Speed Editor Tutorial & In-Depth with the Cut Page [PART 1] for Beginners by a PRO.

so this is hopefully going to be the definitive guide to using the speed editor and the cut page i'm going to show you how to get efficient with your editing why the cut page is different to the edit page i'm going to show you a couple of issues that i've had and how i get around them and how i fix them and we're basically going to go through the whole thing and every single function on the speed editor so here it is i'm going to show you all the buttons i'm not just going to point to each button and tell you what it does we're going to go through a proper exercise and show you how to use it properly but essentially this side here is your transport so this is how you navigate through your clips um this is where you choose between source and timeline and i'll explain you the difference between that in the edit page in the cut page this is our sort of multi-camera area where we choose different camera angles to work with this is our trimming area and our main market and mark out up here you've got your different ways of bringing your clips down to the timeline and over here we've got some extra features so let's take a look so oh by the way to charge this up there's a usb socket on the back so you just plug it into usb this works via usb connection to your pc or mac and also works with bluetooth so it's it can stay here and the batteries last for ages and to check the battery level if you go into the preferences up here and go to control panels you see there we've got our battery level currently at 87 so we're in the cut page at the minute and what you see here is two timelines these are permanently set on the interface they're not customizable but what they are doing is the top timeline is showing you all my timeline so it's the entire program whether it be one minute or one hour two clips or two thousand clips you always see the full view so there is my full timeline so you can always get to the beginning really quickly you can get to the end really quickly you can navigate around your program really easily the bottom timeline is a zoomed in version of the top one so if i go to this edit point here this is a fixed playhead so basically the timeline runs through that playhead okay so it's permanently fixed here and the timeline just runs through it but this is a zoomed in so if i'm here you can see the edits just before the playhead here and you can see that here there's the edit point and there's the playhead okay so it's a permanently fixed view now if i go to the edit page you'll see that the timeline is exactly the same so there's our playhead there's our cut point just before it and there's our same number of edits so anything i do in here if i just adjust this a little bit that has followed into the cut page and done exactly the same thing so there's that edit point there if i just trim that back again and let's go to our edit page and it's applied the same this is applied the same trim in the edit page so the two pages talk to each other so you can work in the edit page and the cut page at any time you like the two are talking to each other the difference between the two the main difference and this is where people get a little bit confused so unless you come from final cut pro you might not find this obvious to start with if i'm on my edit page and i take a shot here okay what i can do is trim sorry if i can trim this side here and when i trim that it's basically in a freestyle mode okay because we're in this arrow here so i'm not rippling my timeline so let me just undo that if i go into this mode if i do the same thing it now ripple trims my edit so it always keeps the gap closed if i shorten the edit point here the rest of the timeline is going to come up to fill the gap so in the cut page this behavior is different v1 video track 1 is always in ripple mode okay so if i trim the front of this clip here actually let's do this with the speed editor so if i just jog through a little bit if i go to here if i say trim in it takes the incoming point here and allows me to trim and you see that that ripples my timeline everything else is moving up with it now i can't change that mode i can't do it like i did in the edit page where you can trim and leave a gap it doesn't work like that the video layer one in the cut page is always ripple delete so it's ripple timeline sorry v2 however i can run independent so i can just run it freestyle and it doesn't ripple up the timeline it's just it's just regular trim so if i get my trim in on here i can trim away and that doesn't affect my timeline so all the timelines apart from v1 are non-ripple okay and that's where people get confused in the cut page i have done an episode on the cut page so you can have a look at that so essentially v1 is a magnetic timeline so one thing you need to look at for getting quick and efficient editing with the speed editor is you have to embrace the cut page there are several features in here that are designed to work specifically with the speed editor to get you editing quickly and i know i get a lot of comments from people saying they wish that all this functionality works in the edit page but it doesn't work in the edit page because the edit page has different functionality so for example the edit page doesn't have source type so if i press source here it takes me into a source tape mode which i'm going to explain shortly if i go to the edit page and press source it just highlights my source viewer so it's a completely different functionality that you don't have source tape in the edit page so that's the main reason why i should really just embrace the cut page and do your main body of editing and then go over to the edit page and finesse it all in there that's what i did so in the cut page there's three main areas that are going to get you editing quick there's the source tape which allows us to look at all our b-roll in one hit which i'm going to show you shortly there is a thing called smart insert so when i'm insert editing into the timeline i don't have to be absolutely accurately on the edit point so smart insert is this button here and what it does if i just take a shot here so let's go to our b-roll and let's have a look at our arrivals and we could take a shot like this and i'm going to use the speed editor now so let's go to our jog first so jog allows me to just move through nice and accurately through the shot scroll goes a little bit quicker through the shot and shuttle allows me to just leave the jogged wheel in a certain position and it will just move in that speed so depending how far i turn that depends how fast it goes i don't tend to use shuttle as much as jog and scroll okay so we've got a shot here let's just go to the front of our timeline okay so i need a different shot than that there we go so we're going to go in and i'm just going to mark an endpoint there press play you've got nice big mark in and out buttons out there and to insert that into my timeline if i press timeline now okay i don't have to be exactly on the edit point okay so what i can do as long as i'm near an edit point you get this indicator here this is a smart indicator and it's telling me which side of the clip it will insert the clip to i don't have to be exactly on that edit point so i'm just going to do smart insert and it's going to drop it exactly where that indicator was so let's put it right here let's play that back okay so we've got already so let's see if that works i think we need to just trim a little bit off the front of that so i'm going to trim in on this side of the clip there we go trim in and we're just going to take him just when he comes past that window and that's done that's our edit done so if i press smart insert on the edit page it literally inserts where my playhead is so if i press play so in the cut page it edits to the nearest edit point whereas in the edit page if i press smart insert it literally inserts at the point where the playhead was so i'm going to undo that to undo if you press this button here twice it undoes so you've got escape and undo here so each of these buttons has a or not all of them but a lot of them have a another line of text so it has a double functionality some of these buttons have a double click some of them have a triple click some of them have a click and hold function and i'm going to show you what all of them do so let's go back to the cut page what i want to do now is edit another bit of this into so at the moment we've got we've got three or four clips at the front just a little bit of b-roll stuff and then we've got this interview here my partner uh he nationally i'm just going to edit that up in the shop uh by certain course of events so don't forget if you want to zoom in and out on the cut page you don't do that you basically would grab the top timeline here to go near the end or the beginning and let the bottom timeline just work in itself so i'm going to go to the end of this interview a bicycle a certain course of events uh we found out that rosebud was really a bicycle right so after that let's go back to the interview now if i click on here we've got interviews been here and this interview is a two camera shoot but we're just focusing on the first camera now normally traditionally you would line these two cameras up to start with before you do any editing but i'm going to show you a really cool function here that allows us to not have to worry about that so we're in our interview there's some mark ins and outs on there already to clear those if you just press in and out together that clears them if you want to just clear an in double click and double click and out to clear an out point okay let's play that through so i'm just using i'm in jog mode at minutes let's go through scroll mode if you look at the audio waveforms on here okay when i'm in scroll mode or shuttle mode you see the entire clips audio when i go to jog mode it automatically zooms in because you can really get precise on your in points that's really good so let's play that through now i want to uh well here at citizen chain we'd like to try to fix challenging bikes we'll fix older bikes that other bike shops have refused to fix either they don't have the knowledge or they don't have the tooling okay so let's take that there so i want to drop that down to my timeline i can just press append and that will put it on to the end of my timeline so there we go if you want just video or just audio you press these two buttons here or one of those two buttons okay and if they're off obviously it brings down the video and the audio now that just comes down onto one track down here so let's have a listen to the interview now we've got our first bit of interview there let's play that through and let's just tidy it up a little bit so press play that is the brainchild of my partner uh he named the shop i was a big okay so let's get rid of that beginning there i don't really need that so let's jog through here yeah i'm gonna do an out point there now if i put snap on so it was already on the snap function here will snap to an edit point you just get a little bit of a breeze on the jog so i can move the jog but it doesn't actually move the timeline so you get a little bit of a moment so i'm going to mark in there and what i'm going to do is press ripple delete and that is going to delete the mark in our point and ripple everything up in the timeline so there we go that's our first edit done let's play that back i was a big fan of orson welles i'd done several projects on him going through school and stuff like that so i appreciated the pun and the play on the word of citizen kane citizen chain uh and then only after we named the shop uh by certain course of events right so let's get rid of by certain course events i'm just gonna and then only after we named the shop uh so i can do that in several ways what i'm going to do is split the clip at that point so press split and now if i trim in uh and i can actually hear what's going on now the nice thing is i've got this really nice enlarged waveform going on here um you don't see that issue in trim mode but that's because this icon here is on okay so if i take that off let me just show you if i go to trim in you see then all you see is a very small waveform here but if i put that back on when you go into trim mode you get an enlarged waveform so it's a really nice tool so those are in a large waveform okay let's play that back the play on the word of citizen kane citizen chain uh and then only after we named the shop we found out that rosebud was really a bicycle uh well here's citizen okay let's take off that uh so again i'm just gonna literally go to trim mode ah and that's done so you can see how quick flexible and easy that is and it's really nice control using the speed editor you get really it's really tactile you get a really nice feel for the edit points now i also want to adjust his audio level a little bit so what i can do so i'm just going to grab these three shots and if i press here my audio level button and keep it pressed as i move my jog can you see the audio levels adjusting there so you can actually lift or lower the audio level now i'm not trying to do precise audio mixing here by any stretch of the imagination i just want to get a a base audio level so i'm sort of roughly balanced but i'm going to do fine tuning of that in the either the edit page or the fairlight page so if i go to the edit page just to show you there's the edits that we've just done there's our raised timeline level and that audio feature works in here as well now you can see i can adjust the audio in the edit page as well and back to the cut page and we're done so that's our interview starting to come together what i want to do now is focus on the front and get a bit more b-roll down and to do that i'm going to use what's called sauce tape let me go to the master here i've got several bins here at the top okay and one of them says b-roll and if i go into that one i've got three subfolders in here i've got clips of him arriving clips are in writings buying clips of him working i want to have a look at all that footage to make a little montage at the beginning traditionally what i'd have to do is go into the bin let's have a look and then double click each of these shots and have a mess around in here and see which shot i like so you start doing this sort of thing okay but that is quite time consuming so what i'm going to do is go back one level so i'm in my b roll and if i press this function here called source which is actually going to activate the source tape so in the cut page it activates the source tape so i'm going to press source so what it does is allow me to view those three bins at once and that's represented by one clip one sort of virtual clip in my source viewer so what i can do now is use my scroll to navigate through and you see at the top here as i move through these clips the shot is updating in my media pool okay so that is all those shots there now as i get to the end and move on to the next shot there you see now we're in the next bin and that is still on the same clip so it's really cool source tape is just like one great big virtual clip now what you can also do to navigate to it quickly you can either use the jog shuttle or you can use your up down left right arrow keys on your keyboard so you see i'm going up and down between each of the bins now these bins the order that they appear on here in the source tape is determined up here on this list so at the minute i'm sorting by bin you can sort by time code camera you could assign a color to each clip and it would be organized by clip color in this instance so i've got mine set to bin and we're basically just looking at the bins in order so it's alphabetical order arriving riding working okay so let's have a look and find some shots to get the beginning i'm just going to move my timeline playhead roughly to the beginning so we've got a shotgun coming down the hill then he's arriving to the shop he comes into the shop and locks his back okay so let's get one more shot of him actually riding in general so i'm gonna go to my source tape the temptation is to just double click a bin but i'm not gonna do that i'm gonna go straight to my source tape so if i want to focus just on what's happening in the arriving section if i press source tape again it takes me just into that section so i've now got a more refined view that i'm looking at so i can go and choose another shot let's get that shot of him coming down there with the dog mark in something like that and my smart indicator here is showing me which side the edit is going to go into just press smart insert and that's the edit done i don't have to be accurate i don't have to get to the edit point smart insert will go to the nearest edit so that is four shots on our front now so we've got this shot we've got this shot okay so this needs trimming up a bit it's all a little bit loose at the minute so i'm going to trim out this time so i'm going to trim the end of this shot up grab my scroll grab my um jog wheel just trim that back a little bit this shot here is quite long as well what i want to do is slip it i want to make sure that we haven't got excess on the end when he comes off the frame so if i press slip source that will slip this side slip destination slips the second job okay so let's go to slip source and what i want to do is just make sure that i just get the point where he leaves frame so i'm looking at this side here and all it's doing is slipping the clip so i'm not changing the duration i'm not changing the edit points i'm just slipping the shot inside that framework and let's trim a little bit off the front it's a little bit long there we go right let's play that through so he goes off leaves frame still a little bit long on there so let's just trim the out point there we go that's the exact point he leaves frame and we're getting there oh another thing in the source tape let me just show you this is if you have we've got three bins open at the minute if i get a source that's going to show us our three bins what you can actually do is mark an in and an out range so let's just scroll up right down and if i press source now it will do the in out range so you can span multiple bins in so that's another really cool feature let's just escape that i don't need to do that i'm going to clear the ins and outs double press okay so what i want to do now is put a little bit of music down on that so we've actually got an idea of how long this little sequence needs to be to come out of source tape by the way just press timer then go to my audio which is here and i'm literally going to throw that underneath now to put that into the timeline i can just drag and drop it and throw it on like that or if i undo what i could do is load into my source viewer and literally press place on top so obviously in video that would put a video layer on top of the next video layer but in audio obviously it's coming underneath that throws that down underneath my audio layer so again i'm using my top timeline don't navigate using your bottom timeline because you'll be pulling and pulling and pulling for ages what you need to do is just grab here straight to the front and you're good to go right so what i want to happen is i want the interview to start on that drum beat okay so we've got what i've got to do is shorten all these edits so that when the drums start we literally hear the first part of our interview there so we need to lose a bit of this dog shot let's trim in and what i want to do so that it doesn't ripple and damage our audio edit i'm going to lock the audio track all right let's have a look at the next shot we can tighten a bit of the back of that up and this shot needs to tighten up a little bit as well and the next shot how far are we off the drums there's the drum beat so we just need to shave a little bit more off which we can do off this shot here and there we go we've got the interview now starting if you look here you can see by the waveforms that the into is going to start just on the drums all right put a little bit back on this shot let's trim it the other way so it lines up perfectly now what i'm going to do obviously this is going to be really loud against the interior so what we can do is go back i'm going to say split i'm going to unlock my audio track i'm going to split that and then i'm going to go to this side and i'm going to drop that audio level down using the audio tool remember just press and hold and drop that right down i was a big so obviously we need to put an audio mix in there so i'm going to go to my transitions i'm going to audio and i'm going to add a crossfade now let's play the crossfade i was a big fan of horses okay so if we want to adjust that what we can do is go here we can go to uh transition duration which is this button here so you see we're slowly getting through all these buttons so there i can change the duration and if i double press that that sets that to be the default duration okay so that's a really quick way of making a default duration and what else i want to do is just roll it back a little bit so if i go into role mode i need to just click on here to make that happen press roll and what i'm actually doing now is just rolling the edit point so we're not we're not trimming it we're just rolling the edit point off you see how accurate i'm getting this i was a big fan of orson welles i okay it's not perfect but it's a lot better than it was and like i said you would go into the edit page let's just show you what's going on there there's our clip there's the transition that we've just done and we can just keep tweaking that so let's have a listen to the interview and let's get this a little bit tighter a big fan of orson welles i've done several projects on him uh going through school and stuff like that so i appreciated the pun so let's get rid of the going through school i've done several projects talking about his love and of course in wells i had done several projects on him uh going through school and stuff like that so okay so i've done a mark in a mark out on a little section i want to remove ripple delete make sure our audio soundtrack is locked and let's just have a listen i was a big fan of orson welles i i appreciate it i just need to trim off that little bit we've got lifts and wells so i'm going to trim out here and i'm going to trim the in just to get rid of that bit as well it is a big fan of orson welles i appreciate it i've just missed off with wells so i'm just going to go and trim that out you see how really quick i can do this this magnification of the audio is fantastic wells i appreciated the part great so we've now got an edit but we've now got the hello again of orson welles so what i could do is use this function here smooth cut and that will do a sort of morph on it let me just adjust the duration of that because that's definitely going to be too long so just go transition duration with the smooth cut you want it to be nice and short so that is currently that's 10 frames let's have a look big fan of orson welles i appreciate that actually works really well but it doesn't always so what would we do if that didn't work so well to change that from being a smooth cut you just press cut you don't have to be exactly on it if you just press cut it will change the nearest transition to be a cut again so how can we get around this jumper so what we can do is go to our second camera so let's have a look at the second camera which is in interviews so we've got a camera one and a camera two so how do we get those synced together normally you would do that at the beginning of the edit you wouldn't do it when you're halfway through cutting interviews but there's a really cool feature in here called sync bin so what i'm going to do is take the two shots here they're in their own bin so i don't have to highlight them i'm going to press this icon here okay and that brings up this sync view so what we do now is determine how do we want davinci resolve to sync these two clips together i can sync by time code so if they've got time code in fact if they've got time code matching you don't even have to do this process these clips don't have matching timecode but they do have both have audio so i can sync by audio waveform if you haven't got audio waveform or time code you can sync by a market and like that so you just literally put your own mark on there and it will sync by the markers all you've got to do then press sync it's going to analyze the two clips oh sorry i need to be in audio mode press sync okay and those two camera angles are now sunk together so i'm going to press save sync so what we can do now is switch automatically to the other camera angle so let's play that wells i appreciated the pun and the play on the word okay so what i've got to do is go into this mode here which is sync bin now i choose which camera i want to be so i want camera two at this point so i'm going to press camera two and all i've got to do now is press one of these buttons here so i'm gonna press source overwrite and what that will do is match the source it's gonna put a five second clip down for me it's defaults to five seconds and that will be perfectly in sync with my intro so let's have a look i'm gonna go to timeline so you can see full screen wells i appreciated the pun and the play on the word uh citizen kane citizen chain so there we go we're perfectly in sync with the other camera angle all i've got to do now is trim that back so we can go to trim here was a big fan of orson welles i appreciated the pun and the play on the word so i need to do is just be a little bit nearer the trim out point i'm gonna press camera three which is going to select track three trim out i'm gonna pull that back to somewhere around about here i appreciated the pun and the play on the word uh of citizen kane citizen chain let's just do it exactly where it says citizen kane the pun and the play on the word uh citizen kane citizenship that's great okay we can even take out that um what else i can do is use another feature there's a feature here called close up and what i'm going to do is at this point here i'll get to the beginning of that clip make sure my snaps on i'm going to press close up and what it'll do is automatically it's going to put the same shot on top of itself but it's going to close up on it i'm just going to trim that back a little bit i appreciated the part you can see what it's done is it's not quite aligned so to realign that if i just press and hold this i can now adjust the y position it was a big fan of orson welles i appreciated the pun and the play on the word of citizen kane citizen chain great so we're really quickly and easily showing you what all these buttons do now and getting our interview looking good i think just to finish this panel off this one here is dissolve and that's pretty much all that then covered so just to show you what's going on here if i move over to the edit page you can see we've got exactly the same thing happening so the two are talking to each other and i can adjust this at any point so if i wanted to get rid of that if i just highlight it delete it go back to my cut page it's gone so let me just quickly show you some of the other little features that are in here if i go to the top of the timeline let's bring in let's put a title in here so i'm going to go to my titles i'm going to grab a text here just drop it on top let's just trim it back and let's go to our inspector okay now if you want to choose a different font what you can do is go to here and press and hold the first one does your transitions okay if you double click and hold it does your font so you can go through all your different fonts that you've got on your system so it's really nice quick way of having a review of what font you want it to be so we just so one click changes the transition so let's change that back i don't really want that to be that let's make it a clockwise why not okay let's change the duration again bring that right down there we go the other thing we've got on here is the ability to put markers on there so if i go to here and double press the audio level button it adds a marker and if i carry on let's say you want to add another one if i double click and hold you can then choose a different marker color and then the next time i press marker it will stay that color now if i triple click you get the colored marker and you get the dialog box here ready to just type in whatever notes you want for the marker and then to get rid of that box just press escape and if you want to do a place on top let's just go back here what else we can do is go to our source go to our logo here and if i press place on top that just throws it on top of the whole thing so i'm going to switch into the color page and just show you what works on the speed editor in the color page so in here we've got the the things that main things that work is obviously your jog and scroll and shuttle that all works really nicely and if i do a mark in a was a big and a mark out and have my loot plate on this becomes my loop so you can define an area so that could spawn lots of words i was that's a big fan of orson welles i appreciated the pun and so maybe i want my loot play to be both of those things i was a big fan of orson welles i appreciated the pun and i was a big so that works you can clear those with a double click the markers work you can't do the colored dial marker but the markers do work so you can add a mark here like that the split works so what's nice with the split is if you're doing a conform and often if you work with a flattened file and you use an edl to do the pre-conform what can happen sometimes is it misses a shot so in the color page you need to split that clip otherwise you're grading two different shots with the same color grade so in order to split the shot what you do is you come in so let's imagine this is two shots but it's represented as one icon if i just press split it splits it into two normally you would have to go into the edit page and cut that in the edit page but you can just do it straight here with the split button so that's really useful for conforming anything you do you can undo in here and the other thing that works it's really nice if i just grab this still is the jog shuttle acts as a wipe so when you're when you're comparing stills or you're comparing a still to your live footage the jog shuttle works as a wipe so that's really cool in the edit page you've got pretty good functionality the cameras don't work as mult on multicam okay so the cameras are working something different which i'm going to show you shortly but the roll ripple all that sort of stuff works and all the trimming features work the source button will just highlight your source viewer it doesn't work as a source tape timeline is also going to highlight your your timeline full view work so this red button here will take some full view that works in the color page the cut page and the edit page so you get really nice full view there and things like the dissolves and cuts work as well so after editing all this together i realized i actually missed off a few buttons off the speed editor so let me show you what they are now first one is an important one it's ripple overwrite and this allows me to very easily change a shot on my timeline so let's say for example i want to get rid of this shot here i'm going to go to my source tape i'm going to find a new shot so there we go let's just mark in there and mark out there the new duration this in out point that we've just done here will replace this clips duration so i'm just going to press ripple over right and you see that it's inserted the new clip in and adjusted the duration so it's rippled our timeline up so it'll either extend or shorten your timeline to accommodate the new clip going in so it's a really quick and easy way of just replacing shots without having to worry about the duration okay the other thing we've got here is the ability to zoom the timeline so if i just press this button here and you'll see that i can adjust my interface really easily we have a full view button so it's nice and good that works in the color page and the edit page and down here we've got slides so underneath the roll we've got slides if i uh double click and hold you'll see now that i'm sliding my clip along my timeline so i'm not changing the in and out points i'm literally changing its position in the edit so that's slide and the other one is move so underneath split we've got move so if i press it once and hold i can now move the clip along my timeline and the other one up here is underneath smart insert and append you've got a clip and what that does is it will bring in the entire clip it doesn't matter about the in and out point so again if i go back to my source now let's choose a new clip let's say we want this clip here if i press the append button twice it will bring the entire clip down to my timeline you can see that's brought that down there now if i undo that you can also append to a different track so if i press camera 2 here you'll see that video track 2 is now highlighted and if i append again now back to my source viewer and double click that now appends it to track two so the camera angles also double up as being a track selector so camera one and then press camera two so that's another really useful function so in part two we're going to look at the sink bin in far more detail and i'm going to show you some sync issues that i've had and how to fix that so if you've enjoyed this episode think about subscribing look after yourselves and i'll see you in part two

Channel: Darren Mostyn

Views: 33,983

Keywords: speed editor tutorial, how to use the cut page, speed editor resolve, davinci resolve speed editor, davinci resolve tutorial for beginners, davinci resolve, davinci resolve tutorial, davinci resolve 17, how to use davinci resolve, resolve 17, davinci resolve 17 tutorial, video editing, blackmagic design, resolve tutorial, blackmagicdesign, free video editor, video editing tutorial, davinci tutorial, faster editing in resolve, Resolve masterclass, Blackmagic speed editor

Id: 26OfvGXGezw

Length: 32min 53sec (1973 seconds)

Published: Mon May 03 2021