Download Subtitles for Introduction to DaVinci Resolve Full Course

I designed this video from the ground up

to be the greatest video ever created on

Da Vinci Resolve. This is an entire

introduction course. This is a course

that we used to charge hundreds of

dollars for. We've helped millions of

people learn Resolve. And I'm excited

for you to learn Resolve, too. By the

end of this video, you're going to be

able to use Da Vinci Resolve to start

creating the videos that you want to

create. Everything from media management

to laying out your clips in the timeline

to color grading to compositing to audio

mixing all the way to final delivery so

that you can upload your footage to

YouTube or output it for whatever

purpose you need. We're going to go over

all the essential need to know stuff,

everything about Resolve that you'll

need to know to get started. You can

download footage and follow along.

There's the top link in the description

there. And yeah, this is just a

massively amazing course that we're

giving out for free. Why are we doing

that? Well, because at ground control,

we actually have quite a few courses on

Da Vinci Resolve. A little bit more

advanced stuff, pretty much all of the

next steps that you would want to take

right after this course. And so, if you

want to dive a little bit deeper, we're

hoping you might buy a course. That

said, you can just watch this video and

be off to the races. Man, you're about

to go from somebody who doesn't know

anything about Resolve to being able to

use Resolve to make videos that you want

to make and even make videos that you

can charge for and get clients. I

absolutely love being able to empower

people to be creative and Resolve is one

of the coolest tools available to be

able to be creative with uh digital

media. You ready to go? Let's do it. So,

what do we need to get started here? The

first thing that you'll need is a good

system. Now, you can use Resolve on a

pretty basic computer, but once you

start getting a little bit deeper,

especially into compositing and things

that uh take a little bit more system

resources, if you don't have a good

graphics card and kind of a good uh like

a mid-range gaming PC or maybe like a

Mac M2 or later, you're probably going

to have a hard time. Resolve is really

resource hungry. So, I want to make sure

that if you're following along, you're

doing that on a good system, or else uh

it's not going to be very much fun. So,

that's number one. You got to have a

good system. Okay. Two, you need a copy

of Resolve. Resolve has a free version

that's amazing. Pretty much everything I

show you in this video, you can do in

the free version. Okay. I'll let you

know if there's a paid version thing.

Something that would be helpful in this

video is a little bit of knowledge on

kind of how video editing works and

stuff. It's not totally essential. If

you've taken videos with your phone

camera and you've kind of scrubbed

through a video before, that's a really

good start. But learning Resolve is

going to be especially easy for you if

you've used something like iMovie or Cap

Cut or Premiere or something like that.

All of those editing skills transfer

nicely into Resolve. The other big thing

I'd recommend is that you actually

dedicate some time to this. Learning any

new skill takes time and Resolve is a

great big deep program that can do all

kinds of stuff and it's really easy to

feel lost and frustrated especially when

you start looking at the interface like

we're going to look at in a few minutes.

But I want you to take some time and

have some patience. Be kind to yourself

because learning this kind of thing,

especially if you're brand new to it, is

not easy. That said, I'm going to do my

very best to move slowly and to give you

just the need to know knowledge in

little bite-sized chunks so it doesn't

take quite as much time and you don't

need quite as much experience. You can

use the free version. And a lot of this

stuff you can do on a system that maybe

isn't the highest spec system ever,

especially the media that we link down

below, that should all run on just about

any system without lots of trouble. So,

let's start with the very basics. What

the heck is Resolve? Resolve is a piece

of video editing software and what makes

it unique is that not only can you do

video editing like in the traditional

sense of putting clips together in a

story and kind of lining that out and

cutting out the parts you don't want and

that kind of thing. But it can also do

fancy things like adding explosions and

lightsabers and duplicating people and

cloning things out. things that you

would maybe think of using Photoshop

for, but for video. Da Vinci Resolve is

also really, really great at color

correction. And it can also mix audio

really well. And so all of these things

kind of come together as sort of a

one-stop shop for what we call

post-prouction. That's everything that

happens after you shoot. So managing

your media, putting it together in a

timeline, graphics and effects, and all

kinds of stuff. That all can happen

inside of Resolve. And Resolve is a very

high quality program. It's a

professional program. This is the kind

of app that Hollywood uses and they use

on great big movies and TV shows and all

kinds of stuff. Like here on the

Blackmagic website, you can see clips

from movies that have used Resolve. I

mean, from Marvel and from Disney and

things that you would see in the

theaters. This is the kind of production

quality that we can do with Resolve. I

mean, it's nuts. So the fact that we

have such a high quality piece of

software available, you know, in the

free version for free is just nuts.

And the thing that's really cool about

Resolve is it's really like several

programs all in one. And they split

these different programs up into pages.

And so here we can see the kind of

different pages in Resolve. And they

each have a different job. So there's

the cut page and the edit page which is

focused on putting your clips together

in a story on a story line. We have the

color page which is all about color. We

have the fusion page which does the

effects and graphics and things like

that. We have the Fairlite page which is

all about audiom mixing. And so this is

the kind of thing that you would

traditionally need to use several

different apps for but it's all built

inside of Resolve. And so here we have

the pages of Resolve. They're actually

represented by these buttons that are

down below on the interface of Resolve.

So here, if I bring up Resolve, we see

these buttons right here. And this is

how you switch in between those

different apps to do the different parts

of your video editing. And there is a

lot to go over for every page here. I

mean, every page is its own huge

monster. And we're going to go over the

basics of each of them so that you

aren't lost. And you'll be able to use

each page at least in its basic form by

the end of this video. Resolve has a

bunch of different effects and I mean

things that you would think about like

Instagram filters. It has stuff like

that. It has blurs and film looks and

different filters to stylize your video.

It has a whole bunch of AI stuff built

in. A lot of that is only available in

the paid version, but I'll show you a

couple really uh interesting unique

things as we go along. It works with

other plugins and all kinds of third

party tools and stuff. There's even

specialized hardware that it works with.

They have these unique editing keyboards

as well as color grading panels which

are really fun. And I mean you can just

go crazy. You can get this huge mixing

board for Fairlite. Look at this. That's

nuts. Or you can just use the free

version on your laptop. That's the

amazing thing about Resolve is it scales

to your ability and your needs. You can

use the free version on a laptop on a

plane or you can use the paid version

with all kinds of hardware in a huge

studio. and it's all using the same

piece of software with just, you know,

little different features. So, let's

talk about the free version versus the

studio version. People always ask me

what's the difference. The long story

short is if you are watching this video,

you can probably use the free version. I

would recommend that you get the free

version, you download it, you open it

up, and you start making stuff with it.

If you get into some corner of Resolve

where something is only available in the

paid version, it will pop up and tell

you. And I always recommend that you

only upgrade if you keep running into

that. It can do nearly everything I show

you in this video. You can work with

just about any kind of video. You can

even collaborate with other editors

online with the free version. You can

render up to UHD, so that's a little

smaller than 4K. That's like the

consumer 4K. It has color grading. It

has Fusion compositing. It has Fair

Light. You can use it for commercial

work. There's no demo period. There's no

watermark. It's just a ridiculously good

deal. It's free. There's no catch. It's

just awesome. Now, for the studio

version, you do get a bunch of really

cool stuff. Most notably, Resolve

effects, which are just a lot more

effects to stylize your video, as well

as all the AI stuff. There are a lot of

new AI features that will do things like

sweeten your audio or cut out a person

walking across your video so you can put

graphics behind them. And there's a lot

of really nice little features that just

make Resolve even better. Resolve

Studio, you buy it once for $295. It's a

smoking deal. There's no subscription.

You just buy it for 295 and you get it

forever. And so far, they have not been

charging for upgrades. It's very

possible they'll charge something for

upgrades in the future, but even if they

do, this is a smoking deal because there

are a lot of really cool things in the

paid version of Resolve that I would

highly recommend getting the paid

version for. But again, if you're just

starting out, and even if you're not

starting out, but you just don't need

some of those features, use the free

version. It's amazing, and there's just

no reason not to do that. So, my answer

is get the free version and see how it

goes. Consider getting the paid version

when you have some extra money or if you

need some of the really specific things

that Resolve Studio will give you. But

the free version is perfect for I mean,

90% of people can totally use the free

version. And this is really the reason

why we teach Resolve at Ground Control

is because our mission is to encourage

and empower creativity. We want people

to be able to create the things that

they want to make. And right now, Da

Vinci Resolve is like the greatest tool

for that. So, I'm really excited that

you're looking into it. Let's get into

the actual software, shall we? By the

way, I'm using Da Vinci Resolve 20 for

this video. In the future, whether

you're using Da Vinci Resolve 20 or 20.5

or 21 or whatever comes out next, 99% of

what we're going over is going to apply

perfectly. But if you're on Resolve 21

or something, probably not a big deal.

Another thing to mention is that I am

using the studio version of Resolve, but

everything that I'm going to show you is

in the free version. Okay? So, don't be

asking me in the comments, is this all

in the free version? Do you even listen?

So, when you open Resolve, this is the

first thing that comes up. Now, this

panel right here, this is called your

project manager. This is how you

navigate to your different project

files. You can see I have some of these

older projects here. Yours might look

more like this, and that's totally fine.

But here is where we open past projects

and make new projects. And all of the

projects here, these live in our project

library. We can browse our project

libraries over here. And by default,

you'll be working on your local

libraries. Now, what the heck does that

mean? So, a library is just a database

of your projects that lives on your

system. It's basically just a folder

that has your projects in it. Resolve is

kind of picky about where that folder

goes. It always wants to have access to

just that folder. You can't just put

projects willy-nilly all over the

landscape. So, by default, it's probably

on your system drive. You can hit this

little I and then click on open file

location. And so, for me, it's under C

users Casey documents resolve disc

library. And if you go through a whole

bunch of subfolders, you'll find all of

your projects. Now, I wouldn't worry

about this too much. Here's why. The

only time you're going to need to open

up a project is in Resolve. And Resolve

knows where that is. If you want to save

a project that's not in that library,

maybe you want to save it and give it to

somebody else or you want to save it as

a backup or something like this, all you

have to do is rightclick on your project

and go down to export project. that will

let you save a copy of your project to

your desktop or to an external drive or

to cloud storage or whatever you want to

do. That's going to make a DRP file.

That's short for Da Vinci Resolve

project. This is a great way to do

things, but just know by default all of

your projects live in your library,

which is a folder that Resolve knows

about on your system. You can have

multiple libraries and multiple folders.

We'll get into that some other time.

Now, you also have network libraries and

cloud libraries. A network library is

for a studio that has kind of a server

and all that stuff. You probably don't

need to worry about that. Cloud

libraries are shared projects. These are

projects that you can actually share

with other editors that have access to

your cloud account. And so just like we

have this folder on our local library on

our system, we can have a folder that

lives on the Blackmagic website

basically that you can all kind of share

and access and it's really slick. If you

want a video about that, let me know and

we'll talk more about it. But for now,

all we really have to do is go down here

to where it says new project. And let's

make a new project. And we're going to

call this intro to Resolve

to Resolve like this. And we'll just say

2025 cuz that's the year that I'm

recording this. And it's going to ask

you for a media location. For now, let's

just not worry about that. Let's just

leave it at default and hit create. Once

you do that, it's going to open up the

Resolve interface. This is where we

actually have to start doing things.

But first, a little tour. Most of this

interface, like everything within the

red box, is actually going to switch out

depending on what page you're on in

Resolve. Here we have the pages. And as

I click on the different pages, that's

going to switch out my interface.

And kind of like we were talking about

earlier, it switches it to kind of like

a different app, but it's not a

different app. This is all Resolve. And

it all kind of shares the same project,

which is really slick. And we'll get

into that here in a little bit. But

that's the first thing I want you to do

is go down here and just switch these

pages and get used to switching out that

interface. But where we're going to

start is this far left page, the media

page. All the way over here. Click on

media for me. And now all of our panels

have switched out for the panels for the

media page. Now, something to mention

here is that this isn't just switching a

layout. This is actually switching into

kind of a different mode. Even though

there are common panels in between the

pages, it's not just a different

workspace. It's actually like a

different mode of creating. So, let's

start talking about what the heck the

media page is. Well, each page has a

really a specific job. The media pages

job is to manage media. And so, this is

a perfect mode to put Resolve in when

you don't have any media in your project

and you're looking to put some in there.

So, a little tour of the interface. In

the upper left, we have this panel,

which is our media storage panel. This

is a way to navigate on your system to

any media that you want to bring into

Resolve. So, I'll just navigate to some

media here. And once you find the folder

up here, then you can actually preview

the media just by mousing over any of

these thumbnails. This is what we call

hover scrub because you hover over this

thumbnail and it scrubs the video. That

means it just moves that playhead back

and forth so you can see what's going

on. This is a great way to be able to

preview the footage that you have before

you bring it into your project. Now,

what do I mean by that? Well, even

though we're looking at this media here,

the media isn't actually imported into

the project. We haven't told Resolve to

use the media. We're really just kind of

using Resolve to go and find it. But, we

haven't said anything about wanting to

edit anything or combine clips together

or change them. So, in order to change

anything or work with this media, we

need to import it into Resolve. To do

that, real simply, we can just grab a

piece of media here from our media

storage and drag it down to this panel

down here, which is called our media

pool. It's going to ask if we want to

change the project frame rate. We'll

explain this a little bit later. I'll

hit change right now. Okay. What that's

going to do is put this piece of media

down here in the media pool. Anything

that's down here in the media pool

actually lives in our project. So, we've

told Resolve that, hey, there is a piece

of media called A54191

blah blah blah. And it lives on our

system. Here it is. I want to actually

work on this. And so, we've told Resolve

that we're actually going to use this

and play with it and work with it and

edit it with other videos and all the

fun stuff that Resolve does. All the

media up here in this panel is not in

our project yet. It's just on our

system. So, as far as Resolve is

concerned, it only really knows about

this one clip. In fact, I would consider

using this panel a little bit optional.

It is a nice way to be able to hover

scrub and kind of find the media that

you want. But you could also just close

this media storage and bring things

directly into the media pool. You could

do that a couple ways. You could

rightclick here and say import media.

You could go up to file and go down to

import media. Or you can just drag media

into the media pool from your system.

And so here I have a bunch of footage. I

can grab any of these and just drag them

into the media pool. And again, now it

knows about this footage because I put

it in the media pool. It lives in the

project. So now we have two clips that

we can work with. What if we had a bunch

of clips? So I'll just grab a bunch of

this and drag this in here. Now we have

a bunch of clips here in the media pool.

We have all these clips that we can work

with for our movie. But it would

actually help to start getting organized

here. That's one thing that the media

page is really good for. And especially

working here in the media pool. You can

rightclick anywhere here in this empty

space and you could go up and say new

bin. That makes a little folder inside

of the Resolve project where you can put

different pieces of media. So we can put

whatever piece of media we want here.

Just anything with the girl. Let's say

great. We just say girl. Sure. Can

double click and open this. And we have

our media here. We also have a list of

bins over here on the left which we can

kind of navigate to. And it's kind of a

little folder structure here. And so if

we have another bin here, we could say

wide shots. Sure. Let's pick all the

wide shots here and put them in wide.

Sure. And now we have these different

bins here. We can organize this. We

could also right click here in the bin

list and say new bin. That works too.

Bin three. Sure. And we can put those

into bin three. We can also drag them

like this. There are different views in

the media pool. You can zoom these

thumbnails in and out with this slider.

You can switch it to list view if you

want to see a little bit more

information about your clips.

You can switch this to metadata view,

which is kind of a mix of the thumbnail

view and there's also a little bit more

data on them. Most of the time I either

use the thumbnail view or the list view.

And this is really how we get organized

when it comes to our media here in

Resolve. All about the media pool. So,

I'm actually going to get rid of all of

these just so we have no clips here. And

I want you to do this with me. If you

downloaded the media to follow along,

you should have a folder called drag

these folders into media pool bin list.

Now, this is going to be absolutely

shocking, but here's what I want you to

do. I want you to select all of these

folders and I want you to drag them into

the media pool bin list right here. Just

like this, right under here where it

says master and drop them.

That's going to take Resolve a second.

And then it's going to make bins out of

each of those folders. So, that's going

to be organized just like it is in our

Finder or Explorer window in these

different folders. If you drag these

into the media pool itself and not the

bin list, it's just going to throw all

of the media in there without the

folders. So, make sure to drag them

here. All right. So, now we have all of

the media that we're going to use for

the rest of this video. and feel free to

open up the bins, go through it, and

take a look at some of this footage. We

have all kinds of fun stuff. We have a

production meeting here with multiple

cameras. We have footage that we're

going to color grade later. We have

footage that needs some compositing and

some effects. And we have some clips

that we're going to edit together into a

story in the edit page. Now, I don't

want to spend tons and tons of time on

this, but I do want to show you a couple

little extra things about the media

pool. One thing that can be really

helpful in the media page is the

metadata. Now over here we have a

metadata panel which has nothing to

inspect right now. But if I select the

clip that's going to show us metadata on

this clip. Now what is that? It's just

basically information that is recorded

with the clip. We can make this panel

bigger by going up here and clicking

where it says audio. That's going to

close our audio panel here. In fact, any

panel in Resolve pretty much has some

kind of header like this, usually at the

top. And when it's bright white, that

panel is open. And when it's gray, it's

closed. And so, this is how we can open

and close different panels in Resolve.

And this is common to all of the pages.

We're going to be doing a lot of that.

So, we have our metadata panel open

here. And I can see all kinds of

information about this, but there's

actually even more information. If I go

up here to the upper right, this little

button right here, I can click this and

say all groups. And that gives us just a

ton of stuff. Most of this is stuff that

we can fill in later. And so if you're

the kind of person that really likes to

be organized and really, you know, you

write notes about stuff and you tag

things and you have labels all over your

house and you have spreadsheets, this is

the best place for you. You can write

all kinds of notes about every single

thing that you want for your piece of

media here. You can write a description,

comments, the shot, scene, take, angle.

All of this stuff you can do right here

in the metadata panel of the media page.

It's probably way more detailed than you

ever really need to be. But here's

what's really cool about that. Let's

select this uh clip 24. I'm just going

to double click on this clip 24 here.

That'll load it up in this viewer. So,

if I double click on it, then I don't

have to be hover scrubbing it. I can

just scrub this up here in the viewer.

And what I can do is zoom in by just

rolling with the scroll wheel here to

this slate. This is the reason why we

shoot with slates is because then we can

easily tell what scene and take a clip

is. And we could if we wanted to go here

into the metadata and kind of record

that. So scene 4.5

take five. So now we have that here in

the metadata because we kind of read it

off of here and just typed it in. We can

do the same thing for other clips here.

Let's find it. So this is 4.6.

4.6 take two.

4.7 take 3. And you could go through and

tag all of your clips with this. What's

neat about this is I can switch this to

list view and I can rightclick up here

in this header and I can pick any kind

of metadata that I want to show. In

fact, I'll uncheck a bunch of this stuff

cuz I don't care about most of it. Just

uncheck all the stuff I don't care about

and then just check the stuff I do care

about. So, for instance, scene, take,

and then I can organize this by scene

and take, and I can quickly see where my

scenes and takes are, match that up to

my script if I want to, whatever I want

to do here. And so, this is a really

nice way to get organized. I could also

rightclick here and select keyword. And

here I could do something like, all

right, this is an over- the-shoulder

shot. So, we could go into keywords here

in my metadata, and type OTS. That's

short for over the shoulder. Just like

that. That's going to add that keyword

here. And anything that I have that's an

over-the-shoulder shot, I can just kind

of page through here and see if there's

anything else that's an OTS. This is

sort of an over- the-shoulder shot.

Sure, let's call it that. OTS like that.

Boop. Now, we have these listed as OTS.

So, I could sort them by keyword, but I

can also go to something called a smart

bin. Smart bins are like a live filter.

It's sort of like a folder that it puts

a copy of things into based on whatever

you set the smart bin to. And by

default, if you click on keywords, it

makes a smart bin for every keyword. So,

I can click on OTS, and that's going to

show me just the OTS shots. And you can

make keywords for absolutely anything

you want. It can be completely custom,

which is really neat. There's also these

collections here, which will give you

some quick things to sort by. for

instance, video clips, audio only, and

it even has a way with AI where it can

kind of sort and categorize things. In

fact, let's do that. Let's grab our

audio only stuff. Let's just grab all of

this here. I'm going to just shiftclick

the end of that, right click, and go

down to AI tools, audio classification,

analyze. This is something that's only

available in the paid version. I

promised I'd tell you when there's paid

version stuff. Any kind of AI stuff is

pretty much in the paid version. All

right. But what's neat about this is

once it analyzes all of that, then I can

go and look for clips just with

dialogue, clips with just music, clips

that are more for effects, and there's

also subcategories, and it will try and

figure out clips that have things like

effects in them, things like a door,

things like a dog barking, things like

laughter or liquid. Sometimes it does

all kinds of weird things, like it

thinks they're sheep or pig. There's a

toilet flushing sound. It nailed that

one. And so that's kind of fun. If you

have lots and lots of clips that you

want to organize a little bit better,

you can use that AI to do that. But

again, that's in the paid version and

you don't need to do that. You can

always make your own keywords and kind

of organize this yourself. You can even

rightclick here and say add smart bin

and you can do kind of a live filter

based on all kinds of stuff. So media

pool properties. You could even do like

things from a certain scene. If the

scene contains, you know, scene four,

then that's going to only show scene

four. And if we hit create, then we have

the smart bin one, which we could rename

scene 4. And you could have one for each

scene. All kinds of stuff you can do

with this. This is especially helpful

for documentaries and things where you

have lots and lots and lots of footage

that you need to stay organized with.

Things where you have, you know, 20

hours of B-roll. It's great to spend

some time before you edit to kind of get

this all organized here. And there are a

few more things that you could do in the

media page, but this is really what I

use this for most of the time is going

through and getting organized, logging

footage, putting putting metadata in,

and just kind of getting our head around

all of the media that's in our project.

And I'm going to show you one more cool

thing before we get into the edit page.

And this is something that you can

actually do in the other pages, but is a

great thing to do in the media page as

well. And that is syncing audio. If we

open up our clip and play this back, we

have the audio from the camera.

The kids are talking, but you can't

really hear them very well because the

camera is really far away. Now, we had a

boom mic here where we were recording

some audio so that we can actually hear

them, but that recorded to a separate

recorder. In fact, if we open up our

audio here, this clip 108,

scene four, shot 18, take three.

He said, "Scene four, shot 18, take

three."

Scene four, shot 18, take three.

Scene four, shot 18, take three.

So, how do we get this audio and this

video to sync up? Well, you could

actually put them together on a

timeline, which I'll show you a little

bit on how to do something like that

later. But one thing that Resolve can do

that's really great is we can take this

audio. Let's actually just take grab all

this audio and throw this into that

folder. So, we have all of the audio and

video together. I can take this clip and

this clip. I'm just holding control and

selecting both of these. And I can

rightclick and go up to audio sync,

autosync audio. This is something that

is still available in the free version.

and we're going to select synchronize

using waveform like this and hit sync.

What that's going to do it you just

about miss it. What that's going to do

is replace the audio in our video clip

with the audio from that mic. So here

camera audio

scene four shot 18 take three.

That still works but now go check it

out.

No, you go check it out. we can actually

hear them because we have that good

audio switched out. What's cool about

this is we can actually select all of

our clips. Just shift select all of

this, right click, audio sync, autosync

audio, and that's going to go through

all of our clips and sync them together.

So, anything that matches with the other

one, it's going to replace that audio.

Now, some of the clips it didn't really

work for, and that's okay. We can worry

about those later, but for most of them,

it worked. So, it says clip 20 and clip

19. Let's look at clip 20 and clip 19.

And there's not really any audio that we

need to hear. There's not not any

dialogue. So, it's really not that big

of a deal. But from now on in our

project, we'll hear the good audio fine

instead of the on camera audio. And

that's going to make editing a lot

easier. In fact, if we want to double

check and make sure that things are

synced up, we can rightclick here in

this header and find synced audio. And

that's going to list the audio right

here that it synced up with that clip.

Isn't that nice? Such a great feature.

Next, let's talk about editing. And for

that, I'm going to go into the edit

page. I'm actually going to skip over

the cut page for just a minute. But to

switch to the edit page, all I have to

do is click on edit. And that'll switch

to the edit page, and we're ready to

start working on our story. Now, a lot

of what you do in Resolve is going to be

in the edit page because you can kind of

think of it as like the hub for all of

the things that happen in your video.

The edit page is where we take all of

these clips that we have in our project

and we actually put them together in a

timeline. The timeline is where we

figure out the order of the clips and

how long they take and which parts we

use. And we're basically building our

new edited video with the timeline.

It's really all about building a story.

And so if we're shooting a scene in a

movie about Bill getting into his car,

we can shoot all of the different pieces

of this. Bill walking to his car, Bill

getting in the car, Bill getting a phone

call, Bill opening the door, Bill waving

to the neighbor. We can shoot all of

these things happening in any order we

want and then choose to change the order

in our edit. So, Bill opens the door.

That's the fourth thing that we shoot,

but we're going to put it first in our

edit. Bill waving to the neighbor comes

next.

Bill getting a phone call, Bill walking

to the car, and then Bill getting in the

car. And so even though we shot this out

of order, the order that we're building

in our edit is Bill opens the door, Bill

waves to the neighbor, Bill gets a phone

call, Bill walks to his car, Bill gets

in the car. This is the kind of thing

that I'm so excited about when it comes

to editing is because what we're doing

is we're building a story here. So

everything in the edit page is about

building that story. And that timeline

is going to be where everything in our

video lives. And we're going to make

more tweaks to it later in these other

pages. But for now, kind of keep that in

mind that that's our goal with the edit

page. So, let's talk about the

interface. We are going to have some

familiar stuff here. Actually, we have

these little buttons up here. When we

click these and they're white, they open

up different panels. And the panel

that's open by default over here on the

left is our media pool. Now, this is

exactly like the media pool in the media

page. The only difference is instead of

it being down here,

it's over here to the left. But you can

still do all the same things. This is

all the media that lives in your

project. We still have our bins. We

still have our smart bins. We can still

look at our media in various different

ways. But you can sort of think of this

as like your cabinet of ingredients that

we're going to use to make our video.

Here we also have a couple of viewers.

This left viewer is called our source

viewer.

And this right viewer here is called the

timeline viewer.

What the source viewer is for is if I

open up one of these pieces of media,

double click on it, I can preview this

piece of media. So I can scrub through

this and preview this and look all

through any kind of media that I have.

And you do that just by double clicking

on any of these pieces of media. And you

can sort of think of this as like

picking up something and looking at it.

So if you have a snack in your cabinet,

you pick it up and you look at it like

this, but you haven't actually added it

to your plate yet. All you're doing is

just kind of previewing it, looking at

it. So that's cool. You can double click

on any piece of media to load it up here

in the viewer. You can also switch this

to this second mode right here with this

little button. And this is called source

tape mode. And what this is is it

basically takes all of your footage and

it loads it all into this source viewer

all at once and it just kind of puts

them all together. And so if I scrub

through this, I'm scrubbing through this

first clip. And if I go to this second

part after this little tick mark, I'm

scrubbing through the second clip and

the third clip and so on. And so I can

scrub through all of my clips in my

media pool, at least in the bin that I

have up here, all at once in one motion.

This is great if you're looking for a

specific shot visually that you want to

lay over something. Makes it really,

really quick to be able to find what you

need to find. But you might find it less

confusing, maybe a little bit easier

just to use this first icon here, this

first mode where you double click on a

piece of media and load it up here in

the viewer. Now, once we have a piece of

media selected that we like and we

actually want to add that to our video,

we want to put that into our edit, what

we have to do is add it to a timeline.

If the media pool is like our cabinet

and our viewer is like picking up a

ingredient from that cabinet, then the

timeline down here, this is kind of like

our plate.

So, if we want to actually eat

something, we're going to put it on our

plate. So, if we want to add this to our

video, I can grab this clip just in the

middle. I'm just grabbing it and

dragging it down here to our timeline.

And that's going to add this clip to our

timeline, which is like, you know,

putting an apple on our plate. So now we

have an active timeline. We have this

playhead that goes back and forth. And

this is actually going to make the story

of our video. Right now our story is

this. If we go all the way to the left

and I hit spacebar to play, we have a

bunch of black space here. We have an

empty space. And then eventually our

clip starts. And this is our full clip,

not edited. We haven't done anything

with this. It's just literally the clip

thrown into the timeline. We still have

people moving around. We still have the

slate, all of that kind of stuff. And so

if we were going to export this movie

right now and we were going to put this

on YouTube or something, this is exactly

what people would see is 6 seconds of

black followed by just this unedited

footage. That doesn't really make a

whole lot of sense. But we've done

something really exciting already. We've

put this clip down onto our timeline,

which means that we actually have a

video in progress. Now, we could render

this out and it will be a video that's

different than this clip. So, we've done

a little bit of magic already. We've

created something. Now, it's not very

good. It's not very interesting. So, we

can change that. But all of the magic of

building our story happens down here in

the timeline. So, let's change our story

to be a little bit better here. The

first thing I want to do is I don't want

this black right here. I don't want to

watch 6 seconds of black before anything

happens. So, we can take this and just

drag it to the left. And we always want

this kind of pushed all the way to the

left at the very start of our clip

because then we start with an actual

video, right? We can zoom into this

timeline by clicking this little plus

right here. That's kind of our zoom bar.

We can zoom in and out. And I can adjust

this middle bar here. And I can move

this up and down. And by default, we

have a video track and an audio track

added here. If I take the bottom edge of

this audio track and I drag it down,

that'll make these waveforms a little

bit bigger. And so we can see a visual

representation of what's happening in

the audio. So the bigger the spike, the

more the louder the audio. So we can see

where the slate is right here. We zoom

in here. We have these little spikes.

Teen take one.

That's where that slate made that spike.

And so we're going to start sometime

after this.

What was that?

So her saying, "What was that?" So

that's a good place to start this clip.

That's where it actually gets

interesting. That's the part that we're

supposed to show. And so what we can do

is we can trim this and kind of cut out

all of this part and just start the clip

there. The way that we do that is we

just mouse over the edge of this. And

you'll see how my mouse kind of turns

into this left bracket. I can grab this

and then just slide this over like this.

And I'll have that clip kind of start

right there. This is called trimming a

clip. So just like you would trim a

hedge or something like that or trim a

piece of paper, you kind of cut off all

the excess. Right? So, we're cutting off

this first part. Let's play this back.

I'll just hit spacebar.

What was that?

Great. I like that. Let's stop right

after that. And I'll take the edge of

this and drag this over here.

And we can see the outline of the full

clip. And we're just going to use that

little part. There we go. So, now this

is a lot shorter, but we have all this

black here. So, we can take this and

slide it all the way to the left. Just

like that. Okay. I'll zoom in here so we

can see what's going on.

What was that?

Great. This literally this literally

what I just showed you. Picking a clip

here,

dragging it down, and then deciding

where you want to start that clip. So

maybe starting it right here.

Go check it out.

And trimming it to just be that part

that you like.

Check it out.

Um, no. You go check it out.

Trimming off all the excess. This is

like the bread and butter of editing.

This is like 90% of it. You can make so

many amazing videos literally with what

I just showed you. That's all you need.

That's all you need for so much stuff.

We're just bringing those clips in,

trimming them, and then putting them

here in the timeline. And ideally, there

wouldn't be any empty spaces in between

them. So, we cut from one video.

Go check it out.

Next video.

All right. We're putting these clips

together. And that makes a new story.

Just like in our example of Bill walking

to his car, we're taking all these

separate clips and then putting them

together here in an order that we like

in the timeline. Okay. And what's cool

is that we have control over this. We

can do something like completely cut out

the phone call. Bill opens the door.

Bill waves to his neighbor. Bill walks

to his car. Bill gets in the car. We can

cut out this this whole first part and

just say Bill walks to his car and then

Bill gets in the car. We are in complete

control of this story and it's all about

where these clips go in the timeline and

what order they go in. So this is so

great. Let's let's get our hands dirty

here a little bit. Let's let's make a

story. So if we were to go to this

second icon here, this source tape, and

scrub through this, we can kind of get a

good idea of the story here. These kids

arrive and they see this crashed UFO.

They're a little bit scared about it, so

they kind of argue who should go check

it out. The girl finally convinces her

brother to go and check it out. So he

walks towards the UFO. So he walks up to

the UFO. They're both really nervous.

And then as he walks up there, something

moves. So this is just a few clips from

a scene from our movie called Tuesday on

Earth. And so what's great is we have

all these clips and we can choose to

tell this story however we want. So a

good way to start oftent times is with a

wide shot. And we want the wide shot

that shows the first thing that happens,

right? So, we have the kids kind of

riding up on their bikes, putting their

bikes down.

And so, let's use that for our first

clip. So, that's clip 10. I'll just

double click on that. That'll switch to

our source viewer. I'll grab this and

drag this down into our timeline.

For this first clip, let's scrub through

until we're ready, until something

interesting starts happening. So, right

as they kind of get off their bikes,

that's probably a good place to trim

this beginning. Move this down. Let's

play this back.

I can hit control F to play this full

screen like this.

Whoa.

Great. That's about all we need right

there. And so we could use that and trim

it this way. We also have other takes

here. And so let's scrub through this

and see how this works.

And you'll notice now when we scrub

through things, the video changes on the

right viewer. That's because again, this

is the timeline viewer. This is the

preview of what your actual movie is

going to be. This is just picking up

footage from over here and looking at

it. Nothing that happens over here is

necessarily going to happen in your

video. It's all about this viewer right

here, the timeline viewer. If you forget

which one is which, just scrub your

timeline and see which one moves. We can

scrub through this and figure out what

we like for our different tanks.

Great. I like that. Let's trim the end

and let's trim the beginning

right after they start moving.

Okay, something like that. And move this

all the way to the left. So, we have our

first shot of our

movie. Them getting off their bikes and

walking up.

Let's maybe go back into our source tape

here. Kind of scroll around and try and

figure out what what we should do next.

Again, we're in control of this. That's

what's so nice. So, they end this shot

by kind of standing there like this. So,

let's cut to them standing together.

I think probably this shot right here,

shot 31. But this time, instead of

dragging this entire clip down here to

the timeline and trimming it, we're

going to do a little bit of work before

we add it to the timeline. We're going

to do that by setting ins and outs. See,

in our source viewer, we're viewing the

entire clip, right? The whole thing. And

everything that might happen in that

clip is not necessarily stuff we want to

keep. Saying action, the actor having to

sneeze, Bill waving to the neighbor,

Bill waves to the neighbor again.

awkward ending and cut. Most of that

stuff we don't need. What we really want

is Bill waving to the neighbor, right?

So, what we can do is kind of trim out

the extra stuff in the source viewer

before we take this and we put it down

into the timeline. And so, what we'll do

is we'll set what's called an in and an

out. An in is like the start of the clip

that you want and the out is the end of

the clip you want. You can think of this

like swimming. When you get in the pool,

you start swimming and when you end

swimming, you get out of the pool. So an

in is the beginning of your clip and out

is the end of your clip. So we're going

to scrub through and try and find the

beginning of our clip, which is probably

going to be right before he starts

talking.

Kind of scrub through this. And then

let's just play.

Go check it out.

Great. So yeah, right about there. And

we want that to start there. So we're

going to set an in. There's a few ways

to do that. One of them is you can click

this button right here, which is our set

in button. Like that. No way. You

The other thing you could do would be to

hit I on the keyboard. I for in

go check it out.

Let's play this back and see what it

looks like.

No way. You go check it out.

Fine.

Okay,

I'll go check it out.

Good. Now, let's end the clip there. And

we can either click this set out button

or we can hit O for out. Just like that.

Now, we have these little gray

indicators here. And what that means is

that our clip is this long, but we're

only going to use this part of the clip.

This is what we're actually going to

use. And if I click and drag from the

middle of this clip down here, we'll see

it's much shorter than it would have

been, and it's already pre-trimmed. Now,

that doesn't mean that we can't change

it. We can grab this, and we can take

the edge of this and trim this. And you

can see how big the original clip is

with this little gray outline that shows

up. It's just like we were to put this

down and trim it. We just don't have to

move things around in the timeline to do

that. We could just kind of trim this

beforehand and bring this in. And so

what some people will do is go through

all their footage and pick the part that

they like. They'll kind of do some

pre-edits.

Like this I for in. And I can also use

the J, K, and L keys on the keyboard as

these buttons right here. J plays

backwards. K starts and stops. and L

plays forwards. So you can kind of move

things back and forth with J and L.

Go check it out.

Um, no, you go check it out.

Fine.

Okay,

I'll go check it out.

Good. That looks good. I'll hit O for

out. And I've just grabbed the part that

I want and I can drag it down into the

timeline. Just like that. And so a great

way to start getting things here on the

timeline is just to go through all of

your clips and pick the parts you like.

Go check it out.

Um, no. You go check it out.

Fine.

Reset. We don't want you to move.

Right.

Okay. Needs to back up a little bit. So,

we're going to use the second take. I

can scrub through this faster by hitting

L twice. That's going to go through this

at 2x speed. And then I can hit K to

stop and then L to play back normal

speed.

Go check it out. Right. I guess

J to kind of reverse. I for in.

Go check it out.

Um, no, you go check it out.

Fine.

And again, I can just drag this down.

So, you can do this for all of your

footage. And a good way to do this is

just kind of throw all the footage into

a timeline. And then remember, you can

always move things around,

change the order, and play around with

things, and you can always trim it more

or less. You really can't ruin it too

badly. And so, this is the fun part

about editing is creating this story.

So, let's just maybe cut to this second

shot here. And I'll just trim this back

a little bit to where they're kind of

just looking dumb at this thing. And

we'll cut from this wide shot into this

closeup like this

action.

We got to cut out that action though.

Go check it out.

No way. You go check it out.

Fine.

Okay,

I'll go check it out.

Great. So, we have the basic actions

happening where they come up, they see

something,

they start arguing, and eventually the

guy starts walking towards the craft.

But we want to show this in a more

creative way. And so, we actually have

these other shots that we can cut in

between them and make it look a little

bit more interesting. So, for instance,

when the girl's talking, we want to see

the girl's face a little bit closer. So,

let's see if this take works.

Go check it out.

Um, no, you go check it out.

And I like that little Wait, what? Like

this? This right here. So, let's trim

that. And let's see if we can put this

in there somewhere right after he says

go check it out.

Go check it out.

Right there. That's probably a good

place to cut. Now, we haven't done this

yet, but we have this clip, and this

shouldn't go before or after. It should

go right in the middle here. So, what we

can do is we can split this clip a

couple of different ways. One way we

could do it would be to go and click on

this little icon here, this little razor

blade, and that's going to turn our

mouse into a razor blade tool. And

whenever we click on this clip, that's

going to split the clip right there

wherever we click. So, we can just chop

this up if we want to. I'll hit

control-z a few times to undo that. What

I like to do is figure out where I want

to cut by moving this playhead back and

forth and then use a keyboard shortcut

to split it. The default keyboard

shortcut for Resolve is control

backslash. That's the backslash that's

right above enter, like the return key,

kind of in the middle of the keyboard.

If you hit that, that will split this

clip right where that playhead is. And

then you can move the clips around and

put this clip here in between them like

this. So now, let's see what this looks

like.

Go check it out.

Um, no, you go check it out.

See how that kind of works. Fine.

Now we want to see him say fine. And so

really this is kind of the same process.

So we split it right there. Controll

backslash.

And we might not use the rest of this.

But we'll just bring it down there kind

of out of the way for now. Have him

saying fine. Let's see. Where's another

one? There we go. Him saying fine.

No, you go check it out.

Right there. I like that. Let's trim

that here. Bring this in like this.

Oh, check it out.

Fine.

Great.

So, he says fine here.

Fine.

Let's trim this.

Put this in order. So, now we're putting

clips in the order for the story, but

we're also choosing clips that show the

story the very best. This is where it

starts to get really fun.

Go check it out.

Um, no. You go check it out.

Fine.

Okay,

I'll go check it out.

Great. So, we'll maybe cut right there.

And now we have a sequence of a few

different shots that really start to

tell our story. And then it's up to you

as the editor to go in and think about,

okay, how fast should one clip cut to

another clip?

Go check it out.

So, he kind of pushes her. I feel like

this should happen a little bit quicker.

go to that other shot. Anytime that you

cut in between one shot and another, you

can decide to show more or less time.

And so you can kind of control time a

little bit. This is the one part of the

world where you can control time. That's

what's really neat.

Um, no, you go check it out.

Good.

Let's cut that a little bit tighter,

too. Move this down.

Fine.

Okay.

You notice how this cut works really

well.

Fine. The reason for that is because he

starts to turn his head back in this

shot and he finishes turning his head on

this shot. This is called cutting on

action. That means that there's one

action that happens in one shot that's

continued in the other shot. And so our

mind accepts the little differences in

between the shots and it makes it feel

like they're continuous. Just like I

start waving my hand in this shot and

then we cut to this shot, it feels like

it's continuous, right? And that's

because it is. I mean, this is kind of

recorded live, but that's what really

helps

is that little tiny movement. And so,

looking for those opportunities to make

those cuts a little bit easier. For

instance, when he pushes her, she kind

of moves a little bit.

Maybe

this happens in this shot, too. Does he

push her? Yeah, she moves forward a

little bit. So, maybe as she moves

forward just a touch, maybe that'll work

a little better. I can select this empty

part and hit delete. And that's going to

get rid of that gap.

See how there's like that little

movement? She's moving forward. Kind of

moving forward a little bit there, too.

That might be a good cut. It might just

take too long, and we don't want to do

that. We'll see. But that's all up to

you. Now, a couple other things about

adding clips. Let's go through here and

let's add this shot right here. Shot 24.

This is what we would call their POV,

sort of. It's actually an

overthe-shoulder shot, but it's what

they see. And so, anytime that you're

editing, especially when somebody's

looking off screen and they have some

kind of reaction, just like what's

happening here where they're walking

towards and they go, "Wo

then that sparks a question in the

viewer's mind. What are they looking

at?" And so, a lot of the time it's a

good idea to show what they're looking

at in the next shot. Now, the next shot

in the timeline right here is actually

them standing. And it's sort of a

problem because they're actually

standing farther apart here than they

are in this shot. And that's something

you'll probably notice. Like it looks

weird. So, we can kind of feed two birds

with one scone here. We can answer the

question, what are they looking at off

screen? And we can bridge this gap to

not be distracting by adding this shot

in here. Couple ways that we could do

this would be to zoom out, select all of

our shots to the right, and move it down

so that we have some space to put this

shot. And we can drag this shot in here.

And we could set the in and the out on

this shot, and we can drag it in here

like that. And then kind of delete the

gaps, and that would work. What's a

little bit faster is to put our playhead

right on that edge. You can tell it to

snap to the edges by clicking this

button right here. If this magnet is

white, it'll snap to the edges like

this. If it's not, then it won't really

snap. It'll You can kind of put this

wherever you want. But I like have

snapping on for this kind of thing. Put

this right on that edit, that edge in

between the two clips. And what we can

do is click one of these buttons right

here. These are our edit buttons. This

one is insert clip. And what we'll do is

we can set an in and out like the

beginning and the end of this clip.

Something like that. And we can hit this

insert button. And look what happens

when I click this. It inserts this clip

right where that playhead was and it

moves all the other clips this way down

the timeline. So if I hit control +- Z,

we can kind of see what happens. Control

shift Z to redo it. It's just putting

that clip in there. So now we have in

our story, they show up and say, whoa.

And then we see what they see. Ooh yeah,

baby. That looks good. And now we've

forgotten how far apart they were in

that first shot. And so now we cut here

and nobody cares. Works great.

Go check it out.

That's how we build a story here in the

edit page. So cool. And this basic

process works for any kind of video

you're making. Whether you're making a

film like this, or whether you're just

doing a YouTube video, documentary

commercial, it's all about finding the

clips you want, setting the in and out,

and putting it on the timeline in some

way. Whether it's dragging it to the

timeline, or whether it's using an edit

button like this insert. There's also a

couple other edit modes. for instance,

overwrite, which just kind of pastes

this over everything. There's replace,

which will swap out the clip here for

the clip that we're over here in the

timeline. And you can click and drag

here and drag this viewer onto this

viewer. And you have a few more options,

too. For instance, place on top puts

that clip on top and on the next layer.

We're always going to be looking at the

top layer in our viewer,

but we can decide to turn this off and

move this around without overwriting

this clip. One handy edit button here

would be append.

If you drop it on this append, it's

going to throw this clip, whatever we

have selected here, at the end of our

timeline, which is great if you're just

kind of gathering the clips that you

want. You can just double click, set

your in and out. Okay, drag it over

here. Append it end. You don't have to

worry about where you are in your story.

You can just kind of go through here.

Pick the parts you like.

Append. You don't really have to worry

about it.

Great. Append at end. And you can throw

those all in the timeline. And then you

can move them around and adjust them and

trim them and split them and all the

stuff that you need to do. So, if you

want to get really used to how the edit

page works, I would highly recommend

grabbing this footage, dragging it down

into the timeline and just trying to

make a story out of these clips. Now, a

couple quick tips that I think are

pretty helpful for actually putting

together a story here is I like to use

what I call the anchor technique. This

is something that we go into a little

bit more in our end toend editing

course, which I'll tell you more about

in a little while. But the big idea here

is that you start with one shot where

multiple things are happening. So, we

have this wide shot of him walking

towards the craft. We have her kind of

looking around. And so, we can kind of

start with this as our anchor for this

part of the edit. And then we can use

these other shots to enhance it. So, we

have her kind of looking back and forth

right here. We also have this shot of

her kind of looking as he walks forward.

We have the shot of her looking back and

forth right here. And so, we can take

this shot and we'll just kind of trim

this

And we can drag this up to a new track

and kind of put this over our shot like

this. So we have our wide shot here and

then we have the close-up here. And we

can kind of move this back and forth

without overwriting this just because

it's in that top layer. And we can kind

of just play around with this

until we feel like it works.

Maybe we want to cut to a closeup of

him, which we have right here.

Yeah, maybe this one. Sure. And again,

we'll just drag that up like this.

Maybe we'll just cut to this first and

then cut to her. So, we have him

walking forward.

And we can kind of mix these in however

we want

to make this scene not only have all of

the actions that happen in the scene,

but also make it look exciting and have

a bunch of dynamic shots, right? And we

can choose whether to use shots or not.

I mean, we have this shot right here,

which I really like of her kind of

thinking things over a little bit.

Check it out.

We could decide to put this right here

if we want to, but we're using the shots

that are already here down in the

timeline to figure out where to put our

other shots. So, that's the anchor

technique. Now, for a couple of

shortcuts, these are really, really

important. Let's go ahead and put this

right here. And let's say I want to trim

this about this much. I can do that with

my normal selection mode, my normal tool

here, which is activated right here in

the toolbar. Or I can use the trim mode.

That's this one right here. And what

this does is it does similar things, but

if I grab the edge like this and I bring

it this way, it actually kind of sucks

the clips down. And so I can grab the

edge here and I can trim this, but it

doesn't leave a gap. And so it's just a

little bit quicker way to trim things.

It's the exact same thing as trimming

this with our normal selection mode,

selecting this emptiness, and moving it

down like that. It just does this all in

one little thing. The other thing this

tool will do, this this trim tool, is if

you click and drag in the middle of a

clip towards the top, what this will do

is slip this clip. And that means that

it's going to keep the same in and out,

but it's going to use a different part

of the clip. And so if I want to move it

down like this and use this part

just what happened

then that works. I can also slide the

clip if I click and drag in the middle

towards kind of the bottom of the clip

like this. And that moves this back and

forth and it kind of trims the other

clips around it. And this makes more

sense if we have these all on one line.

I'll just drop these in real quick. If

I'm in the trim mode here and I grab

this lower part, I can move this back

and forth and it trims the other clips

there with it. So, I can trim the other

clips or I can move this kind of clip

back and forth. And so, this is a nice

way if you don't quite have your clip

settled in just right. You can use the

trim tools to really kind of move things

back and forth. And so, it really,

really helps, especially if you're

trying to make an edit just right. And

when you grab this and you move it back

and forth, it shows this multiple view.

And so we have the first frame and the

last frame of this clip. Then we have

the last frame of this clip and the

first frame of this clip. And so you can

see all of the transition points all on

one view here. So trim tool is really

useful, especially if you're trying to

edit a little bit quicker. And speaking

of editing quicker, keyboard shortcuts

are very, very important. You can hit T

to select your trim tool and A for your

normal selection mode. Remember, A just

kind of moves things around like this.

Overwrites things, but T will do the

slip and slide and that kind of thing.

You can hit B to go to your blade tool

to chop this up however much you want.

But again, I would highly recommend

learning the keyboard shortcut just to

split this at the playhead. Controll

backslash like that because that's a

nice way to do that. The other major

keyboard shortcut I'd highly recommend

learning is the ripple trim shortcut.

Let's say I want to chop this part of

the clip off either by doing this and

then deleting it and moving it down or I

could use the trim tool and move it down

like this.

Well, I can do that with a keyboard

shortcut by aiming my playhead right

where I want the clip to start and

hitting control shift left bracket.

That's going to do all of that all at

once. is just going to trim this and

ripple everything down this way. Ripple

is the fancy word for moving clips down

so that there's no gaps. And so we can

ripple trim control shift left bracket

for the beginning. And then if we want

to trim the end, control shift right

bracket like that. Now you may notice

that both control backslash and control

shift left and right bracket take two

hands on the keyboard. And so if you

have one hand on the mouse, it's kind of

awkward to remove your hand from the

mouse and then hit a keyboard shortcut.

It's slightly faster actually to

probably just grab it with the mouse.

And so to actually save time, I'd highly

recommend customizing your keyboard

shortcuts. So how do you do that? Up

here in our Da Vinci Resolve menu, we

can go down to keyboard customization.

And this is a whole big panel

dedicated to keyboard shortcuts. And all

you have to do is click on whatever

modifiers you want and then whatever you

would press after that modifier. So

control shift left bracket. And this

will show you the command. So this is

start to playhead. If I click on this,

that'll open up start to playhead right

here. And if you want, you can change

the keyboard shortcut for this. So I

have mine set to Q for start to playhead

and W for end to playhead. Let me kind

of walk you through this because it's

kind of annoying. So I'm going to switch

back to my Da Vinci Resolve shortcuts

here.

By the way, they have presets for

shortcuts that are kind of like Adobe

Premiere Pro and Apple Final Cut, Avid

Pro Tools. What I usually do is I set

this to Da Vinci Resolve. And I'll do

this, this control shift left bracket,

this is start to play head. If I click

on this command right here, that'll

bring that up right here. If I click on

this little plus, that will make a

little box here, and I can type whatever

keyboard shortcut I want. So, start to

playhead, I'm going to select as Q.

Great. Now, it's going to come up and

say Q is already assigned to something,

which is fine with me because I'm never

going to use this view source timeline

viewer. You might use it, but I'm not

going to. So, whatever you assign to it,

it's going to tell you if that's already

a keyboard shortcut. So, I'm just going

to say assign. Now, it gives you a

little warning here. The reason there's

a warning is because neither of these

keyboard shortcuts are going to work

anymore because one keyboard shortcut is

assigned to two things, which you would

think it would just do both things, but

it actually does neither. So, I'm going

to go out of here, go back to my just

vanilla keyboard here, and click on Q.

Then, it's going to list all the

commands that are under Q. So, we have

start to play head, which is what I

want, and then source timeline view.

Let's click on source timeline view

here, and let's just get rid of the Q

shortcut right there. Great. We're going

to do the same thing with W. So, let's

go ahead and open up W, dynamic trim

mode. Let's take that off. Okay. And

then we're going to look up control

shift right bracket, which is end of

playhead. Let's make this W. Great. So,

now we have Q and W set to start and end

of playhead. The other thing that I like

to do is set this S key to split clip,

which is control backslashplit clips

right here. So, I'm going to actually

set this to S. It's going to say, "Hey,

S is already something." I'll say,

"Okay, assign." Then let's go back to S

and take away toggle slip slide. Boom.

Like that. Now I have Q and W and S. And

those are really the only keyboard

shortcuts that I change for Resolve.

Everything else seems to make pretty

good sense to me. But those are the ones

that are really nice because I can use

three fingers to do a lot of editing.

And I'll show you the power of that here

in just a second. But this looks good. I

want to make sure to save this. So, I'll

go up to these three dots and say save

as new preset. We'll call this intro

intro shortcuts. Hit okay. Great. So,

now this is saved. I can close this. And

now we should be able to hit Q and

that's going to trim the edge. And W.

That should trim the edge. And S should

split this. So, I have three fingers

that can do a lot of these editing

tasks. So, check this out. Especially if

you're editing something where you have

a lot of footage or whether you're just

trying to cut down maybe a podcast or

something like that.

You can go through here and just look at

the waveforms like this and see when

somebody's talking, right? And so you

can split it with S. And then you can

get rid of this

part with a ripple trim to start. So Q

like that. See how this works? S Q

just like that. And I can do this by

just aiming with my playhead

and then Q.

Right.

Just like that. And I can trim this

whole thing and cut out all of the

silence

really, really quickly

just by looking at the waveforms and

trimming it to

those waveforms. So, that's a great way

to cut down things that have a lot of

talking and just keep the talking. In

fact, that's how my editor Sam is

cutting this tutorial. Pretty much same

thing. QWS. What I would recommend

doing, especially if you haven't edited

before, is I would double click on each

of these clips, set the in and out for

whatever part looks interesting and drag

it down here into the timeline. Add

these all to the timeline, and then kind

of mix them together and put together a

story in the edit page. Now, I'm going

to cheat a little bit and use a timeline

that I've already worked on just so I

can show you some more cool stuff. And

to show you this kind of stuff, I'm

going to import a bin. So, just like you

can open a project or export a project,

you can export just a bin or a timeline

in Resolve. It's really helpful. I can

rightclick here in the empty space in my

media pool and go down to import bin.

And I'm going to select a bin that says

Casey only. You will not have this bin.

Okay, say it with me. I will not have

this bin. This is Casey only. All right.

It's not included in the files. This is

just for my demo purposes. Okay. So,

we're gonna hit open. And that's how you

import a bin. Inside of this bin, I'm

going to have a couple of timelines that

are going to help us learn some stuff.

Just double click on my edit demo thing

here. And here we have an edit that I

made using this footage here on the edit

page. Let's take a look.

Whoa.

Whoa.

Mhm.

Go check it out.

Um, no. You go check it out.

Fine.

Okay.

Check it out.

What was that?

So, it's a cohesive story. It has a

beginning, a middle, and an end. The

kids show up, drop their bikes. This is

what they see. They argue. The guy

starts to walk forward. He's nervous.

She's nervous.

it moves. They kind of panic and they go

in to investigate. Now, a couple of

things to point out here about this edit

that I made.

One clip here has a split,

but there's no cut. We're not really

cutting to a different clip. It's just

split here for essentially no reason.

What we can do is we can actually repair

this by right-clicking here on this edit

point and saying delete through edit.

And that's going to make this into one

clip, which is going to be helpful later

when we're doing color. There's no

reason to have a clip split if you're

not going to cut to a different clip or

severely change that clip. By the way, a

great way to move up and down the

timeline when you're zoomed in is to

click and hold the middle button on your

mouse and drag. And what that will do is

let you kind of grab this timeline and

move it back and forth. And that

actually works for just about everything

in Resolve. I can move this preview

around by clicking and dragging on my

middle button, on my scroll wheel

button. That's kind of the click and

drag and pan sort of shortcut for most

things here in Resolve. So, I can move

this over here. And it doesn't look like

we have any more through edits. Oh,

wait, there's one. Let's right click on

this, delete throughit. There we go.

Good.

But actually, I had this split over here

for my audio. And the reason for that is

because this audio is really loud. So,

if we play this back,

those are just really loud bike sounds.

And so, the cool thing about the edit

page is not only can you organize your

video tracks and kind of change their

order and everything, but you can also

mess with your audio. And so, what we

really want to do is take the volume

down on this clip. We actually have the

volume turned way up here in our edit,

but normally there's a little line right

here, and you can click and drag this up

and down to change the volume of your

audio. And so I had this turned way up

because I want to hear kind of the quiet

parts, but it's way too loud for when

the bikes fall down. And so what we can

do is just split this right here. And I

just want to split the audio. And when I

select this, it's going to select both

the video track and the audio track. And

I can just select the audio by going up

here and unlinking this chain link here.

And then I can just select the audio and

move that separately. I can also hold

alt and click on this track just to

select it by itself. But either way, I

want to select just the audio and then I

can split it with control backslash or

whatever you set your keyboard shortcut

to. I can just split that right there.

And then I can have a separate volume

line for this part and this part.

And that lets you change the volume of

your audio. Now, we don't want there to

be a really harsh difference in our

audio where the ambient noise is really

loud and then it turns it down

immediately. See, if I bring this back,

we'll have this kind of sound

where it turns it down immediately. And

so, what we might want to do is

crossfade this. I can rightclick on this

edit and go down and I can pick one of

these crossfade options. It doesn't

really matter. You can pick the 12

frame, let's say. And what that's going

to do is crossfade these clips together,

which if you have two different clips,

it's going to fade out the first clip

and then fade in the second clip kind of

gradually so that you don't notice a cut

there. But when you have the same clip

at different volumes, what it

essentially does is it kind of just

turns down the volume over this amount

of time. So, it's a lot more gradual

and you don't notice that difference.

We could do the same thing here.

Yeah, that's nice. And I find this is a

really nice way to adjust your audio

over time. The other way that you can do

that, I'll just take this volume line

down a little bit. The other way you can

do that is hold alt and click on this

line and that will give you these little

control points and you can move one up

and one down and you can kind of adjust

the level of volume over time here. So

you can get really detailed with how you

want to change your audio in your clip.

And so if you have one really loud part,

you could just kind of squish that down.

So we could do this. I'll just kind of

get rid of this and bring that out like

this. We could

hold alt and add a couple of control

points here.

I can bring this control point down and

just bring down that little part. And

that's good, too.

It's really kind of dependent on what

you want to do. The reason I tend not to

do this so much is because it's kind of

a pain to grab these little points and

move them around. And it's easy to kind

of mess this up or get too many points

or, you know, if I have to move one,

then I have to move the other one. It

just kind of is annoying. And so what

I'll usually do is just select this

audio,

turn this clip down, and crossfade these

because then I can do stuff like roll

these edits back and forth.

And that's going to change where that

adjustment is really easily. It's really

up to you. Here you'll notice this

little triangle. This is from bringing

this little white handle over. And what

this does is this makes a fade, like a

fade out. And so anytime that you have a

clip where you want it to fade in or

out, you can take these little white

handles and bring them in, and that's

going to adjust a fade. That works for

both audio as well as video. We have

these little white handles in this

video, too. And so we have this fade up

from black.

Go figure it out.

And then fade down, right? So, if you're

making a movie trailer where you have

stuff fade in and out all the time,

that's a good way to do it. And oh my

gosh, there's so much more to get into

with adjusting stuff on the edit page.

But we're already going to have a long

enough YouTube video here. So, I want to

show you just a couple other things in

the edit page before we move on. Let's

talk about the inspector. So, the

inspector is a panel that you can open

up over here on the right. And what this

is is a list of properties for whatever

we have selected. Now, this is a

universal thing in Resolve. There is

some version of an inspector on just

about every page. And so, this is an

essential concept for you to understand.

When you select something, this clip has

certain properties. And when we have

this selected, what it does is it opens

up those properties here in the

inspector. So, we select something and

we adjust its details and its properties

in the inspector. Now I can hit this

little button to expand the inspector so

that it's the full height of the screen

and we can see all these different

properties. So every clip has a bunch of

properties. So I'll select this clip

here and we'll just see what these all

do. There are tabs up here and these are

different categories of properties. So a

clip by default is going to have video

and audio tab. And depending on what

other fancy things you do, these other

tabs might be available. But the video,

we start with the transform properties.

These are ways that you can move and

scale and rotate your video. And these

controls, some of them have sliders,

which makes sense. You slide this back

and forth. And some of them just have

numbers, which you can double click in

and replace with a number. Or you can

click and drag left and right on any of

these numbers to control it, sort of

like a slider. You can doubleclick on

any of these properties to reset them.

You can also hit this little reset

button. And so now if we want to zoom in

on her face, we can zoom like this. And

we can adjust the position to be right

there on her face. We can adjust the

rotation if we want to. And that's how

we would do that for this clip. Now,

it's only adjusting this clip because

this is the clip that we have selected.

If we go to this clip, it is unaffected.

In fact, if we're over this clip and

we're looking at it, we're adjusting the

zoom and nothing's happening. That's

because we have this clip selected. And

so that's loaded into the inspector. So,

we zoom this way far up.

We go back to this one and it's zoomed

in really far, right? So, let's go ahead

and reset everything in our transform.

We also have cropping where we can crop

the image. We can adjust the softness of

that crop.

This is great if you want to mix kind of

one side of one shot and the other side

of another shot, something like that. Or

if you want to do kind of a pictureand

picture thing, you could do some

cropping.

on your image and then position it down

into the corner. Something like that.

And at that point, if you wanted to put

this clip over something else, you could

just put this over other clips here in

the timeline, and those would be layered

like that.

You can adjust the composite mode, which

is kind of the transparency of things.

If I put this image over this image, we

could take the opacity down and kind of

fade this. So, it's kind of ghosted over

it. We could also change the composite

mode to different things like add or

multiply and all different kinds of

composite modes. This works a lot like

an image editing program like Photoshop

or something like that. Same kind of

idea. And there's just so much more to

go over, but basically if you want to

adjust how a clip is treated, its

position, its rotation, how it interacts

with other clips, the volume of the

audio, the pan of the audio, the pitch,

there's equalizer, there's all kinds of

stuff that we'll get into a little bit

more when we talk about Fairlite, but

this is where the properties for

anything that you have selected lives.

Okay, so again, if we want to make this

small, we can zoom it out like that

just by selecting it and adjusting it in

the inspector. One thing that's cool is

that we can stabilize clips here right

in the edit page. I can just select the

clip, go over to stabilization, and hit

stabilize.

And what that's going to do is take out

all of the little jitters and everything

for the clip. And it works pretty darn

well. Works pretty darn well. The

stabilization here is excellent. And

there are a bunch of different options

here for the stabilization, which you

can play around with. You'll get various

different results, but just know that

that's kind of where that happens. We

can correct a lens. So you can distort

or undistort your lens. Here where it

says rettime and scaling, these are just

kind of the processes for retiming. If

you actually want to do a time remap on

something, you can right click on it and

go up to rettime controls. And you can

grab the edges like this and make it

play back faster

or slower.

You can even kind of stop in the middle

of this clip and click on this little

arrow and that'll bring up a little menu

and you can add a speed point. And what

this will do is let you change part of

the clip's speed

to one value and the other part to

another value. So, we can go from slow

motion into fast motion. This is great

for drone shots and punchy edits and

things like that. That's how that's

done. And when you're done with your

speed changes, you can just hit this

little X button right here, and it'll

give you a little indicator that there's

a speed change on it. But the idea that

you select something and adjust its

properties in the inspector is really,

really, really important. Now, sort of

related to that is there is a whole

section of the edit page called effects.

So, if I switch to effects, that's going

to bring up my effects panel. And this

has I mean, just so much stuff in it.

This is where you get a little bit more

fancy in the edit page. There are all

kinds of tools here, including

transitions, which you just grab one of

these transitions and put it in between

two clips like this. Just drag it in

between on this edit. That will make a

little transition like that. You can

even select this transition and switch

to a different transition here in the

inspector.

Okay.

If you go down to open effects, there

are all kinds of effects here that you

can apply to your shots. So, if you want

your shot to be blurry, you can grab

something like directional blur. Drag

this on here and then you select this

clip. And because this clip has effects

on it, it has a little indicator right

here. And it also has the effects tab

enabled where you can find the effect

that you applied to it and you can

adjust the properties of the effect.

Right? See why this is so important is

because anything that happens in this

clip, you pretty much adjust here in the

inspector. And so we can adjust the

blurriness and all of that. All of the

controls for this effect right here in

the inspector. We can turn the effect on

or off or we can delete it by hitting

this garbage can like that. And that's

how we would apply any kind of effect

you would want to apply to a clip. So

sharpen stylized kind of stuff like a

mirror effect.

do all kinds of cool stuff.

That's cool.

And the free version of Resolve comes

with a lot of effects and the paid

version has a lot more. So, there's

still quite a bit of effects in the free

version, but there are certain more

intense effects that only come with the

paid version. We've been working with

just clips here in the timeline, but in

the effects panel, there are also things

like titles and generators. So, a

generator just generates video. So, I

can grab something like this fourcolor

gradient, and I can drag this down into

the timeline just like I would drag a

clip from the media pool into the

timeline. So, now we have this fourcolor

gradient. Again, I select it and go up

here to the inspector and I can adjust

the colors.

So, I can make a nice background with

that. And there's all kinds of different

generators. There's even some really

fancy ones that use the power of the

fusion page. So, I could do this hexagon

glow. That thing's pretty crazy. One of

my favorites is this honeycomb.

There's all kinds of controls here to

change how this looks. There's also

transitions and all kinds of stuff here.

So, we can drag this in. This will be

kind of some graphics. There we go. And

you can select this and adjust your

text, you know,

intro, right?

That's cool.

You can use a custom logo. You can do

all kinds of stuff with this. And each

effect is slightly different because

it's just kind of built for different

purposes, right? So, this one has

different color controls and things to

be able to customize this template. Now,

if you want to make your own text that's

maybe just a little bit less specific

that isn't this kind of specific looking

effect, you can go up to titles and

there are kind of two sections of titles

here. There are just the normal titles

and then there are fusion titles. Fusion

titles are just fancier titles that use

the power of the fusion page. We'll get

into that in a little bit, how Fusion

works and all that, but we have some

basic stuff here that's actually really

great. So, for instance, text. If I just

grab normal text, I can put this over my

fourcolor gradient. And I can select the

title controls here in the video in the

inspector with the text title selected.

You know, my title and I can change the

font and the size and the tracking and

all of that kind of stuff to design this

title to be exactly how I want. And

there are quite a bit of controls here

to make this look how I want for my

project. Let's go and kind of make a

title here. I could just take this text

and drag this down. And we'll call this

uh Tuesday on Earth. That's the name of

the movie. Pick a different font. Let's

just say Poppins Black. Push up that

tracking a little bit. There we go. It's

nice and tasteful. Let's change the

color. Maybe make this kind of a

slightly kind of teal color. Something

like that. Great. There we have our

title. Now, let's say that we want to

animate something. we want to change a

property of a clip or a property of this

title over time. Here's how we can do

that. We have this text which is

actually just generating a video. If I

go over here to the inspector, it says

title and settings. If I switch to

settings, this is going to give us the

same transform controls that we have

with any of these clips. Pretty much the

same transform controls. And so what we

can do is change the position of this

text just by taking the video that the

text generator generates and moving that

video around. There are these little

diamonds right here. These diamonds are

what we call key frame diamonds. I don't

actually know the real name for it, but

I call it key frame diamonds because

what you do is you click on this diamond

and that will set a key frame. Now, if

you don't know what a key frame is, a

key frame is basically a way to tell

your software that you want a property

to be a certain value at a certain time.

So, when we click this key frame

diamond, we're telling Resolve that at

49 seconds and 11 frames, so right here

on this clip, that we want the position

to be at 0 0. if we move to a different

time. So, let's move to kind of the

start of the clip. We can adjust this

position again and you'll see there's

this little tiny greater than indicator,

this little arrow. That means that there

is a key frame on this track and it's

that way. And what that also means is

that if I change this position right

now, that's going to add a new key

frame. You can see that it turned this

key frame red.

And what it's going to do is animate in

between those two key frames

over time. And so we've just made an

animated title. Isn't that cool? Now, is

this really the only indicator that

something is animated? No. If we go up

here to these buttons right here, and we

click on this one, this one that looks

like some diamonds, we click on that,

that's going to open up our key frames

panel for our timeline. And here we have

these familiar little diamonds

and we can see the properties that these

are animating. So we have a diamond on

this track for position X and a diamond

on this track for position Y. And then

we also have diamonds here for transform

which is kind of like the group of those

properties. So I can take this diamond

for the transform and I can move this

back and forth and that's going to

change where that key frame is on my

track. And so I can take this first key

frame and move this up at the start and

the last key frame and move this at the

end. And throughout the entire

length of the clip,

it's going to move from down here to up

here. If I want this to go faster, I can

push these key frames together because

it'll take less time to go from one key

frame to the other, which means this

goes faster. And so that's generally how

you'll animate stuff in Resolve. and and

really that same kind of way of

animating things by setting a key frame

and adjusting the distance between the

two key frames. That's pretty much how

you animate anything in most software.

In fact, as you use Fusion, key frames

are all over the place. But just know

for now that you can animate stuff by

using those key frames and adjusting the

distance between them. Now, when

something moves and comes to a stop on a

video, it actually looks a lot nicer if

it kind of slows down before it stops.

That is called easing. Easing a key

frame. like you easily just stop, right?

You ease into it. And so what we really

want to do would be to ease this key

frame, this last key frame, so that it

slows down before it stops. So it

doesn't just kind of jerk to a stop like

this. It doesn't look good. And so

here's how you ease those key frames.

Right now in this version of Resolve,

there is another key frame panel which I

can click and that will open up here

kind of where the media pool and the

effects go and it will give you another

graph just like is down here. But you

can click on this little button right

here and that will switch to your curves

view. And this will give you a graph of

the values over time. And you can select

this last key frame and click on this

button right here which will let you

flatten the handles on this key frame.

So you can grab this little handle.

Let's just zoom this in a little bit.

You can grab this handle and kind of

adjust the graph. And so if you grab

this handle and kind of push it out like

this so it's flat, you have this nice

easy curve as we go into the key frame.

And so as this comes in, it kind of

slows down before it stops. Isn't that

nice? Comes in fast, slows down before

it stops. And so this is the interface

that you can use to get really detailed

with your key frames. Now, it's possible

that this panel is going to change in

the future. I've recommended that they

actually put all of this down here

because it makes a lot more sense to be

able to move this based on our timeline

rather than moving things back and forth

on this grid where you don't really have

any idea of the actual timing of things.

And so if you're watching this video in

the future and you're like, there is no

key frames panel here or it looks

different or something, just look

around. Some of these buttons up here

might be down here. We'll see. You

should be able to click on this expand

button and that will give you a undocked

key frame editor here that gives you a

really nice interface for working with

your key frames. Again, that button

might be down here in the future. Who

knows? The key frames panels, this one

and this one are brand new to Resolve

when I'm recording this. So, if it's

slightly different on your version, that

might be a thing. But either way, it

should pretty much work the same. You

move your key frames back and forth to

change the timing, and you adjust the

curve to ease the key frames. There are

similar tools to this in the Fusion

page, which we'll go over in a little

while, but that's how you animate things

here on the edit page.

There are so many more things that I

want to tell you about the edit page,

but we have to move on. This should be

plenty to get you started grabbing the

footage and putting it into a timeline

and creating a story. This is the magic

of video editing is that you're in

control of that story. H so good. Next,

let's jump into the cut page, which is

just a little bit of a different angle

on the same kind of idea of creating a

story in a timeline. So, the cut page,

the cut page is kind of like the edit

page, but it's built for a slightly

different application. You can think of

the cut page as sort of like a version

of the edit page, but designed with one

value in mind, speed. Speed of editing.

Everything in this page is designed to

help you edit faster. Now, it has some

pretty familiar elements. We have our

media pool up here, which works pretty

much exactly like the media pool does in

the other pages. The only difference is

that instead of a bin list, you have a

little drop down here, but pretty much

the same idea. We have a viewer.

You can double click on a clip and you

can hover scrub. You can scrub through

it here in the source viewer. You can

switch to source tape and bring up all

of the different clips one after

another. You can also switch to the

timeline viewer.

So, there aren't two viewers in the edit

page. There's only one that kind of

switches out like this. But other than

that, it pretty much works the same. We

do have an inspector. Same idea. But we

also have kind of this slightly

different style of inspector, which if

you click on this button right here,

will bring up a bunch of controls that

are the same as the inspector controls,

but they're kind of just on a different

interface.

The idea being that this would be a

little bit faster.

We also have effects and titles and even

a key frames editor like we do on the

edit page.

There's transitions, that kind of thing.

But really the big difference here in

the cut page versus the edit page is

that we have two timelines.

We have this upper timeline here and we

have the lower timeline down here. Now,

this can be a little bit confusing, but

these are the same timeline at different

zoom levels. So, this upper timeline is

your entire movie from beginning to end.

So, it's zoomed all the way out. The

lower timeline is the zoomedin version

of that same sequence. And so, if I want

to adjust this part where we have a

transition, I can quickly move to that

part using this top timeline. And then I

can adjust the details of the clips here

in the lower timeline. And so the idea

here is that you can quickly move from

one side of the world to the other

without having to zoom in and out a

whole bunch because that does take some

time to zoom in and out and kind of get

the right view for what you're working

on. The other thing you might notice is

these little indicators here where if we

have a clip, let's say, let's just open

a clip like this. We have this little

animation here that's kind of shooting

little arrows down here. And we also

have this green highlight. This is our

edit indicator. And what that means is

that if we use some of these edit

buttons, which are very similar to the

edit buttons you get over here in the

edit page, but if we use one of these

edit buttons, some of these have to do

with a specific edit point. So, for

instance, this insert button, this smart

insert, what it's going to do is look

for the nearest edit point, which is

going to be highlighted in green, and

that's where it's going to insert the

clip. Normally, on the edit page, if I

were to be right over this title, and I

were to insert this like this, that's

going to throw that right in the middle

of that clip, exactly where my playhead

is, just like that. in the cut page

because it takes time to completely line

this up exactly where you want it to be.

It's just going to put this on the

nearest edit point. So, if I grab this

right here and I say smart insert,

that's going to put that right there in

between those two clips. It's not going

to put it exactly where the playhead is.

If I have that playhead less than 50%

through this clip, we're going to

highlight this edit point and that's

where whatever clip I have selected is

going to be inserted.

So, this is the kind of thing that can

get you in trouble, but if you're aware

of it and kind of the thinking behind

why this is built this way, then it can

actually be really helpful and speed you

up. Sort of a similar thing with this

edit point is with our transitions.

There's these three buttons right here,

and this will allow you to quickly

select the type of transition that you

want for this edit point. And so, by

default, it's a cut, but with one click,

I can add a crossfade here. And so I

could just go to the nearest edit point

and go, okay, I want a crossfade here. I

want one here. I want one here. And you

can really easily just add these kind of

things. And you can see how quickly you

can go through and do stuff. And so

there are a lot of cool things about

just editing a normal project in the cut

page. It's a little bit of a different

feel. You have to get used to it, but

for certain applications, it can really

speed you up. Something like putting

together a narrative film is maybe not

something that I would do in the cut

page. The cut page would be really great

for a vlog or a news story where you're

trying to one move really fast and

probably get it out as quickly as you

can. And two, you generally just have a

bunch of clips one after another and you

don't have complicated sound design and

you know all kinds of different layers

and and stuff like that. It's just one

clip after another. And so because

that's kind of such a specific

application, we're not going to spend

lots and lots of time on the cut page.

It's sort of a divisive page. Honestly,

some people really like it and some

people don't see a point in having the

cut page at all. Me, I use this for some

things. It's nice for quickly putting a

whole bunch of clips down into the

timeline and creating kind of a rough

edit, but I'll generally move over to