All language subtitles for 9. Edit Tab - Assembling your Main Edit part 1 (Music) Edit Tab

All right.

So we've gone through pretty much

everything that the edit tab has to offer
over the past series of videos.

And now it's time to actually start
piecing together our main edit.

Now, the reason I'm wearing headphones

is because before I actually start
laying down clips in my timeline,

what I like to do is find a song
and cut it down to the duration

that I want to edit to.

In this case,
I want to create a one minute highlight

reel to showcase all of the best moments
from the entire project.

Now for this edit,
I found a really cool song on music bed

that I like and I think it's going to work
well for this.

But for the actual OnePlus video actually
custom made a track with my friend Dow.

It just because I felt like
I really wanted to customize the beginning

and the flow of things.

So that was the first time that I actually
created a song from scratch

and I hope to dive into that process
more in the future.

But for now, I'm going to show you guys
my process that I do the most,

which is finding a song on the Internet
somewhere that I like.

Sometimes it can be music bad,
sometimes it could be art lists.

There's tons of different music
licensing websites out there,

so feel free to try them all out.

Sometimes I'll even get in touch
with music producer or an artist

that I like over Instagram or over email
and try to get them

to give me permission
to use one of their songs in

maybe something like a personal project
or something like that.

But most of the time
I do get my music off of music licensing

websites
and my go to is music at the moment.

But really I'm open to all music
licensing websites and I am really excited

to dive deeper into creating custom tracks
for future projects in the future.

So with that

being said, let's jump into Da Vinci
and start piecing together our main video.

All right, so I

have my all best selects
timeline over here.

Let's zoom out on it.

We have all the selects
from the entire project right here,

and I'm just going to mute this so we
don't have to listen to the audio for now.

And then over here we have the refine
selects, which is what we did.

And you guys saw me do this
in the refining your selects video.

Now, this is the first take
of refined select.

So this is all the selects
from the entire project,

the best ones from the entire project.

And then this is that same group of clips,
but refined even more so for this one

minute video,
I'm really going to be focusing

all my time on this little group of clips
right here.

I've spent all the time
refining everything.

So this is all the best stuff.

And right now

I'm just making a one minute video,
so this should definitely suffice.

And if I ever do need something

or another clip comes to mind
that isn't in this group,

I can go back here
and check out all the selects

or of course I can go into each individual
timeline from these selects

and see even more clips over there.

But I'm going to be focusing on this.

So first thing I want to do
is create a new timeline.

So I'm going to hit command
and and let's call this main edit.

The day has finally come.

We're going to use a project settings
and we're going to press create.

Now we have our main edit over here.

I'm going to close the media pool,
actually, before I close the media pool,

let's bring in the song.

So I found this song on music bed.

It's called Stay Hungry.
Sounds pretty cool.

Let's throw it into our main
edit over here.

And we could see that
the full song exceeds 2 minutes in length

and that's too long.

So what we're going to do is find portions
of the song that I think would work

well to showcase, you know, a
one minute montage style video,

and we're going to cut it up and try
to fit it within a one minute time span.

So let's close the media pool over here
and let's

add another timeline so that we have
two stacked on top of each other.

Let's close
main edit up here and open it down here

and let's just space things out
a bit more.

So we have a bit more room to play.

Now in my situation,

when I'm doing this kind of editing,
I really don't need to have my preview

into that big at all because my workspace
is said to have a video clean feed.

So my video Clean feed is set to my second
monitor

color LCD is my laptop,
which is over here to my right.

My I have two Dell monitors.

One is a 4K,
one one's a tiny one, but I have my 1081

right here that you guys are able to see
set to my clean feed.

So I really don't need my preview window

here to take up that much space
because I have this other monitor.

But for the tutorials sake,
we'll let it take up a bit more space

so you guys can see a bit
more of what's going on.

Okay.

So right now all of our focus is going to
be on cutting down this track over here.

So let's expand this timeline.

Let's expand the audio tracks here.

We can just hold shift and zoom
in like that

and let's zoom in here
and start cutting this thing up.

I just can delete this gap
at the beginning.

And first things first, let's listen to
maybe the first minute of it.

If you want to listen to the whole thing,
feel free to skip ahead.

But let's just take a listen.

How I like this beginning.

It's slow.

I like those breaths.

That's where I'm imagining the action
coming into play.

But I feel like that
drop is a bit too slow.

I feel like we can go
right into a heavier drop

to something like that.

So that's like skipping that first drop,
going right into this one.

So I I'm.

Not really feeling this part of the song.

I don't know if I want to use this.

So another like

this section, it's a bit more intense.

I'm excited for this part.

Over here,

kind of mellow. Go.

So this is dope.

I really like this and I'm envisioning
throwing like a low pass over this

and showing
some of the slower underwater shots,

and then I can pick
back up into some action.

But that's the general vibe of this song.

Just listening to it for the first time,
I got a lot of ideas

as to how I can kind of separate
the different activities

of the video,
and I do feel like this could work.

Well.

To cut it down for a minute,
so let's start cutting it down.

So I said at the beginning,
I like the intro how it's slow,

but then I felt like the first drop
was not impactful enough.

I feel like we can go into that second
drop, so let's start cutting this up.

Well,

not that one.

Next one. Ready?

Okay, so we can see

from the audio waveforms
that that drop happens right here.

So I'm just going to cut it by hitting
w let's zoom out and this whole second

part here, we can see that
it's a continual four bars.

So one, two, three, four.

And then we have this section one,
two, three, four.

This is the

the section that picks up a little bit,
but then it goes into the more

intense section.

I don't know if intense is the word,
the more elaborate section right here.

So let's cut that W and

right now we can just rip or delete
this middle part here

because I want it to go from slower
to more elaborate right away.

Let's listen to this.

Okay.

That feels pretty good.

I think it feels like
there's a bit of like a lag there.

It doesn't feel 100% smooth,

so I'm just going to change my cursor
to the trim edit tool by hitting T,

and I'm just going to move this over
and just play around with it.

Okay.

It might be a bit delayed.

How can I feel like
maybe it happens a bit too late now.

So one thing that can help us, I was going
to go back to my selection tool.

I'm going to option down that track.

So one track below
and I can move this track over here

so I can see
when the here is supposed to happen.

You can see that I'm off here,
so I'm going to push this back over here,

line things up so that looks good to me.

And I'm going to just fade this bottom
one in.

Let's see how this sounds. Now.

How that's dope that works.

Well, let's let this loop for

a full section here,

and then I'm just going to cut this here.

I'm not sure if I want to prolong it,
but I'm going to cut it either way

just in case so I can change it up
if I want.

Keeping in mind
we're at the 15 second mark right now,

so I think that that picks up as well.

Let's go back a bit

further.

That's the same one.

So I'm just going to cut it
over here as well

so that we can see each section.

So these are all the same length and we're
kind of just cutting them up this way.

We can kind of reorganize them,

move them around, kind of change the pace
however we want.

So with a one minute video, what I would
like to achieve is a lot of variation.

So I'd like to take it from slow

to fast, back to slow
and then maybe back to fast.

I'd like to get a lot of fluctuation
in the energy of this video.

It's a one minute video.

There's a lot to showcase and I want to
kind of take the viewer on a journey.

And I think the best way to do that in

this situation
is to create a bit of a custom audio track

that will take the viewer on more of a
journey within that one minute time frame.

So let's zoom
in back here and let's keep listening.

So now we've entered a different style
here.

It's added another instrument.
There's another layer.

There's more layers.

Now, like I said before, I'm
not the biggest fan of this section.

I'm just going to cut this up here.

And right now.

So right here,
this is where we start to go

into the more mellow part.

Cool.

So let's actually just make a marker
on our timeline.

At the one minute mark,
we can look at the time indicator

right here.

So that's the exact amount of time
that we have to work with.

Let's say a m on our marker twice.
Let's make this red.

And now we know not to go past that point.

So this is the amount of
time that we're working with.

I'm not the biggest

fan of this section here,

so let's just move it over to the side
for now

and let's see what happens when we take it
back to the mellow section here.

Maybe we can bring this mellow section
even earlier.

Yeah.

So let's just take let's move
this section over here as well, and let's

bring it right into the mellow section
sooner

here.

Now, this section
might not seem to elaborate, like

it might not feel like it'll suffice
for, like, an action sequence that's

filled with, like, you know, sports,
like dirt biking and surfing and stuff.

But in my mind,
I know that I'm going to be sound.

Designing all of this in sound design
always takes it to a whole nother level.

So I like the simplicity of it.

I love the drum beat,
I love the tempo of things.

So I think that this will work
well for this situation.

I'm so happy for this to be
the more like extreme part of the edit.

And then this section here to be,
you know, the mellow part, which will then

transition into the more elaborate section
here as well.

But let's go here
and just make sure that this transition

between these two parts is smooth.

Okay, So not 100%.

Let's do the same thing that we did before

so I can option up, bring that up a track
and let's try to line this up.

I think these two parts
are supposed to be aligned here

so we can see the wave form here and here.

These are similar sections of the track.

They need to be lined up.

We can use those as a visual reference
to line things up so I can fade

this one in here, Fade this one out.

Let's take a listen

to Seamless

dub underwater section,

envisioning some cool stuff here

and then back into it.

So because we're approaching

the final stage of the duration,
the one minute duration,

I think we can bring this drop right here.

We can skip this intermediate section,
bring it to the more elaborate section

right away. So let's do that

using my left and

right arrow keys
to get that exact point hit.

W And let's jump to that other section.

So I'm going to cut out this section here.

Let's just move it to the end as well.

We'd obviously
just like Ripple deleted as well.

We don't really need it.

And let's take a listen.

First try Sounds pretty good.

And why don't we do what we did before

just to verify that we are good,
but everything is lined up.

Yeah, those drops there,
they look pretty perfect.

So we're good at what we could do.

There's like an element here
that you can hear,

and I don't want it to just abruptly

come in on this drop
because it isn't in this part of the song.

So I'm just going to fade this in as well.

And that's going to make that

transition a bit smoother.

And we could see that

the marker actually moved in our timeline
as we deleted them.

So if I cut the beginning of this clip
here, we can see that the marker

also ripple delete.

So we want to be aware of that.

And I'm just going to push this back
over to the minute mark.

So just be aware of, you know,
when you make those ripple edits,

it can also push over your markers.

Let's keep listening.

So we're approaching the end of the minute
duration here.

So I want to find a place that I can
finish off the song, maybe end off

on some kind of hit and then let it like
echo for the last couple of seconds.

So let's listen
from here one more time. How

we're gonna go.

Cool. So

that full section sounds good to me.

And then I feel like we can go.

We can probably add,
like the end section over here

to kind of just let that fade out.

So let's take a look
at what we have here at the end.

Cool.

So we could probably throw that in there.

Why don't we move this section over here?

We don't really need to have it here.

Let's drag this and part over here.

I think we're going to be.

Yeah, just under a minute.

That worked out pretty perfectly.

Let's move
this last part up into the track above.

And I think what we want to do is line up
both of those.

Let's just see how that sounds.

That's probably right.

And because this last section,

it is pretty different if we solo it here.

Let's take a listen to this.
I'll just extend it out.

It's more simple.

There's not as much going on.

This one has a lot more going on here.

It's got like

as several more layers of instruments
than this top one here.

So I'm going to fade it in a little bit
so that it has a bit more of a blend.

And I'll just take a listen to what
this sounds like.

Not doh.

We did it.

We hit that one minute mark.

That's exactly a minute, which is perfect.

So at this stage, once I've cut down my
track to the length, I want it to be here.

I'll go
and listen to the whole thing again.

But while I'm listening to it,
I'll throw down markers on my timeline

for specific moments that I think
could work well with specific footage.

Just so I can, you know, start
laying down my ideas on the timeline.

And then when it comes
to actually throwing down the footage,

I can get a head start
and know exactly where

I would want to throw certain moments
down.

Okay.

So I want the first job to be,
like super impactful.

And I had this transition idea
when I was going through my selects.

We have this one really unique shot

where Chelsea kicks the camera
and it goes up to the blue sky.

And I had this idea of
to make a transition out of that

where we would go from that scene

into a shot of a dirt biker
flying through the sky.

So it would be a great way to transition
from one environment to another.

So I'm going to write that down over here.

In my mind, I'm calling that the

Road to Dirt bike transition

and let's just make it good

through this lighter blue

and also this first section.

I'm imagining more like

prepping in each environment.

So like maybe the dirt bikers putting on
their goggles, like revving their bikes,

Maybe Chelsea now in the park,
like walking over to where we're going

to do acro, things like that, you know,
moments preparing for the action.

And then once the drop hits
the section, here is the actual action

shot.

So this section, like, I don't even really
need to leave a marker.

I know it's going to be all the action
packed stuff.

So surfing, dirt, biking, acro,
longboarding, all of it.

This whole section,

the shell part,

definitely want this to be underwater.

We have a lot of really dope
underwater shots and because it's quieter,

I want to have like that low pass
sound of underwater.

I'll probably at a low pass effect
to this as well,

being an option on
my marker just to expand it.

I'm going to option drag

and stretch it out over this part here.

So that whole section,
I want it to be underwater

and then transition or not

necessarily transition, but,
you know, as I go

from underwater to another environment,
probably like surfing.

So maybe I'll just add a note there.

So let's go and

oh, I know I have this one shot of me
underwater looking up.

I think that would be a good shot
to help the story

move from underwater
to back up on the surface.

And we can go into a shot of the surfer.

So end off with a shot of Sam in kelp
forest

looking up,

neck into shot of Dan

surfing or something.

Done.

Cool. How?

And back to action to school.

We have to slow sections
to faster paced sections.

And this is going to be even more action.

Awesome.

And what I'm thinking for this last
section here, what could be really cool

is just a shot of the phone because that's
what this whole video is about.

It's about shooting on your phone.

So I like that
just about that one beat at the end.

I think it's really cool and it'll be a
really cool moment to showcase the phone.

So I mean, twice it's called this shot

of OnePlus Phone and I'm done.

So now that I've actually thought
of adding the phone shot

at the end over there, this other sequence
that I shot comes to mind.

It's a match cut sequence.

I made this custom little wooden rig

so that the phone would line up
exactly in each shot

so that I'm filming the reflection of the
environment in the phone, in the lens.

But it's in the exact same position
in every single shot.

So I created a match cut sequence
from that, and I'd like to add it

in somewhere in this video right now, I'm
not sure if I can or if it makes sense.

Maybe here at the end.

Yeah.

So maybe at the end I can finish it off
right

before that last beat
with like the match cut sequence

and then it can just flow out
with a single shot of the phone.

So I'm going to listen to the end
one more time and see if that can work.

Yeah,

yeah, that could potentially work.

So I'm looking at a marker here.

I'm going to call it match cut sequence

with the question mark
because I'm not sure.

Let's,
let's do the all this other stuff here.

We don't need that now.

Now one last thing I'm

going to do here is I'm actually going
to rename the tracks here.

So because we have the main song
sitting on two different tracks,

I'm going to rename
both these now later on in Fairlight,

we can actually bounce this audio here
to bring it all into one track.

That's something
we're going to learn about later on.

Not that important right now.

I'm totally fine with just leaving
everything on two tracks.

For now, I'm going to rename the tracks.

Those two that we are able to know
what is sitting in each track

and just so that we don't end upbringing

like sound effects
and stuff into these ones.

So we'll call this main track

and this one mean track.

Now whenever we open the mixture,
we can see that

each one of these is
named after the track here.

So if we ever want to

change the volume of a track,
we'll know which track we're changing

because we've named them here
very quickly and easily.

Awesome. So I would say that
that was pretty successful.

I've managed to take a two minute song,
cram it down into the span of a minute.

It fits perfectly.

Thankfully,
sometimes that's not always the case.

Sometimes it'll be a little bit longer
or a little bit shorter, but obviously

if you're making an edit for Instagram,
it can't be longer than a minute.

So sometimes you might have to settle
with like 45 seconds, 50 seconds,

something like that,
and you can't get that exact minute.

That's totally fine.

I'm stoked that we also put down
some ideas in the markers.

That's going to help us a lot
when it actually comes down

to throwing down our footage,
which is going to be in the next video.

I'll see you guys in that one.