All language subtitles for 11. Edit Tab - Assembling your Main Edit part 3 Edit Tab Kolder

So I just got back from my break
and I'm reviewing that.

I actually really like the flow.

I think I did a good job

at kind of communicating
all the different activities at the start.

And I like the initial drop.

I feel like this is going to be
a pretty solid edit, actually.

There is one thing, though.

I noticed that
the cuts are a little bit off

because I was using my headphones
in wireless mode.

So via Bluetooth, which is something
to consider if you are an editor.

I have made this mistake
before a while back.

For some reason I thought the Apple
headphones wouldn't do that

because they're an Apple product
and I'm using my MacBook.

But there was a bit of lag
while I was editing that. So.

So some of the cuts
are not exactly to the beat.

So I'm just going to quickly go over
and just realize in the clips

so that everything goes to the beat
and I'm actually going to use a slip tool

a bunch to do that.

So that's where the hit is.

And I could just slip this right here

or there.

So to a

That's cool.

I'm watching this raw now.

I'm thinking maybe I can position
that some flair in the same place

in the second shot, just to line it up

with the first one and see me. Really.

And that's kind of cool.

Maybe we can zoom in even more on that

so that we can line up the sun exactly

in the same place, in both shots.

That's pretty cool.

I think it's still too far to the right,
but maybe we could zoom in

on this first shot here and actually push
that sound over to the right. More

scaling in the second image as much.

Okay. I actually like this.

Maybe we can slip this one so that

it's like the sun coming out again.

Like that.

Okay.

So you guys are seeing the raw process.

This is I was planning on realigning
all the

the cuts to the beat,
but I had an idea, and I'm going with it.

So now the sun flares too far to the left.

Um, why don't I actually
just draw a die here using annotations?

So, um, now it's put it. Let's keep it.

The stars.

Okay, Let's try to keep this sun here
for about the shots.

So this first one will probably
want to keyframe the position.

So I like where?

Inside the beginning.

So I'll mark
the zoom and position keyframes.

And let's go over here.

Let's hit command shift,
see, to see our keyframes here.

So I actually made the annotation
on the clip itself.

It should be on the timeline,
so I'm going to delete that.

Now, let's go back to annotation mode

and make sure no clips are selected
and then draw in.

So let's try to keep this one over there

and I'm going to option
drag that out so it stays on the screen.

So that gives me a bit of reference. So.

Okay, second clip, let's line this one up.

Let's bring this back to transform mode.

Let's put that over there

and let's change the position

and scale this one
so we can zoom in a bit more.

That's kind of far.

We might have to be in the middle,

then we might want to go a little bit
to the left of it.

Or I could do like

a different part of the clip

or the software

sounds.

You know, what I could do actually

is just flip this the second video here

and then move it

this way.

So then you kind of meet

in the middle there.

We got a new spot.

Let's delete this annotation here.

Okay, We got this one over here.

Let's
see if we can match on this next one.

So we just got

push this second shot over a little bit.

Okay, cool.

I kind of works

dope.

It's not the best.

I would like to have more of his face
in it, but let's just leave it for now.

How? And let's go back

to repositioning everything
to the beat of the song.

And then,

you know,

and then

how cool.

And then,

you know.

Okay, So I went through the whole thing,
made sure all the cuts are to the beat.

Everything's looking good.

And actually watching this again,
I really like this edit

I think it's really good at it
and it makes me excited to want to

continue finishing it off.

I'm happy that I took a break because I'm
looking at this with fresh eyes.

I also realized that I made a mistake.

So thankfully, you know,

I didn't just sit down
and do the whole thing

with my headphones

unplugged via Bluetooth

because then I would have had
to go through that whole process

on the entire edit,
which wouldn't be that bad.

But it is nice to see this edit
that we've just created with fresh eyes

and I have a new energy going into it
now, so let's get right into it.

So I'm going to go back to my selects.

Let's see,
what have I not use yet in here?

So I dig this clip.

I think this is a cool one I've done
and throw that into the action sequence

on the last part.

Let's throw this clip into
because we didn't use this one yet.

I really like that one.

This clip for sure.

This clip, sick.

I love this one.

And yeah, maybe this one as well.

I'm kind of just dragging them down
into the timeline down there.

I could be down for like
some of these clips actually, as well.

We'll throw the phone in there
for a frame as well.

Maybe me picking up the phone and ever use
this shot wasn't

used in the actual video either.

This is a cool shot too.

We could build out a little car
sequence with those three.

This shot could work as well,

and maybe.

Yeah, that's one too quick one.

Cool.

Okay, cool.

So I like that.

And what I actually did in the main video
is I went straight to this shot of dad's

surfing, which I think we use that shot
already, and I want to change it up here.

So I'm thinking of going into something
completely different.

For some reason, this shot that stands out
to me right now is this one.

I like the just the lines on the road

flying
by like the motion blur on this shot.

It looks cool. It's
not like such an obvious shot.

It kind of makes the viewer like,
question, what is it?

You know, it's like a lot of motion blur.

It's it might be hard to make out
right away,

but it kind of like gives a bit of context

to where we are in the next scene,
which I want to make the car scene.

So the

Yeah, and let's let's not slow this down
I think it's

yeah it's a 40%
let's bring it back up to 100.

Yeah.

I don't like fast cuts,
I don't want to play this out too long.

I like, I feel like that's like
it's a perfect cut right there.

Yeah.

And then maybe we could throw
in a couple other fast ones

if we don't want to play that one out two

too long.

So let's throw this one here
and then this one.

And then maybe we can use that shot of me
picking up the phone.

I'm too far in my timeline here, so let's.

Let's push all this stuff out.

Just know that it's there.

And this clip, we can just keep it here.

But these are the
ones I want to focus on now.

I don't know about this one.

You can push that over there.

So, yeah, let's get these two shots here.

Yeah.

Also cool.

Don't like that.

It's going slow, so let's change that up.

I'm going to hit our and let's

bring this to 100%.

Yeah.

Like those faster cuts

also 100% speed

the earlier

and maybe I could throw

in this shot of me picking up the phone
here.

Let's give that a try

100% as well.

Yeah.

Maybe he's going to get quick
quick little section of this

That's,

uh, maybe we slip it.

Yeah,
maybe it'll just be the motion of me.

Like taking it off

Cam. And I want this

cut to happen a bit earlier as well.

And what we could do is just option down.

So everything is here.

And if we want to change the where
the cut sits, we can just slip it.

Okay, cool.

That's cool. Little sequence.
We're changing up the pace a bit.

Why don't we

maybe we throw in a wide shot?

I guess something that would make sense
for this sequence is like showing me

actually filming with the camera.

So maybe we could try throwing this shot
here and we can use a different factor.

Let's give that a try.

Know.

Okay, maybe we can use that

for this segment here and

maybe I could throw in
like a different clip of for that

something still in the car

or it's something to do with the car.

This clip sick.

But I don't know if it would make sense

here,

does it not?

Not really feeling it.

It's like two different.

And I feel like this is a great shot
to show later on.

Oh, maybe even like that ender over here.

And it could be cool since we're not we're
now we're using a phone shot earlier on

that could be cool.

We just slip it.

So it's like right at the point
where I'm throwing the rock.

Yeah,

that's cool, too.

I like that.
That could be a potential ender.

The sound

actually

really like that sequence.

I feel like for a brand
they would be stoked on that.

All right, so back to the car.

Let's go back to the select server here.

Let's look for car stuff.

It was like one of the last days and

cool.

There's stuff with me
holding the phone sick.

This is why
sometimes it's good to overshoot

so that you have options, but obviously

it's better to go in with a plan.

But with this shoot like we had,
we had a plan, but

we did also just freestyle a lot of it
like just going into some of these shoots,

we didn't really know
exactly what we're going to be shooting.

This shot could work,

actually, let's try this.

And I like how it's like it shows me

shooting with the phone now,
but in a different environment.

So it helps us transition
from one environment to another.

It doesn't have to be another shot of me
shooting with the phone in the car.

Let's just hope this works.

Yeah,

yeah, that's dope.

Let's bring it to 100% speed

and cool

bit of a vibe.

Maybe we can start it earlier. Let's try.

Let's try slipping it

cool.

So now let's take into consideration
where we are in the edit.

We're probably we're approaching

the halfway point of the last, like,
upbeat section,

so I'm going to want to bring in
like a lot more

action here.

So what I'm going to do right now
is watch the whole thing again

from the start, just to like again refresh

my mind as to what scenes have we covered,
which ones have we covered?

Well, which ones have we not?

So we can take that all into consideration

to get a better idea of how I want to fill
this last section of the ad, It

sounds.

Sounds

how does

the how

you got

sick?

I love this ad.

So from here, let's go into something
completely different.

I think that there's
still some really cool underwater shots.

I mean, to go back to my best,
let's actually before I do that, let's

just see what we have in this timeline
here.

The stuff that we've kind of been
dragging over to the side.

Yeah, let's throw in this dirt bike clip
because I think it's a banger

that can go in right after the launch.

Yeah, I love it.

This shots move it over.

I don't know
if we need to use that in this shot sake.

Let's start in right right away.

Now, since we're approaching the end, like

I'm trying to make it, like,
more montage style.

It's kind of what I'm feeling right now.

Let's go here.

So good

and slap that over

there.

And this shot.

I think it would be cool
if we speed ramp in and out of it.

So let's add to points over here.

So add one here and let's speed up
this first section.

So I'm going to drag it over speed up

131 Let's make it even faster.

So maybe like 200% speed,
let's see what it looks like.

Okay, cool.

And we could just change how this bottom
section,

like the speed of the transition

between slow to fast, fast, slow,

cool.

I'll actually push this over

a bit to do that looks good.

And now we wanted to

come out here,

so like, about here.

So I'm going.

I want to create speed point earlier
and shrink that to that point.

There.

If we could push it out,
I know we could bring it in here closer

and then push it out.

Actually.

Now we
do want to change that 100% over there. So

I could push this out
and then drag this in to speed up

the end.

I'd want to see the sped up footage
a little bit longer.

So let's move this in.

We can expand it.

And I think I want to play

with the handles here

and make it a bit longer.

Okay, so this whole thing needs to happen
earlier.

Let's move this closer.

Speed it up.

Let's move this handle in more

so that we have more of a section
right here that is just like pure

slo mo.

Okay, cool.

Now, three new clips.

Let's go back to our selects

over here at the end.

And this could be a cool shot
for like the end closer to the end here.

Let's start looking for some other stuff.

This is a cool shot
that we didn't use yet.

Bit of a flair here.

Let's also go back
to the end of our timeline.

This shot we definitely need to use

probably one of the six shots
of the entire project.

So I kind of want it to go from like

earth to water to water.

I don't want too many back to back water
shots.

A couple more clips from there.

Honestly,
like these shots here are pretty cool too.

So these in

maybe even like right

before the last shot
could be a cool addition.

We're cool, but now I'm feeling
the other phone shot here.

So let's take this shot,
put it somewhere earlier.

Let's finish with this shot.

I think because this is like,
you know, this was an ad for a phone.

This this video is necessarily
an ad for the phone.

This is more just for fun,
what I'm doing right now.

So I'm not giving this specific video
to the brand.

I've already given them all of the
deliverables and everything like that.

But I want to create in the mindset as
though I'm actually creating for a brand.

So I'm making sure
to incorporate their product

and showcase it in a cool way
in this case, it's very minimal.

We don't really have
too many shots of the phone,

but I think a good way to show it off

is that one really
dope shot at the very end.

I think it works well.

I really like it.

And we could probably even
just like faded out as well.

Cool.

I really like that ending.

So this whole section here,
what I'm envisioning is

everything at 24 frames per second.

So real time speed

and this is a cool shot

that we could throw in there as well.

I'm just going to close this off.

That's

good.

Yeah.

Yeah, I like that.

The real time feel of it

feels a little bit crazier.

A little more

action packed.

I feel like that

shot can even come before this one.

Yeah,

it's a bit

even more.

Yeah, I like them,

but I like how

it goes from out of water to underwater.

I haven't done a hit and it feels good.

Cool.

Let's throw in another shot.

A lot of underwater stuff here.

Let's throw in the longboard shots too.

So let's make it like 120.

Yeah,

that's dope.

I like how his foot hits
the ground on that hit in the song. So.

But then I feel like it's too guys,

I want this last part to speed ramp out.

So let's add a keyframe over here.

Let's bump this up,

smooth that out.

Cool,

though.

Okay,

I like that.

Let's move this speed point over as well.

So this is really nice.

That feels good to me.

Command or command shift to close it out

and let's

see if we got any more longboard shots.

I actually like that they're to

work here.

Maybe we can do like three
water shots back to back.

Do do do do

know.

Call me Crazy

girl,

girl.

Cool.

I think this one should come a bit
earlier.

You're

cool.

I feel good about that.

Yeah.

Okay.

I feel like after that one longboard shot,
we can probably throw in two

other longboard ones.

So I'm going to go back to

the language section over here.

Yeah, and let's let's zoom in on this
and try to

find some new clips
that we haven't used yet.

And because this section of the edit
is a bit faster, I want to find some

a bit more action.

So maybe like one of these shots,

there's that moment there,

but we can see that the gimbal is also
in the shot in this one.

So we'd have to crop
in which we still have room.

We're shooting 4K.

It should probably work.

So but let's see
if there's anything else here.

Okay.

So not too much to work with.

Let's try this clip here.

Definitely would speed this up.

So maybe like 200%.

I think it's slowed down.

I guess

like there's this moment where he, like,
puts his hand up, which is different.

We haven't used that yet.

Let's

and let's speed it up a bit more, I think.

Let's see properties.

We can form this 24.

So it was a 60 frames per second clip.

So that means it's

it's playing back at 40% speed
so we can speed this up quite a bit.

So I think 220 would be real time.

Okay.

So this is going to be a fast
sequence here

and cool.

One more longboard clip.

Let's see what we got.

So I can't really find anything here
that I like.

So I'm going to go back to my longboard
timeline.

Let's see if I have it open. Here

we have Longboard Day one.

Let's see what's in here.

So these are all the selects
at the end of the timeline here.

Oh yeah. What am I saying?

I knew I got some six shots.

These close ups over here are dope.

But see, this is.

This is why it's good
to have those timelines,

because you can always go back

when you're missing something or,
you know,

when you feel like you don't have enough
of a specific day or event of the project.

You can always just go back to the
timeline, find a clip that you want.

So this in here,

I almost feel like this would work
well before

and I'm pretty sure this was slowed
down as well.

Yeah, this conforms to 24
so we could speed this up too.

I want that real time

and let's close off that shift.

See, to Close Off the curve editor and

cool.

I like this now. Yeah.

Sick.

Yeah, I love that.

But I don't like the way
that we're looking at this.

I think I'm going to flip it.

It's close that

we can flip it right here. Mm.

Now, I'm not sure if it works

that way.

Okay.

This cut needs to happen a bit earlier.

Okay.

Fast cuts here.

This shot,
I think, is too epic for a fast car.

I want to play it out a little bit longer.

Maybe play the full thing here.

Yeah, Maybe we can play out

until this point here.

Yeah, it's dope.

This clip of this clip of me
holding the phone,

I'm not too sure how I feel about it.

It's the same with this one here.

So this is where we're at.

I'm going to move this down.
I'll just move all of these down

so we can see everything in one track.

And if I move everything cool.

So we just have these couple of gaps
left to fill in.

So I think what I'm going to do

is watch the whole thing again
now from the beginning.

And this is like, this is a real process.

So you guys are seeing me making this
from scratch for the first time.

I wasn't rehearsing.

And this is just how it goes.

Like, you want to
you want to go back to the beginning.

Every once in a while
and watch the whole thing over

and make sure that this segment that you
just created flows with everything else.

Like, does it make sense in this case?

Doesn't really have to make too much sense
because it's kind of montage style, but

I just want to like
see how it fits within the full edit.

So I'm going to go back
and watch the whole thing,

but I'm not going to make
you guys watch it with me.

I'm loving this.

Edit I think it's coming together
really nicely.

And you know, a big part of
this is because I'm

so familiar with the footage
I've made this selects.

I know the footage so well
from this project.

So and you can see how helpful it is
to work from that sizzle reel of select

that we've created.

We basically like finished
the edit there almost,

and we're just choosing
all the best stuff to throw in.

The process happens
a lot more seamlessly this way

because we've gone through
all the footage was so familiar

with everything versus,
you know, a lot of editors.

What they'll do is, you know,
they'll just open up their media pool

and they're not going to make selects.

They're just going to go

through their footage, you know, folder
by folder and scrub through

and then just drag the clips
into their timeline here.

And they're not seeing everything.

You know, you're missing out on a lot of

the project by not going through
and making the select site.

That's the time
consuming part of it for sure.

It might not be a lot of fun,
but if you're trying to make dope

edits, it's part of the process.

Oh, there's this shot too, which is sick.

I love this one.

And you're

dope.

I really like this.

It's cool that he's laughing
and it's like a real genuine moment

where

I wonder if I should prolong that.

Let's drag it out a bit, make it longer.

You're

okay.

Maybe I can speed ramp
it here to this point on the timeline.

So it's at a marker?

Yeah.

Yeah, I can see that working.

Let's speed it up a bit.

So maybe. Let's see what 70% looks like.

I'm not sure what's going on there.

Let's bring it to 50%. Yep.

Yeah.

Cool. That should work.

Commander,
Our command shift are going to add speed

point around here

and speed up this last section

here.

Okay, maybe a bit more.

And let's just make that transition
a bit smoother.

Bring those handlebars in there.

Yeah.

Okay.

Maybe even faster.

Yeah.

Okay.

And I think what's going to help with
this is some sound design.

So like a nice woosh or something that.

Yeah, yeah,

not 100% sold on it,
but let's leave it there for now.

Let's bring it down a track.

Sure.

And Duffy does not work to the next clip,

but maybe you can work to this one

where you're

kind.

It doesn't really work

because, like,
this first clip goes to full blue here.

So maybe there's something
else that I could use

your or, you know, maybe this

just isn't the shot for this section right
here.

Let's go back into the selects up here
and see what else we got there.

Why not throw these two shots in here
as well?

Diversify things a bit more,
trim them down.

Yeah.

Why don't we throw those two over here?

You're

okay now.

I think that that's to show
we want everything here to be

a bit more action
packed, a bit more motion.

This is dope.

Yeah.

Yeah, I like this motorbike shot.

I think I'm going to slip it over, though.

I wanted to, like, start when the dirt
bikes, like, right in front of the camera.

So it's a bit even more.

Yeah, that's cool.

Yeah. We can go into,
like, a dirt bike sequence here.

You're dope.

Yeah, I like that.

And I like this shot. How?
It's like, shaky.

It is handheld,
but I think that that vibe at 24 frames

per second, it just looks great.

And I think it works really well here.

So we need to keep that

dirt in areas that we need to crop in
on this shot a little bit.

So let's do that
just to hide the gimbal up

here.

Okay?

And slip this over.

Yeah,

I like that.

I also like how
when the camera leaves the water,

it's like kind of on that vocal as well.

And like,
I have no idea if that's actually a vocal.

I'm just calling it that because kind of
sounds like a a sound from a human.

And they managed to modified it, but
it could also very well be an instrument.

I'm not sure besides size,

this last

little bit right here,
what else should we add?

You know, maybe some acro
we can go back to that maybe a shot

or two from the car because we haven't
used that scene as much.

I know there's a shot of me
sticking my hand out

so we can maybe use that.

So like I decided to go back
to my previous refined group

of select here because over here
I feel like I refined them even too much.

And this previous group
has some stuff that

I have that this group doesn't.

So I'm going back here to find stuff,
some extra shots.

The shot of my hand
sticking out the window is a good one

right there.

Let's track that over right into there
and see what else we have.

Maybe even this shot to.

So DaVinci did

just crash, which is totally fine.

If this was premiere,
I'd probably be freaking out.

But if this was premiere, it would have
crashed a couple of times already.

And every time that it would have crashed,
it wouldn't have saved the data

right, right before the crash.

But in my experience with Da Vinci, it's
been really good at

saving where I left off before it crashes.

So crashing

is just something that I experience
with every single program that I've used.

Premiere Final Cut Da Vinci
Premiere has been the worst for sure.

Final cut's really good,
and same with Da Vinci.

I haven't had any lost data yet,

so it would be funny
if for some reason in this situation, I'm

not rich on.

We got that shot that we pulled in.

So that's the thing with Premiere,
I would definitely panic a lot

when the program would crash.

Da Vinci I don't panic.

I'm showing it always saves my data.

Where I last left off for

like really quick shots here.

We got some more dirt biking stuff.

Damn, these are some cool shots

too, that weren't in the refined selects.

Yeah, we got
we got a lot more dope stuff here.

What else is there?

Acro Muse,

Maybe this shot,

if we play it back at 100%

or like 200,

that's cool.

I like that little moment right there

where Cool

girl,

maybe
even starting this last little sequence

with this girl.

So this shot's really cool.

I think it's a bit slow
and I think what would help

in this part of the sequence is to add
a bit of a camera digital camera movement

so we can open up dynamic zoom here
and we can swap these.

We turn it on first
and here we can swap this.

So it starts off wide
and then goes zoomed in

and we can get it to
zoom in on my hand a bit more

now on the
starting position, on the ending position.

So maybe something like that.

And that's going to be fast
because a short period of time,

let's turn that off
and see what it looks like.

Mm hmm. Too much.

I would turn that down.

So I'm going to scale this second one up

so it's minimal

work.

Mm. I almost feel like it's too slow
for this part of the video,

so I'm going to bring it down here
and disable it.

Yeah, I love this version.

That's sick.

Let's try like this

when he's, like, just jumping over

the rock here,

You're,

you're,

you're,

you're

that works.

And a couple more shots.

Some shots here.

I think we dragged those other shots
in here, right?

Yeah. This one here.

Let's play around it.

This one now?

Yeah.

Mm hmm.

Both of these shots are too similar.

This one could be an alternate version.

And, of course, I could use
take selector for all of this, but

I don't really want to set that up.

I'm happy to just have them stacked here.

I might even just move this clip
over to a different spot here.

So I don't want to set up the takes.

So for this time,

this is a cool clip.

I could probably play it back at 100%
speed. So.

So at 100%,
I'm assuming it was conformed to 24.

So let's bring it up to like

ten spring.

It's like 210

where

you're

gonna came

couple more clips

this sort of dance modeling we could just
add a segment of that in there

and I'm going to expand this timeline
here,

lower the audio tracks

so that they don't take up as much space
because we don't have them right now.

You're

that's kind of dope.

I don't know if the flow is 100% there.

I'm probably going to play around
with this a bit more.

Yeah.

Okay.

Works.

Okay, cool.

Yeah.

Okay.

There.

Yeah, that moves in a little bit earlier.

Let's take a look at the audio waveform.

So this is the big hit right here.

We want to move that over a bit earlier.

Okay.

So it's the upper clip
that we want to move.

Yeah, that's better.

Let's close off these audio tracks.

You're

gonna sky.

This is this.
This cut needs to be a bit earlier.

Oh, yeah.

Cool.

So I feel really good about this.

Edit I think it came together
really nicely.

This is the very first draft,
so there's no spaces anywhere.

We've filled it in from start to finish.

There are some shots I feel I could
probably go back and replace,

but this is the first draft
and I feel really good about it.

And of course, as we continue
the process of doing things like fusion,

which we're going to be using
for the Acro dirt

bike transition and also color grading
and Fairlight doing our sound design

throughout that process.

We're going to be watching our video
a bunch of times over and over.

And now throughout that process
of watching it,

you know, over the next couple of days,
depending on how long you're

putting into finalizing
your video, you're going to be

coming at your timeline again
several different times with fresh eyes.

So knowing that
I know that there's going to be things

that I'm going
to want to change about my timeline.

So here and there, I might swap some clips
or change the pacing of things.

But I would say for this added,

this is pretty much close to completion
in terms of the picture

lock, in terms of where
the actual clips are on the timeline.

So I'll render out what I have right here
at this stage

so you guys can watch exactly
where it's at.

And our next step
would be to go into Fusion and start

working on that Acro dirt bike transition
before we jump into color.

And then finally, sound design.

How, how,

how does

how does.

So I hope you guys enjoyed

the raw process of me putting together
this edit from start to finish.

Sorry if it was a little bit
all over the place,

but that's just how my mind works
and I thought that it would be beneficial

for you guys to see the actual raw process
of putting together an edit.

Sometimes it doesn't go as planned.

Sometimes you'll run into issues
or certain shots that you think might work

at a certain place or certain
time in your timeline don't work.

So you have to improvise.
Try something different.

In this case, to be honest, I would say
it came together pretty seamlessly

because I'm so familiar with everything,
with the entire project,

with all the footage.

So things just fell into place
very naturally.

Don't get frustrated
if it takes you a lot longer

to put together an edit like this.

So from here,
our next steps are to go into fusion.

We're going to create that acro
to dirt bike transition.

But first you guys are going to be
learning about the foundations of fusion.

How it works.

We're going to be exploring that,
which is a whole nother world to DaVinci.

It's going to be really exciting.

And then once we've completed
all the fusion stuff

that we want to do in our timeline,
then we're going to move on to color.

Color, grade everything.

And then finally, Fairlight
for the sound design.

But that's it for this video
I hope you guys enjoyed.

I hope you learned something new,
and I'll catch you in the next one.