw them in the timeline.

But with this much footage
in the timeline,

I didn't want to go through
that much slow motion footage.

So I am just going through

watching the real time footage
and making my selects that way.

So when I do want to slow down a clip,
what I could do in the edit tab

is just select the clip and get that
to show me my clip attributes.

I don't know why
I didn't want the first time

and then I can see what frame rate
I'm working with.

And then very quickly, just change the
speed by pressing R and then

setting it.

So in this case, it's 60 frames
per second.

I can set it to 40% speed.

Okay,

So there's this one moment in my timeline
that I think could work

well with this other shot
that we shot a couple of days ago.

It's of this dirt biker
flying through the sky

and landing over there.

So I'm just going to copy this clip.

What I'm going to do is go to my edit
tab where

I have my other timelines, and I'm
just going to open up a new timeline.

Um, it was the Acro Day, so in here

I have some other clips that I would want,
so I'm going to make a new timeline.

I'm going to call this experiment,

I'm going to use the project settings,
going to click creates,

and now I'm going to make a new timeline
down here

and I'm going to select
that experiment timeline.

But I have to close it up here first
and then down here I can open it

and I'm going to paste
that first clip. Command V,

I'm going to delete
the audio because I don't need that.

And on this macro day,

we captured this one pretty cool moment.

It's just going to take me
a while to find it.

I'll just scrub through here.

But basically Chelsea's foot hits
the camera.

I think that's it.

And it goes to the sky.

I noticed this when I was making
my selects for this timeline

and I was thinking
that happened accidentally,

but that could be a really cool transition
in this sequence.

So when I was out shooting yesterday
with the dirt bikers, I thought,

Why don't I try to get another shot?

That would start with the sky
and go into some action.

So let's just
see if if this can even work,

if there's
any possibility of this to work.

So we go up to the sky there
and we need to take into consideration

the actual movement of the camera.

So I don't think these are going
to match perfectly,

but we're going to play around with this
and try to do something.

So we want to start in like full blue sky.

So cue at the start of that.

Okay, so

we got blue to blue, but we can see that

the camera here is moving.

What direction is it moving?

It's moving in this direction right?

It's moving in that direction.

So we also want this camera

to be moving in that direction.

So let's try a couple of things.

First, let's flip it, see if that does
anything in the inspector over here.

Yeah.

So now we can see which way is the camera
moving here?

It's moving in that similar way.

It's moving from bottom to top.

Now, we got two clips
moving in the same direction.

So now what I'm probably going to do, try
to seamlessly transition both of these,

but because the camera movement is
the same and I can even animate the scale

and position of each of these clips
just to make it even more similar,

I'll be able to

stitch these together nicely and it's
going to be a really good transition

from one powerful sequence of the film
to another.

So now that I have this new experiment
timeline,

this is kind of where
I'm putting down my ideas.

And with these annotations,

the arrows, it's actually very helpful
because sometimes, even for me,

it could be like hard to understand
if something works, drawing an arrow out

like that, you, you know,
very easily understand what direction

the camera is moving
will allow you to know,

you know, if

both of these clips work pretty easy,
because sometimes it can honestly be hard

even for me to like just get an idea
if the camera movement is the same.

But in this case it is and I'm stoked.

So let's go back to the cut tab here

now, because we have the new timeline
selected.

We're seeing the new one,
the experiment timeline.

So let's go back to dirt biking here
and I'm going to go back

into the cut page here and I'm going to
continue making my selects.

So there you go.

You guys have seen my exact process
on how I make selects within the cut tab.

I hope you guys enjoyed this video.
I hope you learn something new.

I'll catch you in the next one.