1 00:00:03,920 --> 00:00:05,280 Hi, I'm Chris. 2 00:00:05,280 --> 00:00:08,240 I'm an editor and a Blackmagic certified master trainer. 3 00:00:08,240 --> 00:00:12,200 And today we're going to continue our exploration of editing intervention 4 00:00:12,200 --> 00:00:13,400 results. 5 00:00:13,400 --> 00:00:17,640 Now, following on from the previous video, what we can do is just simply open up 6 00:00:17,640 --> 00:00:21,840 the project and carry on working from where we left off 7 00:00:21,920 --> 00:00:23,640 in the project manager in Resolve, 8 00:00:23,640 --> 00:00:27,760 just simply double click the age of Airplane trailer. 9 00:00:27,840 --> 00:00:31,360 This will open up the project at the last point that you last left it. 10 00:00:31,440 --> 00:00:34,760 Now, the first thing that we want to do before we make any major changes 11 00:00:34,760 --> 00:00:38,360 to this project is to duplicate the existing timeline. 12 00:00:38,440 --> 00:00:42,080 That way we've always got a backup of the work that we've done previously. 13 00:00:42,160 --> 00:00:44,760 So if we go too far in changing this timeline, 14 00:00:44,760 --> 00:00:48,240 we can always go back to a previous version, 15 00:00:48,320 --> 00:00:50,040 go to the timelines bin 16 00:00:50,040 --> 00:00:53,560 in order to locate your timeline that you were just working on. 17 00:00:53,640 --> 00:00:56,120 Then right click the timeline and choose 18 00:00:56,120 --> 00:01:00,000 duplicate timeline. 19 00:01:00,080 --> 00:01:01,720 Now rename this timeline 20 00:01:01,720 --> 00:01:05,960 by clicking on the name and calling it version two 21 00:01:06,040 --> 00:01:07,520 and double click the timeline 22 00:01:07,520 --> 00:01:10,520 to open it up into the timeline window. 23 00:01:10,520 --> 00:01:13,840 The first thing that we're going to do to this duplicate timeline is to add 24 00:01:13,840 --> 00:01:19,360 some audio tracks so that we can add some voiceover and some sound effects 25 00:01:19,440 --> 00:01:21,960 right click and any of the track headers 26 00:01:21,960 --> 00:01:24,800 and choose art tracks. 27 00:01:24,800 --> 00:01:26,800 This allows you to add any number of video 28 00:01:26,800 --> 00:01:29,800 and audio tracks that you need for your timeline. 29 00:01:29,880 --> 00:01:32,600 In this case, we don't need to add any video tracks. 30 00:01:32,600 --> 00:01:37,040 So set the number of video tracks to zero and set the number of audio tracks 31 00:01:37,200 --> 00:01:39,360 to three. 32 00:01:39,440 --> 00:01:41,800 Insert position is below. 33 00:01:41,800 --> 00:01:42,680 Audio one. 34 00:01:42,680 --> 00:01:46,120 This is the correct location for where we want to add our new tracks 35 00:01:46,200 --> 00:01:49,720 and the audio track type is going to be stereo. 36 00:01:49,800 --> 00:01:52,760 You don't always want stereo as your default track type. 37 00:01:52,760 --> 00:01:56,440 Instead, you might actually be working with mono audio. 38 00:01:56,520 --> 00:01:59,960 In that case, though, you can always change the track type later. 39 00:02:00,040 --> 00:02:03,040 So we'll just stick with stereo for the moment, 40 00:02:03,240 --> 00:02:04,880 choose our tracks 41 00:02:04,880 --> 00:02:08,680 to add the three extra audio tracks to your timeline. 42 00:02:08,760 --> 00:02:12,160 The other thing that would be helpful to do is actually rename these tracks 43 00:02:12,160 --> 00:02:15,720 so I know what type of audio is on each track. 44 00:02:15,800 --> 00:02:19,480 I'll just make the timeline tracker just a little bit bigger 45 00:02:19,560 --> 00:02:23,520 and I'm going to click on the name for audio track one 46 00:02:23,600 --> 00:02:28,920 and I'm going to call this sync 47 00:02:29,000 --> 00:02:30,360 Audio track two. 48 00:02:30,360 --> 00:02:33,560 We're going to call this video 49 00:02:33,640 --> 00:02:35,160 audio track three. 50 00:02:35,160 --> 00:02:40,200 We'll call SFX as we will in audio track four. 51 00:02:40,280 --> 00:02:44,680 And finally, audio track five is the music track. 52 00:02:44,760 --> 00:02:48,640 The other thing you can do is actually color code, the audio tracks. 53 00:02:48,720 --> 00:02:49,800 This makes it easy. 54 00:02:49,800 --> 00:02:52,200 It's a visual reference, so that is easy. 55 00:02:52,200 --> 00:02:55,760 In order to be able to see the type of audio that you're working with. 56 00:02:55,840 --> 00:02:58,000 There's no need to set specific colors. 57 00:02:58,000 --> 00:03:01,840 Just go with the colors that you personally think work for you. 58 00:03:01,920 --> 00:03:05,440 So in this case, I'm going to right click the Sync Track 59 00:03:05,520 --> 00:03:08,520 and I'm actually going to choose Change track color 60 00:03:08,640 --> 00:03:13,360 to line 61 00:03:13,440 --> 00:03:14,760 all of the clips in that track. 62 00:03:14,760 --> 00:03:16,520 Turn to line 63 00:03:16,600 --> 00:03:17,800 for the video. 64 00:03:17,800 --> 00:03:24,240 I'm going to choose track color, teal 65 00:03:24,320 --> 00:03:25,720 for the sound effects. 66 00:03:25,720 --> 00:03:30,880 I'm going to choose track color brown 67 00:03:30,960 --> 00:03:34,840 as I am for the second soundtrack 68 00:03:34,920 --> 00:03:38,120 and for the music, I'm going to choose 69 00:03:38,200 --> 00:03:41,200 Olive, 70 00:03:41,400 --> 00:03:43,920 providing you haven't changed the clip 71 00:03:43,920 --> 00:03:47,920 color of the clip within it's been or in the timeline. 72 00:03:48,000 --> 00:03:50,760 It'll inherit the color of the timeline tracks. 73 00:03:50,760 --> 00:03:54,040 This means it's easy to spot when you're looking at the timeline. 74 00:03:54,120 --> 00:03:56,880 So first thing we need to do is add some voiceover, 75 00:03:56,880 --> 00:03:59,880 and the first voiceover piece is going to go between the first 76 00:04:00,000 --> 00:04:04,200 and second piece of interview, but obviously on the voiceover track. 77 00:04:04,280 --> 00:04:07,040 So I'm just going to place the play head just partway 78 00:04:07,040 --> 00:04:10,840 into the second video clip. 79 00:04:10,920 --> 00:04:15,000 I should just resize the timeline slightly so that I can see my clips clearly. 80 00:04:15,080 --> 00:04:16,960 And then from the VO bin, 81 00:04:16,960 --> 00:04:20,400 I'm going to double click the first of our voiceover tracks. 82 00:04:20,480 --> 00:04:21,160 Hey Chef. 83 00:04:21,160 --> 00:04:27,720 VO one I'll go back to the beginning of this clip and have a listen to it. 84 00:04:27,800 --> 00:04:29,880 In the age of airplanes. 85 00:04:29,880 --> 00:04:35,200 We've become explorers once again. 86 00:04:35,280 --> 00:04:37,080 I'm going to use the top wave form here 87 00:04:37,080 --> 00:04:40,080 just to navigate back to the beginning of that piece of voice 88 00:04:40,200 --> 00:04:43,800 and set the endpoint where I can clearly see the voiceover starts. 89 00:04:43,880 --> 00:04:49,480 And again, I'm going to do the same by adding an output point at the end of that. 90 00:04:49,560 --> 00:04:52,080 Now, because I want this to go into audio track two, 91 00:04:52,080 --> 00:04:55,600 I need to change the targeting from the source to the track. 92 00:04:55,600 --> 00:05:00,440 In the timeline here, I simply click on the audio to box 93 00:05:00,440 --> 00:05:04,320 in order to switch the targeting from audio 94 00:05:04,320 --> 00:05:07,840 one to audio to any clips that I now edit into. 95 00:05:07,840 --> 00:05:12,200 This timeline will automatically appear on that audio track 96 00:05:12,280 --> 00:05:13,120 for this. Also. 97 00:05:13,120 --> 00:05:17,680 Now need to do is just do a simple overwrite edit as before. 98 00:05:17,760 --> 00:05:21,640 You can just simply pick the clip up, drag it across to the timeline view 99 00:05:21,720 --> 00:05:24,920 or alternatively, you can use the overwrite button 100 00:05:25,080 --> 00:05:31,920 at the top of the timeline or use your keyboard shortcut. F10. 101 00:05:32,000 --> 00:05:34,960 And as you can see, it's already now color coded teal 102 00:05:34,960 --> 00:05:38,680 because that was the color coding that we set for that track. 103 00:05:38,760 --> 00:05:41,160 The next piece of voiceover actually needs to come 104 00:05:41,160 --> 00:05:44,160 after the last bit of sync on A1, 105 00:05:44,320 --> 00:05:47,320 so I'm going to position my play head just after that. 106 00:05:47,440 --> 00:05:50,440 Select VOICEOVER two from the voiceover bin 107 00:05:50,440 --> 00:05:53,440 and I'm just going to have a listen to this. 108 00:05:53,520 --> 00:05:54,720 For the moment. 109 00:05:54,720 --> 00:06:00,040 Leave behind everything you know about airplanes, 110 00:06:00,120 --> 00:06:04,160 anything you've heard about their history, 111 00:06:04,240 --> 00:06:05,640 every conclusion 112 00:06:05,640 --> 00:06:08,640 you've drawn from your own experience, 113 00:06:08,640 --> 00:06:11,640 and prepare to see them again 114 00:06:11,640 --> 00:06:14,120 for the first time. 115 00:06:14,120 --> 00:06:18,480 Now, that clip was actually quite long, and because we're making a trailer 116 00:06:18,560 --> 00:06:23,440 rather than the whole film, we obviously only need to use a small part of that. 117 00:06:23,440 --> 00:06:24,960 VOICEOVER. 118 00:06:24,960 --> 00:06:27,960 So in this case, we go back to the first piece of waveform 119 00:06:28,040 --> 00:06:30,200 and we do not need the first line. 120 00:06:30,200 --> 00:06:31,680 For the moment. 121 00:06:31,680 --> 00:06:34,680 We need to start here just after he says for the moment. 122 00:06:34,720 --> 00:06:36,400 So I'm going to add an endpoint. 123 00:06:36,400 --> 00:06:40,840 Leave behind everything you know about airplanes. 124 00:06:40,920 --> 00:06:44,320 And then our point after that line of dialog 125 00:06:44,400 --> 00:06:44,960 and now I 126 00:06:44,960 --> 00:06:48,640 can make an overwrite edit into that part of the timeline. 127 00:06:48,720 --> 00:06:52,240 Now we need to come to the end of the piece of voiceover and select 128 00:06:52,320 --> 00:06:57,280 in and out points around the last two pieces of waveform. 129 00:06:57,360 --> 00:07:00,320 And prepare to see them again 130 00:07:00,320 --> 00:07:02,640 for the first time. 131 00:07:02,640 --> 00:07:06,200 Out. Point there and again make an overwrite edit 132 00:07:06,280 --> 00:07:08,800 now as you can see, sitting with those clips 133 00:07:08,800 --> 00:07:11,800 in the timeline as they currently are, they're a little bit long, 134 00:07:11,920 --> 00:07:15,200 so we might just need to refine where those clips are actually sitting 135 00:07:15,400 --> 00:07:18,400 In terms of the position on the timeline. 136 00:07:18,400 --> 00:07:22,240 So here I'm just going to navigate my play head over those clips 137 00:07:22,320 --> 00:07:25,080 and use the detail. Zoom 138 00:07:25,080 --> 00:07:28,640 now the detail zoom in this case is actually taking me way too close. 139 00:07:28,720 --> 00:07:31,680 I can't really see how these clips are actually sitting 140 00:07:31,680 --> 00:07:34,800 on the timeline with regards to the rest of the timeline. 141 00:07:34,800 --> 00:07:36,760 So I just need to zoom out a little. 142 00:07:36,760 --> 00:07:39,560 So I'm going to hold down command and use the minus button 143 00:07:39,560 --> 00:07:42,800 just once or twice just to be able to come out a little bit. 144 00:07:42,880 --> 00:07:45,400 Now the first thing I'm going to do is just move the clips 145 00:07:45,400 --> 00:07:48,400 back and I'm actually going to move this into view clip back here 146 00:07:48,600 --> 00:07:51,840 just so it's a little bit tighter with the first section of clips 147 00:07:51,840 --> 00:07:54,360 that just gives me a little bit more room to play with. 148 00:07:54,360 --> 00:07:58,000 Now I can just select those clips, just move them back a touch as well. 149 00:07:58,000 --> 00:08:00,840 Now you notice snapping is happening there. 150 00:08:00,840 --> 00:08:04,560 You can see how it's snapping to the end of the previous video clip. 151 00:08:04,640 --> 00:08:08,600 I'm just going to disable that by pressing and on the keyboard and you can see 152 00:08:08,600 --> 00:08:12,440 it's just disabled that briefly, just to bring that back. 153 00:08:12,520 --> 00:08:17,440 And again, I still want to actually contract time a little bit more. 154 00:08:17,520 --> 00:08:19,240 So all I'm going to do here is move. 155 00:08:19,240 --> 00:08:24,040 The play had just before Harrison's last piece of voiceover there 156 00:08:24,120 --> 00:08:28,200 and then use command or control B to split that clip. 157 00:08:28,280 --> 00:08:31,920 Now I can just simply pick that clip up and again, with the snapping off, 158 00:08:31,920 --> 00:08:34,920 just tighten it up a little bit just so that 159 00:08:35,160 --> 00:08:39,440 I've lost a little bit of the time between those two pieces of voiceover. 160 00:08:39,520 --> 00:08:41,720 So that's got the voiceover into the timeline. 161 00:08:41,720 --> 00:08:43,520 At least there's a few more things 162 00:08:43,520 --> 00:08:46,240 that we need to do to this, but for the moment we're going to move on. 163 00:08:46,240 --> 00:08:50,880 We're going to put some sound effects in and continue the editing portion. 164 00:08:50,960 --> 00:08:52,640 Let's go back to full extent, Zoom 165 00:08:52,640 --> 00:08:56,440 and move the play head over the second clip in the timeline. 166 00:08:56,520 --> 00:08:59,080 So let's go to the sound effects 167 00:08:59,080 --> 00:09:03,880 and you'll see that there is a sound effect here called Jet Taxi. 168 00:09:03,960 --> 00:09:06,800 Double click that to open into the source. 169 00:09:06,800 --> 00:09:09,240 Now, the idea here is that we actually want to edit 170 00:09:09,240 --> 00:09:13,480 this sound effect to just the portion of the timeline that we're working in. 171 00:09:13,560 --> 00:09:16,840 So for this, we're going to add in and out points directly 172 00:09:16,840 --> 00:09:19,880 to the timeline, a quick way of being able to do this. 173 00:09:19,880 --> 00:09:24,760 So make sure your timeline is the active window and press X on the keyboard. 174 00:09:24,840 --> 00:09:26,920 X will mark the clip. 175 00:09:26,920 --> 00:09:30,280 Mark in a clip will actually put it in and then out, point around the clip 176 00:09:30,360 --> 00:09:33,120 at the very start and very end frame of the clip. 177 00:09:33,120 --> 00:09:36,880 So it's a quick way of being able to make sure that you're editing one clip 178 00:09:36,960 --> 00:09:39,760 to the duration of an existing clip. 179 00:09:39,840 --> 00:09:40,800 We also need to make 180 00:09:40,800 --> 00:09:43,800 sure that this audio is ending up on the right track. 181 00:09:43,800 --> 00:09:47,320 So in this case, we're going to make sure that the targeting changes 182 00:09:47,400 --> 00:09:52,640 from audio to the voiceover track to audio three. 183 00:09:52,720 --> 00:09:55,720 And now we're going to perform an overnight edit. 184 00:09:55,920 --> 00:09:59,600 And you may be wondering why we didn't set an endpoint in the Source viewer. 185 00:09:59,680 --> 00:10:02,760 The reason why we didn't is because if you don't set an in 186 00:10:02,760 --> 00:10:06,080 or an out point, it will always take the full duration of the clip. 187 00:10:06,160 --> 00:10:09,760 So in this case, the endpoint is actually the implied endpoint 188 00:10:10,000 --> 00:10:12,160 at the very beginning of the clip. 189 00:10:12,160 --> 00:10:14,880 Moving forward, let's move the play head over 190 00:10:14,880 --> 00:10:17,880 the shot of the South Pole clip. 191 00:10:18,000 --> 00:10:22,080 Again, let's press X to mark that clip. 192 00:10:22,160 --> 00:10:28,440 Choose the SFX prop audio, 193 00:10:28,520 --> 00:10:29,040 double click 194 00:10:29,040 --> 00:10:32,400 that to open it up into the source. 195 00:10:32,480 --> 00:10:35,280 And this time we will actually set an end point. 196 00:10:35,280 --> 00:10:36,360 We don't need an out point 197 00:10:36,360 --> 00:10:39,560 because we've already got an out point directly on the timeline. 198 00:10:39,640 --> 00:10:41,120 However, by setting an endpoint, 199 00:10:41,120 --> 00:10:44,040 it means that we're not going to use the very first part of the clip 200 00:10:44,040 --> 00:10:46,680 and you always want to leave a little bit of footage 201 00:10:46,680 --> 00:10:48,600 before and after being in the out points, 202 00:10:48,600 --> 00:10:51,840 just to give you a little bit of wiggle room on the timeline. 203 00:10:51,920 --> 00:10:54,920 So just going to mark a portion of the way where it looks, 204 00:10:55,080 --> 00:10:59,080 you know, a reasonable amount maybe here towards the middle of the way. 205 00:10:59,160 --> 00:11:01,000 So I'm going to set an endpoint there 206 00:11:01,000 --> 00:11:04,840 and again, make an overwrite add it directly onto the timeline 207 00:11:04,920 --> 00:11:05,720 because the plan does 208 00:11:05,720 --> 00:11:08,720 move to the end of the clip I've just edited into the timeline. 209 00:11:08,960 --> 00:11:12,400 You'll see it's actually on the first frame of the next shot, the Alaska shot. 210 00:11:12,480 --> 00:11:16,440 So I now need to do is press X to mark that clip. 211 00:11:16,520 --> 00:11:17,240 And now 212 00:11:17,240 --> 00:11:21,960 I can actually go to the sound effects for distant prop 213 00:11:22,040 --> 00:11:24,480 double click that to open it, open to the source and again, 214 00:11:24,480 --> 00:11:29,400 use the waveform so that you're not using the beginning part of this waveform here 215 00:11:29,480 --> 00:11:33,000 somewhere around about the middle mark an endpoint. 216 00:11:33,080 --> 00:11:37,360 And now we need to choose the track that we actually want this clip to appear on. 217 00:11:37,440 --> 00:11:39,960 And in this case, we actually need to have it 218 00:11:39,960 --> 00:11:44,320 edited onto a full 219 00:11:44,400 --> 00:11:47,400 and again, overwrite edit 220 00:11:47,440 --> 00:11:49,520 Mark the next clip, 221 00:11:49,520 --> 00:11:53,560 switch the audio targeting back to a three. 222 00:11:53,640 --> 00:11:57,760 And in this case we're going to use Sound Effect for light wind 223 00:11:57,840 --> 00:12:00,600 double click that choose a portion of whichever part 224 00:12:00,600 --> 00:12:06,400 of the sound effect that you want and edit that into a three. 225 00:12:06,480 --> 00:12:09,600 Understanding how you're using these editing functions is very useful 226 00:12:09,600 --> 00:12:13,720 to ensure that you get the audio to set at the right point 227 00:12:13,800 --> 00:12:18,440 on the timeline so that it's accompanying the right piece of video move. 228 00:12:18,480 --> 00:12:20,400 You play it back to the third clip. 229 00:12:20,400 --> 00:12:22,800 This is the shot of the jet taking off. 230 00:12:22,800 --> 00:12:25,520 Press X to mark that clip, change 231 00:12:25,520 --> 00:12:28,880 the track target into a full 232 00:12:28,960 --> 00:12:34,720 and find the clip called SFX Jet Take off 233 00:12:34,800 --> 00:12:37,680 double click that to open it into the source. 234 00:12:37,680 --> 00:12:40,680 Now, at the moment, what we've been doing is in all of the source 235 00:12:40,680 --> 00:12:42,560 clips, we've been adding endpoints 236 00:12:42,560 --> 00:12:46,840 to the start of the clip where we want the sound effect to start. 237 00:12:46,920 --> 00:12:49,920 But what we can also do is what we call a back timed edit, 238 00:12:49,920 --> 00:12:54,440 which is very useful when you know where you want the clip to end. 239 00:12:54,520 --> 00:12:56,480 Set an output point 240 00:12:56,480 --> 00:12:59,160 towards the tail end of this, fade 241 00:12:59,160 --> 00:13:02,880 out of this jet sound. 242 00:13:02,960 --> 00:13:05,960 And now when I perform the standard overwrite edit, 243 00:13:06,160 --> 00:13:09,600 it will actually back time the sound effect into the timeline. 244 00:13:09,680 --> 00:13:14,240 So now it'll sound as though the plane is actually leaving shot. 245 00:13:14,320 --> 00:13:18,360 We can actually do something similar with the final shot. 246 00:13:18,440 --> 00:13:21,440 Move the player to the last shot in the sequence. 247 00:13:21,600 --> 00:13:24,920 Press X in order to show to mark the clip. 248 00:13:25,000 --> 00:13:29,160 And because we pretty much leave this shot as the plane is directly overhead, 249 00:13:29,240 --> 00:13:30,120 it actually makes sense 250 00:13:30,120 --> 00:13:34,880 to take a slightly earlier part of the outpoint for the clip. 251 00:13:34,960 --> 00:13:36,880 So I'm going to set an output point 252 00:13:36,880 --> 00:13:40,840 just as the audio starts to fade away. 253 00:13:40,920 --> 00:13:47,640 And again, making sure I'm editing onto audio for making overwrite. Edit 254 00:13:47,720 --> 00:13:50,240 Now from the previous video, you'll also remember 255 00:13:50,240 --> 00:13:54,320 that we not only had overwrite edits, but we had other sorts of edits as well. 256 00:13:54,400 --> 00:13:57,400 One of those edits that we explored was the Replace edit 257 00:13:57,440 --> 00:14:01,120 and you can actually use the replace edit to good effect here in the timeline 258 00:14:01,360 --> 00:14:05,520 in order to be able to synchronize sound and picture together, 259 00:14:05,600 --> 00:14:07,760 move your player to the fourth clip in the timeline, 260 00:14:07,760 --> 00:14:11,720 which is the shot of the water plane coming overhead in the Maldives. 261 00:14:11,800 --> 00:14:15,240 Find the point on your timeline where the plane is 262 00:14:15,240 --> 00:14:19,320 just probably about halfway and shot 263 00:14:19,400 --> 00:14:20,720 in the sound effects bin. 264 00:14:20,720 --> 00:14:24,320 Find the sound effect called SFX overhead 265 00:14:24,400 --> 00:14:28,000 double click to open that in the source viewer. 266 00:14:28,080 --> 00:14:32,040 Now you can see from this waveform here we have this very sort of high spike 267 00:14:32,280 --> 00:14:36,280 in the waveform where the plane is at its closest. 268 00:14:36,360 --> 00:14:38,680 What we're going to do is we're going to use that as a reference 269 00:14:38,680 --> 00:14:43,960 point for this point in the timeline where the plane is directly overhead. 270 00:14:44,040 --> 00:14:49,360 So make sure in the source viewer, you actually position 271 00:14:49,440 --> 00:14:50,120 the play head 272 00:14:50,120 --> 00:14:53,360 as close to the center of that waveform as possible. 273 00:14:53,440 --> 00:14:56,320 Let's target audio three for this 274 00:14:56,320 --> 00:14:59,560 then simply make replace edit in whichever way you want. 275 00:14:59,640 --> 00:15:04,120 In this case, I'm going to click the replace button 276 00:15:04,200 --> 00:15:06,600 and you can see that the clip is actually timed 277 00:15:06,600 --> 00:15:10,480 so that the height of the waveform actually is now synchronized 278 00:15:10,560 --> 00:15:13,520 with the actual plane passing overhead. 279 00:15:13,520 --> 00:15:16,600 In order to appreciate this, I'm just going to simply mute 280 00:15:16,600 --> 00:15:20,880 the music track by pressing the mute button 281 00:15:20,960 --> 00:15:23,080 and then use the forward slash key 282 00:15:23,080 --> 00:15:26,440 in order to be able to preview that part of the timeline. 283 00:15:26,520 --> 00:15:31,720 Everyone has. 284 00:15:31,800 --> 00:15:34,960 So now that we've got the audio in the timeline, it's 285 00:15:34,960 --> 00:15:39,160 time to start to think about the audio mix for this trailer. 286 00:15:39,240 --> 00:15:43,360 So the first thing that we want to do is actually to sort out the dialog tracks. 287 00:15:43,440 --> 00:15:47,400 So in this case, I'm not interested in the sound effects or the music tracks 288 00:15:47,480 --> 00:15:49,960 just for the moment, so I'm just going to mute 289 00:15:49,960 --> 00:15:53,440 all of the tracks that I'm not interested in, 290 00:15:53,520 --> 00:15:54,600 and now I can turn 291 00:15:54,600 --> 00:15:57,600 my attention directly to the dialog. 292 00:15:57,640 --> 00:15:58,520 And arguably 293 00:15:58,520 --> 00:16:02,840 the dialog is usually the most important piece of audio within your timeline, 294 00:16:02,920 --> 00:16:06,760 because unless we can actually hear and understand what's being said, 295 00:16:06,840 --> 00:16:10,400 there's really no point in it actually listening 296 00:16:10,480 --> 00:16:13,240 in order to monitor the audio in the timeline. 297 00:16:13,240 --> 00:16:16,240 The best thing to bring up is the audio mixer 298 00:16:16,320 --> 00:16:18,640 from the top right hand corner of the interface. 299 00:16:18,640 --> 00:16:22,720 Just click the mixer button to bring up the mixer in the timeline. 300 00:16:22,800 --> 00:16:26,720 You can then open the mixer out in order to be able to reveal 301 00:16:26,880 --> 00:16:29,760 all of the controls for each of the tracks. 302 00:16:29,760 --> 00:16:32,080 If you're working on a laptop or a display that's actually 303 00:16:32,080 --> 00:16:35,240 quite small, you may want to hide the media pool. 304 00:16:35,400 --> 00:16:39,200 Just to give you a little bit more room in order to be able to work. 305 00:16:39,280 --> 00:16:45,040 So in the top left hand corner, click the media pull button to hide the media pool. 306 00:16:45,120 --> 00:16:47,800 Not to begin with, we just need to look at the levels 307 00:16:47,800 --> 00:16:52,120 and also the audio channels being used in the timeline. 308 00:16:52,200 --> 00:16:55,320 From the beginning of the timeline, I'm just going to play the first part 309 00:16:55,320 --> 00:16:56,720 of this interview. 310 00:16:56,720 --> 00:17:00,240 In this film, making a documentary about how the airplane's changed the world as. 311 00:17:00,240 --> 00:17:01,520 A quick rule of thumb. 312 00:17:01,520 --> 00:17:02,520 To go. For dialog. 313 00:17:02,520 --> 00:17:07,720 You generally want your audio levels to be around that yellow area on the meters. 314 00:17:07,800 --> 00:17:10,200 So that's something to aim for. 315 00:17:10,200 --> 00:17:14,040 Also, you noticed as I play this back that there's actually. 316 00:17:14,040 --> 00:17:16,720 Two. Audio channels. Of airplanes in. 317 00:17:16,720 --> 00:17:17,520 This clip. 318 00:17:17,520 --> 00:17:22,320 It was really important to go out and shoot the real world. 319 00:17:22,400 --> 00:17:25,280 This indicates that this clip is stereo 320 00:17:25,280 --> 00:17:28,280 and it's actually sitting within a stereo track 321 00:17:28,400 --> 00:17:32,960 for most dialog clips, and that's pretty much anything that shot on a camera. 322 00:17:33,040 --> 00:17:36,720 You will probably want to work with mono audio. 323 00:17:36,800 --> 00:17:38,000 In actual fact, let's play 324 00:17:38,000 --> 00:17:42,040 the Harrison Ford clip and let's see the difference here. 325 00:17:42,120 --> 00:17:44,200 In the age of airplanes, 326 00:17:44,200 --> 00:17:47,840 we've become explorers once again. 327 00:17:47,920 --> 00:17:50,200 Well, first of all, you'll see that the Harrison Ford 328 00:17:50,200 --> 00:17:53,920 clip is nicely set within that yellow area of meters. 329 00:17:54,000 --> 00:17:56,680 However, it's what we call one legged. 330 00:17:56,680 --> 00:18:00,000 It's coming out of only one channel of our output. 331 00:18:00,080 --> 00:18:02,880 Well, we don't want that for Harrison Ford. 332 00:18:02,880 --> 00:18:05,640 And the reason for that is that we want to actually have 333 00:18:05,640 --> 00:18:08,640 this as mono audio, which is a single 334 00:18:08,840 --> 00:18:13,360 audio channel actually sitting within a mono track in the timeline. 335 00:18:13,440 --> 00:18:15,480 So that's the other general rule. 336 00:18:15,480 --> 00:18:19,480 If you've got dialog in the timeline, ideally it should be mono 337 00:18:19,560 --> 00:18:22,560 and ideally it should be set on a mono track. 338 00:18:22,800 --> 00:18:27,520 And thankfully resolve enables me to change the track type very easily 339 00:18:27,560 --> 00:18:29,160 and without too much fuss. 340 00:18:29,160 --> 00:18:32,160 So there's no problem if you get things slightly wrong or confused 341 00:18:32,200 --> 00:18:36,760 because you could always put it right a little bit later in the process. 342 00:18:36,840 --> 00:18:37,120 Also, 343 00:18:37,120 --> 00:18:41,960 I'm going to do is right click on the video audio track header 344 00:18:42,040 --> 00:18:47,360 and choose Change track type two mono 345 00:18:47,440 --> 00:18:49,720 and you'll see the little 2.0 346 00:18:49,720 --> 00:18:53,080 indicator has now changed to a 1.0 indicator, 347 00:18:53,160 --> 00:18:58,800 which indicates now that this is a mono track 348 00:18:58,880 --> 00:18:59,200 playing. 349 00:18:59,200 --> 00:19:01,560 Harrison Ford VOICEOVER Back here. 350 00:19:01,560 --> 00:19:04,080 In the Age of. Airplane now shows me I've got. 351 00:19:04,080 --> 00:19:05,640 Some Explorer. In mono one. 352 00:19:05,640 --> 00:19:06,200 Track. 353 00:19:06,200 --> 00:19:11,280 With mono audio in it, and it's now playing out of both audio channels. 354 00:19:11,280 --> 00:19:12,480 From this timeline. 355 00:19:12,480 --> 00:19:18,760 We can also do the same sort of thing with the interview audio as well, so I can 356 00:19:18,760 --> 00:19:22,960 now right click the Sync audio track header, choose Change 357 00:19:22,960 --> 00:19:27,760 track type to mono. 358 00:19:27,840 --> 00:19:29,040 And now when I play that. 359 00:19:29,040 --> 00:19:32,480 In this film, making a documentary about how the airplanes changed the world, 360 00:19:32,560 --> 00:19:37,120 it was really important to go out and shoot the real world. 361 00:19:37,200 --> 00:19:39,240 I've now got mono audio. 362 00:19:39,240 --> 00:19:41,800 Now we've all hasn't done anything too clever here. 363 00:19:41,800 --> 00:19:45,040 All it's just done is simply take the first audio channel 364 00:19:45,040 --> 00:19:46,680 from the clip in the timeline. 365 00:19:46,680 --> 00:19:48,840 So that clip is still stereo. 366 00:19:48,840 --> 00:19:53,200 If I was to move it into a stereo track, I would still get the stereo audio. 367 00:19:53,280 --> 00:19:56,640 But because it's playing in a mono track, only the first audio 368 00:19:56,640 --> 00:19:57,920 channel is being used. 369 00:19:57,920 --> 00:20:00,600 And in this case, that's what I want to use. 370 00:20:00,600 --> 00:20:04,480 If you do need to change the audio channel configuration of a clip though, 371 00:20:04,560 --> 00:20:07,400 you can always right click it in the timeline 372 00:20:07,400 --> 00:20:11,280 and choose clip attributes 373 00:20:11,360 --> 00:20:11,880 and in the 374 00:20:11,880 --> 00:20:14,920 audio tab you can actually change the format. 375 00:20:15,120 --> 00:20:19,400 So in this case we can actually switch from stereo to mono 376 00:20:19,480 --> 00:20:21,800 and then choose the embedded audio channel 377 00:20:21,800 --> 00:20:25,080 that we want for that mono clip. 378 00:20:25,160 --> 00:20:27,720 Now that I've got my audio channel sorted out, 379 00:20:27,720 --> 00:20:32,800 I can actually now start thinking about the levels that need to be set 380 00:20:32,880 --> 00:20:35,400 and it depends where you need to deliver your audio 381 00:20:35,400 --> 00:20:38,400 to as to what levels that you should be aiming for. 382 00:20:38,520 --> 00:20:41,040 However, as a good rule of thumb 383 00:20:41,040 --> 00:20:44,040 around about the sort of the -12 debuffs 384 00:20:44,240 --> 00:20:48,120 on the main output meter is probably something good to aim for. 385 00:20:48,200 --> 00:20:50,920 You can also listen to the audio as well. 386 00:20:50,920 --> 00:20:53,040 Just make sure you're happy with the mix. 387 00:20:53,040 --> 00:20:55,880 The main thing is can you hear the different elements 388 00:20:55,880 --> 00:20:59,800 and just one element making sure that one element does not swamp another. 389 00:20:59,880 --> 00:21:02,040 I'm going to go back to the beginning of the timeline 390 00:21:02,040 --> 00:21:04,440 and I'm just going to play Brian's interview. 391 00:21:04,440 --> 00:21:07,400 So I'm just going to play the audio on the sink track. 392 00:21:07,400 --> 00:21:10,960 In this film, making a documentary about how the airplanes changed the world. 393 00:21:11,040 --> 00:21:15,640 It was really important to go out and shoot the real world. 394 00:21:15,720 --> 00:21:19,080 Now, the problem with that is there are parts of that audio clip 395 00:21:19,120 --> 00:21:23,200 that are actually quite loud and there are parts that are a little bit quiet. 396 00:21:23,280 --> 00:21:27,120 And really what I want to do is I kind of want to balance the audio. 397 00:21:27,320 --> 00:21:29,920 So that is roughly the same level throughout. 398 00:21:29,920 --> 00:21:35,240 The one thing that I want to avoid is my audience having to constantly raise 399 00:21:35,240 --> 00:21:38,560 or lower their volume control for their speakers or their headphones 400 00:21:38,640 --> 00:21:40,320 as they're watching this video. 401 00:21:40,320 --> 00:21:44,120 I need to present everything consistent level. 402 00:21:44,200 --> 00:21:44,400 Let's 403 00:21:44,400 --> 00:21:47,400 just zoom in on this clip just to have a look. 404 00:21:47,440 --> 00:21:49,640 So I'm going to click the detail Zoom button 405 00:21:49,640 --> 00:21:53,560 and I'm also going to make the audio track right a little bit bigger. 406 00:21:53,640 --> 00:21:57,200 And now having seen the waveform, you can actually see where 407 00:21:57,200 --> 00:21:59,880 there are certain loud spikes in the waveform 408 00:21:59,880 --> 00:22:02,880 and where everything starts get a little bit quiet. 409 00:22:02,920 --> 00:22:05,800 What we can do is we can actually start to balance out this 410 00:22:05,800 --> 00:22:10,320 so that he starts off at one level and continues at roughly the same level 411 00:22:10,400 --> 00:22:14,720 in order to be able to do this, we need to add keyframes to the volume curve. 412 00:22:14,800 --> 00:22:18,240 An easy and quick way to be able to add keyframes is actually to hold down 413 00:22:18,240 --> 00:22:23,040 the option all key when you click on the volume curve in the timeline. 414 00:22:23,120 --> 00:22:23,680 So here 415 00:22:23,680 --> 00:22:26,680 I'm just going to hold down the option key when I click on 416 00:22:26,680 --> 00:22:31,960 this part of the timeline just after this first spike in the waveform here, 417 00:22:32,040 --> 00:22:35,600 I'm going to add a second keyframe by holding down option again 418 00:22:35,800 --> 00:22:39,680 and clicking once again on the volume curve. 419 00:22:39,760 --> 00:22:43,160 This now means I can raise this part of the curve. 420 00:22:43,240 --> 00:22:48,600 So this is roughly in line with this first peak of the audio here. 421 00:22:48,680 --> 00:22:50,800 If I go back to the beginning and preview this. 422 00:22:50,800 --> 00:22:54,360 In this film, making a documentary about how the airplanes changed the world, 423 00:22:54,440 --> 00:22:59,400 it was really important to go out and shoot the real world. 424 00:22:59,480 --> 00:23:03,720 As you can see, the audio is now more consistent along the duration of the clip. 425 00:23:03,920 --> 00:23:06,720 However, it's probably a little bit too hot. 426 00:23:06,720 --> 00:23:09,720 Now. The main thing I'm interested in is making sure that all of the clips 427 00:23:09,720 --> 00:23:11,400 at this point on the same audio 428 00:23:11,400 --> 00:23:15,160 track are balanced to be roughly around the same level. 429 00:23:15,240 --> 00:23:17,280 They don't have to be the right level. 430 00:23:17,280 --> 00:23:19,120 They just have to be consistent. 431 00:23:19,120 --> 00:23:23,000 And one way we can do that is we can normalize the audio. 432 00:23:23,080 --> 00:23:26,080 What this will do is it will actually calculate 433 00:23:26,160 --> 00:23:31,840 a change in the audio curve based on the peak level of the clips. 434 00:23:31,920 --> 00:23:34,240 See how we can do that. 435 00:23:34,320 --> 00:23:34,600 I'm just 436 00:23:34,600 --> 00:23:37,640 going to select these audio clips, right click and choose. 437 00:23:37,640 --> 00:23:40,640 Normalize audio levels. 438 00:23:40,720 --> 00:23:43,320 There are a number of different normalization modes to choose from, 439 00:23:43,320 --> 00:23:47,200 but sample peak program is probably the simplest one to use. 440 00:23:47,280 --> 00:23:49,680 The minus nine DB first level. 441 00:23:49,680 --> 00:23:51,600 It's a good starting point for this. 442 00:23:51,600 --> 00:23:54,360 Again, this will actually normalize the peak levels. 443 00:23:54,360 --> 00:23:57,080 So by having it set to minus nine 444 00:23:57,080 --> 00:24:01,880 as the upper part of that yellow area on the meters. 445 00:24:01,960 --> 00:24:05,360 And we also want to make sure that we set this to be independent 446 00:24:05,440 --> 00:24:08,720 so that it will treat each clip on its own. 447 00:24:08,800 --> 00:24:12,720 Now we can choose to normalize in order to be able to normalize that clips 448 00:24:12,960 --> 00:24:17,320 to roughly the same level. 449 00:24:17,400 --> 00:24:19,200 If I just play this clip here. 450 00:24:19,200 --> 00:24:21,920 If we couldn't get the shot or the weather wasn't right, 451 00:24:21,920 --> 00:24:24,920 we would either go back to that location or it didn't make the movie. 452 00:24:25,120 --> 00:24:26,400 But it's really important. 453 00:24:26,400 --> 00:24:29,720 Every shot was original and that everything was real. 454 00:24:29,800 --> 00:24:33,280 So each of those clips is now roughly the same level 455 00:24:33,360 --> 00:24:36,360 in order to bring the first clip into line as well. 456 00:24:36,600 --> 00:24:38,280 What we can do is we can just preview that. 457 00:24:38,280 --> 00:24:42,000 And if we need to, we can actually just nudge the audio up or down. 458 00:24:42,120 --> 00:24:45,040 So selecting that clip and playing through. 459 00:24:45,040 --> 00:24:47,080 In this film, making a documentary about. 460 00:24:47,080 --> 00:24:48,720 I can. Use the world. 461 00:24:48,720 --> 00:24:53,520 Option command minus just to be able to notch that down real world one DB at a. 462 00:24:53,520 --> 00:24:56,400 Time. In the age of. 463 00:24:56,400 --> 00:24:59,920 In this film, making a documentary about how the airplanes changed the world, 464 00:25:00,000 --> 00:25:04,480 it was really important to go out and shoot the real world. 465 00:25:04,560 --> 00:25:07,960 And that brought it more in line with the rest of the audio on that track. 466 00:25:08,040 --> 00:25:09,480 Now the next thing I want to do is to do 467 00:25:09,480 --> 00:25:13,320 pretty much the same thing, but with the audio from the voiceover. 468 00:25:13,400 --> 00:25:17,120 However, because this was recorded in a studio, it's much more consistent 469 00:25:17,120 --> 00:25:21,240 than something that was recorded on location in an interview situation. 470 00:25:21,320 --> 00:25:25,080 So what I'm just going to do here is actually just adjust the clips 471 00:25:25,320 --> 00:25:26,880 as appropriate. 472 00:25:26,880 --> 00:25:29,480 So I'm going to select the first clip right through. 473 00:25:29,480 --> 00:25:34,000 In the age of airplanes, we've become explorers once again. 474 00:25:34,000 --> 00:25:37,400 So what I've just done is just adjusted that clip not by very much, 475 00:25:37,400 --> 00:25:41,400 just by a couple of DB, just to increase the level slightly to keep it consistent 476 00:25:41,400 --> 00:25:45,240 with the rest of the audio in the speech for the dialog. 477 00:25:45,320 --> 00:25:49,600 Leave behind everything you know about airplanes 478 00:25:49,680 --> 00:25:54,040 and prepare to see them again for the first time. 479 00:25:54,120 --> 00:25:58,600 And I'll probably just lower that that end clip that deep 480 00:25:58,640 --> 00:26:03,160 and then maybe just bring this first little single DB. 481 00:26:03,240 --> 00:26:04,360 Leave behind 482 00:26:04,360 --> 00:26:07,360 everything you know about airplanes 483 00:26:07,560 --> 00:26:11,680 and prepare to see them again for the first time. 484 00:26:11,760 --> 00:26:15,000 So that now means that the dialog has been balanced. 485 00:26:15,080 --> 00:26:18,000 I can now to my attention to some of these sound effects, 486 00:26:18,000 --> 00:26:21,000 start to integrate them into the trailer. 487 00:26:21,000 --> 00:26:23,160 First of all, just going to make the timeline track heights 488 00:26:23,160 --> 00:26:28,240 a little bit shorter just so that I can concentrate on each of these clips. 489 00:26:28,320 --> 00:26:31,320 Now, the first thing I'm going to do is I'm going to unmute 490 00:26:31,480 --> 00:26:34,480 audio tracks three and four, but I am going to mute 491 00:26:34,560 --> 00:26:39,040 the dialog tracks so that audio track one, an audio track two. 492 00:26:39,120 --> 00:26:42,120 Again, the idea here is to be consistent. 493 00:26:42,280 --> 00:26:44,960 Don't worry if the sounds are too high or too low 494 00:26:44,960 --> 00:26:48,160 just to make sure they're roughly the same level. 495 00:26:48,240 --> 00:27:24,200 So I'm going to play these through. 496 00:27:24,280 --> 00:27:25,720 Okay, So first thing I'm going to do 497 00:27:25,720 --> 00:27:29,040 is just make sure I've got the levels roughly the same. 498 00:27:29,120 --> 00:27:32,120 So I'm actually going to increase 499 00:27:32,280 --> 00:27:36,080 this one here and this one here, 500 00:27:36,160 --> 00:27:37,080 this one here. 501 00:27:37,080 --> 00:27:39,920 Now, it might seem slightly counter intuitive. 502 00:27:39,920 --> 00:27:42,400 Why would I be increasing audio levels? 503 00:27:42,400 --> 00:27:45,480 But again, this is just to make sure that they're balanced across 504 00:27:45,480 --> 00:27:49,600 the different clips and that consistent because once I've done that, 505 00:27:49,680 --> 00:27:53,520 I can now bring the levels down using the track faders. 506 00:27:53,600 --> 00:27:55,240 Let's just go back to the beginning here. 507 00:27:55,240 --> 00:28:29,320 Just play this through. 508 00:28:29,400 --> 00:28:31,400 So I'll just need to just pull 509 00:28:31,400 --> 00:28:42,960 this level down a little bit just to keep it in line. 510 00:28:43,040 --> 00:28:43,720 So that's 511 00:28:43,720 --> 00:28:46,720 how easy it is to start mixing your audio. 512 00:28:46,920 --> 00:28:49,640 You could have individual levels for each of the clips. 513 00:28:49,640 --> 00:28:53,360 Nothing wrong with that, but it just means that using the mixer and using the track 514 00:28:53,360 --> 00:28:57,400 level sliders just makes mixing just an awful lot easier. 515 00:28:57,480 --> 00:29:00,080 Now the only other thing I'm going to do with these sound effect clips 516 00:29:00,080 --> 00:29:03,080 is just create little fades between each clip. 517 00:29:03,200 --> 00:29:08,080 This will just help the transition from one audio clip to another. 518 00:29:08,160 --> 00:29:11,400 Let's go to detail Zoom on the first clip 519 00:29:11,480 --> 00:29:12,480 and what we can do. 520 00:29:12,480 --> 00:29:15,520 First of all is we can actually just apply a little audio fade 521 00:29:15,760 --> 00:29:19,680 at the beginning and end of each of these clips, 522 00:29:19,760 --> 00:29:21,840 a little fade like that, 523 00:29:21,840 --> 00:29:24,760 and then I can trim the end of the clip out 524 00:29:24,760 --> 00:29:29,320 so that it overlaps the underlying clip on the lower audio track. 525 00:29:29,400 --> 00:29:33,160 So this will now crossfade those two clips together. 526 00:29:33,240 --> 00:29:38,360 I can also slip this clip just like I can do with a video 527 00:29:38,440 --> 00:29:41,400 in order to give me a little bit more handle at the beginning here. 528 00:29:41,400 --> 00:29:46,000 So as I can just lengthen that clip from the very beginning. 529 00:29:46,080 --> 00:29:49,080 Just a tiny little overlap of the audio is always useful. 530 00:29:49,280 --> 00:29:49,920 You want to be careful. 531 00:29:49,920 --> 00:29:53,800 It's not too long, but would just indicate there's a change of picture coming. 532 00:29:54,000 --> 00:29:59,160 Just anticipate that in the audience's mind. 533 00:29:59,240 --> 00:30:02,040 I'm going to continue scrolling through here and I'm going to continue 534 00:30:02,040 --> 00:30:15,400 adding little audio fights on each of these clips 535 00:30:15,480 --> 00:30:19,840 and audio fade out there. 536 00:30:19,920 --> 00:30:22,440 Once again, I'm going to do the same technique as before 537 00:30:22,440 --> 00:30:25,440 with this South Pole audio Tiny little 538 00:30:25,560 --> 00:30:30,400 fade in at the beginning, 539 00:30:30,480 --> 00:30:37,240 just to anticipate the picture change that 540 00:30:37,320 --> 00:30:38,640 and fade out there 541 00:30:38,640 --> 00:30:42,080 and I'll just bring the other one pre the subsequent shot. 542 00:30:42,080 --> 00:30:44,080 Bring that in. 543 00:30:44,080 --> 00:30:50,560 Finally, just a couple more to do here. 544 00:30:50,640 --> 00:31:04,880 The audio fades 545 00:31:04,960 --> 00:31:08,240 and finally, I'm just going to lengthen that last clip. 546 00:31:08,240 --> 00:31:15,960 Just set it, It tails out right underneath those titles that. 547 00:31:16,040 --> 00:31:28,840 So now when I just play that last bit 548 00:31:28,920 --> 00:31:32,200 and the sound of the airplane dies away slightly, now 549 00:31:32,200 --> 00:31:36,120 you may be wondering why I haven't added audio transitions between those clips. 550 00:31:36,280 --> 00:31:38,440 That's another way of being able to work. 551 00:31:38,440 --> 00:31:42,600 However, I often find that these audio files are much more accurate 552 00:31:42,680 --> 00:31:46,120 than the audio transitions that you might be using. 553 00:31:46,200 --> 00:31:51,400 The last element of this audio mix I need to bring in is of course the music 554 00:31:51,480 --> 00:31:53,800 and very similar to working with the sound effects. 555 00:31:53,800 --> 00:31:56,880 I can actually use the track slider in order to be able 556 00:31:56,880 --> 00:31:59,040 to adjust the music level. 557 00:31:59,040 --> 00:32:03,680 So first of all, I'm going to unmute all the tracks in the timeline, 558 00:32:03,760 --> 00:32:04,320 go back to the 559 00:32:04,320 --> 00:32:08,320 beginning of my edit, and I'm just going to play through 560 00:32:08,520 --> 00:32:11,400 and have a listen to how the music level should be. 561 00:32:11,400 --> 00:32:12,000 In this film. 562 00:32:12,000 --> 00:32:15,000 Making a documentary about how the airplanes change the world. 563 00:32:15,040 --> 00:32:19,960 It was really important to go out and shoot the real world. 564 00:32:20,040 --> 00:32:22,080 In the age of airplanes, 565 00:32:22,080 --> 00:32:26,120 we've become explorers once again. 566 00:32:26,200 --> 00:32:27,160 It's possible to shoot it. 567 00:32:27,160 --> 00:32:31,240 We wanted to go shoot 568 00:32:31,320 --> 00:32:34,120 so we couldn't get the shot or the weather wasn't right. 569 00:32:34,120 --> 00:32:38,320 We need to go back to that location or to make the movie a really important. 570 00:32:38,400 --> 00:32:39,840 Every shot was original and then. 571 00:32:39,840 --> 00:32:45,760 Everything was real leaves behind everything you know about airplanes 572 00:32:45,840 --> 00:32:48,360 and prepare to see them again 573 00:32:48,360 --> 00:32:59,640 for the first time. 574 00:32:59,720 --> 00:33:02,760 Now, throughout that, I was actually watching the audio meters, 575 00:33:02,760 --> 00:33:06,640 but I was also listening to the mics as it was coming through. 576 00:33:06,720 --> 00:33:10,720 And you can see the what I can now do is I can easily write the levels 577 00:33:10,800 --> 00:33:14,040 so that if the sound effects are too loud, I can actually bring 578 00:33:14,040 --> 00:33:17,440 the sound effects on those tracks down with just one fader. 579 00:33:17,520 --> 00:33:21,880 So that's the advantage of using the audio mixer in this case. 580 00:33:21,960 --> 00:33:25,120 One thing I am going to do though, is I'm actually going to increase 581 00:33:25,120 --> 00:33:29,560 the level of the music after Harrison Ford has finished his final line. 582 00:33:29,640 --> 00:33:34,920 So in this case, I'm just going to add a couple of audio keyframes 583 00:33:35,000 --> 00:33:36,400 on the volume curve and just 584 00:33:36,400 --> 00:33:40,920 adjust that up by a couple of DB from where it was before. 585 00:33:41,000 --> 00:33:44,760 So I can always go back into the timeline and start making further 586 00:33:44,760 --> 00:33:50,560 level adjustments if I need to at an individual clip level. 587 00:33:50,640 --> 00:33:59,920 For the first time. 588 00:34:00,000 --> 00:34:02,400 So that's the audio mix doing for this timeline. 589 00:34:02,400 --> 00:34:04,680 However, we're not quite there yet. 590 00:34:04,680 --> 00:34:09,360 We need a few little visual flourishes before we can say that this is a wrap 591 00:34:09,440 --> 00:34:10,120 and in this case 592 00:34:10,120 --> 00:34:14,080 we're going to add a few transitions just to indicate a change of location. 593 00:34:14,160 --> 00:34:17,160 And we're also going to add some fusion titles 594 00:34:17,280 --> 00:34:20,520 from the built in templates that result ships with. 595 00:34:20,600 --> 00:34:23,600 So to start with, let's just simply 596 00:34:23,680 --> 00:34:26,080 adjust the height of each of these tracks. 597 00:34:26,080 --> 00:34:30,720 Just give me a little bit more space in terms of the visuals. 598 00:34:30,800 --> 00:34:31,280 And the first 599 00:34:31,280 --> 00:34:34,280 thing we want to do is actually add some video transitions. 600 00:34:34,360 --> 00:34:37,160 Now, I was always taught when I was learning video 601 00:34:37,160 --> 00:34:41,040 editing that you should use transitions sparingly and usually 602 00:34:41,040 --> 00:34:45,080 to indicate a change of time or location. 603 00:34:45,160 --> 00:34:48,680 So here I've got an edit point between two shots. 604 00:34:48,760 --> 00:34:49,720 It's possible to shoot it. 605 00:34:49,720 --> 00:34:54,000 We wanted to go shoot and. 606 00:34:54,080 --> 00:34:56,520 I can select the edit point here 607 00:34:56,520 --> 00:35:00,280 and then come to the menu and choose timeline 608 00:35:00,360 --> 00:35:03,360 and transition 609 00:35:03,360 --> 00:35:07,560 and this will add a default one second across Dissolve transition. 610 00:35:07,640 --> 00:35:10,280 Let's just preview that with the forward slash key again. 611 00:35:10,280 --> 00:35:11,240 It's possible to shoot it. 612 00:35:11,240 --> 00:35:15,040 We wanted grocery. 613 00:35:15,120 --> 00:35:18,840 And that simple fade usually indicates to the audience that some change. 614 00:35:18,840 --> 00:35:23,200 Is there usually a change of time or change of location? 615 00:35:23,280 --> 00:35:26,280 Let's just zoom in on that transition a little bit as well, 616 00:35:26,400 --> 00:35:29,600 because you can also change any of these transitions. 617 00:35:29,680 --> 00:35:32,800 Of course, you can change the duration of the transition by clicking on it 618 00:35:32,800 --> 00:35:36,600 and dragging it at the side there. 619 00:35:36,680 --> 00:35:41,280 But if you right click on the transition, 620 00:35:41,360 --> 00:35:44,360 you can also change the transition duration 621 00:35:44,360 --> 00:35:48,040 by typing in values and you can see that we've got presets there as well. 622 00:35:48,080 --> 00:35:52,120 Very similar to how we changed the duration of clips. 623 00:35:52,200 --> 00:35:54,600 Alternatively, you can also change the style 624 00:35:54,600 --> 00:35:57,600 of transition through the inspector. 625 00:35:57,680 --> 00:36:00,120 So let's go up to the top right hand corner of the interface. 626 00:36:00,120 --> 00:36:03,480 Click the inspector button and we also see 627 00:36:03,480 --> 00:36:07,080 that we're in the transition inspector here. 628 00:36:07,080 --> 00:36:10,080 We've got the transition type which is crossed is old, 629 00:36:10,120 --> 00:36:14,520 but we can also choose from lots of different sorts of types of transition. 630 00:36:14,520 --> 00:36:16,720 Let's choose Edge Wipe 631 00:36:16,800 --> 00:36:19,520 because I've got the play head over the center of the transition. 632 00:36:19,520 --> 00:36:22,520 You can now see that if I change the angle of the WIP, 633 00:36:22,760 --> 00:36:26,960 you can see how it actually changes the direction of the white. 634 00:36:27,040 --> 00:36:31,160 I set that to around about -80. 635 00:36:31,240 --> 00:36:33,360 Let's increase the border 636 00:36:33,360 --> 00:36:38,000 and you can change the border color using the color swatch in the inspector. 637 00:36:38,080 --> 00:36:41,680 However, there was also the option to feather the border. 638 00:36:41,760 --> 00:36:46,840 So if we click on that, we've now got a nice soft edge border. 639 00:36:46,920 --> 00:36:50,200 If I hit the forward slash key to preview the timeline. 640 00:36:50,280 --> 00:36:51,240 It's possible to shoot it. 641 00:36:51,240 --> 00:36:54,880 We wanted to go shoot. 642 00:36:54,960 --> 00:36:57,960 I can now channel my inner George Lucas. 643 00:36:58,000 --> 00:37:02,160 Of course, resolve comes with a whole bunch of transition presets 644 00:37:02,160 --> 00:37:03,360 for you to use. 645 00:37:03,360 --> 00:37:07,440 If you go to the effects library and choose video transitions, 646 00:37:07,680 --> 00:37:11,600 you can see that you've got all manner of different transitions to choose from. 647 00:37:11,680 --> 00:37:16,320 And if you actually take your mouse and just run across the transition, 648 00:37:16,400 --> 00:37:19,760 you can actually live preview each of those transitions. 649 00:37:19,840 --> 00:37:24,600 So you get a sense as to how each of those transitions works. 650 00:37:24,680 --> 00:37:25,160 The final 651 00:37:25,160 --> 00:37:28,840 element that we're going to add to this edit is actually some titles. 652 00:37:28,920 --> 00:37:31,920 We need to know, for example, who the interviewee is. 653 00:37:32,120 --> 00:37:35,680 But we're also going to add some titles for each of the geographic locations 654 00:37:35,680 --> 00:37:39,320 that the film visits when it was filming. 655 00:37:39,400 --> 00:37:42,480 Just like with Transitions, you can actually live preview 656 00:37:42,480 --> 00:37:46,800 each of these by running your mouse across them. 657 00:37:46,880 --> 00:37:48,720 And with the fusion titles, 658 00:37:48,720 --> 00:37:53,640 you'll actually get to see the different animations that we have. 659 00:37:53,840 --> 00:37:56,760 So you can choose whether or not a title is appropriate 660 00:37:56,760 --> 00:38:00,680 for your edit even before you apply it to your timeline. 661 00:38:00,760 --> 00:38:02,840 In this case, I want to scroll through the list 662 00:38:02,840 --> 00:38:06,000 and I'm looking for a title called Simple. 663 00:38:06,000 --> 00:38:13,320 Underline Lower third. 664 00:38:13,400 --> 00:38:15,040 I'm going to take that title 665 00:38:15,040 --> 00:38:19,240 and I'm going to move up to my timeline viewer 666 00:38:19,320 --> 00:38:24,120 overlays, and then I'm going to choose the place on top. Edit 667 00:38:24,200 --> 00:38:27,920 And surprisingly, this time, because I'm dealing with video resolve, 668 00:38:27,920 --> 00:38:31,040 actually places title on top of the video 669 00:38:31,040 --> 00:38:34,480 where my play had this, 670 00:38:34,560 --> 00:38:37,920 I had the effects library just to give myself a little bit more room 671 00:38:38,000 --> 00:38:41,000 and go into my detail, zoom, 672 00:38:41,200 --> 00:38:42,520 zoom out touch there 673 00:38:42,520 --> 00:38:46,120 and I just want to trim the title to the end of the clip. 674 00:38:46,200 --> 00:38:48,880 To adjust the title, as you'll simply do, 675 00:38:48,880 --> 00:38:51,720 is just go directly to the inspector. 676 00:38:51,720 --> 00:38:54,960 So here in the text box, I'm going to highlight the sample text 677 00:38:55,040 --> 00:38:56,760 and I'm going to give my interviewee his name, 678 00:38:56,760 --> 00:39:00,760 which in this case is Brian George Terwilliger. 679 00:39:00,840 --> 00:39:03,840 And you can also customize the font as well. 680 00:39:03,880 --> 00:39:07,680 If you click in the font menu here, you can actually scroll 681 00:39:07,680 --> 00:39:11,040 through the list of fonts that you have installed on your system 682 00:39:11,040 --> 00:39:15,520 and get a live preview of what each font may look like. 683 00:39:15,600 --> 00:39:18,360 In this case, I'm actually just going to leave everything set to open 684 00:39:18,360 --> 00:39:22,200 SANS, However, I can customize the text 685 00:39:22,200 --> 00:39:29,040 further using the lower controls, including the size 686 00:39:29,120 --> 00:39:29,920 and also the 687 00:39:29,920 --> 00:39:33,160 tracking, which is the spacing between the letters. 688 00:39:33,240 --> 00:39:36,560 Just by bringing the letters a little closer together makes them easier to read. 689 00:39:36,560 --> 00:39:39,320 I feel 690 00:39:39,320 --> 00:39:41,400 below that we've also got controls 691 00:39:41,400 --> 00:39:45,840 for the line as well as a blue line underneath the text. 692 00:39:45,920 --> 00:39:50,520 Of course I can increase or decrease the line thickness depending on the style 693 00:39:50,520 --> 00:39:53,920 that I'm looking for, and I can also change the line color. 694 00:39:54,000 --> 00:39:58,240 In this case, I'm actually going to increase the red color channel 695 00:39:58,240 --> 00:40:02,840 and the green color channel and actually just lower the blue color channel 696 00:40:03,080 --> 00:40:06,800 just to change the color of the line to yellow 697 00:40:06,880 --> 00:40:12,000 in actual fact, you can also customize the gradient across the line. 698 00:40:12,080 --> 00:40:16,720 Let's change the type from solid color to horizontal 699 00:40:16,800 --> 00:40:21,080 and now I get a second color box, which I'm actually going to customize 700 00:40:21,160 --> 00:40:27,040 by just making it a little bit more of an orange color. 701 00:40:27,120 --> 00:40:29,880 Now that I've got my first title in, I can actually use this 702 00:40:29,880 --> 00:40:33,760 as a basis for the rest of the titles throughout the trailer. 703 00:40:33,840 --> 00:40:36,520 And also I'm just going to do is just copy and paste 704 00:40:36,520 --> 00:40:39,520 the title into different locations. 705 00:40:39,560 --> 00:40:43,640 Let's go to full extent, Zoom and select the title and then 706 00:40:43,880 --> 00:40:48,400 I can actually choose to copy the title just as I would do anything else. 707 00:40:48,600 --> 00:40:50,720 So command or Control C 708 00:40:50,720 --> 00:40:54,640 is a keyboard shortcut that you'll probably be familiar with. 709 00:40:54,720 --> 00:41:00,280 Now I'm going to find the Maldives shot here 710 00:41:00,360 --> 00:41:02,800 and I'm going to choose to paste. 711 00:41:02,800 --> 00:41:07,760 So edit, paste, command or control V 712 00:41:07,840 --> 00:41:12,400 and result will actually paste directly to the track from which I've copied from. 713 00:41:12,480 --> 00:41:17,000 Let me just trim that back to the end of that shot 714 00:41:17,080 --> 00:41:22,600 and then change the title here 715 00:41:22,680 --> 00:41:26,880 to Maldives 716 00:41:26,960 --> 00:41:30,960 and to copy that title 717 00:41:31,040 --> 00:41:32,400 Paste over the next clip, 718 00:41:32,400 --> 00:41:42,000 which is the South Pole shot. 719 00:41:42,080 --> 00:41:51,760 This clip is Alaska. 720 00:41:51,840 --> 00:41:53,720 And then, of course, 721 00:41:53,720 --> 00:41:59,240 can you. 722 00:41:59,320 --> 00:42:03,680 Show more into the movie? 723 00:42:03,760 --> 00:42:05,000 That's really important. 724 00:42:05,000 --> 00:42:06,440 Every shot was original and then. 725 00:42:06,440 --> 00:42:12,400 Everything is real leaves behind everything you know about airplanes 726 00:42:12,480 --> 00:42:15,640 and prepare to see them again. 727 00:42:15,720 --> 00:42:18,720 Just kind of trim that back a little bit because it was just overlapping 728 00:42:18,720 --> 00:42:20,080 the transition a little bit and. 729 00:42:20,080 --> 00:42:22,800 Prepare to see them again. 730 00:42:22,800 --> 00:42:27,000 Don't worry, if you can't play these titles back in real time immediately, 731 00:42:27,080 --> 00:42:31,720 depending on the power of your system, result may need to cache the files 732 00:42:31,800 --> 00:42:35,400 prior to being able to play them back at full quality, in which case 733 00:42:35,600 --> 00:42:38,440 just let resolve have a few seconds 734 00:42:38,440 --> 00:42:41,440 and results will automatically cache the files for you. 735 00:42:41,520 --> 00:42:46,200 You'll notice when a file is cached because the red line above the title 736 00:42:46,280 --> 00:42:49,720 will turn blue to indicate a cache file, 737 00:42:49,800 --> 00:42:53,280 you should now be able to play your title back in real time. 738 00:42:53,360 --> 00:42:55,440 Now that I've got this, had it ready to go. 739 00:42:55,440 --> 00:42:59,960 What I want to do is to be able to play it back for the client full screen. 740 00:43:00,040 --> 00:43:05,560 If I just return the play head back to the beginning of the timeline 741 00:43:05,640 --> 00:43:07,080 from the Workspace menu, 742 00:43:07,080 --> 00:43:11,240 we can choose a view, a mode cinema view. 743 00:43:11,320 --> 00:43:15,680 This will give me a full screen playback of my edit. 744 00:43:15,840 --> 00:43:19,320 In this film, making a documentary about how the airplanes changed the world. 745 00:43:19,400 --> 00:43:22,600 And it's really important to go out 746 00:43:22,680 --> 00:43:24,120 in the world. 747 00:43:24,120 --> 00:43:26,400 In the age of airplanes, we've 748 00:43:26,400 --> 00:43:29,880 become explorers once again. 749 00:43:29,960 --> 00:43:35,120 It's possible to shoot any one excursion in, 750 00:43:35,200 --> 00:43:37,560 couldn't get the shot or the weather wasn't right. 751 00:43:37,560 --> 00:43:41,680 You need to go back to that location or it didn't make the movie really important. 752 00:43:41,760 --> 00:43:44,760 Every shot was original. And then I really. 753 00:43:44,760 --> 00:43:48,880 Believe behind everything you know about airplanes 754 00:43:48,960 --> 00:43:51,360 and preparing to see them again 755 00:43:51,360 --> 00:44:02,440 for the first time. 756 00:44:02,520 --> 00:44:03,280 Just simply press 757 00:44:03,280 --> 00:44:07,480 escape in order to be able to return back to the interface. 758 00:44:07,560 --> 00:44:09,920 I hope you found this tutorial useful. 759 00:44:09,920 --> 00:44:12,920 If you've got any further questions about attitude and resolve, 760 00:44:13,080 --> 00:44:16,360 please feel free to join us on the Blackmagic Design forums 761 00:44:16,440 --> 00:44:19,680 and you can also familiarize yourself with the training materials 762 00:44:19,680 --> 00:44:23,440 that we have available on The Da Vinci Resolve product pages 763 00:44:23,520 --> 00:44:26,800 and all of those materials are available for free. 764 00:44:26,880 --> 00:44:29,080 Thank you very much and happy editing.