Davinci Resolve 16: Master the CUT page | Film VFX | Skillshare

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Davinci Resolve 16: Master the CUT page

teacher avatar Film VFX

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

4 Lessons (1h 32m)
    • 1. Introduction

    • 2. Davinci Resolve 16 - CUT page

    • 3. Let's do something cool with the CUT page

    • 4. More fun with the CUT page

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About This Class

The new CUT page of Davinci Resolve 16 is amazing and designed for fast editing, it will speed up your workflow like never before. In this course you will learn how to master it.
This course covers all the aspects of the CUT page from beginning to end, you will be able to finish an assembly or even a complete project within the CUT page.

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Film VFX


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1. Introduction: the cut page is new in the venture is all 16 and it is absolutely wonderful. You are going to love fisting. Why do we have a cut page while we already have edit page? The cut page is simply fast editing. So is it coming to replace edit page? No. It is coming to make your edit much faster. And you want to have it always in your workflow, no matter what project, Even if sometimes you hear Well, if you have a quick turnaround and you've got a tight deadline, then you may want to use the cut page. No. You want to use the cut page all the time. Even if you're working on feature films, short films, documentaries, music videos, corporate videos, trailers, whatever you're working on, start your assembly in the cut pages. Gonna get much faster. 90% of the work is gonna happen in the cut page, 10% refinements and really tiny advanced editing is gonna happen in the edit page. We still need both of them, and you want to be able to use a bit of them, but you are gonna get there much faster and let me show you how you can do that. 2. Davinci Resolve 16 - CUT page: the interface. First on the left you have here the media pool. Mostly. I'm saying, mostly because half the option here to turn into to look into the transitions. You have the text, text, text titles, and then you've got your effects. But please resist the temptation to start overload in your timeline with all sorts off transitions and effects and stuff, because the effects are meant to be done. Infusion off course. You can try an effect to see to get a flavor off where you want to the direction you're going. Yeah, this is what we had in mind. Good. Okay, it's gonna work, but we'll do it properly. Fusion page. Good. You can do something really quickly and assembly. You need to have your first system because this is the first thing you want to do. Always. The first thing in edit is assembly. Okay, If somebody is quite important and you do it bit by bit, hopefully make you do it at the end. But I commend bit by bit because when you're on set, you start getting dailies and Russia's well, there is the reason why they are called dailies because they're every day. So you're bringing stuff in your media pool every day and you find them back here and because you're bringing stuff, you're building your assembly over time. This is going to be really helpful If you say we have a script off 90 pages. Well, just giving an example. We expect into this film to be roughly about one hour and 1/2. And if you're a mid way to film and you see that you're already at one hour Um okay, we think we're there's something wrong with with with the duration or something. This is why the daily is help you a lot. Not just this reason, but many reasons why you need always every day to bring in the dailies on the Russians. Cool. Okay. And to build your assembly over time. And that happens where in the cut. Paige, don't look at any page or any other page. Okay, Just a cock page. So that's your first thing assembly. So we're going to have here our major polls. Whatever you have important in the media poll, you're gonna find it back into cut page, okay? And you can scroll because when you start importing dailies and Russia's you end up with hundreds of files, hopefully because it means you are working on a bigger project. 100 suffice. It will be a little bit difficult to find the roids places stuff. We want you to move faster. So what do we What does a black magic design offer offers here? A tree view which, even if you have hundreds of files and folders that gives you the tree view of the file of the story of the Fullers to go straight to the folders, Why are we talking about folders? Because you have already done your homework in the media page. Hold on a moment. Let me clarify something. What I said fast, I never meant breaking the best practices because you need to do your proper work in the media. But yes, you can. Enduring the media ingestion and colonial and stuff. You're bringing stuff. You organize them with the matter that you can do it fast. But you do it every day anyway, right? That's why you built up a robust organization in your media, which you are going to see now it's paying off. Now it's gonna pay off. You just click here and you find your folders and you go straight to where you want to go. Good. Yes. There are two icons here, and I really wish I did not have to explain them on. I don't want to explain them because because it's gonna make people lazy. But anyway, I have to do anyway. OK, listen, this is import media that they want you to important media here. And this is import folder, uh, which is basically import Media folder. You can do it. What? Please don't. Okay, so it's there for you. If you want to just check something you can import, But please important meeting here and to your proper meta data stuff and keywords and things because that's how you get there. Faster cases by organizing yourself. Enemy cabbage. Good. Okay, let's forget about these two. Let's assume we don't even have them. Good. OK, it can view Europe footage with dumplings. With this long thing in here, you can also have them on this page and you concerts them on. You can sort and I really like the thinking behind this page. Look at this. You only have four things to sort sort media by timecode camera duration clip name at this stage. That's all you have. That's what you need because you're in a rush. These are the most important things. Philip. Name is gonna be mostly the thing. Timecode, if you're working at the time called camera, if you're just working on cameras and you brought to stuff into the air, it wasn't by this camera. I got a bureau camera doing documentary, whatever. You have only four. But look at this. Like, let me take. I will be taking you from back and forth to the edit page from time to time to show the difference. Because when I say fast, I really want you to see what I mean by fast. So look at this. This is sort in your media pool in the edit page. It's a huge list and you get to use it. Yes, fine. But we think that you're a little bit in hurry. So we think that this is enough for you. That's what Black Magic design is saying. And I think it's brilliant. It's keeping it really simple. Right. Okay, so this is about this left part. I am going to come back to this one when we create our timeline and working our assembly. I'll be using the word assembly all the time with the cut bait, because that's what you're doing here. When we moved to the edit, we can work on the final cut as terminology and stuff. But for now we're talking assembly. We want this mindset to be new, have the right man said on the right. Here you have your monitor. We're expecting to have one. So look at this. In the edit page, you find two monitors the source monitor on the timeline water in the cup page because it's meant to be fast. It is one monitor, and it is behaving a source monitor. When you have something in the store selected, let's go to NASA and select this one. Um, then it behaves as a source monitor. It is activated here, but if you drag and drop to create a timeline, that it becomes a timeline monitor. Okay, so it's something that that is quite simple. Let's move, Teoh the leader Timeline. Let's move to this fellow here in the middle source tape. What is this? When you click on this, it then puts everything that you have in the media pool selected folder. Not everything. The media pool. I have this folder selected. It will put everything in there. If I have, say, another one selected. Let's go here and get the fighter jets stuff. Then it will get 123 Our clips wanted three clips. Okay, so it will select everything you have in your, um, in your selected folder in the media port and is gonna put it in there as one long not really, timeline. But it's like assembling them. OK, But next next to each other in the order they are in the folder, They've been sorted in a particular order. So the way you see them here, that's exactly the order. That's number one dust number one. Number two is gonna be this number two. Right, But three is gonna be this one. So this is the older before this one. You get the point. OK, that's why do we have this one? People get over excited about this feature off first preview, which is down here. You have a fast with you think you're actually is quite greater. It helps you. A lot of you click on it. Yes, that's true. if you click on it, you get to play the short clips at normal speed on the kind of longer clips go a bit faster . It's like a little bit equalizing, not really given an equal time. But it's making the father them. The longer wants faster. So this is This is the the purpose of this thing? Cook. I know it's a cool vitro, but I do expect you to know your project. You've been working on the dailies and Russia's. You've been important stuff. So you know your footage. You can use it. It's there for you. But I wouldn't over rate it and say, Yeah, it's the greatest feature ever that has been is there for you if you want to. Yes, I understand. If somebody, for example, if you get a client like you get a project from a client that has been finished, you have not. For whatever reason, you have not been involved from the beginning. That should not be. The case should be involved from the from the beginning, it from the early days of shooting. So you do the media ingestion off the dailies and Russia's say, for example, there editor has messed up or something happened to him. Whatever they need, they need a backup editor to do the work. Fine. You are going to need this feature to discover the project. So it is there for you. Cool. Okay. Now, uh, the next bit is going to be to create a timeline, because what I need you to do is is to understand some of the features that we have in here . Okay? And some more features that we have in here and in here. So before I go any further to the right here, let's create timeline we can do is simply Dragon Drop. Okay, um, we can do is just bringing the whole thing. If it's the right sequence, just boom dragon dropping. There you have it in exactly the same sequence as it is sorted in the folder. That's one way of doing things. Let me delete this timeline again. Just keep deleting them and show you how to create them. Nice. Let's assume that the first thing we're gonna start with is when the numbers of people are getting trained and I think it's gonna be mostly this one. No, there's Wonder is even Yeah, this one further. Let's say this one is the 1st 1 Okay, good. If this is the first, and you are working in on your assembly and you don't have them ordered in the folder in the right order, you know? Okay, this is gonna be the first is his second. This is the third and is the fourth. And they're not in the right order. You just click. And then this is your magic moment. This is the assembly. This is a plant and which you're going to find back in the edit page here. When you drag and drop something, you find a plant. And this is your when we used tohave only Devinsky 15 and without the cut page. And this is how we would make the diem assembly. We start really fast, just bringing all the footage and then go straight on. You go like you bulldozer through how the media with with Well, it's not any different here. You just have it, uh, closer to you here. So you just go up into and what did that skip this one. It's a smart insert. Okay, It's, um it is. It comes later. Okay? Because your assembly is built bit by bit. You're not going to build a okay. It's a building in the first year basement and then the ground floor in the first floor on the second floor, you're gonna jump and then do the seventh floor of the No. Let's come back into the sixth floor. Um, it's a It's a best practice professional behavior off starting first, you don't jump. Yeah, let's go. Let's go to the fun scene. That's great. Yeah, let's start with that first. What do you mean that start with the first? The film has a sequence, so that's what we started. And there comes. Why am I talking about this whole thing off? Getting the right behavior is the smart insert is like once you want to insert something between two clips, it is going to within a smart way, and I'll show you how to do that. But your first think and I really hope that black Magic designed moves this one guy movie. I don't think I could move it with this one first, because this is the first thing we're gonna use for for many days for many days during shooting. That's the only thing you're gonna be using the only thing. But wait, We are not going to bring the footage as is because big or during filming, you're gonna be using a clapper board and the couple is gonna be visible in the video. You're not going to create a somebody with the copper boards in there. So it's not just a matter of coming here and say, Okay, this is where was it, By the way, this one thes ones don't have any clapper board. Is that stock footage? But if you have a cop aboard, I would expect that you would. You have a clapper board of video. What you do is then you create on in points and an out point. So you double click on this and then say, or you want to start from somewhere. Then you go to where you want to start. I don't like this foreground here a lot. Maybe just a bit here. Okay, fine. Then I create my in point so that when I use any one of these, when im important it into town into the timeline, it comes just as between important output. How do we create the in point and outpoint Very simple I for the input for the in point and Oh, for the out point. So you type I When you do that, you get in point, you go the closer. Um, we're just for fun. I would like to have the full footage, but just because I need to demonstrate the art point, I'm going to stop it here. Let's say, Oh, then this is your important point hoops. Let's say Oh, actually, I didn't mean that needs to be a bit earlier. Fine. You can change that. He had these handles here. You can push on the moment you touched handles. Whole thing shows up, I think. Ok, We wanted to give you in. Pointing out won't really fast. We've done that. Now that you want to treat them, we give you more functionality. Eso you get now. This is These are the frames that are included and these are the frames that are not included. So you can move it like this. Or you could move it like this from here. Okay. Or you could move it with these things as well. Okay. Could you move it? This one as well? Yes. We have three ways of doing it. The handles this stuff on this stuff off. Okay, this is frame by frame, and it shows you when you click on in. This is now what's included, and this is what's before, medically coming out. This is what's included, and this is what is not. Include cool, clear. And obviously it's going to show you the last frame off what's included on the first frame of what is not good enough talking about the Internet point. It's Ah, it's quite a it's necessary, but it's good to know actually how to do it. Good. Let's do it like this. And then let's say let's move it. Now click on this and come to a band to end. And there you go. What happened? I'm gonna have Teoh to move to another part, which is a timeline to explain to you what happens before I go back and explain the other things in here and the other things in here. Okay, because these things really related a timeline. Okay. What do I have now? I have a timeline. Yes, but hold on a moment. This is different than what you are used to, because this is meant to be extremely faster. The thingy that you see in here, this small one. This is your real real timeline. And at any moment in time, you will see Aled, the media, the whole timeline zoomed out completely. Everything will be in here. Whatever you include. Everything will be in here. There's no scoring back and forth to to find the footage. Everything is in the screen. Okay, So why do I have this one here? Why do I not see the image to image you see down here? This is meant to behave as a zoomed out that's resumed in stories like this. 1st 1 is a zoomed out. This is the zoomed in, um, timeline. And once you start, if you move here, I can move the play head. Okay? If I want, there's there's another behavior. If I want to move the play head here I am. No, After able to Why? Why is that? Well, because Black Magic Zone is trying to have a behavior such that if you want to use the play , had come up here. Please. If you don't, if you want to look at frames, then you scroll the timeline. The play head stays fixed. Do you have to do this? Well, this is the default setting, if you think. Oh, no, no, no, no. That's not something for me. Sorry, guys. I want to be able to move the play head. That's okay. You just come here and disable this bit lock, play head, and it's okay for people who really find it irritating. We're gonna do like this, and then you play head. You can move it, whether in the upper one, which is always or in the lower one. And then what happens is that you're not scrolling through. You're just moving the player. Okay, I leave that up to you. This one is purely a matter off personal preference, K. So when you click on that, you look it. I'm gonna locate. Keep it as as, um, as by default. Okay, because that's how it comes. Doesn't mean you need to keep it like that. There is going to come a moment when you want to switch between one and the other. So you have them there. Now, this is about the timelines. And what is this? You know, let me take you to the color page. if you are familiar with the color Pidge just to demonstrate something if you go to the color page and I have the time line, this is the timeline. See, these are just some You will have some thumb names, but this is the timeline. There's is the representation of the timeline. It is not really something. You can work with it just as you. Well, here it is. You can look at it. Okay. Well, obviously you can. You can use the play head and move, but you can't do anything with the time that this is a fully functional timeline. You can do anything with it. You can trim, you can cut. You can do anything you want. OK, uh, let's come here and then trim. Let me let me add some more. Okay. To demonstrate this better than me. Some more clips because I only have one and let me Yeah, for purposes off are demonstrating some new functionality. Let me just get the play head somewhere. The second clip. Where is that? Just check. Where's my second clip? Is this one of my closer here? Yeah, I'm a bit closer. Be close on the deal. The one. They're cool. Eso This is my second source clip that I want to add. How do I do that? What's simple? Let's say let's get in the habit of having an in pointing out point. Good. Where is it? And then I bring You can even either bring it down or bring it here. See, this is fully functional. Timeline. Bring it here. Drag and drop. Or now we can demonstrate the smart insert Smart inside, just as you. Okay, Okay. I know that in edit page, if you wanted to bring that stuff on dure play head is not exactly in the edit point. It's going to Where is it? Uh, this one. Yeah. It is going if I bring it in net. State insert, insert. See, what happens is gonna cut it, but it literally in there in the play head position, regardless of the stuff. But when you are working on the assembly, if you really want to go fast and you don't have time to start here, let me position to play head perfectly there. I know that the snapping helps. The snapping bit helps, but, you know, it's it's an assembly. We need to go fast. So this is why Black Magic Design said, Well, listen, there's a smart insert here. We don't care where your play head is. Well, a song as it's in a reasonable place, its around the end. Fine is going to know that this is the closest end Closest edit point is this one Click on this click Smart insert It added it at the end. It didn't cut different that the clip. Good. So this is how you start in certain things. I'm expecting you to be using this one for the assembly much more than this. Obviously, the next one is the ripple over right now, This one, Let's say, for example, I want to change. Instead of using this, I want to use this one. Okay, so this 2nd 1 here, I want to change it and use this one instead. But a closer up, close the room shot. OK, so what I can do is well, I have the timeline here selected. I have the play head here. When you have the play head on a particular clip selected, then it deals with that clip. It knows that Oh, you want to repeal? Overwrite that one. OK, we'll take care of that. Don't worry about the play head. We take care of that. That's what, 70 years old standing. So when you come here and you click on this, it is going to change that clip and bring in the new ones. Change, change, Delete the old one on being the new one. And obviously it is going to adjust the duration of timeline because the new one is longer than the new one did not include. I'm just and do this. The new one did not include any, uh, interrupt points. So just for fun, I'm gonna add some in outpoints because we would like to keep that in mind, and then we do the report over right? Okay, Reprove. Right. When you have your play head on up secret clip, that clip is gonna be impacted, removed and replaced. When do you use this one? When you are using. When you're delivering 10. 80 p, for example and you've shot four k and you shot four k knowing upfront that you're going tohave a zoomed it. This kind of encourages the, um the lazy behavior off not really knowing your framing during filming you want to. You want to nail the framing while you're filming, But still, should you choose to shoot four k on deliver tentative P and used the possibility off zooming in during post? Please don't have this as a habit because it really is a very bad habit. Do your framing during filming. Okay, let me close against the bracket. Should you need to do that, then this one is a quick, uh, zoom in like it's not really so. I mean, it's it's it takes you amateur. I mean, sure. So this is now I'm to remove it with this one. Okay, let me bring it again. This is what we have. Um, I'm gonna get this, so I'll have it at the first in point. Okay, that's in point here. What I will do is click on this one. When I click on this, I get it gets zoomed in by half. So you click on this and this is what you get in the timeline in the timeline. If I now look at this, see the difference? It zoomed in. But obviously the framing is not something we have decided. This is why it's a bad habit to rely on this feature. Here it is there for you. Should you use should you want to re frame something should be an exception. That happens once in so many years. But it's there for you. Okay, sometimes, Yeah, but it's just matter off professional press. Best practices during filming. Okay, now that we have this one done, let's move to the next one. What? This place on top? It really does exactly what it is. Let me bring in this one just for fun. We're gonna put it on top. Um, and let's click place on top. Now. Where is the play head? The play. It is quite important. Yes, the cut pages. Not demanding a lot in terms, off positioning. You need to have it in an accurate position. No, no, no. It's not demanding, but when you have it somewhere here in this place, it means you want the action to happen there. So when you say I want to place this one on top, then it does come and place it on top, starting from where you have left the play head. Okay? It doesn't even order play head completely, But it does put it. Place it on top. It creates another track for the new Clipper is placed on top. Simple. Now there's this one, which it does almost the same thing. Could an added benefit now source over right is actually the wrong technical name. This is a source of right is completely misleading. It doesn't do what it says it does. It's Ah, let me put it like this. This is Let me rename it for you. This one is place on top with time code. That's the right name, Place on top with time could it does not overwrite it just but for this one, you need to have shot with time, Kurds say, for example, you have multiple angles the same what these things are not with not with time called, but let me give you just a flavor, just a flavor. Let me just remove this timeline for now because I needed to understand this and go and create another timeline. I didn't have to craft raise. Another timeline opened that one, but yeah, these are not the same shots offices and say it's not even the same aircraft sits and different ones. But look at this. It's a London. Okay, it zone aircraft. That's London. So Okay, London does the same thing. London. And that's the same thing from another angle. But then the aircrafts are different. Okay, I'm just demonstrating. This is this is a different aircraft in this one than this one. Let's this human is the same aircraft land then and for I think mostly in documentaries. You You could do some of this in fiction films, but in documentaries, mostly you may want to cover it from different angles with different cameras, and you have a time code sink. So you have these things with time code. When you do that, then say you bring in the 1st 1 Okay, That's your 1st 1 Then the 2nd 1 you come and click. This doesn't have time. Could, But this is what you would do. You come and click on the, um um a place on top with timecode. You click on this, and if I do, this is not gonna fly. Uh, just put it in the beginning. Said okay. I can't find the time cards are just just dumped it placed on top. This is actually a very good demonstration that it was completely wrongly named. See, when it didn't find the time code, it just resorted back to place on top. It says, Placed on top of time code. So there's no time coaches just place on top. So this actually in the absence of time could is exactly the same as this. It doesn't have right anything. It places on top. It creates a new let me show you creates a new truck. Good. So don't let this override terminology here. This word here confuse you. It doesn't overwrite anything. There are other ways off in 13. Media in the timeline, let's say, for example, you want to replace a clip. Now, we've already seen that weaken drug and drop immediately on top of this. But then you can do it from the monitor as well. But okay, I'm just double click on this one. You can do it from the monitor as well. Okay, Um however, there are two different behaviors that I would like to draw your attention to when you drag and drop, and you just release it immediately, like drug drop and release. What happens is it changes. It replaces that clip, and it takes care of the timeline, I deliberately added another clip in here. Um, this one. I'm just under this behavior. This one here to show you that actually, it has respected the clip. It didn't create any gaps and it didn't eat up from another clip. It just replaced this clip. Nice. It's a shorter clip. The new one is shorter than the old one. So the time that has been adjusted. However, if you want a different behavior if you live it, let me Just under this this war, this behavior was when you just dragged and dropped. What if you drag on and wait a little bit before you drop? Then you notice. Now the timeline has been adjusted to tell you. OK, you actually want to insert it within that, clear if that if the new one that you're bringing in is shorter, then you get to decide where to do that, and then you can release. So these are two different different behaviors with the same drag and drop. Here you have transitions, so these are the most commonly used transitions. Obviously, you have a full list in here that you can use, but what black magic design this had it is let's bring in the most commonly used ones in here so that you can apply them. You can also come here and then use these buttons to apply exactly where you want them. Let's say we want to have one in here, so it's gonna be applied to Bertha or let's do this. Applied to only one part. This one does not have enough. Okay? Does not have enough frame. So have taken it from the last frame. There's no frame. This one possibly has something. Yes, it has. Okay, so when you have enough frames at the end of the show, you This clip here does not have for click on this, Michelle, If I double click on this, you get green because this one has the green. But if I move this here, just bring this one up, okay? And I try just one does have enough space. So why is it that it doesn't give me Here we go, OK, it does work, so it gives you a transition at the end here, or when they are just rivet when they are next to each other, you can just decide to have it between two. Whatever. Okay, now, I did not want to cover the transition bit. For simple reason that I need to make this point. It is not. You don't use transitions more. More often than not, you don't use transitions for most projects. Actually, look at feature films. Go ahead and watch any future from good and watch any professional documentaries from respected channels. You are not going to find a single transition want because thes transitions are kind off, you know, for different types of projects, maybe gonna find something in a music clip. Maybe you can find something in the corporate video, please. If you have to use the transition, use them sparingly. Yes, you could still end up with a transition if you're in a feature film. If you have a dream scene. If you have a flashback scene, you could also have reasons for having our transitions. But let's put it like this. If you don't have a reason for a transition, don't use one. Please. Okay. The next bit is going to be to look at the timeline and how we can use thes thes features in here because we have looked at these. Okay? and then I'll come back to this one. Good. OK, we have timelines. There's a timeline that has been created. What you can do is right. Click on the timeline on Go to timeline settings. Now these are great. Now you can change these settings any time by saying, OK, use custom settings, you click. Use costume sevens, then it enables everything. So you're able to change everything that's woman's. Then you get to change everything in here. Uh, this is not something. You okay? It's something you can do, but it's not the right time to do it now. This kind of stuff happened much earlier. Case when you set up your project, you already actually have your first footage that you have cloned and you have brought in the media. Your the Venturi's off 16 has told you the frame rate is different between these two. Would you like to have this stuff? Yes, and it sets your timeline based on the media that you brought. This is the quickest way on the most safe and secure way of doing it. Camera footage equals timeline. You're good because camera foot it should equal delivery to TV or delivery to Senate theatrical release in cinema or wherever. It should go to your corporate client or whatever. Good. So this is not the right way to do it. But you do. You want to do it? It's possible to do it in here. Okay, let's cancel. Good. And you can create a new timeline by Okay, we created normally buy adding things on DaVinci Resolve. Crazy for us. Should you want to create them, create new timeline. Then you end up with this. Okay? Use custom settings than you. You get more, you get more stuff. But I recommend Don't waste your time creating time lines just like that. Let the ventures off. Do it for you When the cut page. It's fast. Good. All right, now this is about creating the timeline. And should you ever need to change the settings? That's how you do that. Nice. Let's look now at how we can work on the image in the timeline because we're talking about editing. Yes, this is the cut for the assembly, mostly, but you can already get some stuff done. Okay? Some stuff done means you come here and you selects any clip whatsoever. You want to have this one. Um, you know what? I get this one, cause I think I like Do I have a transition here? Oh, my God. No. Go away. Not positions. Okay. Um all right. So let me get this one, because it's gonna help demonstrate a few things because it's It's a wide shot, and it will help with a few wrong in here. You have tools. You know what? Before we come to the tools, let me show you this one. Because we've talked in the spirit of talking about the sections of the project on sections of the timeline. Uh, you click on this one and you say, Oh, yeah, I'm able to you to change from Denny tp two portrait mode to square to, was it? You will try to be different stuff. I'm independent. If you have the paid version is gonna be more, but, uh, as we agreed it's gonna be would be working with the free version. So I'm showing you everything from the few free version. You can change it if I say Okay, let's do it's portrait. If I do that, then it becomes like if you want to have it for mobile delivery like it's specifically for for ah, for phone style framing thingy. Then you do that and then Okay, okay, it's not the right time to do it. By the way, it's old changes that impact the timeline. You will hear me say that it's not the right time to do it, but, um, we already know that you're film that you shot that there's an exception here. There are a few exceptions. Give you one when you shot your film. Say, for example, you have a trailer or you have you want to create something in phone format. But that was shot in normal cinema, Cinemascope thing or 3. Let's do something cool with the CUT page: Let's do something really cool in the cut page on because it is the cut page. It will be really fast. I have here two clips. One is a scene s plate control here for the full screen. And this is stock footage and surprise and performance for a stock footage. It is amazing. It's gonna be some violence going on here. It will get even more violent. And look at the look of a guy. Amazing. This is great ingredient to work with. Nice. Okay. And there's another footage here which just has a girl that shakes her head. Okay, lets just plates in normal speed. It's kind of almost in slow motion yet. Okay? So let's tell a story with days. What can we do with this? Are quite simple in the Carter page and really fast. Look at what we can do with that in the cup page control effort. Let me go back to the beginning and sorry. Let me just bring it back. Would control effort don't like that play bar And let's see, it is a double exposure effect where we can see both the background is the foreground. We are actually using the darkness off the hair off the girl in the foreground to screen the action in the background while we maintain enough brightness in the highlights to see the face of the girl when she shakes her head and we tell a story with her. Okay, let's go back. Let's do it. Okay. This is the time that we're gonna close the time. Then we will do it in a new timeline. Simple on, because it's the calf page fasting your seat belt. It's gonna be really fast. Okay, right. Click create new, because this needs to be in the background. And this is foreground. So this has stopped. This is bottom. So now create new timeline using selected clips. Right. Click check here. Quickly. The former, we have timeline frame rate 25. Good. Because initially, this one is 25. I guess this one is well, Yeah. Okay, good. All right. So this is here on. We're gonna bring the other one quickly. Here. Nice. This one is shorter. I will have to change the duration for this one. Nice duration. I need to click on this. Come to the speed on, because if we want to make it twice longer, so it's almost twice longer. I it means in terms of speed, it's half the speed. So we don't type two, but you talk 0.5. OK, so this is your 0.5 and I need to drag. Okay. The red means I've reached the maximum, which is good. Okay, so we have kind of enough because I really like this whole scene. I've just muted, actually the dog track. Okay. I like this whole scene, and I also like how it starts. It hurts me to remove the first bath, but I have to do it because I don't have enough footage on the on the 1st 1 So what I'll do , or you could keep it if you want them. It is. I'll just start somewhere here when it gets a bit more aggressive somewhere here. Okay. Something like this. Okay. And I'll cut it, so I need to cut just the one beneath. How do I make sure I don't if I if I do like this and cut it cuts both. I don't want that. And if I do controlled, be for blade, it cuts both. I don't want that. How do I conscious this one Simple. You selected first, then it knows that it needs only to act on that one. Got it? Then I remove this one. Andi, move it here. And then bring this one back here with me. Check if I have enough. See, I'm working on both timelines. The one of the top in here and just whatever is faster. I'm just quickly check back again here. If I have the girls shaking her head, that's all I need from you. That solar need from her. Good. Nice. We're done. Almost done. Actually, we come back here and we go up to this composite this quite not so used. It's not often used weekly. Convince one, and we come down to the mod compositing. Murder is going to be lightened. And there we are, almost almost. We're almost there. You could say we're done because for the cut page, it's done. It's OK. Let's go back to the beginning of the timeline. We are already okay. Control F and it's played this. Okay, we have have now that technically technically, we have a double exposure effect. But we're gonna tweak it, obviously. So we're able to see the background were able to see the foreground. But guess what? I'm a bit greedy. I want to see more off the foreground and the more of the background at the same time. We can do that. Let me show you control every button. But for this, we're gonna need to head to help off the color page. Just a minor tweak. And then we come back to the Carter page. Okay, let's do that s o The Carter page is gonna call the color page for help weekly comeback on all we need to do because we have the girls selected. Our need to do is what did he say? I want to see more book background on more four grams. What does that really mean? Because we're now playing with the footage that will for this efecto work, it needs to have white background because now we're working with this there. Her face is part of the highlights. Her hair is part of the shadows. These are the highlights. These are the shadows. So if I bring the highlights, it tiny, tiny, tiny bit and I bring the shudders adjoining bit that I can see both worlds better Let's come back. Well, actually, I just tweak it a bit more. Because since we are here, let's just do it. That's okay. Something like this. And back to the car page. Okay, that's it, That's all. Thank you. Call a page. We don't need you anymore. That's it. And this is how you very quickly do a double exposure effect on you tell a story with just two videos from stock footage. 4. More fun with the CUT page: Let's do some more cool stuff in the cut page. This is the footage off some African kids by 19. Okay, so what can we do about that? Well, you can add something dramatic, something artistic, and we will come here. So you have your media for more than you have here. The effects are come to D down here to the resort effects light rays. That's drag. It's all in the cut page. Let's drag and drop it on the footage, Okay? By default, it's a big mess because you need to tweak the parameters. It doesn't know what you want to do. So you come here and you click on the tools. But wait, there is something you hear? Yes, because when you apply and or if extend, you end up with another icon to be able to tweak the para meters, you click on this one and you open the inspector this way in the cockpit, you'd be able to work with the open effects. So few perimeters. The idea is just to have some light rays coming from here. Give the idea on the illusion, obviously, off the volumetric lighting. How do we do that now? number one, I'm going to start by reducing the softness and the direction is the most important exposition. I'm gonna move it like this, the white position and then I can change from location or at an angle. So it's a what works for you. What were expressed. I know, I know. You know what's going on now? What is going on? What's going on is that the right is coming out of the window, but also from the face on the highlights here because the software does not see a window, it just sees bright values, that's all, etc. So this is a bright value. It's gonna work on it as well, even on his forehead. So you can do instead of saying bright regions, you can say edges. Okay, In this case, it gets a bit worse. But you can soft in it like this and it could make it longer Okay, because it is a volumetric lighting and volume is inside the whole room, and light comes to show some of those particles in the air there. Now it makes sense when you join them with the length. Okay, so this lights, you can make it longer or shorter. Obviously gonna want to make it a bit longer like this. Now you have before and after. And this is how you add light rays to any born seen in the cut page.