The Cut Page: Edit Faster in DaVinci Resolve | Fred Trevino | Skillshare
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The Cut Page: Edit Faster in DaVinci Resolve

teacher avatar Fred Trevino, Colorist & Top Teacher

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

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

    • 1.

      Intro

      2:01

    • 2.

      What is the Cut Page?

      1:57

    • 3.

      The Interface (very important)

      17:14

    • 4.

      Editing - The Basics

      18:42

    • 5.

      Editing - Deep Dive

      11:38

    • 6.

      Editing - Putting it All Together

      17:43

    • 7.

      Titles & Transitions

      6:56

    • 8.

      When Do I use the Edit Page?

      1:32

    • 9.

      Quick Export

      1:18

    • 10.

      Final Thoughts

      0:54

    • 11.

      Bonus: What are Proxies?

      1:14

    • 12.

      Bonus: Blackmagic Proxy Generator

      5:04

    • 13.

      Bonus: Resolve on iPad

      1:36

    • 14.

      Bonus: Speed Editor

      7:37

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About This Class

Learn to edit FASTER in Da Vinci Resolve using the Cut Page! If you're looking for an editor that gives you a little more than Premiere Pro or Final Cut Pro X then Resolve is a great place to start! Or if you're already a seasoned Resolve editor using the edit page and have always wondered what the purpose of the Cut Page is then this class is for you! 

Using the Cut Page helps you edit faster and more efficiently while still using the edit page. This class also covers tons of tools that work in the edit page so its win/win if you're wanting to learn more in Resolve video editing - wether it's in the Cut Page or the edit page. 

Here's just a few topics covered in this class:

  • The Interface
  • The Edit Tools: slip tool, slide tool, ripple tool, etc
  • Smoother Playback using the Blackmagic Proxy Generator
  • Proxy Workflows
  • Dynamic Zoom Tool
  • Titles & Transitions
  • How the Edit Page and Cut Page work together
  • Resolve on the iPad
  • Using the Blackmagic Speed Editor
  • and much more!

So if you're ready to move from another editor, learn Resolve for the first time, or learn lots of new things then this class is for you!

About Your Teacher

Fred Trevino is a colorist with over 12 years experience.  He's graded over 50 feature films and hundreds of projects for high end clients such as HBO, Versace, ESPN, Under Armour and more. His narrative color work has screened at well known film festivals like Sundance, Cannes, and Slamdance. Along with this he has edited several feature length films. His goal is to use the experience and skills he's developed over his career to accelerate your learning in the field of color.

Meet Your Teacher

Teacher Profile Image

Fred Trevino

Colorist & Top Teacher

Top Teacher


Fred Trevino is a colorist at Beambox Studio and Top Teacher at Skillshare who has been grading projects for small, medium and large corporate clients, as well as filmmakers from all over the globe. He's graded over 50 feature films along with hundreds of music videos, short films, documentaries, commercials, web spots and more.

Some past corporate clients include HBO, ESPN, Shiseido, Under Armour, Sundance Channel, Tru TV, and Pepsi.

He's worked with countless talented DPs and directors and his color work has screened at several highly esteemed festivals such as Sundance, Cannes, and Slamdance. Along with grading he enjoys doing street photography in New York City where he lives.

As a first class he recommends Introduction with a Pro Colorist and then getting a... See full profile

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Transcripts

1. Intro: Let me guess, you use Premiere, and you're thinking of switching or you already have or you've been using Resolve for a long time, and you've always wondered what the cut page is. Well, honestly, if you're not using the cut page, you're probably editing way too slowly. When the cut page first came out, and I'd already been using Resolve for years and using the edit page, honestly, initially, I hated the cut page. I jumped over to it. It was confusing. I didn't get it. I didn't understand it. But then one day I decided to give it a shot. Honestly, the more I used it, the more I loved it, and now it's 100% part of my workflow. In this class, you're going to learn how to use the cut page to edit faster and more efficiently. I'm going to go over the interface, I'm going to go over the edit tools, I'm going to let you know what makes the cut page unique, and by the end, you'll be glad that you're working in the cut page. I'm Fred Trevino, and I have been a colorist for over 10 years, and I've worked with countless companies from Gucci, to Prada, to Google, to ESPN and more. But I have also edited a ton of projects, including four feature-length films. I have worked in Adobe Premiere, I've worked in Final Cut Pro 7, I've worked in Final Cut Pro 10, and if course, I've worked in DaVinci Resolve as an editor. I'm here to let you know that if you really want to edit really fast, really efficiently, then I would say, get started with the cut page and learn to use the cut page and the edit page together. After this class, not only will you have a better understanding of the cut page in Resolve, but you'll be a much more efficient editor, which if you do this for a living or you think about doing it for a living, that will mean more money and less time worked, and also as a bonus, a lot of what I cover in this class actually translate over to the edit page. Whether you're using the edit page or the cut page, I think there's a ton of benefit. Let's get started. 2. What is the Cut Page?: So before we jump into the next lesson, I just wanted to go over, very briefly, what the cut page is. So a big misconception is that it's a edit page replacement and they don't understand, if I have the edit page, why would I use a cut page if they're both our editors? And if I'm using the cut page, why would I need the edit page? Well, the best way to understand it is to realize that the cut page is an accessory to the edit page. It does a lot of what you do in the edit page, but it's designed more so for the beginning of a workflow and especially on a smaller screen. It's design more to bring in footage, organize your footage, do your rough cut, your second cut, your third cut, and then once you start needing those more detailed polishing tools, that's when you move over to the edit page. It may sound a little weird at first, but once you actually start using it, it's much more efficient. The way I explain it sometimes, if you're also a photographer, which a lot of filmmakers are, is like comparing Photoshop and Lightroom. Photoshop can do everything that Lightroom can do, but if you're a photographer, why would you use Photoshop from beginning to end when Lightroom has what you need, just those tools, it's faster, it's more efficient, you don't have to mess with a lot of the extras that Photoshop has. So imagine the cut page is more of something fast, efficient, and very fine tuned to very specific tasks like Lightroom is, and then the edit page is like where you can do a ton more and do a lot more things. With that, the cut page is an accessory to the edit page and they work together. So with that being said, let's jump into the next lesson. Just have that in mind. You're not replacing the edit page with a cut page, you're basically combining two great pages so that you become much faster and much more efficient as an editor. Let's jump right into the next lesson. I'll see you there. 3. The Interface (very important): Hey, what's up? So in this lesson, I want to go over the interface of the cut page. Now, I do want to bring up right away to ignore this public beta thing. I just wanted to make this class a little bit future-proof. As of this recording, actually at this point a few public betas have been released, so the full version that's not beta should be out any day now. But don't worry about that, that should only really affect me. So let's jump in. Another thing I wanted to mention is that you want to remember, especially if you are brand new to DaVinci Resolve, or if you have been using DaVinci Resolve and you've been using the edit page, keep in mind that the cut page is not a replacement for the edit page. It's simply an accessory in it, and also keep in mind that it's designed for a lot of people need, especially people in the professional world and that is a way to cut quickly and efficiently and that's what it is. It's also meant for smaller screens or it's not meant for smaller screens. I guess I should say, it has been optimized for smaller screens. This class, actually, I normally would create my classes on my 27 inch monitor that I have at my office. But for this class, for the cup page, I'm actually doing this on my 13 inch MacBook Pro just so I can show you and have a more accurate representation of what the page looks like on a smaller screen because it is optimized to be on a smaller screen and I think if I would have done this class on a 27 inch screen, this interface would probably look pretty different than it actually might in real life. With that being said, I think that's the only little bit of preface I want to get out of the way. Let's jump right in. Right away before we do anything, let's just import some clips. So you have two ways of doing that. I typically right-click, Import Media, or you can just go up here, Import Media, or you can go to Import Media folder, which is what I'm going to do in this case. So I'm going to go here, I'm going to go to my SkillShare drive, I'm going to go here and I'm just going to do that. What that did, some of you may have some editing experience, will pretty much understand that whatever hierarchy or system I have on my hard drive, that's basically what it brought in. So I had that adventure media assets, my media files, my music right there, and then my voice over. So rather than going the slow way and going in here and importing, and then going here and importing a few clips or selecting and then creating a folder and then importing the music and then creating a voice over folder and importing that, it's much easier to just simply go here, Import Media folder if you have things organized on your hard drive and do it that way. So now I can click in the top left, go to media. Already you're seeing the benefits of the cut page where all the most commonly used features and functions are right here at your fingertips. It's a very streamlined interface where you don't have all the extras and that's one of the things I love about it, and that's one of the reasons why I use it. So let's jump in. Again, this is where your bin list is, or otherwise known as folders in other programs. These are just folders. Importing media, individual clips, folders and then this here I will skip for now. Sync Clips has to do with multi-cam editing, which we may cover in a future lesson, probably a bonus lesson. Then re-link media is just what it sounds like. You open resolve or maybe you're sharing a project with someone and you open it up and there's things that are unlinked. That's basically a quick and easy way to re-link media. Then here is one of the bigger features of the cut page. It's a different view modes. So what we're seeing now is the media pool right up here. That's the folder that we have selected. This is probably the more common way that we see files, whether it's Final Cut Pro or premier. Same thing here. Double-click. The file shows up here and then I can scroll through just like that. Pick your end points, out points and again, just like every other program, you hit Spacebar to play space bar to pause and then what I did was, I for marketing and end point, O for marketing and out point. That's getting a little bit ahead of myself. But just so those of you that are really curious at that point, that's basically how you would do that, just like any other program. So now what I want to show you is these different view modes. So this one here is called Metadata View and what this will do is simply show you a clip with additional metadata. All of these are the same right now, just because it's sort stock footage thing. But if I take you to say a different clip, let's say this shot here of one of my other classes, you can see it'll have just give you a bit more information like the date, the starting timecode, the name of the file, that sort of thing. This can be very useful on bigger projects. Then here we have the strip view, which is also similar. If I just simply, for example, double-click here, it has the metadata as well, filename, frame rate, resolution. So here you can see that you can just skim through to see clips, you can double-click again, say on this one. This is a very quick and easy way to watch through shots. Typically, you would have to, it's a little bit slower, but part of editing and really being fast and efficient is things like knowing keyboard shortcuts and doing things in two clicks. Or one keyboard shortcut that typically would involve, for example, double-clicking, scrolling through to find something, marking an endpoint, marking an outpoint and, for example, in this view, sometimes it's a lot faster to just, I can maybe double-click on this shot here and then just go skim through to watch it and I can mark my in and out points here. Again, just build on efficiency and then the next one here is one that's pretty familiar maybe ListView, no image, no icon. This one just has the most metadata if you want to do that and look at clips that way and organize them a certain way. Then of course, I'll just switch back to this more common view and then of course you can also just search here. If I'm looking for one called mountain, search that way. Then I can organize here by different media, right now it's by timecode. I can do it by date created, Clip Name, the different bins. So this is all optional, but just wanted to show you. Then ascending or descending order, for example, if you do it in an alphabetical order, ascending might be A at the top, descending might put the Zs at the top. So all options you have there. When you start editing, I do want to spend a good amount of time on this interface page. It may seem like just going over the interface might be a little bit too much, but I'd say the core of what makes the cut page, the cut page, is the interface. The fact that it's streamlined, that it's simplified and that all the more commonly used tools are right there. So that's why I'm going to spend a little bit more time than you might typically spend on the cut page. Also because honestly when people jump in, I know when I jumped in, one of the biggest learning curves is basically looking at this and being like, Okay, what is going on? What's this? What's that? Why does everything look a little weird? Why does everything look a certain way? So by spending a little bit more time here, I think it will be a good foundation for the actual editing. Because I think once you understand the interface and we get to the actual editing, that part is going to be a much narrower learning curve, it's going to be much quicker to pick up. That's where things are going to start looking a little bit more familiar again. So with that said, let's keep going. So another great thing about this layout is let's say we're ready to start editing. So right now we have these three icons. We have this one here, which is just the source clip. In other words, the clip that's right over here in the media bin and then we have source tape and then we have, as well as the timeline, which is literally just the timeline down here. But one of the new functions is this old school source tape option. So here's what this is. To understand this, it comes from back in the day when you would go out and shoot, it wasn't digital, it was on a video camera, for example. When you used to shoot on video cameras, you shot on a cassette tape. Some of you may not even know what a cassette tape is, depending on how old you are. But you were shooting on a cassette tape and you could not just go through and easily look at all your clips and click on this one and then click on that one. There's obviously a lot of benefits to this, but there's actually also some benefits to doing it the old school way where if I click on this, what happens is it takes all of my shots in my media pool and it lays them all out right here as one giant clip. Rather than having to go here and then scrub through and watch through your footage and pick the good bits which a lot of editors do, and then go here, watch through this one, scroll up, select the good bits. You see, all these extra clicks add up a lot of extra wasted time. But this makes things a lot easier so that you can just hit play. You can go through and just as one clip finishes, it jumps over to the next clip. Sometimes there's going to be a very quick and easy way to watch dailies, to watch your footage, to choose your selects and start bringing them down and marking shots, favoriting things, taking notes on them, rather than going through and clicking on each shot one at a time. I would highly recommend playing with that. Again, it just takes a little bit of getting used to, but once you actually start using it, I think you'll see how many benefits it has and I think you'll really like it. Now let's just cover a few more things here. This is basically the time-code, the duration, if I for example click here, it tells me the duration, that's all pretty basic stuff. Then, this we'll get to in another lesson, it's how we handle proxies. Then here, we just pick our resolution, by default this is a 1080 timeline and then of course we have, if you want to mute the audio, and if you click on the clips, they have the little music note there, those are the ones that have audio attached. If I click on this one, for example , obviously audio meters. Then these little three bars here is to resize the timeline, which again meant for a small screen, so if you just grab these here, you can use it to resize it here in case you want to see more of the timeline. Or if you want to see more of the actual playback, you can make that bigger. To show you a comparison, let me just drop in a clip. I'm just going to grab that and just pick any old random shot out. I'm just going to grab that, drop that in and if I go over here, you can see how much smaller the screen is. If I'm playing back, you can see how much smaller it is by default and there's all these additional windows, which is great. It's what a lot of people are used to seeing, but a lot of this stuff we don't use all of the time and it's just taking up space, especially for a smaller screen. If I go back here, you can see how much bigger this is. Then the other one, it was basically about that size. I'm just going to actually delete that for now and go back to my folder here with my media, and I'm just double-clicking on that. Then, just a few things that I do want to cover. Most of these down here on the lower half, I'm actually going to cover in the next lesson where we start going over some of the basic editing. But for now, just a few things here. Then here we have our different editing tools, which again, I'll go over in the next lesson. But just so you know what that is, obviously, here's the time-code. If I grab this, I'm just going to grab this whole shot here and just drop it in here. Obviously this is the time code of your actual project, right here. Then over here we just have a few more timeline options. Some that maybe I'll go over now is simply, let's say if I grab that and then I'm going to grab this then enhance a little bit of audio and out, place that there. Here we have to enlarge the track. If you want to see that a little bit bigger, or we can click it again to collapse it, and the same thing with this. Sometimes it's helpful just to see a timeline a little bit bigger to enlarge it. Like for example, there we can see the audio locking, muting the track and then just disabling the track altogether if we don't want to see it. We click that, we turn it off and then of course, it is labeled with the V2 track or video two and audio two and then V1 or video one. Then lastly, what I will go over is the big stuff. Obviously right now, like I said, we are in the media pool, we have the sync bin, which again, this is related to connect it to this sync clips for multi-cam editing, which we'll get to in a future lesson. This is pretty easy transitions where we can go through and just preview transitions again, I'm not clicking anything just like on the clips preview. I'm not clicking, I'm just scrubbing my trackpad of my MacBook over and it's just so you can preview transitions and of course, if you want to drop them in here and add them in. Same thing for titles, so you can just preview all of these different titles that we have from very basic stuff like lower thirds, very basic titles to these more animated titles that we can check out here. Everything easy that you can just grab and drop in. Everything just really here, right at our fingertips and then of course, all these different effects we have as well. In case you want to add, say I go here and grab that. You want to add these different effects. There are glitch effect, there are tons of effects in DaVinci Resolve that you can just very quickly and easily add in all these different effects. Some are maybe a little cheesy, but could it be useful. But you can have a lot of fun just going through here and just testing them, going through what they all do. Then of course here, if you want to ever see something in full screen as it says, click on that to watch your project in full screen. Escape to exit or the other keyboard shortcut for that, which you may know is Command F. There we go. Then, another tool that every editor has is the inspector. This is what we would click on to go through and zoom in and out of a shot, reframe a shot, do all things to it. If you want to crop, composite modes, opacity, stabilization, speed changes, all of these tools here for audio and video using the inspector. Then there's also a Quick Export option, which you do have your typical deliver page where you go and export things with a lot of fine detail. That's for a different class. Or you can check out this class here if you want to know a little bit more about that. But for now, we're just what the Quick Export is. Again, having to do with speed. If you just need to quickly spit out a file, you can go in here, select what you want to export or where you want to export it to and then just hit Export and it's that easy. I think that is a good introduction to the interface of the [inaudible] page. In the next lesson, we are going to start covering the basic editing tools. I'm going to go over a few of these tools in more detail and I will see you there. 4. Editing - The Basics: Here we are. In this lesson we'll go over just the basic editing functions and continuing the interface, but for the actual editing, just because it makes more sense once we actually start to having clips in there. For those of you that have taken my staff pick class, DaVinci resolve, the video editing workflow, some of this footage may look familiar, and really for this class, we're going to create a similar video. There's just new clips in here, a lot of new stuff that we can play with. Let's get started. I'm just going to treat this as I would typically edit something. First things first, I am going to go into the master page and I'm going to name my timeline adventure spot. Let's just call it that. I'm going to go back into my media page and I'm just going to start dropping some stuff in. Usually I would probably go in here and just start watching through footage and selecting the good stuff here that I like or scrubbing through it. You can see as I'm scrubbing through, it's also updating it over here. But if you've ever edited anything before, you know that doing this sometimes when you just want to watch all the footage can take hours. I'm just going to maybe start us off here. Let's see. We'll just start off with this mountain shot and I am going to hit "I" and "O." Then I'm just going to simply take this clip and drop it down here, and boom, there you have it. Then I'm going to cut to this shot. Here what we're going to do, we're going to start looking at the different types of editing and how the timeline things in the cut page, which is a little bit different than how I would think in a typical editor. If you're in Final Cut Pro 10, or if you've used that, it may seem a little bit more familiar than someone that say coming from Premier. But here we go. What I'm going to do next is, what we have is a smart insert. Then we also have a append, which means that it's going to add it to the end. That's what we're going to do now, this option here is probably going to be the more commonly used function when you're doing your first cut. Notice where the playhead is, it's just the beginning right now, but I'm just going to go like that. You can see it didn't matter where the playhead was. That's one of the things that confuses people at first when you're used to, in a typical editor, always having the playhead where you want the clip to go, which makes sense. But there's some smart functions in the cut page and resolve or you don't have to do that and just in not going through that extra step of maneuvering the playhead and putting it exactly where you want, you'll see it saves a lot of time. By the way, the way I'm scrolling there is on my trackpad. You can do it with your mouse if you have this, you can also do it on a track pad if you have it. I'm just basically scrubbing left and right to move the playhead left and right. But let's do another clip and I'll show you how this works. I am now going to click on this one and I am going to I, O, N same thing. I'm going to append, boom, append to the end, is literally what that's called. You can see it's adding it in. As we're building our edit, let's go over more interface stuff, so you can see that there's two timelines here which is released, you could call zoomed in timeline here, and then we have the bird's eye view timeline here. All we have is three shots so far. You can see that these mirror each other as I'm scrubbing through them. Our first shot, our second shot, our third shot. You can see the same thing is happening up here. I can either scrub through to jump through my timeline, or a quicker way if I want to just jump all the way here, I can just click and it jumps straight there. If I want to go here, I can jump it there. If I want to jump all the way to the end or just through the entire sequence. As we edit more and more, you're going to see this is going to be more and more useful, so you can jump around wherever you'd like. I'm just going to go all the way to the end again. We're going to keep adding shots. I'm going to just go here. We're not making a masterpiece by any means. I'm just grabbed a lot of great footage that is connected thematically. I'm going to go there. One thing about the cut page is that it's very aware of where exactly you're placing your playhead. If I just do this and drop it there, it places it there. if I grab this and just put it up there so that it does that, it places it there. Again, if I grab it and just drop it on there, notice two things happen. If I drop it on there, and notice how this clip here is going to become a little bit highlighted. If I just drop it on there, boom. You see how it's getting highlighted. If I do that, it replaces that shot. Want to undo that. But if I bring this same shot down, hold it there for a little bit. It does not do the replace function. Then I can just slide this through wherever I want and place it wherever I want. That's another big tip where your mouse arrow is exactly will affect how the edit is going to happen, and it helps save a lot of time. We're going to do that for now. Then I'm just going to add one more shot, perhaps this shot here. I'm just going to go with these here, add that to the end. Right now we're just adding clips. Want to add the music and voice-over now. I am going to go to the voice-over. Here's what I'm going to do to make this easier on myself. I'm going to grab the music and I'm just going to drop the whole thing in. You can see that it's easier if I want to add this to the whole timeline because it just works better that way, I'm just going to drop it in on this larger timeline. There we have it. The whole playhead, there we have it. The entire voice-over is there. Now I'm going to go over here and go to music and grab that same thing. I'm going to go here and I'm going to add the music, that add it there. Let's move it over. Let's play through that. Both of these together. Rolling. Adventure. You guys can see that it sounds pretty horrible. Now what I want to do is I'm going to go here and I'm just going to expand this just so I can see the audio a little bit better. That was just by clicking on this little icon. Here, I can see that what I'm basically saying is rolling this is before the actual edit. Of course typically you would probably edit it. Do the editing up here first. But I'm just wanting to show you how you would do some of these functions to blow it up. I'm just scrubbing through. It looks like that's the first line. Now I'm just going to go there and here again is one of the tools, pretty common, I can either hit "Split" here or I can hit "Command B." Then I can delete that. I'm just going to slide this all the way over Oregon. Easier way is moving up here. Make that a little bit quicker. Then now again, I'm just going to time it and I'm going to collapse that again. I'm going to actually slide it over so we hear the music come in first. Adventure. Great. It's just a very simple edit like that. Again, we can view up here to see that, or do the zoomed in function there. Then let's just keep editing. Here's this edit so far. Adventure. It's a word that always has a story. You can see, you can't really hear my voice. Again, this is just going to be a rough adjustments of the audio. Now what I'm going to do is, go up into the inspector. I have the audio selected here. I'm just going to increase that a little bit more. You can see those adjustments there. We're going to rewind. Adventure. It's a word that always has a story. Then I'm going to take this one here. I'm just going to drop that down, say, negative four points. Adventure. It's a word that always has a story. Adventure makes us stronger. Adventure terrifies us. That's it. I just wanted to make a quick rough adjustment so that we can actually do our editing here and show you more of these tools. Let's just move forward a little bit. Now that we are actually building something, let's go back to the media page again. Let's see. Let's add another nice shot. It's maybe this guy here; in, out, append. There we go. Now that we have a good amount of shots, I'm going to go over a few of these icons here for what these are. This first one here is ripple on. What is a ripple edit? It's the first thing you have to know to understand what this means. Let's say this little shot here, I want to make it a little bit longer because it's very quick. I'm going to expand this. As I expand this, also keep your eye here so you can see how the timeline behaves. I'm going to go here and then just expand it out. I'm seeing how much I'm adding to this shot with the plus 18 and then the bottom is the total duration of that clip now. Let's just say I want to make it in even two seconds. What a ripple edit does is, as you're stretching something out or expanding a shot or making it longer or shorter, the rest of the timeline goes with it. If you look at this larger timeline here as I'm adjusting it, you can see everything else is rippling with it and expanding with it. Usually, in an editor, if I were to go say here, which is the shortcut to it or even if I was here and turn that off, and I make an adjustment of some sort, in most editors, that happens. Or if I tried to do that same thing here, that happens. You end up with a gap there. That's basically something that's similar to Final Cut Pro 10. It just makes editing a little bit quicker, a little bit faster. For example, if I were to say trim this, then I have to select that and delete it. Then that ripples and connects to the shot previous right next to it. It's just a way of saving time, having your ripple tool on. Sometimes you want it off, but a lot of times it is helpful just to have that on. In most cases, I do have it on. So I'm going to leave that on. Then trim to audio is basically a way. Actually, to see this, what I'm going to do is I'm just going to add in a shot here that makes no sense for this. But this one has this little clip from one of my previous classes. I'm just going to grab this, and I'm just going to drop it in here. Now, what we're seeing in the timeline is I'm going to, again, expand this, the audio. Again, what we're talking about now is the trim to audio function. What that does is that if I want to now adjust this shot here, it converts the entire shot to audio so I can clearly see what I'm doing. In most cases, you might click here and you can very easily see what you're adjusting audio wise. If I want to make sure that this line starts right at the perfect place, I can see it very clearly. If I don't have that on, this is what we'll see. I'm going to go back in here. I'm going to turn off trim to audio, and if I want to make an adjustment that's similar to that, I would see that. You see it's very small. The name of the file covers up. It's really hard to see what I'm doing. I can't see what I'm doing at all. I would always suggest keep that on. It's very helpful. That way when you're making an adjustment, even if this is collapsed, it still makes it quite a bit easier to just be able to make a fine, precise adjustment like that. Pushes us forward. That's just basically what that trim to audio does. I'm going to delete that because that makes no sense with the piece. Then this is common sense display clip name. If I turn that off, we don't see the clip names anymore. Display clip status, that has to do with proxies and other things there. Then snapping function too. This actually relates to what we were doing in a little bit. A lot of people may know what snapping is. It's basically when you're, say I'd just drop in. We'll go to this shot here. Let me show you what snapping is. Let's say I want to go in here and place this somewhere specific. Snapping is on. As I get closer to that edit point right there, it just snaps on its own. It can get really annoying really quick. If I want to place this in a very specific spot, that's where you would turn off snapping or the keyboard shortcut is also N, like that. I'll leave it off. Now, if I want to place this in a very specific place, see that snapping isn't attaching itself magnetically and just snapping to it. I can place this very precisely where I want. In this case, I'm just going to actually hit N to turn it on because I do want it to snap. I'm just going to actually delete that one there and delete that there as well. Let's go back in here very quickly. We're not dealing with subtitles now, so I'll skip that. I'm going to leave snapping on fixed play head. Here is a big one. What is happening now is this is something. Especially if you're used to a typical editor, it may just be very confusing. If I hit play, the play head is right in the middle. It's fixed in the middle. It's always in the middle no matter what I do. If I scrub, it's always in the middle. If I want to click over here and have the play head jump over here, and I click once, nothing happens. I have to double-click for it to jump there. That is how a fixed play head functions, which can be very useful when you're editing quickly. But again, that's just something that may be too much of a learning curve for some people or it may just be that you don't like it. Personally, depending on how I'm editing and what I'm editing, I turn it on and I turn it off. I'm going to turn off. Then it becomes a more traditional play head, where you click it and drag it around. Right now if I scrub on my track pad, for example, if you have a mouse on your mouse wheel, what will happen is rather than me moving the play head, I'm just scrubbing through the timeline and that's how most editors work. That usually is a big moment where people are like, I want to turn that off or no, I like it on. It's just like a typical editor you scrub. You can grab the play head. If I want it to jump here, I click there. Up to you if you want to go with the fixed play head or I guess you would call traditional play head. Just because that's default on the cut page, I'm just going to leave it on because I've honestly gotten used to it, but that's just a quick thing about that. Then more functions here. I'll go over these a little bit quick. Again, if you're dealing with subtitles, which we are not, you can create tracks here. This one, I'll skip over because it's for a different type of workflow. In a nutshell, it basically will take a finished movie and cut it up for you and tell you where all the cuts are in case you need that. Then of course, just to add video tracks, add an additional audio track, add subtitle track. That's where you would find all this stuff. Then of course, markers, which there's shortcut for every editing program. It's the same thing, M, to add a marker. You can see that you can do that. Double-clicking, you can go through that marker, change the color and titles. Add your notes here. That's basically what that is. You can click here, or if you right-click on it, you can specify a marker. But that's just another way to do it, but we have those shortcuts here. Those are, again, more of the basics with more of the interface showing you these things as those clips are actually in the timeline so that things make more sense. In the next lesson, we're going to dive a little bit deeper. Keep editing, keep polishing this down. But now that you are familiar with everything, the buttons here. In the next lesson, we're going to keep editing and we're going to cover what all of these different types of editing tools do. For example, what is a smart insert? What is a ripple overwrite? Close-ups. All of this cool stuff here. Plays on top. I'll go over what all this stuff in the next lesson. I'll see you there. 5. Editing - Deep Dive: In this lesson, we're just going to continue the editing, polishing things down a little bit more, and showing you more of the tools just so you can get a good handle of the cut page and how everything works. Let's watch through this again. Adventure. It's a word that always has a story. Adventure makes us stronger. Adventure terrifies us. Adventure pushes us forward. Let's start just polishing that down as we go. Let's see here. Let's cover some of these different tools. First, is the smart insert, so as we're going notice this. As I'm scrubbing through, there's always going to be this little arrow here that's just going to be floating around. A lot of people wonder what that is. That is pertaining to the smart insert. You see that and then you see how a part of the edit point here is highlighted in green. That is a smart edit point. I'm just going to scroll through here. Let's say and it's always whatever's closest to the play-head. If I'm closer to this side, see so there we go. What does that mean? That means that again if I go here to the smart Insert and I just grab another shot, let's say these words here and I'm just going to scroll through, mark that as I, O. Now I don't have to do that much because like I mentioned before, where the play-head is doesn't matter. Just with the fact that that little arrow is pointing down and that's flashing green tells me that when I hit smart insert, it's going to stick that in there. That was a smart Insert and you can see that the audio also broke up. How do we avoid that? Just like any other editor, I'm just going to lock the audio. Now, if I go through and go to the well-shot again, and then I do my smart insert. That's it. We're going to add another smart clip here. We're going, let's say I go through and I want to add something else there. I don't even have to go to that spot, I'm just going to go here, in out, smart insert. Notice how it's highlighted again and that sticks that right there. That's a smart insert. Again, we've covered append, but just to show you what it is, I, O and some Some these I'm making are a little too short or too long on purpose, by the way, so I can show you other tools. Again, appendage means, again, doesn't matter where the play head is to play. It could be way at the beginning, doesn't matter, it could be here. Append will just drop this shot here all the way to the end. Again, let's talk about what an overwrite is. Overwrite is basically replacing something. If I want to replace this shot here with something. It's a very long shot it's fine. But let's say I want to replace that shot with let's say I want to do this shot here, and I'm going to pick a small portion of that. There we go. Now overwrite basically means that you're going to replace a shot. If I do an overwrite of this clip, this clip will go away and this clip will replace it. If I go here and do ripple overwrite, boom, I did exactly that. Another way to do that we've covered earlier, which is going here and dropping it on. I'll do that again, just grabbing it here. Remember it highlights it, dropping it on. If I just want to cut that in half because it's too long, I can go here and hold, and then I can place this wherever I want. Let's say I just want to stick it right in the middle. That's just a different type of edit, but just so you know again, how the cap page works dependent on where your mouse arrow is. I'll do one more quick replace a [inaudible]. Let's say maybe this longer shot here. I'm going to just grab this and I'm going to in, out, overwrite, that's a little quicker sometimes. There we go, we're just replacing those shots there. Close-up is this. This is another shot, let's do a shot of me here. There we go. I'm going to take this opportunity to show you a few other little things here. These are pretty basic too if I only want to drop in, I have audio there, I have things I'm saying, but if I only want to do video only and ignore my audio, I can turn that on. Then I'm just going to manually drop that in there. Then close-up tab mainly works when you already have something in the timeline. If I go through and I want to jump into a close-up here. I can go to close-up, and it's the smart AI function is just going to make a close-up out of that shot. Shot on 4K by the way, and you see it just punched into a close-up and place the exact same shot on top, but it's just a little closer. I could do that and there you go. That's a really cool way to just very quickly punch in and add a close-up. Close-up is a very useful tool, especially if you shoot in 4K and you do interviews. It's great to just punch in very easily. Place on top. Just another thing, just exactly as it sounds. If I want to, let's say I'll start bringing in this car here. I'll do this here. I'll mark that IN, OUT place on top. Then place it on top right there on track too. Another way I could have done that, of course, is if I grab that, I can also just drop that in wherever I want, like that. Then this source overwrite is something dealing with, again, a multi-camera editing, so we'll skip that for now. Then these other tools here are, this is a common sense one. What that does is let's say I go here and then I just add Dissolve there and notice what happened. Again, you very quickly start to think in terms of this smart icon here. Smart inserts and smart edits. I don't even care I don't even think about where my play head is a lot of times when I'm doing the cap page because I know that if I click on this dissolved button, it's going to place it right there. There we go. Then this is additional types of transitions. I can click here, edge wipe smooth. If I go to edge wipe here, and then I click on that, pushes us forward, see that and I'm going to undo that. Then again, oddly enough, what cut means if I select this or I don't even have to select it. If I go to or just as cut. I just want to cut there, I don't want to dissolve or of any kind. I can just do that. Another way to do it is just the hit delete as well. Earlier we were covering the inspector which has all of the tools, transform tools. If I grab this and I want to zoom in and do whatever I need to do and all these other tools that were used to speed changes and things like that. Well, you could call this here called tools. It's a mini inspector or a lot of commonly used tools live here. Same exact thing like transform, which is basically if I want to go through here and zoom into that shot, I can just grab it there or I can reset it here. If I want to crop this shot here, I can crop it to crop the right side as well. It's just an easy way to do things. Now, if I turn that off again, you can see that shot is cropped. Adventure, I can go back here and I'm actually going to reset that. You have a Dynamic Zoom. We have composite modes if you're doing that speed adjustments, stabilization, and we have shaky footage, lens corrections. If you have say something like an extreme wide-angle lens, that will help correct things like that. Then also, I wouldn't recommend using this, of course, but if you just want to do an auto color and I just made it a little bit more saturated. I'm going to reset that because you don't want to do that. If you have any audio adjustments, of course, just to raise and lower the audio here as well. Again, I call it a mini Inspector, but they just call it Tools but it's just a quick way to do things. One that I do want to show you, however, so now we added this longer shot. But what I want to show you as far as this goes, is if we click here, I'm going to show you what Dynamic Zoom does. This visual way here of showing you is a lot easier than the inspector where we just hit a switch and you just don't know what happened. If I go into the Dynamic Zoom, this is basically just a digital zoom. The green box here is where you start and the red box is where you finish. If I want to do a digital zoom, I just place my box there, and maybe just to give you an extreme example, I'm going to start like that. Turn this off, see it started there. It bases the speed of that zoom or re-frame based on the run-time, the duration of the shot. If I go through, digital zoom, awesome, so I do that. Let's say I want to, there we go and I go back here. Then let's say I can adjust or maybe I'll make it a little less obvious. I'll do something like this. Then off course we have additional options here, like here we want to reverse these. I can reverse it so that it starts wide, goes and tighter. Then off course how you want it easy in right now it's linear. But if you want something a little more natural organic, maybe I'll do an ease in or you can do ease in and out, I'll try that as well. Then I'll turn that off here and then adventure is here on this journey because of digital zoom. That's a very cool way of using these tools here. That's mainly the one I wanted to show you because these other ones here, I think you'll just naturally know what to do with, for example, cropping, and if you just want to do a basic punch in, you can do that as well. But I'll leave that as is, and I'll remove that shot. Now that we have gone through and I've shown you the interface, I've shown you all the tools and the organization and all these different types of edits here, we're going to continue our lesson. But in the next one, you'll see things definitely speed up a little bit and we'll just start editing away, trimming this away, and I'll just leave you with where we are now. With that, I'll see you in the next lesson. 6. Editing - Putting it All Together: Now here we are. In this lesson, I want to show you the speed of the Cut Page because right now we have a little bit of a mess with all of these random shots. Let's just watch through it so we can see how bad it's looking. Then I'm just going to go through and cut this down to say a 20-30 seconds spot with the voice-over and the music and just to show you how everything moves in a real-time edit as I'm explaining what I'm doing. Let's see what we have now. Adventure, it's a word that always has a story. Adventure makes us stronger. Adventure terrifies us. Adventure pushes us forward. Adventure is a hero's journey because when we look back on our adventures we- What we're going to do first is I'm just going to scrub through up here. That's the end of the voice-over. I'm just going to trim that down here to make it easier and I'm going to Command B. That's going to be the end of the project. It'll be about 36 seconds, or so. We'll jump all the way to the beginning. Adventure. Then what I'm going to do now is I'm just going to move this shot here to flip them. Take this here, and I'm going to do that. I just flip them. Adventure. I want to make that a little bit shorter, so I'm going to take the mouse arrow here. Again, notice where it is and I'm going to ripple it down so that shot is a little shorter and notice how it snaps. Let's go back. Adventure. It's a word that always. Then I'm going to trim that down too and snap it there. It's a word that always has a story. I'm going to remove this. Select that and delete it. It's a word that always has a story. Adventure. That's also too long. Always has a story. I'm going to cut there. Again, we use a lot of these tools over and over again. This is the a ripple tool here. Let's go back. Adventure makes us strong. Then let's see this. Adventure makes us stronger. For this whale, let's do a new type of edit. Notice this little icon in the middle here. We have been doing ripple edits where you just simply make something shorter, or longer. We do that. Now we're going to do a slip edit. Now what a slip edit does is notice this whale. We want to go one frame at a time. Now notice this whale, what it's doing, it's just coming out of the water here. Stronger. Let's say we do like this shot, we do like the duration, we don't want to mess up the duration, but we just want to see a different part of this shot. With a slip edit, you simply go in here, you click on the middle, before we've been clicking on the sides to do something like this. This time what we're going to do is going to click in the middle and notice as I click and hold, see how there's that white bounding box on the left side. We see this stuff going on here. That's basically telling you what that entire shot is. If I took the entire whale shot, it's showing me how long it is on the left side and on the right side. If I drag to the left, I want you to notice two things. One, keep your eyes at the bottom where that white box is moving. That's showing me that I'm literally slipping this shot of the whale left and right. Then if you look up here as I'm slipping it, the image on the left is the end point, or where the shots starts and then the image on the right is where that shot is going to end. I'm just scrubbing through. Let's say I want to end this shot as the whale goes under, and I'm looking at the right image there. I want to end it right there for a precise edit. Boom. Then I go back and I hit play. Adventure makes us stronger. See that. Now I want to make that shot a little bit longer. I'm going to actually show you that again. Adventure makes us stronger. See how it ends exactly where I wanted it. But now I actually want to make this shot a little bit longer at the beginning, so I'm going to grab this edit and ripple it and it's showing me again in the top right there where I'm starting the shot. I'm going to go back. Adventure makes us stronger. Adventure terrifies us. Adventure pushes us. Now, this one is a less commonly used one, but I just do want to show it to you just in case. Whereas the first one, again, it's all about the arrow placement. The first one, the slip here, I actually clicked and held on this little icon here. That's what lets me slip it. Let's actually slip this guy. We will start with his foot up. I'm looking at the top-left image, we'll start it there. But let's say I'm watching this. Adventure pushes us forward. Again, this tool here, it relates to the fact that usually you would use this if you don't want to change the run time. Let's say you're editing a 30 second commercial and you were told by the broadcast company, it can't be a frame over 30 seconds. You don't have the luxury of going through here and oh, I'll just make this longer, or shorter. We got to keep this tight 30 seconds no more, no less. Now what I'm going to do, before we were clicking on this icon there. But if I hold down the Shift key and this is a hidden tool too that I'm showing you. If I hold down the Shift key, that new tool appears and that's what's called a slide edit. As I said, the slide edit, 30 seconds, we have to stay within and we're just making this a little bit longer then I will hold down Shift and then I'm just literally moving that shot to the left. Notice the frame counter there. I'm going to add 10 frames to that shot. I'm moving it and everything else is adjusting accordingly, so that the total run-time doesn't change. Because as I'm sliding this to the left, it's making this shot a little bit longer and making this shot a little bit shorter. Now if I go back and play through. Adventure, pushes us forward. Adventure. Then I can go through and make this. See if I do a ripple. Notice the ripple if I'm looking up here, it makes the entire project longer by doing that. Now what I'm going to do is another type of edit, which is called a roll edit, where I want to again make this shot of the hand longer but I don't want to change the total run time of the project. If I now click right on the edit point here and notice how the icon changes. We have this for a ripple, which is what makes it longer, or shorter. But if I click on right in the middle, it turns to that icon. Now I can actually drag to the right. Again, you're always looking up here to see what your new out point and in point are. If I click, there's the hand on the left, there's the couple on the right and I'm just going to drag to the right. Notice that all I'm doing right now is I'm making the hand shot a little bit longer and I'm making the shot of the couple of shorter, but the total running time is not changing. I'm going to undo that and see that's how much I had adjusted. I'm going to again, drag. You can see that it's showing you how much you're actually adjusting something by the frame counter there. I'm going to actually make that a little bit long. I'm just going to really make it longer so you can see what I'm doing. I made the hand shot longer. You can see all of these edits, pretty complicated edits that we've done fairly quickly and actually a little bit longer just because I was talking you through them, but in a real-world situation, it would have just been a very quick sliding and slipping and moving these over. Terrifies us. Adventure pushes us forward. Adventure is a hero. You see. I'm going to jump over to the edit page just to give you an example of how a lot of people might do that in a typical editing program. If they want to do all that stuff, they would do something like, they would move this up, make it longer, move this, move it here, then move it down again, and then maybe do this and expand that out and do that and then grab these and move them over and then do this. They do all these crazy edits when you could very easily just do this. You can do that in a lot of editors too, these are tools that a lot of people don't even know about. You can do the exact same thing here, but in the cut page, it's just right there, like I said, at your fingertips or we can go through and start rolling this shot here or shift, sliding it around. Different stuff like that or do the typical ripple edit if you want to do something like that. Let's go back again and let's just watch from here. Adventure terrifies us. Adventure pushes us forward. It's okay. Now I'm going to go through and maybe I'll just add this cut here. I want to add her pouring coffee. Just do a short sequence. Let me just lock this again. Let me just do a smart insert. Then for that edit here, I'm just going to hit Command F to go to full screen forward. Adventure is the hero's journey. Then here I'm going to then add another shot because that one's pretty long. Let's get this guy kneeling and I'm going to just place that on top. Now we have coffee, eating. Then see these aspect ratios and fittings, so I'm going to go here, go here, and just make that fit. Zoom in a little and then turn that off. Then I'm going to go here and I'm going to jump cut to this here and I'll place that on top there. The same thing here. I'm just going to click on that and expand it out , move that down. I'll cut through this here and I'll do that. Again, I just want to place it here. Here we go and you can see it created a third track. We realize we had it in us all along. I'm going to slip that because maybe I have to expand that out so that I can see the tool there. Maybe soon after we cut to it, I want her eyes to open a little bit. Again, you can also look up here to see how it's cutting shot to shot. We realize we had it in us all along. Now, reduce that down, and then I'll just trim that down here, snap it to the play ahead. Now, I'm going to add this shot here. I'm just going to add that to the end. Now, I'm just going through and doing some edits. I'm going to keep just adding it to the end. Then if you want to bring these down, you can just grab those down and slide them straight down to the first track. Then I'm going to grab this guy again. Notice that right now V3 is selected, which is why it's placing some clips there. I'm going to go back to V1 which is the Standard 1. Do that. Again, smart edit. There we go. If you want to collapse anything down, you can always go there, bring it straight down and it'll do that. Once you've conquered one journey, the next one is always on the horizon. Then I'll just go ahead and add maybe this one here. Again, I can just go straight to Smart Insert adds that in. The next one is always on the horizon. Explore the wilderness. That's just a very quick basic edit. Let's just watch through it. We're going to keep polishing this down. In the next lessons, we'll start covering things like titles and transitions effects as we are getting closer to the end of the class. But let's just watch what we just did in a pretty quick way with all these tools. I'll actually put this in full screen, so again, Command F. Adventure, it's a word that always has a story. Adventure makes us stronger. Adventure terrifies us. Adventure pushes us forward. Adventure is a hero's journey because when we look back on our adventures, we realize we had it in us all along. Once you've conquered one journey, the next one is always on the horizon. Explore the wilderness. We're not trying to win any editing awards with that, but that just gives you a good idea of the shots. There's a few weird edits in there. If I were just to go through and replace a few things, just to show you really quickly. Maybe if I wanted to replace this first waterfall shot, I might just go with this one here like that. It really doesn't matter the length because I'm just going to replace this. I would just drop it in here and you can see it ripples. There we go. Then maybe if I want to swap out a coffee shot here is a little odd, so I'll just go ahead and add this here. Again, I'm just going to do that, replace that and just have a few new shots there. Let's just do this, like that. Click on that. If I want to replace that shot quickly, I'll just go here. Actually, let it snap there. That's just a quick way to replace some of those slightly weird shots there. There we go. In the next one, we'll keep polishing this up a little bit more. Also, we're going to just basically cover as we're getting towards the end of the class, cover things like the transitions, the titles, just go over effects quickly and we'll keep moving forward. I'll see you in the next lesson. 7. Titles & Transitions: Now in this lesson, we're basically going to wrap this up. We're just going to push down a little bit more really just add titles, go over a few of the transitions and effects just to review that. Let's watch through this again. Adventure. It's a word that always has a story. Adventure makes us stronger. Adventure terrifies us. Adventure pushes us forward. Adventure is a hero's journey. Because when we look back on our adventures, we realize we had it in us all along. Once you've conquered one journey, the next one is always on the horizon. Explore the wilderness. Right now, this project, a question that I always get is, so if the Cut page is an accessory to the Edit page and the workflow tends to be that you begin with the Cut page and it's meant to as a 2-3 pass edits and then you move into the Edit page to start polishing things even more. I feel like it's getting to that point where we would naturally move over to the Edit page and start doing certain things, for example, here at the end, if I want to add just a very quick fade out, what I would probably do is switch over here and go to this. Already you're seeing how many extra clicks you have. Expand that. In the Edit page, you can simply grab this here and just add a fade out. That's something I'm actually surprised is not in the Cut page yet. But now we just simply added a little fade out. We're going to do that and then we're just going to start adding a few titles here at the end. Let's say right around there I'll add. Again, we have all of these titles here that you can preview, but I'm just going to keep it pretty simple. I'm just going to drag this here, there we go. This I wanted to basically last the duration of that. Then I'm going to go here into the inspector and just type in, explore the wilderness. I'm just going to select whatever font looks good at first. Let's just say I select that and then I'm going to make that a little bit bigger. I'm just going to change the color, clicking here. Let's say I just do that. Then I'm going to reposition this here, does that and again it's a case where I would probably at that point switch over and Command Plus to zoom in here and this is just a little easier, just add a quick fade-in. I'm just going to do something like this. You can see we're hitting that place where the example is, it's just an accessory, it's just an extra page to make your life faster, easier, your editing more efficient. But I'm starting to dip into the Edit page to do certain things. In the next lesson, you'll start learning at what point you really go full-blown back to the Edit page to keep your edit going. Because Da Vinci Resolve is a full post-production software. We have the Media page, we have the Cut page, then you jumped to the Edit page. If you do visual effects fusion, but typically people jump to the Color page. Then also all of my sound edits so far have been just very basic rough just to temp sounds, so to speak. The fair page is where you will really start polishing sound. Again, if you have not taken my other course, Da Vinci Resolve the video editing workflow, I would suggest that because that's where I do go a little bit more in-depth into the Media page, the Edit page, color, and the Fusion's page, especially if you want to mix the sound a little bit more precisely, which is not what the Cut page is meant for. It's not like you would in the Edit page doing all these fine-tuning edits. It's for fast, efficient first cut, second cut, maybe on the third cut of your project, you would start moving over to the Edit page. But let's just watch through this. Now what I'm going to do basically just ripple that out and make that front longer. Let's watch through it. Explore the wilderness. That's where you would add the dissolves. We just added a quick title there at the beginning to see how these work. I doubt we'll add any of these effects, but let's say you wanted to add something here and this is where you can just go through, play with these if you want to do that. These, by the way, additional ones here are for when you have the full version of resolve, but that's just where those effects are. When I go back to the Media page. You can see how we made this edit here in the Cut page. We've brought in the clips. You know how to view and organize it. Things to remember is to play head position with the smart edits, the append edits, the ripple overrides, easy way is just to grab. You can wait for that highlight and it does replace that shot, which I'll undo that. Let's watch through this one more time here and in the next lessons I'm going to start wrapping things up a little bit and also further discuss when you start bringing in these other pages as well. Let's see what we've done here and go into full screen. Adventure. It's a word that always has a story. Adventure makes us stronger. Adventure terrifies us. Adventure pushes us forward. Adventure is a hero's journey. Because when we look back on our adventures, we realize we had it in us all along. Once you've conquered one journey, the next one is always on the horizon. Explore the wilderness. In the next lesson, I am going to cover when does the Edit page come into play? I will see you there. 8. When Do I use the Edit Page?: In this lesson now that we've gotten a little further along in the edit, I want to start talking a little bit about when does the Edit Page come in. We've been using the Cut Page. When do I start using the Edit Page? Well, what you'll find in a real-world project, especially if you do understand the Edit Page and you've been using that is it really, you'll be at the beginning doing maybe 100% on the cut page and then as your cut starts evolving and getting more polished, you'll find yourself slowly switching over to edit to do a little thing here. Then you'll switch back and then you'll do Cut Page. As the cut moves forward, you'll find yourself slowly switching over to the Edit Page. In my experience, typically after about the third cut, maybe the fourth cut is when I'll just switch over to the Edit Page and I'll continue my edit there until I get the picture lock. Then naturally from there, I'll do the sound design and then I'll switch to the color page and do the color correction and grading. That should hopefully give you a good idea of when you would switch over. But with that being said, if I'm ever doing a very simple short project, I do everything in the Cut Page. It's that easy. Really there's no right or wrong or when I think just when you naturally start using it, you'll start learning both of the different rooms both of the different pages the edit and the Cut Page. You'll just start naturally start switching back and forth between them and that's what will make you faster. Hopefully, this is helpful and I'll see you in the next lesson. 9. Quick Export: This is going to be a super fast class. I'm just going to basically cover the quick export setting. Now you're done. Again, you don't necessarily need all of the precise export settings that are in the deliver page. If you just basically want to say send this out to show to someone, show to a client or just to export it to see what it looks like on your phone or something else, they have the very quick and easy export setting here, which you can just simply go through here. Select H265, for example, it automatically names it whatever your timeline name is and then you just simply hit Export. Or if you have, say, a YouTube account, you would sign in here and it would export it and place it there. If I do this, then just simply it asked me where do I want to save it. Let's say I save it here. I hit "Save" and it starts exporting it right away. There we go, we're done. Go to wherever you saved it, open it up. Adventure. There we go. Very quick and easy short lesson there. In the next lessons, I'm just going to cover a little bit of bonus material, things like the proxy workflow, multi-cam editing. Definitely check those out and I'll see you there. 10. Final Thoughts: That's the class you got through it. Hopefully, at this point, you are very comfortable with the Cut page or you're going to download the footage that I provide. Do the project, upload it, and make sure you provide a YouTube link so that I can watch through whatever you do. Ask away in the discussions page below. Also, if you're going to post to YouTube, check out my YouTube channel right here. I'm always posting all different things about DaVinci Resolve or just editing or filmmaking-oriented and other things. Feel free to subscribe there. Also, check out my other classes. The one I would recommend is this one here, which goes a little bit more into the overall workflow of DaVinci Resolve. We focused on the Cut page, but if you watch that, you'll notice the workflow overall. With that being said, thank you again, leave a review and I'll see you all next time. 11. Bonus: What are Proxies?: Okay, so in this bonus lesson, I want to go over proxies. A lot of people don't know what they are, especially if you're new to editing. But they're a very common part of the production process over the post-production process. Simply put, a proxy is taking your big camera's original file, making a smaller copy of it so that when you edit on your computer which may be slower, it plays back smoothly. You can edit with no problems, there's no delay of any kind. Then when you're finished with your project, you export, resolve automatically will select the full quality files. Then you have the best of both worlds you can shoot in 4K, you can edit in a lower quality just to edit smoothly and quickly. Then when you export at the end, you have your 4K files again. It's win-win. You get all the quality your camera can do because a lot of people spend a lot of money on a camera. Their computer is too slow and then they shoot at a much lower resolution than the camera can actually do because their computer is too slow and they basically wasted all that money. Enough talk. Let's jump into the next lesson. Where I'll show you this proxy workflow and you'll be shocked how easy it is. Let's jump right over 12. Bonus: Blackmagic Proxy Generator: In this bonus lesson, I'm just going to cover the proxy generator workflow. Again, proxies are needed whenever your computer is too slow and can't playback footage or maybe your hard drives are too slow too. Let's say you have a clip for example here that I dropped in. This is a clip. If I go here you'll see the specs. It's a 5K clip shut on the red so it may be a bit too much for this computer to handle and this hard drive to handle. If I go through and play back, you'll see that it's very choppy and slow. Very choppy. It almost seems like it jump cuts or something at some point. Very choppy. How would you fix that? If your system cannot playback footage like this or it may just be that you have an older machine and you might not be working with red footage. It may be that maybe your computer just can't even handle 4K footage from whatever camera you're shooting on. Resolve has a function, a workflow, that's a proxy workflow and the way you would do that is you would first open, they have a program that comes with it called black magic proxy generator and so if I open this program up, this program basically trans codes everything to these formats that are much easier for a system to handle. The default you can see is H264, eight bit 42010 ADP. Don't worry if you don't know what all that means. That basically just means that it's going to be lower-quality, something that's very manageable for your system. If you have a very slow system, you might have to go to something even lower, but that tends to be good for most systems. It's very easy. All you simply do is you add your folder with your media down here. Or maybe if it's just a handful of clips, you add those down here and you start the process and like magic resolved, knows what's going on. It knows that you have a full quality file and that you created proxies and it automatically, it will place those and swap them out. If you remember earlier in the class, I mentioned that we would go over what this is here with all the different proxy functions. That's where this comes into play and you select what you prefer proxies or prefer camera originals. Let's do that very quickly for this one shot. I'm going to switch over to here and I'm going to add a file, so there we go. I added that clip there. It's in this folder and again, it's just for the car clip there. All you do is you say you can either add an entire folder with media or you can add specific clips and you hit the start button. It then goes through and creates proxies for that media. That's really bugging down your system and the files end up being very small. Then once it's done, it says complete, so now I can close down the black magic and notice what, I don't know if you saw that, but notice that things switch. Now there's this little icon in the bottom left telling you that you are using a proxy and because the default selection here is prefer proxies, then, now if I scroll back and try to play through that, see the difference? Much smoother and I'll even go back to full screen. Plays back much smoother and the files are much smaller and now pretty much any computer can probably handle that file. If I go back and say, you know what, I prefer camera originals, that icon is gone. It's not there anymore. Now if I play through this clip again, can see right away how choppy and how much it bogs down the system. But by default prefer proxies is on. I can even go full speed, full screen and it plays everything back normally. That is a proxy workflow so that's something to think about if you ever have footage that's really stressing out your system and bogging it down. Get the proxy generator, create your project, drop your clips in there and then there you go. Resolve is smart enough to know that when you export, when you do an export, say even from here or let's even if you're in the liver page, it will know to use the full quality file so that you have a great quality export so that's the proxy generator. Hopefully it helps you out. Hopefully it makes you edit a little bit better, a little bit smoother and so yeah, I hope that was helpful. 13. Bonus: Resolve on iPad: Here's another bonus lesson, and this again will be super-fast. I just want to let you know that you can also get Resolve on the iPad. It's very easy to travel with. You can do a proxy workflow like I've gone over. Then put those tiny files on your iPad's hard drive or on an external USB-C hard drive, if you have an iPad that has a USB-C port, either way works. You can put them on your iPad, Google Drive, Dropbox, on an external hard drive. Take your iPad with you, edit, you can connect your iPad to a keyboard, to a mouse, and it's honestly not that different from editing on a laptop. I've used it, I love it, it's shockingly fast, shockingly smooth. You would think it's slow and weird and clunky. It also works with an Apple Pencil. If you don't know that, I'd say go to the App Store, they have a free download because DaVinci Resolve is free. They have a free download you can check out and play with and use it, and if you like traveling with your iPad a lot like I do, it can be very easy to do. Look through footage, do a rough assembly on your iPad. I probably wouldn't go so far as to say you'll be doing some very nitty-gritty in-depth editing, but it's just another very awesome tool that you have that's portable, and we all know we love things that are portable, so you can watch your footage. That's it. Check out the app, download it, and I think you'll be glad you did. 14. Bonus: Speed Editor: Hey, what's up? I just wanted to do a quick bonus lesson here to talk about this little guy right here, which is known as the speed editor. It was pretty much built to work with the cut page, and it really just helps, where if the cut page makes you much faster at editing, this guy here makes you even faster, and it's really all about having that tactile feel on the keyboard. I would compare it something similar to the color grading control panel, or maybe like an audio mixer, things like that, where all of those functions that are in the cut page, things like the smart insert, the append insert, multi-cam. But you can see here, for example, you have the close-up button, a very easy in and out button, and then the jog wheel here, which helps you scroll through the timeline. It really just makes your life a lot easier. Now you don't absolutely need that. It's just something that I feel like I would be doing a little bit of de-service by not bringing it up just because it was built for the cut page and it just work so well with it, especially if you're doing multi-cam editing. Just being able to hit the keys, the number 1 for Camera 1, number 2 for Camera 2, and going back and forth between the two. Let me just show you really quick how this might work in action. I'm just going to go over it quickly. It won't be an in-depth lesson on the speed editor, but just a quick overview just so you know about it, so that you know if you have the cut page going, you also have this additional tool which you can use. Anyway, let me just show you how it works. Let's jump right in. Here we are. I'm just going to show you the speed editor in action really quick. As you can see, I have the scroll wheel here and I can just go through, this is the same video that we worked on before. You can see that that makes it very easy to scroll through. Let's pretend we want to make a few different changes, so I can always hit the Source button. You can see that what happens is right here, it shows the source tape mode, and then what I can do is simply just go through and scroll through all the shots. Just like that. You can see, and if I want to go even faster because it's a lot of clips, then I can hit this scroll here. Then normally my eyes are here and this is where we just go through all the different shots, so then if I want to scroll through, for example, let's say I want to put in this shot again. Let me go back to jog and now I'm scrolling through that shot. There I go in, out, and then again, pay attention to where the edit point is here. Then what I'm going to do is actually I usually always want to have the audio locked. Again, I'm just going to hit this Smart Insert and you can see and I hit Timeline, and you can see it placed that right there. Then if I want to edit this clip here, for example, where her eyes are open the whole time, you can team up all the tools here for editing, so I'm going to do slip source here and then you can see it's showing me the in and out point at the top, and we're just going to do that. Then I can scroll back, go back, play, and there's the clip there, just like that. Then if I want to go back to the source clip, I can keep scrubbing through shots. Then let's say we just want to put this shot here at the end, I'll say maybe in, out. Again, it doesn't matter where my play head is in the timeline, I'm just going to hit the Append key here, and it adds that shot to the very end. Timeline, and I added that shot to the very end there, and then I can keep scrolling through. I'll show you a few more edits. Let's say here we go. Then I'm going to do a back to source, and I'm going to go to scroll because I want to get through the clips a little bit quicker, and here's a shot of me. Let's say I just want to put it in this shot here of myself, so I'm just going to go here. I'm going to go in. That's it. Then this time I'm going to do place on top. You can see the timeline. Go back to jog, and I place that clip. [BACKGROUND] Now if I want to trim this shot a little bit, right now, that shot is on track number 3, which I'm seeing by seeing this here, it's on Track 3. Now I hit three here. Scroll. Always pay attention to where the smart point is there. Then I'm going to do trim in. Actually, I'm going to make it shorter, so I'm going to go to trim out over here, hold this down, and then I can trim that to wherever I want and I want it to snap to there, and that's what I want. Because when we look back on our adventures, we realize we had [inaudible] all along. There we go. Then I'm just going to do a little bit, again, this is not a full course on the speed editor. I just want to show you what it can do. Again, now I'm just going to do a very quick ripple overwrite. I'm just going to go back to source. Again, this I'm just going to scrub through. And maybe let's just say I want to put in this shot here, in, out, and I'm going to do ripple overwrite. Again, paying attention to where the edit point is, and it's over this clip there. For ripple overwrites, that does matter, and it replaced that shot. Now notice that it put it on Track 3 because I have Track 3 selected. Now I'm going to undo that just to make my time a little bit cleaner, I'm going to hit one. Notice that it jumped to number 1 here, and now I'm going to basically do the same thing. This time I'm just going to make it a little bit quicker. Go back to source, and I'm going to do ripple overwrite and see it swap that out. At one shot there, it swapped it out. If I want to trim that again, last thing I'll show you here is just, I'll say trim out, hold this down and I can make an adjustment here however I want. Make it a short or long as I want. There you go. Again, we have a lot of different functionality here. That was just a very quick tour of what can be done with the speed editor. It just makes things a lot quicker to go in, hit the keys very quickly and it makes things way easier. I hope you enjoyed that. I hope you got something out of that. I'll see you in the next lesson.