[flow_default] Transcription: 004_-_Editing_In_The_Cut_Page.json

transcriptions/004_-_Editing_In_The_Cut_Page.json

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+{
+  "audio_file": "004_-_Editing_In_The_Cut_Page.wav",
+  "text": "Alright, so we've done a bit of editing inside of the edit page, which makes sense. The media page is for media. The edit page is for editing. But what in the world is the cut page for the cut page can kind of be a little bit confusing because it's kind of just a different angle of building an edit and it approaches things in kind of a less traditional way than a lot of different video editing software at the lower part of my interface and my button bar here. I'm going to click on cut. Now everything switches out again into a different interface. in We just looked at the edit page first because it's a lot like other video editing software and can be a little bit more approachable for some people. But a little bit about the interface in the cut page. Again, up here we have the media pool to the right. We have the viewer and this viewer is kind of a hybrid of these two viewers in the edit page. It can actually switch in between our timeline viewer and our source viewer. If I were to double click on a piece of media, it's going to load it up here in the viewer and right now we're viewing this clip But if I click down into the timeline we're gonna be viewing the timeline and so it switches depending on what we have selected what we're kind of mousing around with another big difference is that there's actually two different views of the timeline down here on the bottom We see a timeline that looks a lot like we're used to but in this upper part We have these blue bars. This is just a zoomed out version of the same timeline so So if we were going to go to the edit page and I'll select our view options and make them really small, this is kind of what's happening in the upper timeline of the cut page. See how that looks similar. So why two different views of the same timeline? The reason is because everything in the cut page is designed to save you time. Think about it like the edit page is where you do detailed edits, maybe bigger projects. And the cut page is where you do maybe smaller or simpler projects or things that you need to do really, really fast. It's optimized to be able to put out an edit really, really quickly. And part of that is optimizing the way that you navigate your timeline. If I want to go to the beginning of our timeline, I can just click at the beginning right here in this upper timeline because this view is completely zoomed out. You can see our entire edit from the beginning to the end. So if I want to go to the end, I can just click to the end. The lower timeline is the zoomed in version. This is the detailed version. And so at any point, if I want to go to a specific part of our timeline, I can kind of navigate up here with the upper timeline and then adjust things with the lower timeline. So it's just a really quick way to navigate throughout your edit. Another difference is you don't have the different edit modes. You don't have selection mode and trim mode. Everything pretty much works kind of like trim mode. the edge of a clip where it's blue right here. I can kind of swap the order and put it in between two clips. If I were to grab it and put it over another clip, I'm just going to replace that clip. And so you can really get yourself in trouble if you're not paying attention, moving stuff around in the cut page. But once you get used to it, it's a really fast way to work. One cool thing is that I can grab things and move them around in the lower timeline, but I can also do that in the upper timeline. The upper timeline isn't just for navigating in time, but you can way. I can even grab the edges and trim clips if I want to cut out a lot of time. And so it really depends on how you want to work. If this way of working in the cut page makes sense to you, you can actually build pretty much your whole project in the cut page if you wanted to. If you're more comfortable in the edit page, you can do everything in the edit page. You could also switch in between them again because they share a timeline. So you could do some major work in the cut page and then switch over to the edit page and adjust something and switch back over to the cut page. It doesn't matter. Now there are a few different icons on our interface that we should probably look at. The first one are these two icons right here. This is locked playhead and free playhead. The lower timeline kind of moves around the playhead that's stuck in the middle. you and you like that, that's okay. I don't personally like that. I like to switch it to locked playhead. A couple other icons we can turn on snapping. We can add a marker and we can add more tracks just by clicking this little plus track button. If we want to split a clip at the playhead, we can always use our control backslash shortcut. We can also just click this icon, this little scissors, and it's going to do the exact same thing. Another way to get that is to right click on our playhead and you can select this little scissors icon right there. So that can be a quick way to do it. Again, same thing. right click on the playhead You can quickly select the clips to the right or the left of the playhead Which can be really convenient if you're trying to move everything down a bit or just a bunch of clips at once up here We have transport controls play pause fast forward skip that kind of thing and over here under our media pool We have these buttons These are very similar to the icons that show up under the edit page when you drag a clip over the viewer these kind of things things. These are called your edit buttons. And a lot of them are similar, except for in the cut page. This first one is called smart insert. Again, everything in the cut page is designed for speed. And so normally where you would have to put your playhead exactly in between two clips in order to insert a clip without overwriting anything, smart insert will just find the nearest edit point and whatever clip that you have selected here, if you hit smart insert, it'll put that that there even if your play head isn't exactly on that place. And you can see a little preview of where it's going to go with this little animated arrow. That's showing you where it thinks the nearest edit point is. So again, that's a nice way to work. If you're quickly building an edit and you're like, I want something in between this shot and this shot. Uh, I don't know how about this? Okay, great. Smart insert. And then you keep going, right? You don't have to get everything exactly right. It'll just find the nearest edit point. Again, these are things that can be annoying if you don't know that they exist and you don't know what it's doing, but it's really helpful if you do. Another smart tool inside of the cut page is the transitions. Down here in the lower right hand corner of our media pool, we have these three buttons. This changes your transition type. By default, every transition is pretty much a cut, right? So it goes from one shot to another by just cutting. What these buttons do is change that cut to something else. So if we click on dissolve, it's going to find another built for speed. This third icon is called a smooth cut. What this will do is try and blend frames to get rid of a jump cut. That means where there's a little bit of time missing. This works great for cutting interviews. We might be able to do something with this shot. So maybe I'll cut it there and I'll move forward a couple of frames and I'll just suck that back. So now what we have is a jump cut and if we were to play that back, you can kind of notice that little jump. If we use smooth cut, I can click on that and I'll adjust the transition length just by grabbing the edges and making this like two or four frames, something like that. Then if I play that back, it tries and smooths that out so it's not so jarring. I still kind of see it a little bit, but what it's doing is making up frames in between those frames so that it doesn't look like a jump. It's not perfect, but it can really save you some headaches if you're in a tight spot. Again, to get rid of that, I can just hit cut and I'll undo all of that. There we go. A couple other icons here in the cut page in the lower left hand corner of our viewer. We have fast review. What that does is play back your edit and if you have a longer clip, it'll actually play it back a little bit faster. And if you have a longer clip, it'll play it back fast forward so that you can quickly go through your whole edit and at least check it visually without having to watch the entire edit at normal speed. So that's a really nice thing if you have a really long edit with a bunch of, you know, really big shots, kind of helps you review things. This other icon here looks like a bunch of sliders. These are your tools. If you click on that, that changes our viewer to have some controls. Now, this is kind of a mixture of the inspector and the on-screen controls in the edit page, right? So if I go back to edit, open up my inspector and turn on my controls, I can move things around like this or adjust them here in the inspector. In the cut page, it's all kind of combined. I can move stuff around or I can adjust the controls here down below. And here's transform, cropping, you can adjust audio, you can adjust speed, you have dynamic zoom, and even a camera stabilizer and lens correction, which also exists here in our inspector. And it works the same way. It's all just kind of jammed into the viewer in the cut page. The camera stabilizer in Resolve is pretty awesome. Let's find a clip that might need a little bit of stabilization. I'm actually just going to grab shot 108, double click that, and again I can set my N in my out with I for in, O for out, and I'll just grab like the first third of this clip, and I'll just throw it in here and replace this clip. The reason I did this is because there's a little bit of camera shake here at the beginning, it's just a little bit wonky, and I can select this clip, go up to my tools, go to camera, click stabilizer, and just hit stabilize. And what that'll do is smooth out that motion so that it's not quite as jarring. I could also hit this little icon that says camera lock and hit stabilize again and what that'll do is make it so the camera doesn't really move at all. Of course this is kind of a dolly shot and so you do see the perspective change a little bit but you don't get that shakiness that you had. It's an excellent tool if you have just a handheld shot that you want to lock down it works really really well and of course you can adjust the different controls around here to tweak things to your liking. So again, a lot of this stuff works very similarly to the edit page. One thing I want to show you that is really cool about the cut page is something called source tape. To do that, I'm going to make a new timeline. I'll right click in our media pool and select create new timeline. And I'll call this edit to you can call it whatever you want. And now that I have my timeline made, let's say I want to make another rough cut. I want to put all of my clips down in order, whichever ones I want. I could double click on each clip and set my ins and outs and drag them to the timeline or use my edit buttons here to append them to end, double click, set my in and out, append to end, just like I would in the edit page. But I can actually open these all up in the inspector all at once using source tape. If I click this middle button here under our title, the upper left hand corner of our viewer, click on Source Tape. That will open up all of the clips all at once here in my viewer. Each one of those white lines is the beginning and the end of a different clip. And I can scrub through all of these all at once. And so it's really nice because I can just very quickly hit I for in, O for out, and hit my edit button. I can even hit JKL on the keyboard to kind of scrub through this really quickly and hit I for in, O for out and click append. And so it's a really quick way to go through and make a rough cut without having to double click on every single clip. I can scrub through this really quickly. Now that they have this in resolve, this is how I prefer to make a rough cut is go through and make my selections like that. You can just do the same thing in just a fraction of the time. But again, there isn't a way that's right or wrong. It just depends on what you prefer. If you do want to speed things up even more, you don't want to move your mouse all the way across the screen and click on each of these buttons every time. If you want to go through like this and hit I, oh, and you want to click a pendant end every time, you could actually make a keyboard shortcut to make things a little bit faster. The way to do that is to go up to the upper left hand corner of your interface under DaVinci Resolve and click keyboard customization. That's going to bring up our keyboard shortcuts and man, there's a ton of them This is a really cool way to remap all of your keyboard shortcuts and make everything work the way you want What I'll do under commands right here where it says search I'm gonna type append I'm gonna click on all commands and right here where it says search I'm gonna click append and that'll bring up under edit append to end at timeline which is defaulted to shift F12 so you could click shift F12 but what I like to do is set it to something that's right by I and O because that's what I'm going to be clicking on the keyboard. So I'm just going to select this and hit P on the keyboard and then I'll hit save and close this. And now I can make my selection. I O P I O P I O P I O P and I can really go fast. And like I've already built my edit and I can just really throw things in the timeline super fast to get my edit going and I can go through and mess with things and adjust my shots afterwards. Source tape, I think, is one of the main advantages of using the cut page. So there you go. There's the edit page and the cut page. That's basically how to do edits to grab things, put them on the timeline and work with them, adjust things. This should be pretty much all of the tools that you need to actually build a story inside of Resolve. Next, we get into things that are a little bit more fancy.",
+  "language": "en",
+  "confidence": null,
+  "duration": 795.93
+}