What's New in DaVinci Resolve 16 - Mary Plummer

[Music] so please welcome back to the table Mary Plummer thank you okay cool it's good to be back yeah so marketing but I'm also heavily invested on the whole training and curriculum development and making sure that we're able to teach you guys how to use this stuff because it's really awesome so it's great to see that many resolved users out there obviously we have resolved sixteen now that's right sixteen it's in public beta public beta a number three just dropped I think last night so if you haven't tried it yet we've actually put it on these systems tried it out and I one thing I was gonna mention is we have this new keyboard I don't know if any of you saw it the editor keyboard Jason's gonna bring that down hopefully he won't forget or I'll send someone there he goes he doesn't bring me that keyboard so that I can show it to you shortly but meanwhile we're gonna talk a little bit about editing just for a minute because I know there's a lot of different types of editing out there right it's not it's you can't no two projects are the same even if you're on a series or if you cut movie trailers or whatever did you do no two projects are the same that's one of the reasons I always loved it it's like puzzles right and if you look at the nonlinear editing the workflows that we have used I mean it's taken us what thirty years to get away from tape finally thirty years I think I mean it took a long time to finally step away from the decks and the tapes and you know the workflows are awesome right there they're complex they're we can do pretty much anything now I'm just making a few changes here so we can show you know this is resolved obviously and this is the Edit Page as you can see we haven't dumb this down or simplified it we've actually made the Edit Page more powerful than ever here comes Jason with my new editor keyboard which I'll be showing you shortly thank you anyway so we'll get to this in just a minute but the idea is that it can be as complicated or as simple as you want so I'm just bringing on a few extra things here so you can see this is also the edit page so I went from very simple to more complicated and yes we have my keyboard which I'm not gonna worry about right the second so the cool thing is it's great and this is the edit page and the one thing about this is that sometimes we don't have long-form projects so those of you work on features and documentaries and I've done all of those as well you know that you're spending a lot of time organizing and getting used to your material a lot of work before you ever get there and metadata and all of that is fantastic but what about those fast turnaround projects that we have how many of you just give me a little sound out there have you ever had a really fast turnaround project or like that day yes right where it's like that day and it's and you don't have time to label things and organize you just need to get it out the door and so what we've done is rethink things a little bit and I'm gonna switch over to our new page and this is the cut page as you can see it's a much simpler view you are still in resolve so you're still going to have access to all that power but the idea is it's a much leaner streamlined interface and it works well on a single screen obviously it's a really big one up here but this also works on a laptop or if you happen to be on the set and you only have a single screen with your computer so we're going to spend a little time looking through what makes this unique just remember yes you always have the Edit Page and all the other things that make resolve awesome but this is all about turning around a project quickly and using this interface to do it so in the top left just to give you a quick run through the top left is our media pool obviously nothing magical here it's a media pool right now one thing about it is the idea was speed being able to get through things really quickly so when you click on things or when you're doing things there should be some action that goes with it so for example if I click on something you'll see that I'm able to live stream right here in my viewer obviously you can see that right here so I can preview clips just by touching them and rubbing across those so that's awesome and you notice my viewer will change from either my timeline whatever's there or whatever I happen to have loaded in the viewer so it's a dual my viewer will have dual purposes and then let's go take a look at this timeline from an because you may have noticed it looks a little strange right there's two sections to this it's one timeline as far as the amount of real estate but it actually has two different parts to it at the top it looks a lot like a map but it's more than that it's a live timeline so for example I can grab a clip right from here I can drag it over and I can even resize it if I wanted to let's say I can scrub my playhead if I want to move a clip or adjust its yeah I can resize it and if you notice down below I have another version of the timeline as well which has more detail what's cool about this and I have it muted right now just so you can see is I can zip around to any portion of my timeline really fast I can see all my clips I can tell I have some these are my different video tracks and audio tracks but it's just really really easy to see exactly what's going on and what I want to do let's jump to the beginning and by the way if you're used to using shortcuts your home key and your end key will work your JK and L Keys will work marking in and out all those type of shortcuts you used too of course those are still going to work here too so let's go to the home position I'm going to unmute this I'm gonna play some fabulous Vegas music right now I'm hang on one second just checking to see if my volume is that good and it's good enough okay let's try that again fine it doesn't need to be loud you get it right all right good enough so you can see I can obviously there's my playback now one thing that's really cool about this I have these two timelines is I could at any time as I'm going through this project cuz I am trying to do this quickly as I can go in a minute I just had an idea of something I want to fix I don't have to wait or make notes or come back to it later I'll just fix it and in this case there was a moment where the music did a little double take and it was on one shot it would be so much better if I change that and make this shorter shot let me just come over here and show you this short shot I'm just going to move it over and watch I just scoot it over it automatically jumps into a new position and if I play that back now there's a cut where the music does its double-take works a little bit better and I just had that idea and I thought why not try it you notice I didn't mess anything up I was able to just do that right here I can also make changes in the timeline of course but what's nice is I have access to everything right here so live active timeline at the top and at the bottom let's go back up to the media pool for a minute I want to show you there's a few different views and obviously I can go through my clips nothing magical there of course we also have our list view so if you need to go in and find things by list you can and we also can go over here to a clip view and what that's going to do is it's going to show you the entire clip head to tail and they'll give you a little thumbnail so for example let's look for something fun here okay I've got this clip right here that's got all of these little I'm just bring it up as you can see it's got all of these little mini explosions of the fireworks right so I could bust it and kind of see that really quickly and it gives me a better idea of what's going on in the clip because I have this view versus if I was here okay so I can't tell a lot about this from poster frame so just depending on what I want to need now let me show you something that's completely unique here so those how many of you are editors right so one of the things as a good editor that we're supposed to do is look at the footage right now if you're working in long-form things you know if you have a good assistant or somebody they may organize it really really well so that means things are in bins within bins and metadata and all that stuff but I just want to find a shot you know I look through this stuff because I wasn't editor and I am an editor and I know you got a look at your footage so now I need to find there was this one flashy shot of a sign with a green and white sign and it had like a in-and-out burger thing on it I know I saw it and people are like yeah right it's in there so what do you do you have to go digging through bins and I have to go wait it's this clip no no this one wait wait just just one more second so there's no easy way to do this but let's go back to nostalgia for a second those who use tape you remember that number one you could have a jog wheel and you could just bust through your footage really fast and find the gold it took two seconds you could go through and find exactly what you wanted well we could do that here too I've got a button right here at the top called source tape and if I click on that it automatically took every single thing in my bin every clip and it just I'm all together as if it was one tape now I'm gonna mute this because there's no reason to need to see this but I could drag through this real fast look there's my footage is that cool so as a good editor I know I'm like so it's like nostalgia but it's new at the same time it's like new style yeah what do you think maybe but anyway so what's awesome about this look there's that shot I told you did I not did I not say there's the shot look is that it's exactly what I said it would be it's a shot of let's look in an out burger right there see green shine I told you it was in there so what's neat about this is in source tape mode I could just hit X to mark that clip notice that as you go through the footage it automatically will show you where they are and there's the shot it's right there and I can bring it up now and I can mark it I could have even marked it in source tape if I wanted to but I was able to find it because I had that option and I'm gonna come back to this go back to source tape for a minute I still have that clip marked by the way just I used X to mark it and so I'm gonna clear that out now I'm back to my source tape again so every time I get a bin full of b-roll that I've got I'm in a hurry right I'm cutting I've got someone out on the strip shooting extra footage for me they're gonna post it sometime I'll have it I'll just use source tape but there's one other really cool thing about this is right here we have this button called fast review and what the fast review button is guess it's to review it really fast so again I need to look through the footage no that time I'd already seen it I was just going through it really fast but in this case if you hit faster view and I'll just come randomly here to this spot as I play through this it's gonna play fast but it's dynamically so every single clip will be played even if it's a 30-second shot I won't pass it because it'll play it faster than real time but not too fast that I might miss the clip so it's a really great way to see it and again it's dynamic so if I have a 20 minute shot and a couple of really short bits in there I will see them all I'll just see them quickly so very useful so although this seems like old-school thinking it's awesome when you have to go find your shots or just look through them and go okay I got it because those of us who have ever cut linear and used tapes and all that stuff used to just digest it right you'd watch those tapes you it just all be in your head you knew that this stuff was there and he knew where it was you could just go find it get and work with it and we do that now but this is just one way to work with it so again source tape and as I go through it the clips are loaded so that's very very cool totally unique to this page now I'm going to go back and let's go back to our filmstrip mode for a minute and I'm also going to sort these by timecode and let's just go look at marking clips for example because all the stuff that you would need to do when you're working let's come down to this clip for a second now this one's already marked but I'm gonna clear the marks just option X the same shortcuts you always use X marks a clip option X clears them I you know mark your ins and outs those type of things you probably have memorized from days gone by right still work so if I wanted to I could go through the shot I will unmute it now I want this little section here and obviously I know where it is so I could just mark it see so they're calling you the new king of las me but that's not really exciting do you notice one thing that's pretty cool is I can see the waveform so I can already find her little chunks of questions right so that's pretty fast I can also click here and notice what happens to the waveform when I click on the in and out points start dragging it you see that it goes into a close-up view so I can really see that waveform well that's pretty cool so I can really nail that much better than I might have been able to do if I was just eyeballing it and then one other thing we have which is really big for me anyways have you ever run out of mouse space where you have a you know an hour long clip and you're sitting there trying to drag this over to mark a teeny tiny little sliver of dialogue and you're like picking up your mouse and you're like and you know or you run off a desk because you just can't get the mouse to go right so we have something for that too right here at the top left and right you'll see these two little things right there and there and what those are if I click on that that's going to go into our scratch trimmer what that will do is look at that I'm able to take my mouse and click right on this and now my endpoint I can just barely move my mouse just a tiny little bit and it will just bring that in at a constant velocity bring it right in with total control and so whether it's a huge clip it could be a 50-minute clip or it can be a fifty second clip and I can exactly where I need to and never pick up my mouse yay so that's pretty big yeah look at that so I can just spit and barely moving my mouse I can have it just a tiny little space done okay so pretty cool and those so there's a lot of these little things built in that just make it a little bit easier if you want to get in there manually and tactile get in there and set your clips so okay we've set the clip now what I want to put it in the timeline so let's come over here now look I know it goes right around here so I can just click anywhere on that upper timeline area and of course I've jumped right to that spot and it's gonna go right between these clips so the thing about editing in that the cut page is we have the standard tools you could still use your function keys to do your inserts and overwrites and all that but we also have some smart tools that are really designed more for this page and the first one is a smart insert you know like oh yeah what's so smart about it well what what makes it smart is you don't have to be on the exact edit point because when you do your inserts or any of your cuts it's not going to cut the footage underneath you have to manually if you want to cut you have to either use a shortcut or there's ways to cut but it's not going to happen by accident when you're adding more footage so see how my playhead is just in the ballpark I'm close right to that point right here so I'm going to go back to my source and I'm just toggling basic basically the Q key which toggles back and forth between your two monitors right there now I'm looking at my source and I'm ready to drop it in I'm gonna hit smart insert you're gonna see it insert itself right here on both timelines and let's do it done okay cool right and so I can bring this back during the whoa so they're calling you the new king of Las Vegas how do you feel about that okay very cool and if I wanted to make any kind of trimming I could do it in either timeline I could do the rough trimming here I could go down here and I can roll I can click one side or the other and I can trim it off this way you could use your shortcuts and check out up here do you all see the my nice graphical view here where I can get in there and do some refine trimming so I can click the middle if I want to roll that point I can ripple those edges as well I can use shortcuts so you can really do it at very fine detail or you can just rough it in and deal with it later for me cutting short you know obviously when we used to commit to tape you had to make pretty good decisions and live with them in this case when I'm cutting this I can go back and make another pass and tweak it later so right now I just want to get it cut so that's my first edit let's look at another one up end to end we also have this on the edit page I'm gonna go up here and choose a clip there this one's already marked and he says I'm very honored I'm a very very lucky man I'm very very lucky man he doesn't really say it twice it was me so one of the things about this is when you cut how many of you cut talking headshots I mean you've done stuff you know documentary work you know news pieces whatever it is the Talking Heads right and so we need to we find those sound bites it's all about what are they saying forget about making it look good we'll deal with that later so they say something great and I know I want this this goes near my tag if this isn't the button on my show this is gonna be close to it so how do I get it over there well you just click this button right here a pen to end it's automatically to just throw that clip at the end of the timeline so it'll be close okay now it's at the end of the timeline and guess what I might come along and find something I like also that might also go to somewhere down there I'll just toss it on down and I'll just keep throwing things to the end and then eventually I'll figure out what I like and get rid of what I don't but at least it's in the right place all right let's go back there's more all right so now we have a ripple over right this also comes in really handy and what's awesome about this it's like a 4-point edit and I'm gonna come to a space right about here this is shot notice I can scrub across okay so this is our introduction let's hear it okay so this has to be this image she's fabulous don't get don't get me wrong cuz she really did a fantastic job with this however that's a lot of me me me how am I you know and this isn't about her it's about him she's already done her introduction we have to cut some time out that's gonna go I just wanted to ask a question right and so in going through the footage I found a place where where she actually says it in a much more succinct way now look at this tiny little sliver of sound right what I was talking about him to set tiny in and out points so this is the clip I actually want to put in this spot instead of what's already there so this is much longer this one is shorter it doesn't matter what the links are it will just make it up on the way and I want to do is click this particular button which is my ripple over right notice that my playhead is nowhere specific I just happened to be over that clip if I hit this boom the shorter clip is now in the timeline now where this is also awesome let's get back to exactly also awesome well I'm talking heads pictures documentaries long-form stuff we got a lot of bits of pieces that you got people saying things and you found someone said some gold and you're like gosh that's so awesome and you put it in a timeline and then later on they finally say something much more succinct that's way better than what was there this is what you use just backup put your play there drop the new piece exactly where the other one was and then it was a placeholder but what's awesome at least this way you have something in the timeline and at any time you can replace it so it's a 4-point edit and that is our ripple overwrite we also have that on the edit page as well but very useful especially when you're moving fast and this kind of situation comes up it's perfect so let's go to this next one close up now again this one's a little more creative I'm going to come down to this montage section here and what the close-up view is going to do is it's going to allow me to pick a shot that I'm going to use it's going to drop into the timeline but it's also going to do a two time zoom for me into the center of the clip and I can always adjust it later but that might be useful so here we have some music montage you're sucking about the bass ladies and what I would like to do is throw another shot in there of the band I'm going to just come on down here I like this clip for you because I can see it and there's a shot of this drummer right here I really want to work with him and if you notice he's already centered it's a pretty darn good shot but I'm thinking I'd like to punch in on that a little bit and just to save time I'm going to use this close-up view so first thing I'm going to do is mark it marking in in and out just randomly there and once I have that I want to drop it in a timeline now where is it gonna go right now let's take a look over here in the bottom left let me zoom in so there we go so if you look on the edges of the clips there's not a whole lot here it's they're supposed to be fast right as we work but if you look one has the little it's red that means that anything I in like this particular clip it's going to be looking at my base track of my one track one so I'm going to go ahead and click track two and then what it's going to do for this type of edit first time I've had to do this is now it's going to look at this edit point right here and stick it right there had I left one it would drop that on the second track but it would start it at this edit point so it's that's how you tell it where to look basically so let's drop that in where it is it lets my cue so I'm back on that clip I've already got it marked and I'm just going to hit this button two times zoom it automatically dropped it in it put it right where I wanted it and if I come back here and look so they're calling now can I go in and make adjustments yeah what did was added zoom to that and I can fix that later but ideally I thought it I did it moving on okay again it's all about I got to get this out we got to make FedEx did anyone ever have to chase Federal Express to get it to get your tapes your drive out I can't tell you I know every place ever worked it was like I knew where the airport was that had the FedEx there because it was like no 530 we're not gonna make it but eight the planes don't leave to it you could you could do it but you had to get there right so fast turnaround it's real so it's just now people just beam it up right so it's just changed a little bit okay so let's move on that's the place on top I don't have to show that that just is basically gonna do a cutaway it's just gonna put it above whatever you happen to have here it'll never cover up what's there we'll just put it above let's move down to the last one which is super cool in fact I'm going to show it to you again in more length but this one is unique to this page I love this I'm gonna go up to the earlier section here so this was a two camera interview of him we didn't get the hostess on camera she fed questions and then later turn to turn the camera around and got her on her own asking the question so in this case I have two cameras and what's nice about this is we have something called source overwrite and what that will do is to look at the time code of the clip in the timeline and match frame to what you have in your source viewer so you can mark ins and outs and drop it in and like I said I'm going to show you this with this keyboard in a couple minutes because you can do some really fast editing using this particular mode so for starters let's go and get his clip now one thing that about this particular clip is the sound was really rough he was not miked for this he was miked for the other angle so I just turned the sound off so in case you wonder why I'm editing this without sound trust me I'm editing this without sound on purpose and when I go to cut this section again this interview I'll show you why in more detail okay so I have this clip right here this clip is the exact same match to this one as far as somewhere in here so let's find a spot and I could use JKL keys right there he's looking down I can easily see if I'm matched it that way right so my playhead is over a clip I'm going to come up here to my source Here I am and this is again the source clip in ought to do is hit f4 match frame and it automatically found the matched timecode frame did you all see that really fast right so match frame but this is where it gets fun now I can mark we can do several different things actually with this one but let me just load this up just connect that bring this up again F is for the match frame and then I can mark my in and I can go through here and say I want to go to just about there just I'll do a short little bit and there's my end there's my out and now I have to do is hit source overwrite and it'll automatically drop it where it belongs overtop of that clip so that is so helpful so I think the show has obviously I wouldn't really cut to that shot here but did you see how cool that was that was super fast and look up here I can even nudge this and look as I nudged it I can see both cameras up in the to up display so I can kind of decide how I want to tweak that I could do that way faster with the keyboard but obviously I can choose how I want to edit this so again this sort of thing is just so fast so I can go through and drop in all the B camera first lay in my main track then drop in the B camera if I have another camera I can go find that and just get the little bits I want and it'll automatically match it save so much time not that doing multicam editing isn't fun because it works great if you're you know if you like working with that many at a time but this is another way to go so excellent right fun yeah okay oh wait there's more there really is okay so let's come on down and let's just little things like for example as I'm going through my footage I may see a shot that's like you know what I think I want to put this in another spot I can move things from one timeline to the other two because they're both timelines so I just took it from the lower timeline to the upper one I go from the upper to lower I can drag from one place to the other anytime that's the easy stuff right let's go back to let's see what I'm gonna do I know things that happen in the real weather or throwing my way jump cuts okay the back going back to those you've ever done documentary work or you know news II type pieces now obviously with the dues you have you can't like fake it right it has to be real but in documentary work sometimes people don't ever finish a sentence or you've cut it together pretty nice but you can't cut away to all the time you have to sometimes have a jump cut and in the old days yes we had jump cuts and they never learn that way it's a jump right I mean if people are really into the story they get used to them after a while but you never do if you're the editor now one of the ways we get around that is there's three types of transitions there is a cut yes a cut is a transition in case you didn't know that's how do we get from one clip to another it's the transitions are cut we also have a dissolve if you click this button the three most common are here here's my dissolve if I click on that it automatically through the dissolve on here for me and I can make that longer or shorter obviously and we get short and those of you who've done this or thing that was the band-aid right is well let's put like a to frame dissolve on there that won't look as bad right and sure it doesn't look as bad right let me go back to that throwing my way okay but you know seriously after really long documentary work to me after a while you go okay that's not so bad and you start going three frames for two free but but it's better than the jump cut sometimes right but of course we also have our smooth cut which we have on the edit page as well what the smooth cut does is actually morphs the clip the two clips together so it's looking at the pixels and so if I go to smooth cut which I just switched this to by clicking that button and now when I backup this back it up throwing my way it's great okay it's there but it's barely there right so again ethically you don't do it in the news but when you're doing documentary of talking heads and when people understand yes we're gonna edit you to make it sound better and they will don't prove it anyways right so you know you show people the finished thing they'll be like well I had no idea was that good and you'll be thinking you want to see the raw stuff you know idea so anyway so smooth cut is very useful some people I've heard a lot of people going why would you ever want smooth cut here it's like it depends on the type of project you're working on so there's my smooth cut but we also have all of the other transitions let's switch this over to cliff view let's come up and as you can see up across the top I also have my other transition this is resolved right so I have everything in here so let's do something really awful for fun right no I mean seriously we can no no just I mean okay we've got our tell me our hostess to our hostess what do you do there really you can get a wipe dissolves not gonna look right the cuts okay let's do something really bad because we can in its Vegas so there we go let's do a star way yes yes star wife okay so this is resolved now notice where I put it I actually drag it to the upper timeline but it worked and it is resolved and you know why not so yes so okay again don't use this at home but you can see I can change the size of that I can even roll it around if I wanted to you know if I needed to change that if I want to trim underneath it I have all my trimming techniques so anything I need to do I can do it in the timeline I could do it up here so you can still make adjustments right and you know use it lately but there's my star wipe okay so we've done that let's look at what we have our titles and we also have our effects I'll come back to those in just a minute let's look at making a few adjustments to Clips themselves I'm going to go back to the beginning let's say I've cut my piece together I'm fairly happy with it let's come back over here and wait I just heard I've been waiting around to hear from my camera operator who was running up and down the strip trying to grab those last minute shots right I had like an hour to put this together now you know I need this other clips with her here so I can go get them so you can import footage right into the cut page so I can import into individual clips or I can go for an entire bin of media let's go get that yeah there it is so now I have a new bin of material I can't wait to see and I have no time whatsoever I got to make FedEx so what we're gonna do is i'm also the come and pick it up from you nowadays but not late so i'm going to there's my footage I'm gonna just mute this because one thing about b-roll footage is those camera guys look at that audio you do not need to hear that okay so how do I look at all this stuff well let's go to our source tape there it is here's every single clip is now in here I can bust through them really fast find what I want oh look it's a poster that's just what I needed I can mark that clip if I wanted to and work with it right from here or I could set in and out points in out or whatever I want to do and I could find a spot in my timeline where it's exactly where I want it to go and then I could edit that and depending on what I said so I have lots of choices and like I said very easy to go and work with this I can always back up you notice there's not a lot of bin structure here to make it easier to work with and also keep it nice and clean let's go back to the beginning now I've done my cut and I just want to kind of fine-tune things because that's what we can do now that we can do that and we are in resolved so for example I can look at my footage and I can make any changes I want to right here in the lower left there is a controls button and by the way I can also so bring up our tools I can even hide my media pool if I really want larger space by the way so you do have some flexibility there as well so I'll leave it up but just showing you I can hide that if I want I'm gonna play this through and what I really want to do is make a few adjustments I'll leave the volume off for now cuz it is that Vegas song you'll be singing it all night already so if I want to let's say just resize this slightly I have you know if you look at the controls across the bottom of the clip here I've got my transform so I can say well I just want to move it to here there that's really what I really wanted there done I come over to this clip this one oh my gosh where's my explosion what did I do okay so I don't even have the footage I mean if you notice I don't see it but every single clip when you hover over it you will see that there is a a tool and I could just click and drag and you automatically can slip any clip by just touching it and dragging left and right so what that gives me is I can see the first and last frame so I can totally fix this where's my explosion so yeah better so let's say I want to use this for example alright I fixed it but now I'm looking at go and I'd really like to slow it down a little bit more so I'm gonna come over here and if you look I have my crop I have audio if I need to raise though or lower the levels and I also have retiming and this is resolved so those of you work in resolve already know we have really awesome retiming tools and so when I turn this on I can do all kinds of things in this case I'll just lower it down by let's say 50% and also gonna add a ease in and out because I can and then I'm gonna come back here and there it is although now I've missed it again so I might want to slip the footage and get just the right explosion right there we go okay next boom okay so as you can see as I go I can make whatever tweaks I want to I'm almost ready to send this out so what's next alright we get wobbly camera now I realize this is a creative choice but sometimes it works right and for a while there everything on TV was that nice handheld yeah right it was a great time for Steadicam operators to learn how to do their craft or no it was when everything was pretty alright so as you can see this is a bit wobbly so it's not bad but I'd like to smooth it out a little bit so I'm gonna come over here and again we're in resolved so yes you can do some lens correction and we have stabilizer so I'm just gonna click that stabilizer click that stabilized button it's going to just fix that clip up for me let's see better and then I'm gonna look at this next John it's like wow that one's awfully wobbly too let's go and fix it all have to do is be over it hit stabilize done so it's not perfect but it's better than it was so there's to match up better than they did so again I'm not having to do a whole lot of work to get here and let's see what else we have we have this fabulous right here we also have our dynamic zoom and if any of you've ever worked with our dynamic zoom it's pretty cool let me go further down and find just the right shot let's go down to the band actually I'm gonna come over here we have a nice shot of our musicians there I'd like to use the dynamic zoom here and just kind of push in on them a little bit and that's all I have to do is just remember that I have to decide the Green is my starting position and the red is my finishing position here as you can see that was really hard took a couple seconds right now I did was turn it on now yes we have this on the Edit Page you just have to go into the inspector and work with it here we can do it really fast right so let's go check out what I've just done see that push okay maybe it's not perfect but you saw what I did what I said to do nothing means it's a good idea but that's the dynamic zoom and then let's go a little bit further I'm gonna come on down towards this and and if I switch over to this one you'll see that we have on this end down here I have a clip and let's just play around with something on this end right here is my compositing so yes you're gonna access that too so if I wanted to change the opacity or let's say I wanted to go to a composite mode and just so you know I would never actually do what I'm going to show you but I could go in here and if I let's say go to the add mode now I can see both of these the same times that's really what I want he's haunted by this show and or something like that I mean but if you wanted a composite mode because that's how you work and you already have the clips in there it's how long was that and again it's gonna playback instantaneously I don't have to do anything special to make that work I'm gonna just clear that right now thanks all right now other things I can do is I'm going to mark this clip for a minute so I can do some loop to playback because we'll also show you you can also access your other open effects as well so this way I can let me loop this I just marked in and out points in that way I can as you can see we can loop this clip so if I wanted to go in here and instead let's look at our effects we have all of those awesome resolve effects are built in here as well because we're still in resolved so let's go into something really crazy like our tilt shift blur which isn't really crazy it works pretty well I dropped that on the clip and I can now get a new icon here which is to let me open an inspector so we still have an inspector option when we're dealing with these open effects but now I can come in here and I can say well what do I want to do I'm going to do a little bit of this I have controls where I want this to happen I'll just do it like that and let's adjust the blur strength for a minute as you can see we can do quite a bit of that so I can have this effect on here if that's something I wanted to do and obviously you can go in and make a lot of changes there I'm going to trash that one let's go for something crazy I'll go for the stylize because I would use this every day and we come over here open that an inspector but you know with the blend mode I can make it much less right but what's coolest and you notice I'm doing this in real time which is kind of fun so and these are let me go back to loop playback over that particular shot and I can change these to all kinds of craziness you know not again not that you would do it every day but we have kaleidoscopes and mirrors and all those fun things that you would absolutely use but for maybe the tag of your show if you're doing something interesting hairs interesting right let me clear that out so this is you know just this is just a cutting you know touching on some of what we could do pretty darn fast right here in the cut page I'm going to turn off these controls real quick so let's say we're done we actually finished and and we we have a few minutes to spare and we got this I'm ready to output this we come up to the top right and you'll see we have a quick export and this is automatically set up and right from here so you notice I never have to leave this page for anything to do these really fast things so if you look I've got my h.264 here's my pro res h.265 we have YouTube and Vimeo and there's even frame i/o if you need to so right here I can export those you just have to set up your account and if you have your account set up you just go right set that here and it will automatically post your show right to your YouTube channel or your Vimeo or or whoever needs it you can get it right out to them immediately no FedEx so amazing and and I'm gonna cancel sow but here's something that happens I'm going to come back to my media pool and let's say I'm going to look at my timeline bin for a second I haven't even been in there there's my clip I'm going to duplicate this timeline for a second as you can see I can just duplicate the timeline because let's say Here I am in my timeline but I got this request where they need it they need my show in the vertical anyone ever had to do that have you seen commercials and shows actually delivered in the vertical and you know why because people can't do this no just get it but you get the idea I mean I get it it's a deliverable this is new right people will watch a lot of stuff here and yes faces are nicer here than like this so I totally understand it but we are unresolved I need to do that now what a pain that is right to now turn my timeline into that except we're in resolved right so I come over here I click on my settings I'm gonna come over here to image scaling and I just have to change one thing right here which says scale full frame and with crop and if I said that as my input scaling right and I save that now what I do is I already have my show I've already done my cut everything's ready to go and I just come over here and just change this now to portrait Wow so not that you'll do this every day but look at that it's ready to go and now when you get that you want what we actually have it and you can watch it in the vertical and yes I could go in here and if I needed to make any changes I could clip by clip but this will take me seconds and it's ready to go - okay let's send this one out and okay anything else and so you can adjust that so pretty cool right alright so this is the mini quick cut page II type thing let me show you one more thing I'm gonna hide this for a second so I can show you this keyboard okay now you're probably thinking yourself wow that is one big keyboard it is but this is the keyboard now just you know it's metal and it's heavy and it's got a clutch so it's quite awesome so I'm gonna hide this right now it's like a car and so what's cool about this is I'm gonna move this keyboard out of the way for a minute and I'm gonna see if I get to show you a couple of little things you already know what you can do with it let's go back to this keyboard for just a second and if you look up here I just wanted to show you a couple of the things that you'll see on this keyboard now some people I've only used it for a couple of hours just touch it but if you've ever edited you know linear editing on decks right you know how that your it comes right back right it's like playing an instrument it's it is like playing an instrument actually and so you immediately will get that feel for it right away using two hands to drive if you're good with the shortcuts yes you can do a lot with shortcuts but this is pretty fast too so you'll see this clutch and right here your scroller which is right here will also has three different modes you can switch to source mode which will show you our source tape mode or you can look at your timeline really fast over here you've got all those trimming tools these are the different types of edits that I just walked you through so those are super fast to be able to just hit those and go so on your left hand you can call up a type of edit you can be using the jog wheel and then these in here what's funny as I worked with for like two hours and my daughter says oh what are the colors forms like all those colors yeah I don't pay any attention to this because I'm you know if you know the keys but I understand that they're grouped by you know things like navigation and sort of things but every single shortcut if you already know them they're already there and if you don't you can learn them pretty fast this way as well so we'll have this hooked up so you can actually try it out here when we take our break so enough of that let me just show you a couple of quick things I can do with this I'm going what I'm going to do is I'm going to go back to that source tape mode remember I said how fast I could work with the source tape so let's go in and I mean I have a little nostalgia moment here and I'm gonna make a new timeline and I had no idea what that is I'm just gonna say test but so what happens when you have a microphone between you and your keyboard there we go all right so I have some clips here that I want to edit with so remember how I mentioned before that you know you could just drop in your original source this is my full clip in fact let me clear those in and out points for a second on this and I'm just gonna drop it in that's that first type and instead I'm gonna use my keyboard and hopefully it's working let's see if it's set up yep it's working okay so I'm going to just hit the smart insert and drop the whole thing in okay so there is my clip now what's cool is if I'm in scroll mode I can buzz back and forth I can jump back and now I'm in the timeline and with one spin if this was an hour or if this is thirty seconds I can get from one into the timeline to the other which is really cool but there's more all right let's go get that other shot remember how I said how cool this might be all right so here's the other shot with the sound let's see if I can tell I've got it muted I'll spirit you hear that sound is this what your project sounded like now I hope not because this one is a redo so as you can tell there is nothing that I would want from this clip at all to use and there's no reason to even add that to my timeline other than as a distraction so I'm gonna first clear those in out points and I'm gonna go to that source clip right here and this is where we jump into the attributes and go ahead and let's just take that sound out shall we so we're just gonna say mute done okay so now when I load this clip up in theory that's good something else first and come back to that now in theory I shouldn't have to hear him okay yay okay so let's look at our let's look at this time I noticed my minute my time line at the top is one clip why because it's one clip it's showing me my entire timeline all right let's go back to my home position again I can do that from here as well with my arrows my scroller okay so what I want to do is we're gonna load up this shot and this one and first thing we'll do is let's find a spot now this is not how I would necessarily work now I'm going to show you a couple of really quick ways that you could make this keyboard work in your favor is I'm just gonna use hands as my guide here too so hand movements is when I'll be triggering my cut mainly said we can see it okay and it gives me something visual so right here we see him talking right there he's got his hands up in the air I want to be in this shot at this moment okay that makes sense to me so first thing I'm gonna do is match frame I just hit the match frame key let's make sure we are actually it's gonna match up here so where I need to go because I need to do that on this timeline so there's his hands right so let's go back to my source and as you can see if I hit my match frame there's the same spot okay now this is cool there's a big great big in and out buttons right over here on the far left so I could just mark that isn't in I'll just buzz over a little bit there's his hands again I think I love that he close his hands together why not that's my spot then I right here on the top left of my keyboard is I have that button that source over right done it's in the timeline and then I can just see let's see the sensibility of a big show the not necessarily with the production I just wanted it to be engaging okay so work so I can then decide do I want to continue working up in the source let's go on to the source for a second let's find another spot coming along here and okay there we go again anything else okay that's shot I like that right there I'll just mark it in right I mean I can match frame match frame always goes back to what I already had in my timeline if I'd rather use it and feed from there I can or I can do it from back in my source so I'm gonna go back up to the source and let's find a new spot I'd say this is the spot we want to work with I can mark it in there's a nice hand movement right there and source it's gonna drop it in so think about this you can go through an entire tape really fast you're second angle and just find the part where okay he's looking down I like this a lot that's that's it right there that's magic I love it and I can just hit this button and it's in next and you see how fast you can go and then think about this you have the two angles and then maybe you have the overhead shot because it's a DIY or something like that to do really quickly then go in and get that shot and just grab the magical parts of it and don't waste any time on anything else and you see how fast I'm moving so that is super cool let's go back in just play for a second because I'm gonna wait let me get here and I'm just gonna play this I went to the Savoy I met her there she showed me a couple of dresses we choose which was best then we went to the Royal Albert Hall hang out with her at the back stick that's kind of how I want to kill that on to the Royal Albert Hall let's just say I'm a good editor and I decided I'm gonna take that out so I'm just gonna make a cut here with command B if I wanted to now I'm going to show you if I can see it there's a command B so I just made an actual edit there I could have also just I didn't show you this when we were on the cut page but you could just right click on it if you right click on your played you get a little scissors right there so you can blade it at that moment as well so let's jump off of that and let's say I'm gonna trim this real quickly well I have these trimming tools are all sitting here right on the left that I can work with so if I click these notice that it's flashing those different parts of my edit I can do a roll I can do a trim that off this way I can trim off that one I'm using this little wheel and that takes me like seconds I'm done see that I got a cut to the other angle now I really do I just can't not cut to the other angle so I'm gonna come over here and I'm going to match frame there I am I'm already at that angle mark my end that is so oh he does it again right there he's doing a toast with Frank Sinatra that's the shot I really wanted that and I'm gonna just drop that in source tape and you see how fast that was it's crazy right and I can this is how I want to work and you can choose and I walked into a room and there was Frank Sinatra and just you raise the glass you know I don't really love my out throat right there so again I have these keys so I can come up here and I can look at this part I can look at that part I can decide let's roll that a little bit look what happens when I'm rolling it and see how I'm using this I mean I've got one finger on this and I just swing this around yet it's super cool so on my imaginations going crazy on this one going oh my gosh I could do so much so you you have to play the keyboard let's do one more thing let's go back to that see this see that jump cut oh oh let's throw in one of our dissolves us to a smooth cut right there I just dropped the smooth cut in and with one button I just hold the one above it and I'm able to shrink that down did you see how fast that was again who hung out with her at the back okay so that's a big fail right so let's fix that uh let's get over here and I'm gonna trim that uh let's do it underneath hang out with her at the backstage ah so anyways I could I could spend all night just playing with this and and this is footage I've barely ever seen but you get the idea so whatever your workflow might be as you're buzzing through footage and you know I've cut film trailers you know indie films and we had stuff it's like oh my gosh we're in a festival and we have to have a trailer out tomorrow or today we have four hours you know so it's like quick throw the film in here let's go find some footage and let's cut this together and you just got to do it as fast as you can and so the cut page offers a lot of really great promise for fast turnaround projects again the edit this edit keyboard that we have you could use for may hide this so the Edit keyboard what's nice about that is it also works obviously on the edit page so you can do a lot more with it than just what you do here but obviously depending on your workflow this can be a really wicked combination in a good way of course so one more thing we're not done the other really important thing that I have to go through and we'll do some questions is I have a few minutes I need to show you some of the really awesome stuff in the audio okay so we're just going to unplug from all of this really awesome fast turnaround stuff for a few minutes I have how many 15 is that what you said okay I'll go fast oh come on you said 70 minutes yeah all right switching over and here we go we are now in it work all right I'll give you the fast version because I can this is what a cut page looks like with a film trailer and this is why you don't use the cut pay leads for a film trailer there we go and I'm going to feel like alright so here we are in the Fairlight page hiding stuff okay just showing you the big stuff then okay um right here Automation is bigger how many of you do audio make a sound anyone audio okay the rest of you are in silent films is that what we all right so I'm going to you care about sound really so it's it's part of our lives guys it's half the project right so it counts so this a lot of what I'm going to show you is a high-end stuff but I'll make it kind of zippy here we have more okay so all of the we had a lot of automation options before we now have more I'm going to just turn show some automation curves here in a timeline let's see where I have some obviously you can see your curves for your different tracks those of you who do a lot of audio I have a lot of tracks here and I also have you know some buses and sub mixes and other things as well well what happens when you want to do automation on those you can't really see them so what we have done is if you go to your index you can now show you've always been able to show tracks I'm gonna hide automation for a second you can always show and hide tracks you can have more or less depending on what you want to work with but now when you're an automation as you can see I can now also access my mains I can see here's my effects and my even my Avicii a group so you can see now check this out there's my automation for all of those I'm gonna mute this because you don't need to hear it but you can see if you look at the faders you can see they're moving according to whatever I happen to have happening at that moment so pretty cool that you can see that right here and you can also go in there with your pen you can make adjustments to them right here or you can obviously record more automation and I mean this is two buses these are sub mixes and buses which is cool up here at the top we also have I'll just show you under the Fairlight menu there's your autumn you can punch in punch out you can fill copy cut paste you can even have a mixed list this is brand-new by the way with this version that just drops right and what the mixed list does this actually lets you save a mix everything so let's say you've got a really good tip mix and everything's sounding just the way you think you like it but no one's come in and sit there with you yet so you've got it to the point that you know it's pretty darn good and you pretty much know where it needs to go save that mix and now you can always load that one back in then you can have person over your shoulder people watching you make all the changes you need to but you can now it's like having versions right and it'll set it all back to what you had before this is fairly huge okay and you can just save all those different versions you mix it'll automatically reload all of those things so definitely try that one out we also have real quick preview mode right here where I can turn on preview mode now so for automation even though you already have automation on your tracks you can click on preview mode and that will allow you to override that automation you can get your faders back while you test out new settings and you can even drop those in if you want to if you like them but gives you the ability to preview audition basically alright so that is the changes in automation another really huge thing so I might as well show it is over here this is the big one if you have resolved studio you go to Fairlight and you now have access to full support for your Atmos auro-3d in your SEM t st 2098 so if you're doing those immersive audio let's go with just Atmos because it's at the top now that I have that I can now create tracks if I make a new track I can make an at most track now right and there it is and it's actually showing up already in my timeline I actually can go up here and make buses let's go up to my bus format I'm going to change my LCR to an Atlas track as well because I can and now I have so you can actually go in there and use those we have already had our 3d panning this is regular panning option double click this is our 3d panning which we had in the previous version but we had no bussing architecture to actually do much with it other than make it look really cool in you can do some neat things with sound but now what we also have let's move this aside I'm gonna open the other track right here here's my Atmos Jack I'll just bring that one up for a second so you can see I also have that for panning and up in our Fairlight menu under immersive tools you have your space view scope which will allow you to see it and by the way the color the track is the color of the object so if you're doing object based panning and sorry these are really big because this screen is small so I'm used to having more real estate here but the idea is I can come in here and let's just rotate this shall we we see that sound I know objects so if you mean it's this gets the imagination going so these are those things that you can work with I'm gonna close this track up and just bring up a mono track for a second because that's cool okay so we have this actually that's not the only one sorry move down here let's do this one an actual clip okay so what happens is if I pan this as I pan this around you see it moving whatever color the track is is the color the object there is moving around and you can even change this to show the actual labels of all those clips as you play it it'll show the little mixer you know you'll actually see what's playing and it'll still move out of the way of your objects as you're panning them around so you can kind of place things and see it so it really gives you a chance to visualize things we also and this is more of the boring fun stuff but your beat chain controls so you can also set up all your B chain and for those of you who don't know what's a B chain the a chain it's getting the sound to your mixer or your your finished project is what we've done but getting it back out so we can hear it that's the B chain so like this theater has its own preset installation of speakers we wouldn't want to accidentally override those whatever you might have multiple sets of speakers or microphones or talkback whatever so you can set all that up here now you can set up your B chain right there and if you don't know what this is you don't really deal with B chain so that's cool but you can actually make those presets and save them and you're in good shape and then you can also name them and lock them right here by so the only way someone can accidentally load up a project and not override all your stuff as you have it already protected a name door you'll see oh yeah that's my theater speakers I won't accidentally patch something else in or whatever so that's just that's a nice little safety net two other quick things elastic wave is super cool this is brand new you're going what did I just do let's say you're an ADR and you recorded something and the way it's darn close right it sounds good enough and you're tired in ADR see you it's close enough right you it worked at the time but then you realize wow that's really not close enough so you want to make it a little bit closer so I'm going to zoom in on this and I'm gonna change that pop it out cuz I can like this you know we have a very flexible interface here when you're doing with audio which I like okay so maybe too much let's just zoom in a little bit okay so I have my talking guy here might as well unmute that and this is the original sound boy he was a little bit farther away and for whatever reason they wanted us to replace that with this which is great but it's not hey it was let's say the wave for me isn't lining up quite right let's go over to the elastic wave I'm gonna make sure I reset the speed curve okay so this is this is it and it's close but as you can see these waves aren't really lining up exactly right I either can get these pretty close or this one is not quite there and yes I can get a blade and I can sit there and kind of move it around but with the elastic wave you could just come and click and set markers right set a few and then I can stretch this out now it does not change the pitch obviously if you stretch it too much you're gonna hear that but the idea is line up those consonants don't put my martyr my playhead there if I can line up those consonant sounds that's where we're gonna see lip movement and that's the part that we really need to match up to so let's get that kind of close get that block there we go so it's on now and I can move it and obviously get set as many more because you want to but that is new and that's built-in and obviously walk didn't call for it works right away so huge last thing yeah go ahead thank you yeah now that's fun play play with it I recommend that one again I'm going to come back and show you one other thing we have right here I'm going to turn on automation percent because I also want to bring up our meters and I'm gonna hide this back in here up here at the top we have loudness meters now those of you who don't does anyone know what loud this meter loudness metering is you ever deliver stuff it's that thing you have to do you have to meet those requirements if you want to pass QC and actually get your deliverables out there so it's fairly important and it's the law it's what we have to do so up here we have new loudness metering and make them bigger yeah allowed this metering so now we have different presets we're using the most current standards for our metering and I also have my American standards you can go to European and we also have like Australia New Zealand Japan and Italy at the moment but what you can do is you could set it to whatever standards you're using I'll set it to American Standard these different colors that you'll see in my metering red is bad okay just so you know you got to do it again you got to fix it if it's red I'm just gonna start playback while I'm let me reset this and start I'm gonna start this playback while I'm talking about this so yellow means we're within tolerance so whenever you have those meters and they say yeah it has to be minus 24 lk FS but you can be plus or minus 1 well if it's yellow that means you're in that plus or minus 1 or plus or minus 3 or whatever it is you happen to be able to do so if yellow means you're darn close red means do-over or fix it so the thing that we run into is okay great I know I have a problem now where is that problem and so we have that if you turn on your automation let me go back and I'm going to show my main and let's look at my main for a second make it I'm not used to this crunchy little thing here let's pull that down look at that we now have integrated loudness right there in the timeline so I can actually see not only can I see my automation but I can actually see yeah I know it's pretty cool right so I can actually go oops I better fix my whatever I've done wrong just my whatever needs fixing because it might just be one it might be that one explosion or scream or something that's thrown off your whole set so you can find exactly what it happened make adjustments to your mix and then I can just reset and start that again and and it'll redraw those so you can see it's so huge right cool and that's right here it's just hiding its you got to turn on your automation to see it and make sure you're showing your main track yay awesome and we have plugins and all kinds of other cool stuff so check out our website try it out it's free you

Channel: Michael Horton

Views: 22,032

Keywords: editing, NLE, LACPUG, Avid, Adobe, Apple, FCPX, Final Cut Pro, Premiere Pro, Resolve Studio 16, Black Magic Design

Id: jn4liWBZrW0

Length: 62min 10sec (3730 seconds)

Published: Fri May 31 2019